Avid NewsCutter ® ® User’s Guide Release 2.
© 2000 Avid Technology, Inc. All rights reserved. Avid NewsCutter User’s Guide • Part 0130-04673-01 Rev.
Contents Chapter 1 Desktop Basics Working with the Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Creating an Emergency Repair Disk . . . . . . . . . . . . . . . . . . . . . . . 33 Using Shortcut Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Using the Windows NT Taskbar . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Dragging Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Opening a Project in NewsCutter . . . . . . . . . . . . . . . . . . . . . . . . . 48 Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . 49 Saving Your Project Information on a Drive or Floppy Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Restoring from a Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About Retrieving Bin Files from the Attic Folder . . . . . . . . . . . 71 Retrieving Bin Files from the Attic Folder . . . . . . . . . . . . . . 72 Modifying the Creation Date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Using the Settings Scroll List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 About Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Switching Between Workspaces. . . . . . . . . . . . . . . . . . . . . . . . . . 103 Deleting a Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Navigating in Dialog Boxes and Menus . . . . . . . . . . . . . . . . . . . . . . 104 Chapter 4 Using Basic Tools Using the Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Using the Deck Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preparing Logs for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Logging Directly to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Logging with an Avid-Controlled Deck . . . . . . . . . . . . . . . . . . .
Selecting Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Selecting a Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Methods for Setting the Video and Audio Input . . . . . . . . . . . 173 Choosing a Resolution in the Record Tool. . . . . . . . . . . . . . . . . 173 Choosing a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . .
Saving a Custom Default Setting for the Video Input Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Adjusting Video Levels Without Color Bars . . . . . . . . . . . . . . . 205 Resolutions and Storage Requirements. . . . . . . . . . . . . . . . . . . . . . . 206 Screen Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Digital Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Rerecording Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 Saving Two Versions of a Sequence When Rerecording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 Rerecording the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 Other Recording Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . 241 Naming a New Tape from the Keyboard . . .
Chapter 9 Organizing with Bins Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 About Bin Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Text View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Frame View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Aligning Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Showing and Hiding Columns . . . . . . . . . . . . . . . . . . . . . . . 299 Deleting a Column. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Duplicating a Column. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . 301 Changing a Custom Column Heading. . . . . . . . . . . . . . . . .
Chapter 10 Managing Media Files Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 Basic Media Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 Opening the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 Deleting Media Files with the Media Tool . . . . . . . . . . . . . . . . 326 Consolidating Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Displaying Multiple Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . 361 Setting the Font and Point Size for Monitor Displays . . . . . . 362 Viewing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362 Loading and Clearing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Loading into the Source/Record Monitor. . . . . . . . . . . . . . . . . . 363 Loading into a Pop-up Monitor . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Timeline Top Toolbar. . . . . . . . . . . . . . . . . . . . . . . . . . 384 Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386 Ways to Use Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386 Adding Locators While Editing . . . . . . . . . . . . . . . . . . . . . . 388 Moving to the Previous or Next Locator . . . . . . . . . . .
Editing Additional Clips into the Sequence . . . . . . . . . . . . . . . . . . . 408 Performing a Splice-in Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408 Performing an Overwrite Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . 409 Performing a Replace Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 Lifting, Extracting, and Copying Material. . . . . . . . . . . . . . . . . . . . . 411 Lifting Material . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting and Deselecting Segments. . . . . . . . . . . . . . . . . . . . . . 430 Selecting Segments with the Segment Mode Pointer. . . . 431 Selecting One or More Segments by Lassoing. . . . . . . . . . 432 Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432 About Finding Black Holes and Flash Frames . . . . . . . . . . . . . 433 Finding Black Holes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433 Finding Flash Frames . . . . . . . . . . . . . . . . . .
Chapter 14 Working in Trim Mode Customizing Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Using Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459 Selecting Between Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adjusting Default Pan Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 482 Displaying Waveform Plots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482 Using the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484 Resizing the Audio Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486 Adjusting One Audio Track at a Time . . . . . . . . . . . . . . . . . . . . 487 Changing an Audio Level . . . . . . . . . . . . . . . . . . . . . . . .
Using the Audio EQ Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514 Audio EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515 Basic EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515 EQ-Specific Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517 Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519 Saving Audio EQ Effects . . . . . . . . . . . . . . . . .
Recording Voice-Over Narration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546 Connecting the Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546 Creating the Voice-Over. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546 About Voice-Over Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 547 Fine-Tuning Audio Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548 Fading and Dipping Audio . . . . . . . . . . . . . . . .
Calibrating for Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . 576 Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . 576 Calibrating Global Output Levels . . . . . . . . . . . . . . . . . . . . 577 Adjusting Output on Four-Channel Audio Systems . . . . 577 Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580 Frame-Accurate Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . 580 Manual Recording . . . . . . .
About OMF Interchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614 Choosing an OMFI Transfer Method . . . . . . . . . . . . . . . . . . . . . 614 Exporting OMFI Compositions Only . . . . . . . . . . . . . . . . . 614 Exporting OMFI Compositions with Media Files . . . . . . . 615 Exporting as an AAF File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617 Exporting AAF Compositions Only . . . . . . . . . . . . . . . . . . . . . .
Transferring Media to and from a Video Server . . . . . . . . . . . . . . . 672 Setting Up a Video Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672 Configuring the Video Server . . . . . . . . . . . . . . . . . . . . . . . . 672 Configuring the Video Server as a Deck . . . . . . . . . . . . . . . 673 Transferring from NewsCutter to the Video Server . . . . . . . . . 674 Transferring from the Video Server to NewsCutter . . . . . . . . .
Sending and Receiving NRCS Mail . . . . . . . . . . . . . . . . . . . . . . . . . . 700 Sending NRCS Tool Mail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700 Receiving NRCS Tool Mail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701 Disconnecting from the iNEWS Server . . . . . . . . . . . . . . . . . . . . . . . 702 Appendix A Using AudioSuite Plug-Ins Accessing the AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . 704 Core AudioSuite Plug-Ins. . . .
Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 724 Limiter Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725 Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 727 Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 727 Expander/Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Snap Mode Feature on the MCS-3000X Fader Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768 Ganging Faders on the FaderMaster Pro Fader Controller . . . 769 Using the Yamaha 01V Digital Mixing Console. . . . . . . . . . . . . . . . 770 Setting Up the Yamaha 01V Digital Mixer . . . . . . . . . . . . . . . . . 771 Initializing the Yamaha 01V. . . . . . . . . . . . . . . . . . . . . . . . . . 771 Configuring the Mixer . . . . . . . . . . . . . . . . . . . . . .
Tables Table 3-1 Bin Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Table 3-2 Bin Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Table 3-3 General Settings Options . . . . . . . . . . . . . . . . . . . . . . . . 79 Table 3-4 Interface Settings Options . . . . . . . . . . . . . . . . . . . . . . . 81 Table 3-5 Settings Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Table 3-6 Settings Scroll List . . . . . . . . . . .
Table 7-2 SDTI Signal Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 Table 7-3 VTR Emulation Settings Options . . . . . . . . . . . . . . . . 245 Table 8-1 Import Settings Options . . . . . . . . . . . . . . . . . . . . . . . . 253 Table 8-2 Import File Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Table 9-1 Object Icon Descriptions . . . . . . . . . . . . . . . . . . . . . . . 275 Table 9-2 Shortcuts for Moving in Text View . . . . . . . . . . . . . .
Table 17-2 Luminance Settings for Video Output . . . . . . . . . . . . 571 Table 17-3 VTR Emulation Settings Options . . . . . . . . . . . . . . . . 596 Table 18-1 Applications for AvidLinks Export . . . . . . . . . . . . . . 608 Table 18-2 Export Settings Dialog Box Options . . . . . . . . . . . . . . 612 Table 18-3 Export Settings Dialog Box (OMFI Options) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616 Table 18-4 Export Settings Dialog Box (AAF Options) . . . . . . . . . . . . .
Table B-5 OMFI File Import Specifications . . . . . . . . . . . . . . . . . 747 Table B-6 Recommended Field Settings for Two-Field Import and Export . . . . . . . . . . . . . . . . . . . . . . . . . . . 751 Table C-1 Compatible Log Formats. . . . . . . . . . . . . . . . . . . . . . . . 755 Table C-2 Avid Log Global Headings . . . . . . . . . . . . . . . . . . . . . 757 Table C-3 Avid Log Column Headings . . . . . . . . . . . . . . . . . . . . 759 Table C-4 Avid Log Data Headings . . . . . . . . .
CHAPTER 1 Desktop Basics Although most of your work is performed within the NewsCutter application, you need to use a few basic desktop procedures.
Working with the Desktop For information on the Windows NT operating system, such as the desktop and icons, see your Microsoft® Windows NT Help.
Using Shortcut Menus Instead of using the standard menus to find the command you need in a window, try using the shortcut menus. To use a shortcut menu: t Right-click in a window to access a shortcut menu that shows the most frequently used commands for that window. For a list of the available shortcuts, see the Avid NewsCutter Quick Reference. Using the Windows NT Taskbar By default, the Windows NT taskbar appears on the bottom of your screen, on top of your application.
n The taskbar can to be dragged to the top, bottom, or either side of the monitor. For more information, see your Windows NT Help. Dragging Windows By default, Windows NT systems show the contents of windows when you drag them. Deselect this option to improve screen display and to avoid problems repainting the screen. To deselect the option “Show window contents while dragging”: 1. Click the Start button, point to Settings, and then select Control Panel. 2. Double-click Display. 3.
4. Choose a different color scheme from the Scheme list. 5. Click OK. n For a shortcut to the Display Properties dialog box, right-click an empty part of the desktop, and choose Properties from the shortcut menu.
n For a shortcut to the Display Properties dialog box, right-click an empty part of the desktop, and choose Properties from the shortcut menu. About the NewsCutter Folder The NewsCutter folder contains essential operational files and supporting files. You can find it in the following location: drive:\Program Files\Avid\ You should not touch any of these files, except where noted in the following descriptions: • Help folder: This folder contains the Help files.
Managing the Avid Projects and Avid Users Folders Managing projects, user profiles, and settings involves moving, copying, or deleting files and folders, and changing project or user names. You use the desktop to move projects and user profiles between systems. For information about moving a project from one system to another, see the Avid Products Collaboration Guide.
To change a project or user name: 1. Double-click the internal hard drive to open it. 2. Double-click the Avid Users or the Avid Projects folder to open it. 3. Click the name of the folder you want to change. The name is highlighted for text entry, and the arrow changes to an I-beam. 4. Type the new name of the folder. n When you change a user name or project name, make sure you change the name of the folder and all the files in the folder that have the old name.
n Recorded media related to a deleted project is not eliminated with the project folder. For more information on deleting media files, see “Deleting Clips and Sequences” on page 286 and “Deleting Media Files with the Media Tool” on page 326. Starting the NewsCutter Application The NewsCutter application is located in the Program Files\Avid\NewsCutter folder on the internal hard drive. For most users, the desktop is a more convenient location for starting the application.
After the agreement appears a few times, a new button appears at the bottom of the screen. 2. If you do not want to see the license agreement again, click Accept and Don’t Show Again. A dialog box appears. 3. Type the name of your organization in the dialog box, and click OK. The Select User and Project dialog box appears, and you can begin working with NewsCutter.
CHAPTER 2 Starting a Project Your work in NewsCutter begins when you turn on the system, start the application, and open an existing project or create a new project. This chapter describes these and other procedures for starting a project. You can use several techniques to safeguard and restore your work if necessary.
Opening a Project Each time you start the NewsCutter application, the Select User and Project dialog box appears.
Identifying a User To identify a user for the project, do one of the following: t Create and identify a new user. t Select a user from a list of existing users. This user name represents the user profile, which includes the settings associated with the user. Creating a New User To create a new user profile: 1. Click New User in the Select User and Project dialog box. 2. Type the name of the new user, and press Enter.
