® ® Avid Media Composer | Software 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. This product may be protected by one or more U.S. and non-U.S patents. Details are available at www.avid.com/patents. This document is protected under copyright law.
Copyright 1996 Daniel Dardailler. Permission to use, copy, modify, distribute, and sell this software for any purpose is hereby granted without fee, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation, and that the name of Daniel Dardailler not be used in advertising or publicity pertaining to distribution of the software without specific, written prior permission.
This product includes software developed by the Apache Software Foundation (http://www.apache.org/). © DevelopMentor This product may include the JCifs library, for which the following notice applies: JCifs © Copyright 2004, The JCIFS Project, is licensed under LGPL (http://jcifs.samba.org/). See the LGPL.txt file in the Third Party Software directory on the installation CD. Avid Interplay contains components licensed from LavanTech.
Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada. Saturn “Calvin Egg” — Courtesy of Cossette Communications. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer. "The Big Swell" — Courtesy of Swell Pictures, Inc. Windhorse — Courtesy of Paul Wagner Productions. Arizona Images — KNTV Production — Courtesy of Granite Broadcasting, Inc., Editor/Producer Bryan Foote. Canyonlands — Courtesy of the National Park Service/Department of the Interior.
Contents Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Chapter 1 Editing Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Editing Workflow . . . .
Select Project Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Project Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Setting the Project Format to Accommodate Variable Resolutions . . . . . . . . . . 79 Working with Color Spaces in HD Projects . . . . . . . . . . . . . . . . .
Importing the Statistics File into a Spreadsheet . . . . . . . . . . . . . . . . . . . . . . . . 108 Displaying Disk Space Statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Using the Info Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Managing Bins and Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Understanding User Profiles . . . . . . . . . . . . . . . . . . . . .
External Controllers as Editing Control Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Chapter 5 Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Global Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Column Titles . . . . . . . . . . . . . . .
Selecting Settings for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Selecting Video Resolutions and Media Drives . . . . . . . . . . . . . . . . . . . . . . . . 183 Disabling Video Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Setting Drive Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Configuring the Sound Card (Software-Only Systems) . . . . . . . . . . . . . . . . . . 217 Understanding the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Opening the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Adjusting Audio Input Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Capturing DV Material with Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Capturing Audio from a Music CD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Frame Chase Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Understanding Frame Chase Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Enabling Frame Chase Capture. . . . . . . . . . . . . . . . . . . . . . . . .
Remote Play, Capture, and Punch-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 Selecting Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . 293 Enabling Remote Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Enabling Remote Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 Setting up Your System for Remote Punch-In . . . . . . . . . . . . . . . . . . . . . .
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk . . . . . . . . 336 Editing and Finishing High-Resolution XDCAM Media . . . . . . . . . . . . . . . . . . . . . . 339 Importing P2 Clips and Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 Importing Sequences from Pro Tools through Interplay . . . . . . . . . . . . . . . . . . . . . 340 Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . .
Duplicating Bin Columns with Timecode Information . . . . . . . . . . . . . . . . . . . . 370 Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370 Changing a Custom Bin Column Heading . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Adding a Metadata Bin Column Heading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Moving Within Column Cells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting the AMA Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403 Manually Copying File-Based Media to a FireWire or Network Drive . . . . . . . . . . . 405 Dragging and Dropping File-based Media Directly to a Bin . . . . . . . . . . . . . . . . . . 405 Creating Dynamic Media Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 Starting and Stopping Avid Background Services. . . . . . . . . . . . . . . . . . . . . . . . . .
Using the GFCAM AMA Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451 Using the RED AMA Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453 Preparing your RED Clip for Transcode, Mixdown, or Render. . . . . . . . . . . . . 455 Adjusting RED Source Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Using RED Source Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 Relinking by Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503 Relinking to Selected Clips. . . . . . . . . . .
Switching Between Loaded Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535 Clearing Clips from Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536 Controlling Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537 Using Position Bars and Position Indicators. . . . . . . . . . . . . . . . . . . . . . . . . . . 537 Playback Control Buttons . . . . . . . . . . . . . . . . . . . . . . . . . .
Working in the Markers Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565 Exporting and Importing Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566 Creating a Marker Text (.txt) File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567 Copying and Pasting Markers Using the Markers Window . . . . . . . . . . . . . . . 567 Printing the Contents of the Markers Window . . . . . . . . . . . . . . . . . . . . . . . . .
Enabling Single-Mark Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598 Mixing Frame Rates and Field Motion Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598 How Your Avid Editing Application Handles Mixed Rate Clips. . . . . . . . . . . . . 599 Viewing Mixed Rate Clips in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601 Viewing and Adjusting Motion Adapter Parameters . . . . . . . . . . . . . . . . . . . . .
Resyncing Audio for a Selected Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631 Working with Phantom Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631 Creating Video and Audio Leaders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633 Chapter 15 Script-Based Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635 Understanding Lined Scripts . . . . . . . . . . . . . . . . .
Changing the Track Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675 Assigning Local Colors to Clips in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . 675 Clip Color for Proxy Clips in Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676 Displaying Timecode Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . 676 Showing Markers in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Copying and Dragging Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701 Dragging Nonadjacent Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702 Deleting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702 Marking Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703 Cutting, Copying, and Pasting in the Timeline . . . . . . . . . . . . . . . . . . . . .
Printing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733 Activating and Deactivating I/O Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734 Activating and Deactivating I/O Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734 Chapter 17 Working with Trim Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735 Trimming with the Timeline Palette . . . . . . . . . . . . . . . .
Accessing Audio Effect Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764 Using Audio Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765 Working with Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 766 Displaying Track Formats in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767 Modifying Track Formats in Bins . . . . . . . . . . . . . . . . . . . . . . . .
Track Selection in the Audio Mixer Tool and in the Timeline . . . . . . . . . . . . . . 798 Using the Track Solo and Track Mute Buttons. . . . . . . . . . . . . . . . . . . . . . . . . 798 Interpreting Position Indicator Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 798 Rendering and Unrendering Order for Audio Effects . . . . . . . . . . . . . . . . . . . . . . . 799 Audio Volume Staging and an Audio Editing Workflow. . . . . . . . . . . . . . . . . . . . . .
Entering Live Mix Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831 Using Live Mix Mode with an External Controller. . . . . . . . . . . . . . . . . . . . . . . 831 Using Live Mix Mode Without an External Controller . . . . . . . . . . . . . . . . . . . . 832 Switching Between Live Mix Mode and Other Audio Mixer Modes . . . . . . . . . 832 Audio Mixer Tool Fast Menu: Live Mix Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 832 Live Mix Mode Example . . . .
Configuring External Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 872 Using an External Fader Controller or Mixer to Record Volume Automation . . . . . 874 Adjusting the Volume or Pan of Individual Keyframes . . . . . . . . . . . . . . . . . . . . . . 875 Using the 002 and the Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 876 Using the Command|8 with Your Avid Editing System. . . . . . . . . . . . . . . . . . .
Installing EuControl Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 901 Configuring Avid Artist Series Controller Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 903 Configuring Ethernet Connections (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . 904 Setting the IP Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905 Configuring EuControl Settings. . . . . . . . . . . . . . . . . . .
Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins . . . . . . . . 943 Using AudioSuite Plug-ins to Create New Master Clips. . . . . . . . . . . . . . . . . . 944 Using AudioSuite Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 944 Using AudioSuite Plug-Ins in Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 946 AudioSuite Plug-in Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DeEsser III — Dynamics III (Audio Track Effect and AudioSuite) . . . . . . . . . . 990 Dither (Audio Track Effect) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 992 Down Mixer (Audio Track Effect) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 993 Duplicate (AudioSuite) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 994 Eleven Free (Audio Track Effect and AudioSuite) . . . . . . . . . . . . . . . . . . . . . .
Exporting Projects and Bins Using AFE Files (Windows Only). . . . . . . . . . . . . . . 1040 Exporting the AFE File to Avid DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1041 Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1042 Installing or Copying the Avid Codecs for QuickTime on Other Systems . . . . . . . 1045 Exporting from a Third-Party QuickTime or AVI Application . . . . . . . . . . . . . . . . .
Preparing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1073 Setting the Calibration Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1073 Calibrating Global Output Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1074 Setting Audio Output Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1076 Enabling 16-Channel Audio Output . . . . . . . . . . . . . . . . . . . . .
Understanding Passthrough . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1103 Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1104 Using FilmScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1104 Understanding Matchback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1104 Vertical Blanking Information . . . . . . . . .
(Symphony Option) Preparing Titles for the Online Session . . . . . . . . . . . . . 1131 Preparing Audio for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1131 Conforming Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1132 Step 1: Transfer Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1132 Step 2: Open the Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Shortcuts with Directories (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . 1160 Deleting a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1161 Changing the Text Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1161 Editing Story Text (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1162 Rearranging Text in a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . .
Sending NRCS Tool Mail (iNEWS only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1188 Receiving NRCS Tool Mail (iNEWS only) . . . . . . . . . . . . . . . . . . . . . . . . . . . 1189 Disconnecting from Your NRCS Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1190 Chapter 26 Working with Avid Interplay from an Avid Editing System . . . . . . . . 1191 Dos and Don’ts for Editors Working with Avid Interplay . . . . . . . . . . . . . . . . . . . .
Understanding Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1230 Understanding Access Control for Avid Assets . . . . . . . . . . . . . . . . . . . . . . . 1230 Moving, Copying, Duplicating, and Deleting Avid Assets. . . . . . . . . . . . . . . . 1231 Creating Folders and Shortcuts in the Interplay Window . . . . . . . . . . . . . . . . 1233 Modifying the Appearance of the Interplay Window . . . . . . . . . . . . . . . . . . . .
Opening an Existing Synced Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1266 Deleting Synced Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1268 Updating a Synced Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1269 Chapter 28 Using Your Avid Editing Application with Media Composer | Cloud 1271 Working with Remote Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Understanding MultiRez and Proxy Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1306 Acquiring Media at Multiple Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1308 Batch Capturing Media at a Different Resolution . . . . . . . . . . . . . . . . . . . . . . 1308 Batch Importing File-Based Media at Different Resolutions. . . . . . . . . . . . . . 1310 Transcoding Media to Low-Res Proxies. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Quality Matching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1348 Quality Matching Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1350 Example of Quality Matching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1352 Chapter 31 MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1353 Understanding Grouping and Multigrouping Clips . . . . . .
Downloading Stock Footage Clips to Your Avid Bin . . . . . . . . . . . . . . . . . . . . . . . 1382 Adding Vendor Columns to your Avid Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . 1382 Getting Comp Clips into Your Avid Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1383 Creating a Stock Footage Report. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1387 Stock Footage Report Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Color Management Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1431 Communication (Serial) Ports Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1432 Composer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1433 Controller Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1437 Correction Settings . . . . . . . . . . . . . . . .
Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1481 Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1487 Interplay Folder, Interplay Server, and Interplay User Settings . . . . . . . . . . . . . . 1488 Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1489 Marquee Title Settings . . . . . . . . . . . . . .
Importing Multichannel Broadcast Wave (BWF) Files . . . . . . . . . . . . . . . . . . 1530 iXML Metadata in Broadcast Wave and AIFF Files . . . . . . . . . . . . . . . . . . . . 1531 Field Ordering in Graphic Imports and Exports. . . . . . . . . . . . . . . . . . . . . . . . . . . 1533 Chapter 35 Resolutions and Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . 1536 Compression and Avid Editing Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Viewing Video Dailies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1576 HD Workflow: Video-Based Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1577 Producing Graphics for Broadcast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1579 Creating a Film-Based Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1579 Selecting a Project Format during Capture . . . . . . . . . . . . . .
HD RGB Playback to High Resolution Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . 1606 HD RGB Digital Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1606 Chapter 38 International Character Support (ICS) in Avid Editing Applications 1607 Choosing a Locale on an English Language Operating System. . . . . . . . . . . . . . 1607 Using a Local Language Operating System (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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.
If You Need Help Symbol or Convention Meaning or Action Courier Bold font Courier Bold font identifies text that you type. Ctrl+key or mouse action Press and hold the first key while you press the last key or perform the mouse action. For example, Command+Option+C or Ctrl+drag. If You Need Help If you are having trouble using your Avid product: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2.
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.
Starting a Project For more information, see “Creating and Editing Sequences” on page 586 and “Using the Timeline” on page 666. 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 735. 8. Add any titles you need. For more information, see the “Creating Titles” and “Editing with Titles” chapters in the Effects and Color Correction Guide for your Avid editing application. 9.
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 5 Back up the project 4 Create and organize bins 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 175 and “Capturing Media” on page 239.
Editing a Sequence 2. Use bins to organize your project items. For more information, see “Working with Bins” on page 346. 3. Use the Media tool to manage media files. For more information, see “Managing Media Files” on page 471. 4. Use the bins to create storyboards. For more information, see “Creating a Storyboard” on page 388.
Editing a Sequence 2. Build your sequence in Source/Record mode in the Timeline. See “Creating and Editing Sequences” on page 586. 3. Use Segment, Trim, and Effect modes to fine-tune your edits and effects. For more information, see “Using the Timeline” on page 666, “Working with Trim Edits” on page 735, 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.
Outputting a Sequence 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 1023. • Output a digital cut in one or more formats. For more information, see “Generating Output” on page 1058.
Outputting a Sequence Finished sequence.
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.
Working with the Desktop 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.
Working with the Desktop 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 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. The Mouse Settings dialog box opens. 2. Select Tools > Command Palette. The Command palette opens. 3.
Working with the Desktop In Control Panel > Appearance and Personalization > Personalization > Window Color and Appearance > Effects, deselect Show window contents while dragging. • Enable setting to adjust for best performance. In Control Panel > System and Maintenance > System > Advanced System Settings > Performance Settings, select Adjust for best performance. • Disable Desktop compositing.
Working with the Desktop • Disable screen savers. • Do not keep media on the same partition where you install your Avid editing application. Avid recommends external media drives. • Always use small fonts with the display driver to avoid missing characters in the dialog boxes in your Avid editing application. • After you move a drive from one system to another, restart your system. Windows does not recognize the drive until you restart.
Starting Your Avid Editing Application (Windows) Antivirus Applications Antivirus programs that contain autoscanning features can interfere with the operation of your Avid editing application. Since virus scanning is a processor-and disk-intensive activity, it can interfere with capturing and playing real-time effects in your Avid editing application. Avid recommends you do not scan files or schedule any background tasks such as virus scanning when you use your Avid editing application.
Starting Your Avid Editing Application (Macintosh) Starting Your Avid Editing Application (Macintosh) Your Avid editing application is in the following location: Macintosh HD/Applications/Avid editing application For most users, the desktop or Dock is a more convenient location to start your Avid editing application. The installation process places a shortcut alias icon for your Avid editing application on the desktop.
Application Manager The installed applications appear with their current status. You can also see the list of applications available for trial or purchase. From this window, you can see the status of your application, and when available, update to the latest version, renew a subscription, or buy the product if you have been using the trial version. To view product promotions and 3rd party news: 1. Click the Application Manager icon in your Toolbar (Windows) or Dock (Macintosh). 2.
Working with Projects Licensing the Editing Application through Application Manager The Licensing tab displays all the licensed products, the activation status, the type of ownership (trial, subscription, or permanent) and the renewal date. From this tab, you can activate and deactivate your product. You can activate with an Internet connection, without an Internet connection, or with a floating license.
Working with Projects 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 72. You should also back up your project information regularly to a separate storage device, as described in “Backing Up Your Project Information” on page 89. 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 n Avid does not support sharing bins in an Interplay environment. If you create projects on shared storage, do not allow editors to work in the same bin at the same time. This can result in data loss or media corruption. Instead of sharing bins, editors should use the Interplay Window to collaborate and share material. Synced A Synced Project is stored locally and in your Interplay database. It can be accessed by any user who has permissions for the project.
Working with Projects 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 Documents\Shared Avid Projects Macintosh Macintosh HD/Use
Working with Projects Your project settings are initially set to the default values. As you create additional bins for the project (see “Creating a New Bin” on page 97), additional bin (.avb) files are added to the project folder. Files and Folders Created For User Profiles When you create a new user profile, your Avid editing application creates a folder for the user and two files that are stored within the user folder: • A user profile file (.ave) • A user settings file (.
Working with Projects 3 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.
Working with Projects Project Type Source Footage Transfer (Continued) Color Space 30i NTSC For NTSC video-originated or other 30-fps footage transferred to NTSC videotape YCbCr 720p/23.976 For film-originated material transferred to videotape. YCbCr 720p/25 For video-originated material that can be captured, edited and output for HD broadcast. It can also be captured in DVCProHD format. YCbCr 720p/29.97 For video-originated material.
Creating a New Project Creating a New Project You can create a project in any format. The settings you choose for your project will dictate the way in which your material is handled for the various editing functions within the Avid application. The project format describes the frame size, aspect ratio, frame rate, and the color space for all sequences created within the project. You should set your project format according to the quality required for the final delivery.
Creating a New Project Example of the New Project dialog box 5. Set the following option(s), where applicable: Option Project Format SD HD A combination of the video format (e.g. NTSC, PAL, HD), the video mode (e.g. 1080p, 720p) and the frame rate (e.g. 23.97, 24, 25 fps). Choose the most appropriate combination for your output format. Aspect Ratio The numerical ratio of the picture width to height. Set the aspect ratio for standard (SD) video and television at 4:3, and at 16:9 for HD.
Creating a New Project Option SD Raster Dimension HD Set the spatial resolution at which your clips will be processed on the timeline. The resolution is the number of pixel columns (width) by the number of pixel rows (height), for example 1920 by 1080. Some devices create media in non-standard resolutions--for example, HDV (1440 x 1080). Note: These non-standard dimensions are only available if there is an Avid codec to support it.
Working with Color Spaces in HD Projects Project name and user name in the title bar (left) and Close button (right) in the Project window 8. (Option) If your project uses a film project type, set film preferences immediately after you create the project. Setting the Project Format to Accommodate Variable Resolutions Regardless of the project output format, you can still work with media of different frame sizes, aspect ratios, and pixel aspect ratios in the same sequence.
Working with Color Spaces in HD Projects RGB and YCbCr both separate colors into three channels, but they store color information differently. When you choose which color space to work in, you need to take several factors into consideration, including the color space of your media, your output needs, and your performance expectations for your Avid editing application while editing. The RGB color space is not available for 720p or NTSC/PAL SD projects.
Working with Color Spaces in HD Projects n RGB media requires high bandwidth. For effective playback of multiple streams of video at higher resolutions, you should distribute the video tracks as evenly as possible among available drives, and target separate drives for audio and video. Choosing a Color Space for Your Project Your choice of a color space depends on both your input/output hardware and your desired output.
Working with Color Spaces in HD Projects When a project is created, a common color space needs to be selected for the processing of all media within a sequence. This color space maintains a consistent color appearance when color values from different media sources are sent to a particular device (either a monitor, storage, or output). The working color space should be set according to the delivery requirements. As an example, for broadcast HD TV, set it to Rec. 709.
Working with Color Spaces in HD Projects 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. Setting Project-Naming Conventions The system limits bins and project names to 64 characters, not including the period and 3-character extension that the system automatically adds to a file name.
Opening and Closing Projects To extend project and bin names to 31 characters (Macintosh only) 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click General Settings. 3. Select Allow files names to extend 27 characters. This extends the names of projects and bins to 31 characters. Opening and Closing Projects You can open a project from the Select Project dialog box, and navigate from the Select Project dialog box to find any project on your system.
Opening and Closing Projects To browse for a project in a location other than the default Shared and Private folders: 1. Start your Avid editing application. The Select Project dialog box opens. 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. 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.
Deleting a Project To open the startup project: 1. In the Select Project dialog box, click the Shared folder button. 2. Double-click Avid Boston Project DV25 in the Project list. The Avid Boston Project DV25 project opens. n The footage in the Avid Boston Project DV25 project is shot in 16:9 aspect ratio. To view the footage correctly in monitors, click the Format tab in the Project Window and set aspect ratio to 16:9. 3. In the Format tab of the Project window, ensure that Aspect Ratio is set to 16:9.
Quitting and Turning Off Equipment Quitting and Turning Off Equipment To quit your Avid editing application and leave it immediately: t (Macintosh) Select Avid editing application > Quit Avid editing application. t (Windows) Select File > Exit. The project closes and your Avid editing application quits. To quit your Avid editing application and view the Select Project dialog box: 1. Click the Close button at the far right (Windows) or at the far left (Macintosh) of the Project window’s title bar.
Changing Project and User Names 3. Turn off peripheral devices (such as monitors and speakers). 4. Turn off external storage devices. c Never remove media drives from your Avid system when it is turned on. Shut down the computer, and then remove the drives. 5. Turn off all other hardware. Changing Project and User Names You cannot change project or user names from within your Avid editing application. You must change the names from your desktop before you start your Avid editing application.
Backing Up Your Project Information Backing Up Your Project Information Although your Avid editing application automatically saves your bins, projects, and settings, you should back up these items frequently.
Avid Attic Folder Avid Attic Folder The Avid Attic folder contains backup files of each bin in a project.
Avid Attic Folder 3. Double-click a project folder, and then double-click the Bins folder. The Bins folder opens and displays a folder for each bin in the project. 4. Double-click the folder for the bin you want to retrieve. 5. If the bin folder is not already in the Details view, select View > Details. The bin folder displays the backup bin files and their creation dates. A backup bin file has the same name as the bin, with a number appended.
Avid Attic Folder 5. Navigate to the desktop, select one of the backup bin files you copied, and click Open. The backup bin opens. When you open a backup bin, a link to the backup bin on the desktop is created in the Other Bins folder. n Your Avid editing application does not allow a bin and a copy of a bin to be open at the same time. You must keep all other bins closed and open the backup bins one at a time. 6. Create a new bin. For example, if you are retrieving clips from a backup bin called Audio.
Avid Attic Folder Retrieving Files from the Avid Attic Folder (Macintosh) To retrieve a file from the Avid Attic folder: 1. Minimize your Avid editing application. 2. From the desktop, double-click the Macintosh HD/Users/Shared/Avid editing application/Avid Attic folder. The Avid Attic folder opens and displays a folder for each project. 3. Double-click a project folder, and then double-click the Bins folder. The Bins folder opens and displays a folder for each bin in the project. 4.
Avid Attic Folder 9. Select and delete the backup bins in the Other Bins folder. 10. Drag the backup bin files on the desktop to the Trash.
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.
Using the Bins Tab Project window information is organized in tabs. Tab Function Bins Lets you create and open bins. See “Using the Bins Tab” on page 96. Volume Lets you create an Export Volume. See “Working with Export Volumes” on page 432. Settings Lets you view and modify settings. See “Using the Settings Tab” on page 104. 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.
Using the Bins Tab during a project. From the Project window, you can view a list of bins associated with the project, and open, close, and create bins. You can also open bins that you create for other projects. Viewing a List of Bins You can view a list of bins in the Project window. The Bins list displays the number, names, sizes, and location of the bins. Bins from other projects appear in the Project window in italic.
Using the Bins Tab To place a bin in a folder: t Drag the bin to the folder icon. Renaming a Bin Each new bin that you create takes the name of the project that appears in the title bar of the Project window and is numbered incrementally. n n If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or trailing periods, when you name a project, bin, and user.
Using the Bins Tab To open several bins at once from the Project window: 1. Click a Bin icon in the Bins list. 2. Ctrl+click (Windows) or Command+click (Macintosh) each additional bin you want to open. 3. Do one of the following: t To open each bin in a separate window, select File > Open Selected Bins. t To open all bins as tabs in a single bin, select File > Open Selected Bins In One Window. The selected bins open either in separate windows or in a single window with tabs indicating the bins.
Using the Bins Tab To create a folder in a project: 1. Click the Fast menu button, and select New Folder. A new untitled folder appears. 2. Click the untitled folder name in the Bins list and rename it. To show or hide the folder’s contents in the Bins list in the Project window: t Click the arrow next to a folder icon. To view a list of only the folder contents and not the folders: t Click the Fast Menu button, and select Flat View.
Using the Bins Tab Viewing and Emptying the Trash If you need to view the contents in the Trash or decide you do not want to delete those items, you must first move the bins and folders from the Trash. 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.
Using the Bins Tab Your Avid editing application automatically saves copies of all bins into the Avid Attic folder at regular intervals for backup. When your work is lost, or when you want to recover an earlier version of a bin or sequence, you can retrieve files from the Avid Attic folder. 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.
Using the Bins Tab To filter bins in the Project Window: 1. Open the Project Window and click the Bins tab. 2. Enter text in the filter text box.
Using the Settings Tab The search will display only those bins that match the search criteria. Using the Settings Tab From the Settings tab in the Project window, you can view, select, open, and alter various User, Project, and Site settings. Each setting either displays information about that specific tool or window or lets you select options or preferences associated with that tool or window. For more information, see “Viewing and Modifying Settings” on page 1400.
Using the Format Tab Using the Format Tab The Format tab in the Project window lets you view basic project information, such as the video format (NTSC, for example). The information lists the options you selected in the New Project dialog box when you created the project. For some project formats, the Project Type list lets you change the format of the project to another format that shares the same frame rate. For example, if you are working in a 1080i/59.
Using the Usage Tab Using the Usage Tab The Statistics feature gathers and reports information on system usage. You can use this information to support business functions such as resource management. All statistics are gathered and reported by project. The file that contains this information is formatted so you can use it as input to software programs such as analysis applications, spreadsheets, or report generators. c Do not rely on the Statistics feature for billing or other financial purposes.
Using the Usage Tab The statistics file is formatted as comma-separated ASCII text, so it can be accepted by a variety of software programs. Each line in the file is tagged with indicators for identifying content and data type to assist in programming custom applications. The following illustration shows a sample Statistics file.
Using the Usage Tab 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 used 03 bytes
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.
Using the Info Tab 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 page file The total number of bytes stored in the paging file. The paging file is used as virtual memory by the Windows system. Available page file The total number of bytes available in the paging files. Working set (minimum and maximum) The set of memory pages currently available to your Avid editing application in RAM.
Understanding User Profiles A dialog box opens asking if you want to close and save all opened bins. 3. Click OK. This operation deletes cached data for the online master clips only. Memory might also be used by other parts of your Avid editing application and will not be reduced by using the Clear Memory button. Understanding User Profiles User profiles let you switch between settings without having to log out of your system and log back in under a different user name.
Managing User Profiles to another location (a server), and then import it to a different system. Any time you change the Jennie user profile, it updates to the server and when you open the Jennie user profile on either system, it uses the most updated Jennie user profile. - When you select Group, the user profile auto-loads but it does not auto-save. Changes made to the user profile only affect the system where you made the change. The changes do not update to the server.
Managing User Profiles 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. To import user settings from another user or user profile: 1. Click the Settings tab. 2. Click the User Profile Selection menu, and select another user profile. 3.
Customizing the Avid User Interface To delete a user profile from your desktop: 1. Navigate to the Avid Users folder, and then select the user folder you want to delete. For information about the location of the Avid folders, see “Avid Projects and Avid Users Folders” on page 72. 2. Do one of the following: t (Windows) Press the Delete key, then click OK in the dialog box. t (Macintosh) Drag the folder to the Trash. 3.
Customizing the Avid User Interface c When you use the selection slider to modify interface settings, it overwrites any previous user settings. Avid recommends you save a copy of your user settings before you use the selection slider. To set the brightness and color of interface components: 1. In the Project window, click the Settings tab, and then double-click Interface. The Interface dialog box opens. 2. Click a highlight color to change button highlight colors. 3.
Customizing the Avid User Interface 5. (Option) If you want to be able to set custom background colors for bins, select Allow Custom Bin Backgrounds. For more information, see “Changing the Bin Background Color” on page 363. 6. Do one of the following: t Click Apply to apply the changes you selected. If you click Cancel after you click Apply, interface components retain the colors you applied. t Click OK to close the dialog box and put the new setting into effect.
Customizing the Avid User Interface n Any font installed on the Avid system appears in the list. For information on adding fonts to your system, see the documentation for your operating system. 4. Type another point size for the font in the Size text box. 5. Click OK. The new font and point size appear in the active window. When you close the window, the last font and point size applied are saved with the window.
Using Workspaces Note: You can clear the cache from the cache folder by clicking the Flush button in the Media Cache dialog. Using Workspaces Your Avid editing application provides default layouts of windows and tools designed to utilize the application interface efficiently.
Using Workspaces To customize the workspace: 1. For the workspace you want to customize, select Windows > Workspaces > workspacename. 2. Open other tools with which you want to work, and position them where you want them. 3. Select Windows > Workspaces > New Workspace. 4. Type a name for the new workspace in the Workspace Name text box. 5. (Option) Select Based on Workspace, and then select a different workspace from the active one. 6. Click OK. The new workspace appears in the Workspaces menu.
Using 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 a workspace to another setting: 1.
Using Workspaces Examples of linked settings (top and center) and a linked workspace view (bottom) 7. In the Settings list of the Project window, double-click the workspace you want to link. The Workspace View Setting dialog box opens. 8. Select Link to Named settings. 9. Type the name of the custom settings to which you want to link the workspace.
Using Workspaces For more information about creating and naming custom settings, see “Working with Settings” on page 1400. n You can link workspaces only to User settings. 10. (Option) Click the Bin Layout menu and select a layout you want to link to the workspace. For more information, see “Using Bin Layouts” on page 124. 11. Click OK. The workspace is linked to the custom setting you specified. To link a workspace to an unnamed setting: 1.
Using Workspaces 3. Select Button to Button Reassignment. 4. Click a workspace button 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. To assign a bin layout button: 1. Select Tools > Command Palette. 2. Click the Workspaces tab. 3. Click the workspace menu next to the button you want to assign. Bin layouts appear in the menu below the divider line.
Using Workspaces Keyboard settings and toolbar button mappings for workspaces are user settings. Bin layouts are project settings. When you link bin layouts to workspaces, to keyboard settings, or to toolbar buttons, you can access these layout assignments only when you work in a project containing a bin layout with the same name as when you created the link. For this reason, you should be careful to maintain a consistent bin layout naming convention for your projects.
Working with Bins and Projects in an Avid Shared Storage Environment 2. Click OK. Working with Bins and Projects in an Avid Shared Storage Environment Avid ISIS let you share bins and projects across the network. When you place your bins and projects on Avid Workspaces (drive volumes), several users can work on the same project at the same time. For example, an editor creates sequences in one bin while an assistant recaptures media in another bin.
Working with Bins and Projects in an Avid 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.
Working with Bins and Projects in an Avid Shared Storage Environment 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 126. 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 instruct your Avid editing application to keep a bin locked even after you close it. You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin. 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.
Working with Bins and Projects in an Avid Shared Storage Environment 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.
Working with Bins and Projects in an Avid Shared Storage Environment Drive Filtering in Networked Workflows The Drive Filtering and Indexing tab of the Media Creation Settings dialog box includes three options: • Filter by Resolution • Filter by System Drive • Filter by Launch Drive Depending on the version of your Avid editing system, the drive filtering options could be on or off by default. Avid recommends that all drive filtering options should be on by default.
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.
Using a Deck Controller The tab bar in the target tab window displays all tool tabs. To move a tool into separate window: t Click the tab for the tool you want to move, and drag it to a clear region of the application interface. The tool displays in a separate window. To view tool tabs that do not display in the tab bar, do one of the following: t Click the Previous Tab button or the Next Tab button to shift the tab view to the left or the right.
Deck Controller Window Reference 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 154. 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.
The Command Palette 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 Marker.
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 138. Modifier Keys You can add modifier keys to functions already associated with keys and buttons.
The Command Palette 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 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. Click the tab from which you want to select a command function. 4.
Using The Console Window If you enter drop-frame timecode into the calculator while non-drop-frame timecode is selected in the format menu, the calculator converts the entered timecode to a non-drop-frame equivalent (and vice-versa). Using The Console Window The Console window provides a number of features including, finding your system ID number, viewing log error messages, getting information about your sequence, displaying your networked drives, and information after you capture or import.
Using the Hardware Tool To get information with the Console window: 1. Select Tools > Console. The Console window opens. 2. Select the item about which you want information, for example: t In the Timeline, move the position indicator to the selected clip or segment and select File > Get Position Info. t In the bin, right-click and select Get Bin Info. Information about the clip appears in the Console window. To make your mapped network drives available: 1.
External Controllers as Editing Control Surfaces To check the hardware configuration of your Avid system, do one of the following: t Select Tools > Hardware. t Click the Info tab in the Project window, and then click Hardware. The Hardware tool opens. External Controllers as Editing Control Surfaces Adding a controller to your Avid system provides an alternative to using the keyboard and mouse for editing your sequence.
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.
Avid Log Specifications 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. appear underneath, also in angled brackets. You must enter one of these values. For example, <29.97> is one of the supported values for the FPS Title; to specify that value, type 29.97.
Avid Log Specifications AUDIO_FORMAT [Tab] <22kHz> <24kHz> <44kHz> <48kHz> [Enter] or [Return] Audio sampling rate for catpure. You can override this for individual clips. TAPE [Tab] [Enter] or Required [Return] Name of the videotape reel you log. If you omit this Title, the file name becomes the global tape name. You can override this for individual clips. FPS [Tab] <23.98> <24> <25> <29.97> [Enter] or Required [Return] Capture rate is 23.98 fps (23.
Avid Log Specifications Column [Enter] or [Return] Required Indicates the start of the column Titles. Name [Tab] Required Title for clip name. Tracks [Tab] Required Title for tracks you select for capture. Start [Tab] Required Title for video timecode of sync point — the timecode IN for clip. From address track of video. End [Tab] Required Title for timecode OUT for clip. From address track of video. Audio [Tab] Title for the audio resolution (sample rate).
Avid Log Specifications 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. Perf [Tab] Title for the film-edge perforations format used for 3-perf projects. Pullin [Tab] Title for the telecine pulldown of the first frame of the clip (pulldown phase). Pullin can have the values A, B, C, or D.
Avid Log Specifications [Enter] or [Return] [Enter] or [Return] Press [Enter] (Windows) or [Return] (Macintosh) twice (do not press Tab) after the last Title. Data Entries The data entries come after the Custom column Titles. The table shows the format for entering data. Enter a line of data in this format for every clip. Be sure to start the data section for each clip with the word Data [Enter] (Windows) or Data [Return] (Macintosh). DATA Titles: The word Data marks the start of the data for each clip.
Avid Log Specifications [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. Syncs with the Start timecode. [Tab] Under Camera Title. Identify the camera, using letters or numbers. For multicamera shoots. [Tab] Under Camroll Title. Identify the camera roll, using letters and numbers.
Avid Log Specifications (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. Identify the date the footage was shot, use numbers or letters and numbers. [Tab] Under Sound TC Title.
Avid Log Specifications 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.
Creating an Avid Log Creating an Avid Log You can use any word processing application or text editor to create Avid logs. However, you must save the file as a text document (ASCII format). When log manually, you should do the following: • Identify the source tape for each shot. • Document each clip’s name, start timecode, and end timecode. • For NTSC transfer tapes for film projects, you must supply pulldown information in the Pullin column of the bin before you capture.
Double-Checking Log Files Double-Checking Log Files When you import shot logs for video, your Avid editing application compares the video duration to the video out minus the video in. When you import film shot logs, the system compares the key number out minus the key number in. If the system detects a discrepancy, it reports the error to the Console and does not bring the clip into the bin.
Logging Directly into a Bin Naming Tapes When you enter tape names in the Capture tool, consider the following: n • Tape names must be alphanumeric characters (A to Z, 0 to 9). They can include uppercase and lowercase characters. The maximum length of a name is 32 characters. • It is possible to have a single tape listed as several different tapes if you alter the case of the letters. For example, if you type a single name as TAPE, Tape, and tape on three different occasions, all three names appear.
Logging Directly into a Bin To log clips directly into a bin from an Avid-controlled deck: 1. Make sure the deck is properly connected and turned on. 2. Open the bin where you want to store the clips. 3. Select Tools > Capture. The Capture tool opens. The Client monitor displays your video.
Logging Directly into a Bin 5. Click the Deck Selection menu, and select a deck. For more information, see “Selecting a Deck in the Capture Tool” on page 203. 6. Insert your tape into the deck. The Select Tape dialog box opens. Select “Show other project’s tapes” to display the tape names and associated project names for all bins. Select Tape dialog box. Top: New tape name button. Center: list of tapes. Bottom: Show other projects option.
Logging Directly into a Bin 8. Use one of the following methods to set either an IN point or an OUT point for the clip you want to log: t To keep the deck running while you log: Start the deck. At the point where you want to start the clip, click the Mark IN button or press the F4 key. The deck continues to play. If you want to pause the deck while you enter a clip name and comments, see “Pausing the Deck While Logging” on page 159.
Logging Directly into a Bin 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.
Logging Directly into a Bin 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 7 Deck controls 14 Mark IN and OUT buttons 7. Click the Capture/Log Mode button until the LOG icon appears. 8. Click the Source Tape Display button. A dialog box opens. 9. Click Yes to open the Select Tape dialog box. 10. Double-click the name of the tape in the dialog box, or click New and enter the name of the tape. 11. Click OK. 12. Use the Channel Selection buttons to select the tracks you want to log. 13. Type the start timecode in the Mark IN text box. 14.
Understanding the Pulldown Phase 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 167.
Setting the Pulldown Phase Setting the Pulldown Phase To set the pulldown phase: 1. Determine the correct pulldown phase for 00:00:00:00 in one of the following ways: t If you 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 168. 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.
Film-Related Log Information 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 352. 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 165 (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.
Film-Related Log Information 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 299. 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 170.
Film-Related Log Information 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 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). For key-number formats other than Keykode, you might need to type the space, hyphen (-), and plus sign (+) or ampersand (&) to format the number correctly. Modifying tape names and timecodes affect any key numbers you enter for the selected clips.
Film-Related Log Information Entering Ink Numbers To enter ink numbers: 1. In the Project window, click the Settings tab. 2. Double-click Film and 24p. The Film and 24p Settings dialog box opens. 3. Make sure the correct options are selected for ink number format and ink number display, and click OK. You can log different ink number formats in the same project as long as you change the ink number setting to the appropriate format before you log each type.
Film-Related Log Information 6. Click Options. The Export Settings dialog box opens. 7. Click the Export As menu, and select one of the following: t Select Avid Log Exchange to export the selected bin as a shot log file that complies with ALE specifications. t Select Tab Delimited to export the selected bin as a tab-delimited ASCII text file. ALE and tab-delimited files include information for master clips and subclips only.
6 Preparing for Capture The chapter provides information on preparing your Avid editing application and your capture hardware before you capture media.
Importing Shot Log Files For film projects, most telecine and other film-to-tape transfer systems generate an .ale log that you can import directly to the bin. n You can also import an EDL to a bin for use in capturing. For more information, see the Avid EDL Manager Help. For information about logging into a bin, see “Logging Directly into a Bin” on page 154. For information about logging and capturing at the same time, see “Capturing and Logging at the Same Time” on page 240.
Importing Shot Log Files Look in menu (top) and Files of type menu (bottom) in the Select files to import dialog box on Windows.
Importing Shot Log Files Enable menu (top) and From menu (bottom) in the Select files to import dialog box on Macintosh. 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 1481.
Preparing the Hardware for Capture When your Avid editing application finishes importing the file, the clips appear in the selected bin. Preparing the Hardware for Capture Your source material can originate from a videotape (or other recording media such as P2 memory cards), a digital audiotape (DAT), a compact disc (CD), an in-house router, a tuner, or straight off-the-air, with the proper hardware configuration.
Preparing the Hardware for Capture Item Description (Continued) Striped drives If you are capturing media at high resolution, you must use striped drives. See “Storage Options and Drive Striping” in the Help and “Getting Information About Striped Drives” on page 180. Getting Information About Striped Drives Avid maintains information about striping drives that is available through Avid online support. To get information about striped drives: 1. Go to www.avid.com/onlinesupport. 2.
Preparing the Hardware for Capture To check the sync source, do one or both of the following: 1. Check the lights on the front of the Avid Nitris. If the Avid Nitris is locked to a valid sync signal, the Lock light and either the HD REF or SD REF light are constantly on. For more information, see “Avid Nitris Front Panel” in the Help. 2. Check the Video Lock icon or the Ref Lock icon in the Capture tool. For more information, see “Setting the Video and Audio Input in the Capture Tool” on page 207.
Preparing the Hardware for Capture Digital Audio Input Digital audio inputs (ADAT, AES/EBU, S/PDIF, and SDI Embedded Audio) provide their own timing reference. If sample rate conversion is not available on your system, or you have disallowed it by selecting “Never” in the Input tab of the Audio Project settings, no other connections are required to achieve sync, so long as the source deck is genlocked.
Selecting Settings for Capture Selecting Settings for Capture Capture settings include options for capturing, batch capturing, auto capturing, capturing to multiple media files, DV or HDV scene extraction, and setting key commands. Several settings directly affect the capturing process. This section includes information on Media Creation settings. For reference information about all settings in the Capture Settings dialog box, see “Capture Settings” on page 1425.
Selecting Settings for Capture n Symphony Option performs substantially better with Avid Nitris input/output hardware when it uses MXF 1:1 video instead of OMF 1:1. The video format used in MXF 1:1 video files is the same as the native format used by the Nitris hardware, which allows the system to play more streams of video and render effects faster. 3. Click the Capture tab. 4. Click the Video Resolution menu, and select a video resolution.
Selecting Settings for Capture 6. (Option) You can select drives and create a drive group. Click the Target Drive menu, and select Change Group. For more information on selecting a drive group, see “Selecting the Target Drives” on page 211. n Because no audio is associated with titles or motion effects, you can select only a video drive in the Titles or the Motion Effects tab of the Media Creation dialog box. 7.
Selecting Settings for Capture 3. Open a text file by doing one of the following: n t (Windows) Click the Start menu, and then select All Programs > Accessories > Notepad. t (Macintosh) Click Go > Applications, and double-click TextEdit. This file must be a plain text file. On a Windows system, use Notepad. Do not use Wordpad. On a Macintosh system, select TextEdit > Preference > Plain Text. Other files might introduce characters that your Avid editing application cannot recognize. 4.
Selecting Settings for Capture 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. Navigate to Program Files > Avid > Avid editing application. d.
Selecting Settings for Capture To set drive filtering in the Media Creation dialog box: 1. Do one of the following: t Double-click Media Creation in the Settings list. t Select Tools > Media Creation. The Media Creation dialog box opens. 2. (Option) Click the Drive Filtering & Indexing tab. n Options for indexing local drives apply only in an Avid Interplay™ environment. For more information, see the Avid Interplay Software Installation Guide. 3.
Selecting Settings for Capture For more information about options, see “Media Creation Settings” on page 1491. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh). Selecting Settings for Preroll Method and for Capturing Across Timecode Breaks If the tape you are capturing contains breaks in the timecode, you can use two settings in the General tab of the Capture Settings dialog box to capture across the timecode breaks.
Selecting Settings for Capture Preroll Method Description Best Available Your Avid editing application uses the control track to determine the preroll Control Track point. If there is not enough control track for preroll, your Avid editing application adjusts the specified preroll time to accommodate the amount of valid control track available. If the adjusted preroll time is too short to sync lock at the IN point, your Avid editing application does not capture the shot and displays an error message.
Selecting Settings for Capture Capturing to multiple media files has the following advantages: c • You can create longer clips whose media files would otherwise exceed the file size limitation of 2 GB. • You can group all drives with the multiple file options. This enables your Avid editing application to capture long clips continuously, for example, satellite feeds. • Your Avid editing application makes more efficient use of drive space, particularly when capturing long clips.
Selecting Settings for Capture Setting Description Project Type The top portion of the dialog box displays the project type (NTSC or PAL) and other useful information such as the type of film used as source media. NTSC Has Setup This option applies to standard NTSC format and is selected by default. If the source footage is in the NTSC-EIAJ format standard (used primarily in Japan), deselect NTSC Has Setup.
Selecting Settings for Capture 193
Selecting Settings 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 165.
Configuring Decks 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 OHCI OHCI refers to a FireWire connection on the computer (Host 1394). COM1 Use if you selected Direct or VLAN VLX for the channel. 6. Click OK to close the Channel dialog box. A dialog box asks if you want to automatically configure the channel now. 7.
Configuring Decks 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. n When a deck is already connected to the system, you can click the Auto-configure button to bypass the Deck Settings dialog box and automatically configure a deck with the default settings. 10.
Understanding Timecode 12. Repeat the channel and deck setup process for each additional channel or deck you want to configure. 13. (Option) If you want your Avid editing application to check the deck configuration against the decks physically connected to the system, select “Verify configuration against actual decks.” Your Avid editing application checks the deck configuration after you click the Apply button in the Deck Configuration dialog box and when you start a work session.
Connecting a DV Device NTSC video, however, might use either of the following two formats: • Drop-frame timecode matches the NTSC scan rate of 29.97 frames per second (fps) by dropping two frames of timecode every minute except for the tenth minute. This does not drop any of the video frames themselves. Drop-frame timecode is indicated by semicolons between the digits, for example, 01;00;00;00.
Setting Up the Capture Tool You can connect a DV device to a 1394 port on your computer (Host 1394) For HDV media, playback directly to an HDV device is not supported. You need to export a transport stream. For more information, see “Outputting HDV” on page 1598. Setting Up the Capture Tool The Capture tool provides controls for cueing, marking, and logging footage, and specifies capturing parameters such as source and target locations.
Setting Up the Capture Tool 1 2 3 9 4 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 drive(s) 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 208.
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. 3. Set the Capture tool to either Log or Capture mode by clicking the Capture/Log Mode button until the correct mode displays.
Setting Up the Capture Tool 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. For more information on V-LAN equipment, contact your Avid sales representative. Activating Playback from an Available Deck To activate playback from an available deck: t Click the Deck Selection menu, and select the deck.
Setting Up the Capture Tool 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 199. 3. Provide the system with a tape name in one of the following ways: t Select the name of the tape from the list in the Select Tape dialog box and click OK.
Setting Up the Capture Tool Channel Selection buttons in the Capture tool If you do not see source video or hear source audio in Capture mode, click the Channel Selection buttons to ensure they are not the cause. n When you use an Avid-controlled deck, the TC (timecode) track is selected by default, and the system captures the timecode from the source tape. If you deselect the TC button, the system captures with time-of-day timecode.
Setting Up the Capture Tool Audio Channel Grouping buttons in the Capture tool When you capture stereo audio, you can view the multichannel audio format in the bin in the Track Formats column. Setting the Video and Audio Input in the Capture Tool The Video and Audio menus show you the current input settings for the Video Input tool and the Input tab in the Audio Project Settings dialog box. The menus also provide a convenient way to change the settings if necessary.
Setting Up the Capture Tool Detecting a Valid or Locked Sync Signal On systems using Avid input/output hardware, the Capture tool uses an icon to indicate if the sync source you are using is valid and locked. The icon appears in the message bar of the Capture tool. n • Video Lock icon: When you select a video track in the Capture tool, the Video Lock icon is displayed. If the current source has a valid video signal and your Avid input/output hardware can lock to it, the icon is displayed in green.
Setting Up the Capture Tool Pulldown button in the Capture tool When the pulldown switch is on a label explains that you can capture audio sampled at 0.99 percent of its recorded speed (referenced to NTSC video), to match the slowdown rate at which the footage was transferred. Film Project Pulldown and Transfer Settings The following table explains how you should set the pulldown switch and transfer settings, depending on your input media.
Setting Up the Capture Tool Pulldown Switch Setting Source Playback Speed Film to Video Transfer Settings (Set in Film Settings Dialog Box) Audio and picture both 25 fps (100%+) Picture Transfer Rate: Not applicable Audio Transfer Rate: Video Rate PAL MOS film-to-tape transfer with 24p PAL Off (1.00) separate audio. Digital audio (DAT) or (Method 2) analog audio (Nagra) to sync with video in the Avid system.
Setting Up the Capture Tool In an Avid Interplay environment, the Capture tool includes an option to capture to a local bin or a remote folder. To select a target bin: 1. (Option — systems in an Avid Interplay environment only) Do one of the following: t If you are capturing to a local bin, select Local Bins. t If you are capturing to a remote project folder in an Avid Interplay environment, select Interplay Folders.
Setting Up the Capture Tool If you are capturing high-quality resolutions, you need to select striped drives. For more information, see “Getting Information About Striped Drives” on page 180 and “Storage Options and Drive Striping” in the Help. You can filter some drives out of the available drive list. For more information, see “Setting Drive Filtering” on page 187. You can set target drives in the Media Creation dialog box. See “Selecting Video Resolutions and Media Drives” on page 183.
Setting Up the Capture Tool To create and target a drive group: 1. Click the Target Drive menu, and select Change Group. The Drive Group dialog box opens. 2. Ctrl+click (Windows) or Command+click (Macintosh) to select multiple drives to include in the capturing session, or click the All button to select all drives. 3. Click OK. Your Avid editing application creates the drive group, and it appears in the Target Drive menu.
Preparing to Capture Audio Preparing to Capture Audio Your Avid editing application provides you with a wide range of options for audio input: capturing audio with video from tape, capturing audio from a digital or analog deck, capturing through a microphone, or capturing through an external audio device such as an Mbox device, and in various formats and at various sample rates. The topics in this section describe preparations you might need to take before capturing audio.
Preparing to Capture Audio Selecting the Audio Sample Rate and Controlling Audio Sample Rate Conversion Selecting the audio sample rate in the Audio Project settings dialog box sets the audio sample rate for capturing audio and for sequences that you create in the project. You can change the sample rate for individual sequences and audio clips.
Preparing to Capture Audio Option Description When needed When this option is set, your Avid editing application automatically converts incoming audio sample rates to match the project sample rate. 5. Close the Audio Project Settings dialog box. Selecting the Audio File Format You create audio files when you: • Record audio tracks in Capture mode. • Create tone media by using the Audio tool. • Mix down audio tracks by using the Audio Mixdown tool. • Import files by using the Import dialog box.
Preparing to Capture Audio 2. Double-click Audio Project. The Audio Project Settings dialog box opens. 3. Click the Main tab. 4. Click the Audio File Format menu, and select WAVE (OMF), AIFF-C (OMF), or PCM (MXF). The default file format is AIFF-C (OMF). For more information on audio file formats, see “Audio Projects Settings: Main Tab” on page 1417. 5. Close the Audio Project Settings dialog box.
Preparing to Capture Audio ensure full compatibility between your Avid editing application and your audio hardware. In these cases, you can use the Sound Card Configuration dialog box to map audio input sources to specific audio output sources. If your system has a surround sound audio chip installed, your Avid editing application might not be able to configure the Windows Mixer properly for audio output.
Preparing to Capture Audio To override the mute feature for surround sound: 1. In the Settings list, double-click Sound Card Configuration. The Sound Card Configuration dialog box opens. 2. Click the Override Mute menu. The menu contains a list of the output sources available in Windows Master Volume control. 3. Click one or more of the output sources to override the Sound Card Configuration settings and to accept the default settings of the Master Volume control.
Preparing to Capture Audio Component Description Volume unit (VU) scale (analog) to the right of the meters Displays a range of values that you can conform to the headroom parameters of your source audio. Meters Dynamically track audio levels for each channel as follows: • Meters show green below the target reference level (default reference level is –20 dB on the digital scale). • Meters show yellow for the normal headroom range, above the reference level to approximately –3 dB.
Preparing to Capture Audio Adjusting Audio Input Levels You can use the Audio tool and the Audio Project Settings dialog box to check the audio input levels. If the input levels are too high or too low, you need to adjust the output level of your source signal, if possible. n On software-only systems, you can adjust audio input through a slider in the Input tab of the Audio Project settings. For more information, see “Audio Project Settings: Input Tab” on page 1419.
Preparing to Capture Audio 7. Click OK. After a few seconds, your Avid editing application creates the media file and a master clip appears in the target bin. The default name reflects the options you selected. You can rename the clip by typing a new name. 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.
Preparing to Capture Audio 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. 3. Select the audio channel to be adjusted by doing one of the following: t Click the Channel Selection button for the appropriate audio channel. t In Direct Out mode, click the Channel Menu button, and select a channel from the menu. You can select only channels that exist in the source audio. 4. Adjust the volume as needed.
Preparing to Capture Audio Calibrating Audio Hardware for Avid Nitris DX and Avid Mojo DX By default, your Avid editing application is calibrated for analog 0 Volume Unit (VU) to be digital –20 dBFS, which matches the default calibration of the Avid Nitris DX and Avid Mojo DX hardware. You can do two things to calibrate audio — make the audio adjustment to correspond to your hardware calibration setting by using the default, or refine the calibration to get to within 1/4 dB.
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.
Preparing to Capture Audio 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.
Preparing to Capture Video 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.
Preparing to Capture Video For information about settings in the Video Input tool, see “Video Input Tool Settings” on page 1511. 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.
Preparing to Capture Video 2. Select Tools > Video Input Tool. The Video Input tool opens. 3. Click the Input menu, and select the appropriate video input channel. Your options for video input depend on the model of your Avid editing application and the project you select. 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).
Preparing to Capture Video 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).
Preparing to Capture Video 11. Adjust the Sat and Hue sliders (composite or S-Video) or the RY Gain and BY Gain sliders (component) until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. There is no hue adjustment for PAL video. n c You can also monitor hue with a vectorscope in the Color Correction tool. See “Working with the Waveform Monitors and Vectorscope Monitor” in the Help.
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.
Preparing to Capture Video 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 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.
Capture Preparations Check List Capture Preparations Check List Check your hardware configurations, particularly connections between your deck and the Avid system. See “Preparing the Hardware for Capture” on page 179. 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 180.
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.
Capturing and Logging at the Same Time • DV and HDV Scene Extraction • Using the Panasonic VariCam For information about setting up the capture tools and adjusting capture settings, see “Preparing for Capture” on page 175. 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.
Capturing and Logging at the Same Time Two additional techniques you can use when capturing and logging at the same time are described in “Capturing from a Non-Avid-Controlled Deck” on page 248 and “Capturing with Time-of-Day Timecode” on page 249. You can name clips and add comments before or during the capture of a clip. For more information, see “Naming Clips and Adding Comments in the Capture Tool” on page 241.
Capturing and Logging at the Same Time 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 175. 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.
Capturing and Logging at the Same Time 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.
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 165. 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.
Capturing and Logging at the Same Time 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 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. Do not underestimate, because the system captures for only the specified number of minutes.
Capturing and Logging at the Same Time To autocapture: 1. Create one bin for each tape. This keeps bins to a manageable size and automatically names all clips from each tape after the name of their respective bins. 2. Name each bin after the source tape number. By default, all clips are named after the tape and are numbered incrementally beginning with .01. 3. Open the bin for the first tape and select Bin > Go To Capture Mode. 4.
Capturing and Logging at the Same Time 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. If the tape name you are searching for does not appear in the Select Tape dialog box, click the Scan for tapes button to list tape and project names. 5.
