® ® 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 . . . .
Setting Project-Naming Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Avid Projects and Avid Users Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Select Project Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Project Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Opening and Closing Projects. . . . . . . . . . . . . . . . . . . . . . .
Managing Bins and Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Understanding User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Managing User Profiles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Customizing the Avid User Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Changing Interface Component Colors . . . . . . . . .
Global Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Column Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Data Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Creating an Avid Log. . . . . . . . . . .
Setting Drive Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Selecting Settings for Preroll Method and for Capturing Across Timecode Breaks 182 Capturing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 General Settings for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Capture-Related Settings for Film and 24p Projects . . . . . . . . . . . . . . . . . . . .
Adjusting Audio Input Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Using the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 Calibrating Audio Hardware for Avid Nitris DX and Avid Mojo DX . . . . . . . . . . 217 Using the Console Window to Check Audio Levels . . . . . . . . . . . . . . . . . . . . .
Understanding Frame Chase Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 Enabling Frame Chase Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 Requirements and Guidelines for Frame Chase Capture . . . . . . . . . . . . . . . . 249 Batch Capturing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Preparing to Batch Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Enabling Remote Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Setting up Your System for Remote Punch-In . . . . . . . . . . . . . . . . . . . . . . . . . 288 Relinking Clips by Key Number. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 Modifying the Pulldown Phase After Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 DV and HDV Scene Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing Sequences from Pro Tools through Interplay . . . . . . . . . . . . . . . . . . . . . 333 Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 Chapter 9 Working with Bins . . . . . . . . . . . . . . . . . . . .
Adding a Metadata Bin Column Heading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 Moving Within Column Cells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 Copying Information Between Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366 Displaying Timecodes in a 24p or 25p Project . . . . . . . . . . . . . . . . . . . . . . . . . 366 Adding Timecode Columns to a Bin or the Media Tool . . . . . . . . . . . . . . . . . .
Manually Copying File-Based Media to a FireWire or Network Drive . . . . . . . . . . . 399 Dragging and Dropping File-based Media Directly to a Bin . . . . . . . . . . . . . . . . . . 400 Creating Dynamic Media Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 Starting and Stopping Avid Background Services. . . . . . . . . . . . . . . . . . . . . . . . . . 408 Linking Media with AMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the GFCAM AMA Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 Using the RED AMA Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449 Preparing your RED Clip for Transcode, Mixdown, or Render. . . . . . . . . . . . . 451 Adjusting RED Source Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 Using RED Source Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493 Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493 Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494 Relinking by Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499 Relinking to Selected Clips. . . . . . . . . . .
Switching Between Loaded Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531 Clearing Clips from Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532 Controlling Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533 Using Position Bars and Position Indicators. . . . . . . . . . . . . . . . . . . . . . . . . . . 533 Playback Control Buttons . . . . . . . . . . . . . . . . . . . . . . . . . .
Working in the Markers Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561 Exporting and Importing Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562 Creating a Marker Text (.txt) File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563 Copying and Pasting Markers Using the Markers Window . . . . . . . . . . . . . . . 563 Printing the Contents of the Markers Window . . . . . . . . . . . . . . . . . . . . . . . . .
Enabling Single-Mark Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594 Mixing Frame Rates and Field Motion Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594 How Your Avid Editing Application Handles Mixed Rate Clips. . . . . . . . . . . . . 595 Viewing Mixed Rate Clips in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597 Viewing and Adjusting Motion Adapter Parameters . . . . . . . . . . . . . . . . . . . . .
Resyncing Audio for a Selected Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627 Working with Phantom Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627 Creating Video and Audio Leaders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629 Chapter 15 Script-Based Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631 Understanding Lined Scripts . . . . . . . . . . . . . . . . .
Changing the Track Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671 Assigning Local Colors to Clips in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . 671 Clip Color for Proxy Clips in Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672 Displaying Timecode Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . 672 Showing Markers in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Copying and Dragging Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697 Dragging Nonadjacent Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698 Deleting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698 Marking Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699 Cutting, Copying, and Pasting in the Timeline . . . . . . . . . . . . . . . . . . . . .
Printing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729 Activating and Deactivating I/O Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730 Activating and Deactivating I/O Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730 Chapter 17 Working with Trim Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731 Trimming with the Timeline Palette . . . . . . . . . . . . . . . .
Accessing Audio Effect Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760 Using Audio Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761 Working with Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 762 Displaying Track Formats in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763 Modifying Track Formats in Bins . . . . . . . . . . . . . . . . . . . . . . . .
Track Selection in the Audio Mixer Tool and in the Timeline . . . . . . . . . . . . . . 794 Using the Track Solo and Track Mute Buttons. . . . . . . . . . . . . . . . . . . . . . . . . 794 Interpreting Position Indicator Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 794 Rendering and Unrendering Order for Audio Effects . . . . . . . . . . . . . . . . . . . . . . . 795 Audio Volume Staging and an Audio Editing Workflow. . . . . . . . . . . . . . . . . . . . . .
Entering Live Mix Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 827 Using Live Mix Mode with an External Controller. . . . . . . . . . . . . . . . . . . . . . . 827 Using Live Mix Mode Without an External Controller . . . . . . . . . . . . . . . . . . . . 828 Switching Between Live Mix Mode and Other Audio Mixer Modes . . . . . . . . . 828 Audio Mixer Tool Fast Menu: Live Mix Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 828 Live Mix Mode Example . . . .
Configuring External Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 868 Using an External Fader Controller or Mixer to Record Volume Automation . . . . . 870 Adjusting the Volume or Pan of Individual Keyframes . . . . . . . . . . . . . . . . . . . . . . 871 Using the 002 and the Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 872 Using the Command|8 with Your Avid Editing System. . . . . . . . . . . . . . . . . . .
Installing EuControl Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 897 Configuring Avid Artist Series Controller Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 899 Configuring Ethernet Connections (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . 900 Setting the IP Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 901 Configuring EuControl Settings. . . . . . . . . . . . . . . . . . .
Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins . . . . . . . . 939 Using AudioSuite Plug-ins to Create New Master Clips. . . . . . . . . . . . . . . . . . 940 Using AudioSuite Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 940 Using AudioSuite Plug-Ins in Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 942 AudioSuite Plug-in Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DeEsser III — Dynamics III (Audio Track Effect and AudioSuite) . . . . . . . . . . 986 Dither (Audio Track Effect) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 988 Down Mixer (Audio Track Effect) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 989 Duplicate (AudioSuite) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 990 Eleven Free (Audio Track Effect and AudioSuite) . . . . . . . . . . . . . . . . . . . . . .
Exporting Projects and Bins Using AFE Files (Windows Only). . . . . . . . . . . . . . . 1036 Exporting the AFE File to Avid DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1037 Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1038 Installing or Copying the Avid Codecs for QuickTime on Other Systems . . . . . . . 1041 Exporting from a Third-Party QuickTime or AVI Application . . . . . . . . . . . . . . . . .
Preparing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1069 Setting the Calibration Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1069 Calibrating Global Output Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1070 Setting Audio Output Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1072 Enabling 16-Channel Audio Output . . . . . . . . . . . . . . . . . . . . .
Understanding Passthrough . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1099 Using the Lists Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1100 Input Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1101 List Options Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1101 Formatting Tab . . . . . . . . . . . . . .
Controlling Ancillary Data with a Console Command (Legacy Method only) . 1133 Capturing Ancillary Data with a Data Track . . . . . . . . . . . . . . . . . . . . . . . . . . 1135 Performing a Data Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1135 Exporting a Sequence with Data Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1136 Chapter 24 Conforming and Transferring Projects . . . . . . . . . . . . . . . . . . . . . . . .
Transferring and Working with Sound Designer II Audio Files from Macintosh Systems 1157 Transferring a Project Using Shared Storage . . . . . . . . . . . . . . . . . . . . . . . . 1157 Transferring Project Files and Media Files Using Nonshared Storage . . . . . 1158 Nonshared Storage Issues for Cross-Platform Collaboration . . . . . . . . . . . . 1160 Chapter 25 Using the NRCS Tool (Media Composer | NewsCutter Option) 1161 Configuring the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Saving Changes to a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1188 Using the Post to Web Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1189 Processing the Script for Post to Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1189 Creating a Web Page for Post to Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1189 Linking Clips for Post to Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing with Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1229 Checking Avid Assets Out Using the Interplay Window . . . . . . . . . . . . . . . . . 1229 Creating a Duplicate Asset When Dragging to a Bin . . . . . . . . . . . . . . . . . . . 1231 Checking Out the Same Sequence to More than One Bin. . . . . . . . . . . . . . . 1231 Checking Avid Assets Out Using Interplay Access . . . . . . . . . . . . . . . . . . . .
Performing Searches on Interplay Folders. . . . . . . . . . . . . . . . . . . . . . . . . . . 1260 Search Attributes for the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . . 1262 Keeping Search Results in the Interplay Window . . . . . . . . . . . . . . . . . . . . . 1263 Capturing Media to Interplay Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1263 Using the MediaCentral | UX Messages Window . . . . . . . . . . . . . . . . . . . . . . . . .
Using Remote Download . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1305 Send-to-Playback and Media Composer | Cloud (Windows Only) . . . . . . . . . . . . 1307 Supported Project Types and Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1310 Chapter 29 Using Interplay Transfer to Export Media . . . . . . . . . . . . . . . . . . . . . . 1311 Installing the Interplay Transfer Client Software . . . . . . . . . . . . . . . . . . . . . . . . . .
Examples of Working and Target Settings for Dynamic Relink . . . . . . . . . . . 1350 Dynamically Relinking to the Target Settings. . . . . . . . . . . . . . . . . . . . . . . . . 1353 Using Dynamic Relink with Mixed Rate Clips. . . . . . . . . . . . . . . . . . . . . . . . . 1354 Relinking in Frame Chase Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1355 Using the Relink Dialog Box in an Avid Interplay Environment. . . . . . . . . . . . . . .
Using the Add Edit Button During Multicamera Editing . . . . . . . . . . . . . . . . . 1385 Using the Group Menu for Multicamera Editing . . . . . . . . . . . . . . . . . . . . . . . 1386 Using the Multi-angle View Menus During Multicamera Editing. . . . . . . . . . . 1387 Using Match Frame in MultiCamera Editing. . . . . . . . . . . . . . . . . . . . . . . . . . 1388 Committing MultiCamera Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1388 Selective Camera Cutting . . . . . .
Switching to Another Set of User Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 1424 Duplicating Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1425 Naming Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1425 Selecting Among Multiple Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1426 Deleting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Export Settings: QuickTime Reference Options. . . . . . . . . . . . . . . . . . . . . . . 1476 Export Settings: QuickTime Movie Export Options . . . . . . . . . . . . . . . . . . . . 1478 Export Settings: QuickTime Movie Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 1480 Export Settings: QuickTime Compression Settings . . . . . . . . . . . . . . . . . . . . 1481 Export Settings: HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Safe Colors Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1523 Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1524 Sound Card Configuration Settings (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1525 Timeline Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Resolution Specifications: Digital Video (DV). . . . . . . . . . . . . . . . . . . . . . . . . 1569 Resolution Specifications: MPEG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1570 Resolution Specifications SD: Apple ProRes . . . . . . . . . . . . . . . . . . . . . . . . . 1571 Proxy Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1571 Support for Uncompressed HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Outputting a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1610 (Media Composer | Symphony Option) Using HD Universal Mastering . . . . . . . . 1610 (Media Composer | Symphony Option) Converting Audio for HD Universal Mastering 1611 (Media Composer | Symphony Option) Performing a Digital Cut with HD Universal Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1613 Working with HDV . . . . . . . .