To select a user in a folder: 1. Double-click the folder to open it and display the user names. 2. Click a user name to select it. Selecting a Project To select a project, do one of the following: t Open an existing project. t Create and open a new project. You can also place projects in folders and nest the folders within other folders. Selecting an Existing Project Existing projects appear in the Projects scroll list in the Select User and Project dialog box.
To select an existing project, do one of the following in the Select User and Project dialog box: t Click an existing project name to highlight it. t Press the first letter of the project name on the keyboard to highlight it. To open a project nested in a folder: 1. Double-click the folder name to open it and display the contents in the Projects scroll list. 2. Click the project name to highlight it. To locate a project in another folder: 1.
2. Type the name of your new project in the Project Name text box. 3. Choose either NTSC or PAL from the Format pop-up menu. 4. Click OK. The system creates the new project files and folder, and returns you to the Select User and Project dialog box. The project name is highlighted in the Projects scroll list. To create a new project and choose a different video format: t Alt+click New Project in the Select User and Project dialog box, and then follow steps 2 to 4 in the previous procedure.
Any new projects you create now are displayed and stored in this folder. Any existing projects you move into this folder from your desktop are displayed in this folder. Opening a Project in NewsCutter To open a project, do one of the following: t Click OK. t Double-click the highlighted project name in the Projects scroll list. t Double-click the highlighted user name in the Users scroll list. The Source/Record monitor and the bin open with the selected User settings loaded.
Closing a Project When you close the current project, you return to the Select User and Project dialog box. To close the current project, do one of the following: t With the Project window active, choose Close from the File menu. t Click the Close button in the Project window. Backing Up Your Project Information For information on using the Auto-save feature, see “Saving Bins Automatically” on page 70.
4. Double-click the internal hard drive to open it. 5. Drag a project folder, user folder, or settings file to the targeted storage location. 6. When the system finishes copying the files, unmount the drive or eject the floppy disk and store it where appropriate. Restoring from a Backup To restore a project, user profile, or settings from a backup storage device: 1. Mount the drive or insert a floppy disk as appropriate. 2.
Quitting the NewsCutter Application There are two ways to quit NewsCutter, depending upon whether you have a project open or you are between projects: To quit the NewsCutter application from an open project: t Choose Exit from the File menu, or click the Close button. The project closes, and NewsCutter returns to the desktop. To quit the NewsCutter application if you are between projects: 1. Click Quit in the Select User and Project dialog box. A message box appears. 2.
Turning Off Your Equipment c Quit NewsCutter before turning off your equipment. See “Quitting the NewsCutter Application” on page 51. To turn off your equipment without damaging your computer or media storage drives: 1. Choose Shut Down from the Start menu. The Shut Down Windows dialog box appears. 2. Click “Shut down the computer,” and click Yes. 3. Turn off the Meridien™ I/O box. 4. Turn off your speakers and monitors. 5. Turn off each drive. Move your drives only when the system is completely off. 6.
c n Shut down the Windows NT system completely before you physically remove or add drives. For information on removing and adding drives, see the Avid MediaDrive Utilities User’s Guide. On systems with multiple media drives, ejecting unused drives can improve the performance of the Media tool. You need to eject the drives before you can open the Media tool. Ejecting Drives To eject a disk or make a drive unavailable to NewsCutter: 1. With the NewsCutter application active, choose Eject from the File menu.
Using Shortcut Menus The Windows NT environment allows you to access frequently used commands by using the right mouse button (right-clicking) to click an object. Your NewsCutter system takes advantage of this feature. When working with your NewsCutter application, right-click in a window to access a pop-up menu that shows the most frequently used commands for that window. You can also right-click a screen object to access What’s This? Help for the object.
provide you with Web-based tools and services to allow you to take full advantage of the Internet in your business. To access the AvidProNet Web site from your NewsCutter system: t Choose www.AvidProNet.com from the Help menu.
CHAPTER 3 Working with the Project Window The Project window provides controls in three different display modes for structuring and viewing important information about your current project. These include a display of bins and folders associated with the project, a list of all settings, and basic information about the format of the project and use of system memory.
Opening and Closing the Project Window The Project window provides three different displays (Bins, Settings and Info) for structuring and viewing information about your current project. Settings button Bins button Info button Use the Project window to: • Create and open bins. • View and modify settings. • View information about the format of the project and the use of system memory. You can also add folders to your projects that allow you to organize the projects.
The Project window opens automatically when you select a project in the Select User and Project dialog box. To close the project, do one of the following: t With the Project window active, choose Close from the File menu. t Click the Close button in the Project window. The Select User and Project dialog box appears. To reopen the Project window from within a project: t Choose Project from the Tools menu, or click in the Project window. The Project window becomes active.
Viewing a List of Bins To view a list of bins associated with the project: t Click the Bins button in the Project window. Bins button The views for working with clips in a bin are Text view, Frame view, and Script view. For more information about working with different bin views, see “About Bin Views” on page 277.
• In Text view, clips are displayed in a database text format using columns and rows, with icons representing the various objects. You can save various arrangements of columns, text, and objects as customized views.
• In Frame view, each clip is represented by a single picture frame, with the name of the clip. You can play back the footage in each frame and change the size of frames. You can also rearrange the frames in any order within the bin.
• In Script view, the features of Text view are combined with those of Frame view, with an added script box next to each frame. The frames are displayed vertically on the left side of your screen with the script box next to each. Use the script boxes to hold text for notes or a script. Script View button Displaying Bins By default, your bins display all existing media objects except source clips and rendered effects. You can display only those media objects that you need to organize your project.
To set the bin display: 1. Click in a bin. 2. Choose Set Bin Display from the Bin menu. The Set Bin Display dialog box appears. 3. Select the object types and options that you want to see. For more information about setting the bin display, see “Setting the Bin Display” on page 274. 4. Click OK. The bin displays objects according to your specifications. Creating a Folder in a Project To create a folder in a project: 1. Click the Bins button in the Project window.
Bins button Fast Menu button 2. Click the Fast Menu button in the lower left corner. 3. Choose New Folder from the Bin Fast menu. A new, untitled folder appears. 4. Type a name in the name text box. Creating a New Bin To create a new bin from the Project window: 1. Do one of the following: t Choose New Bin from the File menu. t Click the New Bin button in the Project window.
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 Project window, numbered incrementally. To change the name of a bin: t Click the bin name in the Project window, and type a new name. Opening and Closing a Bin To open a bin directly: 1. Click the Bins button in the Project window. 2. Double-click the icon next to the bin name. To open a bin from the File menu: 1. Choose Open Bin from the File menu.
Up One Level pop-up menu 2. Select a bin. Navigate to the correct folder, if necessary. 3. Click Open. c Never open a bin that is stored on a floppy disk; otherwise, the system will not be able to save your work. Always copy the bin to a project folder on the internal hard drive before you open it. Opening Selected Bins To open several bins at once from the Project window: 1. Click the name of one of the bins in the Bins list. 2. Ctrl+click each additional bin you want to open. 3.
Deleting a Bin or Folder To delete a bin or folder within a project: 1. Select the bin or the folder you want to delete in the Bins list of the Project window. 2. Press the Delete key. A Trash icon appears in the Bins list in the Project window. It contains the deleted item. The deleted item is stored in the Trash until you empty it. n c The Trash is not visible in the Project window until you select your first item to delete.
To view items in the Trash: 1. Double-click the Trash icon in the Bins list to open it. 2. Click the bins or folders you want to remove (or view) from the Trash, and drag them from the Trash to the Bins list in the Project window. 3. Double-click the bin or folder to view it. Emptying the Trash To empty the Trash: 1. Click the Fast Menu button. 2. Choose Empty Trash from the Fast menu. A message box appears. 3.
• Limit the number of sequences you create in each project. For instance, consider creating one new project for each show, episode, spot, or scene. • Limit the number and complexity of clips in each bin by creating and organizing bins in three groups, as shown in Table 3-1.
Saving Bins Automatically NewsCutter automatically saves changes to your work on a regular basis during each session. Two things happen when an auto-save occurs: • Any open bins are updated with changes made since the last auto-save. Updated bins have an asterisk in the title bar. • Copies of these bins are placed in the following location as backup: drive:\Program Files\Avid\NewsCutter\Attic folder To adjust the frequency of automatic saves: 1. Click the Settings button in the Project window.
Saving Bins Manually For added security, you can save a bin manually. You might want to do this immediately after performing an important edit. There are three ways to save bins manually. To save a specific bin: 1. Click the bin to activate it. 2. Choose Save Bin from the File menu. To save selected bins: 1. Activate the Project window by choosing Project from the Tools menu or by clicking anywhere in the window. 2. Click a Bin icon to select it. Ctrl+click any additional bins. 3.
• When the current bin file becomes corrupted The Attic folder contains a folder for each project. When a bin is saved, a copy of the bin file is stored in the project folder in the Attic folder. The system adds the file name extension .bak plus a version number to the bin name. The bin file with the highest version number represents the latest copy of the bin file.
n If the taskbar is hidden, see your Windows NT documentation. 8. Click the Project window to activate it, and click the Bins button to display the Bins list. 9. Choose Open Bin from the File menu. Select one of the backup bin files you copied to the desktop, and click Open. When you open the backup bin, a link to the backup bin on the desktop is created in the Other Bins folder. n The NewsCutter system does not allow a bin and a copy of a bin to be opened at the same time.
Modifying the Creation Date After you have moved backup bins from the Attic folder, you must modify the creation date for these backup items so they are considered the newest items by the system. This prevents them from being overwritten by a newer item. To modify the creation date: 1. Click the F button at the lower left corner of the Bin window to put the bin in Frame view. 2. Choose Select All from the Edit menu. 3.
Settings button About Settings Three types of settings appear in the Settings scroll list, as indicated in the second column of information: User, Project, and Site settings. • User settings are specific to a particular editor. User settings reflect individual preferences for adjusting the user interface in the system. Individual User settings are stored in each user folder, which is stored in the following location: drive:\Program Files\Avid\NewsCutter\Avid Users 75
• Project settings are directly related to individual projects. When you change a Project setting, it affects all editors working on the project. Specific Project settings are stored in each project folder, which is stored in the following location: drive:\Program Files\Avid\NewsCutter\Avid Projects • Site settings establish default parameters for all new users and projects on a particular system.
Reviewing Basic Settings The following sections describe basic system settings to review at the start of your project: • Bin Settings • General Settings • Interface Settings To view the settings: t Double-click each setting in the Settings scroll list of the Project window. Bin Settings Bin settings define general system functions related to bins. Table 3-2 describes the options listed in the Bin Settings dialog box.
Table 3-2 Bin Settings Options Option Description Auto-Save interval Specifies the length of time between attempts to auto-save project files. The default is 15 minutes. To avoid interrupting an edit, the NewsCutter system waits until the system is inactive before auto-saving. Use the option “Force Auto-Save at” to specify an interval at which the system will interrupt an edit to make the auto-save.
General Settings General settings define fundamental system defaults. Table 3-3 describes the General Settings options. Table 3-3 General Settings Options Option Description Project Format This option displays the format currently selected for the project (NTSC or PAL). It cannot be changed. Temporary File Directory When you use the Drag-and-Drop Export or an export that creates an intermediate movie file, NewsCutter must store the intermediate file, which can be as large as the final export.
Table 3-3 General Settings Options (Continued) Option Description Default Starting TC This option specifies the timecode value you want the system to use as the default starting timecode for each new sequence.