Capturing Directly from a DV Device 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). You can also play and output directly to the DV device. To use a DV device, you must connect it your system correctly, as described in “Connecting a DV Device” on page 200.
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.
Capturing Audio from a Music CD 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. The Deck Preferences Settings dialog box opens. 3. Determine the approximate offset, and then enter that offset in the Capture Offset (frames) text box. 4. Click OK. The delay is reflected in the DV Capture Offset box in the Capture tool. 5. Capture your material.
Capturing Audio from a Music CD 1 2 3 6 4 5 1 Toggle Source button set to Satellite mode 4 Selected Bin menu 2 Record button 5 Source Tape Display button 3 Selected audio track 6 Audio menu 5. Click the Toggle Source button until the Satellite Mode icon appears. 6. Select an audio track. 7. Click the Audio menu, and select CD Player. 8. Click the Source Tape Display button. The Select Tape dialog box opens. 9. Click New. 10. Name the tape, and then select the tape. 11. Click OK. 12.
Frame Chase Capture Your Avid editing application captures audio to the selected bin. n You can map the Record button from the Play tab in the Command palette to a key on the keyboard. This lets you start capturing by pressing a key. The Record button works for either the Capture tool or the Audio Punch-In tool, depending on which tool is active. For more information on mapping buttons, see “Understanding Button Mapping” on page 136. 13.
Frame Chase Capture Frame Chase Capture A Frame Chase capture creates media files directly in Avid MediaFiles\MXF\1 and creates a special type of clip known as an in-progress clip. In-progress clips are represented by In-progress master clip and In-progress audio clip icons. In-progress master clip icon (left) and in-progress audio clip icon (right) An initial check-in to Interplay takes place 10 seconds after the capture begins.
Frame Chase Capture To enable and set options for Frame Chase capture: 1. In the Settings tab of the Project window, double-click Capture. The Capture Settings dialog box opens. 2. Click the MXF Media Files tab. 3. Select options as described in the following table, and then click OK.
Batch Capturing from Logged Clips n • Frame Chase capture is not available for JFIF or HDV video resolutions. If you select a JFIF or HDV resolution in the Capture tool, you override the “During capture, clip is updated in Interplay” setting in the Capture Settings dialog box and your Avid editing application performs a conventional capture. • The capture process itself is the same regardless of whether you are performing a conventional or a Frame Chase capture.
Batch Capturing from Logged Clips Preparing to Batch Capture Before you batch capture, you need to establish settings that allow the batch capture to take place with minimal supervision. Because your clips are already logged in a bin, you can simplify the interface during batch capture by hiding the deck controller and logging controls in the Capture tool. You can hide any other panels in the Capture tool in a similar way.
Batch Capturing from Logged Clips t n 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. Therefore, you might want to deselect the sequence during this procedure. See “Recapturing and Decomposing” on page 261. 4. Select Clip > Batch Capture. The Batch Capture dialog box opens.
Batch Capturing from Logged Clips When you batch capture, deselecting this option prevents capturing across a discontinuous timecode error. 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.
Recapturing and Decomposing Recapturing and Decomposing Recapturing is the process of recording previously captured source footage based on existing clips and sequences. Recapturing uses the batch-capturing process and does not require extra logging time because the clip information for items, such as source tracks, timecodes, and compression settings, already exists in the bin. Decomposing creates new, shorter master clips based only on the material you have edited into a sequence, which saves disk space.
Recapturing and Decomposing 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. When you recapture a master clip, changes in compression settings and levels affect all subclips and sequences created from the master clip. • Subclips are smaller sections of master clips.
Recapturing and Decomposing Understanding Decompose and Expert Decompose Decompose creates new master clips in the bin based on the lengths of the clips edited into a sequence. You can then recapture media for the new master clips. Decompose breaks any links to the original source clips, and only the sequence and its new master clips are linked to the newly captured media files.
Recapturing and Decomposing want to up-rez the entire sequence for the online phase of your workflow, you might not need to recapture the high-resolution material, so you can decompose only the low-resolution parts of the sequence. Expert Decompose is particularly useful when you need to recapture some or all of a mixed-rate sequence because you have complete control over what to decompose and which target formats to create.
Recapturing and Decomposing Decomposing Sequences You can decompose sequences to create new master clips that you can then recapture. For more information on this process, see “Understanding Decompose and Expert Decompose” on page 263. To decompose one or more sequences: 1. Activate the appropriate bin and select the sequence or sequences. 2. Select Clip > Decompose. The Decompose dialog box opens. 3. To preserve clips that already have existing media files, select “Offline media only.
Recapturing and Decomposing c If you attempt to trim or add effects with no handles, you receive an error message notifying you that there is insufficient media. 6. (Option) Select “Extend handles beyond master clip edges” to allow the handles to extend before the beginning and after the end of the original master clip. When you batch capture, deselecting this option prevents capturing across a discontinuous timecode error.
Recapturing and Decomposing n Your Avid editing application selects a resolution for each new clip that is appropriate for the target format you select in the Expert Decompose dialog box. If the target format matches the current project type, your Avid editing application uses the capture resolution set in the Media Creation settings. Otherwise, your Avid editing application uses the resolution of the original clip or the default resolution for the project.
Recapturing and Decomposing For more information, see “Understanding Decompose and Expert Decompose” on page 263 and “Decomposing Sequences” on page 265. 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.
Recapturing and Decomposing 3. Right-click on any selected item, and then select one of the following: Command Description Include in Decompose Selects the check box in the Decompose column for each of the selected items. Exclude from Decompose Deselects the check box in the Decompose column for each of the selected items. To deselect all selected tapes/sources or clips: t Click below the last item in any of the information columns.
Alternate Source Capture The Batch Capture dialog box opens. 6. To preserve clips that already have existing media files, select “Offline media only.” Deselect this option if you plan to recapture the entire sequence. 7. (Option) Select “All clips in a group edit.” 8. Click the Handle Length text box and type the number of additional frames you want to capture at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects.
Alternate Source Capture selects to HDCAM for the offline workflow, when mastering, it is best to go back to the original master tape and color correct from the HD RGB sources.
Using Capture Function Keys 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. n To set the Timecode Column and Source Column menu selections back to the defaults (Start and Tape), click Reset. 8. Click OK.
Using Capture Function Keys Press To F3, Add a marker to the current frame while capturing. Each Function key adds a different F5 through color marker. See “Adding Markers On-the-Fly While Capturing” on page 276. F12 F4 In Capture mode, start the capture process. During capture, end a comment for a marker. In Log mode, press once to mark an IN point. Press again to mark an OUT point to log the clip in the bin. To change function key commands for capturing media: 1.
Handling Errors During the Capture Process 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 141. To enable or disable logging to the Console window during capture: 1. Double-click Capture in the Settings tab in the Project window. The Capture Settings dialog box opens. 2.
Creating Subclips While Capturing 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. Your Avid editing application creates IN and OUT points at predetermined intervals before and after the point you identify in the source media by pressing the button. For information on mapping capture functions to function keys, see “Using Capture Function Keys” on page 272.
Adding Markers On-the-Fly While Capturing To set the duration of a timed subclip: 1. Double-click Capture in the Settings tab in the Project window. The Capture Settings dialog box opens. 2. Click the Keys tab. 3. Enter the time in minutes and seconds to be used by the timed subclip in the Before mark (M:SS) and the After mark (M:SS) text boxes. 4. Click OK. To create a timed subclip: 1. Start capturing. 2. At the point where you want to start a timed subclip, press the mapped function key.
Naming a New Tape from the Keyboard While Capturing A default name and number for the marker appear in the Name text box in the Capture tool. 3. While you capture, you can add comments for the marker. Press the Tab key to move the cursor to the Comments text box, and type your comment. 4. When you finish adding your comment for the marker, press the F4 key (End Marker Entry). The Name and Cmnt (Comment) text boxes revert to association with the master clip or the subclip being captured.
Adding Extra Text Fields in the Capture Tool 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. K+L Shuttle the deck at 0.25x normal speed. J+K Shuttle the deck at –0.25x normal speed. The following restrictions apply: • You must select the Capture tool, Digital Cut tool, or Deck Controller window for the keys to be active. • Single-field stepping is not supported.
Adding Extra Text Fields in the Capture Tool The Field Selection list opens with your new text field selected. If you do not capture and use the new extra text field after creating it, your Avid editing application does not save the new text field in the Field Selection list or bin. 6. Click OK in the Field Selection dialog box. The new text field appears in the Capture tool. Press the Tab key to move between fields while capturing. To display or hide text fields: 1. Select Tools > Capture.
Ejecting Tapes with a Button or Key Ejecting Tapes with a Button or Key If you click the Eject button and eject a tape, you can bring the fact that the tape must be changed to the attention of any tape operator in a remote machine room. To eject tapes by using a button: 1. Select Tools > Command Palette. 2. Click the Play tab. 3. Select Active palette. 4. Click the Eject button. You can map the Eject button to any button on the Tool palette or any key on the Keyboard palette.
Using Dolby E Media c If you are working in a film project, you cannot use pulldown settings when you capture your media if you want to use Dolby E material. Avid does not support capturing Dolby E media with audio pulldown because pulldown interferes with the preservation of Dolby E information. Selecting Dolby E Safe Settings You can automatically set your Avid editing system to protect Dolby E information during capture.
Using Dolby E Media 2. Click the Main tab. 3. Click Keep Dolby E Material Safe, and select Yes. If you modify your sequence to change any of these settings, the Keep Dolby E Safe setting automatically changes to No. You can reset the settings by selecting Yes. Capturing Media with Dolby E Information The Capture tool includes a Dolby E Safe button in the Message bar that indicates if your audio settings protect the capture of Dolby E material.
Delaying Audio During Capture To capture media while protecting Dolby E information: 1. In the Main tab of the Audio Project Settings dialog box, Click Keep Dolby E Material Safe, and select Yes. 2. Select Tools > Capture. The Capture tool opens. 3. Check to make sure the Dolby E Safe button displays blue. If the Dolby E Safe button displays yellow, reset the Dolby E Safe settings in the Audio Project Settings dialog box (see “Selecting Dolby E Safe Settings” on page 281). 4.
Working in Quick Record Mode n To use Quick Record mode, you must connect a deck that supports servo-lock signals to the system by using a deck control serial cable and a serial adapter. For information about the cable connection, see the setup information that came with your system. If the appropriate conditions for Quick Record are not present, the messages in the following table might appear. The second column recommends what you can do to be ready for the Quick Record mode.
Capturing in Satellite Mode or No Device Control During Quick Record mode, the timecode display for the deck shows the timecode followed by “* LOCAL”; for example: 00;01;05;14 * LOCAL. Capturing in Satellite Mode or No Device Control LTC (longitudinal or linear timecode) from an external source lets you capture from multiple sources at the same time as recording to tape. This is called satellite Mode.
Capturing in Satellite Mode or No Device Control Toggle Source button (top), Timecode Source menu and Source Tape Display button (bottom) in the Capture tool 2. Select the audio, video and data tracks. 3. Select the audio and video input. 4. Click the Timecode Source menu, and select one of the following (the devices that appear in the Timecode Source menu originate from the current Deck Configuration settings): Option Description Internal Uses internal system timecode. LTC Input Detects LTC input.
Capturing in Satellite Mode or No Device Control Option Description Firewire Timecode Detects timecode over a FireWire connection. FireWire Timecode is only listed if you have a FireWire deck configured in the Deck Configuration dialog box. See “Configuring Decks” on page 195. RS422 Timecode Detects timecode over a serial connection. RS422 Timecode is only listed if you have an RS422 deck configured in the Deck Configuration dialog box. See “Configuring Decks” on page 195. 5.
Scheduling a Capture Session Stop the process at any time by clicking Cancel. For guidelines on naming tapes, see “Naming Tapes” on page 155. 8. Click OK. The tape name is displayed in the Capture tool. 9. Play the tape manually from the deck or media source, and click the Record button to start and stop capturing of each clip. For more information, see “Capturing On-the-Fly” on page 244. 10.
Capturing to the Timeline 5. (Option) You can save a schedule as a tab-delimited text file and load it at a later date. Click Save to save your schedule list as a tab-delimited text file. 6. Select the Scheduled Record Mode option. 7. Select how to capture the satellite feed: t Select Once to capture the satellite feed one time. Any clips with a start time earlier than the current time-of-day timecode appear yellow. t Select Loop to repeat the schedule every day. 8. Click OK.
Capturing to the Timeline n You can also patch tracks in the Timeline in the same way you patch tracks when editing from the Source monitor. See “Patching Tracks” on page 713. Only tracks that are enabled in the Timeline are available for patching. Other tracks appear dimmed in the menu. To capture to the Timeline: 1. Prepare for capturing. See “Preparing for Capture” on page 175. 2. Set options in the Capture Settings dialog box: a. Click the Settings tab in the Project window. b.
Capturing Video Without Pulldown into a 24p NTSC Project 5. Mark an IN point in the sequence or move the position indicator to where you want the edit to take place. 6. Mark the source material you want to capture by using the Capture tool logging controls. For more information, see “Logging with Avid-Controlled Decks” on page 155. 7. (Option) Mark an OUT point based on the following: t If you are recording to the middle of a sequence in the Timeline, mark both IN and OUT points for frame accuracy.
Remote Play, Capture, and Punch-In n For normal 24-frame capture, click the Film to Video Transfer menu in the Film and 24p Settings dialog box, and select Pulldown. Remote Play, Capture, and Punch-In You can use an external edit controller with an Avid editing system for the following functions: Function Description Remote Capture Controls the capturing of media into an Avid editing system while using an edit controller. Remote Capture lets you record and stop.
Remote Play, Capture, and Punch-In Selecting Remote Play and Capture Settings To open the Remote Play and Capture Settings dialog box: 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. Click the Mode menu, and select Remote Play, Remote Capture, or Remote Punch-In. For information about each option, see “Remote Play and Capture Settings” on page 1498.
Remote Play, Capture, and Punch-In 7. Specify the time (measured in frames) it takes the deck to start playing from a cued position in the Runup area. 8. Select Special > Remote Play and Capture when you are ready to capture. A check mark appears next to the command to indicate that the system is ready. A yellow outline appears around the Play button in the Source/Record monitor to indicate that Remote Play and Capture is active. 9. Select Tools > Capture. The Capture tool opens. 10.
Remote Play, Capture, and Punch-In Setting up Your System for Remote Punch-In Before you enable your Serial Remote, you must set the following options on your edit controller: • 049 — Send Record In and Out to Machine set to 1=Yes • 065 — Locate Type set to 0=Locate • 077 — Extended Status Request set to 1=Off In addition, all devices controlled by the controller must be genlocked, and your Avid editing system must be configured as the Master device.
Relinking Clips by Key Number 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. If you set the IN point at the first frame of the sequence, you must add filler to the start of the sequence equal to the amount of preroll.
Relinking Clips by Key Number Alternatively, if you are finishing a sequence in an online suite and need only an EDL, you do not need to batch capture the footage. Just import the new shot log, relink to the offline items, and then create the EDL. Relinking by key number eliminates the need for the telecine transfer facility to match the timecode and pulldown of the second transfer to the timecode of the first transfer. n c For more information about relinking, see “Relinking Media Files” on page 498.
Relinking Clips by Key Number 9. Select Relink > Key Number [KN Start] - video 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 If you duplicated the offline sequence, the offline sequence is still linked to the original clips. If you did not duplicate the sequence, you relink it to the original clips. 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.
Modifying the Pulldown Phase After Capturing t If you do not need to maintain the start timecode: a. Step through the clip frame by frame (using the Step buttons or another method). Look for two frames that are identical (no movement). b. Think of these frames as frames B and X of a four-frame series.
DV and HDV Scene Extraction Your Avid editing application deletes the original media file. 5. Make sure the clip is still selected. Press Ctrl+Shift and choose Unlink from the Clip menu. 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.
DV and HDV Scene Extraction 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 Markers Creates marker marks where the TOD information breaks occur while capturing.
Using the Panasonic VariCam Option Description Both Creates subclips and marker 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. In the bin, your Avid editing application creates subclips with the same source clip name and the file name extension .sub.
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.
Preparing to Import 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 1519. • Determine the source for the files. Consider copying all files to a single folder before you import. See “Importing Media Files” on page 308.
Creating and Modifying Import Settings Custom setting name column in the Settings list of the Project window 3. Select the duplicated entry, click the Custom setting name column, type a name, and press Enter (Windows) or Return (Macintosh). 4. Double-click the new Import setting. The Import Settings dialog box opens.
Creating and Modifying Import Settings 5. Select the appropriate options. For more information about Import settings, see “Import Settings” on page 1481. 6. 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 1481. 4. Click OK.
Importing Media Files Importing Media Files You can access files for import from any folder, disk, or drive source mounted on the desktop, such as a CD or DVD, fixed drive, removable drive, or network server. You can import more than one file or types of file at a time. When importing files from third-party applications, you may need to install specific codecs to convert these files into an Avid format. Consider copying all graphics files to a single folder before you import the files.
Importing Media Files 7. Click OK and close the dialog box. 8. Open the bin in which you want to store the imported files. 9. From the main menu, select File > Import. The Select Files to Import dialog box opens.
Importing Media Files 1 2 7 3 4 8 5 6 Select Files to Import dialog box (Macintosh) 1 Enable menu 5 Single/Dual Drive button 2 From menu 6 Video and Audio Drive menus 3 Options button 7 Source file list 4 Resolution menu 8 Disk Label (for XDCAM only) (Does not appear on software only or Symphony Option systems) 10.
Importing Media Files Option Description (Continued) 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 144. Graphic Use to import one of the supported graphics file types. For more information on the file types and their import specifications, see “Specifications for Graphics (Image) Files” on page 1519. Audio Use to import one of the supported audio file types.
Importing with Multichannel Audio 12. Use the Look In menu (Windows) or the From menu (Macintosh) to locate the folder containing the source files. 13. For graphics and video files, click the Video Resolution menu (Windows) or the Resolution menu (Macintosh), and select a resolution for the imported media. The resolution matches the resolution selected on the Import tab of the Media Creation Settings dialog box.
Importing with Multichannel Audio creating custom Import settings, see “Creating and Modifying Import Settings” on page 305. Multichannel audio settings do not apply to the following formats when you import media or files: • AAF • OMFI • Shot log files • Tab-delimited files 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.
Importing Audio Files from a Music CD 3. Click the format buttons to select one of the following audio track formats for each pair of source channels: Button Track Format Mono Stereo 5.1 Surround Sound 7.1 Surround Sound 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.
Adjusting Gain Before Importing Audio Files Adjusting Gain Before Importing Audio Files When you import audio files, you can set the gain on a clip without opening the Audio Mix tool. This is especially useful when you import audio from a CD or an MP3 device and you would like to lower the decibel level for all files that you import. To adjust the gain before import: 1. In the Project window, click the Settings tab. 2. Double-click Import. 3.
Sample Rate Conversion and Audio Import Sample Rate Conversion and Audio Import When you import audio to your project, you have the option of converting the sample rate of the source audio files to the project sample rate. You select this option on the Audio tab of the Import settings dialog box (see “Import Settings: Audio Tab” on page 1485).
Setting Sample Rate Conversion Options Before Importing Audio Files Setting Sample Rate Conversion Options Before Importing Audio Files When you import audio files, you can choose to convert the sample rate of the source audio files to the project sample rate or to import the files at the source sample rate. For more information about converting sample rates when importing audio files, see “Sample Rate Conversion and Audio Import” on page 316. To set sample rate conversion options: 1.
Photoshop Graphics Import Photoshop Graphics Import You can import both single-layer and multilayered graphics created in Adobe® Photoshop®. If you import multilayered graphics, you can preserve the original layers, and then edit them individually in your Avid editing application. n Your Avid editing application supports graphics created in the following modes: RGB 8-bits/channel, RGB 16-bits/channel, and grayscale, including alpha channels.
Photoshop Graphics Import You can also preserve layer effects and the original structure of the file by importing the file in two stages: 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.
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 as necessary to build up to the full collage.
Photoshop Graphics Import For information on support for layer options and types, see the following tables. 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 320. 2. Follow the standard instructions for importing a graphic, as described in “Importing Media Files” on page 308. 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.
Digital Bars and Tone 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.
Importing Editcam 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 The Outakes.bin contains clips that were discarded by the Editcam operator. These clips are generally not imported. 5. Ignore the field specifying video resolution to import. 6. Ignore the field regarding video and audio drive selection. 7. Proceed with the import operation. A dialog box opens, asking you to identify the drives that contain the media files. 8. Select the FieldPak drive letters (Windows) or volume names (Macintosh) as appropriate.
Importing XDCAM Media 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 1486. 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 There are several ways to access XDCAM media: • Automatically import all proxy media when you load a disc in your XDCAM device. See “Automatically Importing Proxy Media from an XDCAM Device” on page 330. • Manually import all proxy media on all discs currently loaded on your system. See “Importing Proxy Media from an XDCAM Disk” on page 332.
Importing XDCAM EX Media First you need to export the clip from the XDCAM EX device. There are two export options to choose from, one option is to export “MXF for NLEs.” This option creates an OP1a .mxf file, and then import the file into a bin. The other option is to choose to export “Avid AAF.” This option creates an AAF composition file, and concurrently creates an OPAtom MXF media file. In the Avid AAF export options, choose a valid Avid MediaFiles folder.
Automatically Importing Proxy Media from an XDCAM Device To import an XDCAM EX clip using MXF for NLEs: 1. With an XDCAM EX camera or reader attached to your system, insert an XDCAM EX card. 2. Launch the Sony XDCAM EX Clip Browser. n The XDCAM EX Clip Browser application should have come with your Sony camera or reader. For information about the Sony XDCAM EX Clip Browser, see Sony’s documentation. 3. From within the Clip Browser window, select the clips you want to export. 4.
Automatically Importing Proxy Media from an XDCAM Device 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.
Importing Proxy Media from an XDCAM Disk When the import finishes, the clips appear in the selected bin. Your Avid editing application imports XDCAM media at the native resolution of the media on the XDCAM disc. Your Avid editing application ignores other resolution settings — for example, in the Select Files to Import dialog box. 10. (Option) Repeat this procedure for each XDCAM disc that holds media you want to import.
Copying XDCAM Proxy Media to a Local Drive or a Server 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 Markers in XDCAM Media For more information, see “Importing Media Files” on page 308 and “Using the Drag-and-Drop Method to Import Files” on page 340. 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.
Editing XDCAM Proxy Media 2. Click the XDCAM tab. 3. Select Import Essence Marks as markers. 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 To set the playback options for XDCAM media: 1. Right-click the Video Quality menu button, and select Draft Quality (yellow/green) or Best Performance (yellow/yellow). Some effects, such as IllusionFX and FluidMotion effects, do not playback in real time when you select Draft Quality. For these effects, you must also select the Progressive Source button in the Effect Editor before you render. 2.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk 2. Click the XDCAM tab. 3. Select Batch Import High-resolution Video. 4. Click the Handle Length text box and type the number of additional frames you want to import at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. The default is 30 frames. 5. Click OK. 6.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk The Batch Import dialog box opens. Single/Dual Drives button (left) and Video Drive and Audio Drive menu location (right) in the Batch Import dialog box Your Avid editing application imports XDCAM media using the native resolution of the XDCAM files. 11. Click the Video Drive and Audio Drive menus, and select a destination drive or drives for all the media files. You can separate video and audio onto different drives. 12. Click Import.
Editing and Finishing High-Resolution XDCAM Media 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.
Reimporting 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 t Select Tools > Media Creation. The Media Creation dialog box opens. 3. Click the Media Type tab. 4. Click the File Format menu, and select the format (MXF or OMF). n If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. 5. Open the bin, and select the imported master clips and sequences you want to reimport. 6. Select Clip > Batch Import. A message box opens. 7.
Batch Import Dialog Box c. Navigate to the location of the source file. If you select more than one clip displayed in red, the system first attempts to find the rest of the clips in the same folder as the first clip and then in folders that maintain the same relationship with the first clip’s folder. Found clips are displayed in black. 10. Click the Video Resolution menu, and select a video resolution for all the reimported files. n OMFI and AAF files do not convert DV 25 to DV 50 or DV 50 to DV 25.
Batch Import Dialog Box Batch Import dialog box. Top: Selected Clips area. Center: Import Target area (including, top to bottom, Video Resolution menu , Video Drive menu, and Audio Drive menu). Bottom: Import Options area. Area Control Description Selected Clips list Shows the clips you selected for import. The caption at the top of the section summarizes the total number of clips shown and how many of them are available for import. Found clips display in black.
Batch Import Dialog Box Area Control Description Set File Location button Lets you locate sources for files whose sources are not found automatically (displayed in red in the list). Import Target Lets you select a resolution and destination drives. Video Resolution menu Lets you select a video resolution. Video Drive and Audio Let you select a destination drive for the media files. Drive menu Import Options Contains global settings that affect all the files you are importing.
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.
Object Icons in Bins Icon Object Type Description Master Clips A clip that references audio and video media files formed from captured footage or imported files Stereo Master Clips A single clip generated from a left and right eye pair of master clips that were created when stereoscopic full frame material was captured or imported.
Bin Views Icon Object Type Description (Continued) AMA linked video clip Indicates a file based video clip that links directly into a bin through an AMA plug-in. AMA linked audio clip Indicates a file based audio clip that links directly into a bin through an AMA plug-in. Effects A clip that references an unrendered effect that you create.
Bin Views Text view in the bin. Top to bottom: bin column headings, Bin View button, Bin View menu 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 If you want to sort clips in a customized order in Text view, you must first rearrange the clips in Script view, and then return to Text view. For information about Script view, see “Duplicating, Copying, and Moving Clips and Sequences” on page 359. Sorting Clips and Sequences You can automatically sort clips and sequences in Text view. 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.
Bin Views t Double-click the column heading. t Select Bin > Sort. The objects in the bin sort by color. Colors sort by hue, saturation, and value. 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 bin tabs. The following table describes the default bin views that are available.
Bin Views Bin tabs (top), Fast Menu button (bottom left), and Bin View menu (bottom right) in the bin Saving a Custom Bin View To save a bin view: 1. Open a bin, click the Text View button. 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.
Bin Views 4. Click OK. Using Frame View In Frame view, each clip is represented by a single frame, with the name of the clip displayed below the frame. The system uses the head frame as the default. You can perform the following functions in Frame view: • Enlarge and reduce the sizes of the frames. You must enlarge or reduce all frames together, and you cannot change the sizes of individual frames. • Rearrange the display of the frames in the bin by moving them.
Bin Views To reduce the frame size: t Select Edit > Reduce Frame. The display size decreases each time you select this option, up to seven times. To rearrange a single frame: 1. Click the frame, and drag it to its new position. 2. Click the background area of the bin to deselect the clips. To rearrange multiple frames: 1. Do one of the following: t Shift+click the frames.
Bin Views n Use the Home key or End key to change the represented frame. On Symphony Option systems, use the Home key or End key on the keyboard or jog or shuttle with the mouse to change the represented frame. For more information about playing footage, see “Controlling Playback” on page 537. If you have group or multigroup clips in the bin and want to change the displayed frame, use controls in Source/Record mode. To set Frame View border colors and icons: 1.
Bin Views You can do the following in Script view: • Add text. • Use basic word processing procedures to highlight, delete, cut, copy, and paste text between script boxes. • Rearrange clips. • Select any frame to represent the footage. • Play back the footage within any clip. To enter Script view: t Click the Script View button in the bin. Script view in the bin. Top to bottom: bin tabs, script text box, Script Bin View button To type text in the script box: 1.
Bin Procedures To rearrange clips in Script view: n t Drag each clip up or down to a new location in the bin. t Sort and sift clips in Text view, and then return to Script view to display selected clips in the sort order you want. When you return to Text view, the order of the clips is changed there as well. 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.
Bin Procedures If the bin window contains more bin tabs than the window can display, the bin tab names become truncated and some bin tabs do not display in the window. You can view these bins, or view a list of all bins in the bin window, by using the tab navigation controls or by accessing the Tab menu. To move a bin into another bin: t Click the bin tab in the bin you want to move, and drag it to the target bin. The bin tab in the target bin window displays all bins.
Bin Procedures t n Click in the picture area of the clip or sequence (Frame or Script view). Ctrl+click (Windows) or Cmd+click (Macintosh) toggles the selection between selected and deselected states. Double-clicking a clip loads it into the Source monitor. To select multiple clips or sequences in a bin, do one of the following: n t Ctrl+click (Windows) or Cmd+click (Macintosh) clips to add them to your selection. t Select a clip, and then Shift+click another clip to select a range of items.
Bin Procedures c Deleting media files for the duplicate clip or sequence also deletes the media files for the original clip or sequence. To move clips or sequences from one bin into another: 1. Create or open another bin. Give the bin a name that represents its purpose or contents. 2. Position or resize the original bin and the new bin so that you can see both of them at the same time. 3. Select the clips or sequences that you want to move. 4. Drag the clips or sequences to the new bin.
Bin Procedures 3. Press and hold the Ctrl key (Windows) or the Command or Option key (Macintosh) and drag the clips or sequences to the destination bin, and release the mouse button. The copies appear in the destination bin, and the originals remain in the source bin. The system does not add the file name extension .Copy.n to the clip or sequence as it does when duplicating.
Bin Procedures The Delete dialog box opens which displays the items that you selected. By default, media files are not selected for deletion. Examples of the Delete dialog box with one master clip selected (left) and with multiple clips selected (right) 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.
Bin Procedures 5. Click Delete. The selected clips, sequences, and media file are deleted. 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. 3.
Bin Procedures The bin color changes. The change applies to all bin views. To restore the default bin background color, do the following: t Activate the bin you want to change, and then select Edit > Set Bin Color to Default. 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 also display colors in bins and in the Timeline.
Bin Procedures To reset clip color to the default, do one of the following: t Select Edit > Set Clip Color and click None. t Right-click in the Color column and click None. 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.
Bin Procedures To unlock previously locked items: 1. Select the items in the bin. 2. Select Clip > Unlock Bin Selection. You can use the clip-locking feature along with archiving software to automatically archive all locked media files. 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.
Bin Procedures To identify offline items, do one of the following: t Select Bin > Select Offline Items. t Click the Bin Fast Menu button, and then select Select Offline Items. The bin highlights all items that are missing media files. To identify offline items in the Timeline, see “Displaying Clip Colors in the Timeline” on page 671.
Working with Bin Columns 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. To identify sources for a clip or sequence: 1. Select one or more objects in a bin. 2. Select Bin > Select Sources. All sources for the selected objects in all open bins highlight.
Working with Bin Columns Moving, Aligning, and Deleting Bin Columns You can move, align, and delete columns in a bin. When you align bin columns, the system maintains the same order of columns from left to right but spaces them according to the length of their contents. This is useful to remove spaces which remain after you move or rearrange columns. When you delete a statistical column it is the same as hiding the column; you can restore the column at any time by using the Bin Column Selection option.
Working with Bin Columns Duplicating Bin Columns with Timecode Information You can duplicate existing columns containing timecode information into other compatible columns that you target. When you duplicate a timecode column (Start, TC 24, TC 25, TC 25P, or TC 30), the values for master clips and subclips convert to the appropriate timecode. For more information, see “Displaying Timecodes in a 24p or 25p Project” on page 373. To duplicate a timecode column: 1. Click the column head you want to duplicate.
Working with Bin Columns 5. Type the information, and press Enter (Windows) or Return (Macintosh) to move to the next line. Changing a Custom Bin Column Heading You can change the heading name of custom columns only. You cannot change any of the standard column headings. To change the name of a custom column: 1. Press and hold the Alt key (Windows) or Option key (Macintosh), and click the heading to highlight it. 2. Type the new text for the heading, and press Enter (Windows) or Return (Macintosh).
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.
Working with Bin Columns 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.
Modifying Clip Information 4. Select Edit > Duplicate. The Select dialog box opens. 5. Select the timecode heading from the list. 6. Click OK. 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.
Modifying Clip Information Your Avid editing application provides the ability to track multiple film gauges within a bin and within a sequence. Bin column headings let you display detailed information about edgecodes, film gauges, and source information such as scanned file type, color lookup table, and resource location. If you work in an Interplay environment, the list of bin column headings include audio sample rates and video resolutions.
Modifying Clip Information Bin Column Heading Description Auxiliary TC1 through You can enter an auxiliary timecode, such as Aaton® or Arri, or another TC5 timecode for editing film or audio timecode for film. (Not restricted to film projects.) Modifiable after capture with no restrictions. AuxInk Dur Length of the clip, expressed in the auxiliary ink number. You cannot modify this number. AuxInk Edge Type of edgecode used in the auxiliary ink number.
Modifying Clip Information Bin Column Heading Description DPX Frame-counting field for Digital Picture Exchange, a SMPTE standard describes frames scanned from film. The format includes: a descriptor of up to 32 alphanumeric characters, followed by a hyphen (-), followed by a six-digit frame count, for example, DPXChildDocu-023657. Drive Last known drive where the media for the master clip existed. Duration Length of the clip. End Timecode of the clip’s tail frame.
Modifying Clip Information Bin Column Heading Description KN End Ending 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 Start to maintain the duration. KN Film Key number film gauge. See “Selecting a Film Gauge” on page 387. KN IN-OUT Mark IN and Mark OUT key number for the clip. KN Mark IN Key number for the IN point, if you set one for the clip.
Modifying Clip Information Bin Column Heading Description Media Status Status of the media in the export Volume Bin. See “Working with Export Volumes” on page 432. Modified Date Date and time a sequence was last edited or changed. Offline Track names for any media files offline. Perf Film edge perforations format used for 3-perf projects. Pixel Aspect Ratio Indicates the shape of each pixel in the image. Ratio of width to height. Production Name of the production associated with the clip.
Modifying Clip Information Bin Column Heading Description Source Path Specifies the location of resources on local or remote storage using Universal Naming Convention (UNC). Start Timecode of the clip’s head frame. Modifiable after capture with no restrictions. Take Take number of the scene. Modifiable after capture with no restrictions. Tape Source tape name. TapeID Tape ID number. Modifiable after capture with no restrictions. TC 24 24-fps timecode.
Modifying Clip Information Modifying Data in Bins You can modify data in bin columns directly by typing in a selected text field. You can use the standard keyboard shortcuts for entering text — for example, press Ctrl+A (Windows) or Command+A (Macintosh) to select all text in a text field. You can also use the Modify command for specialized control over groups of clip information.
Modifying Clip Information 4. Type the new information, and press Enter (Windows) or Return (Macintosh). To modify selected data using the Modify command: 1. Click the Text View button in the bin. 2. Click the icon to the left of the clip, sequence, or other object you want to modify. Ctrl+click (Windows) or Cmd+click (Macintosh) each additional object you want to modify. 3. Select Clip > Modify. The Modify dialog box opens. 4. Click the Modify Options menu, and select an option. 5.
Modifying Clip Information 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. You can only alter start timecodes after capture. Hour, Minutes, Seconds, Frames Lets you enter custom timecode. Start or End Changes either the start or end timecode.
Working with Film Information in Bins Type of Modification Options Description Set Disk Label Set label Lets you change the name assigned to an XDCAM disk. For more information, see “Importing XDCAM Media” on page 327. Set Format Compatible formats Lets you change the format of a sequence. The choice of formats is limited to the compatible frame rate of the current sequence. This option is useful if you work with downconverted HD material in an offline/online workflow.
Working with Film Information in Bins It is good practice to copy or duplicate clips as you reorganize them in bins. As a result, the original source clips remain in the appropriate dailies bin if you ever need to recapture according to source tape. Organize scene bins according to the following basic workflow: 1. Create one bin for each scene. See “Creating a New Bin” on page 97. 2. Gather clips according to scene.
Working with Film Information in Bins The cut list includes the frame count numbers. To display the frame count numbers above the Source or Record monitors in your Avid editing application: 1. Follow the steps for displaying the frame count numbers in a bin. 2. From the Tracking Information Menu above the monitor, select either Ink Number or Aux Ink.
Creating a Storyboard The “.3” at the end of the key number represents the perf value. To specify the perf value: t Enter 1, 2, or 3 in the appropriate bin column cell. Selecting an Edgecode Type There is one edgecode per foot of film. You enter an edgecode type for a particular place on the film in any of the edgecode-type bin columns (Aux Ink Edge, Ink Edge, Master Edge).
Setting the Bin Display 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. Setting the Bin Display By default, your bins display all existing media objects except source clips and rendered effects.
Sifting Clips and Sequences 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 394. To sift clips or sequences: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. Custom Sift dialog box. Left to right: Criterion menu, Text to Find text box, and Column or Range to Search menu 2. Click the Criterion menu, and select one of the sifting options. 3.
Sifting Clips and Sequences 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. Understanding Sifting Timecodes or Keycode Ranges You can sift on a timecode (or keycode) number within a specific range. For example, you can sift for all the clips that start before and end after a particular timecode.
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 entered. 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.
Sifting Clips and Sequences Keycodes contain letters, numbers, and a dash before the feet and frames; for example, KJ23 6892-0345+13. When you sift on a keycode number, you enter only the numbers after the dash (the actual counter portion). Any information before the dash is ignored. If you do enter characters before the dash, they must match the corresponding characters in the bin column exactly. The table lists all columns associated with explicit ranges and their corresponding menu choices.
Working with Restricted Material Sifting Timecodes or Keycode Ranges To sift for a timecode or keycode number within a specific range: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. 2. Type the timecode (or keycode) number for the range in which you want to sift. 3. Type the timecode number for the range in which you want to sift. 4. Click the Column or Range to Search menu, and select a range; for example, Start to End Range or Mark In to Out Range.
Working with Restricted Material Restriction marker on a clip in the bin When you first open a restricted clip or load a sequence containing restricted clips, a warning message box opens. The warning appears every time you open or display a clip on restricted material in this session, not just on the present clip. The same warning appears when you try to perform a digital cut, send the sequence to playback, or export.
Printing Bins The changes appear in the Restriction window. Printing Bins To print entire bins: 1. Make sure your printer is correctly set up. 2. Select the Text, Script, or Frame bin view of the bin 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.
Favorite Bins To create a Favorite Bin: 1. Click the Settings tab in the Project Window. 2. Double-click the Bin Settings. The Bin Settings window opens. 3. Select the “Favorite Bins show at” option, and choose either Top of the Project Window or Bottom of the Project Window. 4. Open the bin you want to make a Favorite Bin. 5. Do one of the following: t Select Bin > Add Bin to Favorites. t Click the Bin Fast Menu and select Add Bin to Favorites.
Favorite Bins The list of Favorite Bins is stored in the Bin User settings. If you want multiple users to see the same list of Favorite Bins, you can drag the Bin Setting to the Site Settings dialog. Any newly created User setting would then automatically see the Favorite Bins. For pre-existing User settings you can drag the Bin setting from the Site Settings dialog into the Project Window's Setting tab, then make it the active Bin setting by placing the check mark to the left of the copied Bin setting.
10 Acquisition of 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. File-based media can be acquired 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).
The Avid Media Access (AMA) Workflow There are two ways of browsing and editing this media: • Manually browse through the media on the third-party device, and link to selected media to create master clips in your bin, or • Move all the media from the third-party device to an Avid Dynamic Media Folder (DMF) where you have set up an automated process to create the master clips. Typical media management functions (e.g.
The Avid Media Access (AMA) Workflow Avid Media Composer External card reader Set up automated processes to move files to a local or shared folder Background Process 1 Files moved to local or shared folder Dynamic Media folder (native formats) Media transcoded and new clips created for transcoded media Master clips created 2 4 3 Avid Media Files folder (MXF OP Atom formats) Request bin update, and the clips point to source files that have been copied to the Dynamic Media folder.
The Avid Media Access (AMA) Workflow 3. Depending on how your dynamic media folders were configured, some specific file formats will be transcoded to MXF proxy media. This media will be placed in the Avid MediaFiles folder and separate master clips (*.new) will be created in the bin for this media. 4. When the media has been moved to the local or shared storage, and the master clips are ready to be pulled into a bin, you will be notified by a green light to the right of the audio meters in the timeline.
Viewing Installed AMA Plug-ins • Interplay and Media Composer | Cloud users can use the dynamic relink capability to view the best available media for AMA-linked clips. Refer to “Using Dynamic Relink with Media Composer | Cloud Editing Systems” on page 1320. • When you render an audio effect on an AMA media clip, all audio media files are written as PCM (MXF), regardless of what you set for the audio file format. • Avid does not support MultiCamera editing with AMA clips.
Selecting the AMA Settings 3. Click the Volume Mounting tab. 4. If you want the system to automatically scan drives (volumes) every time, select the option “When mounting previously mounted volumes, do not check for modifications to the volume.” This option is off by default. 5.
Manually Copying File-Based Media to a FireWire or Network Drive The Set Multichannel Audio dialog box opens. For information on setting multichannel audio options, see “Importing with Multichannel Audio” on page 312. 8. Click OK. Manually Copying File-Based Media to a FireWire or Network Drive After you’ve connected your camera or other portable storage to the editing system, you can copy the media to a FireWire drive or a network drive and then eject the camera or disk.
Creating Dynamic Media Folders 3. Alt + drag (Windows) or Option + drag (Macintosh) the files to the bin. The files appear in the bin as AMA linked files. These are also managed files and appear in the Media Tool. Creating Dynamic Media Folders Dynamic Media Folders (DMFs) are user-created folders that allow you to work more efficiently with file-based media. DMFs allow you to manage and process media even when the editing application is not running.
Creating Dynamic Media Folders 2. Create a new folder by clicking the + icon in the Dynamic Media Folders window. The Select Folder window opens. 3. Navigate to the folder on which you want to perform the action and click Choose. A DMF is added to the list. 4. Click the Profile Editor button to create a profile that you want associated with the DMF. The Profile Editor opens. 5. Click the Menu bars to open the default profile summary and default AMA Settings and Actions.
Creating Dynamic Media Folders 6. Select AMA Settings options as described in the following table. Setting Option Description AMA Plugin Link Using Select which Plug-in you want the editing application to use when performing AMA links for the files added to the selected DMF folder. If you are linking to Volumes, Avid recommends you select the Autodetect AMA Plug-in.
Creating Dynamic Media Folders Setting Option Description Link Multichannel Audio Select this option if you want to assign audio tracks to specific channels in your linked media, up to a maximum of 16 audio channels for the clips in your bins. This allows you to specify which source channels are treated as mono or multichannel audio tracks in your project, rather than having to modify the clips in your bin after you link to the AMA media.
Creating Dynamic Media Folders Setting Option Description Frame Count for DPX Select how you want Frame count to appear in the DPX bin column: column and Tracking Information. The frame count will appear as a 7 digit number in the DPX bin column. The DPX pre-fix is derived from the Labroll bin column. If no data exists in the Labroll column, then the DPX prefix will be empty.
Creating Dynamic Media Folders 8. Click the Menu button on a row to access the desired copying, consolidating and/or transcoding actions you want to be performed on the files. Choose from the following options: Action Option Description Copy to Folder Copy to: Click the Set button to choose the location where you want the files copied to. Auto Relink when complete Files are automatically relinked when the copy is completed. Checkin to Interplay Checks in assets to Interplay.
Creating Dynamic Media Folders Action Option Description Apply color transformations Transcodes the media with any color transformations (color space, LUTs, CDLs) that have been applied to the master clips.If these options are not selected, then the reformatting options, framing, and color transformations are not applied when the media is transcoded. The information however, is still retained in the clip metadata, and will be used with the transcoded media when the clip is dropped on the Timeline.
Creating Dynamic Media Folders Button State Description Grey This indicates that the background services have been suspended. To restart the services, select Tools > Background Services and click Start. Yellow This indicates the background service is paused. To restart a paused background service, select Tools > Background Services and click Start. Not spinning and no center dot. This indicates that no background processing is in progress and there are no DMF assets to ingest.
Starting and Stopping Avid Background Services 15. Click the green icon in the Acquire column. The new assets will populate the editing application Bin according to the Bin setting you chose in the Profile Editor. Any clips that have been consolidated or transcoded will also populate the bin as .new files. If some clips are still being processed, they will populate the bin as offline. When they are ready, the Acquire icon will redisplay next to the DMF.
Starting and Stopping Avid Background Services To Start and Stop the Avid Services Outside the Editing Application: 1. Click the Avid Background Services Manager icon in the menu bar (Macintosh) or right + click the Avid Background Services Manager icon in the task bar (Windows) and choose to Stop or Start the services. The icon changes color to represent the state of the services; green (services active) - gray (services not active) or orange (services paused). 2.
Linking Media with AMA Option Description Always Stop Avid Background Services upon Exit Select this option if you want the background services to stop once you exit the editing application. Enable Pausing of Background Service Select this option if you want to enable Pausing of the background services. Pausing can either be explicit using the Pause button in this dialog, or it can be automatically performed during critical UI operations such as playback, capture, and when using the Artist Surface.
Linking Media with AMA To automatically link clips from a third-party device: 1. Connect the drive, card reader or device to your computer as described in the third-party device documentation. The system scans the device and links the clips into the default bin and with the default multichannel audio track formats (based on the AMA settings). A link icon appears next to the clip.
Linking Media with AMA For P2, navigate one level above the Contents folder. For XDCAM disks, navigate to one level above the Clip folder. For XDCAM EX, navigate to one level above the BPAV folder. For RED, navigate to the root directory of the RED card. For GFCAM, navigate to the root directory of the GFPAK. For QuickTime, navigate to the QuickTime folder that holds the QuickTime files. Depending if you are using an existing bin or creating a new bin, the Bin Selection dialog box opens. 3.
Relinking to AMA-Linked QuickTime Files 2. The Open dialog box opens. 3. Navigate to and select the files you want to link to. Ctrl+click or Shift+click to select multiple files. 4. From the Files of Type menu either select Autodetect AMA Plug-in or select the plug-in from the list. Audodetect will detect the appropriate plug-in from the list of installed plug-ins. 5. Click Open. The clips appear in the active bin with the default multichannel audio track formats (based on the AMA settings).
AMA Linking to DPX Files t Ctrl+click (Windows) or Command+click (Macintosh) to select multiple nonadjacent files 2. Right-click and select Relink to AMA File(s). The Select file(s) to relink AMA clip dialog box opens asking you to locate the new file(s). 3. Locate the folder where the files exist. 4. Click OK. The clips appear linked in the bin. If all the clips you wanted to relink to do not reside in the selected folder, you will receive a dialog indicating how many files were not relinked.
AMA Linking to DPX Files The AMA dialog opens. 3. Click the AIS Metadata tab and select the Reel name and Frame Count metadata you want to read from the DPX file. Reel names are mapped to Camroll and Reel # bin columns and Frame Counts are mapped to the DPX column. Both should populate AAF exports. n DPX, Transfer and VFX bin columns have expanded from 64 characters and 7 digits to 120 characters and 9 digits.
AMA Linking to DPX Files Option Description Frame Count: Select from where to start the frame count: • Start frame count at 0 • Start frame count at 1 • Convert timecode to frames • From the File name 4. Select File > AMA Link. The Open dialog box opens. 5. Navigate to the folder that contains your DPX files. Note the following when selecting files. t If you select the entire folder, all sequential files will be represented as one master clip in the bin.
Spanned Clips 6. Ctrl+click or Shift+click to select multiple files. 7. From the Files of Type menu either select the Avid Image Sequencer (.DPX) if you are selecting files or Avid Image Sequencer (.Folder) if you are selecting the entire folder. 8. Click Open. The clips appear in the bin with a link icon. If the system cannot link a file, an error message displays informing you to open the Console window for more information about the file(s) in error.
Spanned Clips Example of spanned clips. The white rectangles represent P2 cards and the gray rectangles represent clips. The first and third clips span multiple cards. When you work with spanned clips, consider the following: • If you remove a card that contains a spanned clip, for example Card 2 in the above example, and you try to play Clip 1, it plays until it reaches the portion of the clip that resides on Card 2. Media Offline appears until you reach the media on Card 3.
AMA Linking with Ancillary Data AMA Linking with Ancillary Data You can AMA link to an XDCAM or an MXF (SMPTE 436M) clip with ancillary data, the ancillary data appears in your bin. You can link to the ancillary data clip without an Avid input/output hardware, however, in order to view the ancillary data in a monitor, an Avid Nitris DX or Avid Mojo DX device is required. For information about ancillary data and data tracks, see “Preserving HD Closed Captioning and Ancillary Data” on page 1110.
AMA Linking with Multichannel Audio 4. Click Edit. The Set Multichannel Audio dialog box opens. 5.
The AMA Plug-in Log File 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. Click OK to close the Set Multichannel Audio dialog box, and then click OK to close the AMA Settings dialog box.
Using Virtual Volumes 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\ When linking to AMA volumes, the syste
Deleting Clips 3. Click the Bins tab. 4. Select “Create a new bin” and specify a new bin name. 5. Click OK. 6. Select File > AMA Link. 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.
Understanding the Source Settings Histogram 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.
Adjusting the Source Settings Histogram 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.
Working with Export Volumes Working with Export Volumes The Avid editing application supports the creation of AS-02 Export Volumes. AS-02 is a specification for grouping multiple versions of program content into one single bundle. These bundles provide an efficient approach for working in a file-based environment.
Working with Export Volumes Asset Asset.mxf Manifest.xml Shim.xml Media Extra Creating an Export Volume You can create an export volume to place all program elements into a bundle. To create a new export volume: 1. Select File > New Export Volume. The Export Volume dialog box opens. 2. Select a Volume Type, for example AS-02. 3. Click Set to select the path where you want the Export Volume to reside. 4. Enter a name for the volume.
Working with Export Volumes 5. Click Set to select the path to the shim template you want to use. - AS-02 supports J2K, Uncompressed 10b RGB, DNxHD, AVCI, IMX and Uncompressed 8b for SD. - All DNxHD templates are tuned to the DNxHD 220x family. That means depending on the project type, selecting a DNxHD template will export to a DNxHD 10b codec. - AS-02 Shim templates for all supported resolutions are located in the Supporting Files folder.
Working with Export Volumes Moving Assets to an Export Volume You can move the desired assets to the Export Volume. To move assets to the Export Volume: 1. Open the bin that contains the sequence or sequences you want to write to the Export Volume. 2. Select and drag the sequence(s) to the Export Volume. A copy of the sequence(s) appears in the Export Volume. n You can only drag sequences to an AS-02 Export Volume Bin.
Working with Export Volumes Committing Assets to an Export Volume Once you commit the assets, the sequence is flattened to the OP1b format, the video is encoded to the J2K codec and audio saved as PCM. To commit the assets to the Export Volume: 1. Open the Export Volume that contains the sequence(s) to commit. 2. Click the Commit button to commit the assets to the AS-02 bundle. The sequence along with its associated media files populate the Export Volume.
AS-11 Support Archiving the AS-02 Bundle Once you have committed the assets to the Export Volume, you can archive the AS-02 bundle. To archive the Assets Folder. 1. Locate the AS-02 bundle folder by accessing the path you set in step 4 of Creating an Export Volume. 2. Copy the AS-02 bundle folder to your archive server. Linking to an existing AS-02 Bundle You can open an existing AS-02 bundle. To link to an existing AS-02 Volume: 1. Select File > Link to Volume for Export. 2.
AS-11 Support 3. Select File Type AS-11. 4. (Option) Select the Use Marks or Use Enabled Tracks option. t When you select Use Marks, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option or mark the entire clip or sequence. t When you select Use Enabled Tracks, your Avid editing application exports the tracks that are enabled in the Timeline.
AS-11 Support The AS-11 file is exported to the selected directory. When you perform an AMA link to the AS-11 sequence, the spanned markers are represented in the source Timeline and all the descriptive metadata appears in the Bin columns.
11 AMA Plug-ins You’ll need to download and install the AMA plug-ins that you want separately from your editing software (these plug-ins are no longer included in the installer except for the QuickTime AMA plug-in). This enables Avid and third-party camera manufacturers to update plug-ins outside of a software release. Before you begin working with AMA, make sure you have done the following: • Go to the avid.com web site to make sure you download the AMA latest plug-in for your specific third-party device.
Using XDCAM and XDCAM EX and XDCAM SR AMA Plug-Ins n Do not mix AMA and traditional workflows. Either use AMA when you work with an XDCAM device or use the traditional import/batch import workflow. You should be aware of the following: • Playback performance from an optical disk is very slow. 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.
Using XDCAM Multiple Resolution Clips with AMA Due to the design of the Nitris input/output hardware, playback of XDCAM or XDCAM EX media on a Symphony Option using Nitris causes dropped frames. To allow for full performance playback, transcode the XDCAM media into DNxHD media to play the video on your Symphony Option system with Avid Nitris input/output hardware. n For information on consolidating your sequence, see “Consolidating Media” on page 481.
Using XDCAM Multiple Resolution Clips with AMA A typical workflow is as follows: 1. Use Sony’s PDZ-1 software to associate your low-resolution clips with metadata to identify the clip in the Avid bin. This includes entering a User Disc ID in the Disc Properties window. 2. The Sony XDCAM and XDCAM EX AMA plug-in should be installed on your system. 3. Install the appropriate Sony XDCAM drivers. 4. In the Project window, click the Settings tab. 5. Double-click AMA. The AMA Settings dialog box appears. 6.
Using XDCAM Multiple Resolution Clips with AMA provided a disk name in the User Disc ID field, the system message displays the disk label name. If you did not use the PDZ-1 software, the system asks you to insert the disk containing the (low-resolution) clip selected in the bin. 16. Remove the XDCAM disk. Spanned clips are clips that extend from one card to another. Avid supports working with spanned XDCAM EX clips in your Avid editing application.
Using XDCAM Multiple Resolution Clips with AMA The highest quality clips replace the most compressed (low-resolution) clips in the bin. A link icon appears next to the clips. 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 steps below highlight consolidating high-resolution media.
Using the P2 AMA Plug-In 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 483. 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.
Using the P2 AMA Plug-In 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.
Using the P2 AMA Plug-In 6. Consolidate or transcode your sequence or clips. The media consolidates to the destination you set in the Media Creation dialog box. Consolidating your media helps when you work with multiple P2 cards. If a card is removed from the reader, consolidating lets you view your sequence with all the media online.
Using the AVCHD AMA Plug-In Using the AVCHD AMA Plug-In AVCHD is a file-based format and does not use magnetic tape. Instead, video can be recorded onto DVD discs, hard disk drives, non-removable solid-state memory and removable flash memory cards. n Play performance might vary depending on the type of medium you use and the speed of our computer. AVCHD media files are recorded in MTS format; the file contains both the video and audio. Audio can be either uncompressed PCM or Dolby® AC-3 format.