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 582 and “Using the Timeline” on page 662. 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 731. 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 168 and “Capturing Media” on page 232.
Editing a Sequence 2. Use bins to organize your project items. For more information, see “Working with Bins” on page 339. 3. Use the Media tool to manage media files. For more information, see “Managing Media Files” on page 467. 4. Use the bins to create storyboards. For more information, see “Creating a Storyboard” on page 382.
Editing a Sequence 2. Build your sequence in Source/Record mode in the Timeline. See “Creating and Editing Sequences” on page 582. 3. Use Segment, Trim, and Effect modes to fine-tune your edits and effects. For more information, see “Using the Timeline” on page 662, “Working with Trim Edits” on page 731, 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 1019. • Output a digital cut in one or more formats. For more information, see “Generating Output” on page 1054.
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.
Application Manager 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. n c n For more information to make an alias and use the Dock, see your Macintosh documentation. Your Avid editing application does not start properly if you move the application file from the Avid editing application folder.
Application Manager To view product promotions and 3rd party news: 1. Click the Application Manager icon in your Toolbar (Windows) or Dock (Macintosh). 2. With the Application Manager open, click the Feeds tab. The feeds are displayed in the chronological order. The most recent feed is displayed at top. Links to promotional information and news are listed. Click the link to access the desired information.
Working with Projects You can also checkout a floating license if you want to work on your system while not being connected to the Internet. This might be useful if you are working on a laptop and then want to take the laptop home to finish working on your project. For details on checking out a floating license, search for “Checking Out a Floating License” in the Installation Guide for Avid Editing Applications.
Working with Projects Private A Private Project is stored locally. It can be accessed only by the user currently logged on to the editing machine. On a Windows system, a Private Project is always stored under the user’s Documents directory. An administrator may be able to access this project if they have read/write permission to the user’s directory. Shared A Shared Project is stored locally. It can be accessed by any user that can log on the editing machine.
Working with Projects 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. On a Windows system, a Synced Project is always stored in the machine’s Shared Documents directory and in a corresponding project folder on Interplay.
Working with Projects (Macintosh only) If you use your Avid editing application as a standalone editor (and don’t plan to move your bins or projects to another platform), you can extend bin and project names to 31 characters. You can also choose to accept or not accept the Windows compatible file naming convention of special characters and spacing. To use Windows compatible file names 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click General Settings. 3.
Working with Projects n Windows drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Avid Users Macintosh Macintosh HD/Users/Shared/Avid editing application/Avid Users (Windows only) The location of the Avid Users folder depends on the installation path for your Avid editing application. Files and Folders Created For Projects When you create a new project, your Avid editing application creates a folder with the name that you entered when you created the project.
Working with Projects 1 2 3 4 6 7 8 5 Element Description 1 User Displays the login name of the user currently logged into the system. To change to a different user, log out and log in as that user. 2 User Profile Displays the name associated with the current settings. By default your Avid editing application uses the login name. The list button changes profiles or creates a new one. For more information, see “Understanding User Profiles” on page 104.
Working with Projects Element Description (Continued) 7 New Project button Opens the New Project dialog box to create a new project. 8 Project Summary Displays project summary information. Project Types The following table lists the format options available for your project. Depending on the model of your Avid editing application, your format options might not include all items listed here. For Higher than HD Projects, see “Media and Sequence Formats” on page 114.
Opening and Closing Projects Project Type Source Footage Transfer (Continued) Color Space 1080p/25 For film footage transferred to videotape, or high-resolution files from digital film cameras. YCbCr RGB 1080p/29.97 For film footage transferred to videotape, or high-resolution files from digital film cameras. YCbCr RGB 1080i/50 For video-originated material, or high-resolution files from digital film cameras. Can be directly captured, edited, and output for HD broadcast. YCbCr RGB 1080i/59.
Opening and Closing Projects To open an existing project: 1. In the Select Project dialog box, select the folder in which the project is located: Private, Shared, or External. For more information, see “Select Project Dialog Box” on page 73. 2. Do one of the following: t Select a project in the Select Project dialog box, and then click OK. t Double-click a project name in the Projects list. The Project window, the Composer window, and the Timeline open with the User settings loaded.
Deleting a Project To turn off the automatic opening of projects so that you can select another project when you start your Avid editing application: 1. Deselect “Automatically Launch Last Project at Startup,” and then click OK. 2. Quit your Avid editing application and restart it. The Select Project dialog box opens. 3. Select a project and click OK. The Project window, the Composer window, and the Timeline open with the User settings loaded. To open the startup project: 1.
Quitting and Turning Off Equipment 4. If you see a message asking if you want to delete the selected project and associated bins, click OK The deleted project no longer appears in the Select Project dialog box. c n Deleting a project also deletes any bins that are in that project. Media related to a deleted project is not deleted with the project folder. For more information on deleting media files, see “Deleting Items from a Bin” on page 354 and “Deleting Media Files with the Media Tool” on page 475.
Changing Project and User Names To turn off your equipment: 1. Turn off the system by doing the following: For a Windows system: a. Click the Start button, and select Shut Down. The Shut Down Windows dialog box opens. b. Click the menu, and select Shut down. c. Click OK. For a Macintosh system: t Select Apple menu > Shut Down. 2. If you have an Avid input/output device attached to your system, turn it off. 3. Turn off peripheral devices (such as monitors and speakers). 4.
Backing Up Your Project Information The folder contains profile, settings, and project files with the old name. 5. Change the old name of each file to the new name. n Do not change the name of the file MCState in the Avid Users folder. 6. Close the windows, and restart your Avid editing application. The new project name or user name appears in the Select Project dialog box.
Avid Attic Folder When you start your Avid editing application, the restored project and user profile appear in the Select Project dialog box. n If you restore a single bin or bins, you must relink them to the project from within the Project window. For more information, see “Opening and Closing Bins” on page 90. Avid Attic Folder The Avid Attic folder contains backup files of each bin in a project.
Avid Attic Folder (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application. (Windows Vista or Windows 7) drive:/Users/Public/Public Documents/Avid editing application. 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. Double-click the folder for the bin you want to retrieve. 5.
Avid Attic Folder To copy backup files to a new bin: 1. Click the taskbar item for your Avid editing application to restore it. n If the taskbar is hidden, see “Using the Windows Taskbar (Windows Only)” on page 60. 2. Click the Project window to activate it, and click the Bins tab to display the Bins list. 3. Select File > Open Bin. 4. From the Files of Type list, select All Files (*.*). 5. Navigate to the desktop, select one of the backup bin files you copied, and click Open. The backup bin opens.
Avid Attic Folder 7. Select the material you want to keep from the backup bin, and drag the files to the new bin. 8. Repeat steps 3 through 7 for any other backup bin files you copied to the desktop. 9. Select and delete the backup bins in the Other Bins folder. 10. Drag the backup bin files on the desktop to the Recycle Bin. Retrieving Files from the Avid Attic Folder (Macintosh) To retrieve a file from the Avid Attic folder: 1. Minimize your Avid editing application. 2.
Avid Attic Folder 5. Select View > as List, if the bin folder is not already in the List view. The bin folder displays the backup bin files and their creation dates. A backup bin file has the same name as the bin, with a number appended. For example, a bin named Source Clips might have backup bin files named Source Clips.1 and Source Clips.2. 6. Command+click the files you want to retrieve. 7. Option+drag the selected backup bin files to the desktop.
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 88. Volume Lets you create an Export Volume. See “Working with Export Volumes” on page 428. Settings Lets you view and modify settings. See “Using the Settings Tab” on page 96. 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 1421.
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 356. 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 1421. 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 116. 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 Bins and Projects in Avid Shared Storage Sharing Only Bins If you share only bins, you store the project on your local system and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system identifies the shared bins as follows: • Stores the bin in an ISIS Bins folder in the Project window.
Working with Bins and Projects in an Avid Shared Storage Environment MSmith TBaksh Bins tab in the Project window, showing a bin that is locked for editing (bold text, top left), the name of the computer that currently has the bin locked (top right), and folders for each computer that accesses the project (bottom) Opening a Shared Project To open an existing project on the shared volume: 1. Start your Avid editing application. 2.
Working with Bins and Projects in an Avid Shared Storage Environment The Bin Lock Status button. When the button is green (top), the bin is unlocked. When the button is red (bottom) the bin is locked. When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Considerations for Working with Shared Bins and Projects” on page 122. n The Bin Lock Status button does not appear if the bin is not on Avid shared storage.
Working with Bins and Projects in an Avid Shared Storage Environment To permanently lock a bin: 1. Select one or more bins in the Project window. 2. Right-click the Bin icon, and select Lock Project Bin. An asterisk appears next to the user name in the Project window. In this case, the bin remains locked even after you close it. To unlock the bin: t n Right-click the bin in the Project window, and select Unlock Project Bin.
Working with Bins and Projects in an Avid 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 147. 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 131. 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 196. 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 152.
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 160.
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 161. 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 345. Entering Pulldown Information To accurately capture NTSC transfer tapes in 24p projects, you need to enter pulldown information into the bin. (This information is not required for PAL transfer tapes.
Film-Related Log Information 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 158 (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 292. 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 163.
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 a log that you can import directly to the bin. For information about logging into a bin, see “Logging Directly into a Bin” on page 147. For information about logging and capturing at the same time, see “Capturing and Logging at the Same Time” on page 233.
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 1502.
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 173. Getting Information About Striped Drives Avid maintains information about striping drives that is available through Avid online support. For more information, see “Storage Options and Drive Striping” in the Help.
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 200.
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 1446.
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 204. 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 1512. 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 186
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 158.
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 1619. 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 201.
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 192. 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 173 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 180. You can set target drives in the Media Creation dialog box. See “Selecting Video Resolutions and Media Drives” on page 176.
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 1438. 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 1440.
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 1532. 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.
Capture Preparations Check List 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 Select options in the Media Creation Settings, Capture Settings, General Settings, and (if appropriate) Film and 24P Settings dialog boxes. See “Selecting Settings for Capture” on page 176. Configure your deck or decks using Deck Configuration and Deck Preferences settings. See “Configuring Decks” on page 188. Insert a tape into the deck, and set up the Capture tool for source tape, source deck, pulldown switch (24p projects), and other requirements.
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 168. 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 241 and “Capturing with Time-of-Day Timecode” on page 242. You can name clips and add comments before or during the capture of a clip. For more information, see “Naming Clips and Adding Comments in the Capture Tool” on page 234.