Interface Settings Interface settings determine the level of basic information displayed in the interface. Table 3-4 describes the Interface Settings options. Table 3-4 Interface Settings Options Option Desciption Show Labels in Tool Palette When this option is selected, the system displays text labels with the icons in the Tool palette. To tear off the Tool palette, click anywhere in the palette, press and hold the mouse button, and drag the palette to the location you want.
Table 3-4 Interface Settings Options (Continued) Option Desciption Windows® Standard Alt Key Behavior This option switches between standard Windows Alt key behavior and NewsCutter system Alt key behavior. When you select this option, pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Windows actions (for example, opening menus).
Table 3-5 Settings Menu Options (Continued) Option Description Timeline Views Displays Timeline views Title Styles Displays all the templates you created for the Title tool Video Tool Settings Displays Video Tool settings Import Settings Displays all the Import settings Export Settings Displays all the Export settings Workspaces Displays all workspaces Workspace Linked Displays only linked workspaces Site Settings Displays the Site settings for your system Changing the Settings Scroll Li
Settings pop-up menu Fast Menu button The Settings menu displays the settings group selected and the Settings scroll list displays only the settings in that group. About the Settings Scroll List Table 3-6 briefly describes each item in the Settings scroll list. The table also lists where you can find additional information on a particular item and indicates whether the item has an associated dialog box (or window) that you can access from the Settings scroll list.
Table 3-6 Setting Name Settings Scroll List For More Information Description Access to Dialog Box? Audio Sets the default audio pan; contains audio scrub options and audio setup parameters. See “Adjusting Yes Default Pan Settings” on page 482 and “Adjusting Digital Scrub Parameters” on page 479. Audio Project Sets parameters for audio setup. See “Preparing for Audio Input” on page 182. Bin Sets the Auto-Save preferences for bins. See “Bin Settings” on Yes page 77.
Table 3-6 Settings Scroll List (Continued) Setting Name Description For More Information Import Sets parameters for file import. See “Creating and Yes Using Import Settings” on page 250. Interface Defines the appearance and function of certain interface elements. See “Interface Settings” on page 81. Yes Keyboard Displays the default keys on the keyboard. See “About the Keyboard” on page 372.
Table 3-6 Settings Scroll List (Continued) Setting Name Description For More Information Timeline Contains the latest Timeline settings. Title Style If you save a title style while you are See the Avid using the Title tool, Title Style appears NewsCutter Effects in the Settings scroll list. Guide. Transfer Settings Yes Sets the preferences for using the Avid See the Avid Unity Unity™ TransferManager to send files TransferManager User’s to another workgroup. Guide.
Working with Settings You can view and modify most of your current settings by double-clicking them in the Settings scroll list of the Project window and by selecting new options. You can duplicate, rename, copy, and move settings among files or systems. Selecting Another User Because User settings are not project or site specific, you can choose to change to another set of User settings within the Project window. To select another user: 1. Click the Settings button in the Project window.
Modifying Settings You cannot modify the following two types of settings: • Settings that require the presence of standalone peripherals • Settings that can be modified only from within the tools in which they are used, such as Bin view and Timeline view To modify available settings: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click the name of a setting. The applicable Settings dialog box appears. 3.
Duplicating Settings To create a new version of a setting: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click the setting you want to copy. Ctrl+click any additional settings you want to copy. 3. Choose Duplicate from the Edit menu. A copy of each setting appears in the Settings scroll list with a version number in the second column for each custom setting name. 4. Name your settings to indicate their functions.
Custom setting name column 3. Type a new name and press Enter.
Selecting Among Multiple Settings With multiple 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. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click in the space to the left of the setting you want to select as the active setting. A check mark indicates that the setting is active.
Copying Settings Between Settings Files To copy settings between files: 1. With the Settings scroll list active, open the target settings file in one of three ways: t Create and open a new settings file by choosing New Setting File from the File menu. t Open an existing settings file by choosing Open Setting File from the File menu. t Locate and select the settings file you want in the Avid Projects or Avid Users folder, and click Open. 2.
Using Site Settings When the system opens a new project, it first searches the Site Settings folder and loads any Site settings and other settings placed there. The system then proceeds to load any Project and User settings not included in the Site Settings folder. Adding Site settings to the Site Settings file is useful if you need to establish global settings for all new users and projects, such as deck configuration settings or a specific start timecode for all sequences.
Using the Info Display The Info display in the Project window allows you to view basic project information, such as the video format, in a view called Profile (the default view). It also allows you to see information about system memory and hardware. Displaying Project Info To open the Info display: t Click the Info button in the Project window. The video format of the project is displayed in the Profile display. n The items listed in this view are for information only and cannot be changed.
The Memory window opens. About the Memory Window The Memory window displays the following information: • Objects: The total number of memory handles currently used by NewsCutter. Objects include memory requirements of the application, such as windows, as well as clips, sequences, and other items associated with a project. • Total Physical Mem: The total number of bytes of random-access memory (RAM). • Avail Physical Mem: The amount of RAM available for allocation by Windows NT.
through the Windows NT Event Viewer. For information on these tools, see the Windows NT Help. n You can improve performance on large projects by reducing the number of objects. Close unused bins, unmount unneeded media drives, consolidate finished elements, and eliminate old material from the project. Then quit and restart the NewsCutter application. If performance is still slow, restart your system.
between workspaces, see “Switching Between Workspaces” on page 103. While in a workspace, you can move tool windows or open and close tool windows. The next time you select that workspace, the tool windows appear with either: n • The arrangement from the last time you left the workspace • The arrangement you set for the workspace, regardless of any changes you made You cannot assign certain tool windows to a workspace, such as the Hardware tool, the Serial (COM) Ports tool, and the Media tool.
5. Assign a custom name to the new workspace: a. In the column between Workspace and User, click until you see a text pointer and box. Make sure you click the Custom setting name column and not the Setting name. b. Type a name for the new custom workspace, for example, recording. c. Press Enter. Custom setting name column 6. Open the windows and tools with which you want to associate the workspace. Resize and move the windows to the location where you want them to appear in the monitors.
7. Double-click the custom workspace setting. The Workspace Settings dialog box appears. 8. Select or deselect the workspace settings options listed in Table 3-7, depending on your preference for the behavior of the workspace. Table 3-7 Workspace Settings Option Description Activate Settings Linked This option allows you to link other settings to the By Name workspace. See “Linking User Settings and Workspaces” on page 101.
Assigning a Workspace Button To assign a workspace button: 1. Choose Command Palette from the Tools menu. 2. Click the More tab. 3. Select Button to Button Reassignment. 4. Click a workspace button (W1–W8), and drag it to a location in another palette (for example, to the Tool palette). The buttons are assigned to the workspaces in the Settings scroll list of the Project window in the order that they appear.
box with customized options selected. You do this by creating a setting and giving it the same name in the Project window as the name of the workspace. To link User settings and a workspace: 1. Create a new workspace setting. See “Creating a New Workspace Setting” on page 98. 2. Give the workspace a custom name. 3. Click a setting from the Settings scroll list that you want to link to the new workspace. For example, click Record. Adjust the Record setting to what you want. 4.
Switching Between Workspaces To switch from one workspace to another: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click to the left of the workspace setting you want to use. A check mark appears next to the workspace. Deleting a Workspace To delete a workspace: 1. Select the workspace you want to delete from the Settings scroll list of the Project window. The workspace is highlighted.
Navigating in Dialog Boxes and Menus You can use the keys listed in Table 3-8 to navigate in many dialog boxes and menus and to select and deselect options.
CHAPTER 4 Using Basic Tools The Tools menu on the NewsCutter menu bar provides quick access to a collection of essential tools for use in your projects. This chapter provides information about several basic tools that you can use at any time during your project.
Using the Tools Menu You can open any of the most frequently used system tools from the Tools menu. To open a tool: t Choose its name from the Tools menu.
Using the Deck Controller The deck controller provides direct serial or V-LAN® VLXi® control of an Avid-compatible video deck at any time during editing. This feature allows you to cue and screen footage from source tapes in various edit modes or when recording a digital cut.
n The Timecode indicator flashes green during playback or recording to indicate that the system is receiving valid timecode from the source tape. If the indicator remains unlit, the system is not receiving timecode. • The deck controls and the J-K-L keys provide a standard range of playback capabilities, including fast forward and rewind, stop and play, step back and step forward, pause, and eject.
The Command palette organizes buttons by editing function. Tabs are displayed for each editing function and the buttons that perform those functions are displayed within each tab. The functions are: Move, Play, Edit, Trim, FX, Other, and More. You can use the Command palette to: n • Map buttons to the Tool palette or the keyboard. See “Mapping User-Selectable Buttons” on page 111. • Map menu commands to various buttons and keys. See “Mapping Menu Commands” on page 112. • Directly activate a command.
Make Subclip • Find Bin Complex layering and effects editing: You can map buttons such as Motion Effect, Remove Effect, and Fade Effect. Motion Effect For more information on multiple settings, see “Working with Multiple Settings” on page 89. Add Locator Remove Effect Fade Effect When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you can open from the Project window.
Mapping User-Selectable Buttons To map buttons or keys on the keyboard by using the Command palette: 1. Open a window that has a user-selectable button palette by doing one of the following: t Activate the Source monitor or the pop-up monitor, select the Fast menu, and drag to tear off the Tool palette. t Open the Keyboard palette from the Settings scroll list in the Project window. 2. Choose Command Palette from the Tools menu. The Command palette opens. 3. Select Button to Button Reassignment. 4.
Using the Blank Button The Blank button allows you to replace a defined button with an undefined button. If you do not need or use a specific button within a Tool palette, you can replace the button with a Blank button. To access the Blank button: 1. Choose Command Palette from the Tools menu. 2. Click the Other tab. For information on mapping the Blank button to a new location, see “Mapping User-Selectable Buttons” on page 111.
frequently use the keyboard or the Tool palette during editing. In some cases, you can avoid using the menus altogether. n Before you can map some commands, you must first establish the condition that enables the command. For example, before you can map the Render In/Out command from the Clip menu, you must first place IN and OUT points in the Timeline so that the menu command appears. To map menu commands: 1.
4. Click a target button in the Keyboard palette or Tool palette. The pointer changes to a small white menu. 5. Choose the menu command you want to map to the target button. For example, choose Effect Editor from the Tools menu. The initials for the menu command appear on the target button. Effect Editor menu command mapped to a key Activating Commands from the Command Palette You can perform a command function directly from the Command palette.
Using the Avid Calculator The Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats. For example, you can: • Convert drop-frame to non-drop-frame timecode values. • Convert timecode durations between 30-frames-per-second (fps) and 25-fps projects. • Convert durations to total frame count. To use the Avid Calculator: 1. Choose Calculator from the Tools menu. The Avid Calculator opens. Format pop-up menu 2.
n t Press the Num Lock key, and then enter numbers and functions with the numeric keypad. t Use the numbers on the Calculator. You do not need to enter leading zeros, colons, or semicolons for timecode. To convert your totals at any time to another format: t Choose a different frame code or key number format from the Format pop-up menu.
Displaying System Information To display current system information: 1. Choose Console from the Tools menu. The Console window opens. 2. Scroll to the top of the Console window to view your system information and ID. This feature is especially useful for finding the system ID when you need to contact your Avid Reseller or Avid Customer Support. Reviewing a Log of Errors To review errors logged to the Console: 1.
To get information with the Console window: 1. Choose Console from the Tools menu. The Console window opens. 2. Select the item about which you want information: t In the Timeline, move the position indicator to the chosen clip or segment. t In the bin, select an object or Ctrl+click multiple objects. 3. Choose Get Bin Info or Get Position Info from the File menu. Information about the clip appears in the Console window.