Using the Canon XF AMA Plug-In The clips appear in the active bin. A link icon appears next to the clips. 7. Use the master clips to edit and output a sequence. 8. (Option) Rename the clips to organize your material. 9. Transcode your sequence or clips. n When you transcode a sequence, the system automatically defaults to convert both audio and video. You cannot transcode video only with AVCHD. n For information on transcoding your sequence, see “Using the Transcode Command” on page 487.
Using the GFCAM AMA Plug-In n If you use multiple flash cards and you remove one of the cards, your media displays offline. 3. Use the master clips to edit and output a sequence. 4. (Option) Rename the clips to organize your material. 5. 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 cards.
Using the GFCAM AMA Plug-In The GFCAM audio file directory stores MXF files regulated by SMPTE 382 (MXF mapping AES3 and BWF into the MXF GC). Each file has an AES channel that consists of two audio channels. For example, the system creates two MXF files from two AES channels (four audio channels). If an audio clip splits, the system creates multiple audio files for that clip. GFCAM allows gapless recording over several GFPAKs, however, each GFPAK handles the contents as a separate clip.
Using the RED AMA Plug-In Shot Marks allow GFCAM cameras to mark events such as clip start points or audio clipping. Press the RET button on the GFCAM device while you record or playback to set a Shot Mark. For a description of Shot Marks, see your GFCAM documentation. In the AMA method, Shot Marks are brought over automatically and appear as markers in your Avid editing application. There is no text associated with a Shot Mark, just a marked location (or a marker).
Using the RED AMA Plug-In Avid's RED workflow allows you to work with RSX, RLX, and RMD files to manage a clip's color. You have access to all the metadata and color values in the raw RED files as well as the above mentioned “look” files associated with this media. You may also make non-destructive, custom color adjustments to the R3D clip. These adjustments can be made at any stage of the process. AMA detects folders named with RMD and RDC and files named .R3D.
Using the RED AMA Plug-In 8. Remove the RED drive or card. For information on preparing your RED clip for transcode, mixdown, or renders, see “Preparing your RED Clip for Transcode, Mixdown, or Render” on page 455 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.
Using the RED AMA Plug-In 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.
Using the RED AMA Plug-In 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 429 4. Set the appropriate options, you can select from a menu, drag the sliders, enter values or click the eyedropper: Option Description Color Space Choose from: Camera RGB: as close to RAW REC.
Using the RED AMA Plug-In 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 REDLogFilm: a way of containing a large dynamic range in a video file. Needs to be viewed through a LUT to convert it for viewing on a monitor. REDSpace: based on REC.
Using the RED AMA Plug-In Option Description DRX Lets you recover potentially lost dynamic range by extending and balancing highlights, taking into account the rendering intent of the desired Kelvin and Tint white balance. Click and drag the slider from 0.00 to 1.00. Default is 0.00. Debayer Detail Choose from High (default), Medium, or Low. Chroma Denoise Choose from Off (default), Minimum, Milder, Mild, Strong, or Maximum. OLPF Controls the optical low-pass filter.
Using the RED AMA Plug-In Option Description Blue Increases or decreases the camera’s sensitivity to blue light by amplifying the B channel digital video signal received from the sensor. At 0 (zero), no blue light is visible, the image has a strong yellow cast. Click and drag the slider from 0.00 to 10.00. Default is 1.00. 5. Click Apply. The changes apply to your clip. You can continue to make additional changes.
Using the RED AMA Plug-In When you edit a clip into a sequence, the material you edit in uses the clip’s current attribute values or RED source settings. If you change the RED source settings at a later point in your workflow, the sequence does not automatically adjust for the change. If you want the sequence to use the RED source settings for clips that you have changed since you edited, you must refresh the sequence.
Using the QuickTime AMA Plug-In To import additional source settings: 1. From the Source Settings window, click the Load button. The Load External Settings window opens. 2. Browse to the Settings file. 3. Change the filter to display RSX, RLX or RMD files. 4. Select your setting and click OK. The new source setting appears in the Source Settings menu, and is immediately applied to the clip.
Using the QuickTime AMA Plug-In 4. Select File > AMA Link. You can also right-click a bin and select AMA Link. n To link to multiple QuickTime files, use the File > Link to AMA Volume(s) option and select the folder that stores all the QuickTime files. The Open dialog box opens. 5. From the AMA Plugin Filter menu, select QuickTime. 6. Locate and select the .mov file(s) you want to link. Ctrl+click or Shift+click to select multiple files. 7. Click Open. The clips appear in the active bin.
Using the QuickTime AMA Plug-In 12. Continue to edit your sequence or consolidate or transcode your sequence or clip. 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 481. For information on transcoding your sequence, see “Using the Transcode Command” on page 487.
Using the QuickTime AMA Plug-In 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 QuickTime Source Settings Histogram” on page 467 4. Set the appropriate options: Option Description Settings Default Custom: User created in Avid.
Using the QuickTime AMA Plug-In Option Description GFX/Video Level Do not modify levels: Leave as is Expand video levels to graphic levels: Changes the dynamic range from an 601/709 video range (16-235) to RGB range (0-255). Compress graphic levels to video levels: Changes the dynamic range from RGB (0-255) range to an 601/709 video range (16-235). This option is useful if you created a QuickTime movie with graphic levels in AfterEffects and then brought the clip into an Avid editing application. 5.
Using the QuickTime AMA Plug-In 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. Click OK to save your settings and close the window. The system updates the bin column metadata with the parameters. If you make additional changes after you select a setting, the system creates a Custom setting and Custom appears in the Settings list.
Using the MXF AMA Plug-In n Pixels with color values that are out of range are grouped into either the maximum or minimum color values on the plot. Spikes in either the highest or lowest color values might indicate loss of color information due to clipping. Using the MXF AMA Plug-In 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.
Workflow for Editing Clips with Ancillary Data and AMA 7. Use the linked clips to edit your sequence. 8. (Option) Rename the clips to help organize your material. 9. Consolidate or transcode your sequence or clips. The media consolidates to the destination you set in the Media Creation dialog box. 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.
Workflow for Editing Clips with Ancillary Data and AMA 4. For an MXF clip with ancillary data, select File > Link to AMA File(s). The Select file(s) for AMA linking dialog box opens. 5. From the AMA Plugin Filter menu, select MXF. 6. Select the file(s) you want to link. Ctrl+click or Shift+click to select multiple files. The MXF clip appears in the bin along with a new Ancillary Data bin column. n For information about AMA, see “The Avid Media Access (AMA) Workflow” on page 399. 7.
12 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.
Working with Media Files in an Avid Interplay Environment 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 ISIS System” on page 1213.
Viewing Media with a 100Base-T Connection to Avid ISIS 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. This is useful if you connect to the media network with a 100Base-T connection in a Zone 3 configuration, instead of the higher bandwidth connection used for Avid ISIS clients in a Zone 1 or Zone 2 configuration.
Mounting and Unmounting Drives n c On systems with multiple media drives, unmounting unused drives can improve the performance of the Media tool. You need to unmount the drives before you open the Media tool. See “Using the Media Tool” on page 475. If you need to physically add or remove drives, see the documentation that came with your drive. You cannot physically add or remove drives from your Avid editing application. Before you physically remove or add drives, shut down your system completely.
Using the Media Tool The Media tool displays media that is stored on local drives (drives directly connected to the Avid editing system) and on unmanaged shared storage (shared storage that is part of an Avid shared storage network but is not managed by an Avid asset manager). In an Interplay environment, the Media tool displays only media that is stored on local drives, see “Using the Media Tool in an Avid Interplay Environment” on page 477.
Using the Media Tool n Media Tool views are saved as User settings and appear in the Settings list in the Project window as bin views. • You can print Media Tool data by using the same procedures for printing bins, as described in “Printing Bins” on page 396. The Media tool also has a number of unique functions: • Unlike a bin, the Media tool can display all the tracks captured for each clip as separate media files.
Using the Media Tool 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. Select the projects to load by doing one of the following: t In the Projects list, select individual projects. t Click the Current Project button.
Using the Media Tool Example of media objects in the Media tool. Top to bottom: a master clip, a precompute clip, and a media file. 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.
Using the Media Tool 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 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.
Consolidating Media 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. The file name extension .new is attached, along with incremental numbering beginning with .01. Consolidating a subclip. Left: the original master clip, the subclip created from it, and its original media file. (on, for example, drive A).
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.
Using the Consolidate Command 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. 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.
Using the Consolidate Command 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 1417. 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.
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.
Using the Transcode Command 3. Select Transcode in the upper left corner. 4. In the Target Drive(s) area, select a drive or drives. 5. In you are an Interplay environment, with Dynamic Relink enabled, select whether or not to create new master clips for the transcoded media. For more information, see “Understanding How Clips are Associated with Multiple Resolutions” on page 1312. 6. Click the Target Video Resolution menu, and select a video resolution.
Using the Transcode Command 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. Deselecting this option lets you select separate drives for the audio and video media files. Handle length n frames If you are transcoding subclips or sequences, type a handle length for the new clips, or accept the default: leave it at 60 frames (NTSC) or 50 frames (PAL).
Consolidate or Transcode AMA Clips Only Option Description (Continued) Target Audio Bit Depth Select either 16 bit or 24 bit. Convert Audio Format Select this option to convert the audio to the target audio format. Target Audio Format Select either OMF (WAVE), OMF (AIFF-C), or MXF (PCM) audio format. See “Audio Projects Settings: Main Tab” on page 1417. 8. Click Transcode in the lower right corner. Your Avid editing application creates new media files and clips, according to your selections.
Background Consolidate and Transcode Once you start a consolidate or transcode operation, selected master clips, subclips, and sequences appear in your bin as offline media. As the job progresses, you can monitor and manage the consolidate or transcode process in the Background Queue Window. Once completed, the offline media automatically link to the new formats and then you can begin to work with them in your project.
Background Consolidate and Transcode 1 2 3 4 5 6 Element 1 Tool menu Description Provides options for the Background Queue Window: • Clear Inactive Jobs — clears the Background Queue Window of all jobs not currently transcoding. • Show Job Groups — allows you to display or hide specific job groups listed in the menu. 2 Clip or Sequence name Lists either the name of the transcoded sequence above the clips within the sequence or the name of the transcoded clip.
Background Consolidate and Transcode Using Background Consolidate and Transcode You can set your consolidate or transcode options in the Consolidate/Transcode dialog box. For more information, see “Using the Consolidate Command” on page 483 and “Using the Transcode Command” on page 487. To manage background transcode with the Background Queue window: 1. Select a master clip, subclip, or sequence, and then select Clip > Consolidate/Transcode. The Consolidate/Transcode dialog box opens. 2.
Loading the Media Database 4. (Option) If you consolidate or transcode multiple clips and want to change the priority of one or more clips — for example, to transcode the most important clips first — click the Priority menu and select one of the following: n t High Priority t Normal Priority t Low Priority You can change the priority of your consolidate or transcode jobs at any time during the operation.
Refreshing Media Directories n The information in this topic applies only to media on local drives or on unmanaged shared storage drives. The information does not apply to shared storage managed by Avid Interplay. For more information, see the Interplay documentation. 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.
Deleting Unreferenced Clips and Media You should refresh the media directories after you add or remove media from the media drives. For example, after you have physically moved drives). If you physically add a drive, use the Mount All command. See “Mounting and Unmounting Drives” on page 475. 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.
Backing Up Media Files Backing Up Media Files The OMFI MediaFiles folders and the Avid MediaFiles folders on your media drives contain the individual media files created when you captured source material. The OMFI MediaFiles folders contain the OMF media files. The Avid MediaFiles folders contain the MXF media files.
Relinking Media Files A clip in the bin and 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 When you select subclips or sequences and select the Relink command, the system searches for master clips that contain the same material included in the selection. If you relink online media, the system searches for media clips that best match the options selected in the Relink dialog box. You can relink master clips to appropriate media files or to source tapes with compatible rates, and you can relink based on resolution.
Relinking Media Files 500
Relinking Media Files 3. Select options.
Relinking Media Files Option Description Video Relink Parameters Relink to: Video format of current project only: Restricts relinking to the current video format (listed in the menu option). Any HD video format: Restricts relinking to HD formats only. Relinking searches for any available HD formats. Any SD video format: Restricts relinking to SD formats only. Relinking searches for any available SD formats. Any video format: Relinks to any available high-resolution, HD and SD formats.
Relinking Media Files Option Description If no match is found: Use Existing Media: Your Avid editing application displays the media to which the clips are currently linked. Unlink (Take Offline): Your Avid editing application unlinks the clip and displays the message Media Offline. Tracks to Relink Allows you to include or exclude video, audio and/or data tracks when performing a relink operation.
Relinking Media Files t Use Existing Media — displays the media to which the clips are currently linked t Unlink (Take Offline) — unlinks the clip and displays the message Media Offline If you are working in an offline resolution and want to capture in a higher resolution, select Unlink to ensure that you recapture all the media at the higher resolution. You can check for offline media in the Timeline by displaying offline clips in a distinct color.
Relinking Media Files name. The tape name is treated like a file name when it is compared to the source file name. For example, a clip with the tape name File1.jpg can be relinked to a clip with the source file name File1.png. Make sure that the tape name and the source filename matches exactly, minus the file extension and the version separator, before you relink.
Unlinking Media Files 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.
Archiving and Restoring Media Files to Videotape 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 Each archived master clip is stamped with the archive tape name and archive timecodes during the restore process. The original source information on the master clips remains unchanged. Archiving Media Files Before archiving your media files to videotape, you must stripe the record tapes (record black and timecode for approximately 15 seconds after the bars and tone on the tape).
Archiving and Restoring Media Files to Videotape 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.
Archiving and Restoring Media Files to Videotape 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 341. Sequence and Clip Information Summary You can generate a report to display information about the contents of a sequence.
Sequence and Clip Information Summary 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 515. 4. Click Generate Report.
Sequence and Clip Information Summary Summary Information Options The following options allow you to select which information to include in the sequence report. Summary Option Suboption Description Create Effect Summary This displays the types of effects and how many were found in your sequence, the breakdown by effect type, and an effect plug-in summary. If you have selected individual tracks or selected IN and OUT points, only those effects that fall within those parameters appear.
Sequence and Clip Information Summary Summary Option Suboption Description Create Clip Summary or Create Source Summary 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.
13 Viewing and Marking Footage Before you begin editing, you can review your footage, add markers 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.
Viewing Methods Viewing Methods You can work with clips and sequences in several ways, depending on your needs and preferences. Each method has its own uses and advantages, as described in the following table: 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 353 and “Using Script View” on page 355.
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.
Customizing the Composer Window and Monitors 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 toggle between the single Record monitor and the Source/Record monitors: t Press and hold the Alt key (Windows) or Option key (Macintosh) and then click the Source/Record Mode button. 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. To hide the controls in a monitor: 1.
Customizing the Composer Window and Monitors Displaying a Second Row of Buttons You can choose to display a second row of buttons under the Source/Record monitors. You can use this row of buttons in the same manner as the top row of buttons. To display a second row of buttons below the Source/Record monitor: t Right-click in the Source/Record monitor, and select Composer Settings. Click Two Rows under Button Display at Bottom.
Customizing the Composer Window and Monitors 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.
Customizing the Composer Window and Monitors 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 Master Displays master timecode at present location. Duration Displays total duration of the sequence. In/Out Displays duration between IN and OUT points. Absolute Displays absolute time duration at present position. Remain Displays time remaining at present position. V1 TC (or EC) Displays the source track of the video on track 1, and the timecode (or edgecode).
Using the Timecode Window The Info window opens. Only fields with data are displayed. 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.
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 373. 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.
Activating and Deactivating the Client Monitor Display 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 The status of the Client monitor display does not persist between working sessions on your Avid editing application. The Client monitor display is always active when you first start your application. n You cannot activate or deactivate the Client monitor display if you are using your Avid editing application in software-only mode.
Selecting the Video Display Settings 3. Select or modify the options for video display and click OK. n The options available vary depending on the model of your Avid editing application. For information about all options in the dialog, see “Video Display Settings” on page 1510. Some of these settings apply to playback and how effects are processed.
Playing Video to a Full-Screen Monitor Playing Video to a Full-Screen Monitor The Full Screen Playback option lets you view your video on a full-screen monitor. To enable full screen playback: 1. Make sure your system is properly set up for full-screen monitor play. For more information, see “Understanding Full Screen Playback Options” in the Help. 2. Check the Full Screen Playback Settings to ensure you have them set properly. For more information, see “Full Screen Playback Settings” on page 1474. 3.
Using the Tool Palette Using the Tool Palette The Tool palette provides additional buttons for editing and navigating with your Avid editing application. The Tool palette buttons can appear with or without labels, and you can “tear off” the Tool palette to display it in another screen location. You can also map other functions and buttons to the Tool palette for easy access. See “The Command Palette” on page 136. To use the Tool palette: 1.
Playing Selected Clips in a Loop Playing Selected Clips in a Loop You can view several clips one after another in a continuous loop by selecting Bin > Loop Selected Clips. This feature is useful if you want to view several versions of the same scene. While playing the loop, you can jump to the next clip by pressing the Tab key or jump to the previous clip by pressing Shift+Tab. To play several clips in a continuous loop: 1. Select the clips in the bin that you want to play in a loop. 2.
Loading and Clearing Footage t Double-click the single clip or sequence, or any one of the selected set of clips or sequences. By default, the material opens in the Source or Record monitor. If you have the “Double-click loads clip in” option in the Bin Settings dialog box set to “New Pop-up Monitor,” the material opens in a pop-up monitor. For more information, see “Bin Settings” on page 1423.
Loading and Clearing Footage 2. Select a different clip name from the menu. The selected clip replaces the current clip in the monitor display. n To see the list of clips or sequences sorted in the order in which they were loaded into the monitor, press the Alt key (Windows) or Option key (Macintosh) while opening the menu. Clearing Clips from Monitors You can use the Clip Name menu located above each monitor to clear clips from a monitor.
Controlling Playback Controlling Playback There are several ways to play, view, and cue clip and sequences: • Instantly access frames or move through footage by using the position indicator within the position bar under the monitors. • Play, step (jog), or shuttle through footage by using user-selectable buttons. • Play, step, or shuttle by using keyboard equivalents. • Step or shuttle by using the mouse.
Controlling Playback Blue position indicator in the monitor position bar (top) and in the Timeline (bottom), with the Timeline ruler above the Timeline. To move the position indicator in the Timeline, do one of the following: • Disable the segment tools (Lift/Overwrite and Extract/Splice-in) and click an area of the segment outside of the active trim region. • Use the Timeline ruler.
Controlling Playback t To move the position indicator and access the frame at the new position, click anywhere in a monitor’s position bar or in the Timeline, or drag the position indicator to the left or right in a monitor’s position bar or in the Timeline. The speed with which you drag the position indicator determines the speed at which you move through the footage. t To go directly to the beginning or end of a clip or sequence, click to the far left or far right of the position bar or the Timeline.
Controlling Playback n Button Primary Default Location Function Play Monitors Plays the footage at normal speed. Changes to the Stop button when playback is taking place. Stop Play tab in Command palette Stops playback. Changes to the Play button when you have stopped playback. Pause button Play tab in Command palette Pauses playback. Play Reverse button Play tab in Command palette Plays the footage backward at normal speed.
Controlling Playback Button Primary Default Location Function (Continued) Step Backward 10-frames or 8-frames button Move tab in Command palette Moves the footage 10 frames backward (NTSC or PAL) or 8 frames backward (progressive formats). Step Forward 10-frames or 8-frames button Move tab in Command palette Moves the footage 10 frames forward (NTSC or PAL) or 8 frames forward (progressive formats).
Controlling Playback Playback Control Using the Keyboard Many playback functions, including most of the playback controls covered in “Playback Control Buttons” on page 539, are mapped to keys on your keyboard. You can customize the keyboard by mapping buttons or menu commands to it from the Command palette, for example to add other playback functions. Default keyboard mappings vary, depending on the type of keyboard attached to your Avid system.
Controlling Playback Keys Function 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 of a clip or sequence • Left Arrow key—moves the footage 1 frame backward • Right Arrow key—moves the footage 1 frame forward Let you play, step, and shuttle through footage at varying speeds.
Controlling Playback Press the L Key To Play Footage at NTSC Rate PAL Rate 24p Rate 5 times 8x normal speed 200 fps 192 fps 240 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). t Press the K and J keys together for slow backward. t Press and hold the K key and tap the L key or the J key to step through footage one frame at a time.
Playing Back to a DV Device To jog or shuttle by using the mouse: 1. Do one of the following: t Load a clip or sequence into the Source or Record monitor. t Open a pop-up monitor. t Select a clip in a bin in Frame view. 2. Do one of the following: t Press the N key to activate mouse control for jogging. t Press the semicolon (;) key to activate mouse control for shuttling.
Playing Back to a DV Device When you are playing back to a DV device, you have the option of enabling real-time encoding of effects and mixed resolutions. To play back to a DV device connected through a 1394 port: 1. Right-click the Video Quality Menu button and select Output to DV Device. Playback to the DV device and playback to the desktop occur simultaneously. n If you do not have a device connected to a 1394 port, these options are grayed out. 2.
Video Quality Options for Playback Video Quality Options for Playback Your Avid editing application provides a range of video quality options for playback. Depending on your system configuration and the complexity of your sequence, you might need to switch to a lower quality option to avoid missing frames or choppy video during real-time playback. The options available vary depending on your attached hardware. Some third party hardware might not support Draft Quality and Best Performance options.
Setting the Video Quality for Playback Video Quality Name and Icon Description (Continued) Draft Quality Processes and plays a subsample of the full image raster for the project that uses 1/4 of the image information. Uses a bit depth of 8 bits. This option subsamples 50% of the raster width. For interlaced projects, this option uses one field. For progressive projects, this option uses 50% of the scan lines.
Marking and Subcataloging Footage 2. (Option) Right-click the Video Quality Menu button, and select Video Display Settings. This opens the Video Display Settings dialog box and lets you select additional video display settings. For information about the Video Display settings, see “Selecting the Video Display Settings” on page 530 and “Video Display Settings” on page 1510.
Marking and Subcataloging Footage t Click the Mark IN button under the monitor to mark an IN point and stop playback. t Press the Mark IN key when marking a clip in a bin. (The Mark IN key does not stop playback.) By default on United States keyboards, the Mark IN key is the I key. In the monitor, a Sawtooth icon appears on the left to indicate the mark IN frame. Sawtooth icon in the frame, and marked IN point, in the monitor 4. Continue moving through the material. 5.
Marking and Subcataloging Footage To clear both the IN and OUT points: t Click the Clear Both Marks button. t Press the Clear Both Marks key. 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.
Marking and Subcataloging Footage Subclips do not directly reference the original media. Subclips remain linked to the master clips from which they are created, and the master clips, in turn, reference the captured media files located on your media drives. As a result, none of the original footage is lost. In most projects, subclips do not limit your access to the original, captured master clip material when trimming.
Marking and Subcataloging Footage The Create Subclip icon changes to an icon of a hand pointing at a frame during the drag, and then becomes a Subclip icon when you release the frame in the intended bin. t Click the Make Subclip button in the Edit tab of the Command palette. Your Avid editing application creates the subclip and places it in the active bin. t Press the Alt key (Windows) or the Option key (Macintosh) while you click the Make Subclip button.
Using Markers For more information, see “Understanding the Track Selector Panel” on page 707. 3. Move the position indicator to the location where you want to mark the audio clip. 4. Do one of the following: 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.
Using Markers Use Description Color correction notations Use markers to mark clips or specify frames that require color correction, noting the specific correction to perform if someone else does the job. Visual track alignments Use markers at matching points in synchronized audio and video tracks so that if the tracks lose sync, you can visually realign the markers in the Timeline to restore sync. For more information on sync, see “Working with Multiple Tracks” on page 707.
Using Markers Example of a marker in the monitor, position bar and in the Timeline You can add markers to your source material while you are in an editing session, as described in “Adding Markers While Editing” on page 556. When you export sequences with markers as AAF files, the marker information is included. A Pro Tools editor can then choose to import the markers as Pro Tools as markers. The markers contain the same information as markers in your Avid editing system.
Using Markers The following illustration shows the Marker edit entry window. Marker edit entry window. Top: a comment in the comment area. Bottom: button to open the Markers window 4. (Option) Type a new name in the Name text box. 5. Type your comments in the comment area of the Marker edit entry window. 6. Change the color from the Color menu or change the marker name. 7. To save your information, click OK, or press the Enter (Windows) or Return (Macintosh) key.
Using Markers n If the Add Marker button is mapped to a button in your Timeline or Composer window, simply hold Alt (Windows) or Option (Macintosh) and click the mapped button. Likewise, if the Add Marker button is mapped to a keystroke, simply combine the keystroke with Alt or Option to apply the spanned marker. 5. (Option) Type a new name in the Name text box. 6. Type your comments in the comment area of the Marker edit entry window. 7. Change the color from the Color menu or change the marker name. 8.
Using Markers To deleted a marker, click to select the marker in the Markers window and press the Delete key. Adding Markers On-the-Fly while Playing To add markers on-the-fly while playing: 1. Load a sequence or clip. See “Loading and Clearing Footage” on page 534. 2. (Option) Select a specific track, using the Track Selector panel. See “Understanding the Track Selector Panel” on page 707. 3. Map the Add Marker button to a key by doing the following: a.
Using Markers t Click the large oval on the frame in the monitor. A Marker edit pane opens. The marker name, color, frame, and track information appear. By default, the marker name is the user name logged onto your system. Marker edit entry window. Top: a comment in the comment area. Bottom: button to open the Markers window 3. (Option) Type a new name in the Name text box. 4. Type your comments in the comment area of the Marker edit pane. 5.
Using Markers Finding Marker Comment Text You can search for text within the Marker Comment field across all sequences and master clips within the project, including opened or closed bins. To search for Text within Markers: 1. Press Ctrl+F (Windows) or Cmd+F (Macintosh), or select Edit > Find. The Find window opens. 2. Click the Markers tab. 3. Type a word or phrase that you want to use as search criteria in the Find text box. 4.
Using Markers 8. Double-click a Marker in the results window to load the respective master clip or sequence into the source monitor and position the blue bar at the selected Marker. Editing Marker Information You can open the Marker edit entry window directly from a monitor, from the position indicator bar, or from the Markers window. In the Marker edit entry window, you can change the color of a marker, the marker name, or the text of the comment associated with a marker.
Using Markers To mark the area between two markers: 1. Move the position indicator between two markers. 2. Click the Mark Markers button in the Edit tab of the Command palette. The area between the two markers is selected. Moving to the Previous or Next Marker You can move to a frame marked by a marker by using the Go to Previous Marker button or the Go to Next Marker button. To move to the previous marker: t Click the Go to Previous Marker button in the Move tab of the Command palette.
Using Markers • Display frames for easy visual reference. • Change the color of the Marker icons. • Move a marker from one track to another • Delete a single marker or multiple markers. • Export markers to send out as a review and approval file. • Print the Markers window. This is especially useful for identifying and listing specific frames to be used in an effect, for example. You can also make a list of IN and OUT points for adding music.
Using Markers Working in the Markers Window You can perform a number of basic procedures in the Markers window. You can select markers, go to the frame marked by a marker, display marker frames or additional information, sort markers, change marker column widths, change marker colors, and delete markers. You can also: • Export and import markers For more information, see “Exporting and Importing Markers” on page 566.
Using Markers To change column widths: 1. Click the heading of the column that you want to resize. 2. Right-click, and select Enlarge Column or Reduce Column. To change the color of a Marker icon: t Right-click the marker icon, select Change Marker Color, and select a color. To move a Marker from one track to another: t Right-click the marker icon, select Change Track, and select a track. To delete markers: 1.
Using Markers The Import dialog box opens. 3. From Files of type, select the tab-delimited file or Text/XML file containing the markers you want to import, and then click Open. 4. (Option) Another way to import a marker file is to select the tab-delimited marker file or the xml file and drag it into the Markers window. Creating a Marker Text (.txt) File You can create a Marker text file if you don’t have access to an Avid system.
Using Markers To copy markers from a clip and paste them into a new clip using the Markers window: 1. Select the markers in the Markers window by doing one of the following: t Click a single marker. t Ctrl+click (Windows) or Command+click (Macintosh) multiple markers. 2. Do one of the following: t Select Edit > Copy. t Press Ctrl+C (Windows) or Command+C (Macintosh). 3. Load a new clip in the Source monitor. 4. Click the Marker window and do one of the following: t Select Edit > Paste.
Using Markers 3. Open a text editor application, and paste the selection into the document. The marker information displays in the text document. Printing the Contents of the Markers Window You can print the complete contents or the current view of the Markers window. n If you select Show Images to display the frame associated with each marker and you want to print the frames, you must use the procedure for printing the current view of the Markers window.
Finding Frames, Clips, and Bins 8. Select File > Print. The Print dialog box opens, reflecting the specific options for your printer. 9. Select the Print options. 10. Click OK (Windows) or Print (Macintosh). The system prints the marker information displayed the Console window. Disabling the Marker Edit Window If you want to add markers without including comments, you can modify the behavior of the Marker edit window so that it does not open each time you create a new marker.
Finding Frames, Clips, and Bins Using Timecode to Find a Frame You can cue a loaded clip or sequence to a specific frame by typing timecode values with the numeric keypad on the right side of the keyboard. In addition, you can cue backward or forward from the current location in the clip or sequence by a specified number of minutes and seconds, or feet plus frames, by using positive or negative frame-offset values.
Finding Frames, Clips, and Bins Example of timecode entry with the numeric keypad. The timecode appears in the monitor. In this example, the interface displays master timecode. Use one of the following formats: Format Description SMPTE timecode Use two digits each for the hours, minutes, seconds, and frames. For example, type 01230200 to enter 01:23:02:00. Current timecode To find a timecode that starts at the same hour, minute, or second as the current timecode, type only the last digits.
Finding Frames, Clips, and Bins If you have performed step 2 on a notebook computer or a keyboard that does not have a dedicated numeric keypad, use the standard keyboard plus (+) and minus (-) keys. 4. Type a number for the frame offset, and then press Enter on the numeric keypad. If you have performed step 2 on a notebook computer or a keyboard that does not have a dedicated numeric keypad, use the standard keyboard number keys, and then press the Enter key (Windows) or Return key (Macintosh).
Finding Frames, Clips, and Bins • The system searches through all available columns in your bins including metadata columns, even if they are not visible in your current bin. • The use of quotes in search queries has no affect on your results. • The following characters: @#$%^&*()=+[]\ are recognized by text find. • When you perform an Edit While Capture in an Interplay environment, you need to update the bin so that the system indexes your new media.
Finding Frames, Clips, and Bins n The Bin Index status at the bottom of the window indicates if the data files in your bins have been indexed. A full green display indicates that your files have been indexed and are ready to search. A partial green display indicates that the index is in process and if you perform a search, your results might not be complete. If you want to stop the indexing process, click the Settings button in the Find window and click Stop Indexing.
Finding Frames, Clips, and Bins 9. If you select Timeline and Monitors, then select from the following: Markers The system searches for clips in the Timeline that contain the marker text. The blue position bar jumps to the marker position on the clip and displays the marker information in the Source/Record monitor. Clip Names The system searches for clips in the Timeline that contains the clip name. The blue position bar jumps to the head frame of the clip.
Finding Frames, Clips, and Bins To choose the location of the SearchData folder: 1. Start the editing application. 2. In the project window, select New Project. The New Project dialog opens. 3. Select the Search Data Folder menu. Select either Default, Local Default, or Other. To change the location from the Default options, select Other. 4. Choose the folder where you want the SearchData folder to reside. 5. Click OK. A subfolder with the project name is created in the folder you selected in step 4.
Finding Frames, Clips, and Bins Match framing loads the source clip into the Source monitor, cues to the matching frame in the source clip, and marks an IN point. Any original IN and OUT points are removed from the source clip. You can also use the Match Frame feature to locate clips quickly, based on media relatives, when you have forgotten their location.
Finding Frames, Clips, and Bins Performing a Reverse Match Frame The Reverse Match Frame feature lets you locate frames in a sequence that match a selected source frame. To perform a reverse match frame: 1. Load the source footage into the Source monitor. 2. Move the position indicator to the frame that you want to match. 3. Select the appropriate tracks in the Timeline. For more information, see “Understanding the Track Selector Panel” on page 707 and “Selecting Tracks for Matching Frames” on page 579.
Finding Frames, Clips, and Bins To find the bin in which a specific clip is located: 1. Load a clip into the Source monitor. 2. Click the Source monitor to activate it. 3. Click the Find Bin button in the Other tab of the Command palette. Your Avid editing application highlights the clip in the bin. To find the bin in which a specific sequence is located: 1. Load a sequence into the Record monitor. 2. Click the Record monitor to activate it. 3. Click the Find Bin button.
Sequence and Clip Information Summary Finding a Frame The Find Frame button, located in the Other tab of the Command palette, lets you trace a captured frame of footage displayed in a sequence or source clip back to its analog source on tape. This is useful for finding frames for color correction or for recapturing specific clips to lengthen them or alter capture parameters. To find a frame: 1. Make sure the source deck is properly connected to the system, and load the clip or sequence. 2.
Sequence and Clip Information Summary Example 2: Finding Specific Effects You use the Effect Summary and Effect Location List to find a particular effect. When you output the summary to a text editor, you can search the report to find all occurrences of the particular effect. In addition, you can type the start or end timecode value for each occurrence into the Source/Record monitor to go to the start of the effect in the Timeline.
Sequence and Clip Information Summary 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 584. 4. Click Generate Report.
Sequence and Clip Information Summary Summary Information Options The following options allow you to select which information to include in the sequence report. Summary Option Suboption Description Create Effect Summary This displays the types of effects and how many were found in your sequence, the breakdown by effect type, and an effect plug-in summary. If you have selected individual tracks or selected IN and OUT points, only those effects that fall within those parameters appear.
Sequence and Clip Information Summary Summary Option Suboption Description Create Clip Summary or Create Source Summary 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.
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
Entering Source/Record Mode 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 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. An untitled sequence appears in the bin, in the Record monitor, and in the Timeline. 2. (Option) In the bin, click the Name field and rename the new sequence. Changing the Name and Timecode for a Sequence To rename a new sequence and set a start timecode: 1.
Creating a New Sequence 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).
Creating a New Sequence 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 595 and “Performing an Overwrite Edit” on page 596.
Creating an Instant Rough Cut 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. Click the Splice-in button to add the edit to the sequence in the Record monitor. The Record monitor displays the end of the last frame of the new edit. (You can drag the position indicator in the Timeline or the position bar beneath the monitor to review the clip.
Undoing or Redoing Edits n If no sequences are loaded in the Record monitor, the Timeline has no features. 3. Do one of the following: t Ctrl+click (Windows) or Command+click (Macintosh) the clips. t Lasso the clips by dragging left to right and down to select more than one clip. For more information, see “Selecting Clips and Sequences” on page 358. t Select Edit > Select All if there are no other clips in the bin. 4.
Editing Additional Clips into the Sequence 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. For example, you can select the Undo Only Record Events option and then mark several In and Out points in clips loaded in the Source monitor. If you decide to undo the last edit made to the sequence, then you would not lose the In and Out points in the source clips.
Editing Additional Clips into the Sequence Existing material moves beyond the spliced material, lengthening the overall duration of the sequence. 4 1 2 1 2 3 4 3 A splice-in edit. Clip 3 in the sequence moves down when you splice clip 4 in at the insertion point (red line). To perform an insert edit: 1. Load a clip into the Source monitor. 2. Mark an In point and an Out point. 3. Mark an In point in the sequence as follows: n a.
Editing Additional Clips into the Sequence To perform an overwrite edit: 1. Load a clip into the Source monitor. 2. In the monitor, mark an In or Out point, but not both, to show the start or end of the clip you want to use. 3. In the Record monitor, mark both an In point and an Out point to select the material in the sequence you want to overwrite. You can also mark an Out point and move the position indicator to the In point. 4. Click the Overwrite button (red) to complete the edit.
Mixing Frame Rates and Field Motion Types The system calculates In and Out points for the source material by using the sync frames and the existing In and Out points in the sequence for the previously edited clip that you want to replace. n When you select the tracks you want, check the durations before you perform the edit.
Mixing Frame Rates and Field Motion Types Mixed rate clips always play at the project’s frame rate, both in Source or pop-up monitors and in sequences. Audio remains synchronized with video. You can stack clips with different frame rates or field motion types on multiple video tracks, apply effects, and otherwise perform all normal editing operations.
Mixing Frame Rates and Field Motion Types User Interface Summary for Mixed Rate Clips Illustration Description In the Timeline, several visual indicators highlight mixed rate clips. For more information, see “Viewing Mixed Rate Clips in the Timeline” on page 601. In the Motion Effect Editor, you can view the parameter values for a Motion Adapter effect, and adjust the render type. To make further adjustments, you need to promote the Motion Adapter effect to a Timewarp effect.
Mixing Frame Rates and Field Motion Types Viewing Mixed Rate Clips in the Timeline Mixed rate clips that are unrendered always appear with a green dot that represents the Motion Adapter effect, the green dot appears on mixed rate clips edited into a sequence. If you use the Toggle Source/Record button to view the Timeline for a mixed rate clip loaded in the Source monitor, you also see the green dot on that clip. Mixed rate clips also display with their original frame rate appended to the clip name.
Mixing Frame Rates and Field Motion Types 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 3. Select a rendering option from the Type list. For information on the rendering types available, see “Rendering Options for Timewarp Effects” in the Help. 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.
Mixing Frame Rates and Field Motion Types Changes you make to the Field Motion attribute apply only to the individual clip or subclip. You can have several subclips derived from the same master clip, and set different Field Motion values on each of them. 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.
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 1510.
Mixing Frame Rates and Field Motion Types them into sequences in the same project type. When existing material in a sequence is transcoded across edit rates, your Avid editing application automatically removes motion adapters and adjusts Timewarp effects. Your Avid editing application creates new clips whose duration and start and end timecode matches the original clips as closely as possible and which are as compatible as possible with the project’s edit rate.
Mixing Frame Sizes and Aspect Ratios Effect Templates and Mixed Rate Material You can use effect templates that you save in bins with clips of all frame rates and in sequences of any project type. When you apply a template, your Avid editing application adjusts keyframes if necessary to account for differences in frame rate. Dynamic Relink and Mixed Rate Material You can enable the Dynamic Relink feature to work with mixed rate clips.
Mixing Frame Sizes and Aspect Ratios Changing the Aspect Ratio for a Project You typically set the aspect ratio for a project when you create the project (see “Creating a New Project” on page 76). The aspect ratio can be changed at any time, however this will affect any titles that you have created, so the titles also need to be recreated at the new aspect ratio. n For HD projects, only the 16:9 aspect ratio is available as this is the only aspect ratio allowed in the HD standard.
Mixing Frame Sizes and Aspect Ratios Modifying the Reformat Attribute for a Clip Your Avid editing application uses the Reformat attribute of a clip to resize and reposition the clip so that it conforms to the current frame size and aspect ratio specified in the Project Settings. When you create a clip or subclip, the Reformat attribute is automatically set to Stretch. If you are using AMA to link to clips, then the default is set to Center Keep Size. You can modify this Reformat attribute at any time.
Mixing Frame Sizes and Aspect Ratios 2. Click the Text tab. 3. (Option) If it is not already visible, display the Reformat bin heading. For more information, see “Using Text View” on page 348. 4. Click the Reformat field for the clip or sub-clip, and select an option. Options apply only to clips that do not match the frame size and aspect ratio of the project. For more information, see “Reformatting Options Reference” on page 610.
Mixing Frame Sizes and Aspect Ratios Option Description Pillarbox/Letterbox preserve aspect ratio Scales the clip to create the largest possible image without cropping, while maintaining the original aspect ratio. The illustration shows two examples. When you edit a 16:9 clip into a 4:3 sequence (left), the resulting segment has horizontal bars at the top and the bottom. When you edit a 4:3 clip into a 16:9 sequence (right), the resulting segment has vertical bars at the sides.
Refreshing Sequences to Use Current Clip Attributes Refreshing Sequences to Use Current Clip Attributes You can change certain attribute values or settings for any master clip in a bin. You can change these settings even if a clip has already been used in a sequence. If you want the change to be reflected, you can refresh the sequence to use the latest values for just one, or all attributes. n Make sure that you are applying the attributes to the appropriate clip in the bin.
Lifting, Extracting, and Copying Material Lifting, Extracting, and Copying Material Lifting, extracting, and copying let you remove or reposition material quickly in your sequence. For example, you can move a clip from the end of your sequence to the beginning; or you can remove the material from the sequence altogether. Your Avid editing application places the material you remove into the Clipboard. You can then paste the material elsewhere in the sequence or into another sequence.
Lifting, Extracting, and Copying Material To extract material: 1. Mark In and Out points at the start and end of the material in the sequence that you want to extract. 2. Select the tracks containing the material. The system performs the function on selected tracks only. If sync locks are on, all material on all tracks is extracted. For more information, see “Understanding the Track Selector Panel” on page 707 and “Understanding Locking and Sync Locking” on page 717. 3.
Lifting, Extracting, and Copying Material The Clipboard lets you restore lifted or extracted segments quickly. This is useful if you have performed one or more edits since removing the material. In contrast, if you use the Undo function to restore the material, your Avid editing application also undoes all edits performed in the meantime. n Material in the Clipboard does not appear as a clip in the bin and is deleted when you close the project.
Adding Comments to Sequence Clips Adding Comments to Sequence Clips When you add comments to sequence clips, they appear in the Timeline or in lists that you create, such as an EDL or a cut list. Comments can include instructions for color correction or for adjusting an effect. To add comments to the clips in a sequence: 1. Click one of the Segment buttons (located in the Timeline palette), and highlight the clip to which you want to add a comment in the Timeline.
Playing Back a Sequence To play a sequence: 1. Click the Video Track Monitor icon located on the uppermost video track to display all video tracks and effects during playback. 2. Click the Active/Inactive button to ensure proper playback of the audio tracks. 3. Click the Data Track Monitor button to ensure proper playback of the data track. You can only monitor and view the data on a client monitor capable of handling ancillary data.
Understanding Sync Breaks See “Mounting and Unmounting Drives” on page 475. You can remount the drives at any time by selecting File > Mount All. • When displaying real-time effects, adjust the video quality (see “Setting the Video Quality for Playback” on page 548). • Restart your computer once a day to refresh the system memory. • Split the sequence into two or more segments, if possible.
Understanding Sync Breaks By default, the Timeline displays sync breaks whenever they occur while you edit. They appear at break points as white numbers indicating negative or positive offset values relative to zero. The Sync Breaks option also displays match-frame edits as an equal sign (=) on the edits. For more information on match frames, see “Working with Add Edits (Match Frames)” on page 726.
Understanding Sync Breaks Task Tips Perform Segment Use the Lift/Overwrite function instead of Extract/Splice-in. (Lift/Overwrite edits leaves filler behind and overwrites material at the new destination, maintaining sync in both cases.) For more information, see “Working with Segments” on page 692. Trimming Sync lock tracks to avoid breaking sync or use the Alt (Windows) or Option (Macintosh) key function for adding black during trims.
Fixing Sync Breaks Fixing Sync Breaks You fix sync breaks by eliminating the overlapping portion of out-of-sync tracks. You can do this in one of several ways, depending on the type of break and your sequence. For more information, see “Tips for Fixing Sync Breaks” on page 620. You can customize the sync breaks display in the Timeline, for example to limit the display to video tracks only. This can reduce clutter and help you focus on a particular set of fixes.
Understanding Sync Lock There are several unique aspects to sync locking: • You control sync lock by the Segment Drag Sync Locks option in the Edit tab of the Timeline Settings dialog and the Sync Lock icons in the Timeline. For more information on sync locking tracks, see “Maintaining Sync with Segment Edits” on page 699. • When trimming, sync lock applies only to single-roller trims because dual-roller trims do not break sync.
Understanding Sync Lock Syncing with Markers You can add markers to material in the Timeline to track and adjust breaks in sync between any number of tracks. You can place markers anywhere in the sequence and you can add specific notes. For more information on using markers, see “Using Markers” on page 554. To mark sync points with markers: 1. Move the position indicator to the point in the sequence where you want to maintain sync between two or more tracks. 2.
Ganging Footage in Monitors To restore sync: 1. Find the point at which the sync was lost. 2. Use the appropriate edit function to add or remove frames, as described in “Fixing Sync Breaks” on page 621. 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.
Sync Point Editing To gang footage in monitors: 1. Load a sequence into the Record monitor. 2. Load one or more clips into the Source monitor and pop-up monitors. 3. Click the Gang button for each monitor that you want to synchronize (the Record monitor is always ganged). 4. View the footage in any of the monitors. As you move through footage in one monitor, the footage in all other monitors freezes. The footage is updated when the play stops.
Autosyncing Clips t Mark an In or Out point in the Source monitor, or an In or Out point in the Record monitor. For example, if you marked an In point in the Source monitor, mark the Out point in the Record monitor. 4. Move the source position indicator to the sync frame in the clip. This establishes the source sync point. 5. Move the record position indicator to the sync frame in the sequence. 6.
Autosyncing Clips Use the following guidelines when autosyncing: • You can autosync audio clips with video clips only. To link two or more video clips or audio clips, use the Grouping option described in “Understanding Grouping and Multigrouping Clips” on page 1353. • You can create only one autosynced subclip at a time. You cannot autosync numerous pairs of audio and video clips simultaneously.
Understanding AutoSequence Option Description Auxiliary TC1–TC5 Use this option if the two clips have matching timecode in the same Auxiliary Timecode column or to Autosync multiple clips, use the Aux 1-5 timecode. Select an Aux TC, 1 through 5, from the menu. Keep audio on clip with video Use this option if you want to keep the selected video clip’s audio tracks. 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.
Adding Audio or Video to Original Videotape Using AutoSequence To establish sync with the original videotape, use filler to add where gaps in audio or video exist in the sequence. After you finish editing the audio or video, you can use the Digital Cut command to output only the audio, or both audio and video only the video onto the original videotape. If you do not use AutoSync and the video clip timecode does not match the audio clip timecode, you should select only video clips when you use AutoSequence.
Resyncing Subframe Audio The system creates a synchronized sequence with the clips you selected. The new sequence appears in the Record monitor and in the Timeline. The sequence also appears in the bin with the same name as the tape name (for tape-based media) or the same name as the source file name (for file-based media) with a .xx (.01, .02, .03) extension. 5. Edit the audio or video tracks. 6.
Resyncing Audio for a Selected Subclip • n From imported audio media (OMFI, AIFF-C, or WAVE format), master clips generated by AudioSuite plug-ins, or tone generator media You cannot slip at the perforation level of the imported QuickTime audio media. 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 Symphony versions earlier than v3.5.3 and Avid editing application versions earlier than v10.5.3.
Working with Phantom Marks To enable phantom marks: 1. In the Settings tab of the Project window, double-click Composer. The Composer Settings dialog box opens. 2. In the Edit tab, select Phantom Marks., and then click OK. 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.
Creating Video and Audio Leaders Creating Video and Audio Leaders Film editors use standard head and tail leaders to cue and sync material. You can use digital leaders in your Avid editing application to mark the beginning and end of tracks and to help you maintain sync, as described in “Syncing with Tail Leader” on page 622. You can create your own leader for video or film. Whatever you choose for specifications, make all your leader clips the same length, with common sync points.
Creating Video and Audio Leaders For information on placing add edits, see “Working with Add Edits (Match Frames)” on page 726. b. Move the position indicator before the first add edit, and open the Audio Mixer tool. c. Bring the audio level all the way down. d. Move the position indicator after the second add edit, and use the Audio Mixer tool to bring the level all the way down. After you prepare the leader, you can splice the leader while you edit onto the audio tracks that you want to keep in sync.
Understanding Lined Scripts 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 •
Understanding Lined Scripts 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. The following table summarizes the lining techniques and numbering system shown in the example.
Script Integration — Lining in the Digital Realm Off-screen dialog The jagged lines in the script represent the parts of dialog where the actor is off screen. For example, the character Mary Sue is off camera during the action described in the second paragraph (when the waitress character enters), so a jagged line is drawn through the shots that cover Mary Sue (33A/1 and 2).
Script Integration — Lining in the Digital Realm 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. Click a Takes tab to select the take.
Understanding the Script Window Using Script Integration in Video Projects Script integration is an effective tool for editing any type of production, not just feature films and television drama. For example: • You can adapt many of the procedures described in this chapter for use in audiovisual scripts for documentaries, corporate spots, news magazine segments, and spot advertisements.
Understanding the Script Window Script Settings You use settings in the Script Settings dialog box to control how scripts display in the Script window and how the Script window behaves. You should make changes to these settings before you open a Script window. After the Script window is open, any changes you make in the Script Settings dialog box are ignored by the window. You must close the Script window and then reopen it for the new settings to take effect.
Working with the Script Window Working with the Script Window This topic describes basic procedures for working with Script windows, including importing script text, navigating through the script, displaying clip information, opening and closing windows, saving windows, and adjusting margins. For more information on the Script window, see “Understanding the Script Window” on page 639.
Working with the Script Window 5. Change the name of the script bin by clicking the title in the Bins list in the Project window, and typing a new name. 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.
Working with Script Text t To open existing Script window (.ave) files and add them to the Other Bins folder in the Bins list in the Project window, select File > Open Bin. t To close Script windows, select File > Close. t To save changes, select File > Save Script. t To save a copy of the Script window, select File > Save a Script Copy As. To explore the Script window: t Use the bar on the right to scroll up or down. t Resize the window by dragging the size box in the lower right corner.
Working with Script Text c You cannot undo cut, copy, or paste operations in the Script window. To change the font and font size of imported script: 1. Select Edit > Set Font. The Set Font dialog box opens. 2. Click the Font menu, and select a new font. The menu includes all fonts currently installed on your system. 3. Type a new font size in the text box, and click OK. The Script window reflects the new settings. n As you enlarge font size, the available sizes for the slate frames also increase.
Working with Script Text Example of a lasso to select a portion of a script t Click the first line of the selection, and then Shift+click the last line. The entire block of text is highlighted. t Press Ctrl+A (Windows) or Command+A (Macintosh) to select all the text and takes. To extend an existing selection: t Shift+click a line of text preceding or following the existing selection. To cut or copy lines of script and then paste them: 1. Select the lines. 2. Select Edit > Cut or Edit > Copy. 3.
Working with Page or Scene Numbers and Searching in a Script t Click Insert After to insert the text below the selected line. The text is pasted into the script. To remove lines of script: 1. Select the lines of script you want to delete. 2. Select Edit > Cut. Unlike a normal deletion, the text remains in the Windows Clipboard or Macintosh Clipboard until the next time you copy or cut a selection.
Working with Page or Scene Numbers and Searching in a Script The scene number appears in the left margin. The page number appears in the right margin next to the first line of the selected region. Scene and page numbers both appear in the status bar at the bottom of the Script window and reflect your current position within the script. Each scene or page number continues throughout the script until you mark another line as the beginning of a new scene or page. Top left: new scene number.
Linking Clips to a Script To search for a page or scene number: 1. Select Script > Go To Page or Script > Go To Scene. You can also click in the page or scene display in the status bar at the bottom of the Script window. The Go To Scene/Page dialog box opens. 2. Type the number of the scene or page, and click OK. The Script window scrolls to the page or scene, and the first line is highlighted. If you type a page or scene number that is not in the script, then no action occurs.
Linking Clips to a Script Columns to a Bin” on page 370. 4. Select the portion of the script that is covered by the first clip or clips. 5. Select the clip or clips in the source bin, and drag them to the highlighted text. Make sure the pointer is over the highlighted text before releasing the mouse button. Drag one or more clips to the highlighted material in the Script window A slate frame appears above the text, with one or more of the takes covering the scene as lines. 6.
Interpolating Position for Script Integration 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. When you set Interpolate Position, your Avid editing application matches the length of the take in the script to the length of the clip in the Source monitor. The position indicator in the Source monitor corresponds to wherever you double-click in the take.
Working with Slates in the Script Window • Adjust the position of slates to make room for more slates, to avoid blocking words, or to display takes over specific lines. • Delete slates, for example, if you find that you no longer need the takes in the slate. To select slates, do one of the following: t Click a slate to select it. t Shift+click additional slates to select all the active takes. t Drag a lasso through a region of the script containing slates.
Working with Slates in the Script Window To control the number of takes that display for a nonactive slate, do one of the following: t Select or deselect Show All Takes in the Script Settings dialog box before you open the Script window. For more information, see “Script Settings” on page 640. t Select or deselect Script > Show All Takes. When Show All Takes is enabled, a check mark appears to the left of the Show Frames command.
Working with Takes in the Script Window To delete a slate: 1. Select all the takes in the slate by pressing the Shift key and clicking the tab for each take. 2. Press the Delete key. The Delete dialog box opens. 3. Select Delete Takes, and click OK. The slate and all its takes are deleted from the script. n c When you delete slates and takes from the Script window, the captured source clips remain in the source bins. You cannot undo the deletion of slates.
Working with Takes in the Script Window All takes within the lasso are selected. To add another take to an existing slate: 1. Select the region of the script that the take covers. 2. Open the bin that contains the clip for the take. 3. Drag the clip to the slate. 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.
Indicating Off-Screen Dialog in a Script To change the representative frame that appears in the slate for a take: 1. Select the Takes tab in the Script window. 2. Press the appropriate arrow keys or step keys on the keyboard to advance the footage displayed in the slate forward or backward to the frame you want. You can also select multiple takes and advance them all at once. To load individual takes into the Source monitor: t Double-click any Takes tab.
Using Color Indicators in the Script Window 3. Click the Set Offscreen button in the Script window toolbar. The off-screen indicator appears, superimposed on the selected takes of the highlighted range of the script. You can switch the indicators on or off by clicking the button repeatedly. To remove one or more off-screen indicators: 1. Select the range of script containing the off-screen indicators. 2. Select only those takes that display the indicators. 3. Click the Set Offscreen button.
Script Marks Script Marks Script marks let you synchronize individual lines of script with matching points in captured clips. When you place a mark in the script, an IN point also appears in the clip when you load it into a monitor for editing. This provides line-by-line control over alternative takes that the editor can instantly load and edit into the sequence. You can place script marks in several ways. You can: • Place marks manually, one take at a time.
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.
Script Marks 5. Repeat these steps to add more script marks. Using Real-Time Screening and Marking The Script window provides controls for automating the process of screening and placing script marks for a single take or across multiple takes. To use real-time screening and marking: 1. Select one or more takes. 2. Click the Record button in the Script window toolbar.
Script Marks 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 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.
Editing From the Script Window 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.
Editing From the Script Window 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.
Customizing Timeline Views 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 669 and “Timeline Fast Menu Options” on page 669.