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 168. 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 158. 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 193.
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 129. 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 254. 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 256. 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 256 and “Decomposing Sequences” on page 258. 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 269. 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 134. 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 265.
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 274). 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 188. 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 188. 5.
Scheduling a Capture Session Stop the process at any time by clicking Cancel. For guidelines on naming tapes, see “Naming Tapes” on page 148. 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 237. 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 709. 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 168. 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 148. 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 1519.
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 494.
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 1540. • Determine the source for the files. Consider copying all files to a single folder before you import. See “Importing Media Files” on page 301.
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 1502. 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 1502. 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 137. 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 1540. 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 298. 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 1506).
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 309. 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 313. 2. Follow the standard instructions for importing a graphic, as described in “Importing Media Files” on page 301. 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 1507. 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 323. • Manually import all proxy media on all discs currently loaded on your system. See “Importing Proxy Media from an XDCAM Disk” on page 325.
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 301 and “Using the Drag-and-Drop Method to Import Files” on page 333. 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 352. 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 533. 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 667.
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 366. 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 Journalist First and last name of a person associated with the clip. Metadata information from a P2 file. Modifiable after capture with no restrictions. KN Dur Length of the clip, expressed in feet and frames. 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.
Modifying Clip Information Bin Column Heading Description Master Film Gauge of the final master sequence. See “Selecting a Film Gauge” on page 381. Master Start Starting key number of the final master sequence. Media Status Status of the media in the export Volume Bin. See “Working with Export Volumes” on page 428. 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.
Modifying Clip Information Bin Column Heading Description Sound TC Timecode for audio. Soundroll Sound roll the clip came from. Modifiable after you enter a soundroll. Source File Specifies the source file name. 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.
Modifying Clip Information Bin Column Heading Description Vendor A list of vendor headings is provided for use with Avid Marketplace. See “Adding Vendor Columns to your Avid Bin” on page 1403. Video File Format Clip video file format (OMF, AAF, MXF, or none). VITC Vertical interval timecode. Modifying Data in Bins You can modify data in bin columns directly by typing in a selected text field.
Modifying Clip Information 3. Click the cell again to enter text. If the pointer does not change to an I-beam, you might be selecting a column that cannot be directly modified. 4. Type the new information, and press Enter (Windows) or Return (Macintosh). 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.
Modifying Clip Information 5. Select an option or type information into the text boxes. For more information, see “Modify Command Options” on page 377. 6. Click OK. The modification takes effect. Modify Command Options Type of Modification Options Description Set Timecode Drop/ Non-drop Drop, Non-drop Changes the timecode format between drop-frame and non-drop-frame. Setting must match the timecode format of the tape. Set Timecode By Field Start or End Changes either the start or end timecode.
Modifying Clip Information Type of Modification Options Description Increment Timecode Start or End Changes either the start or end timecode. If you increment the start timecode automatically, it modifies the end timecode by the same amount. You can only alter start timecodes after capture. Timecode text box Lets you enter custom incremental timecode. Start or End Changes either the start or end timecode.
Working with Film Information in Bins Type of Modification Options Description Set Multichannel Audio Mixed, Mono, Stereo Lets you assign multichannel formats to audio tracks. For more information, see “Working with Multichannel Audio Tracks” on page 762. Active Format Description Active Format for 4x3, 16x9, or Use Project Format. Lets you set the Active Format Description (AFD) in the data track.
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 89. 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). Select the appropriate edgecode type for a clip so you can track frames in the Timecode window, above the Source/Record monitor.
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 388. 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.
Filtering Items in the Bin 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.
Filtering Items in the Bin The search will display only those items in the bin that match the search criteria. n If individual columns are selected, the search is performed on the information in the selected columns. If no columns are selected, the search is performed on all displayed columns.
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 External card reader Automated processes (via editing application profiles) 2 Files moved to local or shared folder User-specified AMA Media folder (foreign formats) 4 Avid Media Files folder (MXF formats) Select media consolidated and/or transcoded Avid Media Composer 3 Master clips added to bin New master clips created for transcoded/consolicated media 1 Editor begins rough cut by linking to media on external card reader 6 5 When editor requests bin upda
Viewing Installed AMA Plug-ins n In an Interplay environment, the relink can be done automatically. See “Enabling Dynamic Relink” in the online help. Considerations and Limitations for AMA Footage from the Sony XAVC and ARRI ALEXA cameras can be recorded directly to MXF. Since Avid will have native HD codecs for these MXF formats, editors can link to or import this media in Media Composer and work immediately with these formats.
Selecting the AMA Settings To display the list of installed AMA plugins: 1. Select Tools > Console. 2. In the command entry text box, type: AMA_ListPlugins 3. Press Enter (Windows) or Return (Macintosh). AMA_ListPlugins displays a list of the plugins installed on your system. Selecting the AMA Settings You can set options in the AMA Settings dialog box to turn AMA on or off (on by default), to automatically mount your volumes, to customize your bin, and to set audio channel linking options.
Manually Copying File-Based Media to a FireWire or Network Drive 5. If you remount a volume, deselect the option “When mounting previously mounted volumes, do not check for modifications to the volume,” and the system checks the modification date of the device or drive against the last time the clips were linked. If the date is the same, the clips come back online. If the date is different, the system links the clips again, and links any new clips added to the volume. This option is off by default.
Dragging and Dropping File-based Media Directly to a Bin 2. Give each folder a unique name that identifies the card or disk. The name does not have to be the same as the actual card or disk name. 3. Navigate to the actual card or disk and select the folder with the media. 4. Do one of the following: t Copy and paste the contents of the card or disk media folder to the system folder. t Click the card or disk folder and drag it to the system folder. 5. Eject the card or disk.
Creating Dynamic Media Folders n AMA media is now managed. Therefore the AMA media will now appear in the Media Tool and can be checked into Interplay. The basic workflow for using DMFs is the following. • In the Dynamic Media Folders window, create a DMF folder. This folder can reside locally or on shared storage. • Create a new profile or assign an existing profile to the DMF folder. This profile is where you specify the actions you want performed on any files that get added to the DMF folder.
Creating Dynamic Media Folders 5. Click the Menu bars to open the default profile summary and default AMA Settings and Actions. 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 Link 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. Multichannel Audio • 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.
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 Solid green dot You can access the DMF folder to ingest the assets into your bin. Spinning with or without a green center dot This indicates that background processing is in progress. 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.
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.
Exporting as DPX 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.
Exporting as DPX To export as DPX: 1. Select the clip or sequence you want to export as DPX. 2. Right-click and select AMA File Export. The AMA File Export window opens. 3. Click File Type and select DPX. 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.
Spanned Clips Option Description Create subfolder name This is the folder in the specified directory where the DPX files are exported. Include in Header (Input Device) Provide an ASCII string entry field up to 32 characters that will populate the Input Device (field 38) in the DPX header. Start Frame Enter a value from 0 to 999999999. Entering a value into this field will reflect the first frame in the export and will increment for all additional frames.
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 1123.
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 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. If you try to drag master clips, effects, titles, etc, you will receive a message indicating that some assets that you selected could not be dragged to the Volume Bin.
Working with Export Volumes Note the Media Status column indicates the committed status of each asset in the volume. Green indicates the asset is committed. Yellow indicates the asset is not committed. Red indicates the asset is offline. Once the assets are committed, the following are written to the bundle folder: - The sequence (version) - The essence files - The manifest (a file listing the creation date, creator, version information and a list of all the files and folders in the bundle.
AS-11 Support 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. Select the folder where the AS-02 bundle resides. 3. Click OK. 4. A new volume bin opens with the AS-02 assets. You can also choose to Link to AMA Volume if you want to open the assets as Read-only in a classic bin. AS-11 Support The Avid editing application supports the Advanced Media Workflow Association (AMWA) AS-11 specification.
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 477.
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 479. 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 483.
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 451 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 425 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 477. For information on transcoding your sequence, see “Using the Transcode Command” on page 483.
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 463 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 394. 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 1226.
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 471. 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 473.
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 390. 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 1438. 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 1333. 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 1438. 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 479 and “Using the Transcode Command” on page 483. 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 471. 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 496
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 334. 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 511. 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 346 and “Using Script View” on page 348.
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 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. Displaying Tracking Information Tracking information consists of various formats used to identify clips, audio and video tracks, individual frames, or footage durations while you work.
Customizing the Composer Window and Monitors If you select the option for two information rows above the monitors in the Composer settings (in the Window tab), you can display two different types of tracking information for the footage in each monitor. For example, you can display both running timecode and IN to OUT durations for clips loaded in the Source monitor. You can display similar information for the sequence shown in the Record monitor.
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 366. 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.
Playing Video to a Full-Screen Monitor 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 1531. Some of these settings apply to playback and how effects are processed.
Adjusting the Play Delay Offset 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 1495. 3. Select Special > Full Screen Playback.
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 129. 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 1444.
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 535, 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 526 and “Video Display Settings” on page 1531.
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 703. 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 703.
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 552. 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 530. 2. (Option) Select a specific track, using the Track Selector panel. See “Understanding the Track Selector Panel” on page 703. 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 562.
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 703 and “Selecting Tracks for Matching Frames” on page 575.
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 580. 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 591 and “Performing an Overwrite Edit” on page 592.
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 351. 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 597. 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 1531.
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 156). 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 341. 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 606.
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 703 and “Understanding Locking and Sync Locking” on page 713. 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 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. The hardware or client monitor needs to be able to decode ancillary data to playback your media. You can not playback from the Source or Record monitor. 4. Go to the start of the sequence.
Understanding Sync Breaks • Restart your computer once a day to refresh the system memory. • Split the sequence into two or more segments, if possible. Playing a Limited Duration of a Sequence Long sequences with many effects can be time-consuming to work with in the Timeline. Working with a shorter sequence can save time. The Play Length Toggle feature lets you switch between playing the entire sequence and playing a limited duration centered around the current position of the sequence.
Understanding Sync Breaks Match frames (left) and sync breaks (right) in the Timeline You encounter sync breaks and match frames in different circumstances: • You can encounter sync breaks in one or several video tracks, audio tracks, data track, or all. Sync-break offset numbers appear by default only in the affected tracks. • You encounter match-frame cuts whenever you perform an add edit or whenever you move a segment next to footage from the same clip and the timecode is continuous across the edit.
Fixing Sync Breaks Task Tips Trimming Sync lock tracks to avoid breaking sync or use the Alt (Windows) or Option (Macintosh) key function for adding black during trims. For more information, see “Maintaining Sync While Trimming” on page 751. You can also perform dual-roller trims, which maintain duration, instead of single-roller trims. Tips for Fixing Sync Breaks Working Mode While trimming Tips • Sync lock any additional tracks that are synced to the track you are trimming.