The Hardware tool contains the following information: • Each online drive is listed on the left side of the Drives tab. The name of each drive and its total size are listed below each Drive icon. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available storage space for each drive.
Starting the Diagnostic Utility For information on the boards included in your system, use the Avid System Test Pro diagnostic utility. Avid System Test Pro comes with a user’s guide and Help. To start Avid System Test Pro: 1. Locate Avid System Test Pro on the Avid Diagnostic CD-ROM. 2. Double-click Avid System Test Pro.exe. 3. Click OK in the opening dialog box. 4. Choose Board Info from the Window menu. The Board Information window opens. 5. Choose Exit from the File menu to close the utility.
To open the Serial (COM) Ports tool: 1. Choose Serial (COM) Ports from the Tools menu. The Serial (COM) Ports tool opens. 2. Assign ports for deck control and other devices, as necessary, by choosing a port or no port from any of the pop-up menus. 3. Close the Serial (COM) Ports tool. Configuring a Controller Adding a controller to your NewsCutter system provides an alternative to using the keyboard and mouse for editing footage.
2. Choose COM1 or COM2 from the Port pop-up menu. 3. Choose the appropriate controller from the Controller pop-up menu: • Avid Controller • JL Cooper MCS3 Controller The following figure shows the Controller Settings dialog box for a JL Cooper MCS3 Controller connected to the COM1 port. 4. (Option) Click Edit Settings. If you have selected a port and controller, the Avid Controller Settings dialog box or the MCS3 Controller Settings dialog box appears. 5.
t To map Command palette functions to the Avid Controller buttons, see the documentation for the Avid Controller. 6. Click OK. The Controller Settings dialog box reappears. 7. Click OK.
CHAPTER 5 Logging When you log with a deck or import shot log files, you provide the NewsCutter system with frame-accurate clip information used to record the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.
Logging Tips The following sections provide important guidelines for preroll, timecode formats, and naming of tapes when logging prior to recording. Logging Preroll Be sure to leave adequate preroll with continuous timecode prior to IN points when logging your tapes. The recommended minimum preroll is 2 or 3 seconds for Betacam playback, and 5 seconds for 3/4-inch U-matic playback. To set the default preroll for tape playback: 1.
Preroll setting Logging Timecode Within an NTSC project, check the timecode format of each tape (drop-frame versus non-drop-frame timecode) when you are logging without a tape in the deck. n Drop-frame timecode and non-drop-frame timecode exist only in NTSC projects. To log drop-frame timecode: t When there is no tape in the deck, choose Deck Preferences from the Settings scroll list, and choose Drop-Frame from the Log As pop-up menu.
To log non-drop-frame timecode: t When there is no tape in the deck, choose Deck Preferences from the Settings scroll list, and choose Non-drop Frame from the Log As pop-up menu. When you are bringing in a bin created outside of NewsCutter, use colons (:) between the hours, minutes, seconds, and frames. Naming Tapes When you type tape names in the Record tool, consider the following: • It is important that you devise a naming scheme for your tapes.
To ensure that clips are not discarded on import: t Double-check the logs for discrepancies in duration and marks. Adding a Memory Mark You can add a memory mark to a particular location on a tape. The Mark Memory button in the Record tool allows you to add one mark per tape. The Go to Memory button allows you to move through the tape to the marked location. You can clear the memory mark by using the Clear Memory button. The memory mark is not stored on the tape.
Preparing Logs for Import For Avid Log Exchange information, see Appendix C. NewsCutter provides many useful tools to help you prepare frame-accurate log information for import to the bin from any number of sources. This process might involve using a word processor or standard text editor to create and import logs, including those using the Avid Log Exchange (ALE) format.
This is the minimum information required to record successfully. You can also add other information such as comments or auxiliary timecodes. You can make a separate log file for each videotape, or you can log clips from several different videotapes into one log. Importing Shot Log Files You can import any log created or converted to meet Avid log specifications. You can also combine or merge events while importing a log so that fewer master tapes require recording.
Up One Level pop-up menu Files of Type pop-up menu Options button 3. Do one of the following: t Choose Shot Log from the Files of Type pop-up menu. The system displays file types that belong to the chosen category only. t Choose All Files from the Files of Type pop-up menu. The system displays all files in a chosen folder, regardless of file type. Use this option if you want to batch import multiple file types. 4. Navigate to and select the files you want to import. 5. Click Options.
n When batch importing multiple files and file types, you should establish global Import settings in advance. See “Creating and Using Import Settings” on page 250. For more information about Import settings, see “Creating and Using Import Settings” on page 250. 6. After selecting the appropriate options, click OK to return to the Select Files to Import dialog box. 7. Use the Up One Level pop-up menu to locate the folder containing the source file. 8. Select the file. 9. Click Open.
Logging Directly to a Bin You can log clips directly to a bin by using the Record tool in one of two ways described in this section: For complete information on working with bin columns and clip information, see “Using Text View” on page 296. • Log directly to a bin with an Avid-controlled deck for semiautomated data entry. • Log manually during or after viewing of footage offline with a non-Avid-controlled deck or other source.
Record/Log Mode button Mark IN button Channel Selection buttons Deck Selection pop-up menu Source Tape Display pop-up menu 4. To choose a deck or device, choose Autoconfigure or Adjust Deck from the Deck Selection pop-up menu, and then load your tape into the deck. The Select Tape dialog box appears.
5. Use the options in the dialog box as follows: t Click Cancel to stop the process at any time. t Select “Show other project’s tapes” to display the tape names and associated project names for all bins that have been opened in the current session. t Click “Scan for tapes” to scan the system and display tape names and associated project names for all media files that are currently online (volumes that are currently mounted on the system). 6.
A message that the system is waiting for you to mark an IN point is displayed in the message bar. The Log button displays an IN point. 10. Mark either an IN point or an OUT point for the clip you want to log, using one of the following methods: Mark IN t Use the deck controls in the Record tool to cue your source tape to the start or end point, and click the Mark IN or the Mark OUT button. t Click the Mark IN button in the Record tool to enter the mark.
12. Before clicking any of the buttons in the Record tool, type a new name for the clip. n You should change the clip name immediately because it is very easy to forget the contents of each clip among the dozens that you log. You can, if necessary, accept the clip name and proceed with the logging process, and then change the clip names in the bin later. 13. Select the tracks that you want to log, using the Channel Selection buttons. 14. Click the Log button. The clip is logged to the bin. 15.
2. Double-click Deck Preferences in the Settings scroll list of the Project window to open the Deck Preferences dialog box. 3. For NTSC projects, choose Non-Drop-Frame or Drop-Frame from the “When no tape in deck log as” pop-up menu. 4. Click OK to close the dialog box. 5. Open the bin where you want to store the clips. 6. Choose Record from the Tools menu. The Record tool opens.
10. Double-click the name of the tape in the dialog box, or click New and type the name of the tape. Click OK. 11. Select the tracks that you want to log, using the Channel Selection buttons. 12. Type the start and end timecodes in the Mark IN and Mark OUT text boxes. 13. Click the Log button. The clip is logged to the bin.
change the name of source tapes for some or all of your clips, to change the timecode format from drop-frame to non-drop-frame, or to increment or decrement the start and end timecodes by a specified length of time for one or several clips at once. You can apply changes with the Modify command to master clips only; subclips and sequences cannot be altered in this way. In addition, you can perform only modifications that alter the end timecodes or the tracks before recording.
Pop-up menu. 4. Choose an option, such as Set Timecode By Field, from the pop-up menu. Depending on the modification you select, different options appear in the dialog box that allow you to establish the specific modification, as shown in Table 5-1. 5. After choosing the type of modification, select an option or type information in the text boxes (for example, timecode values) when they appear. 6. Click OK. The modification takes effect.
Table 5-1 Options for Modifying Bin Information 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. Only start timecode can be altered after recording. Hour, Minutes, Seconds, Frames Allows you to enter custom timecode.
Modifying in the Bin You can modify the start and end timecodes in the bin before a clip is recorded. To modify clip information in the bin: 1. Set the bin to display Start and End. For more information about setting bin headings, see “Showing and Hiding Columns” on page 299. 2. Select the clip you want to modify. 3. Type the timecode numbers you want.
5. Choose either Avid Log Exchange or Tab Delimited as the file type from the Export As pop-up menu. 6. Click Save As and name the setting ALE or Tab Delimited, and click OK. 7. Click Save to close the Export Settings dialog box. The Export As dialog box appears with a default file name in the File Name text box, based on the file type. 8. (Option) Change the file name, but keep the default file name extension. 9. Select the destination folder for the file, and click Save.
To export an entire bin: 1. Ctrl+click selected clips to deselect them, so that nothing is selected in the bin. 2. Choose Export from the File menu. The Export Bin As dialog box appears. 3. Choose the appropriate option from the Export Bin As pop-up menu, and click OK. A shot log of only the master clips in the bin is created.
CHAPTER 6 Preparing to Record Recording is the process of creating digital media from videotape or audio input.
Understanding Digital Video (DV) Digital video (DV) is an international standard created by a consortium of ten companies to serve as a consumer digital video format. NewsCutter uses two DV resolutions: DV 25 and DV 50. 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 D-1, D-5, or Digital Betacam video (720 pixels per scanline).
Selecting Settings A number of settings have a direct bearing on the recording process. Before you record, review the following options: • Using General Settings • Choosing Record Settings Using General Settings General settings include options for NTSC tape formats and drive filtering. For more information about General settings, see “General Settings” on page 79. c The NewsCutter system will not prevent you from using non-Avid drives, but their reliability cannot be guaranteed.
Choosing Record Settings Record settings include essential options for recording, batch recording, autorecording, and recording to multiple media files. To open the Record Settings dialog box: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Record. The Record Settings dialog box appears. General Record Settings The following illustration shows the General tab of the Record Settings dialog box.
Table 6-1 describes the options available in the General tab of the Record Settings dialog box. Table 6-1 Record Settings (General Tab) Option Description Stop deck after record, Pause deck after record Select one of these options either to stop the deck or to pause the deck after recording.
Table 6-1 Record Settings (General Tab) (Continued) Option Description Record across timecode breaks When this option is selected, NewsCutter begins recording a new master clip at each timecode break. Select this option when you are performing unattended batch recording or autorecording. Deselect this option if you plan to record the entire tape as a single clip by recording to multiple media files.
Table 6-2 describes the options available in the Batch tab of the Record Settings dialog box. Table 6-2 Record Settings (Batch Tab) Option Description Optimize for disk space When this option is selected, the system records only the exact amount of material in the master clips plus any additional handles. The tape will pause and pre-roll independently for each master clip that is batch recorded.
Table 6-2 Record Settings (Batch Tab) (Continued) Option Description Optimize for batch speed When this option is selected, the system speeds up batch recording by allowing the deck to continue to roll forward between adjoining clips. To qualify for this operation, the two adjoining clips must meet the following criteria: • There must be 5 seconds or less between the OUT point of the first clip and the IN point of the second clip.
Edit Record Settings The following illustration shows the Edit tab of the Record Settings dialog box. Table 6-3 describes the options available in the Edit tab of the Record Settings dialog box. Table 6-3 Option Record Settings (Edit Tab) Description Enable edit to timeline (splice, Select this option to display the Splice-in Edit and Overwrite Edit overwrite) buttons in the Record tool.
Table 6-3 Record Settings (Edit Tab) (Continued) Option Description Enable voice-over Select this option to display the Voice-Over button in the Record tool. Preroll Postroll Indicate the amount of preroll and postroll you want to record before and after the voice-over. Media Files Record Settings The following illustration shows the Media Files tab of the Record Settings dialog box. Table 6-4 describes the options available in the Media Files tab of the Record Settings dialog box.