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.
Customizing Timeline Views 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 621. Dupe Detection Enables color-coded dupe material display for V1 track; used in 24p projects and matchback projects. See “Dupe Detection” on page 727. Color Correction Displays indicator lines to show which segments have Source or Program color correction.
Customizing Timeline Views Enlarging and Reducing Timeline Tracks You can enlarge or reduce the height of one or more tracks to improve visibility and display more information within the tracks. To enlarge or reduce the height of tracks: 1. Select the tracks in the Timeline that you want to resize. For more information, see “Selecting Tracks” on page 709. 2. Do one of the following: t Select Edit > Enlarge Track or Edit > Reduce Track.
Customizing Timeline Views You can control which types of clip coloring to enable, and customize the colors themselves. Clip color options are saved when you save a customized Timeline View, so you can set up several coloring schemes and then switch between them. For more information, see “Managing Customized Timeline Views” on page 685. Displaying clip colors overrides any track color you assign from the Timeline Fast menu. n For HD and SD projects, DVCPRO HD clips are colored light red.
Customizing Timeline Views 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 1336. This option is only available if you are working in a MultiRez environment. Offline Colors clips that have offline media.
Customizing Timeline Views To change the display colors for the Resolution Tracking, Offline, Mixed Rates, or SD/HD options: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Click the color swatch for the option you want to change. A color picker grid opens. 3. Click a color in the grid. The color you select becomes the display color for that option. To reset the display colors for the Resolution Tracking, Offline, Mixed Rates, and SD/HD options: 1.
Customizing Timeline Views Changing the Track Color To change the color of the selected tracks in the Timeline: 1. Click in the Timeline to activate it. 2. Select the tracks whose color you want to change. 3. Click the Timeline Fast Menu button, and select Track Color > color. 4. (Option) If you want to choose a custom color for the tracks, press the Alt key (Windows) or Option key (Macintosh) while performing this procedure.
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.
Customizing Timeline Views Showing Markers in the Timeline When you add markers to a sequence, the markers are displayed in the Timeline. You can modify which markers to display in the Timeline by selecting Show Markers from the Timeline Fast menu. When you select a color from the Show Markers submenu, only markers of that color appear in the Timeline.
Customizing Timeline Views 3. Click OK. Disabling the Smart Tool in the Timeline Using the Smart tool enables a dynamic, cursor-based editing method in the Timeline. This changes the standard behavior of the mouse pointer so that you cannot scrub through the Timeline as you do in normal edit mode.
Customizing Timeline Views To reduce tracks: t Select the tracks, and press Ctrl+K (Windows) or Command+K (Macintosh). You can also continue to work in Source/Record mode by resizing the Timeline window so that it overlaps the Composer window. You can click either window to activate it and bring it forward at any time, or you can click the title bar of the Timeline window and drag it to the Bin monitor to place each window in its own monitor.
Customizing Timeline Views Icon Tool Description Link Selection Allows you to select segments in the Timeline that are linked by common source media and timecode. Lift/Overwrite Replaces a section of the sequence with the selected source material. Extract/Splice-in Inserts marked source material into the sequence without replacing material already in the sequence. Overwrite Trim Creates a single-roller trim and adds a black segment to fill the duration of trimmed frames.
Customizing Timeline Views The Smart tool, with all of the functions selected by the toggle bar (left) The Smart Tool 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 138.
Customizing Timeline Views The Track Control Panel Timeline tracks include a Track Control panel that provides features useful when you edit audio tracks. The Track Control panel arranges components in two rows of tools, and it allows you to do the following: • Show or hide waveforms and clip gain, auto gain, and pan displays on individual tracks (see “Displaying Audio Waveforms” on page 777 and “Displaying Volume and Pan Values” on page 779).
Customizing Timeline Views To show the Track Control panel, do one of the following: t Click the Timeline fast menu and select Track Control Panel. To hide the Track Control panel, deselect Track Control Panel. t Click the Track Control Panel button above the Timeline. Track Control panel, with the Track Control Panel button above the Timeline Displaying Source Material in the Timeline You can display source material in the Timeline.
Customizing Timeline Views Displaying the Timeline Top Toolbar You can display a top toolbar in the Timeline for easy access to editing buttons. You can also map additional buttons to the Timeline top toolbar. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 138. 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.
Customizing Timeline Views 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. Your Avid editing application saves the Timeline information from the Timeline Fast menu with each view. You can select alternate views from the View menu located in the Timeline bottom toolbar. The Timeline view is labeled Untitled until you name and save a customized Timeline view.
Customizing Timeline Views Using Timeline View Buttons The More tab of the Command Palette contains eight Timeline View buttons that you can use to switch between Timeline views. You can map these buttons to any mappable button location or to the keyboard, or you can use them directly in the Command Palette. You must create at least one Timeline view to use the Timeline View buttons. For more information, see “Managing Customized Timeline Views” on page 685.
Navigating in the Timeline t In the More tab of the Command Palette, select Active Palette, and then click the Timeline View button. Navigating in the Timeline The Timeline window provides various controls for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing. You can use the position indicator, the Timeline scroll bar/position bar, the Timeline scale bar, the Zoom In and Zoom Back commands, or the Focus button.
Navigating in the Timeline When you move the position indicator in the Timeline, the smaller position indicator within the Record monitor’s position bar also moves. By default, the Timeline scroll bar appears on the right side of the Timeline bottom toolbar. You can drag the scroll slider to reposition yourself within the Timeline, or click the arrows to scroll left or right.
Navigating 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. n For information on all Timeline settings, see “Timeline Settings” on page 1504.
Navigating in the Timeline To zoom in the Timeline using the scale bar: 1. Click the scale slider, and drag it to the right. The Timeline expands horizontally and shows more detail. The position indicator splits into a solid blue line and a dotted blue line (or “shadow”), marking the beginning and end of the current frame. You can click either the line or the shadow to move exactly one frame forward or back. 2. To shrink the Timeline to its original size, drag the scale slider back to the left.
Navigating in the Timeline 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. The motion mode indicator in the Timeline toolbar displays a specific icon, depending on the keys you press to facilitate your movement within the Timeline. Motion Mode Icon Description Snaps the position indicator to head frame. Snaps the position indicator to tail frame.
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).
Working with Segments Guidelines When Selecting Segments • 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. • With a group or with linked clips, you can click any selected segment to drag the entire group to a new position.
Working with Segments 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. If you have Link Selection enabled, all segments linked to your selection are selected in the Timeline. If you Shift+click a selected segment, all segments linked to your selected are deselected as well. 3.
Working with Segments Avid editing application treats these tracks as linked so that when you select a segment, the application automatically selects any linked segments. You can select linked clips for both segment editing and trim editing. The following apply to linked clip selection: • Track linking affects segments. If you use the same master clip in more than one place in your sequence, each segment maintains its own linking relationship unless the segments overlap in the Timeline.
Working with Segments 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.
Working with Segments To select segments on enabled tracks using the multiple segment selection buttons: 1. Move the position indicator to the first or last segment you want to select. 2. Select Tools > Command Palette, and click the Edit tab. 3. Do one of the following: t Click the Select Left button to select segments under the position bar and all segments to the left. t Click the Select Right button to select segments under the position bar and all segments to the right.
Working with Segments When using the Segment tools, filler will be selected. If you do not want filler selected when using the Segment Tools, make sure the Select Filler with Segment Tools option is deselected.
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.
Working with Segments 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 t 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 the segment you want to move (Shift+click to select multiple segments), and drag it to its new position. If you enable link selection, all linked segments move when you drag the selected segment (see “Selecting Linked Clips” on page 695).
Working with Segments 3. Drop the copied segment in the new position in the Timeline. Dragging Nonadjacent Segments You can drag nonadjacent segments in the Timeline. You must be in Overwrite mode to drag the segments. To drag nonadjacent segments: 1. Make sure you are in Lift/Overwrite mode by selecting the Lift/Overwrite button in the Smart Tool. 2. Select the nonadjacent segments that you want to move. 3. Move the segments to the desired location.
Working with Segments 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 704. 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.
Working with Segments 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 593. 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.
Working with Multiple Tracks 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 5.1 Surround Track Monitor button Audio 7.
Working with Multiple Tracks Selecting Tracks You can select tracks on the source side or the record side of the Track Selector panel to control your options for editing. For example, you might select the source and record tracks for V1, A1, and A2 to edit picture and audio from the source clip into the sequence. To edit the picture without sound, select only V1 source and record tracks. To edit the sound without the picture, select only A1 and A2 source and record tracks.
Working with Multiple Tracks To use a Command Palette button for track selection, do one of the following: 1. Click the appropriate button in the location to which you have mapped it. 2. Press the key on the keyboard that you have associated with the track button. 3. In the Tracks tab of the Command Palette, select Active Palette, and then click the track button. To deselect a track: t Click the Track button of any active track.
Working with Multiple Tracks The following characteristics apply to audio track monitoring: • The system pans odd-numbered mono tracks to the left speaker and even-numbered mono tracks to the right speaker by default. Stereo tracks include channels for the left and right speakers, with the stereo mix panned to the center.
Working with Multiple Tracks Monitoring and Soloing Tracks The Track Monitor buttons allow you to choose which tracks to monitor in the Source monitor, the Record monitor, and the speakers. You can monitor a single track or monitor multiple tracks at the same time. You can also isolate, or solo, an individual track for monitoring without having to deselect other tracks.
Working with Multiple Tracks To deselect solo monitoring: t Click the Track Monitor button or the Solo button again. Patching Tracks When working with multiple tracks, you can encounter a circumstance in which you must edit source audio or video onto a track other than the parallel track displayed in the Track Selector panel. To edit the source material onto another record track above or below it, you must patch the source track to the targeted record track.
Working with Multiple Tracks Audio patch from a source track to an audio record track (left) and the new source track order identifying the patch (right). n After you patch tracks, it is helpful to display the destination track of the clips in the Timeline. Select Clip Text > Clip Tracks from the Timeline Fast menu to display the destination track. To undo a patch: 1. Click in the Record monitor or Timeline. 2. Select Special > Restore Default Patch, or manually repatch to the previous track.
Working with Multiple Tracks The clips swapped into the sequence start at the beginning of the clip or subclip unless you mark an In or an Out point. When Out points are used, the sequence backfills the duration on the clip being replaced, starting from the Out point. 4. Move the position indicator in the Timeline to the clip you want to replace. 5. Select Tools > Command Palette. 6. Click the Play tab. 7. Click the Alternate Edit button. The system replaces the clip and performs an Edit Review command.
Working with Multiple Tracks The clip is then grayed out and the clip text appears in italics. The clip plays back as filler. Muted clips can be edited like non muted clips. You can select, move, trim, etc. The clip keeps its timing and position in the sequence. To unmute a muted clip in the Timeline: 1. Locate the muted audio or video clip the sequence in the Timeline. 2. Right click the clip and select Unmute clips. The clip is no longer muted.
Working with Multiple Tracks The entire track is disabled and appears grayed out (or a slightly darker highlight if the track had a highlight color) in the Timeline. n When a track is disabled, you cannot render any effects on that track. For example, if you disable a track and then try to render an effect on the disabled track, you will receive a “No effects to render” message.
Working with Multiple Tracks Locking and Sync Locking Tracks The following illustration shows the location of the Sync Lock and Lock buttons in the Track Selector panel, and the icons that appear on these buttons. For more information on your options for locking tracks, see “Understanding Locking and Sync Locking” on page 717. 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.
Working with Multiple Tracks Adding and Deleting Tracks Your Avid editing application lets you create up to 24 video and 24 audio tracks in the Timeline when building a sequence. (You can monitor 16 audio tracks at a time.) 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 1110. By default, new tracks are numbered consecutively.
Working with Multiple Tracks t Select Clip > New Data Track. 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.
Working with Multiple Tracks To delete one or more tracks from a sequence: 1. Click one or more Track Selector buttons to select the tracks you want to delete. 2. Press the Delete key. The Delete Track(s) dialog box opens. 3. Click OK. The tracks are deleted.
Working with Multiple Tracks Stereo track A4 (left) split into mono tracks A4 and A5 (right) When the Avid editing application splits a stereo track to two mono tracks, it changes some audio properties of the track: • Removes stereo track effects such as RTAS plug-in effects. • Converts stereo AudioSuite plug-in effects to mono effects. • Applies any existing gain automation to the resulting mono tracks.
In to Out Highlighting in the Timeline 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.
Editing in Heads or Heads Tails View 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. To turn the highlighting feature on and off: t Select the Show Marked Region option in the Display tab of the Timeline Settings dialog box.
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.
Working with Add Edits (Match Frames) 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.
Dupe Detection 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.
Editing with the Film Track 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.
Finding Black Holes and Flash Frames 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.
Activating and Deactivating I/O Hardware Activating and Deactivating I/O Hardware The editing application includes a hardware toggle button in the Timeline. This allows you to switch between hardware and software editing modes. The hardware toggle button appears in the Timeline if I/O hardware is attached when you launch the editing application. This includes Avid Nitris DX and Mojo DX hardware and 3rd party Open I/O hardware.
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.
Trimming with the Timeline Palette 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.
Setting Small Trim Display 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 747.
Selecting Trim Sides 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. Trim icons for the outgoing frames of the A-side clip (left) and the incoming frames of the B-side clip (right) The following table describes the kinds of trim you can perform in each zone adjacent to your transition.
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.
Selecting Trim Sides t Shortcut Key Selection 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.
Overwrite Trimming 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 If you enable link selection, clicking a transition also selects transitions on linked segments (see “Linked Clips” on page 694). 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.
Ripple Trimming 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. However, ripple trims can change the duration of your sequence if you select all tracks, and it can break synchronization with any unselected track.
Dual-Roller Trimming Dual-Roller Trimming Using a dual-roller trim allows you to move the transition point between segments without changing the duration of the sequence. This adds frames to one side of the transition and subtracts them from the other side. There are several ways to select a transition for dual-roller trimming. Which method you use depends on your editing workflow.
Refining Trims If the transitions are a straight cut, the system selects all selected tracks. If the nearest transition is an overlap edit with staggered transition points, the system selects the next transition where all selected tracks have transitions at the same point. t Click the Play Loop button on a palette twice, or press the Play Loop key on the keyboard twice. When you click the Play Loop button once, the system plays the transition in a playback loop.
Reviewing Trim Edits For greater control while performing a trim, do one of the following: t Press Ctrl+Alt (Windows) or press the Command+Option key (Macintosh) as you drag one frame at a time. t Press the Ctrl key (Windows) or Command key (Macintosh) to snap to other transition points. As you trim, all selected transitions in the Timeline move in unison.
Trimming with the J-K-L Keys 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 1433. 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. Move the position indicator to the transition you want to review. 2. Click the Edit Review button.
End of Trim Indicators To trim on-the-fly: 1. Click either the outgoing (A-side) or incoming (B-side) monitor to play in real time during the trim. 2. Select one or more transitions for overwrite trimming, ripple trimming, or dual-roller trimming. For more information, see “Selecting Trim Sides” on page 740. 3.
Using Dual-Image Playback During Trims Using Dual-Image Playback During Trims Dual-image playback lets you view A-side and B-side frames in real time while performing a trim. You can play through the transition by using the J-K-L keys or the Play and Trim buttons. n Using the Dual Image Play option disables real-time effects. To use dual-image playback during trims: 1. Double-click Trim in the Settings list in the Project window. The Trim Settings dialog box opens. 2.
Trimming During a Playback Loop Trimming During a Playback Loop An alternative method for trimming is to view the transition continuously in a playback loop and use the keyboard to adjust the transition in 1-frame or 10-frame (8-frame for 24p) increments until you achieve the trim you want. You can perform this procedure using single-roller or dual-roller trims. To trim during a playback loop: 1. Select a transition for trimming. For more information, see “Selecting Trim Sides” on page 740. 2.
Extending an Edit Example of an audio overlap edit. After the trim, the audio for Clip B is extended so that it overlaps the beginning of the video for Clip C. To create an overlap edit: 1. 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.
Maintaining Sync While Trimming 2. Find the point in the sequence to which you want to trim. If the trim point is before the edit, mark an In point. If the trim point is after the edit, mark an Out point. 3. (Option) If you are extending the edit to an Out point, remove any In points on the track. Otherwise, the extend edit goes in the wrong direction. Example of an extend edit.
Maintaining Sync While Trimming n Because dual-roller trims do not cause sync breaks, you can add black only while performing single-roller trims, and sync-locked tracks only aid single-roller trim functions. To trim with sync-locked tracks: 1. Do one of the following: t Click the Sync Lock button in the Track Selector panel for the track you want to keep in sync. The Sync Lock icon appears. t Click the Sync Lock All button to switch sync lock on and off for all tracks.
Slipping or Sliding Segments Slipping or Sliding Segments Slip and slide procedures constitute two unique trim techniques that let you make frame-accurate adjustments to a selected segment. They do not affect the overall duration of the sequence or the sync relationships between multiple tracks. Slip or Slide trimming lets you do the following: • Slip or slide the video and audio segments together. • Slip or slide a single segment of video or audio independently from the rest of the segment.
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).
Slipping or Sliding Segments 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, double-click the transition.
Trimming in Two Directions To slip a shot in Source/Record mode: 1. Select the tracks for the clips to be slipped. 2. Move the position indicator within the shot that you want to slip. 3. Slip the shot by doing one of the following: t Click the Slip Left button to slip the shot one frame left (revealing later material from the source clip). t Click the Slip Right button to slip the shot one frame right (revealing earlier material from the source clip).
Using the Transition Corner Display 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 To trim a transition using the Transition Corner Display: 1. Select a transition effect for trimming by doing one of the following: t Position the mouse pointer over the transition you want to trim so the pointer changes to a dual-roller icon, and click the transition. t Lasso the effect in the Timeline from right to left.
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.
Overview of Audio Tools • Splitting Multichannel Tracks to Mono Tracks • Using the Audio EQ Tool • Recording Voice-Over Narration • Using Automatic Voice-Over 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 792.
Overview of Audio Tools You can arrange these tools in a single, tabbed tool window to make it easy to switch to another tool. To access one of the audio effect tools: t Select Tools > tool name. To keep more than one tool open at the same time: t Select Tools > tool name, and then drag the tool to a tabbed tool window. To prevent confusion, your Avid editing application allows only one copy of an audio effect tool to be open at a time. For example, you can open only one copy of the Audio EQ tool.
Working with Multichannel Audio Tracks 5. Click the Destination Track menu, and select the target auxiliary timecode bin column for recording the audio timecode. Auxiliary TC1 is the default selection. 6. Do one of the following: t Select Fill Undecodeable Frames to instruct the system to fill in any timecode breaks with continuing timecode. This is the default. t Deselect Fill Undecodeable Frames if you do not want to fill timecode breaks.
Working with Multichannel Audio Tracks a 5.1 or 7.1 surround sound clip uses six or eight voices. You can monitor up to 64 voices with your Avid editing application — for example, 16 mono tracks, 8 stereo tracks, or two 7.1 surround sound tracks. You can edit multichannel audio tracks in the same way you edit mono audio tracks. Your Avid editing application supports the following audio track formats: • Mono • Stereo • 5.1 surround sound • 7.
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 multichannel 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 multichannel tracks in the Timeline into mono tracks. for more information, see “Splitting Multichannel Tracks to Mono Tracks” on page 844.
The Track Control Panel t Click the Format menu on a Format button and select the appropriate multichannel 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 multichannel tracks. Mono tracks Sets the paired audio tracks to two mono tracks. Stereo tracks Sets the paired audio tracks to one stereo track. 5.1 Surround Sets the selected tracks to one 5.
The Track Control Panel Component Description Waveform Turns on or off the waveform display for individual tracks. Clip Volume/Pan Turns on or off the clip volume and pan display for audio tracks. Inactive Disables a track so you can play back your sequence without processing the plug-in effects or automation for the inactive track. Solo Allows you to monitor a single track of audio without deselecting other tracks. RTAS plug-ins Lists the RTAS plug-ins inserted on the track.
The Track Control Panel Soloing Audio Tracks You can solo multiple tracks in the Timeline, which lets you do the following: • Listen to several tracks at once without deactivating or deselecting the other audio tracks off or reducing volume. • Isolate audio tracks for audio scrubbing without having to deselect monitoring of all other audio tracks. For more information about audio scrubbing, see “Using Audio Scrub” on page 772. n You can also use the Track Solo buttons in the Audio Mixer tool.
Using Audio Scrub Icon State Description Primary active track — Audio information in these tracks is not dropped when the play speed increases during scrubbing. Active track — Audio information in these tracks might be dropped when the play speed increases during scrubbing, depending on your settings and track effects. Inactive track — Voices and audio plug-ins are not processed for these tracks during playback.
Using Audio Scrub Selecting Tracks for Audio Scrubbing By default, all monitored audio tracks are selected for scrubbing. However, as the play speed increases during audio scrubbing, some monitored audio tracks are dropped. You can select up to two tracks to ensure they play during scrubbing, even if the system has to drop some tracks. The following table shows how many tracks you can scrub at the varying speeds of play.
Using Audio Scrub Performing Smooth Audio Scrub You can use three-button play with the J-K-L keys to perform smooth audio scrubbing of selected tracks of audio at variable speeds but not digital audio scrub. You can monitor while stepping (jogging) or while shuttling at fixed rates up to three times normal speed. The audio cuts out at greater than three times the normal speed and comes back in after the speed drops below three times.
Using Audio Scrub (outgoing frames) as you scrub. You should avoid increasing the number of sampled frames on both sides at once because this can make it difficult to isolate an edit point or trim point based on the location of the position indicator. To adjust the parameters for digital scrub: 1. Double-click Audio in the Settings list in the Project window. The Audio Settings dialog box opens.
Audio Displays in the Timeline Step Buttons. Left to right, top to bottom: 1 frame backward, 1 frame forward, 10 frames (8 frames for 24p) backward, or 10 frames (8 frames for 24p) forward 4. When you find the correct frame, mark the location, trim the transition, or perform any other function you choose. When you sample incoming frames (with the default scrub parameters, for example), the system places the position indicator at the head of the last sampled audio point.
Audio Displays in the Timeline Displaying Audio Waveforms Audio waveforms in the Timeline display a sample plot of the entire amplitude of the track. This is the same as the sample voltage values seen on an analog oscilloscope waveform. You can display waveform plots for all audio tracks in the Timeline or you can select individual tracks for waveform display. The editing application saves cached waveforms for projects. This allows the waveform to draw faster the next time you open the project.
Audio Displays in the Timeline t Continue to expand or shrink your view of the Timeline by using the scale bar, spreading out the waveform plots to show detailed variations in the audio levels. t To enlarge the height of selected audio tracks and subsequently the waveform display, press Ctrl+L (Windows) or Command+L (Macintosh). t To reduce the height of selected audio tracks and subsequently the waveform display, press Ctrl+K (Windows) or Command+K (Macintosh).
Audio Displays in the Timeline Displaying Volume and Pan Values You can view the volume and pan automation values in the Timeline, including surround sound pan values for sequences using a surround sound mix. If you choose to view volume and pan on individual tracks rather than on the entire sequence, you can view volume values on one track and pan values on another. When you display pan information in surround sound sequences, you can select which speaker layout you want to view.
Audio Displays in the Timeline 2. If you want to view pan values for individual tracks, click the Clip Volume/Pan button in the Track Control panel for the tracks you want to display pan information, and select the appropriate pan option: t Pan t Pan L > [speaker layout] t Pan R > [speaker layout] The pan values appear in the selected tracks. Identifying Sample Rates by Color To apply a color coding to a sample rate: 1. Load a sequence with multiple sample rates into the Timeline. 2.
Audio Displays in the Timeline Using Audio Meters in the Timeline The Audio meters in the Timeline let you view and adjust audio levels without opening the Audio tool. The Meter menu options are the same options as those available in the Audio tool. For more information, see “Understanding the Audio Tool” on page 219. To display the Audio meters in the Timeline: t Click the Meter Menu button, and select Show Audio Meters. The Audio meters display in the Timeline. Audio meters display in the Timeline.
Audio Displays in the Timeline (Windows) To adjust the volume control (software-only models): 1. From the Timeline, click and hold the Master Volume button. Master Volume button (left) and Audio Meter menu button (right) in the Timeline If you do not see the Master Volume button, click the Audio Meter menu button, and then select Show Audio Meters. The Master Volume button displays with the Audio Meters. The Windows Mixer appears. 2.
Displaying Audio Formats in Bins A line appears through the button, and you cannot hear audio through your speakers or headphone. The Mute buttons on individual tracks do not change when you use the Master Volume button to mute audio. n This does not apply to software-only models using Windows Vista and later. To mute an individual audio track: t Click the Mute button in the Track Control panel for the track you want to mute.
Working with Surround Sound Audio Mixing Format Surround Format Speaker Layout Stereo n Left, Right 5.1 Film Left, Center, Right, Left surround rear, Right surround rear, LFE 5.1 SMPTE Left, Right, Center, LFE, Left surround rear, Right surround rear 7.1 Pro Tools Left, Center, Right, Left surround side, Right surround side, Left surround rear, Right surround rear, LFE 7.
Working with Surround Sound Audio The Output tab in the Audio Project Settings dialog box lets you select which surround sound option you want to use when you export a sequence with surround sound audio. You can also use the Output tab to select the 5.1 or 7.1 option to designate a project with surround sound audio even if you do not have surround tracks in your sequence.
Working with Surround Sound Audio Surround sound audio tracks contain an individual channel for each signal in the track (for example, a 5.1 track has six channels, one each for left, center, right, left surround, right surround, and LFE). You can add surround sound master clips to your project in different ways: • You can capture the audio from your source (see “Selecting Source Tracks and Audio Channels” on page 205).
Working with Surround Sound Audio Sequence format Speaker Layout Mono Mono: Audio channels panned to center Stereo Mono: L and R channels panned to center Stereo: L and R channels panned to Left/Right 5.1 Mono: All channels panned to center Stereo: C and LFE channels panned to center; L and R channels panned to Left/Right; Lr and Rr channels panned to Left/Right and volume lowered by 3dB 5.1: All channels panned to the appropriate speakers, depending on 5.1 format of the sequence 7.
Working with Surround Sound Audio L C R (-3 dB) Lsr Rsr LFE (-3 dB) L C R Top: 5.1 Film sequence format; bottom: stereo speaker layout, with center pan indicated by the double arrow In addition to monitoring your audio through your speakers, you can monitor surround sound audio as it plays by watching the channel faders in the Audio Mix tool and in the Audio tool. When playing a sequence in the Timeline, the Audio Mix tool matches the default 5.1 Film surround sound format or the default 7.
Working with Surround Sound Audio Audio Mixer tool: Monitor Mix Format button 2. Click the Monitor Mix Format button and select one of the following: t 5.1 Film: L C R Ls Rs Lfe t 5.1 SMPTE: L R C Lfe Ls Rs t 7.1 Pro Tools: L C R Lss Rss Lsr Rsr Lfe t 7.1 SMPTE: L R C Lfe Lsr Rsr Lss Rss When you play a clip in the Source monitor, the monitor mix respects the channel order used when you captured the audio.
Working with Surround Sound Audio Channel Speaker XLR Channel 3 Left Rear XLR Channel 4 Right Rear To set up for an analog audio output: 1. Double-click Audio Project in the Settings tab of the Project window. The Audio Project Settings window opens. 2. Click the Output tab. 3. Click the Analog tab. 4. Depending on your setup, select Use as Output to Tape Deck or Use as Desktop Surround Monitors. 5. Click the Mix Mode Selection Menu button to select Direct Out. 6.
Adjusting the Play Buffer Size for Audio (Software-only Models) Channel Speaker 1 Left 2 Right 3 LFE or Subwoofer 4 Center 5 Left Rear 6 Right Rear To set up for a surround sound (HDMI) audio output: 1. Double-click Audio Project in the Settings tab of the Project window. The Audio Project Settings window opens. 2. Click the Output tab. 3. Click Direct Out, then select First six tracks are 5.1 surround: L, R, C, LFE, LR, RR. 4. Click the HDMI tab. 5.
Using the Audio Mixer Tool Avid strongly recommends that you use the default “recommended sample” setting, which is determined by the host audio device connected to your system. For more information on the Buffer Size in Samples sliders, see “Audio Settings” on page 1416. To adjust the samples in the play buffer or tools buffer: 1. Double-click Audio in the Settings tab of the Project window. The Audio Settings window opens. 2.
Using the Audio Mixer Tool Accessing the Audio Mixer and Audio Mixer Modes To open the Audio Mixer tool, do one of the following: t If one of the Audio tools is already open, click the Effect Mode Selector menu, and select Audio Mixer. t Select Tools > Audio Mixer. The Audio Mixer tool opens. To select the Audio Mixer mode, do one of the following: t Click and hold the Audio Mixer mode button, and select the mode from the menu.
Using the Audio Mixer Tool 2 Element Description (Continued) Monitor Mix button Controls how your system interprets audio values during playback: • 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. • 5.
Using the Audio Mixer Tool Element Description (Continued) 7 Number of Mix Panes Lets you display four or eight panes. For more information, see “Resizing the Audio Mixer Tool” on page 797. 8 Display/Hide Sliders Lets you switch between hiding and displaying the Volume Level sliders. button 9 Which Set of Tracks Lets you select which enabled tracks to display in the mix panes. When you display to Display in Mix 8 panes (with the Number of Mix Panes button), Grp 1 displays tracks 1-8.
Using the Audio Mixer Tool 7 8 9 1 2 3 4 5 6 10 Bottom part of Audio Mixer tool Element Description 1 Pan value and knobs Displays the pan value and lets you adjust it. These controls appear only when you select a surround sound format using the Sequence Mix Format menu or when you set Stereo, 5.1 Surround, or 7.1 Surround as output in the Audio Project settings. 2 Track Solo and Track Lets you solo or mute selected tracks.
Using the Audio Mixer Tool Element Description (Continued) 7 Group buttons Lets you group adjustments across tracks and have two or more sliders move at the same time. 8 Stereo Link For stereo sequences, links the two pan controls so that when you move one Pan Location cursor, the other moves in a parallel direction.
Using the Audio Mixer Tool 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. You can use the audio track buttons in the Tracks tab of the Command Palette to select tracks in the Audio Mixer tool.
Rendering and Unrendering Order for Audio Effects n 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.
Audio Volume Staging and an Audio Editing Workflow 4. Audio Fade or Dissolve (Quick Dissolve button — real-time, can be rendered). 5. Volume and pan automation (Audio Mixer tool in Volume and Pan Automation 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 Volume 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 volume 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).
Using Clip Volume and Pan Mode When the Audio Mixer tool is in Clip Volume and Pan mode, you can adjust the volume and pan values for entire clips only. You can use Volume and Pan Automation mode and Live Mix mode to adjust volume and pan levels within a clip in the Timeline. For more information, see “Using Volume and Pan Automation” on page 817 and “Using Live Mix Mode” on page 830. The default volume for master clips is set to zero (that is, with no attenuation) when you first capture the media.
Using Clip Volume and Pan Mode 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. t Alt+click (Windows) or Option+click (Macintosh) the Track Selection Menu button, and then select a track. To select more than one track, click the Group button for each track you want to group.
Using Clip Volume and Pan Mode Top to bottom: Group, Stereo Link, and Stereo Mirror buttons; Pan controls and pan display; Audio Level sliders and meters; and Volume Level 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 control, and then drag the control to a new position. Drag left or up to pan to the left, or drag right or down to pan to the right.
Using Clip Volume and Pan Mode n You can adjust volume while playing the clip. For more information, see “Adjusting Volume While Playing a Clip Volume Effect” on page 814. 9. Apply the adjustments to a chosen region of the track by using the Fast Menu button located in the top bar of the tool. See “Audio Mixer Fast Menu: Clip Volume and Pan Mode” on page 812. 10. Play through the audio again, using the J-K-L keys. 11. Repeat steps 7 through 10 until you are satisfied with the pan and volume levels.
Using Clip Volume and Pan Mode 3 4 1 2 5 6 7 8 9 10 11 12 13 14 The following table describes the Pan grid and Advanced Panner controls: Element Description 1 Pan Grid Allows you to input pan information by dragging the Pan Location cursor anywhere within the grid. 2 Advanced Panner button Opens the Advanced Panner. 3 Stereo Link button For stereo sequences, links the two pan controls so that when you move one Pan Location cursor, the other moves in a parallel direction.
Using Clip Volume and Pan Mode Element Description 7 Volume Level sliders Lets you adjust the volume level of the clip. 8 Audio meter Displays the volume level for each channel in a track. 9 X/Y Grid Allows you to input pan information by dragging the Pan Location cursor anywhere within the grid, by using 3-Knob mode, or by entering numeric values in the Position data fields. 10 Front Position control Displays and controls the current front X-axis (left/right) position of the panner.
Using Clip Volume and Pan Mode 4. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the keyboard) to play, shuttle, or step through the audio to check for necessary pan adjustments. 5. (Option) If you are working with a stereo track, click the Stereo Link button if you want to link the two Pan controls so that when you move one control the other moves correspondingly.
Using Clip Volume and Pan Mode 6. (Option) If you are working with a stereo track, click the Stereo Link button if you want to link the two Pan controls so that when you move one control the other moves correspondingly. You can also click the Stereo Mirror button so that the two Pan controls mirror each other as you adjust them. 7. Drag the Pan Location cursor to pan the track. The location of the Pan Location cursor determines the pan position of the signal.
Using Clip Volume and Pan Mode To pan using the Position controls: 1. Adjust the Front and Rear Position controls to set the trajectory line. 2. Rotate the Front/Rear Position control to pan along the trajectory. The Pan Location cursor is constrained to the trajectory line. 3. If you want to change the trajectory angles, do one of the following: t Drag either end point (Front or Rear) of the trajectory line. t Adjust the Front or Rear Position controls. 4.
Using Clip Volume and Pan Mode 6. Turn the Center Percentage control as needed. 7. When you finish adjusting the Center Percentage with the Advanced Panner, click the Close button to return to the Audio Mixer tool. To adjust the LFE control: 1. Select Tools > Audio Mixer. The Audio Mixer tool opens. 2. Select Clip Volume and Pan mode by doing one of the following: t Click and hold the Audio Mixer mode button, and select Auto Mode from the menu.
Using Clip Volume and Pan Mode t Alt+click (Windows) or Option+click (Macintosh) the Track Selection button, and then select a track. 4. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the keyboard) to play, shuttle, or step through the audio to check for necessary pan adjustments. 5. Click the Advanced Panner button. The Advanced Panner opens. 6. Adjust the LFE slider as needed. 7.
Using Clip Volume and Pan Mode 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. Out point only Commands apply adjustments to full clips from the beginning of selected tracks to the Out point. None Commands apply globally (across entire tracks).
Using Clip Volume and Pan Mode 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 volume values are the values for the entire segment; for example, you cannot set volume for a portion of a segment without affecting the entire segment. To set volume for a portion of a segment, use Volume and Pan Automation mode.
Using Clip Volume and Pan Mode To adjust volume while playing a Clip Volume effect: 1. Do one of the following: t Select an existing Clip Volume 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. Your Avid editing application repeatedly loops through the selected area as follows: - If you have In and Out points on your sequence, the command loops over the selected area.
Using Clip Volume and Pan Mode 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 Volume and Pan Automation with field audio recorded (and subsequently captured) variably between A1 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.
Using Volume and Pan Automation Example of the graphic representation of keyframes and volume ramps in the Timeline. Volume 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. When you adjust pan parameters, you can select which parameter displays in the Timeline. The pan parameters available depend on your sequence format and the audio track format.
Using Volume and Pan Automation Sequence Format Audio Track Format Volume and Pan Parameters Surround Sound 7.1 Mono None, Clip Volume, Volume, Pan (Front, Rear, FrontRear, Center %, Side Center %), LFE Volume Stereo None, Clip Volume, Volume, Pan L (Front, Rear, FrontRear, Center %, Side Center %), Pan R (Front, Rear, FrontRear, Center %, Side Center %), LFE Volume 5.1 None, Clip Volume, Volume 7.
Using Volume and Pan Automation 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. If you add a keyframe for pan, the keyframe applies only to the automation value displayed in the Timeline. For example, if you are working with pan left automation, the keyframe is added to the pan left automation values. A straight line appears in the selected audio track.
Using Volume and Pan Automation t Move several keyframes vertically on a track at the same time by placing In and Out points to select the area you want. When you move one keyframe up or down within the marked area, all keyframes within the marked area move in relation to each other. This works for all enabled audio tracks. This procedure is similar to grouping sliders on an audio mixing board or in the Audio Mixer tool. To delete a single volume automation or pan keyframe: 1.
Using Volume and Pan Automation Feature Description (Continued) Postroll text box Lets you provide the same kind of visual cue at the end of the recording The volume slider areas appear blue in Volume and Pan Automation mode. For descriptions of other controls in the Audio Mixer tool, see “Audio Mixer Tool Controls” on page 793.
Using Volume and Pan Automation To record volume automation or pan information by using the Audio Mixer tool sliders: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Auto Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Auto mode setting. 3. Select an audio track for adjusting volume or pan. 4.
Using Volume and Pan Automation You should remove as many excess keyframes as possible while still maintaining the volume changes. You can move, add, and delete keyframes individually or as groups to further adjust the volume or pan. For details on how to adjust the keyframes, see “Using Volume and Pan Automation in the Timeline” on page 819.
Using Volume and Pan Automation Command Description (Continued) Adjust Volume/Pan on Track Opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks. For example, if you type –1 in the Volume Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks are lowered by exactly 1 dB when you click OK.
Copying, Pasting and Moving Audio Keyframes To use the Fast Forward and Rewind keys when editing volume automation or pan keyframes: 1. Click the Audio Mixer tool to make it active. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Auto Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Auto mode setting. 3. Select the appropriate track or tracks. 4. Press the Fast Forward key or the Rewind key.
Copying, Pasting and Moving Audio Keyframes 3. Press Ctrl+C (Windows) or Command+C (Macintosh) to copy the audio keyframes to the clipboard. 4. Either Mark IN or Mark OUT or move the blue bar to the area in the audio track where you want to paste the audio keyframes. You can also select another audio track where you want to paste the keyframes. 5. Press Ctrl+V (Windows) or Command+V (Macintosh) to paste the individual keyframes.
Copying, Pasting and Moving Audio Keyframes 3. Either Mark IN or Mark OUT or move the blue bar to the area in the audio track where you want to paste the audio keyframes. You can also select another audio track where you want to paste the keyframes. 4. From the Edit Menu select Paste Audio Keyframes or use the shortcut Shift+Ctrl+V (Windows) or Shift+Command+V (Macintosh). A dialog opens asking you to choose the type of keyframes to paste. 5. Select either Automation Gain or Automation Pan.
Copying, Pasting and Moving Audio Keyframes To move a range of keyframes in time: 1. Lasso the range of keyframes or Shift+click the range of keyframes you want to move. 2. Press Option+drag (Macintosh) or Alt+drag (Windows) to move the entire group of keyframes horizontally in the Timeline. Removing Hidden Keyframes When you edit or trim an audio track that contains keyframes, there may be keyframes that are hidden to the left or right of the remaining part of the clip.
Using Live Mix Mode Using Live Mix Mode Live Mix mode lets you temporarily override existing volume and pan automation 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 volume and pan automation settings in real time.
Using Live Mix Mode Entering Live Mix Mode To enter Live Mix mode: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Live Mix Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Live mode setting. The Audio Mixer tool changes to Live Mix mode. Using Live Mix Mode with an External Controller To use a control surface in Live Mix mode: 1. Connect and configure the control surface.
Using Live Mix Mode The faders jump back to the volume automation settings and automatically move with any volume automation keyframes on the track. 8. (Option) Change back to Live Mix mode and play the audio. The faders jump back to the settings you last used in Live Mix mode and the audio plays at the Live Mix mode setting. You cannot save the Live Mix mode settings between editing sessions.
Using Live Mix Mode Points Set Description In point only Commands apply adjustments to full clips from the In point to the end of selected tracks. Out point only Commands apply adjustments to full clips from the beginning of selected tracks to the Out point. None Commands apply globally (across entire tracks).
Using Live Mix Mode Live Mix level settings at 0 dB and -45 dB The following illustration shows a sequence in the Timeline with volume automation applied. 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.
Fading and Dipping Audio After changing the levels in this way, you might enter Volume and Pan Automation mode and further adjust the volume between the In and Out points. Fading and Dipping Audio In traditional analog editing, you manually change volume levels to smooth audio transitions between elements in an edited sequence by doing any of the following: • Fading audio up or down. • Crossfading between audio elements on two separate channels. • Dipping audio to a lower level.
Fading and Dipping Audio 3. Click the Add menu, and Select Dissolve. Only dissolves work with audio tracks. 4. Click the Position menu, and select the location for the dissolve. 5. Select a duration for the dissolve by doing one of the following: t Type a duration, measured in frames (30 frames equals 1 second of NTSC footage; 25 frames equals 1 second of PAL footage), in the Duration text box. t Click either the left or right edge of the Dissolve Effect icon, and drag it to change the duration.
Adjusting Audio Clip Gain in the Timeline n The Skip Existing Transition Effects option is useful when you want to add a number of dissolves to a sequence that already has transition effects. Do one of the following: t Select Apply to All Transitions (In -> Out) to overwrite all existing transition effects between the In and Out points. t Select both options to avoid overwriting any existing transition effects. 9. Click Add to move the effect to the transition point without rendering.
Adjusting Audio Clip Gain in the Timeline t Select Audio Data > Clip Gain from the Timeline Fast Menu. A fader icon appears for each audio clip. Clip gain values appear in the Timeline for each clip that has clip gain set. Fader icon and Clip Gain value in the Timeline 3. Click the fader icon. A mini fader opens. 4. Slide the fader to adjust the value of the clip gain or enter a value in the fader text box.
Audio Sample Rate Conversion n You can also move the position bar to the clip you want to adjust, select Alt + Shift and the Up and Down arrows to adjust the clip in one decibel increments. 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 839.
Mixing Down Audio Tracks 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, (and 88.2_kHz and 96_kHz if attached to Nitris DX or Mojo DX). The broadcast standard for most high-end video postproduction houses is 48 kHz. Choose the rate based on the requirements of your facility. Quality Lets you choose the conversion quality: High, Medium, and Low.
Mixing Down Audio Tracks 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, Stereo, 5.1, or 7.1 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 or surround sound mixdown goes to the next available stereo or surround sound track.
Mixing Down Multiple Audio Tracks Mixing Down Multiple Audio Tracks The editing application allows you to generate multiple audio mixes. You can map multiple inputs into multiple output channels. You can create up to 24 output channels for the mix. To create multiple audio mixes: 1. Load the sequence into the Record Monitor. 2. Select Special > Audio Mix > Multiple Mixes. The Mutliple Mix dialog opens. 3.
Mixing Down Multiple Audio Tracks 4. (Option) Click the button above the Output channel to apply the Master Fader effects and gain value to the output mix. 5. Map the inputs for each output channel by clicking to enable the input buttons for each channel. Holding Shift + hovering over the inputs toggles them on and off. Alt + clicking on a column, toggles all inputs in that column. 6.
Splitting Multichannel Tracks to Mono Tracks The drive is the media drive where the system stores the media files for the mixed-down audio. 10. (Option) Select Use Marks. When this option is selected, your Avid editing application uses current IN and OUT points in the selected sequence to determine starting and ending frames for the mixdown. 11. (Option) Select Create New Sequence. 12. Click Mix. New master clips will be created in the selected bin for each mixdown specified in the setting.
Splitting Multichannel Tracks to Mono Tracks n If splitting multichannel tracks to mono tracks causes your sequence to exceed 24 audio tracks, or if splitting to mono cannot maintain the relative order of tracks or the left/right channel alignment, the Avid editing application cannot complete the operation and an error message displays. You can reduce the number of audio tracks in your sequence and retry the operation.
Using the Audio EQ Tool The multichannel track splits into mono tracks, with the additional mono tracks added below the original multichannel track. A copy of your original sequence is saved to your bin as [sequence_name].Copy.[number]. To split all multichannel audio tracks in the Timeline to mono, do one of the following: t Right-click in the Timeline, and select Split All Tracks to Mono. t Select Clip > Split All Tracks to Mono.
Using the Audio EQ Tool Button Description 1 Effect icon Lets you create an EQ template. Drag the icon to an open bin to create the template. 2 Audio Loop Play Lets you make adjustments to an EQ effect while you play the effect. This button is also a mappable button on the Command palette. For more information about using this button, see “Adjusting Volume While Playing a Clip Volume Effect” on page 814. 3 Render Effect Lets you render an effect without leaving the Audio EQ tool.
Using the Audio EQ Tool EQ-Specific Features 1 2 5 3 4 6 7 Bottom part of the Audio EQ tool 1 EQ Parameter display 5 3-band controls 2 Low shelf 6 EQ Range slider 3 Parametric midrange 7 EQ Parameter graph 4 High shelf The Audio EQ tool provides three bands of control: • The first band, the low shelf, has four turnover points (50 Hz, 80 Hz, 120 Hz, and 240 Hz). A turnover point is the point at which the curve starts to return to 0.
Using the Audio EQ Tool The In button lets you turn off an individual EQ effect (the currently selected effect). The button is yellow when the EQ effect is on (inline) and gray when the EQ effect is off. The Ignore EQ option turns off all EQ effects for the sequence. Rendered EQ effects still play correctly. When you apply Audio EQ effects, consider the following: • Apply Audio EQ to entire segments only. You cannot isolate portions of a segment for an Audio EQ effect by using In to Out points.
Using the Audio EQ Tool Applying Audio EQ Effects To adjust audio EQ for a track: 1. Load the sequence or clip containing the audio track: t To adjust a track in a source clip, click the Source monitor to make it active. To view a source clip’s tracks in the Timeline, click the Toggle Source/Record in Timeline button. t To adjust a track in a sequence, click the Record monitor to make it active. 2. (Option) Isolate a portion of an audio segment by placing add edits. 3.
Using the Audio EQ Tool t Set a value of 0 dB by clicking the slider and entering 0, or by clicking 0 along the vertical edge of the Low Shelf, Parametric Midrange, or High Shelf sliders. 8. Click the Audio EQ Tool Fast Menu button, and select Set EQ to apply the adjustments to the track. The command works as follows on the selected tracks: - In and Out points — Applies the EQ effect to selected tracks between the points.
Using the Audio EQ Tool To copy the settings to another audio clip: t Drag the effect icon in the Audio EQ tool to another audio clip in the Timeline. For more information on using effect templates, see “Working with Effect Templates” in the Help. Removing Audio EQ Effects with the Fast Menu You can remove audio EQ effects with the Audio EQ Tool Fast menu or with the Remove Effect button.
Using the Audio EQ Tool Set EQ In/Out applies only to the audio track currently selected by the Audio EQ tool. You can change your selected region by eliminating or adding marks in the Timeline, or by selecting a different track. Removing Audio EQ Effects with the Remove Effect Button To remove an Audio EQ effect: 1. Move the position indicator to the effect in an active track. 2. Do one of the following: t In Source/Record mode, click the Remove Effect button. t In Effect mode, press the Delete key.
Using the Audio EQ Tool To compensate for the loss of bass by adjusting the low shelf: 1. Use the 2-octave midrange setting to create a wide midrange. 2. Move the midpoint of the parametric curve to 88 Hz (Windows) or 90 Hz (Macintosh). 3. Boost the midrange of the parametric curve to +7.7 dB. To isolate the frequency: 1. Use the ¼-octave influence range. 2. Set the midrange EQ parameter to –15 dB. 3.
Using the Audio EQ Tool Once you locate the frequency you want, you can adjust it as needed. To locate a specific frequency and either emphasize or de-emphasize it: t Use the ¼-octave influence range and a large negative decibel value. t Keep both the high shelf and low shelf set to zero. t Use the EQ Range slider to move the center point of the parametric curve along the frequency range while you play the audio track.
Using the Audio EQ Tool 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 141. 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.
Recording Voice-Over Narration 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 Volume Effect” on page 814. 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 Recording Voice-Over Narration Using the Capture Tool The Capture tool lets you record up to two channels of audio directly into the Timeline for voice-over narration. You can also use the Audio Punch-in tool to record audio directly into the Timeline. For more information, see “Recording Voice-Over Narration Using Audio Punch-in” on page 863. To capture voice-over narration using the Capture tool: 1. Mark the In and Out points in the Timeline. 2. Select Tools > Capture.
Recording Voice-Over Narration 6. Click the Record button. 7. Stop the recording as follows: t If you started with both In and Out points in the Timeline, the system automatically stops recording when it reaches the Out point (or after it adds the appropriate audio handle after the Out point). t If you added only an In point, click the Record button a second time to stop the recording. Your Avid editing application automatically names the voice-over.
Recording Voice-Over Narration 1 2 3 4 8 9 10 5 6 11 12 13 7 14 15 Audio Punch-In Tool Feature Description 1 Play In/Out button Starts playing with the ability to perform a real-time punch-in. The play loops from the In point to the Out point but stops looping once recording completes. This button blinks bright green while playing. 2 Record button Starts and stops the recording. If you set an In point and Out point, recording automatically starts at the In point and stops at the Out point.
Recording Voice-Over Narration Audio Punch-In Tool Feature Description 7 Input Channels button Identify the channels on the audio hardware used for recording. Click the appropriate button to select the channel. Alt+click (Windows) or Option+click (Macintosh) the button to display a menu and select another channel. The selected input channels are not used for playback. Do not select the same channels as mix output on the Audio Mixer tool.
Recording Voice-Over Narration Audio Punch-In Tool Feature Description 15 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.
Recording Voice-Over Narration 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 9. Click the Stop button, or press the space bar to stop play and recording. Your Avid editing application automatically names the voice-over and saves it as an audio clip. You can change the clip name as you would for any other clip. The position indicator stops to get ready for your next voice-over. 10. (Option) To go to the In point at any time, click the Go to Mark In button.
Recording Voice-Over Narration Audio Punch-In Support for Open I/O Devices If your Open I/O device allows you to record and play simultaneously, you can perform an Audio Punch-In. Check with your 3rd party vendor to see if they support simultaneous record and play. By clicking on the Punch-In monitoring button in the Audio Punch In tool, you can choose the following monitoring options: • On - allows for IN to OUT audio monitoring during audio punch-in.
Using Automatic Voice-Over Using Automatic Voice-Over The Automatic Voice-Over feature (Auto VO) lets you automatically remove certain segments from a sequence based upon their relationship to a selected audio track. You can also use automatic voice-over to quickly create a new sequence that consists only of the background material or only of the interview material. You can then use the new sequence as a starting point for a revised version of the story, for example, in a follow-up newscast.
Using Automatic Voice-Over t Keep segments, to retain all segments with audio on the track selected in step 4 and remove all other segments. 6. Click OK. Your Avid editing application creates a new sequence in the bin and names it by adding a .vo file name extension to the original sequence name.
19 Using External Audio Devices Avid editing applications support the following external fader controllers or mixers for volume automation and pan recording or as control surfaces. n External fader controllers or mixers are optional. You do not need them to perform volume automation or pan recording on an Avid editing system. • 002 (Windows only) and Command|8 — These units support touch-sensitive flying faders. While recording volume automation, the faders automatically move.
Feature Digi 002 (MC/NC only) Command|8 MC Control MC Mix MC Transport Provides audio play, input, and output Yes No No No No Record volume automation Yes Yes Yes Yes No Record pan Yes Yes Yes Yes No Flying faders Yes (8) Yes (8) Yes (4) Yes (8) No Touch-sensitive faders Yes Yes Yes Yes No Touch-sensitive panners No No Yes Yes No Solo/mute Yes Yes Yes Yes No Supports audio mixing Noa No No No No Latch mode Yes Yes Yes Yes No 1024 1024 1024 Not appl
Configuring an External Controller Configuring an External Controller Some fader controllers require specific configuration procedures before you can use the devices with your Avid editing application. For more information, see the following topics: • “Configuring the Command|8” on page 877 • “Configuring the Mbox Device” on page 884 • “Using Avid Artist Series Controllers” on page 901 For information about using third-party devices, see the documentation that came with your fader controller.
Configuring External Controller Settings Position indicator lights in the Audio Mixer tool 5. Move the faders on the external fader controller. The corresponding fader should move in the Audio Mixer tool. Configuring External Controller Settings You use the Controller Settings dialog box to configure your system so that it can communicate with supported fader controllers.
Configuring External Controller Settings 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 > [controller]. 4. Click Edit Settings. The Controller Settings dialog box for your controller opens. For information on the layout of the dialog box and the default button mappings, see the documentation that came with your controller.
Using an External Fader Controller or Mixer to Record Volume Automation t If your controller uses shifted functions, press and hold the Shift key on your keyboard, click the function in the Command palette, and drag it to the button in the Controller Settings dialog box whose function you want to program. As you drag between the Command palette and dialog box, the pointer changes to the hand pointer. The new function appears on the controller button.
Adjusting the Volume or Pan of Individual Keyframes 8. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and select Filter Volume Automation on Track — In/Out. (Click the Track Selection button for a track to enable Filter Automation.) If you delete too many keyframes, use the Undo command to restore them. 9. Repeat the previous step until you have decreased the number of keyframes to an acceptable level.
Using the 002 and the Command|8 For information on connecting a fader controller or mixer, see “Using an External Fader Controller or Mixer to Record Volume Automation” on page 874. n The position indicator lights do not apply to pan. Using the 002 and the Command|8 You can use the Command|8 as a control surface for your Avid editing application as well as a controller for volume automation and pan recording.
Using the 002 and the Command|8 Configuring the Command|8 Before you configure your Command|8 with your Avid editing application, install and configure the device as described in the documentation that comes with Command|8. n You must start Command|8 before you start your Avid editing application. If you start your Avid editing application when the controller is turned off, you must exit your Avid editing application, turn the controller on, and then start your Avid editing application.
Using the 002 and the Command|8 The buttons on the 002 (for Windows systems only) and Command|8 can have different functions depending on the modifier key you press. You can either use the keyboard or press one of the Keyboard Modifier switches on the controller surface. n For the 002 and the Command|8, pressing the Option key on a Macintosh system is equivalent to pressing the Alt key on a Windows system. Pressing the Command key on a Macintosh system has no equivalent on a Windows system.
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.
Using the 002 and the Command|8 4. Click Edit Settings. The 002 Controller Settings dialog box or Command|8 Controller Settings dialog box opens. 5. Click Open Command Palette. The Command palette opens. 6. 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.
Using the 002 and the Command|8 Position indicator lights 2. Click the Timeline Fast Menu button and select Audio Data > 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.
Using Mbox Family 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 214 and “Recording Voice-Over Narration” on page 858. You can also use your device to monitor output audio by connecting headphones or speakers to the Mbox device.