Understanding Sync Lock 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. To restore frames to sync while Trimming: t Perform one or more single-roller trims on the out-of-sync tracks. Trim the exact number of sync-break frames displayed in the Timeline to reverse the break. For more information on performing trims, see “Working with Trim Edits” on page 731.
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 695. • 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 550. 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 616. 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 1374. • 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 618. 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 722. 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 635.
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 363. 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 636. 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 665 and “Timeline Fast Menu Options” on page 665.
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 616. Dupe Detection Enables color-coded dupe material display for V1 track; used in 24p projects and matchback projects. See “Dupe Detection” on page 723. 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 705. 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 681. 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 1357. 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 131.
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 773 and “Displaying Volume and Pan Values” on page 775).
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 131. 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 681.
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 1525.
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 691).
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 700. 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 589. 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 713. 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 1123. 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 743.
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 690). 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 1454. 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 736. 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 736. 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 788.
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 840.
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 768. 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 212. 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 198).
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 1437. 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 793. 8 Display/Hide Sliders Lets you switch between hiding and displaying the Volume Level sliders. button 9 Audio Mixer mode button Lets you select the mode for the Audio Mixer tool: • Auto (volume and pan automation) • Clip (Clip Volume and Pan) • Live (Live Mix) The default mode is Clip Volume and Pan.
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 813 and “Using Live Mix Mode” on page 826. 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 810. 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 808. 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 789.
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 815.
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 835.
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 810. 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 134. 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 810. 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 859. 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 873 • “Configuring the Mbox Device” on page 880 • “Using Avid Artist Series Controllers” on page 897 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 870. 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 207 and “Recording Voice-Over Narration” on page 854. 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 884. 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 899.) 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 956. 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 957.
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 985. 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 1007. Reverse Rewrites the selected audio in reverse. For more information, see “Reverse (AudioSuite)” on page 1008.
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 835. 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 1470. For information on creating custom settings, see “Customizing Export Settings” on page 1032. 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 1028. 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 840). 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 1540. 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 1473.
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 1028. 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 207.).
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 • For HD projects, determine if you need to crossconvert or downconvert your sequence, as described in “Preparing for Converting HD Formats” on page 1066. • Set audio output levels and other output options, as described in “Preparing for Audio Output” on page 1069. • Mix down multiple audio tracks, if necessary, as described in “Mixing Down Audio Tracks” on page 836. • Prepare the record tapes, as described in “Preparing Record Tapes” on page 1075.
Selecting the Sync Source for Output c Avid recommends that you use an external sync source whenever you record a digital cut to tape, or whenever the external equipment requires the Avid system to follow an external master clock. Connect the sync source to the appropriate input on the Avid input/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.
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 1059.
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 788. 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 1441. 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 214. 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 1082.
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 1079. 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 1078. 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 1078. 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 1091. 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 the Lists Tool Using the Lists Tool The following describes how to read and create lists in Avid Media Composer. You can generate EDLs, Cut Lists, and Change Lists. The List Tool provides one tool to create these lists. The options within the tool change depending on the output format you select. What is an EDL? An edit decision list (EDL) is an instruction list for edits you make. The EDL is used for exchanging information between editing systems.
Using the Lists Tool The options in the Output Format pulldown menu determine the output. The options in the List Options and Formatting tabs change depending on which Output Format you select. Input Tab The Input tab is where you drag and drop the sequence into the List Tool. You can also click the Load button to load the current sequence from the Timeline into the List Tool. The tracks for that sequence populate the Tracks pane in the Input tab.
Using the Lists Tool Formatting Tab The options in the Formatting tab change depending on the Output Type. The options display if they are relevant to the selected Output Format.
Using the Lists Tool Preview Pane The right side of the Lists Tool displays the Preview pane. This is where you can preview, save or edit the EDL, Cut List or Change List. Once you click the Preview button, the EDL or Cut List populates the window. Creating a List To create a List, perform the following. To create a List: 1. Select Output > Lists Tool The Lists Tool opens.
Using the Lists Tool 2. From the Output Format pulldown menu, select the type of output you want to create. If you are creating an EDL list, choose one of the EDL Output Types; CMX_3600, CMX_DigitalCut, CMX_Transfer, File_16, or File_32, or File_129. If you are creating a Cut List or Change List, choose one of the Cut List or Change List Types; Columnar, TabbedLists, WebLists, or XML. 3. Drag the sequence from the bin into the Input tab Sequence field.
Using the Lists Tool 9. Click Save List to save the list to your system. You can choose to save the List as one file or multiple files. If you choose multiple files, the file names include the tracks; v1, v2, v3, if applicable. 10. (Optional) You can also click the New List button which opens a blank list. This might be helpful in creating a new list and comparing multiple lists. 11. (Optional) Click the Clone List button to open a duplicate list based on the current options and format settings. 12.
Using the Lists Tool 3. After creating a Preview list, click the Edit button in the upper right corner of the Preview window. Or, right mouse click inside the Preview window and select “Switch to Edit Mode.” 4. Make your edits to the list. 5. (Optional) While in Edit mode, use Ctrl+F (Windows) or Commad+F (Macintosh) to open the Find Replace window at the bottom of the Preview List. Enter the text you want to search for and click the arrows to find the text.
Using the Lists Tool 9. From the Clip menu, select Decompose. 10. Select the desired Decompose options. 11. Click OK. The decompose process begins. When the decompose process is completed, the bin contains decomposed clips (.new) and a decomposed sequence if “Create New Sequence” was enabled inside the Decompose window. The Video resolution of the Decomposed clips is determined by the Capture tab inside the Media Creation Setting. The Decomposed master clips and sequences are available for conform.
Using the Lists Tool Option Description S3D Contributor Monoscopic: Set this option for standard sequences, or if you only want to use the “leading eye” clips in a stereoscopic sequence. S3D Left: Only displays the left eye clips. S3D Right: Only displays the right eye clips. Source TC Start: The starting timecode VITC: The vertical interval timecode Sound_TC: Audio timecode.
Using the Lists Tool Option Description Sort Mode Select the sort mode for the EDL. • A (Record In) Sorts by the Record In timecode. This results in Sequential editing from one IN point to the next. Use this when you have a short show, want to generate a simple, flexible EDL, or need to make many last-minute decisions. • B (Source, Record In) Sorts by the individual source reel, then by the Record IN timecode. This results in checkerboard editing on the record reel, one source reel to the next.
Using the Lists Tool Option Description Tape or File Name truncation Determines which part of the tapename you want to save. Convert tape names to numbers • End - Truncates the end of the tape name. For example, CHICAGO138101 becomes CHICAGO1. • Middle - Takes half of the allowed number of characters from the front and the other half from the end of the tape name. For example, CHICAGO138101 becomes CHIC8101. • Beginning - Removes the beginning of the tape name.
Using the Lists Tool Option Description Assemble The Assemble list shows the order in which a sequence’s clips, optical effects, or standard dissolves and fades are assembled from start to finish in the edited sequence. The assemble list also flags duplicate frames. • LFOA: (Last Frame of Action) Determines the duration of a sequence at the last frame that is part of the sequence, minus the length of the head and/or tail. Select the option and type the length of the head and/or tail.
Using the Lists Tool Option Description Optical Optical lists specify the source material required to create special effects and any edit event other than a straight cut, such as a dissolve or fade that must be sent to an optical house for creation. The optical list presents each optical event in the order in which it appears in the sequence and includes specifications based on either ink numbers, Aux ink numbers, or key numbers.
Using the Lists Tool Option Description Scan The Scan list type is a pull list for all elements in the Timeline including effects and layers. • First Sort by: Controls how a list is sorted.
Using the Lists Tool Option Description Change A change list is generated to simplify the process of updating conformed cuts to match and compare changes in versions of the sequence or sequences. Change Pull • Show only changes: Limits the entries in the change list to insertions, deletions, trims, and moves. There is no explicit indication of sections that remain unchanged. If this option is not selected, the change list also contains events that explicitly show sections that remain unchanged.
Using the Lists Tool Option Description Picture Select the picture options you want included in your Cut List or Change List. You can choose to include: Dissolves, Other Transitions, 3rd Party Transitions, Black Edits, Color Effects, Other Segment Effects, 3rd Party Segment Effects and Color Decision Lists. Sound Select the sound options you want included in your Cut List or Change List: Dissolves, Volume, Track Patching, EQ Effects and Track Effects, AudioSuite Effects.
Using the Lists Tool Option Description Disable Perf Slip Select to instruct the Cut List tool to ignore any audio perf slipping and offset data when displaying ink numbers. Show Icons Select to include icons that graphically represent edit events in your lists. See “Cut List and Change List Icons” on page 1116 and “Change List Icons” on page 1117. Ignore all Special Select to exclude special characters.
Understanding Matchback T Change List Icons The following table lists the icons available only in the change list. The icons only appear in the Change List if Show Icons is enabled in the Formatting tab. Icon Event Delete Insert Insert Head Insert Tail Delete Tail Delete Head Understanding Matchback The Matchback option on some Avid editing applications, lets you generate a film cut list from a 30-fps or 25-fps video project that uses film as the source material.
Understanding Matchback 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 723. How Matchback Works The matchback process refers to the video edit information for your sequence and performs a conversion to create a matching 24-fps cut list.
Vertical Blanking Information Vertical Blanking Information Avid editing applications using Avid input/output hardware let you work with vertical blanking information in some SD material. You can choose whether to display 5 lines above each field in NTSC and 8 lines above each field for PAL and whether to preserve the lines when you perform a digital cut.
Vertical Blanking Information You might want to preserve the following vertical blanking information: • Edgecode or key number information for a film project You might want to preserve edgecode information to easily identify the source film reel for a clip. In this case, the edgecode information would have been originally inserted during the telecine process.
Vertical Blanking Information VBI menu in the Video Output tool 2. Click the VBI menu and select Preserve. If you select Blank, your Avid editing application fills the vertical blanking interval with video black (R=G=B=16). 3. Close the Video Output tool. Any VBI information that is present in your clips or sequences will now be displayed. If you perform a digital cut, any VBI information that is in your sequence will be output.
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 Adding a Data Track You can add one Data track directly to the Timeline or you can extract the ancillary data from a video clip to create the Data track. If you have a clip with ancillary data that you brought in through the Legacy method, the best way to bring this clip onto a data track is to use the procedure by extracting ancillary data from a clip.
Preserving HD Closed Captioning and Ancillary Data Adding the Active Format Description to the Data Track Active Format Description (AFD) is a standard set of codes that can be sent in the video stream that carries information about the aspect ratio and the active picture characteristics. AFD information allows you to display the video of one aspect ratio on a display with another aspect ratio. When in an HD project, you can choose to add the AFD information to the data track.
Preserving HD Closed Captioning and Ancillary Data 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 168 and “Capturing Media” on page 232 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 1608. 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 1157. 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 1157. 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 1036.
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 1605). 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 1156, “Importing Files” on page 297, 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 1144.