Table 6-4 Record Settings (Media Files tab) Record to a single file, 2 GB limit When this option is selected, recording stops when the media recorded has taken up 2 gigabytes (GB) of storage space on the media drive. Record to multiple files When this option is selected, you can create longer clips whose media files would otherwise exceed the NewsCutter system’s file-size limitation of 2 GB.
To choose a video resolution and drives in the Media Creation Settings dialog box: You can also open the Media Creation dialog box by choosing Media Creation from the Tools menu. 1. Choose Media Creation from the Settings scroll list of the Project window or from the Tools menu. The Media Creation Settings dialog box appears. 2. Click the tab for the area in which you want to work. 3. Choose a video resolution from the Video Resolution pop-up menu.
5. Click OK to save your settings. Configuring Decks Deck Configuration settings allow you to establish deck control parameters for a single deck or for multiple decks. As with all settings, you can create multiple versions, allowing you to select among them for frequent changes in hardware configurations. Deck Configuration settings and global deck preferences appear as separate items in the Settings scroll list of the Project window.
n You must manually configure the appropriate hardware connections before Deck Configuration settings can take effect. For more information, see the Avid NewsCutter Setup Guide. To configure a deck or multiple decks: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Deck Configuration. The Deck Configuration dialog box appears. 3.
4. Choose Direct from the Channel Type pop-up menu, if you are connecting a deck directly to the serial port. 5. Choose the port to which you are connecting the deck from the Port pop-up menu. n If you are not sure which port to choose, check the 9-pin serial port connectors on the back of the system. If the ports are not labeled, see the hardware documentation supplied with your system. 6. Click OK to close the Channel dialog box.
Channels appear on the left side. n Decks appear on the right side. You can reopen the Channel settings to change the options at any time by double-clicking the channel box. 8. If you did not autoconfigure the deck, click the channel box to select it. 9. Click Add Deck to open the Deck Settings dialog box. n n With a deck already connected to the system, you can click Auto-configure to bypass the Deck Settings dialog box and automatically configure a deck with the default settings.
. 10. Select settings based on your device. For information on Deck settings, see “Deck Settings Options” on page 163. 11. Click OK to close the Deck Settings dialog box and return to the Deck Configuration dialog box. n You can reopen the Deck Settings dialog box to change the options at any time by double-clicking the deck box in the Deck Configuration dialog box. 12. Repeat steps 2 to 11 for each additional channel or deck you want to configure. 13.
14. Type a name in the Configuration name text box to name the deck configuration. The new deck configuration will appear in the Settings scroll list of the Project window. 15. Click Apply to complete the configurations and close the Deck Configuration dialog box. 16. If necessary, double-click Deck Preferences in the Settings scroll list of the Project window to adjust global deck preferences. For more information, see Table 6-6 on page 166.
Table 6-5 Option Suboption Deck Settings Options Description Name Type your custom name for the tape deck. The default name matches the deck type. Description Enter notes about the deck. Deck Type Choose your manufacturer and model from the menus. Address For VLXi use only (see your VLXi documentation). If you are using direct serial port deck control, this option is unavailable. Preroll Specifies how many seconds the tape rolls before a record or digital cut starts.
The Settings scroll list appears. 2. Double-click Deck Configuration. The Deck Configuration dialog box appears. Delete button 3. Click the names of the currently configured channel and deck in the display area. The entire display area should have a red border. 4. Click Delete. 5. Click Apply to complete the changes and close the dialog box. Setting Deck Preferences Deck preferences are global settings for basic deck control.
Table 6-6 explains the Deck Preferences options. Table 6-6 Option Deck Preferences Options Description When the deck contains no Choose the timecode format (Drop-Frame or Non-drop Frame) for logging tape Log As clips when no tape is in the deck. When a tape is in the deck, the system automatically uses the existing timecode format on the tape.
Table 6-6 Deck Preferences Options (Continued) Option Description Stop any paused decks when quitting When this option is selected, any paused decks are stopped when you quit the NewsCutter application. Selecting this option saves wear on the deck heads. Poll deck during digital cut This option is selected by default. When it is selected, NewsCutter checks the deck for the current timecode and displays it in the timecode window of the deck controller.
Setting Up the Record Tool The Record tool provides controls for cueing, marking, and logging footage, and specifies recording parameters such as source and target locations. Opening the Record Tool To open the Record tool: t Choose Record from the Tools menu.
Selecting a Deck The Deck Selection pop-up menu in the Record tool contains a list of decks that were connected to the system, powered up, and initialized when you entered Record mode. The first deck in the list is selected by default, unless all decks are offline. To activate playback from an available deck, do one of the following: n t Choose the name of a previously configured deck from the menu.
Selecting Audio Input To select audio input, choose one of the options in Table 6-7 from the Audio pop-up menu.
2. In an NTSC project, play the tape briefly so that the system can detect the timecode format of the tape (drop-frame or non-drop-frame). Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box, regardless of the format on the tape, and you might receive a message indicating a wrong tape. n For information on tape naming conventions, see “Naming Tapes” on page 127.
Selecting Source Tracks You can select the tracks to record from the source tape. To select only those tracks that you want to record: t Click the Channel Selection buttons in the Record tool. The TC (timecode) track is selected by default. Channel Selection buttons n If you are not seeing the source video or hearing source audio in Record mode, click the Channel Selection buttons to make sure the correct tracks have been selected.
Methods for Setting the Video and Audio Input The Video and Audio pop-up menus show you the current input settings for the Video Input tool and the Audio Project Settings dialog box. The pop-up menus also provide a convenient way to change the settings if necessary.
Resolution pop-up menu Bin pop-up menu Choosing a Target Bin You select a target bin as the destination for the master clips created when you record on-the-fly. You can also select a target bin containing the logged clips you will use to batch record your media. To choose a target bin, do one of the following: t Choose an open bin from the Bin pop-up menu in the Record tool (only open bins appear in the Bin pop-up menu).
t Create a new bin by choosing New Bin from the File menu and then naming and opening the new bin in the New Bin dialog box. Selecting the Target Drives To target drives for the recorded media: 1. Make sure you are in Record mode. If the Record tool is in Log mode, click the Record/Log Mode button to return to Record mode (that is, the REC icon appears.) 2. Decide whether to record audio and video to a single drive or to separate drives. 3. Choose the specific drives from the pop-up menus.
To target a single drive: 1. Choose Record from the Tools menu. 2. Click the Single/Dual Drives Mode button in the Record tool until it displays the Single-Drive icon. Target Drive pop-up menu Single/Dual Drives Mode button 3. Choose a drive from the Target Drive pop-up menu. The name shown in bold in the menu has the most storage available. The time remaining is calculated based on your resolution selection.
for the longest continuous amount of time because the system stores material on two drives rather than one. To target separate drives for audio and video: 1. Choose Record from the Tools menu. 2. Click the Single/Dual Drives Mode button in the Record tool until it displays the Dual-Drives icon. Target Drive pop-up menu Time Remaining display Single/Dual Drives Mode button 3. Choose separate drives for audio and video from each Target Drive pop-up menu.
Interpreting the Time Remaining Display You can interpret the numbers in the time remaining display in the Record tool based on the following factors: • Each recorded clip is limited by the NewsCutter system to a maximum file size of 2 GB. Any clip whose size exceeds 2 GB will have more than one media file associated with it. • When adequate space exists on the chosen drive, the time remaining displayed in the Record tool is based on 2 GB per clip at the chosen resolution.
2. Double-click Record. The Record Settings dialog box appears. 3. Click the Media Files tab. 4. Select “Record to multiple files.” 5. Accept the default or type a different time limit in the Maximum (default) recording time text box. c If you think that any of your recorded clips might exceed 30 minutes, make sure you enter a higher estimate in this text box; otherwise, the system stops recording at 30 minutes. 6. Click OK to close the dialog box and apply the options. 7.
Target Drive pop-up menu 8. To record to multiple files across drives, choose Change Group from the Target Drive pop-up menu. The Drive Group dialog box appears.
9. Ctrl+click multiple drives to include in the recording session, or click All to select all drives. 10. Click OK to close the dialog box and apply the changes. 11. Proceed with recording. c For media file management purposes, any clip whose media exceeds the 2-GB limit will have more than one media file associated with it. When you view the Timeline for the clip loaded in the Source/Record monitor, you will also notice edit breaks based on the separate media files.
Preroll option For a complete description of procedures for locating and changing settings, see “Using the Settings Scroll List” on page 74. Control track preroll allows you to record all the footage following a timecode break. Otherwise, the system uses approximately 1 to 6 seconds of unbroken timecode following the break to perform the preroll before recording begins.
channels 1 to 3, the resulting master clip has matching audio tracks 1 to 3. Choosing the Audio File Format AIFF-C and WAVE audio media files can be mixed within a project. The system default is OMF (WAVE) audio. n Choose the AIFF-C format for all audio media when you need to transfer media files directly to a Pro Tools system for audio sweetening. Audio is written in the chosen file format when you: • Record audio tracks in Record mode. • Create tone media by using the Audio tool.
The Settings scroll list appears. 2. Double-click General. The General Settings dialog box appears. 3. Choose either OMF (AIFF-C) or OMF (WAVE) from the Audio File Format pop-up menu. 4. Click OK to apply the settings and close the General Settings dialog box. Establishing Sync for Audio-Only Input When you record audio with video, the video input always generates sync for both.
I/O box. If there is no reference connected, sync is generated from internal timing. c If you need to synchronize audio with video clips recorded on separate devices in the field, Avid recommends that you connect video reference to REF IN on the Meridien I/O box for sync. Otherwise, you might experience drifting of the audio during editing. For more information on connecting a reference signal, see the Avid NewsCutter Setup Guide.
The effects of capturing audio without a valid digital sync source can include random noise, silence, or a jittering effect in the audio when it is played back. Adjusting Audio Project Settings You can use the Audio Project Settings dialog box to check the current configuration of audio hardware and to choose various input options. To open the Audio Project Settings dialog box: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Audio Projects.
• The audio sample rate. This rate is 48 kHz if the source is set to Analog, Microphone, or Microphone w/Phantom Pwr. The rate is 28.125 if the source is AES/EBU or S/PDIF. • The audio Sync mode. This mode is set to Video Sync when the source is Analog, Microphone, or Microphone w/Phantom Pwr. The mode is AES/EBU when the source is AES/EBU and the mode is S/PDIF when the source is S/PDIF.
Using the Audio Tool Use the Audio tool primarily for mixing and monitoring audio. The Audio tool, along with your hardware’s audio parameters, allows you to do the following in preparation for input: • Check and manage your audio hardware setup. • Set audio levels before recording. In addition, controls in the Audio tool allow you to calibrate, set levels, and generate customized calibration tones for output to the speakers or a record device.
Resizing the Audio Tool To resize the Audio tool: t Click the lower right corner, and drag it to the preferred size. Adjusting the Reference Level The volume unit (VU) scale to the right of the meters in the Audio tool is a sliding scale relative to the fixed digital scale displayed on the left. You can adjust the volume unit scale up or down based on the headroom parameters of your playback devices. To customize the volume unit scale: 1. Choose Set Reference Level from the Peak Hold (PH) pop-up menu.
Choosing a Peak Hold Option The Peak Hold (PH) pop-up menu in the Audio tool provides two options for displaying peak levels in the meters, as follows: • When you choose Peak Hold, the meters display a normal rising and falling volume trail in the meters. This is the default option. • When you choose Infinite Hold, each meter permanently retains a single bar at the peak volume level measured during playback. The bar continues to rise and hold with each new peak.