Configuring USB-to-MIDI Software for External Controllers 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 Testing External Fader Controller Connections To test the external fader controller connections: 1. Connect all MIDI hardware devices. MIDI port A is the default port used by the Avid system. To change the port configuration, see “Switching Between MIDI Connections on the USB-to-MIDI Converter” on page 888. 2.
Configuring USB-to-MIDI Software for External Controllers 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. Now you are ready to use the fader controller with your Avid editing application.
Avid HD Native and Pro Tools|HD Hardware Configuration for Avid Editing Systems 3. Check the Controller Settings dialog box in the Settings list of the Project window. Verify that the correct Gain Controller port is selected. 4. (Macintosh only) Use the Apple System Profiler to check whether the system is recognizing the MIDI device: a. Select Apple menu > About This Mac. b. Click More Information. The Apple System Profiler opens. c. Click the Devices and Volumes tab.
Avid HD Native and Pro Tools|HD Hardware Configuration for Avid Editing Systems With Pro Tools|HD or HD Native hardware installed on a supported Avid editing system, you can perform the following: • Play back audio through up to 8 audio outputs. You can also play back audio with a SYNC HD or SYNC I/O device connected. The Avid editing application does not control the clock settings for these devices.
Avid HD Native and Pro Tools|HD Hardware Configuration for Avid Editing Systems 4. Click the Control Panel button. 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.
Avid HD Native and Pro Tools|HD Hardware Configuration for Avid Editing Systems 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 the 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 Pro Tools|HD or HD Native hardware. 9. Click OK to close the Hardware Setup dialog box. 10.
Avid HD Native and Pro Tools|HD 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.
Using a GPI Device with the Audio Punch-In Tool 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 the 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 Pro Tools|HD or HD Native hardware. 5. Click OK to close the Hardware Setup dialog box.
Using a GPI Device with the Audio Punch-In Tool If you have a V-LAN VLXi deck controller and a GPI device connected to your Avid system and they are configured correctly, you can use the GPI to control additional external hardware while you are working with the Audio Punch-In tool. For example, you might want to control an indicator light in a recording studio to provide a visual cue for performers or a control light outside the studio that indicates when recording is in progress.
Using a GPI Device with the Audio Punch-In Tool When you use the Audio Punch-In tool without any preroll or postroll, the following occurs: • Record Out is sent when recording begins. • Stop Out is sent when recording (and playback) ends. When you use the Audio Punch-In tool with preroll and postroll, the following occurs: n • Play Out is sent when preroll begins (the position indicator begins moving in the Timeline, and the Play In/Out button in the Audio Punch-In tool blinks green).
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 4 TIMECODE A IN OUT 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).
Using a GPI Device with the Audio Punch-In Tool 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.
Using a GPI Device with the Audio Punch-In Tool 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 with your Avid editing application: Avid Artist Control, Avid Artist Transport, and Avid Artist Mix. These controllers employ the EUCON™ (Extended User Control) protocol, which allows for integrated control of your Avid editing application and EUCON-compatible devices.
Installing EuControl Software If you want to connect your Artist Series controller to an Avid editing system that is part of an Avid ISIS shared storage environment, the following requirements apply: • (Macintosh only) Avid recommends that you connect your Artist Series controller to the built-in Ethernet 1 port on your Macintosh system.
Configuring Avid Artist Series Controller Settings EUCON icon in the notification area t (Macintosh) Click the EUCON icon in the dock, and then select Window > EuControl Settings. The EuControl Settings dialog box opens. b. Click the Surfaces tab, and then click Update Firmware. If there is updated firmware for your Artist Series controller, EuControl automatically downloads it. c. Follow the on-screen instructions to install the new firmware. 4. Shut down your system. 5.
Configuring Ethernet Connections (Macintosh) 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. Configuring Ethernet Connections (Macintosh) You can connect your Artist Series controller to either the Ethernet 1 or Ethernet 2 port on your Macintosh system.
Setting the IP Address 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. Select the Apple menu > System Preferences. 7. In the Internet & Wireless area, click Network. The Network dialog box opens. 8. Click the Action menu and select Set Service Order. The Service Order dialog box opens. 9.
Setting the IP Address connect a controller to a system using an Ethernet cable. You can override these methods of obtaining IP addresses by supplying a static IP address, which the devices use in all cases when turned on. n Avid does not recommend setting up static IP addresses unless you have experience in configuring network properties. To set a static IP address (Avid Artist Control): 1. Press and hold the Page Left and Page Right keys while you press and release the Power button.
Setting the IP Address 3. Touch the first box of the IP Address field to select it, and then adjust its value by turning any of the eight knobs or the Jog wheel. 4. Repeat the previous step to adjust all values of the IP Address and the Subnet Mask fields. 5. Touch OK to save this static IP address. Turn off the controller and then turn it on to use the new IP address. You can touch Cancel at any time to discard changes made to the IP address. To set a static IP address (Avid Artist Transport): 1.
Configuring EuControl Settings To set a static IP address (Avid Artist Mix): 1. Press and hold the Page Left and Page Right keys while you press and release the Power button. The Use DHCP screen appears in the channel display for fader strip 1. 2. Turn the knob underneath the display clockwise to change the Use DHCP value from yes (default) to no. You can use the SEL and ON keys instead of the knob to decrease or increase the value, respectively. 3.
Configuring EuControl Settings The EuControl application starts when you start your computer and runs in the background. Avid recommends that you make sure EuControl is running before you start your Avid editing application. For a full description of configuration procedures and options, see the documentation that came with your Artist Series controller. To connect an Artist Series controller to your system: 1. Connect your Artist Series controller to your system and turn on the power for the device. 2.
Configuring EuControl Settings 4. 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.
Artist Series Controller Button Mappings 7. (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. 8. Close the EuControl Settings application.
Artist Series Controller Button Mappings 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.
Customizing Avid Artist Series Controls 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.
Customizing Avid Artist Series Controls 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.
Customizing Avid Artist Series Controls The Artist Transport controls for the Touchscreen. 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.
Moving Through Footage with Artist Series Controllers - EuCon - Page - MC - Wheel 6. In the Details column, select the function you want to associate with the new soft key. EUCON commands automatically label the button but do not select an icon. 7. Close the Soft Key Command Editor. The Soft Key tab updates and displays the new function. Moving Through Footage with Artist Series Controllers You can use your Artist Series controller to control how you move through footage.
Volume Automation and Pan on Artist Series Controllers • The track selection buttons on your Artist Series controller allow you to select and deselect tracks in the Timeline. Selecting tracks in the Timeline or in the Audio Mixer tool updates the track selection display in your Artist Series controller. • You can solo and mute tracks on your Artist Series controller to isolate tracks as you monitor the audio playback.
Recording Volume Automation and Pan with Artist Series Controllers assignments by the number of available faders — for example, shifting assignments from tracks 1 – 8 to tracks 9 – 16. The Nudge button changes track assignments by one track — for example, shifting assignments from tracks 1 – 8 to tracks 2 – 9. Artist Mix provides buttons and indicator lights mapped to standard audio editing functions: Button Function SEL Controls and indicates pan recording.
Recording Volume Automation and Pan with Artist Series Controllers 3. Attach the Artist Series controller to your system. (See “Configuring Avid Artist Series Controller Settings” on page 903.) The position indicator lights in the Audio Mixer tool change to blue when the fader controller or mixer is on and correctly attached to the system. Position indicator lights 4. Click the Timeline Fast Menu button and select Audio Data > Auto Gain or Audio Data > Audio Pan. 5.
Using the Latch Mode Feature on Artist Series Controllers t To move the track assignments to the left or right by one track, click the Nudge Left or Nudge Right button. Using the Latch Mode Feature on Artist Series Controllers Some Artist Series controllers have an Auto REC button for each track that lets you enable or disable latch mode for recording volume automation and pan information.
Controller Application Sets • Lift and Extract edits • Trim edits • Multicamera edits These functions allow you to edit and trim clips in your sequences using the controller rather than the buttons and tools in your Avid editing application. For example, you can use the Jog wheel to navigate to a transition in the Timeline, and then you can use the Soft Key functions to activate Trim mode, and then perform a single- or dual-roller trim.
Controller Application Sets MONI TOR CONTR OL R OOM POWER SOLO ON SOLO ON SOLO ON SOLO ON WOR K S TAT I ON TOP AP P LI CAT I ON B ACK CFG CFG 12 AUTO R EC N AUTO R EC N 12 12 AUTO AUTO 12 PAGE PAGE MIXER CLOSE R EC N R EC N 6 6 6 6 0 0 0 0 AS S I GN AS S I GN AS S I GN 5 5 5 5 NUDGE NUDGE AS S I GN S EL Y S EL Y S EL Y S EL Y 10 10 20 20 20 20 30 30 30 30 40 40 40 40 60 60 60 60 BANK 8 8 8 8 HOME SOFT KEYS END OP ST REC 10
Controller Application Sets Control Function Soft keys Provide editing and navigation functions specified in the soft key pages in the display. Moving through the soft key pages with the soft key navigation buttons changes the functions assigned to the soft keys. Volume Adjusts the volume. Power Turns the controller on or off. Back Moves the knob set functions up one level if the knob set in the display is a submenu.
Controller Application Sets Control Function Zoom Vert (Shift+Zoom Horz) Allows you to use the Jog wheel to zoom vertically in the Timeline. Jog Allows you to use the Jog wheel to jog through media in the Timeline or a monitor. Shuttle (Shift+Jog) Allows you to use the Jog wheel to adjust playback. You can alter the speed of playback depending on how far you turn the Jog wheel. Rew Moves to the previous transition in the sequence. FF Moves to the next transition in the sequence.
Controller Application Sets Avid Artist Transport: Display, Soft keys, Numeric keypad (Show/Redo/Undo), Transport keys, Application change key, Shift key Control Function Display Displays functional information including timecode, active application, and soft key labels. Soft keys Provide editing and navigation functions specified in the soft key pages in the application set. You can view the soft key functions by pressing the Show button.
Controller Application Sets Control Function Show+soft key Shows the label for the selected soft key in the display. You can lock the Show key by pressing the key and then quickly pressing a soft key. Press the Show key again to unlock it. Redo (Shift+period) Redoes the last undone edit. Undo (Shift+asterisk) Undoes the previous edit. Transport keys Allow you to perform navigation and editing functions specified in the application set.
Controller Application Sets POWER SEL SEL SEL SEL SEL SEL SEL SEL ON ON ON ON ON ON ON ON MIXER CLOSE TOP BACK CFG NUDGE CFG SOLO PAGE ON SOLO ON SOLO ON SOLO ON SOLO ON SOLO ON SOLO ON SOLO PAGE R TZ FLIP CHAN PREV NE XT R EW FF STOP PLAY 12 12 12 12 12 12 12 6 6 6 6 6 6 6 6 AUTO AUTO R EC N AUTO R EC N AUTO R EC N AUTO R EC N AUTO R EC N AUTO R EC N AUTO R EC N END BANK BANK REC 12 R EC N NUDGE HOME ON WOR K STATION A
Controller Application Sets Control Function Solo button Solos the selected track. On button Unmutes and mutes the selected track. Chan Enables channel mode. Flip (Shift+Chan) Switches control between the fader controls to the knobs. A vertical double arrow appears in the display when the faders and knobs are flipped. Insert Allows you to select the plug-in effect listed in the display. Press the soft knob for a track to select the plug-in.
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.
Audio Track Effect Plug-Ins When you use more than one plug-in on a track, your Avid editing application processes them in a series. Each effect gets added to that of any previous effect (moving from left to right in the Track Control panel). You can only apply mono plug-ins to mono audio tracks and stereo plug-ins to stereo audio tracks. Avid qualifies a number of Audio Track Effect plug-ins manufactured by Avid for use with the current version of your Avid editing application.
Audio Track Effect Plug-Ins 2. Click the Select Effect button, and select an Audio Track Effect plug-in effect: The plug-in effect is inserted in the track. To insert an plug-in using the Effect Palette: 1. In the Project window, click the Effects tab. The Effect Palette appears. 2. Click the Audio tab.
Audio Track Effect Plug-Ins 3. Click an effect category, select the effect you want, and drag it to the segment or to the Audio Track Effect insert button where you want to apply the insert. You can only insert mono effects on a mono track, stereo effects on a stereo track, and surround sound effects on a surround sound track. The Select Insert dialog box opens. 4. Do one of the following: t If you want to add a new insert, click an [Empty] insert button.
Audio Track Effect Plug-Ins To edit an Audio Track effect: 1. If the Track Control panel is not visible, click the Track Control Panel button or click Timeline fast menu and select Track Control Panel. 2. Click the Audio Track Effect insert button for the effect you want to edit. If a plug-in is inserted on the track, the Select Effect button displays the name of the plug-in and the Audio Track Effect tool opens a window associated with the plug-in.
Audio Track Effect Plug-Ins 6. (Option) Click the Bypass button if you want to play audio without processing the track effect. This lets you compare the audio with or without the plug-in effect. If you click Ctrl+Bypass (Windows) or Cmd+Bypass (Macintosh), you can disable Audio Track effects on all tracks in the Timeline. The Bypass button and the insert buttons on the selected track change to blue. 7.
Audio Track Effect Plug-Ins You must have one empty insert on your audio track so you do not replace an existing insert when you reorder the inserts. To modify the order of Audio Track Effect inserts on a track, do the following: t Click an insert button and drag it to an empty insert button in the Track Control panel. Removing Audio Track Effect Inserts on a Track Removing an insert deletes the effect from the track. To remove an Audio Track Effect insert: 1.
Avid AudioSuite Plug-Ins To apply an Audio Track Effect template to an audio track, do one of the following: t Drag the Audio Track Effect template from the bin to an insert button in the Track Selection panel. t Drag the Audio Track 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 effect is applied to the track.
Avid AudioSuite Plug-Ins The AudioSuite tool automatically applies stereo plug-ins to stereo tracks and mono plug-ins to mono tracks. Applying an AudioSuite Plug-in to a Clip in the Timeline The following illustration shows the default layout of the AudioSuite window.
Avid AudioSuite Plug-Ins 3. (Option) To select multiple tracks, press the Shift key while you select additional tracks from the Track Selection menu. Plus signs (+) mark the additional tracks and indicate that the effect is applied to more than one track. 4. Click the Plug-In Selection menu, and select a plug-in. Your Avid editing application automatically applies the plug-in effect to the track or tracks in the Timeline. It applies stereo effects to stereo tracks and mono effects to mono tracks. 5.
Avid AudioSuite Plug-Ins Button Description Cancel Closes the dialog box and does not save the effect. Preview Plays back a portion or all of the currently selected audio clip with processing. Some plug-ins can preview in real time and some cannot. If a plug-in cannot preview in real time, your Avid editing application plays back the processed audio in 2-second intervals: it processes 2 seconds of audio, plays it, and repeats the operation.
Avid AudioSuite Plug-Ins Rendering AudioSuite Plug-in Effects You need to render all AudioSuite plug-ins before you can play back the effect. If you do not render the effect manually, your Avid editing application automatically renders the effect before it creates an audio mixdown or audio dissolve containing the effect. n When you render an audio effect on an AMA media clip, all audio media files are written as PCM (MXF), regardless of what you set for the audio file format.
Avid AudioSuite Plug-Ins 1 9 2 10 3 11 4 6 7 5 8 The following table describes the controls in the AudioSuite window. Control Description 1 Clip Selection menu Lets you choose the active clip. It lists the current active clip and other clips you dragged into the AudioSuite window. The window controls change to reflect the active clip. 2 Input Source Track selectors Let you choose the input source tracks for the effect.
Avid AudioSuite Plug-Ins 5 Control Description Status display Provides information about the current state of the DAE (the software that manages the AudioSuite plug-ins) and the currently applied effect. For stereo and multichannel processing plug-ins, the Status display identifies the maximum number of tracks that the plug-in can process. If you initially select more than the maximum, the system automatically disables tracks until it reaches the plug-in’s maximum number.
Avid AudioSuite Plug-Ins Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins AudioSuite plug-ins let you select the following types of processing: • Mono processing only — This option is available for plug-ins that operate on only one mono audio track at a time. The other option (Stereo) appears dimmed. The plug-in applies the effect to each source track individually, in a serial manner.
Avid AudioSuite Plug-Ins Using AudioSuite Plug-ins to Create New Master Clips To create new master clips using the AudioSuite plug-ins: 1. Drag one or more master clips or subclips into the AudioSuite window. Your Avid editing application automatically enters Master Clip Processing mode and expands the AudioSuite window, if necessary. 2. If you dropped more than one master clip in the AudioSuite window, select a clip to work on from the Clip Selection menu. 3.
Avid AudioSuite Plug-Ins Template names take the following format: • (Windows) Your Avid editing application combines the original clip name with the effect name — for example, Test Audio clip - AudioSuite Plug-In Effect: Normalize. • (Macintosh) Your Avid editing application adds an effect file name extension to the effect name — for example, QuietClip.NormalizeQuietClip.Normalize.effect. You can use the template if you want to modify an effect on a clip. To use a template to modify a master clip: 1.
Avid AudioSuite Plug-Ins Using AudioSuite Plug-Ins in Stereo You can use some AudioSuite plug-ins on either mono or stereo tracks. To use AudioSuite plug-ins in stereo, be aware of the following: • To process a mono track and obtain a stereo result, select the desired track or mark an In point and Out point, then either select an empty track or add an new one. When you process the audio, the result will be two tracks or regions that represent the right and left channels of the processed audio.
Working with Dolby E Surround Sound Plug-ins 2. To cancel a render operation, press Ctrl+period (Windows) or Command+period (Macintosh). Be careful not to press these keys multiple times. If you press Ctrl+period (Windows) or Command+period (Macintosh) after the render operation stops from a previous Ctrl+period (Windows) or Command+period (Macintosh), your Avid editing application closes the window after it cancels the render operation.
Core Avid Audio Plug-Ins Core Avid Audio Plug-Ins A set of core audio plug-ins installs with your Avid editing application. Audio Track Effect and AudioSuite Plug-ins supported by Avid, such as the core set, appear in the Audio Track Effect tool and the AudioSuite Plug-in Selection menu with their plug-in name. 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.
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description AIR Frequency Shifter Shifts the audio signal’s individual frequencies inharmonically. For more information, see “AIR Frequency Shifter (Audio Track Effect)” on page 960. AIR Fuzz-Wah Modifies the audio signal with different types and varying amounts of transistor-like distortion. For more information, see “AIR Fuzz-Wah (Audio Track Effect)” on page 961.
Core Avid 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 (Audio Track Effect and AudioSuite)” on page 989. 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 Recti-Fi Provides additive synthesis effects through waveform rectification, multiplying the harmonic content of an audio track and adding subharmonic or superharmonic tones. For more information, see “Recti-Fi (Audio Track Effect and AudioSuite)” on page 1011. Reverse Rewrites the selected audio in reverse. For more information, see “Reverse (AudioSuite)” on page 1012.
Core Avid Audio Plug-Ins Parameter Description LFO • 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. • L/R Phase — Sets the relative phase of the LFO’s modulation in the left and right channels. Mix Lets you adjust the balance between the Dry (source) signal and the Wet (processed) signal, giving you control over the depth of the effect.
Core Avid Audio Plug-Ins Parameter Description Stereo When you enable Stereo, the control processes the left and right channels of the incoming stereo signal separately. When you disable Stereo, the control sums and processes the incoming stereo signal as mono. Mix Lets you balance the amount of dry signal with the amount of wet (distorted) signal. At 50%, the output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it is all wet.
Core Avid Audio Plug-Ins Parameter Description 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 EQ • Low Cut — Lets you adjust the frequency for the Low Cut filter. For less bass, raise the frequency. • High Cut — Lets you adjust the frequency for the High Cut filter. For less treble, lower the frequency. Env Mod Feedback Mode Mix The Dynamic Delay plug-in provides Envelope Modulation (an envelope follower) to control various parameters in real time.
Core Avid Audio Plug-Ins Parameter Description Tune Lets you set the center frequency for low and high-end enhancement. Harmonic Generation Output • 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. • Depth — Generates additional high frequency harmonics in the signal (0.0–12.0 dB).
Core Avid Audio Plug-Ins 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. • Hold — Lets you adjust the duration of the hold (or sustain) as a percentage of the step duration. • Release — Lets you adjust the duration of the release as a percentage of the step duration.
Core Avid Audio Plug-Ins 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 (
Core Avid 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 (Audio Track Effect) 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.
Core Avid 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 (Audio Track Effect) 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.
Core Avid Audio Plug-Ins Parameter Description LFO Lets you apply a Low Frequency Oscillator to modulate the Sample Rate. • 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.
Core Avid 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.
Core Avid 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.
Core Avid 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.
Core Avid 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.
Core Avid 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.
Core Avid 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.
Core Avid Audio Plug-Ins Parameter Description Input Sets the input signal level to the compressor, which, in the 1176 design, determines both the threshold and amount of peak reduction. Output Sets output level. Use this control to bring the signal back to unity after applying gain reduction. Attack Sets the attack time of the compressor. Full counterclockwise is slowest, and full clockwise is fastest. Attack times vary between 0.4 milliseconds to 5.7 milliseconds.
Core Avid Audio Plug-Ins Parameter Description Input Meters The Input meters show peak signal levels before processing: Dark Blue - Indicates nominal levels from –INF to –12 dB. Light Blue - Indicates pre-clipping levels, from –12 dB to 0 dB. White - Indicates full scale levels from 0 dB to +6 dB. Gain Reduction Meters The Input meter can be switched to show Gain Reduction metering for the processed signal from 0 dB to –36 dB. The Gain Reduction meters are usually displayed in yellow.
Core Avid Audio Plug-Ins Parameter Description The Dynamics Graph display—used with Expander/Gate and Compressor/Limiter processing—shows a curve that represents the level of the input signal (on the horizontal x–axis) and the amount of gain reduction applied (on the vertical y–axis). The display shows two vertical lines representing the Threshold setting for the Expander/Gate and Compressor/Limiter, respectively.
Core Avid Audio Plug-Ins Parameter Description Hysteresis The Hysteresis (Hyst) control lets you adjust whether or not the gate rapidly opens and closes when the input signal is fluctuating near the Threshold. This can help prevent undesirably rapid gating of the signal. This control is only available when Ratio is set to Gate, otherwise it is greyed out. Compressor/Limiter Controls Threshold The Threshold control sets the level that an input signal must exceed to trigger compression or limiting.
Core Avid Audio Plug-Ins Parameter Description Knee The Knee control sets the rate at which the compressor reaches full compression once the threshold has been exceeded. As you increase this control, it goes from applying “hard-knee” compression to “soft-knee” compression: With hard-knee compression, compression begins when the input signal exceeds the threshold. This can sound abrupt and is ideal for limiting.
Core Avid Audio Plug-Ins Parameter Description Filter Frequency The Filter Frequency control lets you set the frequency for the selected Filter Type. Four Filter Type options are available for side-chain processing: Low Pass - Select the Low Pass option to apply a low pass filter to the side-chain processing at the selected frequency. High Pass - Select the High Pass option to apply a high pass filter to the side-chain processing at the selected frequency.
Core Avid Audio Plug-Ins Parameter Description Low Mid The LMF tab provides controls for the low mid frequency band of the EQ. This band is a peak Frequency EQ EQ. Controls Frequency - The Frequency control lets you set the center frequency for the peak low mid frequency band. Gain - The Gain control lets you boost or attenuate the corresponding frequencies for the low mid frequency band. Q - The Q control changes the width of the low mid peak EQ band. Higher Q values represent narrower bandwidths.
Core Avid Audio Plug-Ins Parameter Description Filter 1 and Filter 2 Controls The Filter 1 and Filter 2 tabs provide the same set of controls for each filter. Filter Type - Both Filter 1 and Filter 2 can be set independently. Select from the following Filter Type options: High Pass, Low Pass, Band Pass, and Notch. Frequency - The Frequency control lets you set the center frequency for the selected Filter Type (from 20 Hz to 21.0 kHz).
Core Avid Audio Plug-Ins Parameter Description 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.
Core Avid Audio Plug-Ins Parameter Description Compressor/Limiter panel (COMP/LIMIT) Knee Sets the rate at which the compressor reaches full compression once the threshold has been exceeded. As you increase this control, it goes from applying “hard-knee” compression to “soft-knee” compression. Values range from 0dB (hardest response) to 30dB (softest response). With hard-knee compression, compression begins when the input signal exceeds the threshold. This can sound abrupt and is ideal for limiting.
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. Values range from 10 microseconds (fastest attack time) to 300 milliseconds (slowest attack time). The smaller the value, the faster the attack. The faster the attack, the more rapidly the Compressor/Limiter applies attenuation to the signal.
Core Avid Audio Plug-Ins D-Verb (Audio Track Effect 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.
Core Avid 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.
Core Avid 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 Parameter Description Bit Resolution Button Use this pop-up menu to choose one of three possible resolutions for the Dither processing. Set this control to the maximum bit resolution of your destination. 16-bit Recommended for output to digital devices with a maximum resolution of 16 bits, such as DAT and CD recorders. 18-bit Recommended for output to digital devices with a maximum resolution of 18 bits.
Core Avid Audio Plug-Ins Parameter Description Level You can adjust the level of the channel input to the Down Mixer from –45 dB to +12 dB. For stereo to mono down mixing, both the Left and Right channels are mixed to summed mono. For greater-than-stereo multichannel down mixing, the following rules apply: • All left-channel sources (L, Lc, Ls, Lss, Lsr) feed to the left channel (L) of the down mixer. • All right-channel sources (R, Rc, Rs, Rss, Rsr) feed to the right channel (R) of the down mixer.
Core Avid Audio Plug-Ins Parameter Description Input LED The Input LED shows green, yellow, orange, or red to indicate whether you are under- or over-driving the plug-in. The Input LED is before the Input section of the Master section. Gate Noise Gate Threshold The Noise Gate Threshold control sets the level at which the Noise Gate opens or closes. At minimum Threshold setting, the Noise Gate has no effect. At higher Threshold settings, only louder signals will open the Gate and pass sound.
Core Avid Audio Plug-Ins Parameter Description Treble In most amp models, the Treble control is the strongest of the three tone controls. Its setting determines the blend and strength of the Bass and Middle controls. When Treble is set to higher values, it becomes the dominant tone control, minimizing the effect of Bass and Middle controls. When Treble is set to lower values, the Bass and Middle have more effect, making for a darker amp tone. The default setting is 5.0. The Treble range is from 0 to 10.
Core Avid Audio Plug-Ins 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.
Core Avid 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 (Audio Track Effect 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.
Core Avid 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.
Core Avid Audio Plug-Ins • Press and hold the Ctrl key (Windows) or the Command key (Macintosh), then drag the slider to fine-adjust. • Use the rms and peak buttons to switch the calibration of gain adjustment between RMS and Peak modes. Peak adjusts the gain of the signal to the maximum possible level without clipping. RMS adjusts the input signal to a level consistent with the root-mean-square value, or the effective average level of the selected material.
Core Avid Audio Plug-Ins Parameter Description Sample Size The Sample Size slider controls the bit resolution of the audio. Like sample rate, bit resolution affects audio quality and clarity. The lower the bit resolution, the grungier the quality. The range of this control is from 24 bits to 2 bits. Quantization Lo-Fi applies quantization to impose the selected bit size on the target audio signal. The type of quantization performed can also affect the character of an audio signal.
Core Avid Audio Plug-Ins Maxim offers several critical advantages over traditional hardware-based limiters. Maxim takes full advantage of the random-access nature of disk-based recording to anticipate peaks in audio material and preserve their attack transients when performing reduction. This makes Maxim more transparent than conventional limiters, since it preserves the character of the original audio signal without clipping peaks or introducing distortion.
Core Avid Audio Plug-Ins Parameter Description Maxim Attenuation Meter This meter displays the amount of gain reduction being applied over the course of playback, with the maximum peak displayed in the numeric readout at the bottom of the meter. For example, if the numerical display at the bottom of the Attenuation meter displays a value of 4 dB, it means that 4 dB of limiting has occurred.
Core Avid Audio Plug-Ins Parameter Description Maxim Bit Resolution Button These buttons select dither bit resolution. In general, set this control to the maximum bit resolution of your destination media. 16-bit is recommended for output to digital devices such as DAT recorders and CD recorders since they have a maximum resolution of 16 bits. 18-bit is recommended for output to digital devices that have a maximum resolution of 18 bits.
Core Avid Audio Plug-Ins Parameter Description Low Pass Filter (LPF) The Low Pass Filter setting controls the cutoff frequency of the Low Pass Filter (from 10 Hz to 22 kHz). Use the LPF setting to attenuate the high frequency content of the feedback signal. The lower the setting, the more high frequencies are attenuated. The maximum value for LPF is Off. This lets the signal pass through without limiting the bandwidth of the plug-in.
Core Avid Audio Plug-Ins Parameter Description Output Meters The Output meters show peak signal levels after processing: Dark Blue Indicates nominal levels from –INF to –12 dB. Light Blue Indicates pre-clipping levels, from –12 dB to 0 dB. Red Indicates clipping. Output Gain The Output Gain control sets the output level after processing. For mono instances of Mod Delay III, there is a single Gain control.
Core Avid Audio Plug-Ins The following table lists the Pitch Shift plug-in parameters. 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.
Core Avid Audio Plug-Ins Parameter Description Noise Shaping Noise shaping can further improve audio performance and reduce perceived noise inherent in dithered audio. Noise shaping uses filtering to shift noise away from frequencies in the middle of the audio spectrum (around 4 kHz), where the human ear is most sensitive. n The POW-r Dither plug-in is not appropriate for truncation stages that are likely to be further processed.
Core Avid 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 and equalization tone shaping options available! Tube sound, speaker simulation, warm equalization and cool lo-fi textures—no wonder thousands of records feature the classic sounds of SansAmp! The following table lists the SansAmp PSA-1 plug-in parameters: Parameter Description PSA-1 Controls Use the eight knobs to dial in your tone or effect. • Pre-Amp - Determines the input sensitivity and pre-amp distortion.
Core Avid Audio Plug-Ins 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.
Core Avid 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.
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.
Core Avid Audio Plug-Ins The following table lists the Time Compression Expansion plug-in parameters. Parameter Description Source and Destination The Source text boxes display the length of the current selection before processing in each of the listed formats. All the text boxes in both columns update dynamically, so a change made to one value is immediately reflected in the values displayed in the other text boxes.
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.
Core Avid 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.
Core Avid Audio Plug-Ins Parameter Description Formant/Transient You use the Formant or Transient parameter controls to adjust either the amount of formant shift or the transient detection parameters, depending upon which mode you select in the Audio section. n The Formant parameter is available only when you select Monophonic as the Audio mode. The Transient section is available with slightly different controls, depending on whether you select Polyphonic or Rhythmic as the Audio mode.
Core Avid Audio Plug-Ins 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. Gain Provides -[Infinity] dB to +6 dB or +12 dB of gain adjustment, depending whether the Gain toggle is set to +6 or +12.
22 Exporting Frames, Clips, or Sequences This chapter describes how to export files for use with another system, application, or platform.
Understanding Export Understanding Export You can export material directly from your Avid editing application to many supported file types. You can export an individual frame, a selected region of footage, or an entire clip or sequence. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.
Preparing to Export a Sequence Depending on how you choose to export, you can: • Use the Export setting or Send To template you select without modification. • Modify the options in the setting or template for use in the current export only. • Modify the Export setting and save the modifications to that setting. • Modify the setting or template and save the modifications as a new Export setting or a new custom Send To template.
Exporting With the Send To Templates Preparation Task Description Make sure all audio clips have the same sample rate. For more information, see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 839. You can also use OMFI or AAF to change the sample rate. For more information, see Guidelines for Exporting OMFI and AAF Files. Check and adjust all pan and audio levels. All current Pan and Level settings in the sequence are carried to the exported media.
Exporting With the Send To Templates If you are sending to Avid Pro Tools®, a template options dialog box opens. Otherwise, the Send To dialog box opens. 3. (Option) If you are sending to Avid Pro Tools, select one of the template options in the following table. The last three options are only available when you send to Pro Tools over an Avid shared storage using Send To > Pro Tools on Avid Unity.
Exporting With the Send To Templates 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.
Send To Templates Reference 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.
Creating a Custom Send To Template for Exporting to Third-Party Applications Template Description Pro Tools, Pro Tools on Avid Unity You can export a sequence to Avid Pro Tools® by sending it to movable storage and then taking the storage to a Pro Tools system, or you can export it directly to Pro Tools over an Avid shared storage system. Sending the sequence to movable storage lets you assemble all the media in one location for moving to a Pro Tools system.
Creating a Custom Send To Template for Exporting to Third-Party Applications t Right-click the clip or sequence in the bin, and select Send To > Make New. The Send To dialog box opens with a default export template. 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.
Exporting With the Export Command or the Drag-and-Drop Method 5. (Option) Do the following if you want the third-party application to automatically launch after you export. a. (Option) Click the Auto Launch button, and select Add Item. b. (Option) Browse to find the third-party application. c. Click Open. d. Select Auto Load Exported File(s) if you want the files you export to automatically load in the third-party application. e.
Exporting With the Export Command or the Drag-and-Drop Method n 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.
Exporting With the Export Command or the Drag-and-Drop Method 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 1449. For information on creating custom settings, see “Customizing Export Settings” on page 1036. 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.
Guidelines for Exporting OMFI and AAF Files 7. Click OK. You can select this new setting whenever you export. To modify an Export setting or create a new Export setting while performing an Export by using the Export menu command: 1. Click Options in the Export As dialog box. The Export Settings dialog box opens. For complete information on using the Export menu command, see “Exporting With the Export Command or the Drag-and-Drop Method” on page 1032. 2.
Guidelines for Exporting OMFI and AAF Files When you export audio to OMFI, the export option splits stereo audio tracks to separate mono tracks (for more information, see “Splitting Multichannel Tracks to Mono Tracks” on page 844). The operation also removes any Real-Time AudioSuite track effects. c n To avoid errors and incompatibilities when you import and export OMFI files, observe the recommendations in “File Format Specifications” on page 1519. You cannot export OMFI files that are larger than 2 GB.
Guidelines for Exporting OMFI and AAF Files OMFI and AAF Export Method 2: Compositions with Embedded Media Avid editing applications can export an OMFI or an AAF file that contains all the editing information for the selected master clip or sequence along with the video and audio media files for that master clip or sequence. See “Export Settings: OMFI, AAF, and AFE” on page 1452.
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.
Exporting Projects and Bins Using AFE Files (Windows Only) 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 5. Click the button after the Export Settings 1, and select Avid DS from the drop-down list. 6. Click the Options button. The Export Settings - Avid DS dialog box opens. 7. Select AFE from the Export As drop-down list and click Save. 8. In the Send To: Avid DS dialog box, click OK. Exporting QuickTime Movies You can export a sequence as a QuickTime movie for final distribution or for further processing in another application.
Exporting QuickTime Movies Option Description Same as Source Select this option if you intend to use the Quicktime movie on an Avid system. When you select this option, your Avid editing application uses an Avid codec and puts a QuickTime wrapper around the media files (with no resolution change). This method is fast and creates output that uses the same quality as your source files.
Exporting QuickTime Movies Option Description QuickTime Reference QuickTime Reference is available from the Export As menu in the Export Settings dialog box. This option is similar to Same as Source, but your Avid editing application links to the original media files. This is the fastest method of export, but the movie can only be run or processed on your local system or in an Avid shared storage workgroup environment.
Installing or Copying the Avid Codecs for QuickTime on Other Systems Avid supports the import and export of QuickTime movies while preserving their timecode information. When you export a QuickTime clip or sequence from your Avid editing application, the timecode information of the clip or sequence is embedded in the QuickTime movie. If you move these QuickTime movies to another Avid editing application and import them, the timecode information is included in the clip or sequence information.
Exporting from a Third-Party QuickTime or AVI Application Codec (Windows) Codec (Macintosh) Description AvidAVmpCodec.qtx QTAvidMPEG2IMXCodec Avid MPEG 50 codec (MPEG-IMX, OMF and MXF) AvidAVpkCodec.qtx QTAvidPackedCodec Avid Packed codec (Uncompressed MXF 10-bit) AvidQTAVuiCodec.qtx QTAvidUncompressedCodec Avid Meridien Uncompressed codec (OMF 8-bit) (Windows) For the DVCPRO and DNxHD codecs, you must also copy the following files: - libmmd.dll - msvcr71.dll 3.
Exporting as Windows Media (Windows Only) Exporting as Windows Media (Windows Only) Your Avid editing application lets you export your sequence as native Windows Media using a variety of different template options. You can use templates that Avid supplies, use existing Windows Media profiles, or create custom video or audio profiles. A Profile is a group of settings that matches content type and bit rate with the appropriate audio and video codecs. Profiles have the file name extension .prx.
Creating a Custom Profile for Windows Media Export (Windows Only) 4. In the Export As menu, select Windows Media. 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7.
Exporting Media to XDCAM Devices 12. Do one of the following: t If you want to continue with the export of the sequence, click Save, and complete the export in the standard way. For more information, see “Exporting With the Export Command or the Drag-and-Drop Method” on page 1032. t If you do not want to complete the export, click Cancel. Exporting Media to XDCAM Devices XDCAM decks and camcorders from Sony use an optical disk with a capacity of either 23.3 GB or 50 GB of media.
Exporting to XDCAM To export to an XDCAM device: 1. Connect your XDCAM device. 2. Select the appropriate mode on your XDCAM device that corresponds to the video format that you will be exporting. For example, set your XDCAM device to 1080i 59.94 if you want to export a clip or sequence at XDCAM-35 1080I/59.94. 3. Select the sequence or clips to export. 4. Select Output > Export to Device > XDCAM. If you have a sequence loaded in the Record monitor, the sequence exports when you select Export to Device.
Exporting XDCAM OP1a Media 8. Select a video format: - For SD projects, select DV-25, IMX30, IMX40, or IMX50. For SD, a disk cannot have mixed formats. For example, a disk that contains IMX40 material can only have IMX40 media added to it, unless you reformat the disk. - For HD projects, 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).
Exporting MXF OP1a Option Description Video Format Lists all XDCAM codecs supported by your project type. Audio Bit Depth Defines bit depth, based on the sample rates supported by your project type. You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. For more information, see “Audio Project Settings for Capture” on page 214.).
Exporting MXF OP1a 3. Select File Type MXF OP1a Export. 4. (Option) Select the Use Marks or Use Enabled Tracks option. t When you select Use Marks, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option or mark the entire clip or sequence.
Exporting a Simplified AAF Exporting a Simplified AAF The “Link To Effects Mixdown” export setting allows you to mix down both audio and video effects so that the exported AAF references only master clips. This might be useful for workflows with third party applications, such as Telestream® that want to link to the exported AAF media for further encoding. When the video is mixed down, if a segment of the video is an existing master clip or filler, a reference to that segment is added to the new sequence.
Exporting a Simplified AAF 6. Leave the following options enabled: In the Video/Data Details pane, the Mixdown Video/Effects to V1 is enabled. In the Audio Details pane, Flatten Audio Tracks that Contain Effects is enabled. 7. Select the number of audio tracks to include in the sequence. 8. Select the Media Destination Drive where you want to save any newly created media. (This should be a drive that your third party encoding application has access to.) 9. Click Save. 10.
Exporting Your Clip or Sequence to a P2 Card Exporting Your Clip or Sequence to a P2 Card If you have a P2 card writer, you can export a clip or sequence to your P2 card. The writer can be a P2 device or a camera enabled for P2 writing. You can export to one card or multiple cards. n If you connect to more than one P2 device, make sure only one is turned on. If more than one device is turned on, you cannot control which device you export to. To export a a clip or a sequence to a P2 card: 1.
Using Avid Interplay Media Services Using Avid Interplay Media Services The Media Services Settings dialog box lets you connect to an Avid Interplay Media Services Broker. Broker services are used in an Avid Interplay environment where dedicated computers automate time-consuming operations. The following table describes the broker services that you might use.
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.
Selecting the Device for Output • Set audio output levels and other output options, as described in “Preparing for Audio Output” on page 1073. • Mix down multiple audio tracks, if necessary, as described in “Mixing Down Audio Tracks” on page 840. • Prepare the record tapes, as described in “Preparing Record Tapes” on page 1079. • (Option) Record reference bars and tone to tape, as described in “Recording Bars and Tone” on page 1080.
Selecting the Sync Source for Output hardware and on the external equipment. For more information, see “Synchronizing Audio and Video Equipment” for your input/output hardware in the Help. Sync is not required for DV output. To select the sync source: 1. Select Tools > Video Output Tool. 2. Select the sync source from the Sync Lock menu: Reference, Tri-Level, or Internal.
Selecting the Sync Source for Output 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. The LTC OUT connector on the hardware provides SMPTE or EBU timecode you can use as a sync source for decks with built-in synchronizers or to stripe a destination tape. You can also use LTC to record non-drop-frame timecode for downstream encoding.
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.
Selecting a Video Output Signal 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. • If you are using an 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 1063.
Calibrating for Video Output Method (Continued) Description (Continued) Set Vertical Blanking Interval If this option is available for your input/output configuration, you can instruct the system to preserve 5 lines above each field in NTSC and 8 lines above each field for PAL. These lines can be used to store additional encoded information such as closed captioning, edgecodes or keycodes for film projects, or various interactive or enhanced TV codes.
Calibrating for Video 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.
Calibrating for Video Output 4. If you are using an HDMI-compliant Avid input/output device, click the HDMI Color Space menu and select a color space (YCbCr or RGB), and then select either an SD or an HD format from the HDMI Format menu. 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.
Calibrating for Video Output - Pr Gain and Pb Gain sliders (HD component YPbPr output — with supported input/output hardware) 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.
Calibrating for Video 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 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.
Preparing for Converting HD Formats 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.
Preparing for Audio 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.
Preparing for Audio 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.
Preparing for Audio Output 5. Play back one of the following sources of reference audio by doing one of the following: t Click the Peak Hold (PH) Menu button, and select Play Calibration Tone. t Play back a representative sequence or clip containing audio. 6. 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 792. 7. Close the Audio tool. 8.
Preparing for Audio Output 3. Click the Mix Mode Selection Menu button, and select a type of output. - Select Stereo to mix the monitored audio tracks into a stereo pair (two paired mono channels) with applied pan effects. - Select Mono to map all the monitored tracks to a pair of mono channels, with all channels panned to center and pan effects bypassed.
Preparing for Audio Output 5. Select the output format and assign the output channels in the tabbed interface at the bottom of the dialog box. 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 1420. 6.
Preparing Record Tapes 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 Striping Record Tapes (Recording Black with Timecode) Before you can record a frame-accurate digital cut, you must prepare the record tapes in advance by using one of the following options: • To perform insert-edit recording, stripe the record tapes (record black with timecode for the entire duration of the tape) in advance (prestriped tape).
Enabling Assemble-Edit Recording For information on creating your own tone media, see “Creating Tone Media” on page 221. Enabling Assemble-Edit Recording Insert editing is the default setting for the Digital Cut tool. You can also use Assemble-Edit settings in your Avid editing application, along with the assemble-editing capabilities of your record deck, to quickly record frame-accurate digital cuts without striping entire tapes in advance.
Using ExpertRender to Prepare Effects for a Digital Cut Using ExpertRender to Prepare Effects for a Digital Cut Real-time effects might exceed the capabilities of your system and cause dropped frames during a digital cut. You can choose to have your Avid editing application select and render effects that might cause dropped frames. To prepare effects for a digital cut: 1. Load the sequence you want to output. 2. Select the entire sequence or mark IN and OUT points for the area you want to output. 3.
Using the Digital Cut Tool 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 1086.
Using the Digital Cut Tool In Remote mode, the Digital Cut tool includes its own deck controls for: • Cueing a record deck from the Digital Cut tool. • Cueing the tape and adding an IN point. This capability applies when you click the menu in the deck control area, and select Mark In Time. The Mark OUT button does not appear in the deck controller section of the Digital Cut tool because it has no effect on digital cuts. Also, the Mark OUT and Duration text fields are read-only. You cannot alter them.
Using the Digital Cut Tool 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 To preview a digital cut: 1. Select Output > Digital Cut. The Digital Cut tool opens. 2. Select Remote or Local in the Deck Control options area. 3. Select the options you want for the digital cut. 4. Select the audio tracks, data track, and topmost video track you want represented in the digital cut preview by using the Sequence Track buttons. The track display in the Digital Cut tool varies according to the tracks existing in the sequence. 5.
Using the Digital Cut Tool t Deselect the Entire Sequence option if you have established an IN point, an OUT point, or both for recording a portion of the sequence. 6. Click the Digital Cut Safe Mode button (selected by default) to allow your Avid editing application to notify you of conditions that might cause dropped frames. During a digital cut, real-time effects or HD clips in an SD sequence can drop frames.
Using the Digital Cut Tool 12. Click the menu in the Deck Control options area, and select an option to indicate where to start recording on the tape. Option Description Sequence Time Starts the recording at a timecode existing on tape that matches the start timecode of the sequence. If you intend to record several sequences to tape one after another, this option requires resetting the start timecode on each sequence to match appropriate IN points on the tape.
Using the Digital Cut Tool n Depending on the system configuration, you might need to use the deck controls in the Capture tool to review a digital cut. 19. (Option) To stop the recording at any time, do one of the following: n n t Press the space bar. t Click the Halt Digital Cut button. After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending upon the record deck model.
Using the Digital Cut Tool If you select one of the timecode options for which your device is not equipped, a message box appears. 5. Select other options and perform the digital cut, as described in “Using the Digital Cut Tool” on page 1083. Recording a Digital Cut to Tape (Local Mode) Recording in Local mode lets you manually control your record deck by using the controls on the deck. This mode is useful when you need to use non-Avid-controlled decks, such as consumer-grade VHS or Hi8.
Output Mode Resolution Options n You can use ExpertRender to render effects before beginning the digital cut. See “Using ExpertRender to Prepare Effects for a Digital Cut” on page 1082. 7. (Option) Select Stop on Dropped Frames. When you select this option, if the system detects a dropped frame during output, the digital cut stops. You can fix the frame with ExpertRender and then continue. For more information, see “Using ExpertRender to Prepare Effects for a Digital Cut” on page 1082. 8.
Output Mode Resolution Options With some output modes, you can also use the Bit Depth menu to select either 8-bit or 10-bit effects processing. If this option is not available, the Bit Depth menu is either grayed out or does not appear. For more information, see “Options for Controlling Real-Time Effects Playback” in the Help.
Outputting DV 50 and DVCPRO HD Media Directly to a DV Device Outputting DV 50 and DVCPRO HD Media Directly to a DV Device You can output DV 50 or DVCPRO HD sequences directly to a DV device. This lets you output without any loss due to compression and decompression. You can output: If the project is: And if the output device is: DV 50 Any SD project 1394 DVCPRO HD The following HD projects: 1394 • 720p/23.976 • 720p/50 • 720p/59.94 • 1080i/50 • 1080i/59.
Selecting Output Formats for 23.976p, 24p, and 25p Projects (Media Composer) Depending on the type of project you are working with, NTSC or PAL, the system will only display output options for one format. You cannot switch from NTSC to PAL or PAL to NTSC. You can only switch from one PAL format to another PAL format or from one NTSC format to another NTSC format. (Symphony Option) All output options for PAL and NTSC are available to you.
Output Format Reference for 23.976p, 24p, and 25p Projects Audio play rates differ depending on your project type. For full reference information on the output formats and on audio play rates, see “Output Format Reference for 23.976p, 24p, and 25p Projects” on page 1095. Output Format Reference for 23.976p, 24p, and 25p Projects The following table provides reference information for the Output formats (play rates) available in the Digital Cut tool for 23.976p, 24p, and 25p projects.
Output Format Reference for 23.976p, 24p, and 25p Projects Digital Cut Tool Output Format (Play Rate) Target Project or System, and Recording Media 29.97 (NTSC) Animation projects; negative cutting with lockbox; some kinescope printing 24 (PAL) Audio for film projection; DAWs (video for reference only) Description Plays back the sequence at 29.97 fps. This play rate tells your Avid editing application to speed up the playback speed without adding pulldown fields.
Selecting the Timecode Format for Output If you are working in a 23.976 project, all output play rates are available, but only 23.976 NTSC maintains the original audio quality. For 23.976 NTSC, the audio rate is not slowed down for output and remains at 48 kHz. For 29.97 NTSC, the audio rate is sped up 25 percent and is not usable. Use this output rate for animations and other special applications.
Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding t Click the LTC Output menu, and select Drop or Non-Drop. 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.
Selecting the Video Pulldown Cadence 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.
Changing the Default Pulldown Phase for Sequences 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. Information on connecting decks and cabling varies depending on the Avid input/output hardware you use.
Understanding DV Digital Cut Delay - 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. - Pullin B: The first frame of the sequence plays back as three fields, the second frame as two fields, the third frame as three fields, and so on. Now you can perform a digital cut to append the new sequence.
Delaying the Sequence for a Digital Cut To correct this, the DV digital cut delay should be increased to have the Avid system delay sending the sequence to the device. If the DV digital cut delay is set to three frames, this should cause recording on the tape to begin with the correct sequence frame. Delaying the Sequence for a Digital Cut You can delay the sequence stream being sent to a DV device during a digital cut.
Using EDL Manager Using EDL Manager An edit decision list (EDL) is a detailed list of the edits contained in a sequence, including all the timecode and supported effects information required to re-create the sequence in an online videotape suite. The EDL is organized into a series of chronological instructions called events, which are interpreted by an edit controller that automates the assembly of the videotape master.
Understanding Matchback If you plan to use matchback, you must select the Matchback option when you first create the project. See “Creating a New Project” on page 76. n Editors working in a film matchback project for the first time should pay extra attention to duplicate material in the final edited piece. Use Dupe Detection in the Timeline and verify any dupes flagged when delivering a cut negative. For information on dupe detection, see “Dupe Detection” on page 727.
Vertical Blanking Information • The matchback information applies to the picture only. You must generate a separate list (an EDL, for instance) for conforming the audio source tapes. • Be sure to remove unwanted match frames (add edits) from your sequence before generating the cut list. Otherwise, the calculation of matchback frames will include these edits. For information about removing match-frame edits, see “Working with Add Edits (Match Frames)” on page 726.
Vertical Blanking Information Displaying and Preserving Vertical Blanking Information Avid editing applications using Avid input/output hardware automatically preserve the extra lines of vertical blanking information when you capture footage. You can choose whether to display the lines and whether to retain the lines when you output your sequence as a digital cut.
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.
Vertical Blanking Information Your Avid editing application uses the following rules when applying effects to material containing VBI information: n n • Single track effects do not alter the VBI information. For example, if you apply a color correction effect to the sequence, the VBI lines are not affected. • Multi-track effects such as picture-in-picture effects or 3D Warp effects use the VBI information of the track on the lowest layer. (Swap sources is ignored in the VBI area).
Preserving HD Closed Captioning and Ancillary Data 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. The higher the compression ratio, the greater the number of artifacts that might be visible. For a compression ratio of 2:1, the number of artifacts might not be noticeable at all.
Preserving HD Closed Captioning and Ancillary Data The options that you set for ancillary data preservation are associated with the project. When you create a new project, you must set the ancillary data options you need for that project. Data Track Method The Data Track method stores ancillary data as a separate MXF file. A D (Data) track is added to your sequence, along with the video and audio track. You can edit clips on the D track, just as you would any other clip.
Preserving HD Closed Captioning and Ancillary Data • At this time, there is no support to export a sequence with a data track through the File > Send To template options, for example, ProTools. • Avid EDL Manager supports data tracks. A sequence that contains a Data track displays in Avid EDL Manager through the following EDL types (templates): ASC, Abekas_Solo_(ASCII), all CMX, File 16, and File 32.
Preserving HD Closed Captioning and Ancillary Data The system adds the Data track with the clip to the Timeline. The clip in the bin displays D1 in the Track column. n To playback the D1 track, you must have the ancillary data turned on in the Media Creation Settings > Capture tab. See “Controlling Ancillary Data through a Settings Window - Data Track Method” on page 1119.
Preserving HD Closed Captioning and Ancillary Data 2. Select Active Format Description. The Modify window displays the Active Format Description options. 3. Select the Active format information you want to include with the data track. The active format options change depending upon the selected Coded Frame. A graphical representation of the active format is displayed in the Modify window to show you how the active format area will be displayed.
Preserving HD Closed Captioning and Ancillary Data The table below shows the selectable active format options. Option Description Active Format • 0000 Undefined • 0100 Box >16:9 (center) • 1000 Center • 1001 4:3 (center) • 1010 16:9 (with complete 16:9 image protected) • 1011 14:9 (center) • 1101 4:3 (with alternative 14:9 center) • 1110 16:9 (with alternative 14:9 center) • 1111 16:9 (with alternative 4:3 center) 4. Click OK.
Preserving HD Closed Captioning and Ancillary Data If you consolidate the XDCAM or MXF clip or the sequence that contains the XDCAM or MXF clip with ancillary data, the ancillary data track stays with the consolidated clip or sequence. In addition, the Ancillary Data bin column populates with the DID and SDID numbers once you consolidate or transcode the clip with the ancillary data. In order to AMA link to the XDCAM ancillary data clip, you need to install the latest XDCAM AMA plug-in.
Preserving HD Closed Captioning and Ancillary Data Ancillary Data and Avid Editing Functions The table below describes if you can use a particular editing function with the new Data Track method or with the Legacy method.
Preserving HD Closed Captioning and Ancillary Data Transcode Data Track Method Legacy Method Not Applicable Not Applicable Yes (with Avid Nitris DX or Avid Mojo DX and source and destination media must be DNxHD) n Consolidate Not Applicable Yes Mixdown Not Applicable Yes Import (AAF with embedded media) Not Applicable Not Applicable Yes (with Avid Nitris DX or Avid Mojo DX only) Yes (with Avid Nitris DX or Avid Mojo DX only) Export (AAF with embedded media) Not Applicable Not Applicable
Preserving HD Closed Captioning and Ancillary Data • You can control which types of ancillary data you capture through the Capture Settings tab in the Media Creation tool or by using Console commands. The data you capture is the same as the data you output. • Four data slots are available, and the maximum size of the four data slots combined is 256 bytes, of which 7 bytes per enabled slot is for Avid control data.
Preserving HD Closed Captioning and Ancillary Data Controlling Ancillary Data through a Settings Window - Legacy Method This feature is only available with an Avid Nitris DX or an Avid Mojo DX. 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.