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 1157. 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 1180. • 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 1175. 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 1189). 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 1508.
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 523. 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 1175.
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 1190), 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 Interplay | Production from an Avid Editing System Interplay | Production 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 Interplay | Production The following topic is particularly useful if you are new to working with Interplay Production: • Dos and Don’ts for Editors Working with Interplay | Production Dos and Don’ts for Editors Working with Interplay | Production The following information is useful for editors who are working with Interplay Production. It includes guidelines for working with Interplay and a list of dos and don’ts.
Dos and Don’ts for Editors Working with Interplay | Production When an Interplay server is available in an Avid shared-storage system in the workgroup environment, Avid strongly encourages not sharing bins or projects. Use the 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 | Production • 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 Production, 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 | Production Step Refer to Make sure you are correctly connected to the Avid shared-storage system. “Connecting to Avid Shared Storage and Mounting Workspaces” on page 1226. If you are saving media to a locally-connected storage, then make sure it is properly connected and configured for indexing.
Checklist for Editors Working with Interplay | Production Step Refer to Use the Interplay Window in your editing application or Interplay Access to check out and work with shared media. NEVER open bin files (*.avb) from other people’s project folders. If you want to re-edit a sequence from another editor, ALWAYS duplicate (Ctrl+D on Windows, Command+D on Macintosh) before changing it. Use reservations to protect material against accidental deletion. “Understanding Reservations” on page 1242.
Working with Interplay | Production and Remote Assets Support for Mixed Frame Sizes and Aspect Ratios Avid editing applications use 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. Settings other than this default are not supported in Interplay workflows.
Working with Interplay | Production 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 1229 or “Checking Avid Assets Out Using Interplay Access” on page 1232).
Using the Interplay Window For more information, see the Interplay | Engine and Interplay | Archive Engine Administration Guide. Using the Interplay Window The 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 Interplay | Production Database Connecting to the Interplay | Production 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 Interplay | Production 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 Interplay | Production 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 Interplay | Production Database Logging in to Interplay | Production 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 Interplay | Production 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 1214. (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 Interplay | Production 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 Production. 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 Production 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 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 1226. 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 For more information, see “Connecting to the Interplay | Production Database” on page 1214. 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.
Editing with Remote Assets 3. Select Tools > Interplay Window. 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 1232. 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 1241. 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 1236. 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 1242. • 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 1256. • 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 MediaCentral | UX 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 232. 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 MediaCentral | UX Messages Window The MediaCentral UX messaging system allows you to share Interplay Production assets between MediaCentral users within your workgroup. Once you to log in to Interplay using the Interplay User Settings dialog box, you can then log in to MediaCentral UX using the MediaCentral UX Messages window.
Using the MediaCentral | UX Messages Window If you have signed into Interplay, the MediaCentral UX Messaging pane attempts to log in to the MediaCentral portal associated with your Interplay workgroup using your Interplay credentials. If your Interplay and MediaCentral credentials are different, you must log in to MediaCentral UX before using the message window. 2. If required, type your MediaCentral UX user name and password, and then click Sign In.
Using the MediaCentral | UX 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 MediaCentral UX, do the following: t Close the MediaCentral UX Messages window.
Using the MediaCentral | UX Messages Window To write a new message and share media assets: 1. Select Tools > MediaCentral | UX Messages The MediaCentral UX Messages window opens. If you have signed into Interplay, the MediaCentral UX Messaging pane attempts to log in to the MediaCentral portal associated with your Interplay workgroup using your Interplay credentials. If your Interplay and MediaCentral credentials are different, you must log in to MediaCentral UX before using the message window. 2.
Using the MediaCentral | UX 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 MediaCentral 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 MediaCentral user list. 4.
Using the MediaCentral | UX 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 MediaCentral 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 MediaCentral 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 n The remote editing feature does not require that the Avid Unity ISIS Client Manager is installed on your system. However, if you have installed Client Manager, you should not mount any ISIS workspaces. Configuring Interplay Settings on the Remote Editing System You need to specify three Interplay settings before you can view or use remote editing: n • Interplay Server — Use this setting to specify the computer name of the Interplay Server.
Working with Remote Editing 6. In the User Name text box, type a user name. This name must be a known user on your workgroup system. n The Interplay user must also be listed as an ISIS client with read/write privileges in order to use\ the remote upload functionality of Media Composer Cloud. 7. Select “Automatic Login at Project Selection” if you want to log in to the Interplay database automatically every time you open a project.
Working with Remote Editing 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 the remote upload function. Interplay checks media in to a subfolder of the folder you specify in this dialog box.
Working with Remote Editing Stopping and Starting Media Indexer on a Mac OS X System In an Interplay environment, if your Avid editing application cannot connect to the Media Indexer running on your system the application displays the following message when it starts: “Could not connect to the Media Indexer. Verify the health of the Media Indexer service.” Failure to connect to the Media Indexer prevents the application from finding the online media for your project.
Working with Remote Editing Remote clips and subclips use icons different from the usual clip icons to differentiate them from local master clips and clips checked out of Interplay. Remote clip icon Remote subclip icon Remote sequence icon To access remote media clips: 1. In the Settings list, double-click Interplay User and log in to Interplay. If you have not configured your Interplay settings, follow the procedure in “Configuring Interplay Settings on the Remote Editing System” on page 1286. 2.
Using the Disk Cache to Manage Cached Media The following limitations also apply to remote playback: • Remote sequences that include rendered effects play back on the remote client without the rendered media. However, sequences maintain the data for the effects. To view an effect, you can render it on your system. You then need to render any locally-rendered effect again once you relink your uploaded media to the source media back at the station or production facility.
Using the Disk Cache to Manage Cached Media 3. If you want to change the default folder for cached media files, click Browse and navigate to the appropriate folder on your system. 4. If you want to modify the maximum size of the cache folder, click the Disk Cache Size text box and enter a new number. The default size is 2 GB. To clear the disk cache of cached media: 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 Setting Playback Quality for Remote Media You can choose to play back either low or high resolution remote media. The default setting is Low. You should only play back remote media at high quality when your connection to Interplay supports high resolution playback — for example, if you have an Ethernet connection to your Interplay system.
Uploading Media Using the Remote Upload Service the clip name ClipA,upload, n, where n is incremented each time Bin1 is saved and ClipA is uploaded during the Remote Sync operation. This prevents your bin folder in Interplay from filling up with multiple versions of your uploaded clip. In the Avid editing application In Avid Interplay Bin1 Bin1\Upload • • ClipA,upload,1 • ClipA,upload,2 • ClipA,upload,3 ClipA When you remotely upload a sequence, the following occurs: • The clips in your sequen
Uploading Media Using the Remote Upload Service Limitations on Remote Upload and Remote Download The following limitations apply to remote upload: • You cannot upload or download effects and precomputes for rendered effects and titles. - You must render all effects and sequences at the production facility that includes your Interplay environment or render the downloaded effects once the download completes.
Uploading Media Using the Remote Upload Service When you upload media from your remote system to your Interplay environment, you can select which workspace you want to use for your upload. If your Interplay administrator sets the workspace options in the Interplay Administrator window, you can select a workspace from a 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.
Uploading Media Using the Remote Upload Service t Select a workspace from the Workspace menu. t Type the name of your workspace in the Workspace text box. 5. Click OK. 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/Download Queue. The Upload/Download Queue window opens and displays all current jobs. 7.
Uploading Media Using the Remote Upload Service Selecting the Upload Workspace When you upload media from your remote system to your Interplay environment, you can select which workspace you want to use for your upload. If your Interplay administrator sets the workspace options in the Interplay Administrator window, you can select a workspace from a menu in the Cloud Upload Settings dialog box in your Avid editing application.
Uploading Media Using the Remote Upload Service 6. Select a workspace from the Add menu, and then click Add. The workspace displays in the Active list. Repeat this step for each workspace you want to add. 7. Click Apply Changes. To select a workspace for remote upload: 1. In Media Composer, open a bin with a clip or sequence you want to upload. 2. Right-click the clip or sequence, and then select Remote Upload. The Cloud Upload Settings dialog box opens.
Uploading Media Using the Remote Upload Service 3. .Do one of the following: t Select a workspace from the Workspace menu. t Type the name of your workspace in the Workspace text box. 4. Click OK. Syncing Sequences You can set the sequence you work on to update the clips checked in to Interplay every time you save your bin.
Uploading Media Using the Remote Upload Service To sync a sequence with Avid Interplay: 1. Do one of the following: t Right-click the sequence in the bin, and then select Start Remote Sync Sequence. t Click the Start Remote Sync Sequence button in the Timeline. The Cloud Upload Settings dialog box opens.
Media Composer | Cloud and Dynamic Relink 2. Select the appropriate options for your remote sync operation. For a description of upload options, see “Cloud Upload Settings” on page 1451. 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/Download Queue.
Upload/Download Queue Dialog Box n To use dynamic relink, you need to transfer your remote media to your Interplay environment using a standard Ethernet connection. Because the clips in your sequence initially link to the source clips’ original location and not to the uploaded media, they might display as offline when you open your sequence back at the station or production facility, or when you open the sequence from another remote system, unless you first enable dynamic relink.
Upload/Download Queue Dialog Box 1 2 3 4 5 6 Element 1 Tool menu Description Provides options for the Upload/Download Queue window: • Clear Inactive Jobs — clears the Upload/Download 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.
Using Remote Download Using Remote Download Media Composer Cloud allows you to play media checked in to your Interplay Production system at the station or production facility. You can also download remote sequences, clips, or subclips to a local drive on your Media Composer Cloud client system using the remote download feature. This allows you to edit the remote media locally even when you do not have a connection to Interplay Production.
Using Remote Download 3. Set the appropriate options for your download: - n Local Volume — Select a local drive to store the downloaded media. An Avid ISIS system is not supported as local storage for Media Composer Cloud. - Priority — You can select High, Normal, or Low for the download priority (the default is Normal). The priority level affects which clips get downloaded first. - Handles — You can specify a handle for the clip in frames (the default is 30 frames). 4. Click OK.
Send-to-Playback and Media Composer | Cloud (Windows Only) n You can change the priority of your download at any time during the download operation. Changing the priority does not affect a download operation currently in progress. 7. When the process completes, reload the media from your bin to the Source/Record monitor to use the local copy of your downloaded media. n You must reload the downloaded clips or sequences in the monitor to relink it to the local media.
Send-to-Playback and Media Composer | Cloud (Windows Only) To send assets and media files for playback using Media Composer Cloud: 1. Make sure you are connected to your Interplay system. 2. In the Avid editing application, click the Settings tab in the Project window. 3. Double-click Transfer in the Settings list. The Transfer Settings dialog box opens. 4. Click the TMClient.ini tab. 5. In the Other Workgroups area, click Add. The Add Workgroup To List dialog box opens.
Send-to-Playback and Media Composer | Cloud (Windows Only) 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. 6. 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. 7. Click OK. The name you typed displays in the Other Workgroups list. 8.