In/Out toggle buttons 2. Play back the source audio (for example, from a videotape). If the recording includes reference tone, cue to the tone and play it back. 3. Adjust the output on the playback device so that the device’s volume meter shows the appropriate level for the reference signal (for example, 0 dB for videotape playback). 4. Click the Input button (Microphone icon) in the Audio tool to display the Input Level slider.
Input button Input Level slider 5. View the meters, and adjust the slider to the appropriate level. Creating Tone Media To create tone media: 1. Choose Create Tone Media from the Peak Hold pop-up menu in the Audio tool.
Peak Hold pop-up menu The Create Tone Media dialog box appears. 2. Set the appropriate calibration tone parameters in the dialog box. You can also use the default output tone of –20 dB (digital scale) with a 1000-Hz signal. n If you set the tone media frequency to 0, the system generates random noise. A value of –777 generates a tone sweep. 3. Choose the number of tracks of tone you wish to create.
4. Choose a target bin for the tone master clip and a target drive for the tone media from the pop-up menus. 5. Click OK. After a few seconds, a master clip appears in the target bin. The default name reflects the options you chose. You can rename the clip by typing a new name. Calibrating the Four-Channel Audio I/O Device You can use the calibration features of the Audio tool to fine-tune the input and output channels of the four-channel audio I/O device.
7. In the Audio tool, click the In/Out toggle buttons for channel 1 to display I for input. You should see a level in the meter display. 8. Choose Calibrate from the Peak Hold pop-up menu. The Audio tool changes to Calibrate mode: the scales display a range of approximately 2 dB, and the meters indicate levels within this range. 9. Adjust the channel 1 input level trim pot by inserting a screwdriver into the trim pot and turning it until the Audio tool’s on-screen meter reaches 0 VU.
Calibrating Output Channels for the Audio I/O Device If the input channels of the audio I/O device are correctly calibrated for reference, you can use the input channels to calibrate the output channels. To calibrate output channels for the audio I/O device: 1. Make sure the audio I/O device is properly calibrated for input (see “Calibrating Input Channels for the Audio I/O Device” on page 194). 2. Connect two output channels to two different input channels.
Using the Console 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 window: 1. Choose Audio Tool from the Tools menu. The Audio tool opens. Reset Peak button 2. Click the Reset Peak button to clear the system’s record of the most recent maximum peaks. 3. Play a sequence or portion of the sequence. 4.
Console command line 6. Press Enter. A list of peak values appears in the Console. Calibrating for Video Input You should calibrate the input levels for each videotape when you record to ensure continuity of picture quality between tapes.
Before You Begin Before you calibrate for video input, check that your monitor is properly calibrated for displaying footage accurately. For more information, see your monitor’s hardware documentation. Manually Calibrating for Video Input To manually calibrate for videotape input: 1. Choose Video Input Tool from the Tools menu. The Video Input tool opens. 2. Choose the appropriate input channel from the Input pop-up menu: Composite, Component, S-Video, DV SDTI 0, or Serial Digital.
4. Click the Consumer Source button located below the sliders in the Video Input tool only if you are recording from a consumer-grade videotape deck (such as a home VCR) or a deck that has no built-in time-base corrector (which includes a number of 3/4-inch U-matic or S-Video models) and you are having trouble with the incoming video quality. If clicking the Consumer Source button does not improve the video quality, Avid recommends that you purchase a time-base corrector (TBC).
Waveform Monitor button Line Selector slider 7. Adjust the Line Selector slider located below the Waveform monitor to display the appropriate line of the test pattern; then adjust the luminance values based on Table 6-8.
Table 6-8 Parameter/ Video Standard Video Standard: NTSC NTSC-EIAJ PAL Luminance Settings for Video Input (Continued) SMPTE Bars Full-Field Bars at 75% or 100% Signal Level Adjust Gain/Y Gain slider to place white level at: Adjust Gain/Y Gain slider to place white level at: 100 IRE 100 IRE NAa 100 IRE 100 IRE 1.0 V a. NA = Not applicable 8. Close the Waveform monitor, and open the Vectorscope monitor by clicking the Vectorscope Monitor button. Vectorscope Monitor button Line Selector slider 9.
10. Use the Vectorscope monitor to set chrominance by adjusting the Sat (saturation) 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. n c There is no hue adjustment for PAL video. If you have wrongly selected or deselected the 100% Bars button, the factory presets for Saturation or RY Gain and BY Gain will be incorrect.
2. Accept the default name, or type a new name for the settings. n If you give the settings the same name as the tape name, NewsCutter applies the settings automatically when that tape is loaded into the deck in the future (for example, when you are rerecording). 3. Click OK. Whenever you batch record or rerecord, the system recalls the saved settings as follows: n • The system looks for a tape setting. If the setting exists, the system recalls it.
Settings pop-up menu 2. Adjust the calibration settings as described in “Manually Calibrating for Video Input” on page 199. 3. Choose Save As from the Settings pop-up menu in the Video Input tool. A dialog box appears. 4. Type Default in the dialog box and click OK. (You must use this spelling and initial capitalization.) Whenever you mount a new tape that has no setting, the system will recall these default settings.
n Calibrate your monitor before adjusting video levels by eye. To adjust video levels by eye, without color bars, use the criteria in Table 6-9. Table 6-9 Video Level Adjustment Criteria Color Criteria Blacks Should not seem flat and lacking detail. Find a series of frames in the footage that include black areas. Shadows work better than black objects. Blacks should fall around 7.5 IRE for NTSC, 0 IRE for NTSC-EIAJ, or 0.3 V for PAL in the Waveform monitor.
• Digital Video Resolutions • Setting Media Creation Resolutions and Selecting Drives • Data Rate Calculations Screen Resolution The screen resolution for NewsCutter is different for NTSC and for PAL: • NTSC resolution is 720 x 486 non-square pixels covering all the active video. This also includes 10 lines of blanking or vertical internal timecode (VITC) per frame (5 lines per field). • PAL resolution is 720 x 576 non-square pixels covering all the active video.
To choose a video resolution and drives in the Media Creation Settings dialog box: 1. Choose Media Creation from the Settings scroll list of the Project window or from the Tools menu. The Media Creation Settings dialog box appears. 2. Click the tab for the area in which you want to work. 3. Choose a video resolution from the Video Resolution pop-up menu. The Video Resolution pop-up menu contains a list of the available resolutions.
5. Click OK to save your settings. Data Rate Calculations Use Table 6-10 through Table 6-13 to determine how many minutes of audio and video you can store on your Avid drive. (These numbers are approximate.) n Calculations include a 10 percent system overhead factor.
Table 6-12 Data Rate Storage Calculations for NTSC Video Megabytes per Second Megabytes per Minute Minutes per Gigabyte Single-stream, four-channel audio 4.0 240 4.3 Dual-stream, four-channel audio 8.0 480 2.1 Single-stream, four-channel audio 7.75 465 2.2 Dual-stream, four-channel audio 15.5 930 1.
Table 6-13 Data Rate Storage Calculations for PAL Video Megabytes per Second Megabytes per Minute Minutes per Gigabyte Single-stream, four-channel audio 3.2 192 5.3 Dual-stream, four-channel audio 6.4 384 2.7 Single-stream, four-channel audio 6.2 372 2.7 Dual-stream, four-channel audio 12.4 744 1.
CHAPTER 7 Recording When you record, you convert source material from videotape to master clips that contain reference information. You also create associated media files that contain the digital audio and video.
Before You Begin Depending on your immediate needs and chosen recording method, use the following guidelines for working through this chapter: • If you want to add clip names and comments on-the-fly while you record, see “Adding Clip Names and Comments On-the-Fly” on page 214. • If you have no logs and would like to begin recording right away, see “Recording and Logging at the Same Time” on page 215.
Adding Clip Names and Comments On-the-Fly The annotate feature allows you to type clip names and comments during the recording of a clip. The information is saved in the clip Name and Comments columns in the bin. You can add comments about the clip such as color correction or editing directions. To add clip names and comments on-the-fly: 1. Start typing the clip name at any time during the recording of a clip. The Annotate window opens, allowing you to see the text as you type. 2.
Recording and Logging at the Same Time When you record without entering log information in a bin ahead of time, the system creates clips and associated media files while you record. Recording in this manner involves manually cueing source footage with an Avid-controlled deck by using the deck controls in the Record tool or the Deck Controller window. There are several ways to record and log at the same time: • Recording from an IN point to an OUT point.
Recording from One Point to Another Recording from an IN point to an OUT point allows you to specify exactly where to begin and end recording. You can specify only an IN point or an OUT point, and the system enters the other mark on-the-fly.
Setting Both Marks To record by specifying an IN point and an OUT point: 1. Make sure you have selected the proper Record settings as described in “Selecting Settings” on page 148 and have set up the Record, Audio, and Video Input tools, as described in Chapter 6. Mark IN Mark OUT Go to IN 2. Set either an IN point or an OUT point for the clip you want to record, using one of the following methods: t Use the deck controls in the Record tool or the Deck Controller window.
that you type does not appear on the screen until you have completed recording. (After you log clips, you can modify information to correct input errors or to add information.) When the tape reaches the clip’s OUT point or you click the Record button again, recording stops, and the system creates a new clip in the bin. Setting Only One Mark To set only one mark and enter the other mark on-the-fly, do one of the following: t Mark an IN point, and click the Record button to begin recording.
n • If you are recording from a source deck that cannot be controlled by the Record tool or a VLXi unit • If your source tape does not have timecode • If you are recording from a digital source such as a CD-ROM • If you are recording from a live source, such as a satellite feed or an in-house router There is a slight delay of several frames after you manually select a spot to start and to stop recording. Therefore, use this method when you don’t need precise beginning and end points in your clip.
Trash button Record/Log Mode button Record button Triangular opener (to display comments) Name Comment Deck controls 2. (Option) Click the trianglular opener in the Record tool to display the Name and Cmnt (Comment) text boxes, if you plan to enter clip names or comments during recording. n If you have a deck capable of 4X Serial Data Transport Interface (SDTI) recording, a 4X icon appears in the deck controls area of the Record tool. For more information, see the Avid NewsCutter Setup Guide. 3.
Step backward 1 frame button Fast forward button Play button Rewind button Single-frame step forward Stop button Eject button Pause button 4. Play the deck and when it gets up to speed, click the Record button. n n Make sure you have cleared any previous marks so that the deck does not begin cueing to the previous location. If you are recording with shared volume segmentation (“chunking”) enabled, see the Avid Unity MediaManager User’s Guide for details on the recording procedure. 5.
Autorecording Autorecording can save you time by allowing you to bypass both the logging process and the time it takes to cue each clip. However, this process requires the most storage space, and more time is spent while the system is actually recording entire tapes. When you autorecord, you mount and cue your tape to a starting point and start the autorecording process through the Record tool.
3. Do either of the following: t Click the General tab, and select “Record across timecode breaks.” t Click the Media Files tab, and select “Record to multiple files.” 4. Click OK. 5. In the Record tool, click the name of the deck and choose Adjust Deck from the pop-up menu. The Deck Configuration dialog box appears.
6. Double-click the deck box for the video deck from which you are recording. The Deck Settings dialog box appears. 7. Deselect Fast Cue, and set the preroll to approximately 4 seconds.
8. Click OK to close the Deck Settings dialog box. 9. Click Apply to close the Deck Configuration dialog box. 10. Create one bin for each source tape. This keeps bins to a manageable size and automatically names all clips from each tape after the names of their respective bins. 11. Name each bin after the source tape. By default, all clips are named after the tape and are numbered incrementally beginning with .01. 12. Choose Record from the Tools menu, and open the bin for the first tape. 13.