Preserving HD Closed Captioning and Ancillary Data n Data Packet DID SDID CEA 708 61 01 CEA 608 61 02 AFD 41 05 ATC 60 60 The slot 3 default has changed from DTV to AFD, which is different from previous releases. To set options for ancillary data preservation for a single slot: 1. Select Tools > Console. 2.
Preserving HD Closed Captioning and Ancillary Data Capturing Ancillary Data with a Data Track While you capture video and audio clips, if your Avid editing system has an Avid Nitris DX or an Avid Mojo DX attached, you can also capture clips with ancillary data. You perform the same steps included in “Preparing for Capture” on page 175 and “Capturing Media” on page 239 to capture video and audio media. Make sure you select the Data track (D) Channel Selection in the Capture tool.
Preserving HD Closed Captioning and Ancillary Data The Data Mixdown dialog box opens. 4. Select a target bin and target drive for storing the new master clip, and then click OK. A progress indicator appears. When the data mixdown finishes, a new clip appears in the bin along with the sequence, and a new media file is created on the target drive.
Preserving HD Closed Captioning and Ancillary Data 5. (Option) Select Use Marks. When Use Marks is selected, the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7. Select an XDCAM HD disk from the Target XDCAM Disk list.
Preserving HD Closed Captioning and Ancillary Data Sony applies its own file-naming convention. All exported clips are given a new sequential name of Cxxxx.mxf, for example, C0019.mxf. A progress bar appears displaying the new Sony XDCAM HD sequential clip name. The sequence is exported.
24 Conforming and Transferring Projects This chapter contains information about conforming and transferring projects. • Understanding Conforming • Preparations for Conforming • Conforming Workflow • Conforming Sequences with Color Correction • 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.
Preparations for Conforming 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/23.976 23.976p NTSC You cannot change between these project formats because the edit rates are different. See “Converting a 23.976p NTSC Sequence to 720p/23.976” on page 1587. 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.
Preparations for Conforming Frame Rates Ensure that both editing systems support the same frame rates. For example, some offline systems support 24p projects and some do not. You might require a 24p project to deliver multiple output formats. 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 char
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.
Preparations for Conforming 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 If you are sharing files between Macintosh and Windows systems, avoid using Sound Designer II™, which is a Macintosh format. For more information, see “Transferring and Working with Sound Designer II Audio Files from Macintosh Systems” on page 1144. Conforming Workflow The following topics provide information to help you transfer projects from one Avid editing system to another and conform the sequence to create one or more finished masters.
Conforming Workflow Transfer Option Description Share project information in an Avid For more information, see “Transferring a Project Using Shared Storage” shared storage environment. on page 1144. Create an AFE file. This option lets you transfer complete project information, but is currently limited to transfers to an Avid DS system. See “Exporting Projects and Bins Using AFE Files (Windows Only)” on page 1040.
Conforming Workflow You can then open the bins that you have transferred from the original project and load the final sequence. If you are finishing an HD project, and the offline project was done in SD, use the Modify command to change the sequence format (see “Changing the Sequence Format” on page 1584). If you transferred an OMFI or an AAF file with embedded media, you can create a new project and bin and import the OMFI or the AAF file. The sequence automatically links to the media.
Conforming Workflow Step 4: Recapture Media If you did not transfer media, or you need to recapture your media at a higher resolution, use one of the options described in the following table. Recapture Option Description Recapture master clips This option offers complete flexibility to make revisions, but takes the most time and disk space. Recapture a sequence This option provides a one-step process, but limits your options during capturing. You can make revisions using only assigned handle lengths.
Conforming Workflow Step 5: Import and Lay in the Final Audio Mix In most cases, the final audio mix is done either as part of the offline edit or on a digital audio workstation such as Pro Tools. In either case, import the OMFI or the AAF file. For more information, see “Transferring Audio Files” on page 1143, “Importing Files” on page 304, and “Using Pro Tools and Interplay” in Avid Interplay Best Practices.
Conforming Workflow Step 7: Re-create Title Media After you transfer or import all files, you might need to re-create title media if you did not render the titles, or if you want to change the resolution of the titles. For more information, see “Re-creating Title Media” in the Help. If you have the same font on both systems, the equivalent font appears automatically when you re-create title media.
Conforming Workflow • If the original system used any applications to manipulate font display (such as Adobe Type Manager®), the enhancements these applications provided on the original system (such as character anti-aliasing or character spacing) will not transfer to a system that does not use your Avid editing application. • You should save titles created in an offline project with anamorphically downconverted media as 16:9. See “(Symphony Option) Preparing Titles for the Online Session” on page 1131.
Conforming Workflow Step 8: Refine Effects and Perform Color Correction After reviewing the sequence, you might find you need to adjust effects, add effects, or perform color correction. Common effects and color correction tasks during finishing include: • Motion tracking or stabilization. See “Motion Tracking and Stabilization” in the Help. • Reformatting media to different aspect ratios. See “Using the Reformat Effects” in the Help. • Intraframe editing or scratch removal.
Conforming Workflow 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. For more information, see “Real-Time Playback of Video Effects” and “Basics of Effects Rendering” in the Help. The ExpertRender feature includes a special setting called Prepare for Digital Cut. For more information, see “ExpertRender” in the Help.
Conforming Sequences with Color Correction Conforming Sequences with Color Correction The following topics explain how sequences with color correction conform as they are moved between Media Composer | Symphony and certain other Avid editing applications, and how you can transfer color correction adjustment values from one type of color correction to another in cases where color corrections do not conform as you want.
Transferring Project and Media Files Between Avid Editing Systems To convert a Color Correction effect in a sequence originally created in an Avid Media Composer product to a relationship color correction: 1. In Color Correction mode, move the position indicator to the Color Correction effect whose adjustment values you want to transfer, and ensure that you are monitoring the track in the Timeline that contains the effect. 2. Drag the Color Correction template icon from the Color Correction tool to a bin.
Transferring Project and Media Files Between Avid Editing Systems The devices and technologies you use for transfer depend on which method of transfer you choose. • Moving project folders, settings, and media files requires large amounts of storage space because of the size of media files. • Transferring only the project folders and settings files requires minimal storage space. Transferring Audio Files You might need to transfer audio separately from video.
Transferring Project and Media Files Between Avid Editing Systems 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 1144. For information on working with ProTools in an Interplay environment, see “Using Pro Tools and Interplay” in Avid Interplay Best Practices.
Transferring Project and Media Files Between Avid Editing Systems Transferring Project Files and Media Files Using Nonshared Storage You can use removable nonshared storage devices to transfer media files between Avid editing applications. You can move the project and user files you need to open projects, bins, or user profiles on another Avid system by copying them to the same drive that holds the media files, or to some other removable device or network location.
Transferring Project and Media Files Between Avid Editing Systems The default locations for application folders are listed in the following table. The exact location on your system depends on your Avid editing application, its version, and how it was installed on your system. For example, older versions store projects in an Avid Projects folder that is located in the same folder as the application. Folder or File Project folder Location Private projects: • (Windows) drive:\Documents and Settings\Window
Transferring Project and Media Files Between Avid Editing Systems c Do not open a project directly from the transfer device. You must copy the folder to the system drive first. 9. Select a user, open the project, and resume work. n Your Avid editing application reconstructs the MediaFiles database the first time you start to incorporate the new media into the system’s internal directory. Do not rename the project folder. The project settings do not link to the project if you rename the project folder.
25 Using the NRCS Tool (Media Composer | NewsCutter Option) The Newsroom Computer System (NRCS) tool lets you use one computer to view stories and rundowns located on an Avid iNEWS® server or on an Electronic News Production System (ENPS®) server and to edit sequences in your Avid editing application. You use the NRCS tool to connect to an iNEWS server to access story scripts and to edit stories on a NewsCutter Option system.
Configuring the NRCS Tool n • Sending and Receiving NRCS Mail (iNEWS Only) • Disconnecting from Your NRCS Server Your iNEWS or ENPS user permissions define how many of these procedures you can perform. If you are unsure of your permissions, consult your system administrator. Configuring the NRCS Tool You must configure the NRCS settings before you can connect to an iNEWS or an ENPS server.
Configuring the NRCS Tool 5. Fill in the following columns in the MOS Configuration window. Column Description Description Type the description of the new client — for example, Avid editor. IP Address Type the IP address for the Avid editing system client. Repeater ID Select the Repeater ID (ENPS MOS Repeater Name). To configure the running order: 1. Click the news group folder. Typically, this should be the third folder. Do not click the Rover. The group folder lists the running orders. 2.
Configuring the NRCS Tool n The NRCS Settings dialog box also appears when you connect to a server if the active NRCS setting lists no name in the Server text box. 3. Type the name of the server. 4. (iNEWS only) If you selected the iNEWS server, type a default user name. 5. (Option) Select “Logout when NRCS Tool is closed” if you want to terminate the connection to the server every time you close the NRCS tool. 6.
Configuring the NRCS Tool 8. (iNEWS only) Configure the Message-of-the-Day (MOTD) settings, Mail Directory, and Story Field Assignment values: a. b.
Configuring the NRCS Tool 9. (iNEWS only) Select the default metadata used when creating a sequence with the NRCS tool: a. Clicking the Build Sequence button in the NRCS tool creates a new sequence with a duration determined by the value in the specified Story Form field. Enter a Story Form field name in the Duration text box. The default is the iNEWS tape-time field. The iNEWS server provides the Story Form headings in the NRCS tool.
Starting the NRCS Tool c. If you want to list running order names, including the Editorial Start date and time, select Show running order start date/time. d. If you want to list story names, including the page number, select Show story page number. e. In the Sequence Creation area, type the default time you want for the duration of new sequences in the Default Duration text box. f. Select Show MOS ID if you want the MOS identification to display below MOS object cues in the Production panel. 13.
NRCS Tool Components (iNEWS only) The NRCS Login dialog box opens for the iNEWS server. The iNEWS server name appears as part of the title bar text. (ENPS only) The NRCS tool connects to the ENPS server. (A login dialog box does not appear for the ENPS server.) 3. (iNEWS only) If you did not set a default name in the NRCS Settings dialog box, type a user name. 4. (iNEWS only) Type the password. 5. (iNEWS only) Click OK.
NRCS Tool Components 1 2 3 4 5 15 6 7 16 8 17 9 10 11 12 13 14 18 1 Connect/Disconnect button 7 Cue Marking buttons 13 Post to Web button 2 Send Mail button 8 Formatting buttons 14 Read Time display 3 Show/Hide Story Form opener 9 Story form 15 Directory panel 4 Save button 10 Mark IN/OUT button 5 Story Name text box 11 Build Sequence button 17 Production Cue text box 6 Cancel button 12 Find Sequence button 16 Production panel 18 Story panel The following illustrati
NRCS Tool Components 2 1 3 9 n 10 1 Connect/Disconnect button 7 Post to Web button 2 MOS media item 8 Read Time display 3 Story Name text box 9 Directory panel 4 Mark IN/OUT button 10 Production panel 5 Build Sequence button 11 Story panel 6 Find Sequence button 4 5 6 7 8 11 Many of the concepts and options in the NRCS tool are similar to those of the iNEWS or the ENPS client application.
NRCS Tool Components Component Server Support Description (Continued) Show/Hide Story Form triangular opener iNEWS Opens and closes the Story Form display. Story Name text box iNEWS and ENPS Shows the directory path and name of the story. Post To Web button iNEWS and ENPS Opens a dialog box for creating Web content from an iNEWS or an ENPS story. Directory panel iNEWS and ENPS Lists the contents of the accessed news database.
Using the Directory Panel Component Server Support Description (Continued) Production panel iNEWS and ENPS Displays production information: Story panel n iNEWS and ENPS • (iNEWS) Displays production cues and timing markers scripted into a story. • (ENPS) Displays MOS media items and anchors read-rate markers. Displays the text of a story. For a scripted story, the Production panel contains production cues and other markers and the Story panel contains the text.
Using the Directory Panel n (ENPS only) A small green light flashes on the Disconnect button as the tool receives stories from the server. Directory stories first display gray in the list, then display black when they become available. Directories and stories in the Directory panel. For ENPS only, a green light flashes on the Disconnect button (left) as stories display. The Send Mail button and the Story information columns (right) are iNEWS only features. 2.
Changing the Text Display To create a shortcut to a directory: 1. Navigate to the directory. 2. Right-click the directory name, and select Make Shortcut. The NRCS tool creates the shortcut, which appears in italic above the server name in the Directory panel. A shortcut above a server name in the Directory panel To remove a shortcut to a directory: t Right-click the directory name, and select Remove Shortcut. The shortcut is removed.
Editing Story Text (iNEWS Only) You save the font and point size with the current NRCS settings, but the changes apply only to the local client. Settings on the iNEWS or the ENPS server do not change. To alter the appearance of the text in your story: t Select the text in the Story panel, right-click, and select a font and point size.
Editing Story Text (iNEWS Only) 4. Right-click, and select Paste. Marking Text (iNEWS Only) You can mark certain text in your story for the purposes of machine code, closed captions, or presenter instructions. Text marked for these functions does not contribute to the read time of a story. For more information, see “Finding the Read Time of a Story” on page 1167. • Machine Control — Machine control text appears blue. You can mark text as Machine Control only in a Production Cue text box.
Editing Story Text (iNEWS Only) Formatting Text (iNEWS Only) You use a combination of the formatting buttons and the shortcut menu to change the format of story text. If you have applied formatting to text, you can remove the formatting by deselecting the applied format or by marking the text as Normal. To format text: 1. Select the text you want to format. 2. Do one of the following: t Click the Underline (U), the Italic (I), or the Bold (B) button.
Editing Story Text (iNEWS Only) Two production cues in the Production panel and corresponding Production Cue markers in the Story panel To insert a production cue into your scripted story: 1. In the Story panel, move the pointer next to or within the text where you want to place the production cue. 2. Right-click, and select Insert Production Cue. A blue asterisk marker appears within the Story panel, and a blank box opens in the Production panel. 3. Type the cue information in the text box.
Editing Story Text (iNEWS Only) You must be in Edit mode to add a loaded cue to your story. For information on entering edit mode, see “Editing Story Text (iNEWS Only)” on page 1162. n When used with the Post to Web feature, loaded cues become links to video clips accessible to users over the Web (see “Using the Post to Web Feature” on page 1176). You can also view the head frame of a loaded cue in the Production Cue text box, and change the size of the head frame display.
Finding the Read Time of a Story t Right-click the clip icon on the Production Cue text box and select one of the following: - Enlarge HeadFrames - Reduce HeadFrames To use a loaded cue: t Click the Production Cue text box and drag it to a bin or to the Source/Record monitor. The clip or sequence appears in the bin or in the Source/Record monitor. You can then use and edit it like any other clip or sequence.
Sequences and Stories To calculate the read time of a story: 1. Move the pointer to the Story panel. 2. Do one of the following: t Right-click, and select Select All. t Select a portion of the text with the mouse. The read time appears in the upper right corner of the NRCS tool. n If you have ToolTips enabled, the current wpm rate appears in the label for the Read Time display. For more information on ToolTips, see “” on page 1487.
Sequences and Stories Consider the following when you place clips in the new sequence: • The NRCS tool processes loaded cues in the order they appear in the story text. The tool edits only those that appear before the end of the text (and before the end of the sequence) into the sequence. • The NRCS tool uses the read time of the text up to the anchor point for the loaded cue to determine the placement of the Timeline position bar for each edit. The clip’s IN to OUT points determine the edit length.
Sequences and Stories (ENPS) The new sequence is built from the first media item in the story. The length of the media item becomes the sequence’s duration, and the tape ID is also assigned. You can create a sequence from any MOS media item in the story by dragging the item’s production cue to a bin (known as loaded cues in iNEWS). 3. (Option) If you Shift+click the Build Sequence button, a new bin will be created to hold the new sequence (named after the sequence).
Sequences and Stories The editing application bases the length of the created sequence on an assigned duration, associated with the story. The editing application bases the position of the IN and OUT points on an approximate calculation, depending on the word count and the assumed read time. The assigned sequence length and the computed story length might not be the same. You can create a sequence longer or shorter than the actual read time of the story.
Associating a Sequence with a Story n You can use the Timecode pop-up menu to compare the IN and OUT points. For more information on using the Timecode display, see “Using the Timecode Window” on page 527. Associating a Sequence with a Story In addition to using the NRCS tool to create a new sequence, you can associate an existing sequence with an iNEWS or an ENPS story.
Adjusting the Story Timing (iNEWS Only) Adjusting the Story Timing (iNEWS Only) You might want to adjust the story timing in cases where you use the Mark IN/OUT button to set In and Out points in the Timeline based on the story text timing. For example, if your story has introductory text that you do not want included in the sequence, you can set In and Out points in the sequence so that the extra text offsets the computed times. You must be in Edit mode to insert timing cues in a story.
Adjusting the Story Timing (iNEWS Only) For example, if part of the story has a video clip but no corresponding text, this creates an offset of the timing of any following text. You can fix this by adding a Time Pad cue at the point where the video clip occurs (using the clip duration as the value). You must be in Edit mode to insert timing cues in a story. For information on entering edit mode, see “Editing Story Text (iNEWS Only)” on page 1162.
Using Associated Sequences Using Associated Sequences The NRCS tool lets you locate sequences associated with NRCS stories or, conversely, to locate stories from their associated sequences. This makes it easier to find stories on your iNEWS or ENPS server (for example, when the tape ID is unknown) or to load sequences for NRCS scripts directly into the Timeline. n (iNEWS) Only sequences created with the NRCS tool and which have valid identifiers in the NrcsID bin column can be associated with a story.
Using the Post to Web Feature Using the Post to Web Feature You can use the NRCS tool to generate a hypertext version of your iNEWS or ENPS story for viewing on the World Wide Web. The Post to Web feature helps you to create Internet content directly from a single script rather than requiring the production of dual content, one for broadcast and one for the Web.
Using the Post to Web Feature 4. (Option) Click the Lowercase button to convert the story if Post to Web does not automatically reformat the script (for example, if you did not select the Always option in the Post To Web tab in the NRCS Settings dialog box). The Lowercase button appears only if Post to Web did not convert the story to lowercase characters. To create a Web page without a preloaded story: 1. Click the Post To Web button. 2.
Using the Post to Web Feature Example of linking a clip to text, showing selected text (top) and the Linked Clip menu (bottom) t n Select the text in the Story text box that you want to associate with a clip, right-click in the story text, and select Link > clip. The Link submenu lists loaded cues and any sequences associated with your story. The menu updates whenever you add clips to the Story text box. The selected text is highlighted in blue and becomes a link to the clip.
Using the Post to Web Feature The Link submenu in the Post to Web dialog box t Click a clip and drag it from an open bin to the Story text box. Post to Web creates a link wherever you place the selection cursor. If you selected text in the Story text box before dragging in the clip, the tool highlights the selected text and creates a link. If you did not select any text, the tool inserts the name of the clip and creates a link.
Using the Post to Web Feature n The template descriptions in this section refer to HTML coding only as an example. The Web page templates used by Post to Web can be in any formatting language, for example XML. Templates include tags that Post to Web uses to convert your story into a Web page: n • < ! - - STORY - - > • < ! - - TEXT - - > • < ! - - CLIP - - > • < ! - - VIDEOFORMAT - - > • < ! - - HYPERCLIP - - > Do not include HTML comment tags within the format elements.
Using the Post to Web Feature Using the Text Tag in Post to Web Templates You use the Text tag to position headlines, headings, subheadings, captions, or other text elements on your Web page. The Text tag takes the following form: < ! - - TEXT “Label” format elements $TEXT$ - - > Labels appear in the Field column of the Template tab in the Post To Web dialog box.
Using the Post to Web Feature The HTML code showing the Post to Web output: Wetlands Controversy Using the Clip Tag in Post to Web Templates You use the Clip tag to create links to media files stored on a server. When you link a video clip to your story (see “Linking Clips for Post to Web” on page 1177), Post to Web automatically creates a Uniform Resource Locator (URL) for the clip. The Clip tag inserts the URL into the Web page. You can also include text, such as captions, to accompany the media.
Using the Post to Web Feature The Label (left), the clip name (center) that is the basis for the URL, and the user-supplied text (right) that replaces the $TEXT$ placeholder The HTML code showing the Post to Web output:
Wetlands Controversy Brews
Using the Videoformat Tag in Post to Web Templates You use the Videoformat tag to link encoding formats to video clips.Using the Post to Web Feature The following example shows a Videoformat tag as it appears in a template, in the Post field in the Post To Web dialog box, and in the HTML code generated by the template.
Using the Post to Web Feature < ! - - HYPERCLIP format elements placeholder - - > The placeholder specifies the media file displayed on the Web page.
Using the Post to Web Feature 6. For any display fields, click in the text column to the right of the field name and type any text you want displayed on the Web page. The specific template you use defines which fields are displayed in the Text Fields and Video Fields tabs. 7. Repeat step 6 for each field you want to customize. 8. Click the Video Fields tab. 9. Select an item in the field and do one of the following: t Click a clip and drag it from an open bin. Place it in the appropriate row.
Using the Post to Web Feature 3. Click the Post tab. 4. Select either the ProEncode or the Direct Export option. If you use Direct Export, and the format you want for your video clips does not appear in the menu, click the Options button and select a format from the Export Settings dialog box. 5. In the Video area, click the Format menu and select a video format. ProEncode formats are supplied by the Media Services broker.
Sending and Receiving NRCS Mail (iNEWS Only) 8. In the Web Server area, do one of the following: t Click the Server Path menu, and select a server or shared volume folder. The menu lists the most recently used folders. t Click the Browse button, and select a new server or shared volume folder. t Use Windows Explorer to locate a folder, and then click the folder and drag it to the Server Path text box. 9.
Sending and Receiving NRCS Mail (iNEWS Only) 2. Type an address in the To text box. 3. (Option) Type an address in the CC text box. 4. (Option) Type a subject in the Subject text box. 5. Type your message in the message area. 6. Do one of the following: t Click OK to send the message. t Click Cancel to close the dialog box without sending the message. Receiving NRCS Tool Mail (iNEWS only) To receive NRCS tool mail: 1. Navigate to and open the PEOPLE directory in the Directory panel. 2.
Disconnecting from Your NRCS Server Disconnecting from Your NRCS Server When you have finished using the NRCS tool, you should disconnect from the iNEWS or the ENPS server. n If you selected “Logout when NRCS Tool is closed” in the NRCS Settings dialog box, the NRCS tool automatically disconnects from the server whenever you close the tool or switch to a workspace that does not include the NRCS tool. To disconnect from the iNEWS or the ENPS server: t Click the Disconnect button.
26 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. n This section is primarily for editing systems within an Interplay workgroup.
Dos and Don’ts for Editors Working with Avid Interplay The following topic is particularly useful if you are new to working with Interplay: • Dos and Don’ts for Editors Working with Avid Interplay Dos and Don’ts for Editors Working with Avid Interplay The following information is useful for editors who are working with Avid Interplay. It includes guidelines for working with Interplay and a list of dos and don’ts. Also see “Checklist for Editors Working with Interplay” on page 1194.
Dos and Don’ts for Editors Working with Avid Interplay When an Avid Interplay server is available in an Avid shared-storage system in the workgroup environment, Avid strongly encourages not sharing bins or projects. Use the Avid Interplay Window and the check-in process to share media. Similarly, you should not use the File > Open Bin command.
Checklist for Editors Working with Interplay • Regularly clean up the contents of your bins: anything that you don’t need can be deleted. It’s a good idea to delete unwanted media before you check in a bin. If you choose to leave material in your bin without checking it in to Interplay, the material will go to the UIAA folder and sit there until deleted, taking up space on your Avid shared-storage system. • Use reservations to protect material against accidental deletion.
Checklist for Editors Working with Interplay Step Refer to If you are saving media to a locally-connected storage, then make sure it is properly connected and configured for indexing. Before you begin editing: Create a project in the appropriate location, using the proper “Creating Avid Editing Projects in an Interplay naming convention. Environment” on Before you open a project, make sure that Interplay page 1207. supports the media format which you intend to edit.
Checklist for Editors Working with Interplay Step Refer to When editing HD formats, make sure that you acquire your media in a format supported by Interplay. “Interplay Support for Native HD 23.976p and 24p Formats” in the Avid Interplay Help”. If you are working on an audio production using Avid Pro Tools, refer to the documentation for specific requirements on Interplay. Pro Tools Avid Interplay Guide on the Avid web site.
Working with Interplay and Remote Assets Working with Interplay and Remote Assets With Avid Interplay, users can share assets through folders that are managed by the Interplay database and accessible to all workstations in the Interplay environment. If your workflow includes checking in bins from an Avid editing application, you can set up your editing project so that checkins you perform automatically create corresponding folders on Interplay.
Working with Interplay and Remote Assets Top: the Project window and opened bin from an Avid editing application. Bottom: the corresponding folder in the Interplay Window. The project folder and its subfolders also contain project settings that primarily govern media acquisition — for example, frame rates, formats, and target workspaces. For more information about creating and managing projects in an Interplay environment, .
Administrator Settings for Avid Editing Clients You can check assets in and out in several different ways: n • Check assets out by dragging them from the Interplay Window or from Interplay Access (see “Checking Avid Assets Out Using the Interplay Window” on page 1216 or “Checking Avid Assets Out Using Interplay Access” on page 1219).
Using the Interplay Window For more information, see the Avid Interplay Engine and Avid Interplay Archive Engine Administration Guide. Using the Interplay Window The Avid Interplay Window is a tool that you open from the Tools menu of your Avid editing application. The Interplay Window provides you with access to the Interplay database. You can copy (check out) assets to your local bin and work with them like any other bin objects.
Connecting to the Avid Interplay Database 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 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. Select “Automatic Login at Project Selection” if you want to log in to the Interplay database automatically every time you open a project. If you do not select this option, you must open this dialog box when you want to access the database. 8.
Connecting to the Avid Interplay Database 11. Click the Set button, and a directory tree is displayed for the Interplay database that you logged in to. 12. Select a folder to use as the default Interplay Root Folder for your project and click OK. The Interplay Folder setting defines where assets are checked into the Interplay database when you use menu commands, automatic checkin, or Frame Chase capture.
Connecting to the Avid Interplay Database Logging in to Interplay and Opening the Interplay Window If you configured the Interplay User settings to log in to the database when you select your project, the Interplay Login dialog box opens when you start your Avid editing application. If you did not select this option, then you must open the Interplay User settings before logging in to the database. After you log in, you have the option of opening the Interplay Window.
Connecting to the Avid Interplay Database n You can override the Host Name and User Name settings in the Interplay Login dialog box. 3. If an Interplay Folder path is not set, the Interplay Folder Settings dialog box is displayed. Set the path and other options and click OK. See “Configuring Interplay Settings on the Editing Workstation” on page 1201. (Option) You can set an option to display a message box that asks you to confirm the Interplay Folder path, if it is already set.
Connecting to the Avid Interplay Database 4. Select options to verify the directory path. - On login: If this setting is selected, a message box asks you to confirm the directory path after you log in to Interplay. Select “for new projects only” if you want this message box displayed only after you create a new project. 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.
Creating Avid Editing Projects in an Interplay Environment Creating Avid Editing Projects in an Interplay Environment One of the biggest decisions you will make regarding your workflow is the location of the projects and bins created by the editing applications.
Creating Avid Editing Projects in an Interplay Environment Shared A Shared Project is stored locally. It can be accessed by any user that can log on the editing machine. On a Windows system, a Shared Project is always stored in the machine’s Shared Documents directory.
Interplay Settings in the Editing Application 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. n Avid does not support sharing bins in an Interplay environment.
Defining the Interplay Folder Setting Option Description Interplay Server (Site Setting) Specify the name of the Interplay Engine for the environment. If the site has an Interplay Engine Cluster, this is a virtual name that will log in to the active node. Interplay User (User Setting) Specify the name of the default Interplay user (if applicable) and check the Automatic Login at Project Selection checkbox.
Defining the Interplay Folder Setting The Project folder selected. Click the Append project checkbox. The following illustration shows a folder for a project named “The Big Swell” created in the Projects folder. The folder was created automatically when the editor checked the first bin into Interplay using the Check in Bin to Interplay command. The system automatically created both folders and checked in the assets into the folder. Folders created by checking in the bin. Checked in assets.
Defining the Media Creation Settings To instruct the system to automatically check in bins when the editor closes the application, select the Bins option in the Editor Database Settings window in the Avid Interplay Administration tool. The default is to ask the editor before checking in the bin. Defining the Media Creation Settings Use the Media Creation dialog box to define the video resolution and the drives where you want the Avid editing application to store newly created media.
Connecting to Avid Shared Storage and Mounting Workspaces Connecting to Avid Shared Storage and Mounting Workspaces If you need to manually connect to your Avid shared-storage system and mount workspaces, use one of the procedures in “Mounting Workspaces on an Avid ISIS System” on page 1213. For complete information, see your Avid shared-storage documentation.
Connecting to Avid Shared Storage and Mounting Workspaces The Avid ISIS Client Manager. The three panels contain the Connections list (top), the Workspaces list (center), and messages (bottom). Highlighted on the left is the Workspaces filtering area. Highlighted on the right are the Retrieve Details buttons and the toolbar. 2. Select the System Director you want to connect to from the Connections list. 3.
Connecting to Avid Shared Storage and Mounting Workspaces To mount an Avid ISIS workspace on your system: 1. Open the Client Manager. The Workspaces list opens. The Online field displays a green ball for workspaces that are already mounted. You can filter the Workspaces list by Workspace name. 2. Do one of the following: n t Click (mount) in the Online column for the selected workspace. t Click to select a workspace, then right-click, and select Mount.
Editing with Remote Assets The Client Manager mounts the selected workspaces on your client and the Online icons for the mounted workspaces change to green. The Workspaces list displays the drives the workspaces are mounted to. If you use letterless drive mappings, the Workspaces list displays “UNC path” next to the Online icons. 4. (Option) If you want the selected workspaces remounted the next time you log in, right-click, and select “Enable auto mount”.
Editing with Remote Assets The Interplay Window displays the Avid assets in the selected folder. 5. Click the assets you want to check out, and drag them to your bin. The bin displays the clips and sequences.
Editing with Remote Assets 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.
Editing with Remote Assets Checking Avid Assets Out Using Interplay Access When you are working with an Avid editing application, you might want to use the advanced search in Interplay Access to look for particular Avid assets. After finding the assets, you can drag them from Interplay Access into a bin (checking out the assets), which creates local copies of the assets (but not the media).
Editing with Remote Assets Method Description Check in assets by You can check in assets to a bin using the Bin > Check In Bin to Interplay command or the checking in a bin Bin > Check in All Open Bins to Interplay command. These commands check in the following items: • Items that have been modified since they were last checked in or out • Items that have been added to a bin.
Editing with Remote Assets 3. Do one of the following: t To check in all Avid assets in a bin, select the bin and then select Bin > Check In Bin To Interplay or File > Check In All Open Bins to Interplay, or right-click the Bin Fast menu and select Check In Bin To Interplay. t To check in Avid assets in all open bins, select Bin > Check In All Open Bins to Interplay or right-click the Bin Fast menu and select Check In Bin To Interplay.
Editing with Remote Assets 4. (Option) Right-click the Projects folder in the Interplay Window, select Create a New Folder, and then type a name for the folder. 5. Select one or more items in the bin and drop them in a folder in the Interplay Window. Automatically Checking In Avid Assets You can automatically check in media assets by setting the appropriate option in the Avid Interplay Administrator.
Editing with Remote Assets Automatic checkin is optimized to work more quickly than the menu commands described in “Checking Avid Assets In to the Interplay Database” on page 1219. If a bin contains any new or modified items, it is processed exactly as when you use the menu commands. If there are no new or modified items in a bin, no items in the bin are checked in. In this case, automatic checkin will not detect that items have been deleted from the bin’s database folder.
Editing with Remote Assets You can also edit files that have been checked into Interplay from Pro Tools. For more information, see “Using Pro Tools and Interplay” in Avid Interplay Best Practices. For more information about using and customizing the Interplay Window, see “Managing Remote Assets with the Interplay Window” on page 1228. To view Avid assets in the Source monitor: 1. Start your Avid editing application, and either create a new project or open an existing project. 2.
Editing with Remote Assets 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. In-progress clips are created using Frame Chase capture capabilities, either on another Avid editing application or with a line feed or ingest device such as an Avid AirSpeed®. In-progress clips are available for viewing and for use in editing while the capture is still in progress.
Editing with Remote Assets 4. Create a sequence in a bin. 5. Use standard editing techniques to build a sequence incorporating any parts of the in-progress clip that you can view in the Source monitor. 6. (Optional) To get updated information about the clip (metadata), select Bin > Update Bin from Interplay. For more information, see “Updating Remote Assets in Bins” on page 1223. 7. When the clip is completely captured, select Bin > Update Bin from Interplay.
Editing with Remote Assets Function Description Trimming The right-side trim limit of an in-progress clip is determined by the currently available media. When you trim an in-progress clip to the end of available media, the trim functions as if it had reached the end of the clip. As more media is captured, the trim limit increases. Performing the trim at a later time might allow more trimming because more media might become available.
Managing Remote Assets with the Interplay Window Managing Remote Assets with the Interplay Window You access remote assets through the Interplay Window. This lets you see all of the Avid assets available to your project, manage your assets, and access the Avid assets stored in Interplay folders so you can edit the clips in your sequence.
Managing Remote Assets with the Interplay Window Assets can carry two different kinds of markers: • Reservations: Reservations protect assets from deletion and moving. Assets protected by a reservation are marked by a Reservation icon in Avid Interplay Access. For more information on reservations, see “Understanding Reservations” on page 1229. • Restriction markers: Restrictions indicate limitation warnings on the use of media assets. Assets that include a restriction are marked by a Restriction icon.
Managing Remote Assets with the Interplay Window Understanding Restrictions Restrictions are placed on Avid assets by adding the restrictions to markers in Avid Interplay Assist. A restriction can represent material that should not be used. It might contain material that needs to be used only after rights are available on a certain date, that the organization must pay for upon use, or that has copyright requirements or other legal restrictions limiting its use.
Managing Remote Assets with the Interplay Window Each individual link to an asset has its own access control. This means that it is possible to have read/write/delete access to an asset in folder A, but only read access to another instance of the asset in folder B. For example, if a master clip is visible in two folders, one with a reservation and one without, when you delete the master clip in the non-reserved folder, the master clip in the reserved folder (and the related media) is not deleted.
Managing Remote Assets with the Interplay Window To move clips or sequences from one folder to another: 1. In the Research panel, select the clip or sequence that you want to move. 2. Drag the clip or sequence to the destination folder in the Media Directory panel, and release the mouse button. To copy clips from one folder to another: 1. In the Research panel, select the clip or sequence that you want to copy. 2.
Managing Remote Assets with the Interplay Window Creating Folders and Shortcuts in the Interplay Window If you have the appropriate rights, you can create folders in the Avid Interplay database to help organize your projects. You can also save time accessing remote assets you use often by creating shortcuts to Interplay folders and catalogs in the Media Directory panel. To create a new folder in the Interplay Window: 1.
Managing Remote Assets with the Interplay Window Location of the Layout button in the Interplay Window To modify the display properties of the Interplay Window, do one of the following: t Click the Layout button until the layout you want displays in the Interplay Window. t Press Ctrl+L (Windows) or Command+L (Macintosh) until the layout you want displays in the Interplay Window.
Managing Remote Assets with the Interplay Window 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 1243. • Create new column headings in the Research panel. New column headings (custom properties) are added to the database. Be careful when creating custom properties.
Managing Remote Assets with the Interplay Window To add columns to the Research panel: 1. Right-click a column heading and select Select Working Set of Columns. The Select Working Set of Columns dialog box opens. The dialog box displays four sections of properties as defined in the Interplay Administrator, separated by dotted lines: System, Custom, Video Resolutions and Audio Resolutions. 2. Select the columns you want to display.
Managing Remote Assets with the Interplay Window To enlarge or to reduce the size of columns: t Click the border of a column in the Research panel, and drag it to the right or the left to resize it. 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.
Managing Remote Assets with the Interplay Window 3. Navigate to the new custom column heading, select it, and click OK. 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.
Managing Remote Assets with the Interplay Window 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.
Managing Remote Assets with the Interplay Window Renaming Clips in the Interplay Window You can rename a clip in a folder directly by modifying the information displayed in the Research panel. n This action also renames copies of these clips. It does not rename duplicated clips. To change the name of a clip: 1. Click the cell in the Name column that you want to modify. The clip row is highlighted. 2. Click the cell again to enter text. The pointer changes to an I-beam. 3.
Managing Remote Assets with the Interplay Window The Refresh button on a tab in the Research panel To update a search result tab: t Execute the search again. Navigating to a Folder that Contains a Selected Asset You can use a command to navigate (go to) to a folder that contains a selected asset. To navigate to a folder that contains a selected asset: 1. Right-click an asset in the Research panel (any tab) and select Open Enclosing Folder.
Managing Remote Assets with the Interplay Window For example, someone else who accessed a clip in Interplay Access after you loaded the same clip in the Research panel might have changed the name of the clip on the server; when you then try to rename that clip, the Property Merge dialog box opens. The change could have been made in any Interplay application, including Assist, Instinct, Interplay Access, or the Interplay Window.
Managing Remote Assets with the Interplay Window To save a layout: 1. Open a folder. 2. Modify the display or the columns according to preference. 3. Click the Layout menu, and select Save Layout As. The initial layout name is “Default.” Once you save a layout, the Layout menu displays the saved layout name. If you want to save changes to an existing layout, click Save Layout. Location of the Layout menu in the Interplay Window The Enter Column Layout Name dialog box opens. 4.
Managing Remote Assets with the Interplay Window 3. Click Yes. Opening Multiple Tabs in the Interplay Window When you open a new Interplay folder, its contents replace the current contents displayed in the Interplay Window. If you want to keep the contents of more than one folder open at a time, you can save the Research panel display as a tab in the Interplay Window and then open the contents of the new folder as a separate tab. This way, you can keep multiple folders open at once.
Managing Remote Assets with the Interplay Window To change the font from the Research Panel context menu: 1. Right-click and select Set Research Panel font. The Select Research Panel Font dialog box opens. n On Windows XP, the dialog box lets you select and preview options other than Font and Size, but those options do not affect the font in your Avid editing application. You can change only Font and Size. 2. Select a font and a size, and then click OK. The font in the panel changes.
Finding Remote Assets To change the font from the Directory panel context menu: 1. Right-click in the Directory panel and select Set Directory Panel font. The Select Directory Panel Font dialog box opens. 2. Select a font and a size, and then click OK. The font in the panel changes. Finding Remote Assets You find Avid assets stored in the Interplay database by searching Interplay folders. The most common method of finding remote assets is to perform a search based on attributes.
Finding Remote Assets To perform a search: 1. Click the Media Search tab. To open an additional search tab, do one of the following: - Press Ctrl+F (Windows) or Command+F (Macintosh). - Right-click an Interplay folder and select Search. The folder you select is displayed in the Search In field. 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.
Finding Remote Assets 8. Click Search. The Interplay Window performs the specified search and returns all matching records in the Research panel. The name of the search tab changes to the text that you searched for. 9. (Option) To start a new search, click Reset or open a new search tab. Then repeat steps 2 through 8. If necessary, click the show/hide arrow in the upper left of the tab to show the Reset button and the search fields.
Capturing Media to Interplay Folders Attribute Options Description Category Examples: Weather Sports Local News Lets you specify which category to search. The specific categories listed for this attribute are defined by the system administrator.
Using the Interplay Central Messages Window 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 239. 5. Click the Interplay Folders selection button. 6. Click the Bin menu, and select an open Interplay folder. 7. Start capturing as usual.
Using the Interplay Central Messages Window The Interplay Central messaging system allows you to share Interplay Production assets between Interplay Central users within your workgroup. Once you to log in to Interplay using the Interplay User Settings dialog box, you can then log in to Interplay Central using the Interplay Central Messages window.
Using the Interplay Central Messages Window If you have signed into Interplay, the Interplay Central Messaging pane attempts to log in to the Interplay Central portal associated with your Interplay workgroup using your Interplay credentials. If your Interplay and Interplay Central credentials are different, you must log in to Interplay Central before using the message window. 2. If required, type your Interplay Central user name and password, and then click Sign In.
Using the Interplay Central Messages Window 4. If the message includes a media asset, do one of the following: t Double-click the head frame in the asset area to view the media. You can view master clips, subclips, group clips, and sequences. t Drag the head frame from the message to a bin. The clip opens in the Source monitor or displays in a bin. To log out of Interplay Central, do the following: t Close the Interplay Central Messages window.
Using the Interplay Central Messages Window To write a new message and share media assets: 1. Select Tools > Interplay Central Messages The Interplay Central Messages window opens. If you have signed into Interplay, the Interplay Central Messaging pane attempts to log in to the Interplay Central portal associated with your Interplay workgroup using your Interplay credentials.
Using the Interplay Central Messages Window 3. In the address text box at the top of the Messages pane, start typing the name of the recipient for your message. A list of Interplay Central users displays as you type. Online users are indicated by a green dot next to the name. A red dot indicates an offline user. n If you type an invalid name, the name changes to red and you receive an error message. You can only send messages to recipients on the Interplay Central user list. 4.
Using the Interplay Central Messages Window Asset area of the message, with the Remove button 6. In the message text box, type your message. A character count below the message displays the number of characters allowed in your message. You can type a total of 256 characters. 7. Click Send. The message is sent to the Interplay Central users listed in the address text box and displays as a sent message at the top of your message list. Messages sent by you display with a blue background.
Performing a Send-to-Playback as a Background Process from an Avid Editing Application A character count below the message displays the number of characters allowed in your message. You can type a total of 256 characters. If you share an asset, a head frame of video clip or a clip icon for an audio clip displays in the message 4. Click Send. The message is sent to the Interplay Central users listed in the address text box and displays as a sent message at the top of your message list.
Performing a Send-to-Playback as a Background Process from an Avid Editing Application t (Option) Select Overwrite, to overwrite the tape ID name in the Interplay Transfer if the same name exists. t Select Use STP Encode to use the STP Encode provider for processing the send-to-playback operation. The system immediately starts the send to playback operation.
27 Interplay Synced Projects Interplay Synced Projects provide you with a way to link your bins and projects in the editing application with the folder structure for assets stored in your Avid Interplay database. When you make changes in your project, the changes are saved to Interplay. Other users can work on the same synced project and update their bins and folders by updating them from Interplay.
Synced Projects Synced Projects When you start your Avid editing application and select Synced Project in the Select Project dialog box, you see the list of Interplay Synced Projects you can access, depending on the permissions attached to the projects. Interplay Synced Projects appear locally as synced projects in the synced projects path on your local machine. Updating and saving a project in the editing application updates the asset folders in Interplay.
Enabling Interplay Synced Projects Synced project asset folders in Interplay Access, with the synced project icon Changes to a bin — for example, moving assets, importing master clips, or creating new sequences — are automatically saved to Interplay folders. You can also update the Interplay folder by saving or checking in a bin. When other users make changes to a synced project, you can update a bin or update the entire project.
Working with Synced Projects To enable synced projects: 1. Do one of the following: t Click the Start button and then select All Programs > Avid > Avid Interplay Access Utilities > Avid Interplay Administrator. t From Interplay Access, select Tools > Open Interplay Administrator. The Avid Interplay Administrator Server Login screen appears. 2. Select the server you want to work with, type a user name and password, and then click Connect. The Interplay Administrator window opens. 3.
Creating a New Synced Project administrator can grant access to the Interplay synced project folder for other users. For information, see “Managing Users, User Groups, and User Rights” in the Avid Interplay Engine and Avid Interplay Archive Engine Administration Guide or the Interplay Help. When you create a new synced project, Interplay saves your project settings in the top level Interplay project folder so others working on the project inherit the same settings.
Creating a New Synced Project 2. If you are not already signed in to Interplay, do the following: a. In the Host Name text box, type the computer name or IP address of your Interplay server. b. In the User Name text box, type a user name. This name must be a known user on your workgroup system. c. In the Password text box, type your password, and click Login. When the blinking yellow light turns green and the Login button changes to the Logout button, you are connected to the Interplay database. 3.
Opening an Existing Synced Project Interplay creates a synced project folder. To view the folder structure in Interplay, open the Interplay Window. Opening an Existing Synced Project When you open an Interplay synced project that you have not opened before, your Avid editing application creates a new project based on the settings saved for the project in Interplay. The project contains bins based on the asset folders in the database that the original project created.
Opening an Existing Synced Project A list of synced projects displays, depending on your permissions. Synced projects you have opened before are stored on your local system and appear at the top of the project list. Synced projects that you have not opened on your system are listed in the Select Project dialog box as “add [project name].” 4. Do one of the following: t Select a project in the Select Project dialog box, and then click OK. t Double-click a project name in the Projects list.
Deleting Synced Projects Deleting Synced Projects If you delete a synced project, a dialog box provides you with the following options: • You can delete the project and its folder on your local system. • You can delete the Interplay project folder, including subfolders, bins, and all media assets in your synced project. This moves the Interplay project folders to the Synced Projects Trash. Your Interplay administrator can then delete the projects from this folder.
Updating a Synced Project 4. Do one of the following: t To delete the synced project from your local system but keep the project in Interplay, click Local. This moves the project to the bottom of the project list and changes the project name to “add [project name].” t To delete the synced project from Interplay but keep the project on your local system, click Interplay. A dialog box asks you to move the local project or delete it.
Updating a Synced Project When updating bins in your synced project, keep in mind the following: n • Local bins update to match the media assets in Interplay when you open the bins. This update might include adding, modifying, deleting, or renaming items in the bin. You can also update open bins by selecting Update Project from Interplay. • When you open a synced project, all open bins are updated.
28 Using Your Avid Editing Application with Media Composer | Cloud When you use Media Composer | Cloud, you can edit media either stored locally on your system or stored on an Interplay server back at your production facility or broadcast station. With Media Composer | Cloud, you connect to your Interplay server by way of a Virtual Private Network (VPN) using either a Wi-Fi or a wireless connection.
Working with Remote Editing • Check in of consolidated sequence to Interplay. Clips are transferred to the Interplay system using a local transfer manager service that runs in the background without the need of additional configuration. The remote upload service can first upload clips at a proxy resolution, and then upload the full-resolution clips when time and bandwidth allow. The clips are automatically checked in to Interplay • Check out the uploaded clips at the broadcast or production facility.
Working with Remote Editing To configure Interplay settings: 1. Start your Avid editing application. 2. Click the Settings tab in the Project window. 3. Double-click Interplay Server. The Interplay Server Settings dialog box opens. 4. In the Interplay Server Name text box, type the computer name or IP address of your Interplay server, and then click OK. It is important to type the correct computer name or IP address.
Working with Remote Editing The Interplay Login dialog box opens, with the server name you specified in the Interplay Server Settings as the Host Name. 9. In the Interplay Login dialog box, select Remote Client, and then type your password, and click OK. When the blinking yellow light in the upper left of the dialog box turns green, you are connected to the Interplay database and the dialog box closes. 10. In the Project Settings, double-click Interplay Folder.
Working with Remote Editing 13. (Option) Select options to verify the directory path. - On login: If this setting is selected, a message box asks you to confirm the directory path after you log in to Interplay. Select “for new projects only” if you want this message box displayed only after you create a new project. - 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.
Working with Remote Editing The Media Indexer service stops. 5. To restart the Media Indexer service, type the following and press Return: sudo ./mi.sh install The Media Indexer service restarts. You might have to wait up to 30 seconds for the service to complete the restart operation. Using Remote Media Once you configure the Interplay settings on your Avid editing application, you can remotely view, play, and edit media checked in to Interplay.
Using the Disk Cache to Manage Cached Media Limitations on Remote Playback Clips that you access from a remote location play back the same as locally managed clips. However, because the ICS streams clips to your Avid editing application, your Internet connection might cause some slowness while playing back clips. Avid recommends using either a Wi-Fi network connection or a 4G wireless connection.
Using the Disk Cache to Manage Cached Media You can also clear the cache both locally and on the ICS system that streams the remote media if you want to ensure that the media playing back reflects the most current version of your sequence. To configure the Media Composer | Cloud cache settings: 1. Click the Settings tab in the Project window. 2. Double-click Cloud Playback. The Cloud Playback Settings dialog box opens. 3.
Setting Playback Quality for Remote Media t Select Bin > Refresh Remote Media. The Avid editing system deletes all files for the clip in the CloudCache folder and on the ICS system. The folder is recreated the next time you play back remote media. Setting Playback Quality for Remote Media You can choose to play back either low or high resolution remote media. The default setting is Low.
Uploading Media Using the Remote Upload Service When you remotely upload sequences or clips, the Avid editing application creates a new subfolder in Interplay as a destination for the uploaded clips. The Upload folder is located in the Interplay folder named for your bin. All uploaded clips appear with an appended tag to indicate their upload status.
Uploading Media Using the Remote Upload Service • When Remote Sync Sequence is first enabled for a sequence, the sequence begins uploading immediately. Subsequent changes to the sequence are uploaded when the bin containing the sequence is saved (either manually or automatically).
Uploading Media Using the Remote Upload Service menu in the Cloud Upload Settings dialog box. If the workspace options have not been set, you can type the name of the workspace in the Workspace text box. For more information, see your Interplay administrator. To upload a clip or sequence from a remote client and check it in to Avid Interplay: 1. Open a bin with a clip or sequence you want to upload. 2. Right-click the clip or sequence, and then select Remote Upload.
Uploading Media Using the Remote Upload Service The Remote Upload Service begins to upload your clip or sequence, and the Remote Sync Progress button changes to a revolving icon to indicate the remote upload is in progress. 6. To view the progress of the upload operation, select Tools > Upload Queue Window. The Upload Queue Window opens and displays all current jobs. 7.
Uploading Media Using the Remote Upload Service checked in to Interplay match the clips used in your sequence. Syncing your sequence checks in the clips to Interplay, but it does not automatically check in the sequence. Sequences get checked in to Interplay only when you remotely upload the sequence itself. When you upload and sync sequences, the sequence icon in the bin changes to a remote sequence icon. To sync a sequence with Avid Interplay: 1.
Uploading Media Using the Remote Upload Service 2. Select the appropriate options for your remote sync operation. For a description of upload options, see “Cloud Upload Settings” on page 1430. 3. Click OK. The Remote Upload Service begins to sync your sequence with the clips already checked in to Interplay, and the Remote Sync Progress button changes to a revolving icon to indicate the sync is in progress. 4. To view the progress of the sync operation, select Tools > Upload Queue Window.
Media Composer | Cloud and Dynamic Relink To stop remote sync: 1. Do one of the following: t Right-click the sequence in the bin, and then select Stop Remote Sync Sequence. t Click the Stop Remote Sync Sequence button in the Timeline. Media Composer | Cloud and Dynamic Relink When you upload media to your Interplay environment at the broadcast station or production facility, you use dynamic relink to link the clips in your sequence to the high resolution uploaded media.
Upload Queue Window Dialog Box the file paths for uploaded clips point to their original remote editing location, and the status of the media displays as offline or not available in the target resolution. You use dynamic relink to resolve the links between the sequence and clips checked in to Interplay and the uploaded media: 1. On a system at the station or production facility where you uploaded your media, enable dynamic relink in the Dynamic Relink Settings dialog box.
Upload Queue Window Dialog Box 1 2 3 4 5 6 Element 1 Tool menu Description Provides options for the Upload Queue Window: • Clear Inactive Jobs — clears the Upload Queue Window of all jobs not currently transcoding or uploading. • Show Job Groups — allows you to display or hide specific job groups listed in the menu. 2 Clip or Sequence name Lists either the name of the uploaded sequence above the clips within the sequence or the name of the uploaded clip.
Supported Project Types and Formats Supported Project Types and Formats For information on the supported Project types and Formats for Media Composer | Cloud, see the ReadMe.
29 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.
Setting Transfer Settings in the Avid Editing Application For more information on installing Interplay Transfer, see the Avid Interplay Transfer Setup and User’s Guide. Setting Transfer Settings in the Avid Editing Application To activate Interplay Transfer each time you start your Avid editing application and to have the application notify you of incoming transfers: 1. In the Avid editing application, click the Settings tab in the Project window. 2. Double-click Transfer in the Settings list.
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.
Setting Transfer Settings in the Avid Editing Application - 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.
Setting Transfer Settings in the Avid Editing Application 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 1295. 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 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.
Setting Transfer Settings in the Avid Editing Application 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 tracks 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.
Transferring Avid Assets from an Avid Editing Application 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.
Transferring Avid Assets to a Playback Device 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. For more information on creating a custom map for sending sequences to Interplay Transfer, see “Mapping Audio Tracks to Output Channels” on page 1295. 2. Open the bin that contains the clips or sequences you want to send. 3. Select a clip or sequence in a bin.
Transferring Avid Assets to a Playback Device Working with Rundowns (NewsCutter Option) In a broadcast environment, you can enable the Interplay Transfer scheduling feature to allow interaction with the Newsroom Computer System (NRCS). You can select the assets to send to playback, and the schedule list from the NRCS determines the order in which the assets are played back. To use the Interplay Transfer with rundowns: 1.
Transferring Avid Assets to a Playback Device 11. Click OK. The sequences play back based upon the order in which they appear in the NRCS rundown list. In the Send to Playback dialog box, if you set one of the sequences to high priority by clicking the circle in the PWT column next to the sequence, that sequence has priority over the rundown list. For information on monitoring the transfer of assets, see the Avid Interplay Transfer Setup and User’s Guide.
Monitoring Transfers from Within the Avid Editing Application with a lower quality output. You can set the minimum resolution allowed before displaying the warning message by using the Transfer Settings dialog box. For setup information, see the Avid Interplay Transfer Setup and User’s Guide. n Dynamic Relink must be enabled to use the Transcode before sending to playback option. For information about using Dynamic Relink, see the Avid editing application Help system.
Monitoring Transfers from Within the Avid Editing Application 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. Status User Options Transferring Pause or cancel the transfer. Paused Resume or cancel the transfer. Error (plus information indicating the error) Retry or clear the transfer. Pending Cancel the transfer. Completed or Canceled Clear the transfer.
Monitoring Transfers from Within the Avid Editing Application Clearing the Transfer Status Window When you are using the Transfer Status window from within the Avid editing application to view the status of any transfers, you should periodically clean up the Transfer Status window. The Transfer Status window is cleared of any leftover status messages when you exit the Avid editing application and then restart it.
30 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.
Understanding MultiRez and Proxy Editing 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. In a post-production workflow, you capture material at a low resolution and perform what is referred to as offline editing, then batch capture the same clips at a higher, online resolution and relink the sequence to the higher resolution.
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.