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 Media Composer | Cloud 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 1316. 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 1316. 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 1363. 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 1363. 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 1349”. 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 1464. 4. Click the Target Settings tab, and then select your target settings. For information on available settings, see “Dynamic Relink Settings” on page 1464. 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 1361. 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 667. 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 1366.
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 1348. 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 1369).
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 573.
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 1408. 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 1393. 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 1403. 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 1414.
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 483. 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 1421. 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 1427 and “Copying Settings Between Settings Files” on page 1427. 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 104. 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 1453 Composer Configures the display and behavior of buttons and information in the Playback, Source, and Record monitors. “Composer Settings” on page 1454 Controller Settings Sets the default controller, port selection, and custom “Controller Settings” on page 1458 controller buttons.
Summary of Settings Setting Name Description Reference Topic Interface “Interface Settings” on page 1508 Defines the appearance and function of certain interface elements. For more information, see “Customizing the Avid User Interface” on page 107. 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 1523 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 458. 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 250.
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 550. 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 1461. 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 528. 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 1033. 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 1038. 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 826. 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 1472.
Export Settings Export Settings: AVI Through QuickTime Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1472. 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 1472. 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 1472. 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 1490. 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 1045. Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1472.
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 305. 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 131. 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 134. 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 1162. 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 544.
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 311. 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 301.
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 297.
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 1573). 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 1545.
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 1545. 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 Lists Tool 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 1605. 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 1603 and “Selecting a Project Format during Output” on page 1603. 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 1605. 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 1089.
(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 1611. “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 1620. 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 1621. 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 483.
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 1482. 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 232 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 1628 In an Interplay workgroup, all clients and applications must use the same locale, either English or one other locale.
Considerations for International Character Support (Windows) When setting the Input Locale in the Regional Options dialog box, click IME Settings and select the bottom option, which translates to “Only show Big 5 characters.” (Macintosh) When you select Traditional Chinese in the System Preferences > Language & Text window, your system displays a menu with several options. Select Big 5. Rebuilding the asifont.
Considerations for International Character Support followed by: “EXCEPTION: SYS ERROR, status: 2, msg: The system cannot find the file specified.” To work around this limitation, retype the file name (with the same diacritical marks if desired) and then import it from the English OS. • If you use New Change input (Traditional Chinese), you cannot use certain key combinations to form Chinese characters in user, project, bin, clip, and sequence names.
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) 1641
Index Numerics 1 Pass encoding 1485 1:1 video defined 1557 1080p/23.976 projects converting NTSC sequence from 24p 1607 1394 capturing HDV through 1618 capturing through 243, 243 connecting devices 193 1394 button playback to DV device with 541 selecting DV device with 243 selecting output device with 1055 setting video quality with 544 16:9 display format (Composer settings) 1454 16:9 format 172, 1589 16-channel audio enabling 1074 2 Pass encoding 1485 2:3 pulldown transferring film to video with 1594 23.
Index Add Control Key button (Command palette, Other tab) 129 Add Deck button (Deck Configuration dialog box) 188 Add Dissolve button See Quick Transition button Add Edit button 813 for maintaining sync 620 for MultiCamera editing 1385 Add Edit function for maintaining sync 620 using 722 Add Filler at Start command (Clip menu) 587 Add Keyframe button commands 1467 Add Marker button 550 Add New Column dialog box (Interplay Window) 1248 Add Option Key button (Command palette, Other tab) 129 Add Page button (
Index AIR Multi-Chorus RTAS plug-in 961 AIR Multi-Delay RTAS plug-in 962 AIR Non-Linear Reverb RTAS plug-in 963 AIR Phaser RTAS plug-in 964 AIR Reverb RTAS plug-in 966 AIR Spring Reverb RTAS plug-in 968 AIR Stereo Width RTAS plug-in 969 AIR Talkbox RTAS plug-in 970 AIR Vintage Filter RTAS plug-in 972 Alias starting Avid editing application from 66 Alias file format import specifications for 1541 Align Selected to Grid command (Bin menu) 346 Align to Grid command (Bin menu) 346, 362 Aligning columns in a bi
Index See Avid Attic folder Attributes searching remote assets for 1262 Audio 16-channel output 1074 5.1 779 7.
Index transferring to Digidesign Pro Tools 1156 using leader to maintain sync 618 voice-over 854, 854 volume, adjusting in Audio Mixer tool 798 volume, adjusting in Timeline 815 waveform plots 773 Audio Data commands (Timeline Fast menu) 773, 815, 818 Audio effects rendering order 795 Audio EQ 813 Audio EQ (Equalization) adjusting while playing 854 removing 849 saving 847 templates 851, 851 Audio EQ command (Tools menu) 760, 842 Audio EQ tool examples of usage 849 Fast menu options 846 features of 842 open
Index adjusting digital scrub parameters 770 Audio Source Tape TC Rate (Film and 24p Settings dialog box) 185 Audio sync for capture 173 Audio timecode 761 Audio tone media creating 214 Audio tool Calibrate mode 217, 217, 217 checking input levels 214 described 212 digital scale 213 input levels, adjusting 214 opening 212 volume unit scale 213 Audio Tool command (Tools menu) 798, 1069, 1070, 1076 Audio Track Monitor button (Track Selector panel) selecting tracks for scrubbing with 769 soloing tracks with 7
Index entering 165 AVCHD workflow 445 AVI file format brief description 1545 AVI files methods for exporting 1484 Avid online support 51 training services 51 Avid Artist Control application sets 917 Avid Artist Mix application sets 922 Avid Artist Series controller application sets 917 customization 909 described 897 editing media 916 Ethernet connections 900 EuControl 897 EuControl settings 904 grouping faders 914 IP addresses 901 Jog mode 912 latch mode 916 recording volumen automation and pan 914 Shuttl
Index custom Titles in 139 data entries in 142 formatting guidelines 137 global Titles in 138 importing ASCII file format 146 sample created with text editor 144 specifications 137 standard Titles in 139 Avid MCXpress for Windows NT importing files from 1547 Avid Media Store 1390 login 1393 searching 1395 Avid MediaFiles folder backing up 493 transferring media 1158 Avid Plugin Store 1415 Avid Projects folder described 72 location 72 renaming 80 Avid Unity 1155 environment 468 LANshare 469 mapping workspac
Index Loop Selected Clips command 530 opening 351 Bin headings modifying data in 368 setting audio format in 763, 779 Bin settings Auto-Save options 1444 Avid Attic files setting 1444 backup options 1444 described 1444 Bin views customizing 344 saving 344 types of 344 Bins adding columns 363 adding text in Script view 348 aligning columns 362 aligning frames in 346 auto-save function 93 Bin View menu 344 changing background color 356 changing fonts 109 closing 90 creating 89 creating a storyboard 382 creat
Index Browse button (Select Project dialog box) 76 Browsing for projects 76 B-side (incoming frames) in trims 736, 746 Buffer size audio, adjusting 787 Build Sequence button (NRCS tool) 1168, 1181 Burn-in code 1589 Buttons Add Alt Key (Command palette, Other tab) 129 Add Control Key (Command palette, Other tab) 129 Add Marker 550, 552, 553 Add Page (Script window) 642 Add Scene (Script window) 642 Alternate Edit 710 assigning workspaces to 115 Blank (Command palette, Other tab) 129 Build Sequence (NRCS too
Index creating media for 214 CamCutter files importing 318 Camera roll keypunch 1589 Camera setups in the lined script 631 Camroll data 158 Capture command (Tools menu, Toolset menus) 194, 1263 Capture command (Tools menu) 148 Capture in Progress slide in monitors 247 Capture mode entering 194 Capture Settings DV Options tab 1446 Capture settings Batch tab 1446 described 1446 DV Options 294 Edit options 282 Edit tab 1446 General tab 1446 Keys tab 265, 1446 MXF Media Files tab 1446 OMF Media Files tab 1446
Index video transferred without pulldown 284 while logging 233 with external timecode 278 CCIR See ITU-R 601 CCIR video levels, Import settings 1502 Center Duration option (Composer settings) 1454 Center Pan command (Clip menu) 812 Change Sample Rate command (Clip menu) 835 Change Scene/Page dialog box 642 Changing background color in bins 356 default pulldown frame 1097 font in the Script window 639 fonts in user interface 109 frame identifying a clip 346 frame sizes in bins 346 interface components color