Table 7-1 Audio Input Options Choose To Analog Record from a stereo mixer or a CD-ROM player AES/EBU (Audio Engineering Society/European Broadcasting Union) Use the professional format for digital input S/PDIF (Sony/Philips To use the consumer format for digital input Digital Interface Format) c Microphone Record from a microphone Mic w/Phantom Pwr Draw power from the system if the microphone needs it DV SDTI 0 (Digital Video Serial Data Transport Interface) Use the SDTI adapter for faster re
The Select Tape dialog box appears. New Tape Name button List of tapes Show Tapes option 4. You can select “Show other project’s tapes” to display the tape names and associated project names for all bins that have been opened in the current session.
n Because the media file database does not open when you start your NewsCutter system, tape names of all online media files do not appear automatically. If the tape name for which you are searching does not appear in the Select Tape dialog box, click the Scan for tapes button. Tape and project names are listed. For guidelines on naming tapes, see “Logging Tips” on page 125. 5. Provide a tape name in one of the following ways: t Select a tape name from the list.
Recording with Time-of-Day Timecode When you record with an Avid-controlled deck, you can record your footage with time-of-day timecode rather than source timecode. To record with time-of-day timecode: 1. Open the Record tool and prepare to record, as described in Chapter 6. 2. When selecting tracks, deselect the TC button. 3. Record by using the procedure described in “Recording On-the-Fly” on page 218.
To prepare for recording with external timecode: 1. Choose Record from the Tools menu. The Record tool opens. 2. Click the Toggle Source button until the Satellite Mode icon appears. Toggle Source button TC Source pop-up menu Select Tape Name button 3. Click the Select Tape Name button. The Select Tape dialog box appears. 4. Identify a source tape name. See “Recording from a Non-Avid-Controlled Deck” on page 225. 5. Click OK. 6. Choose LTC Input from the TC Source pop-up menu.
• Auto Detect: Detects LTC input by default. If the LTC Input is deactivated, the Record tool automatically switches to internal timecode. If the LTC Input is reactivated, the Record tool switches back to LTC Input. 7. Record by using the procedure described in “Recording On-the-Fly” on page 218. n If you notice that your recorded material is consistently one or more frames off, select “Latency for satellite mode” in the General tab in the Record Settings dialog box to fix the problem.
3. Connect SDTI, and reselect the appropriate tracks. n n The Resolution menu is disabled in the Record tool when you select DV SDTI 0 as input. The Resolution menu automatically reflects the signal type of the incoming signal. Always close the Record tool before you change the SDTI input signal type. Once you have set up SDTI as your input source, recording proceeds as it does for any other input source. NewsCutter automatically adjusts to one of the SDTI signal types listed in Table 7-2.
a. Click the Settings button in the Project window. The Settings scroll list appears. b. Double-click Record. The Record Settings dialog box appears. c. Click the Edit tab. d. Select “Enable edit to timeline.” e. Set the handle length (the amount of footage you want to record before and after the IN and OUT points of the clips). f. Click OK. 3. Load a sequence into the Source/Record monitor. 4.
n Only two audio tracks are recorded to the Timeline even if the media you are recording has four audio tracks. You can select four tracks, but only tracks A1 and A2 are recorded. Batch Recording from Logged Clips Once you have imported a log or manually logged a group of clips to a bin, you can automate the record process by using the batch recording capabilities of NewsCutter. If you want to batch record, source tapes must have timecode that matches the timecode for the selected clips.
Preparing Settings for Unattended Batch Recording Unattended batch recording allows you to record a large number of clips with a minimum of system supervision by selecting Record settings that avoid pauses in the record process.
n If the clips that you want to batch record are not highlighted in the active bin, Batch Record appears dimmed in the Bin menu. 5. Select options in the dialog box: For more information on handle lengths when rerecording, see “Rerecording Sequences” on page 239. n t If the bin contains some clips that are already recorded and you do not want to rerecord those clips, select “Record only those items for which media is currently unavailable.
7. Insert the tape into the video deck, and click Mounted. A dialog box appears. 8. Click OK to confirm the tape and deck entries and to begin the recording process. The system records each clip from the tape, in start timecode order. 9. If the system needs another source tape, the system prompts you for the tape. At this point, you have several options: n t Insert the new tape, and click Mounted to continue the recording process.
There are several situations in which you might want to rerecord: c • You can rerecord a sequence after you transfer it to another system. • You can rerecord low-resolution clips at a higher resolution setting after they have been edited into a sequence. • You can quickly rerecord selected clips if you make an error while recording the first time (for example, if you forget to check audio levels or set the wrong resolution). • You can rerecord clips if you accidentally delete media files.
Rerecording Sequences Rerecording a sequence creates new master clips and associated media files based on the length of each clip edited into the sequence. It breaks any links to the original source clips, and only the sequence and its new master clips are linked to the newly recorded media files. When you rerecord the sequence, the record process creates media files for each clip in the sequence. You cannot make changes after the media files are created without repeating the entire procedure.
2. Select the sequences or the clips you want to rerecord: t Choose Select All from the Edit menu to select all the clips in the bin. t Ctrl+click to select specific clips. 3. Choose Batch Record from the Bin menu. The Batch Record dialog box appears. 4. To preserve clips that already have existing media, select “Record only those items for which media is currently unavailable.” 5.
t Click Abort to end the batch process. You can also stop recording at any time by clicking the Trash button in the Record tool.
The J-K-L keys work the same as they do in the Source/Record monitor, as shown in the following table. 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.
Naming a New Tape from the Keyboard You can name a new tape without taking your hands off the keyboard. To create a new tape name by using a keystroke in Record mode: 1. Choose Record from the Tools menu. The Record tool opens. 2. Put a tape in the deck or click the Source Tape Display button. The Select Tape dialog box appears. 3. Press Ctrl+N. A new tape name text box appears. 4. Type the new tape name. 5. Press Enter to register the tape name. 6.
Returning to the Previous Place in the Select Tape Dialog Box When working with many tapes, you need to be able to return quickly to your location when you last selected a tape. If you leave the Select Tape dialog box and reenter it, you return to where you were in the list of tape names the last time; this should help you find the next tape you need. VTR Record Emulation VTR record emulation allows you to control the recording of media into NewsCutter by using an edit controller and a source VTR.
Table 7-3 describes the VTR Emulation settings options. Table 7-3 VTR Emulation Settings Options Option Description Device Code Select the device code that identifies the VTR that the system will emulate. The edit controller adjusts to this choice. The default value is a Sony PVW 2800, which performs all the common play and record functions. You do not need to change the device code value unless your edit controller does not recognize the VTR emulator or you want to emulate a specific VTR.
Table 7-3 VTR Emulation Settings Options (Continued) Option Description Inhibit preloading when cueing by single frame. Do not inhibit preloading under normal circumstances. Preloading occurs by default in the NewsCutter system. It improves playback performance by preparing the digital media for playback each time you cue a new frame. This option causes the system to match the behavior of a tape deck when you step through footage frame by frame.
4. Choose VTR Emulation from the Clip menu when you are ready to use the system for recording. 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 VTR emulation is active. n The VTR Emulation command behaves like a Local/Remote switch on a playback device, with VTR record emulation disabled (in Local mode) by default when you start the system. 5. Choose Record from the Tools menu.
Once active, VTR record emulation allows you to control the sequence with an edit controller as follows: • You can record, shuttle, step (jog), play, cue, and mark IN and OUT points based on master sequence timecode for recording from a VTR. IN and OUT points appear in the Timeline only if the controller sends that information to the NewsCutter system. • Smooth audio scrub is enabled by default, emulating analog audio scrub on a VTR.
CHAPTER 8 Importing Files When you import files, the system converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. Any corresponding media files are stored on a target drive that you specify.
Preparing to Import Files Before you begin the import process, make sure the system and the files are ready for import as follows: • To read about issues and tips for mixed-resolution projects, see “Creating and Using Import Settings” on page 250. • For graphics file and OMFI (Open Media Framework® Interchange) file import, prepare the files in advance according to specifications described in Appendix B.
4. Name the setting: a. Click the Custom setting name column (between the setting name and the setting type identifier). b. Type a name. c. Press Enter. Custom setting name column 5. Adjust the options for the setting as described in the following procedure. To adjust the parameters in an Import Settings dialog box: 1. Click the Settings button in the Project window.
The Settings scroll list appears. 2. Double-click an Import setting. The Import Settings dialog box appears. The following illustration shows the default settings. 3. Select the appropriate options according to the descriptions in Table 8-1. 4. Click OK.
Table 8-1 Import Settings Options Option Suboption Description Aspect Ratio, Pixel Aspect 601, non-square (default) Select this option to import images with the dimensions used by the NewsCutter system: 720 x 480 (NTSC) or 720 x 576 (PAL). Also use this option for 720 x 540 images, or other images that fit the 4:3 aspect ratio. You can use this option to maintain field data when you import two-field media that follows exact NTSC or PAL dimensions.
Table 8-1 Option Suboption Import Settings Options (Continued) Description Maintain, square Select this option for an image that was created in a square-pixel environment, such as a graphics application. Use this option primarily for icons, logos, and other graphics that cannot be resized and are not intended to fill the entire screen.
Table 8-1 Option Import Settings Options (Continued) Suboption Description Maintain and Resize, square Select this option for an image that was created in square-pixel terms. The system fits the longest dimension to the screen size and fills the missing pixels in the shorter dimension with video black, creating a border. If the image has an alpha channel, this black will be keyed out in the alpha channel.
Table 8-1 Option Color Levels Alpha Import Settings Options (Continued) Suboption Description Even (Lower Field first) This option selects even-field processing during import. The first line in the image belongs to the even field. RGB (default) Select this option if the imported graphics file uses RGB graphics levels. Most computer-generated graphics use RGB graphics levels. The RGB color values are remapped to ITU-R 601 (formerly CCIR 601) video color values appropriate for the NewsCutter system.
Table 8-1 Import Settings Options (Continued) Option Suboption Description Single Frame Import Duration n seconds This option specifies the duration of the master clip created from the import. The default is 10 seconds. This option does not apply to importing sequential image files because each file represents one frame of the clip; therefore, the total number of files determines the total duration.
manage graphics from multiple sources and streamlines the reimporting process because all graphics will point to the same original path. For information on using the drag-and-drop method, see “Using the Drag-and-Drop Method to Import Files” on page 262. To import files: 1. If you have created one or more Import settings, select the Import setting that you want to use from the Settings scroll list (see “Creating and Using Import Settings” on page 250). 2.
Look In pop-up menu Details button File browser File to import Files of Type pop-up menu Options button Single/Dual Drives Mode button Resolution pop-up menu Video Drive/Audio Drive pop-up menu 4. Choose an import file type from the Files of Type pop-up menu to display only files of the chosen file type in the file browser. Use the criteria in Table 8-2.
Table 8-2 Import File Types Choose To Graphic or Audio Import one of more than 30 supported graphics and audio file types. For more information on the various file types and their import specifications, see Appendix B. AAF Import files that have been saved in the AAF format, which can include composition information, or metadata, that provides the instructions needed to combine and modify the media portions of the AAF file to produce a complete multimedia program.
n For a complete description of all options in the Import Settings dialog box, see Table 8-1. 7. Select the options you want. Click OK to save the settings, close the Import Settings dialog box, and return to the Select Files to Import dialog box. 8. Choose a destination drive for the imported file from the Video Drive/Audio Drive pop-up menu. You can separate video and audio onto separate destination drives by clicking the Single/Dual Drives Mode button until two pop-up menus appear. 9.
11. Select files or deselect files from the file browser section by doing one of the following: n t To add a single file, Ctrl+click the file name in the file browser section. t To add a group of files, click the first file in a group, and then Shift+click the last file in a group. t To deselect a single file from the file browser section, Ctrl+click a highlighted file name.