Acquiring Media at Multiple Resolutions n You can only create one new resolution at a time using batch capture. To capture multiple resolutions at the same time (ie: high-res and a proxy simultaneously), use the Interplay Low-Res Encoder. See the Interplay documentation for more information. To batch capture a different resolution: 1. Prepare your system for batch capturing, as described in the Help for your Avid editing application.
Acquiring Media at Multiple Resolutions n For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on page 1342. Batch Importing File-Based Media at Different Resolutions Using Batch Import, you can import file-based media at different resolutions. To perform a batch import, you must have a master clip that has the media imported in another resolution. To batch import a different resolution: 1.
Acquiring Media at Multiple Resolutions 5. In the Import Target area, select the desired resolution and storage location. 6. In the Import Options area, select “Keep existing local media” and any other options. 7. Click Import. Your Avid editing application imports the files and creates media in the resolution you specified. 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 To transcode a clip using your Avid editing application: t Right click the clip in the bin and select Consolidate/Transcode. To transcode a clip using the Interplay Transcode service, do one of the following: t In Avid Interplay Access, right-click the clip and select Transcode. Select the profile that has been created for this transcode and click Set.
Understanding How Clips are Associated with Multiple Resolutions You create a new tape by clicking the New button in the Select Tape dialog box, entering a name for the tape, and clicking OK. DV Your Avid editing application then associates the new source ID with each clip that you capture from that tape.
Options for Clip and Media Association Guidelines for MultiRez Tape Management When working in a MultiRez workflow, it is important to name tapes properly. In particular, you should keep the following in mind: • Whenever you create a new tape, your Avid editing application generates a new source ID, even if the name you type for the new tape exactly matches that of an existing tape. You cannot dynamically relink media that does not share a source ID.
Options for Clip and Media Association For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on page 1342. n You can batch capture the clip in additional resolutions; there is no limitation to the number of media files associated with a clip. Multiple Clips, Multiple Resolutions, and the Affinity Model You can transcode the media associated with a clip to create media in a different resolution, usually to create a low-resolution version of the clip.
Options for Clip and Media Association 01:00:10:00 01:00:00:00 01:00:10:00 DV 01:00:00:00 Example of associations between multiple clips and multiple resolutions. The original capture (top) creates high-resolution media. A transcode operation (bottom) creates a new master clip and a new media file at a lower resolution. The timecode span and length of both clips is the same.
Understanding Dynamic Relink 01:00:10:00 DV 01:00:00:00 02:09 06:22 Example of associations between clips sharing only part of a timecode span. The original capture (top) creates low-resolution media. A recapture operation (bottom) creates a new master clip and a new media file at a higher resolution. The new master clip is shorter than the original but shares the same timecode span.
Understanding Dynamic Relink n Dynamic relink is currently not supported for HD media that requires pulldown. Therefore, you can only use it with projects where media has been acquired at the native frame rate (without pulldown). You specify two different groups of settings: • Working settings are the settings you want to use while you edit the sequence: For offline editing of a sequence, your editing application uses the resolution specified in the working settings.
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.
Understanding 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 Dynamic Relink” on page 1328”. There are some differences in how dynamic relink functions with the clips uploaded from a remote editing system: • Unlike typical dynamic relink operations, relinking with AMA media clips requires that you first load the clips associated with the AMA clip in a bin before you can relink. • For some formats, AMA clips might not provide full media quality description.
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.
Workflow: Editing a Film or HD Project using MultiRez 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.
Workflow: Editing a Film or HD Project using MultiRez 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 9. Render effects in the target resolution if necessary. n You can use the MultiRez button and MultiRez clip coloring to give you the necessary indications that you may not have media that matches the target settings. 10. Output your final master by doing one of the following: t Create a digital cut. t Use the Send to Playback command.
Considerations When Working with Dynamic Relink Considerations When Working with Dynamic Relink Consider the following when you are working with dynamic relink: • If you connect to an Avid ISIS media network with a 100Base-T connection in a Zone 3 configuration, you can access MPEG-2 low-resolution video and MPEG-1 Layer II (or MP2) compressed audio. This is useful for browsing media stored on the media network as the low-resolution media files require less bandwidth to view.
Using the Dynamic Relink Settings Dialog Box 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. t Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink Settings. 2. Select Enable Dynamic Relink and set the appropriate target settings.
Using the Dynamic Relink Settings Dialog Box 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 1443. 4. Click the Target Settings tab, and then select your target settings. For information on available settings, see “Dynamic Relink Settings” on page 1443. 5. To apply the settings, do one of the following: t Click Apply. The dialog box remains open. t Click OK.
Using the Dynamic Relink Settings Dialog Box Top to bottom: Relink to offline media if no match is found, specific video resolution to match, specific audio sample rate and bit depth to match The working settings in the following illustration instruct your Avid editing application to link to the specific video resolution of DV 25. If your Avid editing application cannot find this resolution for a particular clip, it should relink to media that most closely matches DV 25, based on the specified parameters.
Using the Dynamic Relink Settings Dialog Box Top to bottom: Use closest media if no match is found, highest quality video resolution to match and instruction to accept lower qualities, highest audio sample rate and bit depth to match and instruction to accept lower sample rates Target Settings The target settings in the following illustration instruct your Avid editing application to use 30i NTSC as the project format and 1:1 MXF (uncompressed) as the specific video resolution.
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 are linking to media that was updated by a remote editing system.
Using the Dynamic Relink Settings Dialog Box In this case, you might temporarily switch from working settings to target settings, apply the effect, and then switch back to working settings. • You are performing a digital cut. 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.
Relinking in Frame Chase Editing When using dynamic relink with mixed rate clips, your Avid editing application tries to link your clips to media with the appropriate frame rate. However, unlike clips with the same frame rate as your project, dynamic relink always uses the lowest and nearest resolution to your project frame rate when it does not find an exact match.
Using the Relink Dialog Box in an Avid Interplay Environment For more information about Frame Chase editing, see Avid Interplay Best Practices. 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.
Displaying Whether Media Is Available for Dynamic Relinking Clicking the MultiRez button changes only the display — it does not perform a dynamic relink, and it does not update the status of the media. To update the status, use the Update Media Status command. For more information, see “MultiRez Button Menu” on page 1340. It is especially important to know whether media is available in the target settings if you are going to use the Send to Playback command.
Displaying Whether Media Is Available for Dynamic Relinking The following procedure refers to the default colors available for resolution tracking. You can change the display colors that your Avid editing application uses by selecting custom colors in the Clip Color dialog box. For more information, see “Displaying Clip Colors in the Timeline” on page 671. To enable clip coloring for MultiRez in the Timeline, do one of the following: t Right-click the MultiRez button and select Enable Clip Coloring.
Displaying Whether Media Is Available for Dynamic Relinking n Clip coloring for the Show Mismatches display is not used when you select Highest Quality or Most Compressed as the relink method. This is because you do not select a specific quality, and your Avid editing application supplies the best quality or the most compressed media that is available. Examples of MultiRez Clip Coloring In the following examples, the working resolution is set to 15:1s, and the target resolution is set to DV 25.
Displaying Whether Media Is Available for Dynamic Relinking If you select Relink to Offline, clips that do not match the working resolution are colored red by default, and the Media Offline slide is displayed in the monitors. In the following example, your Avid editing application is warning you that the DV 25 clips are not in the working resolution and the media is offline. n The “Relink to Offline” option does not delete the existing media.
MultiRez Button Menu 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 Option Description (Continued) Show Mismatched Render Ranges Identifies effects that are rendered in a resolution that does not match the specified resolution for the resolutions to which the clips are linked (working or target). A blue line appears along the top of the effect to indicate the portion that is rendered using a different resolution. n You might find it useful to turn off Enable Clip Coloring when you use this option, to make it easier to see the render range lines.
MultiRez Bin Headings MultiRez Bin Headings Some bin columns are specifically associated with MultiRez. These bin headings are available in Avid editing applications when they are part of an Avid Interplay environment.
Understanding Options for Deleting MultiRez Clips and Media more information, see “Working with Partially Online Files” on page 1345.
Deleting MultiRez Clips and Media from a Bin For clips that were batch captured, captured in a dual-ingest configuration, or transcoded without a new clip, you see both resolutions listed in the Delete dialog box. n Multiple audio sample rates are not listed in the Delete dialog box.
Working with Partially Online Files For more information about deleting in an Avid Interplay environment, see the Avid Interplay Access User’s Guide. Working with Partially Online Files There are several cases where you might be working with MultiRez clips that are partially online: • Consolidating and transcoding a portion of a clip or a subclip. • Consolidating and deleting original media. • Partially restoring from an archive. Clips that are partially online are marked in a bin by a half circle.
Working with Partially Online Files 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. 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.
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.
Quality Matching To perform a partial restore from an archive: 1. Assume you have a 10-minute master clip and you have both 15:1s and DV 25 versions of the media. 2. Archive the DV 25 version of the media. 3. Delete the online DV 25 media and keep the low-resolution, 15:1 media online. 4. Edit one minute of the low-resolution version of the clip into a sequence. 5. Select the sequence in the bin and use Avid Interplay Archive to restore the DV 25 version of the clip from the archive.
Quality Matching n For complete information about options in the Dynamic Relink Settings dialog box, see “Using the Dynamic Relink Settings Dialog Box” on page 1327. 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.
Quality Matching 6. Is there media of the same bit depth? 7. Is there media in the same color space? At each step, media is examined. Your Avid editing application continues looking for media until a single match remains. Quality Matching Reference Video Format for Quality Matching The following table lists factors involved in determining the closest match for video format (queries 2 and 3 from the list in “Quality Matching” on page 1348).
Quality Matching Resolution Family Resolution Name DNxHD 220 DNxHD 185 DNxHD 175 DNxHD 90 DNxHD 145 DNxHD 120 DNxHD 115 DNxHD 60 DNxHD 45 DNxHD 36 DNxHD 145-TR DNxHD 120-TR DVCPro n DNxHD resolutions are based on the frame rate of the project. For example, DNxHD 220 has a compressed data rate of 220 Mb/sec at 29.97 fps. DNxHD 185, which is an equivalent resolution, has a compressed data rate of 185Mb/sec at 25 fps.
Quality Matching 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. You want to get media immediately, and you want the lowest (most compressed) resolution available to use less network bandwidth, but you’ll take DV 25 if that’s all that’s available.
31 MultiCamera Editing The Avid MultiCamera editing features let you incorporate multiple camera angle sources into the nonlinear editing process.
Creating Group Clips • 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.
Grouping Stereoscopic 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.
Creating Multigroup Clips Creating Multigroup Clips Multigrouping is strictly for use in large multicamera productions, such as situation comedies, in which all synchronous camera shots are recorded with the same timecode. The MultiGroup function is a single Bin menu command that eliminates the time-consuming steps of collecting, sorting, grouping, and assembling large volumes of multicamera clips. To multigroup your material: 1. Sort the clips by name in the bin. 2.
MultiCamera Displays Full-Monitor Display When you first load a grouped or multigrouped clip, the Source monitor displays a single frame from one clip in the group in Source/Record mode. This is called Full-Monitor display when working with group clips because you can view each angle in full-monitor size as you edit. 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.
MultiCamera Displays 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: • 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, with the nine 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 Nine Split Source view: • 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 MultiCamera Mode After loading a group clip into the Source monitor and editing it to create a new sequence, select MultiCamera Mode from the Special menu to activate the features. The MultiCamera Quad Split Edit or MultiCamera Nine Split Edit is displayed, depending on whether you were in Quad Split Source view or Nine Split Source view before entering MultiCamera mode.
MultiCamera Displays 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. • Synchronizes all camera angles displayed in the Source monitor and continuously updates during playback and editing.
MultiCamera Editing Techniques Limitations on Playback of MultiCamera Media To play back a group clip or a multigroup clip, you must be in MultiCamera mode. In addition, the following limitations apply to playback performance for standard-definition projects and high-definition projects: • In an SD project, you must have Avid input/output hardware attached to your system in order to view multicamera display in a client monitor during a digital cut.
MultiCamera Editing Techniques If the group contains more camera angles than the multi-split display, the Up Arrow and Down Arrow keys cycle through all the clips. Only the first four clips are shown in the Quad Split display and only the first nine clips are shown in the Nine Split display. When the Record monitor is active, you can place the position indicator within any segment and use the arrow keys to switch the group clip selected for that segment.
MultiCamera Editing Techniques n The client monitor displays only SD multicamera sequences. You can view playback of HD multicamera sequences in the Source monitor only. If you notice frames are dropping during playback, decrease the size of the Composer window until playback becomes smooth. To play a linecut on the client monitor in MultiCamera mode: 1. Double-click Composer in the Settings list of the Project window. The Composer Settings dialog box opens. 2. Click the MultiCam tab. 3.
MultiCamera Editing Techniques Using the Group Menu for Multicamera Editing The Group menu lets you select video or audio channels from any of the clips in the group and patch to the tracks available in the sequence. You can have nine camera angles and nine or more audio tracks synchronized and available for patching at any time. Group menu and Group Menu icon n Select the Second Row of Info option in the Composer Settings dialog box for the Group Menu icon to be displayed above the Source monitor.
MultiCamera Editing Techniques 3. (Option) Select the Audio Follow Video option to switch both audio and video for each camera angle when you cut. Using the Multi-angle View Menus During Multicamera Editing You can use the Multi-angle View menus to group up to 18 clips at a time, and select additional clips to be shown in any of the multi-split displays in the Source monitor. You can also select Sequence from the Multi-angle View menus to display the entire sequence.
Selective Camera Cutting Using Match Frame in MultiCamera Editing You can use the Match Frame button to display the matching clip within the group when match framing from the sequence, or you can display the original clip when match framing from the source group. For more information on using the Match Frame feature, see “Using Match Frame” on page 577.
Selective Camera Cutting To perform selective camera cutting with grouped clips: 1. Load the group or multigroup clip into the Source monitor. 2. Using timecode notes and the numeric keypad, type the timecode for the first take to begin the sequence, and press Enter (Windows) or Return (Macintosh) to cue the clip in the Source monitor to the take. 3. Mark IN and OUT points for the entire scene. 4. Select a camera angle for the first clip, and then splice the entire scene into a sequence. 5.
32 The Avid Marketplace The Avid Marketplace feature allows you to purchase video (stock footage), sound effects, music and plug-ins from within your Avid editing application. This chapter describes the process of downloading stock footage clips and Avid supported plug-ins from within your Avid editing application. You must be connected to the Internet to access features offered in the Avid Marketplace.
Avid Marketplace Media Libraries Quick Start Avid Marketplace Media Libraries Quick Start The following section contains high-level steps you can perform to search, preview and select stock footage clips to purchase and include in your Avid editing sequence. See other topics in this chapter for detailed steps and more information. To purchase stock footage: 1. From your Avid editing application, select Marketplace > Media Libraries. The Avid Media Libraries window opens. 2.
Avid Marketplace Media Libraries Quick Start 13. You can now add the clips to your sequence. 14. If you want, you can create a Stock Footage Report (.txt file) to see which clips you have used in your sequence, right-click the sequence in the bin or right-click the sequence in the Record monitor and select Stock Footage Report. For more information, see “Creating a Stock Footage Report” on page 1387. 15.
Creating a User Sign In and Password 19. Open the sequence that contains the comp (low resolution) clips, and right-click then select Relink Stock Footage to Sequence. The system creates a copy of the sequence which links to the high resolution clips. The copy is named with the original sequence name followed by .Relinked.n, where n is the number of the duplicates created from the original sequence. The clips relink to your sequence.
Licensing Options 3. In the Thought Equity Motion page, click Register. The Register Information window opens. 4. Enter required information including e-mail and password. 5. Click Submit Registration. Your account information is saved and you are logged into Thought Equity Motion. The next time you visit the Thought Equity Motion, click Sign In and enter your email and password. Licensing Options Thought Equity Motion displays the legal rights and clearance under each clip.
About the Stock Footage Clips About the Stock Footage Clips There are two types of stock footage clips that you can download to your Avid editing system: • A low resolution “comp” clip which allows you to try out the clip in your sequence first, before you purchase. This comp clip also displays a watermark. • A high resolution clip that you purchase. You have several formats to choose from.
Searching through Stock Footage If you have not registered yet, click Register. See “Creating a User Sign In and Password” on page 1372. 4. Click Log On. The system signs you in to Thought Equity Motion. 5. Enter your search terms in the Search for footage bar. 6. Click the Search button or press Enter. The system returns your results in the Display window.
Searching through Stock Footage 7. Place your cursor over the thumbnail to preview a clip. 8. Use the navigation buttons to move Backward, Forward, and Refresh your last action. To change the display options: 1. Enter your search terms in the Search for footage bar. 2. Click the Search button or press Enter. The system returns your results in the Display window. 3. Click Display Options. The Change your display options dialog box opens. 4.
Searching through Stock Footage • OR: Use when you want to search for clips containing either keyword. For example, a search for butterfly OR moth, returns clips featuring both butterflies and moths. • Combine modifiers: Use a combination of keywords and operators to narrow your search. For example, butterfly AND yellow NOT swimming NOT fish, returns clips containing “butterfly” and “yellow” but eliminates clips of swimmers doing the butterfly stroke and butterfly fish.
Searching through Stock Footage Filter search results options Description Releases Allows you to choose from Fully Cleared/Ready Now or Talent Released/Not Required. Select one of these option to search for only specific releases. Available Previews Allows you to choose from Preview Available Now or Preview Available on Request. Select one of these option to search for only specific previews. Audio Search Allows you to search for clips that contain audio.
Searching through Stock Footage 5. Click Submit. The system creates your new bin and adds it to the My Bins menu. To add a clip to a Thought Equity Motion bin folder: 1. Once you have identified a clip to add to a bin, click the Add (+) button. The clip is added to your default bin. 2. To add a clip to a different bin, click the check box to select the clip. 3. From the Clip tools menu, select Add selected to bin folder name. The clip is added to your selected bin.
Searching through Stock Footage Icon Description Information (i) Allows you to view additional information about the clip. View (Magnifying Glass) Opens a window that displays detailed information about the clip including: licensing options and pricing. Comments Allows you to enter comments about your clip. Remove (X) Allows you to remove the clip from your bin. View shot reel Displays multiple shots from the selected clip.
Searching through Stock Footage A list of your bins display. 3. Use the Bin tools menu to Select all, Select none or Remove selected bins. 4. Use the Sort by menu to sort and search across multiple bins. 5. To the right of each bin, the system displays icons which allow you to perform different functions, they include: Icon Description Edit Allows you to edit the name of your bin and add or change any notes you want to include about the bin.
Downloading Stock Footage Clips to Your Avid Bin Downloading Stock Footage Clips to Your Avid Bin Once you select clips from the Avid Thought Equity Motion site, you can download low resolution comp clips into your Avid bin to try them out in your sequence. Although it is recommended to download directly through your Avid editing system, if needed, you can download clips outside of the Avid editing system from an external browser. Store the clips on your system and link them to your bin at a later time.
Downloading Stock Footage Clips to Your Avid Bin Column Name Description Vendor Invoice ID The vendor’s order/invoice ID for a purchased clip. To add vendor columns to your Avid bin: 1. With a bin in Text view, select Bin > Choose Columns. The Bin Column Selection dialog box opens. 2. Select the Vendor column names you want to display in your bin. 3. Click OK. The Vendor columns appear in your Avid bin.
Downloading Stock Footage Clips to Your Avid Bin If you select the Download Comp Arrow icon, a Download window opens allowing you to select a Customize Comp clip. See the steps in the following procedures to customize your comp clip. If you select the Download Comp button or the menu item, the Select a bin window opens. If you only have one Avid bin opened, the clip downloads to that bin. If you have several Avid bins opened, the Select a bin window opens. 4.
Downloading Stock Footage Clips to Your Avid Bin If you only have one Avid bin opened, the clip downloads to that bin. If you have several Avid bins opened, the Select a bin window opens. 4. Select the bin you want to download the clips to or click New Bin, and then click OK. If the clip that you selected has already been downloaded to your system. A dialog box opens allowing you to overwrite or not download the file.
Downloading Stock Footage Clips to Your Avid Bin 5. If you want to include burn-in timecode or an asset name, select Time code or Asset name. These options display in your clip. 6. Click Make a custom comp request. The request is sent to Thought Equity Motion. You will receive an e-mail once your custom comp is available to download. If you choose to download the comp by clicking the URL in your e-mail, you will need to download and link the clip outside of the Avid editor.
Downloading Stock Footage Clips to Your Avid Bin n AMA must be enabled to link the stock footage file. The menu item will be unavailable if AMA is not enabled. n An internet connection is required when you link clips in order to properly recognize files and access the data needed for any new clip metadata. The Browse dialog box opens. 3. Locate the comp file you downloaded, and then click OK. The stock footage clip appears in your Avid bin. An AMA link icon appears next to the clip.
Downloading Stock Footage Clips to Your Avid Bin If you select more than 10 sequences, a dialog box asks if you want to generate sequence reports for all selected items. The application writes the report to a text file and opens a text editor. n By default, the Stock Footage Report is saved in text format. To save the report as either .csv (comma-separated-value) or .xml, change the extension of the report before you save it. The file saves with .csv or .xml formatting.
Purchasing Your Stock Footage In cases in which a clip is used more than once in a sequence, additional occurrences display indented below the first occurrence. See the example below: n Depending on your operating system and the text file application, you might have to turn off “word wrapping” or enlarge the size of you text window to see all the displayed columns correctly. Purchasing Your Stock Footage You can purchase your stock footage as an individual clip or as all the clips in your sequence.
Downloading your High Resolution Stock Footage Selected clip and the Add to cart icon. 3. Click Add to Cart. The clip displays in your shopping cart. 4. (Option) If you still need to adjust the In or Out points, you can drag the handles to adjust the length of your clip, then click Update the clips In/Out markers. n If the clip contains clipping information, Avid adds five frames to both the start and end points of your purchased clip. 5.
Downloading your High Resolution Stock Footage For more detailed information about downloading, see “Downloading Stock Footage Clips to Your Avid Bin” on page 1382. This section explains downloading low resolution clips, but the same information applies to downloading high resolution clips. n It is recommended that you do not change the file name of the downloaded clip. The file name includes information that is used for linking. However, it is all right to rename the clip name inside the Avid bin.
Downloading your High Resolution Stock Footage n You need to click Download Masters for each clip. The clips download to your selected Avid bin. If there is no bin open or multiple bins are opened, the Select a Bin dialog box opens asking you to select a bin or create a new bin. A download progress bar appears, in the lower-left corner of the Avid Marketplace window, with the number of clips to download.
Relinking High Resolution Media to Your Sequence The high resolution clips appear in your Avid bin. An AMA link icon appears next to the clip. To play your sequence with the high resolution clips, you need to relink the purchased clips to your sequence. For more information, see “Relinking High Resolution Media to Your Sequence” on page 1393.
Avid Marketplace Plug-ins You might want to transcode the purchased clip to the projects native format for smoother play. See “Using the Transcode Command” on page 487. Avid Marketplace Plug-ins The Avid Marketplace Plug-ins window allows you to purchase and download Avid supported plug-ins from within the Avid editing application, you can open the Avid Marketplace Plug-ins page to download audio and video plugins.
Purchasing and Downloading a Plug-in from the Avid Marketplace The purchase window with the selected product displays. 4. Select from the “Please select a product” from the pull-down menu. 5. Enter the quantity. 6. Click Add to Cart. 7. Enter a promotional code if you have one, then click Apply. 8. Click Proceed to Checkout. 9. If you have an account, click the Returning Customers check box. You will be prompted to enter your e-mail address and password. Click login.
33 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.
• 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 • NRCS Settings (Media Composer | NewsCutter Option) • Passthrough Mix Tool • PortServer Settings • Remote Play and Capture Settings • Render Settings • S3D Settings • Safe Colors Settings • Script Settings • Sound Card Configuration Settings (W
Understanding Settings Understanding Settings The Settings tab in the Project window contains a list of settings that control many aspects of your Avid editing application’s behavior. Using the Settings list, you can: • Open Settings dialog boxes to view and modify settings. • Switch between settings. • Manage settings in a variety of ways. For more information, see “Working with Settings” on page 1400. You can also switch between users and work with user profiles.
Understanding Settings Types of Settings There are three types of settings: • User settings are specific to a particular editor and reflect individual preferences for adjusting the user interface in your Avid editing application. User settings are stored in each user folder. • Project settings are directly related to individual projects. When you change a Project setting, it affects all editors working on the project. Project settings are stored in each project folder.
Working with Settings • Multiple Keyboard and Composer settings to use for various activities such as capturing, offline editing, or online effects editing. • Multiple Deck Preferences settings for various types of capturing or for output. • User settings for the assistant editor that facilitate logging, capturing, and organizing projects. • User settings for the editor that include editing interface preferences. • Bin View settings that display useful columns of information in bins.
Working with Settings To modify available settings: 1. In the dialog box or window for the setting, type new values or select new options for the setting. For information about navigating within a Settings dialog box, see “Using the Keyboard for Navigating in Dialog Boxes and Menus” on page 61. 2. Click OK, Save, Apply, or Cancel, or click the Close button. Your Avid editing application saves changes in the appropriate User, Project, or Site settings file.
Working with Settings 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. Bin Views Displays all Bin View settings you have created. Export Settings Displays all Export settings. Import Settings Displays all Import settings.
Working with Settings Option Description Site Settings Displays all Site settings in the Site_Settings file. 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.
Working with Settings Duplicating Settings To create a new version of a setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the setting you want to copy. Ctrl+click (Windows) or Command+click (Macintosh) any additional settings you want to copy. 3. Select Edit > Duplicate. A copy of each selected setting appears in the Settings list.
Working with Settings Custom setting name column in the Project window 3. Type a name, and press Enter (Windows) or Return (Macintosh). The new name appears in the list and is saved in the settings file. Selecting Among Multiple Settings If you have multiple versions of a setting (for example, multiple Export settings), only one setting at a time is active. Settings that are currently active have a check mark to the left of the setting name. To change the active setting: 1.
Working with Settings c You cannot undo a deletion. You can, however, restore the default settings or copy settings from other files. For more information, see “Restoring Default Settings” on page 1406 and “Copying Settings Between Settings Files” on page 1406. To delete a setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click a setting to select it. Ctrl+click (Windows) or Command+click (Macintosh) each additional setting you want to delete. 3.
Working with Settings You can also transfer settings files to another Avid system. n Starting with the release of Media Composer v6.0, Symphony v6.0 and NewsCutter v10.0, the user, project and site settings are saved in an .xml file. If you have an .avs settings file from a previous system, you can bring it forward to a current system and the .avs file will be converted to an xml file. To copy settings between setting files: 1.
Options for Moving User Settings Files 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. Additional versions of each setting are not affected.
Summary of Settings 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 112. Experienced Avid users, however, are accustomed to moving user settings around manually on their systems.
Summary of Settings Setting Name Description Reference Topic Communication Sets a port for Remote Play and Capture. (Serial) Ports “Communication (Serial) Ports Tool Settings” on page 1432 Composer Configures the display and behavior of buttons and information in the Playback, Source, and Record monitors. “Composer Settings” on page 1433 Controller Settings Sets the default controller, port selection, and custom “Controller Settings” on page 1437 controller buttons.
Summary of Settings Setting Name Description Reference Topic Interface “Interface Settings” on page 1487 Defines the appearance and function of certain interface elements. For more information, see “Customizing the Avid User Interface” on page 115. Interplay Folder Lets you specify a project directory on the asset manager to use for checking in media objects.
AMA Settings Setting Name Description Reference Topic S3D Sets stereoscopic parameters. “S3D Settings” on page 126 Safe Colors Sets the safe color parameters for the Color Correction tool. “Safe Colors Settings” on page 1502 Script Sets the default display options for scripts imported using script integration.
AMA Settings Option Description Create a new bin When this option is selected, your Avid editing application creates a new bin to store clips linked using AMA and controls the bin name. This is the default option. • Default bin naming convention: uses the project name for the bin (bin name followed by a consecutive number). • Volume name: the name or label of the volume (for example D:). • Specify bin name: lets you enter a new bin name.
AMA Settings Option Description Automatically AMA-link to volumes With this option enabled volumes/disks are automatically mounted. With this option disabled, you can load media without the clips appearing in a bin. When mounting previously mounted volumes, do not check for modifications to the volume. If you select this option, your Avid editing application automatically scans and links all clips from the third-party device and drive every time a device or drive is attached to your system.
AMA Settings Option Description QuickTime Live Link Select this option if your editing workflow includes QuickTime movies where the number of tracks, the duration, or the edit rate, but not the file name have been changed in After Effects or Final Cut Pro. See “Using the QuickTime AMA Plug-In” on page 462. AMA Settings: AIS MetadataTab Description Reel name for Labroll column based on: Frame Count for DPX column: Select from where to read the Reel name.
Audio Settings Description Timecode for Start column: Select where to read the Timecode. This information will appear in the Start bin column. If no timecode can be extracted from either location, the column will populate with the default timecode.
Audio Project Settings Option Description Tool Buffer Size in Defines the size of the host audio play buffer during audio loop play and audio tools Samples (Software-only play (such as volume automation recording). Reducing the tools play buffer size Models) decreases the overall latency between the time you adjust an audio parameter in your Avid editing application and the time you hear those changes through the speaker.
Audio Project Settings Option Description Audio File Format Defines the file format for audio: • WAVE (OMF): Compatible with Windows applications. • AIFF-C (OMF): Compatible with many third-party applications, including Pro Tools. • PCM (MXF): Enables easy exchange of material between servers, tape streamers, and digital archives. Select WAVE or AIFF-C for all audio media when you need to transfer audio media files directly to a Pro Tools system for audio sweetening.
Audio Project Settings Option Description Show Mismatched Sample Rates as Different Color Controls whether or not your Avid editing application identifies mismatched sample rates by color if you have a sequence with several different sample rates. Remove Extra Filler After Punchin Controls whether your Avid editing application removes or keeps extra filler added during an audio punch-in recording.
Audio Project Settings Option Description Options for HD SDI input 16ch: Lets you capture up to 16 audio channels of HD-SDI input. n Not all decks support 16-channel audio. For more information, see the documentation for your deck. Audio Project Settings: Output Tab The options that appear in this tab depend on your audio configuration and the hardware installed on your system. Your options might differ from those listed here.
Audio Project Settings Option Description All or Timeline Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button. Maps the track and output channels: • All: Lets you choose between all available tracks. • Timeline: Lets you assign output channels to the tracks monitored in the Timeline. Which Set of Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button. Defines the groups of output tracks to map to audio channels.
Audio Project Settings Audio Project Settings: Hardware Tab Apart from HW Calibration, the settings in the Hardware tab are for informational purposes only and list defaults set by your system, depending on your audio hardware and configuration. Option Description Card Indicates the type of audio card installed. Peripheral Indicates the type of peripheral audio device (audio interface) attached to the system.
Audio Multiple Mix Settings Option Description Real-Time Audio Dissolves When Enabled is selected, you can play audio dissolves (also called crossfades) as real-time effects. Select Disabled if you experience an audio performance delay in your Avid editing application. Dissolve Midpoint Attenuation Controls the method your Avid editing application uses for audio dissolves: • Const Power –3dB: Uses constant power to maintain a consistent sound level through the midpoint of the dissolve.
Bin Settings Option Description Max versions of a file in the attic Defines the maximum number of single-bin or script copies stored in a project's attic. This setting prevents filling the project's attic with too many versions of one bin or script. The default is 50 versions.
Capture Settings Capture Settings Capture settings include essential options for capturing, batch capturing, auto capturing, capturing to multiple media files, DV scene extraction, and setting key commands. Capture Settings: General Tab Option Description Stop deck after capture When this option is selected, the deck stops when the capture operation is complete. Pause deck after capture When this option is selected, the deck pauses when the capture operation is complete.
Capture Settings Option Description Ignore Detected Media Read Errors When this option is selected, capture accuracy improves, especially on tapes that appear to be experiencing a lot of dropouts. Capture a single video frame only When this option is selected, your Avid editing application captures a single frame of video from your clip. When you click the Record button, your Avid editing application captures the currently displayed frame.
Capture Settings Option Description Switch to emptiest drive if current drive is full When this option is selected, your Avid editing application switches to the target media storage drive with the most available space when the current target drive becomes full during batch capturing. Your Avid editing application switches before starting to capture the clip, based on the number of minutes in the clip. For more information, see “Batch Capturing from Logged Clips” on page 257.
Capture Settings Capture Settings: OMF Media Files Tab The OMF Media Files tab is available in the Capture Settings dialog box when you select OMF in the Media Type tab of the Media Creation dialog box. Option Description Capture to a single file, 2 GB limit When this option is selected, capture stops when the media captured has taken up 2 gigabytes (GB) of storage space on the media drive.
Capture Settings Option Description During capture, clip is updated in Interplay When this option is selected, Frame Chase capture is enabled. An initial check-in takes place 10 seconds after a capture begins. Subsequent Interplay updates occur at intervals defined by the Update Interval option. Select an update interval from the menu to determine how frequently updates to Interplay occur during a Frame Chase capture. In most circumstances you should keep the update interval low (1 minute or 2 minutes).
Cloud Playback Settings Cloud Playback Settings The following table describes the options available in the Cloud Playback Settings dialog box. Option Description Disk Cache This option displays the default location of the CloudCache folder holding prefetched media files. You can change the default location by clicking Browse and navigating to a new location on your local system. Disk Cache Size This text box displays the maximum size of the CloudCache folder.
Color Management Settings Option Description High Quality This option ia available if you select either the High or the Proxy then High option for your upload quality. • • Video - Select Same as Source (when possible) if you want to upload video with no resolution change from the source video clip. If the source resolution is not available, the upload uses the resolution selected in the Resolution menu.
Communication (Serial) Ports Tool Settings Option Description Insert color transformations Applies any color transformations already specified in the source settings. Do not automatically in the source select this option if you want to work with the original media files. See “Setting the settings upon AMA link Color Properties of Acquired Media” in the Help.
Composer Settings Composer Settings Composer Settings: Window Tab Option Description Data Display at • Top Off — When this option is selected, your Avid editing application turns off the information display above the monitors. • Always Display One Row of Data — 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.
Composer 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 Auto-enable Source Tracks When this option is selected, whenever you load new source material into the Source monitor, your Avid editing application automatically enables all existing source tracks. This option is selected by default. Copy Source Markers When this option is selected, if you have markers in a clip in the Source monitor, your Avid editing application copies the markers when you edit the clip into the Record monitor. This option is selected by default.
Composer Settings Option Description Stop at Markers When this option is selected, the position indicator moves to the next consecutive frame containing a marker. For more information on using markers, see “Using Markers” on page 554. Ignore Track Selectors When this option is selected, your Avid editing application ignores the selected tracks and cues directly to the start (head) frame of the next edit, regardless of the track on which it occurs.
Controller Settings Controller Settings Option Description Controller Defines the controller to use. Select one of the following: • No Controller • JL Cooper MCS3 Controller • 002 Controller • Command|8 Port Defines the port you use to connect your controller. Edit Settings If you have selected a port and controller, select this option to map the controller functions. Gain Controller Defines a port for a fader or a mixer to record audio gain information.
Correction Settings 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.
Deck Configuration 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 1440. Delete Click to delete a deck or DV device.
Deck Preferences 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.
Desktop Play Delay Desktop Play Delay Option Description Frames Click the Desktop Play Delay Frames slider to increase or decrease the amount of frame offset. You might need to readjust the frames a few times to find the correct offset.For more information, see “Adjusting the Play Delay Offset” on page 532. Dynamic Relink Settings Dynamic Relink is available only on Avid editing systems that have the Avid Interplay Media Indexer installed.
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.
Dynamic Relink Settings Dialog Box Area Option Description (Continued) Relink if quality Available when Specific Resolution is the Relink method. Defines a relational operator and a resolution to compare against.
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”.
Effect Editor Settings Option Description Real Time Update When this option is selected, your Avid editing application updates the rendered effect image in real time. Because the update can be slow for complex effects, you have the option to deselect real-time updating. Set Position To Keyframe When this option is selected, your Avid editing application moves the position indicator to the keyframe when you click a keyframe indicator.
E-mail Settings E-mail Settings The Email Settings dialog box lets you configure your Avid editing application so that it can notify you by e-mail when any of the following operations completes: n • Render • Export • Consolidate or Transcode Some mobile telephone services can deliver e-mail as a text message or notify you by text message when an e-mail has been received. If your service includes this feature, consider using it as a convenient way to receive your notifications.
Export Settings Option Description From Name Defines the name that appears in the From header field of an e-mail your Avid editing application sends. From Address Defines the e-mail address for the account that your Avid editing application uses to send the e-mail. To Address Defines the e-mail address to which your Avid editing application sends the e-mail.
Export Settings Option Description OMFI 1.0 OMFI 2.0 When this option is selected, your Avid editing application exports a standard OMFI composition for transfer to a third-party workstation that supports OMFI. You can choose to export composition only, or embed the video and audio, or both. For more information, see “Guidelines for Exporting OMFI and AAF Files” on page 1037. AAF When this option is selected, your application creates an Advanced Authoring Format (AAF) file.
Export Settings Option QuickTime Movie Description When this option is selected, your Avid editing application creates a self-contained QuickTime movie. For more information, see “Exporting QuickTime Movies” on page 1042. n If you install additional QuickTime Export formats, they appear in the menu with tildes (~) before their names. This indicates they are not qualified or supported by Avid.
Export Settings Option Description Use Marks When this option is selected, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option or mark the entire clip or sequence. Use Enabled Tracks When this option is selected, your Avid editing application exports the tracks that are enabled in the Timeline.
Export Settings Option Description The following options appear in the Video Details tab, the Audio Details tab, or both, depending on the export method: 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.
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 830. Convert Audio Sample Rate to: Defines the audio sample rate for the export. Select this option if your sequence has a mix of sample rates and you need to create a single sample rate.
Export Settings Option Description Folder Defines the destination folder for newly created or copied media. If you deselect Use Same Folder as AAF File, a path name appears. Click Select Folder to navigate to a different folder. Embedded in AAF/OMF When this option is selected, your Avid editing application embeds media files in the exported AAF or OMFI file specified in the Export dialog box.
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.
Export Settings Option Description Add Shares for Media Drives When this option is selected, your Avid editing application creates a new drive share for referenced media files stored on unshared network drives. The drive share is hidden, so other users do not see the shared drive when browsing your computer. You do not need to select this option when media is stored on the same drive as the QuickTime reference movie.
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.
Export Settings Option Description Create Preview When this options is selected, your Avid editing application creates a preview of the QuickTime movie. 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.
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.
Export Settings Codec Description Avid 1:1x For high quality, 8-bit, lossless resolution (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 Option Description Stream Type Defines the transport stream type: • Transport Stream: Use this option for both video and audio, for example, when exporting to other devices. • Elementary Streams: Use this option for either video only or audio only. Export Settings: DV Stream Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1451.
Export Settings Export Settings: AVI Through QuickTime Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1451. 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.
Export Settings Option Description Key Frame Every n frames When this option is selected, your Avid editing application uses keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. Limit Data Rate n KB/sec Defines a limit to the data rate for the compressed file, in kilobytes per second.
Export Settings Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1451. Width, Height, FPS Set the width, height, and frame-per-second (fps) rate of the clips for export. Video Type Defines the video type, either Progressive or Interlaced. 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.
Export Settings Option Description Passes (not available when you select Uncompressed) Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content passes through the encoder once, and compression is applied as the content is encountered. With 2 Pass encoding, the content is analyzed during the first pass, and then encoded in the second pass based on the data gathered in the first pass. 2 Pass encoding might result in better quality but takes longer.
Export 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 1451. 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.
Export 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 1469. 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) BMP Windows: Creates files that are compatible with systems running the Windows operating system. OS/2: Creates files that are compatible with systems running the IBM® OS/2®operating system. Chyron® 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.
Export Settings Format Options and Other Notes (if applicable) Photoshop 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. Compression: Controls the size of the file on disk. Disabling this option creates larger files on disk. PICS This option is available on Macintosh only. It creates a Macintosh QuickDraw picture encapsulated in IFF format.
Export Settings Format Options and Other Notes (if applicable) TIFF 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. Compression: Controls the size of the file on disk. With None, i RLE (run length encoded) produces relatively small and fairly portable files. JPEG • None: Image data is not compressed and can produce large file sizes.
Film and 24P Settings Option Description Bit Depth Defines the audio bit depth, either 16 bit or 24 bit. Panasonic supports 16-bit audio at this time. Export Settings: XDCAM To open the XDCAM Export Setting dialog box, select Output > Export to Device > XDCAM. For more information, see “Exporting Media to XDCAM Devices” on page 1049. Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1451.
Full Screen Playback Settings Option Description Auxiliary Ink Default Defines the format for the auxiliary ink number edge type. The choices are the same as Edge Type for Ink Number Default Edge Type. Video Pulldown Defines how your Avid editing application handles pulldown: Cadence (NTSC only) • Video Rate, no pulldown: For 24-fps footage transferred MOS (without sound) to 30 fps by speeding up the film and using audio brought into your Avid system separately at 100% of the actual speed.
Full Screen Playback Settings Option Description Scaling Determines how images are scaled for full-screen playback: • Project: Uses the actual project type and aspect ratio to determine the scaling. • 4x3 (Standard): If you are editing an HD project that contains a lot of SD material that is stretched to fit the 16x9 aspect ratio, you might want to select this scaling option, letting you restore its original aspect ratio.
Full Screen Playback Settings Option Description S3D View Mix: Displays a 50/50 blend of both the left and right eye images. Difference: Displays a blend of both left and right eyes, and highlights the difference between the two. Embossed areas show the differences, while gray pixels represent no differences. Frame Compatible: Displays both the left and right eye images as dictated by the project settings (side/side or over/under). Mono: Displays only one of the stereoscopic images.
Full Screen Playback Settings Option Description S3D Overlay Displays the disparity guides on the viewer so that you can see the depth budget limits when adjusting the separation between your stereo 3D images. The guides for Parallax are based on the project’s S3D settings (set from the Project window, Settings tab). Parallax Near: Displays green guides that show the limits for objects that will appear in front of the screen plane.
General Settings Option Description Current Monitor Position Defines which monitor displays the full screen playback. Drag the entire Full Screen Playback Settings dialog box to the desired monitor, and then click Select Monitor. (Macintosh only) If two or more graphics cards are installed, choose a monitor that is connected to the primary graphics adapter. General Settings Option Description Project Format Displays the format currently selected for the project.
Grid Settings Option Description Use Windows Prevents you from using the characters /\:*?”<>| and adding leading spaces, trailing compatible file names spaces, or a trailing period in bin, project, or user names. These characters are not (Macintosh only) allowed in Windows file names. This option is useful for moving bins and projects from Macintosh to Windows platforms. Generate LTC On Playback Depending on your Avid input/output hardware, this option lets you output LTC timecode.
Grid Settings Option Description Source Grid Lets you shrink or offset the grid. Adjustments • Hor. Offset and Vert. Offset: These options move the grid on the image either horizontally or vertically, and are intended mainly for film projects. • Inset: This option shrinks the grid proportionally. Grid Settings: Display Tab Option Description Type Selects a different grid for each standard film type. For video projects, use the Square grid type.
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.
Import Settings Option Description Field Ordering in File Controls the field ordering (sometimes referred to as field dominance) of the media you are importing. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically imported as progressive (still) frames. When the field ordering (or spatial field position) of the imported media matches the field ordering of the project format, no special processing is required.
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.
Import Settings Import Settings: OMFI/AAF Tab Option Description Resolution Use the source file’s resolution. When this option is selected, your Avid editing application maintains the source file’s resolution. Your Avid editing application disregards the resolution setting in the Select Files to Import dialog box as well as the resolution set in the Import tab of the Media Creation dialog box. Use the current import resolution.
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 312. Sample rate convert source sample rate to project sample rate Controls sample rate conversion during audio import.
Import 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 Option Description Convert Proxy Audio to When this option is selected, your Avid editing application converts the sample rate Project Rate during Import for proxy media (8 kHz) to the project rate when you import the media. This option is selected by default. Import Audio Channels Defines the maximum number of audio channels to import: 2, 4, 6, or 8.
Interplay Folder, Interplay Server, and Interplay User 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).
Keyboard 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.
Marquee Title 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 138. 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.
Media Creation 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 141. 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 Media Creation Settings: Additional Options for Render Tab Option Description Same as Source When this option is selected, your Avid editing application renders the effect using the resolution of the clip or clips used to create the effect. If an effect is created from clips that use different resolutions, your Avid editing application uses the highest quality resolution. Effects Processing Controls the resolution (bit depth) used for effects processing.
Media Services Settings (Windows Only) Media Services Settings (Windows Only) The Media Services Settings dialog box lets you connect to a Media Services Broker. You use the services provided by Avid Interplay Media Services Broker in an Avid Interplay environment where dedicated computers automate time-consuming operations. For more information, see the Avid Interplay Media Services Setup and User’s Guide.
NRCS Settings (Media Composer | NewsCutter Option) NRCS Settings (Media Composer | NewsCutter Option) For more information about options in the NRCS Settings dialog box, see “Configuring the NRCS Tool” on page 1149. NRCS Settings: NRCS Tab Option Description Server Defines the name of the server. Server menu Defines the type of NRCS server (iNEWS or ENPS) you want to connect to. The second tab in the NRCS Settings dialog box changes to match the selection.
NRCS Settings (Media Composer | NewsCutter Option) Option Description “Create Sequence” Data When you use the Build Sequence button a to create a sequence from a story, the new sequence uses the specified Duration (tape-time), Name (title), and TapeID (video-id) from the iNEWS story fields setting. If you want to use another iNEWS field for the metadata, type the name of the story field in the appropriate text box. Type the default time you want for new sequences in the Default Value text box.
Passthrough Mix Tool NRCS Settings: Post to Web Tab Option Description Include Closed Caption (green) text Converts all text marked as Closed Caption to plain text. Add paragraph tags (
) at the start of new lines Converts line breaks into paragraph breaks, so each line is displayed as a separate paragraph on the Web page. n Web formatting ignores line breaks that are the result of the text wrapping within the Story text box.
Remote Play and Capture Settings Remote Play and Capture Settings Remote Play and Capture lets you use your Avid editing application like a videotape recorder (VTR) or edit controller, giving you access to some of the features of an external editing suite through your Avid editing application interface. Option Description Mode When Remote Capture is selected, your Avid editing application captures the media being sent to it immediately without setting up parameters like IN and OUT points.
Render Settings Render Settings Option Description Image Interpolation This option allows you to choose filtering quality vs. speed. • Advanced (Polyphase) is the highest quality option, but is the most demanding. Images will appear sharpest with this option. • Standard (Bilinear) trades some quality for better performance. • Draft (Nearest Neighbor) is a low quality option that requires very little processing and is fastest.
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.
S3D Settings Option Description Render Completion Defines a sound that your Avid editing application plays once the rendering process is Sound complete. This is useful when you are rendering multiple effects. The following options are available: • None: Disables the rendering completion sound. This is the default. • System Beep: Sets the rendering completion sound to match the sound set for your operating system. • Render Sound: Sets the rendering completion sound to a customized sound.
Safe Colors Settings Option Description Depth Limit Near Enter the depth budget available in front of the screen. This is always a negative value. Depth Limit Far Enter the depth budget available behind the screen. This is always a positive value. Parallax Near This distance is automatically calculated. If you set the drop-down button to manual, you may override the calculated setting. Parallax Far This distance is automatically calculated.
Script Settings Option Description Actions buttons Define how your Avid editing application implements the safe color settings. The top menu controls both the Composite and the Luminance limit types. The bottom menu controls the RGB Gamut limit type. The following options are available: • Ignore: Your Avid editing application does not limit based on these settings. This is the default setting. • Warn: Your Avid editing application provides warnings when an image exceeds these limits.
Sound Card Configuration Settings (Windows Only) Sound Card Configuration Settings (Windows Only) Sound Card Configuration Settings are only available in software-only configurations. Options Description Record/Input list Lists the input sources available with the audio hardware installed on your system. Playback/Output list Maps input sources to the output sources available with the audio hardware installed on your system.
Timeline Settings Option Description Highlight Suggested Render Areas After Playback When this option is selected, thin colored indicator lines display in the Timecode track of the Timeline. These lines provide information about the real-time effects in your sequence. For more information, see “Real-Time Playback of Video Effects” in the Help. Show Position Bar When this option is selected, the Timeline shows the blue position bar.
Timeline Settings Option Description Auto-Patching When this option is selected, your Avid editing application automatically patches the enabled source tracks to the tracks enabled in the Timeline sequence. Auto-Monitoring When this option is selected, your Avid editing application monitors the track you patch. This option is selected by default.
Transfer Settings Transfer Settings The Transfer Settings dialog box appears only if your system is part of an Avid Interplay environment and you have configured Avid Interplay Transfer. For more information, see the Avid Interplay Transfer Setup and User’s Guide. Settings Tab Option Description Standalone/Incoming • Requests • Refuse all Requests — Select this option if you do not want to receive files from another workgroup.
Transfer 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.
Video Display Settings Option Description 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. Dual Image Play When this option is selected, your Avid editing application enables dual-image play (dual-roller trim) while trimming.
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 548.
Video Output Tool Settings Option Description 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.
Video Output Tool Settings Option (Continued) Description Difference Outputs a blend of both left and right eyes, and highlights the difference between the two. Embossed areas show the differences, while gray pixels represent no differences. Frame Compatible Outputs both the left and right eye images as dictated by the project settings (side/side or over/under). Full Frame Outputs both the left and right eye at full resolution. Mono Outputs only one of the stereoscopic images.
Video Output Tool Settings Option (Continued) Description The following options display disparity guides on the viewer so that you can see the depth budget limits when adjusting the separation between your stereo 3D images. The guides for Parallax are based on the project’s S3D settings (set from the Project window, Settings tab). Parallax Near Displays green guides that show the limits for objects that will appear in front of the screen plane.
Video Output Tool Settings Option (Continued) Description Y Gain, RY Gain, BY Gain, Available for Component output only in some Avid input/output hardware Pr Gain, Pb Gain 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.
Video Satellite Settings Option (Continued) Description B Gain In some Avid input/output hardware configurations, lets you adjust the blue (B) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. Available for HD Component RGB (on some systems) or HD Component YPbPr output. 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.
Workspace Linking Settings Workspace Linking Settings Option Description Link Timeline Mode Buttons to a Workspace: Lets you link the mode buttons in the Timeline palette to a workspace. Clicking a linked mode button (Source/Record mode, Effects mode, Color Correction mode) opens the linked workspace.
34 File Format Specifications This chapter contains specifications and notes that are useful when you are importing or exporting specific file formats.
Specifications for Graphics (Image) Files 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 318. Duotone files are loaded as grayscale. Multichannel (greater than four channels) files and CMYK files are not supported. PICT (.
Specifications for Graphics (Image) Files 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.
Specifications for Animation Files 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 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.ext, with Name identifying the animation, N indicating the file order, and .ext indicating the file type (for example, Image1.jpg, Image2.jpg, Image3.jpg).
Specifications for Importing OMFI Files 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.
Working with BWF Files 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 308.
Working with BWF Files 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.
Working with BWF Files 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 304.
Working with BWF Files Difference between Importing BWAV or AMA Linking to a BWAV with WaveAIFF Plug-In The following describes the differences between importing a BWAV file or AMA linking to a BWAV file using the WaveAIFF Plug-In. • The import process does not read iXML metadata. Performing an AMA Link using the WaveAIFF plug-in will read iXML metadata. • If the BWAV files contains an iXML tape name, this will appear as the “Sound Roll” and will override the BWAV specification of “Tape.
Field Ordering in Graphic Imports and Exports Field Ordering in Graphic Imports and Exports Graphic images consist of one or more image files, each of which contains a full frame. These frames contain fields (formed from the odd-numbered and even-numbered lines of the image frame) that have three basic arrangements: • Progressive or still frame: The upper and lower fields in the frame originated at the same instant of time, or are coherent with each other, as shown in the following illustration.
Field Ordering in Graphic Imports and Exports Preventing a Spatial Field Mismatch on Import The following table shows the proper spatial field position for each of the common interlaced video formats in Avid editing applications. n In the following table, Odd Field or Even Field specifies whether the temporally first field in the frame has the odd or even numbered lines, starting from 1.
Field Ordering in Graphic Imports and Exports 24p and 25p Import and Export The spatial field selection options do not apply for 24p and 25p projects because the frames in these projects are already in progressive or still-image form. Field Dominance Editing in Avid applications is frame based. All timecode is expressed in frame numbers, and all cuts are at frame boundaries. A raw video stream has no concept of frames (ignoring color framing) until the frame unit is defined.
35 Resolutions and Storage Requirements This chapter describes the different resolutions available in your Avid editing application and lists their specifications.
Monitor Display Resolutions project as long as those resolutions are compatible with one another. (see “Mixing Resolutions” on page 1552). Avid editing applications also support the capture and storage of video that is not processed by a data compression scheme: • Uncompressed video (1:1) is available as standard definition (conforming to the ITU-R 601 standard) or as high definition (conforming to the ITU-R 292M standard).
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 1524.
Resolution Specifications Project Format Frame Size Megabits per second Frames/sec (Mb/sec) 1280 x 720 23.976 442 354 90 90 60 40 100 50 100 59 88 41 18 132 60 50 25.
Resolution Specifications Project Format Frame Size Megabits per second Frames/sec (Mb/sec) Resolution Bits 1:1 10-bit HD 1:1 HD DNxHD 110 X DNxHD 110 DNxHD 70 DNxHD 50 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 J2K 720p 10 8 10 8 8 8 8 8 10 10 10 10 10 10 10 720p/29.97 1280 x 720 29.
Resolution Specifications Project Format Frame Size Megabits per second Frames/sec (Mb/sec) Resolution Bits 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DNxHD 100 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 J2K 720p AVC-Intra 50 10 8 10 8 8 8 8 8 10 10 10 10 10 10 10 10 720p/59.94 1280 x 720 59.
Resolution Specifications Project Format Frame Size Megabits per second Frames/sec (Mb/sec) Resolution Bits 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DNxHD 80 DNxHD 36 DNxHD444 350 X Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 J2K 1080p 10 10 8 10 8 8 8 8 10 10 10 10 10 10 10 1080p/24 1920 x 1080 24.
Resolution Specifications Project Format Frame Size Megabits per second Frames/sec (Mb/sec) Resolution Bits 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DNxHD 100 DNxHD 45 XDCAM HD 50 AVC-Intra 100 XAVC Intra 100 DNxHD444 440 X Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 J2K 1080p 10 10 8 10 8 8 8 8 8 10 10 10 10 10 10 10 10 10 1080p/29.97 1920 x 1080 29.