Index copying to 609 described 610 preserving contents 610 recovering material from 610 Clipboard Contents command (Clip Name menu) 610 Clipboard Monitor command (Tools menu) 610 Clips See also Master clips See also Subclips assigning local colors in the Timeline 671 assigning source colors in bins 357 audio, marking 549 autosyncing 622 batch capturing 251 changing identifying frame 346 changing resolution by transcoding 483 clearing from monitors 532 copying 352, 353 creating group clips 1375 creating mul
Index conforming Symphony Nitris sequences to Media Composer or Avid Xpress Pro 1154 settings 1458 templates, for transferring corrections between Avid applications 1154 Color frame shifts 727 Color Framing options (Composer settings) defined 1454 Color indicators (script integration) adding to takes 652 described 633 Color Match control 3 x 3 averaging of pixels, setting 1458 Color Match eyedropper 1458 Color submenu (Script menu) 652 Colors local and source, displaying in Timeline 667 Color-sync signal p
Index in relation to drive space 1557 in relation to image quality 1557 Compression ratios See also Video resolutions mixing 1573 Compression ratios (JFIF) defined 1567 Configuring Command|8 873 decks 188, 188 Digi 002 873 Conforming workflow 1145 Connect as a client 1162 Connecting DV devices 193 Console command (Tools menu) 134 displaying drive space statistics using 101 Console window 134, 221 checking peak audio levels with 221 described 134 displaying bin information in 134 displaying system informati
Index projects 1600 rough cuts 589 subclips 547 subclips during capturing 267 subsequences 549 tone media 214 user profiles 105 Web page 1189 Criterion menu (Custom Sift dialog box) 383 Crossconverted sequences outputting 1066 Crossconverting HD for output 1066 Crossfading audio 831, 1438 Custom colors options for naming 1458 Custom preroll selecting 206 Custom Profile Audio Settings 1485 Custom property value for 1250 Custom Sift command (Bin menu) 383 dialog box 383 Custom Titles in Avid logs 139 Customi
Index logging with non-Avid-controlled 153 selecting 196 templates for 188 using the keyboard to control decks 270 Decompose command (Bin menu) 258 Decompose command (Clip menu) 258 Decomposing described 256 Expert Decompose feature 256 including or excluding material 260 mixed-rate sequences 256 selecting target formats 260 sequences 256 DeEsser III (Dynamics III) AudioSuite plug-in 986 Default function buttons Avid Artist Series controller 907 Default Pan options (Audio settings) 812 Default pulldown fra
Index Sync Selection 623 Tape Lengths 504 View Name (bin) 344 Digi 002 818 configuring 873 Digi 002 controller 136 DigiDelivery, exporting to 1022 Digidesign exporting to 1022 Digidesign AudioSuite plug-ins See AudioSuite plug-ins Digidesign Pro Tools transferring audio files to 1156 Digital audio capturing in film projects 203 scrub, compared to smooth audio scrub 768 scrub, described 768 scrub, performing 771 Digital Audio Scrub options (Audio settings) 770 Digital audiotape (DAT) capturing from 172, 201
Index described 1559 specifications 1559 storage requirements 1575 DNxHD-TR rendering HDV media to 1619 Dock Macintosh, using 61 Dolby E 273, 274, 275 Dominance described 1556 Dominance, Import settings options 1502 Double-byte systems, ASCII characters in 1636 Downconverted sequences outputting 1066 Downconverting HD for output 1066 downloading plugins 1415 downloading stock footage 1411 Draft Quality command (Video Quality menu) 543 Drag-and-drop method exporting files with 1028 importing files 333 Dragg
Index described 294 setting up 294 DV Stream files exporting 1470 options 1470 DVCPro HD resolution raster type 1623 DVD exporting to 1022, 1022 DVD authoring, exporting to 1022 DVD One Step exporting to 1022 D-Verb AudioSuite plug-in 985 Dynamic relink applying target settings 1349 applying working settings 1349 described 1338 displaying available media 1356 limitations 1348 Media Composer Cloud 1302 quality matching 1369 to target settings 1353 Dynamic Relink Settings command (MultiRez menu in Timeline)
Index video display setting 1531 Enable Track buttons (Digital Cut tool) 1079 End key 538 Enlarge Frame command (Edit menu) 346, 646 Enlarge Track command (Edit menu) 667 Enlarging frames in the bin 346 tracks in the Timeline 667 ENPS server 1162 ENPS server configuring (NRCS tool) 1163 Entering additional film data 158 frames-per-second rates for PAL transfers 164 ink numbers 166 key numbers 164 optional timecodes 165 pulldown of the sync point 160 Segment mode 689 Source/Record mode 583 Trim mode 743 EQ
Index QuickTime movies procedure 1038 QuickTime reference movie 1038 reasons for 1020 sequences 1028 settings for, creating 1032 shot log files 166 TARGA files 1490 to Avid DS 1022 to Avid DVD by Sonic 1022, 1022 to DigiDelivery 1022 to Digidesign Pro Tools 1022 to DVD 1022, 1022 to HDV settings 1482 to Sorenson Squeeze 1022 to third-party applications 1026 user profiles 105 using drag-and-drop method 1028 Wavefront files 1490 Windows Media 1043 with Avid Codecs for QuickTime, described 1038 with Avid Code
Index Field-stepping mixed rate clips in draft qualities 601 File formats animation 1545 File management 467 File names for Avid Projects folder 72 for Avid Users folder 72 Files batch import 336 exporting using drag-and-drop method 1028 exporting, procedure for 1028 exporting, reasons for 1020 guidelines for moving 1141 importing 301 importing, guidelines 298 importing, using drag-and-drop method 333 reimporting 334 specifications for importing graphics 1540, 1540 specifications for importing OMFI 1547 Fi
Index First Row of Buttons option (Composer settings) 1454 Flash frames 728 Flat View command (Bin display Fast menu) 91 Focus button (Timeline) 685, 745 Focusing Timeline 685 Folders Avid Projects 72 Avid Users 72 creating in projects 92 deleting 1254 navigating to from a selected asset 1255 Font Replacement command (Object menu) 1151 Fonts changing in the Script window 639 changing in user interface 109 replacing title fonts 1151 Fonts, changing 1258 Footage finding 566 loading into monitors 530 marking
Index Function key commands (Capture Settings) 265 Funk Logic Mastererizer AudioSuite plug-in 981, 997 G Gain viewing gain values 775 Gain AudioSuite plug-in 997 Gang button 620 Ganging footage in monitors 620 General settings described 1499 General Settings dialog box 184 General-purpose interface (GPI) device configuring with VLAN-VLXi controller 893 trigger signals 891, 892 using 890 using with V-LAN VLXi controller 892 Get Bin Info command (File menu) 134 Get Clip Info command (File menu) 584 Get Info
Index and sample rate conversion 1074 HD Universal Mastering converting audio 1611 described 1610 frame rates 1610 HDMI 779, 786 HDTV aspect ratio 1588 broadcast graphics workflow 1600 supported formats using 16:9 format for 172 video-based workflow 1598 HDV capturing 1618 capturing through IEEE port 1618 described 1616 exporting to HDV settings 1482 exporting transport stream 1620, 1620 finishing on Avid DS Nitris 1623 importing 1618 Long GOP splicing 1620 outputting digital cut by transcoding 1620 raster
Index XDCAM tab 319 Import Settings dialog box 298 Import Target section (Batch Import dialog box) 336 Importing a script 637 animation files 1545 converting sample rates 309 files, basic procedure 301 files, batch import 336 files, batch importing multiple resolutions 1331 files, drag-and-drop method 333 files, guidelines 298 files, preparing for 298 files, settings for 298 HDV transport stream file 1618 sample rate conversion options 310 shot log files 168 statistics files 100 test patterns 316 XDCAM med
Index Interplay environment relinking in 1356 Interplay Folder Settings 1509 Interplay Folder settings described 1509 Interplay Folder Settings dialog box 1214, 1286 Interplay Folders option (Capture tool) 1263 Interplay Host, specifying settings 468 Interplay Login dialog box 1217 Interplay Media Indexer managing Media tool display 473 Interplay Media Services 1053 Interplay Root Folder checking in assets 1232 specifying Media Composer Cloud settings 1286 specifying settings 1214 Interplay Server specifyi
Index mapping foreign 1636 mappings for playback control 538 Keyboard shortcuts audio keyframing 821 Volume Automation and Pan 821 Keyframes adjusting pan for individual 871 adjusting volume for individual 871 audio, keyboard shortcuts 821 Keykode format 164 Keypunch camera roll 1589 L Labroll data 158 Language non-English keyboard mapping 1636 non-English, typing in 1632 specifying in Get Info dialog box (Macintosh) 1629 Language, setting (Macintosh) 1629 LANshare 469 Large Text command 1467 Lassoing obj
Index See Shot log files Logging 137, 168 additional timecodes 165 automatic, during film transfer 1589 automatically with DV 294 bypassing by autocapturing 240 directly into a bin, with a non-Avid-controlled deck 153 directly into a bin, with an Avid-controlled deck 148 errors during capturing 267 errors to the Console window 134 film information 158 guidelines for 147 pausing deck while 152 preroll 147 timecode 147 while capturing 233 logging in to the Avid Media Store 1393 Logs See Shot log files Long G
Index importing 562 printing 565 sorting markers in 561, 561 Marking audio clips 549 clips 547 footage 545 IN and OUT points 545 segments 547 segments in Segment mode 699, 701, 701 text as Closed Caption (NRCS tool) 1176 text as machine control (NRCS tool) 1176 text as normal (NRCS tool) 1177 text as Presenter Instructions (NRCS tool) 1176 with markers 550, 558 Marking tape location using Mark Memory button 153 Marks clearing 545 IN and OUT points 545 phantom 627 Marquee Title Settings described 1511 Maste
Index Render tab 1514 Titles tab 1513, 1513 Media databases loading 490 refreshing directories 491 Media Directory panel creating shortcuts 1246 described 1241 removing shortcuts 1246 Media drives See also Drives selecting 176 targeting 204 Media drives, unmounting 471 Media files archiving 503 backing up 493 capturing to multiple 183 consolidating, described 477 consolidating, options for 479 consolidating, procedure 479 deleting in bins 354 deleting unreferenced clips 492 deleting using Media tool 475 fi
Index Print Frame (File menu) 390 Print Timeline (File menu) 729 Reduce Frame (Edit menu) 646 Remote Play and Capture (Clip menu) 288 Remote Play and Capture (Special menu) 286, 287 Reveal File (File menu) 493 Select All (Edit menu) 251 Select Media Relatives (Bin menu) 360 Select Offline Items (Bin menu) 359 Select Sources (Bin menu) 361 Select Unreferenced Clips (Bin menu) 361 Set Bin Display (Bin menu) 383 Set Font (Edit menu) 639 Show All Takes (Script menu) 646 Show Every Frame (Timeline Fast menu) 72
Index Mount All command (File menu) 471 Mounting workspaces ISIS v2.
Index MXF file format 176 choosing at target audio format for transcode 479 choosing target audio format for transcoding 483 transcoding to OMF 483 N Nagra capturing from 201 Naming tapes 147 Narration, recording voice-over 854, 854 Navigating to a folder from a selected asset 1255 Navigation buttons Avid Artist Series controller 907 NCSID option (NRCS tool) configuring 1163 Nested effects 703 Nesting tracks 703 Network drives accessing from Console window 134 Network drives command 134 New Audio Track co
Index saving a story 1188 saving changes to a story 1188 sending mail 1201 starting 1167 Status column 1172 story lock 1175 user interface reference 1168 using loaded cues 1178 using the Directory panel 1172 VideoID column 1172 WPM rate 1180 NTFS drives limitations on Macintosh systems 1160 NTSC (National Television System Committee) video capturing audio from 201 creating Avid log files for 146 logging and capturing 233 luminance values 1065 transferring 24-fps film to 1593 waveform values 223 NTSC Has Se
Index crossconverting and downconverting HD 1066 Digital Cut, overview 1079 downconverted sequences 1066 establishing sync for 1055 factory preset buttons 1060 generating 1054 longitudinal timecode (LTC) 1057 mapping audio channels 1438 masters, delivery requirements 1140 multiformat 1089, 1089, 1089 optical 1438 options 1054 preparing for 1054 rendering effects before 1078 selecting analog video signal 1059 selecting device for 1055 video calibration for NTSC-EIAJ 1059 video, adjusting luminance settings
Index Pause button 535 PCX file format import specifications for 1541 Peak Hold menu (Audio tool) 213 Performing digital audio scrub 771 Phantom marks 627 Phantom Marks options (Composer settings) 1454 Phase controls adjusting for output 1066 Photo CD file format import specifications for 1541 Photoshop file format additional export options for 1490 import specifications for 1542 Photoshop files importing multilayered 311 importing single-layer 314 PICS file format brief description 1545 PICT file format a
Index described 1189 export options 1199 Hyperclip tag 1197 linked clips 1190 processing scripts 1189 ProEncode 1199 Story tag 1193, 1193 Text tag 1194 Videoformat tag 1196 Web templates 1192 Postroll in Trim mode playback loop 745 Power schemes (Windows) 194 POW-r Dither plug-in 1006 Preferences fonts 1258 Premultiplied alpha 1540 Preparing for batch capturing 251 for importing files 298 for output 1054 for video input 221 hardware before capturing 172 record tapes 1075 sequences for export 1021 shot log
Index modifying after capturing 292 modifying before capturing 163 option in Film and 24p Settings dialog box 155, 155 Pulldown switch (Capture tool) setting 201 Pullin changing 1097 Pullin frame modifying 292 Pullout column 1097 Pullup converting sample rates on import 309 purchasing stock footage 1390, 1410 changing formats 1604 changing name 80 closing 76 creating folders within 92 creating new 1600 creating shortcuts in Interplay Window 1246 deleting 78 exporting as AFE files 1036 files, restoring fro
Index QuickTime reference movies exporting 1038 Quitting Avid editing application 79 R Raster sizes 1624 Raster types described 1623 DVCPro HD 1623 HDV 1623 raster sizes 1624 Standard 1623 XDCAM HD 1623 Ratcheting play speed 539 Read Audio Timecode command (Special menu) 761 Read Audio Timecode dialog box 761 Read time, finding (NRCS tool) 1180 Real Time Update option 1467 Realtime Encoding command (Video Quality menu) 541 Rearranging clips in bin Frame view 346 clips in bin Script view 348 Recapturing Se
Index consolidated clips 501 dynamic relink 1338 in an Interplay environment 1356 moved projects 502 selected clips 500 Remote assets See also Interplay Window accessing assets 1236 automatically checking in to asset manager 1235 Avid assets 1204 capturing to asset manager 1263 checking in all open bins 1232 checking in bin contents 1232 checking in to asset manager 1232 checking out assets by updating 1236 checking out from asset manager 1229 checking out from Interplay database 1232 copying 1244, 1254 de
Index Timeline views 681 title fonts 1151 Replacing edits 710 reports stock footage 1409 Res (Resolution) menu (Capture tool) 203 Research panel changing fonts 1258 refreshing 1254 Research panel (Interplay Window) adding columns 1248 changing the custom layout 1256 closing tabs 1258 comments 1254 creating new columns 1248 deleting a saved layout 1256 described 1241 displaying multiple tabs 1258 hiding columns 1248 Media Search tab 1260 modifying the display 1246 moving columns 1248 sorting columns 1248 Re
Index AIR Flanger 953 AIR Frequency Shifter 956 AIR Fuzz-Wah 957 AIR Kill EQ 958 AIR Lo Fi 958 AIR Multi-Chorus 961 AIR Multi-Delay 962 AIR Non-Linear Reverb 963 AIR Phaser 964 AIR Reverb 966 AIR Spring Reverb 968 AIR Stereo Width 969 AIR Talkbox 970 AIR Vintage Filter 972 Rundowns working with 1322 Runup option (Remote Play and Capture settings) 1519 RY Gain slider adjusting for video input 223 adjusting for video output 1061 S Safe Action option (Grid settings) 1500 Safe Colors defining units of measure
Index described 633 elements of 633 for video projects 633 holding slates on screen 646 importing a script for 637 in Script window 651 in slates 633 in takes 651 interpolating position for 646 lining conventions in 631 using color indicators 652 using off-screen indicators 651 using script marks 653 workflow 633, 659 Script Mark button 653 Script marks adding 653 adding during automatic screening 655 deleting 657 described 633 manually placing 653 moving 657 using 653 using for playback 657 using to find
Index performing 1260 remote assets attributes 1262 saving 1263 Text attribute 1262 Time attribute 1262 Types attribute 1262 Searching for page and scene numbers in the Script window 642 in the Script window 642, 642 searching for stock footage clips 1395 searching through the Avid Media Store 1395 Second row of buttons 517 Second Row of Buttons option (Composer settings) 1454 Second Row of Info option (Composer settings) 1454 Segment Drag Sync Locks option (Timeline settings) 695 Segment Mode editing guid
Index Sequence information displaying, in a Script window 637 summary 508, 577 sequence information effect summary 508, 577 Sequence Time option (Digital Cut tool) 1082 Sequence Track buttons (Digital Cut tool) 1079 Sequenced image files 1545 Sequences adding comments to 612 adding tracks to 586 associating with NRCS stories (NRCS tool) 1185 building from a story (NRCS tool) 1181 changing audio sample rate for 835 changing resolution by transcoding 483 changing start timecode for 584 consolidating 477 copy
Index Controller 827, 1458 copying between files 1427 Correction 1458 Deck 1461 Deck Configuration 1460 deck configuration 188 Deck Preferences 1462 default 1427 deleting 1426 described 1419 displaying project 1422 duplicating 1425 DV Stream export 1470 dynamic relinking 1464 Effect Editor 1467 Export 1470 Film and 24p 1494 for configuring asset manager 468 Frame Chase capture 248 Full Screen Playback 1495 General 1499 GPI 894 Grid 1500 import 298, 1502 in Video Input tool 228 Interface 1508 interface (App
Index See Shot log files Show Add Keyframe Mode Menu command 1467 Show All Takes command (Script menu) 646 Show Entire Sequence command (Timeline Fast menu) 665 Show Every Frame command (Timeline Fast menu) 665, 726 Show Frames command (Script menu) 646 Show Markers command (Timeline Fast menu) 673 Show Mismatched Render Ranges command (MultiRez menu in Timeline) 1361 Show Mismatches command (MultiRez menu in Timeline) 1356 Show Position Bar option (Timeline settings) 685 Show Target Availability command (
Index Sony XDCAM workflow 321 Sony XDCAM and XDCAM EX workflow 436 Sony XDCAM low-resolution workflow 438 Sorenson Squeeze exporting to 1022 Sorting clips 343 columns (Interplay Window) 1248 columns, multilevel 343 Sorting transfers 1325 Sound Card Configuration settings 1525 configuring sound cards 210 Sound Designer II audio support for 1157 transferring 1157 Sound roll cues for shoots 1589 entering data for 158 Sound timecode logging additional 165 Source and Record monitors resizing 516 Source colors a
Index Step Forward buttons 535 Step Forward One Field button 535 Stepping J-K-L key method 539 mouse control of 540 single-field 535 with buttons 535 with J-K-L keys 746 Stereo option (audio) 836 stock footage 1390 downloading 1411 purchasing 1410 stock footage clips about 1395 stock footage report 1409 Stop at Head Frames options (Composer settings) 1454 Stop at Locators options (Composer settings) 1454 Stop at Tail Frames options (Composer settings) 1454 Stop button 535 Storage estimating drive space req
Index T limitations when capturing 227 Swap Cam Bank button 1377 Switching multicamera angles 1383, 1384 Sync autosyncing 622 breaks, avoiding when editing 614 breaks, defined 614 breaks, displaying 614 breaks, fixing 616 detecting locked signal when capturing 201 establishing for audio-only input 174 establishing for capture 173 establishing for output 1055 for capturing video 172 issues with Client monitor 524 maintaining during segment move 695 maintaining during trim 751 maintaining with Add Edit 620
Index described 1338 relinking to 1353 Taskbar 60 Telecine importing log file from 344 transfer quality 1589 Templates Clip tag 1195 Hyperclip tag 1197 placeholders 1197 Post to Web 1192 Story tag 1193 Text tag 1194 using placeholders 1192 Videoformat tag 1196 Test patterns for calibrating video output 1064 Test patterns, importing 316 Text adding in bin Script view 348 copying (NRCS tool) 1175 cutting (NRCS tool) 1175 deleting (NRCS tool) 1175 formatting (NRCS tool) 1177 marking as Closed Caption (NRCS to
Index disabling Smart too 674 displaying clip colors 667 displaying comments 612 displaying detail 685 displaying markers 673 Dupe Detection Handles option 1526 dupe detection in 723 editing with film track in 726 examples of custom views 663 finding clip text in 569 focusing 685 full-screen view of 674 Heads and Heads Tails views of 720 identifying audio sample rate 776 identifying mixed rate clips 597 IN to OUT highlighting in 719 locking tracks in 713, 714 monitoring tracks 708 motion mode indicator 687
Index Media 473 Video Input 221 Video Output 1061 Top button 721 Top command performing a quick edit with 721 Total Conform 1139 Track buttons Command Palette 705 Track color, changing in Timeline 671 Track Control panel components 678, 765 displaying 678, 766 hiding 678, 766 making tracks inactive 767 Track effects copying RTAS plug-ins 930 editing RTAS plug-ins 928 inserting RTAS plug-ins 926 moving RTAS plug-ins 930 ordering RTAS plug-ins on a track 930 removing RTAS plug-ins 931 using RTAS effect templ
Index setting up the Avid editing system for 1312 sorting 1325 Transition Corner Display 757 Transition effects audio, fine-tuning 831 Skip Existing Transition Effects option 831 Transitions selecting additional for trimming 739 selecting for trimming 739 trimming 757 Transparency adding to a graphics image 1540 Transport stream creating 1619 Trash emptying 93 moving bins from 93, 93 viewing contents of 93 Tri-level command (Sync Lock menu in Video Output tool) 1055 Tri-level sync for output 1055 HD format
Index Units of measurement defining for Safe Colors feature 1523 Unity 1155 LANshare 469 PortServer Pro 469 See Avid Unity Zone 3 configuration in Avid Unity ISIS 470 Universal Mastering 1089 See also HD Universal Mastering HD sequences 1610 Universal mastering digital cut 1613 Unlinking 499 Unlinking media files 502 Unlock Bin Selection command (Clip menu) 358 Unlock Tracks command (Clip menu) 714 Unlocking and locking bin items 358 tracks 713, 714 Unmount command (File menu) 471 Unmounting drives 470 Unr
Index leader, using to maintain sync 618 monitoring tracks 708 number of supported tracks 703 output, calibration 1059 output, calibration for NTSC-EIAJ 1059 resolutions, dynamic relinking 1371 resolutions, selecting 176 resolutions, selecting in the Capture tool 203 soloing 708 trimming tracks 738 Video compression defined 1557 Video Compression options (Export settings) 1155, 1484 Video decks See Decks Video Display settings described 1531 Video Display Settings command (Video Quality menu) 544 Video Dis
Index V-LAN VLXi 188 V-LAN VLXi controller configuring with general-purpose interface (GPI) device 893 using with general-purpose interface (GPI) device 892 Voice-over narration 854, 854 creating 855 Volume adjusting for individual keyframes 871 adjusting in the Audio Mixer tool 798 bypassing adjustments 1438 in Timeline 815 limitations for adjusting 811 meters, in the Timeline 815 recording audio volume 818 while playing an effect 810, 813 Volume automation 813 Volume Automation and Pan 813 adjusting gain
Index Sony XDCAM and XDCAM EX 436 Sony XDCAM low-resolution 438 starting a project 53 video-based HDTV 1598 Workgroup environment working with Avid Interplay 468 working with media files 468 Workgroup settings 1214 Workgroups configuring Interplay Server settings 1214 configuring Interplay settings 1214 logging in 1214 project settings 1210 projects with remote assets 1210 working with Avid assets 1243 working with remote assets 1204 Working settings for dynamic relink applying 1349 described 1338 Workspac
41 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.