Resolution Specifications Resolution Bits 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DNxHD 100 DVCPRO HD XDCAM HD 50 AVC-Intra 100 XAVC Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 J2K 1080i AVC-Intra 50 XAVC Intra 50 DNxHD TR-145 10 10 8 10 8 8 8 8 8 10 10 10 10 10 10 10 10 10 10 8 Project Format Frame Size Megabits per second Frames/sec (Mb/sec) 1080i/59.94 1920 x 1080 29.
Resolution Specifications Resolution Specifications SD: J2K Avid editing applications support editing and playback of J2K media. You can import, playback, transcode, and consolidate these resolutions. All J2K resolutions are encoded with variable bit-rate (VBR) encoding to meet a target, average bit-rate. Depending upon video content, the actual average rate will vary. The following table provides J2K specifications by project type.
Resolution Specifications Project 1080p Edit Rate 23.976 Resolution Name MB/Sec Raster Size AVC-Intra 100 100MBit 1920x1080 AVC-Intra 50 50MBit 1440x1080 AVC-Intra 100 100MBit 1920x1080 1080p 25 AVC-Intra 100 100MBit 1920x1080 720p 59.
Resolution Specifications Resolution Field Size (Visible Pixels) Fields Per Frame Quality 10:1 720 x 486 (NTSC) 720 x 576 (PAL) 2 Offline/online — a good compromise for high-quality, two-field offline or low-quality online that saves drive space. 3:1 720 x 486 (NTSC) 720 x 576 (PAL) 2 Online — a medium-quality online resolution that can sustain two-stream playback on 2-way striped drives.
Resolution Specifications Resolution Frame Size (Pixels) 1:1 10b SD (MXF only) 720 x 486 (NTSC) 720 x 576 (PAL) Quality Online uncompressed — provides 10-bit image quality. Resolution Specifications: Multicam Both interlaced and progressive projects support multicamera resolutions (m resolutions). You cannot mix m resolutions with resolutions in other families.
Resolution Specifications DV, originally known as DVC (Digital Video Cassette), uses a 1/4-inch tape to record very high quality digital video. The video is sampled at the same rate as D1, D5, or Digital Betacam video (720 pixels per scan line). The color information in DV 25 is sampled at the D1 rate of 4:1:1 in 525-line (NTSC) and 4:2:0 in 625-line (PAL) formats. DV 50 is defined as 720 x 480, 50-megabit-per-second (Mb/s) 4:2:2 DV.
Resolution Specifications Resolution Frame Size (Visible pixels) Megabits per second (Mb/sec) MPEG 50 720 x 480 (NTSC) 720 x 576 (PAL) 50 Resolution Specifications SD: Apple ProRes Avid editing applications support editing and playback of Apple ProRes media encoded using the Apple ProRes MXF codec. You can import, playback, transcode, and consolidate Apple ProRes MXF resolutions. The following table provides Apple ProRes MXF specifications by project type.
Resolution Specifications Project Proxy Resolution 1080i50 H.264 800Kbps Proxy H.264 2.0Mbps Proxy 1080i59 H.264 800Kbps Proxy H.264 2.0Mbps Proxy 1080p23 H.264 800Kbps Proxy 1080p24 H.264 800Kbps Proxy 1080p25 H.264 800Kbps Proxy 1080p29 H.264 800Kbps Proxy 23pNTSC H.264 800Kbps Proxy 24pNTSC H.264 800Kbps Proxy 24pPAL H.264 800Kbps Proxy 25iPAL AVCIBP-BLL2.0 H.264 800Kbps Proxy H.264 1500Kbps Proxy 25pPAL H.264 800Kbps Proxy 30iNTSC AVCIBP-BLL2.0 H.264 800Kbps Proxy H.
Support for Uncompressed HD Media Support for Uncompressed HD Media Depending on your Avid input/output hardware, your Avid editing applications let you play, edit, import, render, transcode, and export a single-stream of real-time uncompressed (1:1) HD media. However, only Avid Nitris DX supports capture of uncompressed HD media.
Resolution Groups and Image Quality n For information on resolutions to use when importing graphics or sequences from a third-party application, see “Frame Size for Imported Graphics” on page 1524. Resolution Groups and Image Quality In general, a lower compression ratio means higher image quality. However, the resolution group itself (single-field, two-field, progressive, or uncompressed) is also a factor in the quality of the final image.
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. They show figures for estimated minutes per gigabyte and also figures for the drive space required for certain amounts of material.
Storage Requirements Drive Space Needed for 1 Hour of Media (GB) Resolution Bits Project Format 1:1 10-bit HD 1:1 HD DNxHD 90 X DNxHD 90 DNxHD 60 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 8 10 8 8 8 8 10 10 10 10 10 10 10 720p/25 198 158 41 41 27 25 22 24 28 41 19 9 62 12 1:1 10-bit HD 1:1 HD DNxHD 110 X DNxHD 110 DNxHD 70 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 M
Storage Requirements Drive Space Needed for 1 Hour of Media (GB) Resolution Bits Project Format 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 8 10 8 8 8 8 10 10 10 10 10 10 10 720p/50 396 317 79 79 52 50 22 48 55 83 38 17 124 24 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes
Storage Requirements Drive Space Needed for 1 Hour of Media (GB) Resolution Bits Project Format 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DNxHD 36 DNxHD444 440 X AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 10 8 10 8 8 8 10 10 10 10 10 10 10 10 1080p/23.
Storage Requirements Drive Space Needed for 1 Hour of Media (GB) Resolution Bits Project Format 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 185 X DNxHD 185 DNxHD 120 DNxHD 36 DNxHD444 440 X AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 10 8 10 8 8 8 10 10 10 10 10 10 10 10 1080p/25 746 435 348 77 77 51 15 155 48 55 83 38 17 124 24 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 185 X DNxHD 185 DNxHD 120
Storage Requirements Resolution Bits Project Format 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 10 8 10 8 8 8 8 10 10 10 10 10 10 10 1080i/59.
Storage Requirements Resolution 2:1s 20:1 10:1 3:1 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 9.4 106 MB 1.06 GB 3.18 GB 8 7.9 127 MB 1.27 GB 3.81 GB 0 5.8 172 MB 1.72 GB 5.16 GB 1 5.7 177 MB 1.77 GB 5.28 GB 2 5.5 182 MB 1.82 GB 5.46 GB 3 5.4 187 MB 1.87 GB 5.61 GB 4 5.2 193 MB 1.93 GB 5.79 GB 8 4.7 214 MB 2.14 GB 6.42 GB 0 16.6 60.
Storage Requirements Resolution 2:1 1:1 SD (Uncompressed) 1:1 10b SD (10-bit Uncompressed) Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 8 2.6 386 MB 3.86 GB 11.58 GB 0 1.9 516 MB 5.16 GB 15.48 GB 1 1.9 521 MB 5.21 GB 15.63 GB 2 1.9 526 MB 5.26 GB 15.78 GB 3 1.9 531 MB 5.31 GB 15.94 GB 4 1.9 537 MB 5.37 GB 16.11 GB 8 1.8 558 MB 5.58 GB 16.74 GB 0 0.
Storage Requirements 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) 26.1 (PAL) 32.8 MB 38.3 MB 328 MB 383 MB 983 MB 1.14 GB 2 26.3 (NTSC) 22.9 (PAL) 38.1 MB 43.6 MB 381 MB 436 MB 1.14 GB 1.30 GB 3 23.1 (NTSC) 20.4 (PAL) 43.4 MB 48.9 MB 434 MB 489 MB 1.30 GB 1.47 GB 4 20.5 (NTSC) 18.4 (PAL) 48.7 MB 54.
Storage Requirements Resolution 3:1 2:1 Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 2 12.6 (NTSC) 10.7 (PAL) 79.1 MB 93.2 MB 791 MB 932 MB 2.37 GB 2.80 GB 3 11.8 (NTSC) 10.1 (PAL) 84.4 MB 98.5 MB 844 MB 985 MB 2.53 GB 2.96 GB 4 11.1 (NTSC) 9.6 (PAL) 89.7 MB 103 MB 897 MB 1.04 GB 2.69 GB 3.12 GB 8 9.0 (NTSC) 8.0 (PAL) 111 MB 125 MB 1.11 GB 1.25 GB 3.33 GB 3.75 GB 0 3.6 (NTSC) 3.0 (PAL) 278 MB 333 MB 2.78 GB 3.33 GB 8.33 GB 10.0 GB 1 3.
Storage Requirements Resolution 1:1 SD (Uncompressed) 1:1 10b SD (10-bit Uncompressed) Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 8 2.2 (NTSC) 1.8 (PAL) 459 MB 542 MB 4.59 GB 5.42 GB 13.8 GB 16.3 GB 0 1.0 (NTSC) 0.9 (PAL) 1.00 GB 1.15 GB 10.0 GB 11.5 GB 30.0 GB 34.5 GB 1 1.0 (NTSC) 0.9 (PAL) 1.01 GB 1.15 GB 10.1 GB 11.5 GB 30.3 GB 34.6 GB 2 1.0 (NTSC) 0.9 (PAL) 1.01 GB 1.16 GB 10.1 GB 11.6 GB 30.3 GB 34.8 GB 3 1.0 (NTSC) 0.9 (PAL) 1.02 GB 1.
Considerations for Managing Storage Drive Space Needed for Resolution Minutes Per 1 Minute of (NTSC and PAL) Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media DV 25 5.0 200 MB 2.0 GB 6.0 GB DV 50 2.5 400 MB 4.0 GB 12.0 GB DVCPRO HD 1.2 800 MB 8.0 GB 24.0 GB Estimated Storage Requirements: MPEG This table does not include estimated storage requirements for audio.
Considerations for Managing Storage Managing Storage to Improve Playback Performance The way you set up the media drives and target them when you capture can affect playback performance. Here are some suggestions for working with complex video images at high resolution, multiple video layers, or multicamera material: • For more effective playback of multiple streams of video at higher resolutions, stripe the media drives.
36 Working in HD and High-Resolution Projects Avid editing applications support HD and high-resolution media (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—refer to “Avid Editing Systems Supported Formats” on the Avid Knowledge Base.
Transferring Film to Tape Based on delivery format requirements, you need to determine the best format for acquisition of the media. It’s best to begin with the highest resolution and quality source, and then “down-rez” to the required output format. Cinema (High-Resolution input and output) Feature film or documentary release to theaters demands high-resolution, high-quality source material and output to film.
Transferring Film to Tape 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.
Transferring Film to Tape 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 After you perform the final telecine operation, you can capture at a finishing resolution, such as 1:1 (uncompressed). The transfer facility might have available one or more of the production aids described in the following table, which you can include in your film-to-tape transfer: Aid Description Automatic logging Whenever possible, you should instruct the facility to log tracking information directly into a computer database program.
Transferring Film to Tape Transferring Film to Video Film runs at 24 fps, and NTSC video runs at 30 fps. The difference in frame rates between film and video prevents a direct frame-to-frame transfer. To compensate, the telecine process creates an extra six frames every second (the difference between 24 and 30). This method of creating extra frames is known as pulldown. At the same time, the telecine slightly reduces the film’s running speed to 23.976 fps.
Transferring Film to Tape Transfer of 24-fps Film to PAL Video If you use a PAL transfer, the film-to-video process takes place in two stages: • Transfer the film to videotape by speeding up the film rate during the telecine process. • Capture the transferred videotape into the Avid system at the sped-up rate. There are two approaches to synchronizing sound, which are often referred to as PAL Method 1 and PAL Method 2.
Transferring Film to Tape You have the option of playing back the footage at 24 fps or 25 fps. If you select 24 fps, the system slows both the picture and the sound by 4.1 percent for playback. This approach lets you edit at the original film rate, but the slowdown creates a limitation for audio. Because you capture the audio at a rate faster than playback, some audio samples are duplicated during playback, and sound quality is compromised.
Transferring Film to Tape n The Info tab in the Project window lets you view the audio transfer rate you selected when you created the project. The actual audio transfer rate might be different from the display if you used the Film and 24p Settings dialog box to change the audio transfer rate.
HD Workflow: Video-Based Television Description 1 Transfer reels of negative via telecine to HD 4:2:2 for the offline editing. 2 Import the film transfer files (FLEx, Evertz, Aaton, AFE) into Media Composer project bins and batch capture the footage from the dailies. 3 Generate a Pull List using Avid FilmScribe that provides a concise list of footage to be retransferred at a higher resolution. 4 Retransfer the final footage to HD 4:4:4.
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.
Producing Graphics for Broadcast 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 1584. 7. Decompose the new HD sequence and batch capture from the source tape. 8. (Option) Import the final audio mix. 9. Finish the sequence by batch capturing graphics, recreating title media and reviewing the program for effects that need fine-tuning.
Creating a Film-Based 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. The format you choose must take into consideration both the frame rate at which the film was shot, as well as the final delivery format for the production. Format Source Output 24p NTSC Film-based or other 24-fps footage transferred to Standard Definition NTSC videotape. Film, HD Broadcast, Video 23.976 NTSC Film transferred at 23.
Creating a Film-Based Project Further options might change depending on the format that you chose. 6. Select Film if your source material originated on film reel. This will give you access to film options such as Perf Slip and Film and 24p settings. 7. Set the following additional option(s), where applicable: Option SD (NTSC/PAL) HD and Film Aspect Ratio Select either 4:3 or 16:9 Only uses the 16:9 aspect ratio.
Creating a Film-Based Project Before you capture or output film reel footage, refer to the following topics—“Selecting a Project Format during Capture” on page 1582 and “Selecting a Project Format during Output” on page 1582. Selecting a Project Format during Capture Before you capture film reel footage into your editing system, make sure you select the correct project format. The following table explains how the Avid system creates the digitized media from your source footage.
Changing the Project Format Project Format HD Source footage During the output process 23.976 fps For NTSC video, Symphony Option system reinserts pulldown. 24 fps Creates a 24p EDL for use in an online suite. 25 fps Creates a 25p EDL for use in an online suite. 23.976 fps Creates a 24p EDL for use in an online suite. Use the Digital Cut tool to output a 1080p/23.976 master tape. Then convert the master tape to 720p/59.94 or 1080i/59.94 for broadcast.
Changing the Sequence Format When you change the project format, the following changes take place: • The hardware changes to support input and output for the new project. • The available resolutions and, for some configurations, raster dimensions change to those of the new project. • Any new sequences you create use the format of the new project. If necessary, you can then modify the format of an existing sequence, see “Changing the Sequence Format” on page 1584. To change the project format: 1.
Changing the Sequence Format 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. n There are special workflows for converting a 23.976p NTSC sequences.
(Media Composer | Symphony Option) Converting a 24p NTSC Sequence to 1080p/23.976 (Media Composer | Symphony Option) Converting a 24p NTSC Sequence to 1080p/23.976 The most efficient offline format for a project that needs to be delivered as 1080p/23.976 is 23.976p (NTSC). In some cases, however, you might need to edit the offline sequence at 24 fps — for example, if the offline system does not support 23.976p NTSC projects. To convert a 24p NTSC sequence to 1080p/23.
Converting a 23.976p NTSC Sequence to 720p/23.976 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.
Displaying 24p and 25p Media Displaying 24p and 25p Media This section applies to you only if you are working with Standard Definition (SD) formats. When your Avid editing application captures video that has been transferred from film (or video shot at 24 fps), it creates 24p media.
Outputting a Sequence Displaying Media During a Digital Cut The Digital Cut tool lets you output multiple formats at various play rates, all from 24p and 25p media. When you click the Play Digital Cut button, the system displays the sequence as described in “Displaying Media While Editing” above, depending on your selection in the Digital Cut tool. For more information, see “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 1093.
(Media Composer | Symphony Option) Using HD Universal Mastering The following frame rates are supported for HD Universal Mastering of sequences (sample rates are included as examples of remastered audio): Original Frame Rate Mastered Frame Rate Original Sample Rate Mastered Sample Rate 23.976 fps 24 fps 48000 47952 23.976 fps 25 fps 48000 46034 24 fps 23.976 fps 48000 48048 24 fps 25 fps 48000 46080 25 fps 24 fps 48000 50000 25 fps 23.
(Media Composer | Symphony Option) Using HD Universal Mastering The Change Sample Rate dialog box opens. 5. Click the Sample Rate menu, and select the appropriate conversion option: t 23.97fps -> 24fps for Universal Mastering t 24fps -> 25fps for Universal Mastering t 24fps -> 23.97fps for Universal Mastering t 25fps -> 23.97fps for Universal Mastering t 25fps -> 24fps for Universal Mastering t 23.97fps -> 25fps for Universal Mastering 6.
(Media Composer | Symphony Option) Using HD Universal Mastering 11. Use the Track Selector buttons to select only the two new audio tracks. 12. Mark an IN point on the first frame of the sequence. 13. Make sure the position indicator in the Timeline is on the first frame of the sequence. 14. Click the Overwrite button to add the converted audio to original sequence.
(Media Composer | Symphony Option) Using HD Universal Mastering To output a digital cut in this way, you must have a deck that can record the output you want to create available and configured, and you must select that deck in the Digital Cut tool. In the current version of your Avid editing application, you can select any deck template that is valid for a digital cut from the current project. You must also ensure that the sync source you are using matches the output format you want to create.
Working with HDV 4. If appropriate, deselect all audio tracks except the converted tracks by using the Sequence Track buttons. For more information, see “(Media Composer | Symphony Option) Converting Audio for HD Universal Mastering” on page 1590. “Converting Audio for HD Universal Mastering” in the Help for the Media Composer family. 5. Click Output Format, and select the appropriate frame rate option: For more information, see the table above this procedure. 6.
Understanding HDV • 720p/29.97 • 720p/50 • 720p/59.95 • 1080i/50 • 1080i/59.94 Avid editing applications capture and process DVCPRO HD media and HDV media in its native format, through a 1394 port on your computer. You can capture from an HDV device and edit in native HDV using these project types. You can also use HDV in other project types, but Avid editing applications are more efficient and perform better with the dedicated HDV project types.
HDV Workflow Your Avid editing application uses a technique called long-GOP splicing when encoding an HDV MPEG-2 sequence for export. For more information, see “Long-GOP Splicing for HDV Encoding” on page 1599. HDV uses MPEG-2 video encoding and MPEG-1 audio encoding. 1080i records at about 25Mbps and 720p records at about 19Mbps. Sony provides HDV cameras that record at 1080i/59.94 and 1080i/50. JVC® cameras record at 720p/29.97 and 720p/23.976.
Capturing and Importing HDV 5. Select the sequence. 6. You can also export the file in other formats or use Windows Media 9 for export to a third-party HD-DVD authoring system, see “Exporting HDV as Windows Media” on page 1600. 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.
Playing Back HDV Media 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. With a DV device connected in IEEE-1394 mode, you can play back to the DV device in Draft Quality and Best Performance quality only. With no device connected, you can play back as Full Quality and use the full-screen playback monitor.
Outputting HDV HDV Project Type Renders or Transcodes to 720p/23.976 DNxHD 60, DNxHD 90, DNxHD 90x, DVCPro HD 720p/25 DNxHD 60, DNxHD 90, DNxHD 90x, DVCPro HD 720p/29.97 DNxHD 75, DNxHD 110, DVCPro HD 720p/50 DNxHD 120, DNxHD 185, DNxHD 185x, DVCPro HD 1080i/50 DNxHD–TR 120 1080i/59.94 DNxHD–TR 145 For more complete information on rendering and transcoding, see “Basics of Effects Rendering” in the Help and “Using the Transcode Command” on page 487.
Outputting HDV To export an HDV transport stream: 1. Select the sequence or marked section. 2. Select Export in the Settings tab of the Project window. The Export Settings dialog box opens. 3. Select Export As > HDV. 4. Select Use Marks and Use Enabled Tracks as desired. See “Export Settings: HDV” on page 1461. 5. Click OK. You can also export to other formats, such as QuickTime movie, or use the Send To function to send the sequence to an application such as Sorenson Squeeze.
Outputting HDV Setting Value Video Type Progressive Pixel Aspect Ratio 16:9 Codec Windows Media 9 VBR Enabled and set to Quality Audio Settings Leave set at defaults 6. Click Save to export the sequence. 7. In the Export As dialog box, select the destination folder for the file. 8. Click Save. The sequence is exported using the selected settings. To export HDV as Windows Media for use in DVD authoring: 1. Select the sequence or clips you want to export. 2. Select File > Export.
Raster Dimensions 6. Click Save to export the sequence. 7. In the Export As dialog box, select the destination folder for the file. 8. Click Save. The sequence is exported using the selected settings. Finishing HDV on Avid DS The following procedure outlines the steps to take if you want to finish an HDV sequence on an Avid DS system. To finish an HDV sequence on an Avid DS system: 1. When in a 1080i/59.94 HDV project, transcode your sequence to DNxHD 145. 2. Export as an AFE. 3.
Raster Sizes The format you select to work in also determines which HD compression is used by your Avid editing application. For example, if your HD project format is 1080i 59.94 and you select a raster dimension of 1440 x 1080, the Video Resolution menu in the Media Creation settings dialog box displays the following options: • DNxHD-TR 145 MXF • XDCAM HD 17.
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.
37 Dual Link HD RGB Support The Avid 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.
HD RGB Playback to High Resolution Monitor 3. Select the RGB resolution. 4. See “Capturing Media” on page 239 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 the editing application connected to a Nitris DX. 2. Click the Format tab in the Project window. 3. Click the Color Space menu and select RGB. 4.
38 International Character Support (ICS) in Avid Editing Applications This chapter provides information on international character support (ICS) in your Avid editing application.
Using a Local Language Operating System (Windows Only) Using a Local Language Operating System (Windows Only) On Windows systems only, you can display and input characters in languages other than English by installing the local language version of the operating system and working within that operating system. n Interplay applications are not qualified on systems running local language operating systems.
Non-English Character Support (Macintosh) 2. In the Languages list, click the language you want, and drag it to the top of the list. If you do not see the language you want in the list, click Edit List, select the language, and click OK. 3. (Option) Click the Text tab and select other options. 4. Click the Formats tab, and then click the Region menu and select your region.
Non-English Character Support (Macintosh) If you do not see your region, select “Show all regions” and then click the Region menu again. 5. Click the Close button. 6. Logout and log back in to enable the changed settings. n For more information about the Language & Text window, see Mac Help by clicking the question mark icon in the window. To add your language’s keyboard layout, input method, and character set palette to the operating system’s Input menu (Flag icon): 1.
Non-English Character Support (Windows) 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. In the Finder title bar, click the Flag icon and select the input language. You can also select a character set palette. The Flag icon changes depending on which input language you select. 7. Restart your system.
Non-English Character Support (Windows) To specify a language in which to type (Windows 7): 1. (Option) Attach a regional keyboard to your system. 2. Click the Start button, and select Control Panel. 3. Do one of the following: t If the View by menu is set to Category, in the Clock, Language, and Region area, click “Change display language.” t If the View by menu is set to Large icons or to Small icons, click Region and Languages. The Region and Language dialog box opens. 4.
Non-English Character Support (Windows) 7. If necessary, click “Install/uninstall languages” and follow the prompts to install supplemental languages. 8. Click “Change keyboards.” The Text Services and Input Languages dialog box opens.
Non-English Character Support (Windows) 9. In the “Installed services” area in the General tab, select a language and a keyboard layout for that language. 10. 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. 11. In the “Default input language” area, select an input language. You must select a language in the Installed Services area (step 9) before it appears in the Default input Language list. 12.
Using Foreign Keyboard Mapping (Windows) 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. The default Avid keyboard layouts for English, French, or German map correctly to the characters on the physical keyboard.
Considerations for International Character Support 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. See “Choosing a Locale on an English Language Operating System” on page 1607 In an Interplay workgroup, all clients and applications must use the same locale, either English or one other locale.
Considerations for International Character Support The RT-11 format that is sometimes used for disks that store EDLs has a very limited character set: A-Z (capital letters only), 0-9, space, and $. Traditional Chinese Big 5 Character Set When using Traditional Chinese, set the Input Method Editor (IME) to use the Traditional Chinese Big 5 character set.
Considerations for International Character Support Additional Tips and Limitations for Working with International Characters • You must install your Avid editing application after you set up your system for international character support. • If you export files from a FIGS (French, Italian, German, or Spanish) operating system that contain certain diacritical marks (for example, a capital A, I, or E with circumflex), they might not import or display correctly on an English operating system.
39 Open I/O Support With the Media Composer family of products, Avid has implemented a Hardware SDK allowing 3rd party vendors to develop plug-ins for their hardware I/O devices. The plug-ins will enable 3rd party I/O hardware to interact with the Avid editing applications. Currently, the 3rd party vendors who have access to develop plug-ins for their hardware in order to work with Avid editing software are AJA, Matrox, Blackmagic Design, Motu and Bluefish444.
• Utilize any Hardware Codec Modules • Universal Mastering (Frame & Signal Convert to a Different Format) 1620
Index Numerics 1 Pass encoding 1464 1:1 video defined 1536 1080p/23.976 projects converting NTSC sequence from 24p 1586 1394 capturing HDV through 1597 capturing through 250, 250 connecting devices 200 1394 button playback to DV device with 545 selecting DV device with 250 selecting output device with 1059 setting video quality with 548 16:9 display format (Composer settings) 1433 16:9 format 179, 1568 16-channel audio enabling 1078 2 Pass encoding 1464 2:3 pulldown transferring film to video with 1573 23.
Index Add Channel button (Deck Configuration dialog box) 195 Add Comments command (Clip Name menu) 616 Add Control Key button (Command palette, Other tab) 136 Add Deck button (Deck Configuration dialog box) 195 Add Dissolve button See Quick Transition button Add Edit button 817 for maintaining sync 624 for MultiCamera editing 1364 Add Edit function for maintaining sync 624 using 726 Add Filler at Start command (Clip menu) 591 Add Keyframe button commands 1446 Add Marker button 554 Add New Column dialog box
Index AIR Fuzz-Wah RTAS plug-in 961 AIR Kill EQ RTAS plug-in 962 AIR Lo Fi RTAS plug-in 962 AIR Multi-Chorus RTAS plug-in 965 AIR Multi-Delay RTAS plug-in 966 AIR Non-Linear Reverb RTAS plug-in 967 AIR Phaser RTAS plug-in 968 AIR Reverb RTAS plug-in 970 AIR Spring Reverb RTAS plug-in 972 AIR Stereo Width RTAS plug-in 973 AIR Talkbox RTAS plug-in 974 AIR Vintage Filter RTAS plug-in 976 Alias starting Avid editing application from 67 Alias file format import specifications for 1520 Align Selected to Grid com
Index locating stories 1175 Attic folder described 101 See Avid Attic folder Attributes searching remote assets for 1249 Audio 16-channel output 1078 5.1 783 7.
Index tracks, adjusting in Audio Mixer tool 802 tracks, soloing 771 transfer options 1574 transferring to Digidesign Pro Tools 1143 using leader to maintain sync 622 voice-over 858, 858 volume, adjusting in Audio Mixer tool 802 volume, adjusting in Timeline 819 waveform plots 777 Audio Data commands (Timeline Fast menu) 777, 819, 822 Audio effects rendering order 799 Audio EQ 817 Audio EQ (Equalization) adjusting while playing 858 removing 853 saving 851 templates 855, 855 Audio EQ command (Tools menu) 764
Index Audio settings described 1416 Audio Settings dialog box adjusting digital scrub parameters 774 Audio Source Tape TC Rate (Film and 24p Settings dialog box) 192 Audio sync for capture 180 Audio timecode 765 Audio tone media creating 221 Audio tool Calibrate mode 224, 224, 224 checking input levels 221 described 219 digital scale 220 input levels, adjusting 221 opening 219 volume unit scale 220 Audio Tool command (Tools menu) 802, 1073, 1074, 1080 Audio Track Monitor button (Track Selector panel) selec
Index Autosync feature syncing clips 626 Auxiliary timecode entering 172 AVCHD workflow 449 AVI file format brief description 1524 AVI files methods for exporting 1463 Avid online support 51 training services 51 Avid Artist Control application sets 921 Avid Artist Mix application sets 926 Avid Artist Series controller application sets 921 customization 913 described 901 editing media 920 Ethernet connections 904 EuControl 901 EuControl settings 908 grouping faders 918 IP addresses 905 Jog mode 916 latch mo
Index See Shot log files clip data in 149 creating 144 custom Titles in 146 data entries in 149 formatting guidelines 144 global Titles in 145 importing ASCII file format 153 sample created with text editor 151 specifications 144 standard Titles in 146 Avid MCXpress for Windows NT importing files from 1526 Avid Media Store 1369 login 1372 searching 1374 Avid MediaFiles folder backing up 497 transferring media 1145 Avid Plugin Store 1394 Avid Projects folder described 72 location 72 renaming 88 Avid Unity 1
Index Bin editing in Segment mode 705 using the keyboard 705 Bin Fast menu described 358 Loop Selected Clips command 534 opening 358 Bin headings modifying data in 375 setting audio format in 767, 783 Bin settings Auto-Save options 1423 Avid Attic files setting 1423 backup options 1423 described 1423 Bin views customizing 351 saving 351 types of 351 Bins adding columns 370 adding text in Script view 355 aligning columns 369 aligning frames in 353 auto-save function 101 Bin View menu 351 changing background
Index Blue-only feature 1065 BMP file format additional export options 1469 import specifications for 1520 Bomb Factory BF76 AudioSuite plug-in 977 Browse button (Select Project dialog box) 84 Browsing for projects 84 B-side (incoming frames) in trims 740, 750 Buffer size audio, adjusting 791 Build Sequence button (NRCS tool) 1155, 1168 Burn-in code 1568 Buttons Add Alt Key (Command palette, Other tab) 136 Add Control Key (Command palette, Other tab) 136 Add Marker 554, 556, 557 Add Page (Script window) 64
Index calibrating audio 224 calibrating audio output 224 Calibration tone audio output 1073 creating media for 221 CamCutter files importing 325 Camera roll keypunch 1568 Camera setups in the lined script 635 Camroll data 165 Capture command (Tools menu, Toolset menus) 201, 1250 Capture command (Tools menu) 155 Capture in Progress slide in monitors 254 Capture mode entering 201 Capture Settings DV Options tab 1425 Capture settings Batch tab 1425 described 1425 DV Options 301 Edit options 289 Edit tab 1425
Index targeting bins 210 targeting drives for 211 to multiple media files 190 to the Timeline 289 using time-of-day timecode 249 video transferred without pulldown 291 while logging 240 with external timecode 285 CCIR See ITU-R 601 CCIR video levels, Import settings 1481 Center Duration option (Composer settings) 1433 Center Pan command (Clip menu) 816 Change lists using FilmScribe to create 1104 Change Sample Rate command (Clip menu) 839 Change Scene/Page dialog box 646 Changing background color in bins 3
Index switching between clips with 535 Clip parameters QuickTime 464 RED 456 Clip tag (Post to Web) 1182 Clip Text command (Timeline Fast menu) 669 Clipboard copying to 613 described 614 preserving contents 614 recovering material from 614 Clipboard Contents command (Clip Name menu) 614 Clipboard Monitor command (Tools menu) 614 Clips See also Master clips See also Subclips assigning local colors in the Timeline 675 assigning source colors in bins 364 audio, marking 553 autosyncing 626 batch capturing 258
Index in Dupe Detection 727 recording bars and tone 1080 types of 230 Color column adding to bins 364 Color correction conforming Symphony Nitris sequences to Media Composer or Avid Xpress Pro 1141 settings 1437 templates, for transferring corrections between Avid applications 1141 Color frame shifts 731 Color Framing options (Composer settings) defined 1433 Color indicators (script integration) adding to takes 656 described 637 Color Match control 3 x 3 averaging of pixels, setting 1437 Color Match eyedro
Index Window tab 1433 Composer window customizing 519 resizing 520 Compression defined 1536 in relation to drive space 1536 in relation to image quality 1536 Compression ratios See also Video resolutions mixing 1552 Compression ratios (JFIF) defined 1546 Configuring Command|8 877 decks 195, 195 Digi 002 877 Conforming workflow 1132 Connect as a client 1149 Connecting DV devices 200 Console command (Tools menu) 141 displaying drive space statistics using 109 Console window 141, 228 checking peak audio level
Index Avid log files 144 bins 97 folders in projects 99 group clips 1354 multigroup clips 1356 overlap edits 753 projects 76, 1579 rough cuts 593 subclips 551 subclips during capturing 274 subsequences 553 tone media 221 user profiles 113 Web page 1176 Criterion menu (Custom Sift dialog box) 389 Crossconverted sequences outputting 1070 Crossconverting HD for output 1070 Crossfading audio 835, 1417 Custom colors options for naming 1437 Custom preroll selecting 213 Custom Profile Audio Settings 1464 Custom p
Index Deck templates 1439 Decks capturing from consumer-grade 230 capturing from non-Avid-controlled 248 configuring 195 for digital cut 1085 limitations on consumer-grade 234 logging with Avid-controlled 155 logging with non-Avid-controlled 160 selecting 203 templates for 195 using the keyboard to control decks 277 Decompose command (Bin menu) 265 Decompose command (Clip menu) 265 Decomposing described 263 Expert Decompose feature 263 including or excluding material 267 mixed-rate sequences 263 selecting
Index Left Margin 641 Modify Pulldown Phase 170 Restore from Videotape 511 Script Settings 641 Select Tape 155 Send To 1026, 1030 Set Bin Display 389 Set Font 117, 643 Sync Selection 627 Tape Lengths 508 View Name (bin) 351 Digi 002 822 configuring 877 Digi 002 controller 143 DigiDelivery, exporting to 1026 Digidesign exporting to 1026 Digidesign AudioSuite plug-ins See AudioSuite plug-ins Digidesign Pro Tools transferring audio files to 1143 Digital audio capturing in film projects 210 scrub, compared to
Index Dissolve Icons command (Timeline Fast menu) 669 DNA/1394 button playback to DV device with 545 selecting DV device with 250 selecting output device with 1059 setting video quality with 548 DNxHD Native command (Video Quality menu) 547 DNxHD resolutions described 1538 specifications 1538 storage requirements 1554 DNxHD-TR rendering HDV media to 1598 Dock Macintosh, using 61 Dolby E 280, 281, 282 Dominance described 1535 Dominance, Import settings options 1481 Double-byte systems, ASCII characters in 1
Index described 1102 procedure for 1102 DV resolutions Avid DV Codec for QuickTime 1042 described 1548 specifications 1548 storage requirements 1564 DV Scene Extraction described 301 setting up 301 DV Stream files exporting 1449 options 1449 DVCPro HD resolution raster type 1602 DVD exporting to 1026, 1026 DVD authoring, exporting to 1026 DVD One Step exporting to 1026 D-Verb AudioSuite plug-in 989 Dynamic relink applying target settings 1328 applying working settings 1328 described 1317 displaying availab
Index rendering AudioSuite plug-in 940 rendering, for digital cut 1082 Ejecting drives See Unmounting drives Ejecting tapes with a button or key 280 Eleven plug-in Input LED 995 Output 995 Embedded audio and sample rate conversion 1078 Empty Trash command (Bin display Fast menu) 101 Enable Clip Coloring command (MultiRez menu in Timeline) 1336 Enable Confidence View video display setting 1510 Enable Track buttons (Digital Cut tool) 1083 End key 542 Enlarge Frame command (Edit menu) 353, 650 Enlarge Track c
Index audio tracks 1468 AVI files 1463 bins as AFE files 1040 clips 1032 data track 1123 DV Stream files 1449 frames 1032 from a third-party QuickTime or AVI application 1046 graphic files 1468 OMFI files 1037 preparing sequences for 1025 procedure for 1032 projects as AFE files 1040 QuickTime movies 1042 QuickTime movies procedure 1042 QuickTime reference movie 1042 reasons for 1024 sequences 1032 settings for, creating 1036 shot log files 173 TARGA files 1469 to Avid DS 1026 to Avid DVD by Sonic 1026, 10
Index Fast Forward options (Composer settings) 1433 Fast menus Settings display in the Project window 1401 Field dominance described 1535 Field dominance, Import Settings options 1481 Field Motion bin column 603 Field Motion clip attribute overriding 603 Field motion types mixing and matching 598 Field ordering described 1533 FieldPak importing files from 325 Field-stepping mixed rate clips in draft qualities 605 File formats animation 1524 File management 471 File names for Avid Projects folder 72 for Avi
Index bins from a monitor 579 black holes 732 clip names 573 clips 573 flash frames 732 frames, with the Find command 573 frames, with timecode offset 571 marker text 573 related media files 497 script from marked takes 662 text in the Script window 646 Finding bins from the Script window 662 Finding markers 560 FireWire capturing through 250, 250 connecting devices 200 selecting channel type 195 First (lower) Row of Info option (Composer settings) 1433 First Row of Buttons option (Composer settings) 1433
Index rearranging in bin Frame view 353 rearranging in bin Script view 355 Frames-per-second rates for PAL transfers 171 Framestore file format import specifications for 1520 Frequencies (audio), adjusting 846 FTFT (film-tape-film-tape) feature described 296 Full Quality 10-bit command (Video Quality menu) 547 Full Quality command (Video Quality menu) 547 Full Screen Playback enabling 532 settings 1474 Full Screen Playback command (Special menu) 532 Full Size Video command (Composer window context menu) 52
Index adding 1235 creating 1235 Headings command (Bin menu) 348, 364 Heads and Heads Tails views in the Timeline 724 Hide Video command (Composer window context menu) 520 Hiding bin column headings 375 bin columns 348 column headings (Interplay Window) 1235 slate frames 650 Timeline top toolbar 684 High shelf in Audio EQ tool 846 High-definition television See HDTV Hinted streaming, exporting as 1459 Histogram QuickTime 467, 467 RED 429, 429 Holding slates on screen 650 Home command (Windows menu) 678 Home
Index sequenced, naming for import 1524 Image quality for interlaced resolutions 1546 Import command (File menu) 175, 308 Import Options section (Batch Import dialog box) 343 Import Settings XDCAM tab 1486 Import settings alpha channel options 1481 aspect ratio options 1481 Audio tab 1485 CCIR video levels 1481 described 1481 dominance options 1481 Image tab 1481 modifying 305 OMFI tab 1484 overview 305 RGB graphics levels 1481 Shot Log tab 1484 XDCAM tab 326 Import Settings dialog box 305 Import Target se
Index accessing clips 1276 configuration 1272 described 1271 dynamic relink 1286 logging in 1272 settings 1272 supported project types 1289 syncing sequences 1283 Upload Queue Window 1287 uploading media 1279, 1281 workflow 1271 Interplay Transfer 1142 Interplay User specifying Interplay Sphere settings 1272 specifying settings 1201 Interplay User settings described 1488 Interplay User Settings dialog box 1201, 1204, 1272 Interplay User, specifying settings 472 Interplay Window checking in assets to the In
Index camera roll 1568 video standards 1536 J L JFIF interlaced media specifications 1546 storage requirements 1559 JFIF progressive media specifications 1547 storage requirements 1562 J-K-L keys audio scrub with 774 changing representative frame in bin 353 playing and shuttling footage with 543 trimming 750 trimming on-the-fly with 750 J-K-L keys (Three-Button Play) 750 JL Cooper Media Control Station3 143 Jog mode Avid Artist Series controller 916 Jogging mouse 544 JPEG file format additional Export
Index described 1177 Linking clips to script 648 Live Mix mode 830 Audio Mixer Tool controls 832 Audio Mixer tool Fast menu commands 832 entering 831 example 833 external controllers 831 switching to other Audio Mixer modes 832 Load Filler command (Clip Name menu) 591 Load Media Database command (File menu) 494 Loaded cues adding 1165 displaying head frames 1166 using 1165 Loading filler 591 footage 534 media databases 494 takes from the Script window 653, 661 Loading clips 1241 Local colors assigning in t
Index Mark IN button 549 Mark In Time option (Digital Cut tool) 1086 Mark Markers button 562 Mark OUT button 549 Mark-and-park editing See Single-mark editing Marker edit entry window 562 Marker icon changing color of 562, 565 Marker window selecting marker items 565 Markers adding while capturing 276 adding while editing 556, 557, 559 copying from source clips 562 creating automatically with DV 301 deleting 563, 565, 567 displaying comments 563 displaying in the Timeline 677 editing 562 Essence Marks (XDC
Index Matching frames 577 Maximizing drive space 1565 Mbox audio devices compared 883 configuring 884 passthrough monitoring 885 MCS3 controller 143 Media importing from P2 card 339, 339 Media creation restricting resolutions for 185 Media Creation command (Tools menu) 183, 187, 308, 341 Media Creation dialog box setting file format for import 308 Media Creation settings Capture tab 1492, 1492 described 1491 Drive Filtering and Indexing tab 1491 Import tab 1492, 1492 Media Type tab 1493 Mixdown & Transcode
Index Export (File menu) 1040 Find (Edit menu) 646 Find Black Holes (Clip menu) 732 Find Flash Frames (Clip menu) 732 Get Bin Info (File menu) 141 Get Position Info (File menu) 141 Go To Page (Script menu) 646 Go To Scene (Script menu) 646 Group Clips (Bin menu) 1354 Hardware (Tools menu) 142 Home (Windows menu) 678 Left Margin (Script menu) 641 Lock Bin Selection (Clip menu) 365 mapping 139 Mount All (File menu) 475 New Deck Controller (Tools menu) 134 New Script (File menu) 641 Page Setup (File menu) 396
Index clearing clips from 536 displaying sequence information using 526 ganging footage in 624 hiding video in 520 loading footage 534 resizing 520 resizing Record 520 Mono option (audio) 840 More Detail command (Timeline Fast menu) 669 Motion Adapter effect adjusting 601 field-stepping in draft qualities 605 promoting to Timewarp 601 Motion Adapter effects defined 599 refreshing in sequences 612 Motion effects rendering options 1501 Motion mode indicator (Timeline) 691 Mount All command (File menu) 475 Mo
Index partially online clips, restoring from an archive 1321, 1347 partially online clips, viewing source in Timeline 1346 quality matching 1348 Send to Playback command with 1335 Multirez clip coloring examples 1338 MultiRez button (Timeline) enabling dynamic relink 1327 showing available media 1335 summary of right-click menu commands from 1340 Mute button 781 Muting audio 781 mVolt (millivolt) units 1502 MXF Media Files tab 190 Media Files Tab (Capture Settings dialog box) 1425 workflow 468 MXF file for
Index linked clips 1177 loaded cues 1165 Logging out option 1150 Mail Directory options 1150 making shortcuts to directories 1160 marking text as Closed Caption 1163 marking text as machine control 1163 marking text as normal 1164 marking text as Presenter Instructions 1163 Message-of-the-Day options 1150 NCSID option 1150 opening a story 1159 overview 1148 Page column 1159 Post to Web feature 1176, 1179, 1186 processing scripts 1176 rearranging text 1162 receiving mail 1189 removing shortcuts to directori
Index stories (NRCS tool) 1159 the Script window 641 Optical connection project settings 1417 Optimizing playback 547 Orphans See Offline items Other Bins folder (Project window) 98 OUT points See IN and OUT points Output assemble-edit recording 1081 audio 790, 1100, 1417 audio settings options 1076 audio, preparing for 1073 change list 1104 crash recording 1089 crossconverted sequences 1070 crossconverting and downconverting HD 1070 cut list 1104 Digital Cut, overview 1083 downconverted sequences 1070 est
Index Panasonic P2 exporting sequences to 1056 importing master clips 339, 339 transferring files 405 workflow 446, 450 Parametric midrange in Audio EQtool 846 Partially online clips consolidating and deleting original media 1347 restoring from an archive 1321, 1347 viewing source in Timeline 1346 Passthrough described 1103 Passthrough Mix tool using 222 Pasting See Copying text in the Script window 643 Patching tracks 713 when capturing to the Timeline 289 Pause button 539 PCX file format import specifica
Index plugins downloading 1394 PNG file format additional export options for 1469 import specifications for 1521 PortServer Pro 473 PortServer Settings described 1497 Position bar described 537 in Timeline 687 Position bar in Timeline 689 Position indicator in Timeline 687 using 537 Position indicator lights (Volume Automation and Pan) 798 Post to Web Clip tag 1182 creating a Web page 1176 described 1176 export options 1186 Hyperclip tag 1184 linked clips 1177 processing scripts 1176 ProEncode 1186 Story t
Index See Avid Projects folder Promoting Motion Adapter effect to Timewarp 601 Title Tool titles, back up option 1490 Properties selecting from a custom list 1237 Property Merge dialog box (Interplay window) 1242 Proxy editing described 1306 Proxy media editing 335 importing 330, 332 XDCAM 330, 1049 Pulldown capturing without 291 converting sample rates on import 316 described 1573 finding at the sync point 167 output for downstream encoding 1098, 1098 Pulldown frame changing the default 1101 Pulldown phas
Index video format 1350 video resolutions 1350 Quality of film-to-tape transfer 1568 Quick Record mode 283 Quick Transition button fading audio with 835 Quick Trim mode 736 QuickTime Avid codecs for 1042 clip parameters 464 Histogram 467, 467 source settings 464 workflow 462 QuickTime files 1524 QuickTime movie export 1459 QuickTime Movie files exporting with Avid DV Codec 1457 QuickTime movies exporting 1042 methods for exporting 1042 QuickTime Reference Movie files exporting with Avid DV Codec 1455 Quick
Index Reformat attribute 607, 609, 610 Reformatting clips and sequences 607 Reformat options 610 setting Reformat value 609 Refresh All button, refreshing application with 1241 Refresh button, refreshing the Research panel with 1241 Refresh Media Directories command (File menu) 495 Refreshing Motion Adapter effects 612 Regional keyboard support 1611 Reimporting files, overview 341 files, procedure 341 Reimporting imported files 336 Relationships for color correction defining with IN and OUT points 1437 Rel
Index color indicators (Script window) 656 deck configuration elements 199 off-screen indicators (Script window) 655 text from the Script window 643 Renaming bins 98 clips in Interplay Window 1241 settings 1404 Render On-the-Fly option (Trim settings) 1509 Render order for audio effects 799 Render settings described 1501 Rendering AudioSuite plug-in effects 940 motion effects 1501 Rendition file format import specifications for 1521 Replace Edit button 597 Replace edits 597 Replacing deck configuration ele
Index Right-click menus 61 Rollers See Trim mode Rough cut assembling, in the Script window 664 Rough cuts creating 593 RS422 output 1097 RTAS copying plug-ins 934 editing plug-ins 932 inserting plug-ins 930 moving plug-ins 934 ordering plug-ins on a track 934 removing inserts 935 using RTAS effect templates 935 RTAS plug-ins AIR Chorus 951 AIR Distortion 952 AIR Dynamic Delay 953 AIR Enhancer 955 AIR Ensemble 956 AIR Filter Gate 956 AIR Flanger 957 AIR Frequency Shifter 960 AIR Fuzz-Wah 961 AIR Kill EQ 96
Index work to drives or removable media 89 Saving settings in Video Input tool 235 SC phase adjusting for output 1065 Scale bar (Timeline) 689 Scanning for tapes 155, 248 Scene and page numbers (Script window) adding 646 changing 646 deleting 646 searching for 646 Scene data 165 Schedule, satellite feed 288 Schedules working with 1301 Sci-Fi AudioSuite plug-in 1013 Screen resolutions NTSC, PAL, HD 1537 Screenings interactive, in Script window 663 Script box in Script view 355 Script integration described 6
Index selecting text 643 splicing a range of script from 664 Scripts importing into the Script windows 641 linking clips to 648 Post to Web options 1176 processing for Web 1176 revising 663 Scroll bar in Timeline 687 Scroll bar/position bar in Timeline 687 Scroll wheel mouse, using 62 setting up 62 Scrubbing audio 772 displaying markers during 1504 SDI embedded audio and sample rate conversion 1078 Search tab (Interplay Window) 1228 Searches Category attribute 1249 Interplay Window 1247 keeping open 1250 p
Index tracks, for audio scrub 773 tracks, for audio scrub (soloing) 771 transitions for trimming 743 transitions in Trim mode 743 trim sides 740, 750 unreferenced clips in the bin 368 video resolutions 183 Send Mail button (NRCS tool) 1155 Send To DigiDelivery 1026 Digidesign Pro Tools 1026 DVD 1026, 1026 DVD authoring 1026 DVD One Step 1026 Sorenson Squeeze 1026 using predefined templates 1026 Send To dialog box 1026, 1030 Send to Playback from an Avid editing system 1258 Send to Playback command with Mul
Index Set Live Mix as Automation command (Audio Mixer Tool Fast menu) 832 Set Live Mix to Automation command (Audio Mixer Tool Fast menu) 832 Set Live Mix to Default command (Audio Mixer Tool Fast menu) 832 Set Offscreen button (Script window) 655 Set Pan commands (Audio Mixer Tool Fast menu) 812 Set Position To Keyframe command 1446 Set Type Filter dialog box 1240 Setting a language (Macintosh) 1608 Setting the bin display 389 Settings AMA 1412 asset manager 472 Audio 1416 Audio export 1468 audio pan defa
Index settings Sound Card Configuration 1504 Settings list 1291, 1398 Composer 1398 Controller settings 872, 903 Settings Options GPI 899 Settings tab (Project window) 104 SGI file format additional export options for 1469 import specifications for 1521 Shared volume segmentation (chunking) 1425 Shortcut menus 61 Shortcuts creating in Media Directory panel 1233 making (NRCS tool) 1160 removing (NRCS tool) 1160 removing from Media Directory panel 1233 Shot log files Avid log file specifications 144 exportin
Index Smooth audio scrub compared to digital audio scrub 772 performing 774 SMPTE bars 1065 SMPTE timecode formats for entering 571 SMPTE/EBU component standard support 1511, 1511 Snapping to transitions in Timeline 691 Soft Keys (Avid Artist Series controllers) 913 Softimage file format import specifications for 1521 Software DV25 codec 1425 Solo track monitoring in Timeline 712 in Trim mode 744 Soloing audio tracks 771 tracks 712 tracks, advantages of 710 Sonic authoring DVDs in 1026 burning DVD in one s
Index creating 753 using extend edits 754 Square pixels 1519 Squeeze exporting to 1026 Standard definition television (SDTV) Standard Titles in Avid log files 146 Start timecode changing 588 Starting Avid editing application (Windows) 66 Startup project opening 84 Statistics displaying drive space 109 printing 106 viewing 106 Statistics file described 106 Statistics files importing 108 Status column (NRCS tool) 1159 Step Backward buttons 539 Step Backward One Field button 539 Step Forward buttons 539 Step
Index consolidating 481 copying 359, 360 creating 551 creating automatically with DV 301 creating during capturing 274 deleting 361 duplicating 359 handles 551 locating a master clip from 580 moving 359 recapturing 261 searching remote assets 1249 selecting 358 sifting 389 Subframe sync adjustment 630 Subsequences creating 553 Substituting title fonts 1138 SunRaster file format import specifications for 1521 Surround sound 790 surround sound 783 S-Video deck capturing from 230 limitations when capturing 23
Index selecting 653 showing one per slate 650 Tape deck See Decks Tape Lengths dialog box 508 Tape name finding 155 Tapes ejecting 280 managing names for MultiRez 1312 preparing for output 1080 preparing for recording output 1079 recording digital cut to 1083 recording to 1079 recording tone and bars to 1080 returning to previous tape 204 See Videotape striping requirements for 1080 TARGA file format additional Export options 1469 import specifications for 1521 Target bin selecting 210 Target Drive menu (C
Index entering additional 172 external, capturing with 285 finding frames with 571 formats for entering SMPTE standard 571 indicating the destination rate 1098 logging drop-frame and non-drop-frame 154 selecting format for output 1097 time-of-day, capturing with 249 Timecode window 527 Timecodes display options in the Timecode window 527 Timed (scene-by-scene) transfers 1568 Timed Record option 288 Timeline adding new tracks to 719 adjusting volume in 819 assigning local colors to 675 capturing to 289 chan
Index Tips logging 154 playback performance 617 Title tool backing up titles when promoting to Marquee 1490 Toggle Source/Record in Timeline button (Timeline) 614, 683 tone generator calibrating audio 224 Tone media creating 221 recording to tape 1080 Tool palette displaying text labels 533 using 533 Toolbar, top Timeline 684 Tools Audio EQ 846 Audio Mixer 793 Audio Punch-In 860 Audio Punch-in 863 Calculator 140 Capture 201 Console 141 Deck Controller 134 Hardware 142 Media 477 Video Input 228 Video Output
Index Transcoding Background Queue Window 491 background transcode 490, 493 mixed-rate clips 605 options for 487 procedure for 487 Transcoding HDV 1598 Transfer settings in an Avid editing application 1291 Transferring audio files to Digidesign Pro Tools 1143 projects between systems 1145 settings between systems 1145 Sound Designer II audio files 1144 through AFE 1040 Transferring files from within an Avid application 1299 to a playback device 1299 Transferring film to tape aids to 1568 in NTSC format 157
Index video tracks 742 with sync-locked tracks 755 Troubleshooting 51 vertical blanking interval information problems 1109 Turning off equipment 87 Turnover points in the Audio EQ tool 846 Two-field media and field dominance 1535 and field ordering 1533 Two-field mode indicators 539 U U-matic deck capturing from 230 limitations when capturing 234 Unattended batch capturing 258 Uncompressed video defined 1536 Undo command (Edit menu) 594 Undo Only Record Events option (Composer settings) 594, 1433 Undo/Red
Index V Variable-speed play 543, 750 Varicam support for Panasonic camera 303 VBI (Vertical Blanking Interval) 1106, 1512 preserving information 1063 Vectorscope monitor using 230 Vertical Blanking Interval and effects 1108 and video quality 1109 line ranges in 1106 preserving information 1106, 1512 VHS decks capturing from 230 limitations when capturing 234 Video creating leader 633 display settings, selecting 530 hiding in monitors 520 input, adjusting chrominance settings for 230 input, adjusting lumina
Index Videotape decks See Decks Videotapes See Tapes View mode (NRCS tool) editing in 1161 View Name dialog box (bin) 351 View Type command (Timeline Fast menu) 724 View, bin customizing 351 saving 351 types of 351 View, Timeline Heads and Heads Tails 724 Viewing bins, list of 97 footage, in monitors 518 footage, in Timeline 518 footage, overview 518 statistics 106 usage information 106 Virtual volumes AMA 428, 428 VITC (Vertical Interval Timecode) for downstream encoding 1098, 1098 in a bin 375 V-LAN VLXi
Index assigning to buttons 123 Avid Unity 126 described 119 linking to user settings 121 mounting, ISIS v2.
2 Avid Technical Support (USA) Product Information 75 Network Drive Burlington, MA 01803-2756 USA Visit the Online Support Center at www.avid.com/support For company and product information, visit us on the web at www.avid.