5. Click the file you want to import, and drag the file to the bin. To select multiple files, Ctrl+click the files, and drag them to the bin. Using Open Media Management (OMM) Open Media Management (OMM™) is a collaborative effort between Avid and leading asset management companies. OMM allows you to exchange video and audio clips with an asset management application. An asset manager is a powerful tool that gives you the ability to share media and composition files between Avid applications.
After you create these settings, you can transfer clips simply by using the drag-and-drop method. OMM Settings You must set up an asset management location to let NewsCutter know where your asset manager site is located. You set up the asset management location in the OMM Settings dialog box, which you access from the Settings scroll list of the Project window. For complete information on using settings, see “Using the Settings Scroll List” on page 74.
3. Type the Uniform Resource Locator (URL) where the preferred asset manager is located: • For networks: http://assetmanagerlocation/omm/xml/hostinfo.xml • For local workstations: file:///c:mydir/filename.xml 4. Select “Login to Asset Manager at launch” if you want to log in to your asset manager when you open your project. 5. Click OK. The asset manager location setting is created and marked as the default. To log in directly to the asset manager: t Click OK and Login.
c When you select an OMM setting, the NewsCutter system uses this location for all OMM imports and exports. If you use the drag-and-drop method to move clips to a different OMM location, the exported clip will go to the location specified in the OMM setting. Import and Export Settings You create Import and Export settings for OMM in the same way that you create any Import or Export setting. See “Creating and Using Import Settings” on page 250 and “Customizing Export Settings” on page 611.
To import a clip by using OMM: 1. In the Settings scroll list of the Project window, click an OMM setting and an Import setting (see “Preparing to Use OMM” on page 263). 2. Open the NewsCutter bin in which you want to store the imported clip. 3. Start your browser, and locate your asset manager. 4. In the asset manager window, click the clip you want to import and drag it to the bin. Ctrl+click to select multiple clips. The imported clip appears in the bin and you can edit it into your sequence.
Reimporting Files If you are working with master clips or sequences that contain imported material, you can use the Batch Import command to reimport the imported files. For example, you might want to create new media files when the media files are lost or accidentally deleted. c Reimporting requires your original source file. Do not delete the media files for imported files if the source files are no longer available unless you will not need the material again.
Selected Clips section Video Resolution pop-up menu Import Target section Import Options section Selected Clips Section The Selected Clips section 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 were found and therefore are available to be imported. Clips displayed in black were found and will be imported. Clips displayed in red were not found in their original location.
that were not found. See “Starting the Reimport Process” on page 271. If you select one or more clips and click Skip This Clip, the clips are removed from the list and are not imported. Import Target Section The Import Target section of the Batch Import dialog box contains global settings that affect all the files you are importing. • Video Resolution pop-up menu: Allows you to choose a video resolution. • Video Drive/Audio Drive pop-up menu: Allows you to choose a destination drive for the media files.
Starting the Reimport Process n Before beginning the reimport process, consider mounting any removable media drives that held the original graphics. To reimport imported files: 1. Open the bin, and select the imported master clips and sequences that you want to reimport. 2. Choose Batch Import from the Bin menu. A message box appears. 3. Select one of the following: t Offline only: Reimports only the selected imported master clips that are missing their media files.
If you select more than one clip displayed in red, the system attempts to find the rest of the clips first in the same folder as the first clip and then, if not found there, in folders that maintain the same relationship with the first clip’s folder. When the clips are found, they are displayed in black. 6. Choose a video resolution for all the reimported files from the Video Resolution pop-up menu. n OMFI and AAF files do not convert DV 25 to DV 50 or DV 50 to DV 25. 7.
CHAPTER 9 Organizing with Bins The NewsCutter system provides powerful database tools for organizing and managing your recorded material. You can work with bins using three different views. You can rename, sort, sift, duplicate, and delete clips and sequences. You can also print single-clip frames or whole bins.
Before You Begin There are several procedures you might want to perform before organizing your project because they affect the display of information in bins or the way the clips play back during screening: • If you want to center the pan between left and right speakers for some or all of the clips in a bin, see “Adjusting Default Pan Settings” on page 482. • If you want to customize the types of objects (clips, subclips, and so on) displayed in a bin, see “Setting the Bin Display” on page 274.
Table 9-1 briefly describes the icons listed in the Set Bin Display dialog box. Table 9-1 Object Icon Descriptions Object Icon Object Description Master Clips A clip that references audio and video media files formed from recorded footage or imported files. Subclips A clip that references a selected portion of a master clip. Sequences A clip that represents an edited program, partial or complete, that you create from other clips.
Table 9-1 Object Icon Descriptions (Continued) Object Icon Object Description Effects A clip that references an unrendered effect that you create. Motion Effects A file in the bin that references effect media files generated when you create motion effects. Rendered Effects A clip that references an effect media file generated when you render an effect. 2. Select the object types that you want to see: master clips, subclips, sequences, and so on. 3.
About Bin Views There are different display views for working with clips in a bin: Text view, Frame view, and Script view. Text View In Text view, clips are displayed in a database text format, using columns and rows, with icons representing the various objects. Column headings Object icons Fast Menu button Text View button For information on specific Text view features, see “Using Text View” on page 296. To enter Text view: t Click the Text View button (labeled T) in the lower left corner of the bin.
Frame View In Frame view, each clip is represented by a single picture frame, with the name of the clip. You can play back the footage in each frame and change the size of frames. You can also rearrange the frames in any order within the bin. Clip frame Clip name Frame View button For information on specific Frame view features, see “Using Frame View” on page 310. To enter Frame view: t Click the Frame View button (labeled F) in the lower left corner of the bin.
Script View In Script view, the system combines the features of Text view with Frame view and adds space for typing notes or script. The frames are displayed vertically on the left side of your screen with a script text box to the right of each clip. Clip information is displayed above the text box. Script text box Clip frame Clip comments Clip information Script View button For information on specific Script view features, see “Using Script View” on page 314.
Custom Bin Views To the right of the Text View button is the Bin View pop-up menu (Text view only) for selecting different Bin views. Bins have two default views that are automatically loaded: Custom and Statistics. Text View button Bin View pop-up menu Customizing Bin Views in Text View You can create and save customized bin views that you can easily access from the Bin View pop-up menu. You can customize the bin view by adding, hiding, or rearranging Bin columns.
settings in numerical order, for example Statistics.1, Statistics.2, unless you choose another name. To customize views of the bin, you can add, hide, copy, or rearrange standard or customized columns in any combination to create your own custom views. You can name and save them to suit your needs. When you create a new Bin view, the system saves the settings for this view so that you can later access and alter, copy, or delete these settings.
4. Type a name for the custom view, and click OK. Bin Fast Menu All Bin menu commands are also available in the Bin Fast menu, located in the lower left corner of every bin. The Fast menu is convenient when you are working with several open bins and need to access Bin menu commands quickly. To open the Bin Fast menu: t Click the Fast Menu button in the lower left corner of the bin.
n To view a complete list of the bins in your project, see “Using the Bins Display” on page 58. Setting the Bin Font To set the font displayed in bins: 1. Choose Set Font from the Edit menu. The Set Font dialog box appears. 2. Choose one of the available fonts from the Font pop-up menu. n Any font loaded in the Fonts folder appears in the list. For information on adding fonts to your system, see your Windows NT documentation. 3. Type another point size for the font in the Size text box. 4. Click OK.
To reverse your selection: t Choose Reverse Selection from the Bin menu. The items that you previously selected are deselected, and those that were previously deselected are selected. Duplicating Clips and Sequences When you duplicate a clip or sequence, the system creates a separate clip linked to the same media files. You can move, rename, and manipulate this clip without affecting the original clip. To duplicate a clip or sequence: 1.
Moving Clips and Sequences You can move clips and sequences to other bins to group and organize various types of material based on project needs. To move clips or sequences from one bin to 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 clip or sequence that you want to move, or Ctrl+click multiple clips or sequences. 4.
To copy clips from one bin to another bin: 1. Position the bins so that you can see both of them at the same time. You might need to resize the bins to do this. 2. In the original bin, click the clip or sequence that you want to copy, or Ctrl+click multiple clips or sequences. 3. Press and hold the Alt key, drag the clips or sequences to the destination bin, and release the mouse button. Deleting Clips and Sequences To delete clips or sequences from a bin: 1.
4. (Option) Delete the associated media files for master clips and effect clips. You can select both clips and media files for deletion, or you can select only the media files if you want to retain the clips for rerecording later. 5. Click OK. If you choose to delete media files, a message box appears. 6. Click Delete. Assigning Colors to Bin Objects You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects.
2. Select Color. 3. Click OK. The Color column appears in the bin. n By default, a new column appears as the last column in the bin. To move the Color column, select the Color column heading and drag it to the left. Assigning a Source Color To assign a color to a clip, subclip, sequence, or effect clip in a bin: 1. With a bin in Text view, select the bin objects to which you want to assign a color. 2. Choose Set Clip Color from the Edit menu, and choose a color from the submenu.
The color appears in the Color column. n You can also assign a color by clicking in the Color column and choosing a color from the pop-up menu. Assigning a Custom Source Color To assign a custom color to a clip, subclip, sequence, or effect clip in a bin: 1. With a bin in Text view, select the bin objects to which you want to assign a color. 2. Choose Set Clip Color from the Edit menu, and choose Pick from the submenu. The Windows Color dialog box appears. 3. Select a color and click OK.
To limit the colors available when assigning colors to bin objects: 1. With a bin in Text view, select the bin objects to which you want to assign a color. 2. Alt+click in the Color column in the bin. A menu of all the colors you are using in the bin appears. Any custom colors you assigned are labeled Other. 3. Choose one of the colors. The color appears in the Color column and on the clip icon. Sorting by Color To sort bin objects by color: 1. Click the Color column heading in the bin. 2.
Sifting Clips and Sequences When you sift clips, the bin displays only those clips that meet a specific set of criteria. For example, you can do a custom sift to display only those clips containing the word “close-up” in the heading column. The dialog box provides you with six different levels of criteria. To sift clips and sequences: 1. Choose Custom Sift from the Bin menu. The Custom Sift dialog box appears. Text to Find text box Column or Range to Search pop-up menu Criterion pop-up menu 2.
5. Type additional sift criteria, and make additional column selections, as necessary. 6. Click OK. Only the clips that meet your criteria remain in the bin, with the word “sifted” added to the bin name. After you have sifted the clips in a bin, you can display the bin in a sifted or an unsifted state as follows: To view the entire bin: t Choose Show Unsifted from the Bin menu. To view the sifted bin: t Choose Show Sifted from the Bin menu.
Lock icons A Lock icon appears for each locked clip in the Lock column of the bin in Text view. To unlock previously locked items: 1. Select the items in the bin. 2. Choose Unlock Bin Selection from the Clip menu. n You can use the clip-locking feature along with archiving software to automatically archive all locked media files. For more information on archiving locked files, see your archiving software’s documentation.
Selecting Media Relatives for an Object When you identify the media relatives of a selected clip or sequence, the system highlights all other clips linked to the selected clip, such as subclips or other sequences. To identify media relatives: 1. Open the bin that contains the chosen clip or sequence. 2. Open any other bins that might contain the media relatives that you want to find. 3. Resize and position the bins so that you can see their contents.
Highlighted media relatives n You can also use the Media tool to look at the recorded video and audio data files stored on your media drives. Selecting Unreferenced Clips When you select unreferenced clips, the system highlights all clips that are not currently referenced by clips or sequences present in the open bins. Any master clips, subclips, or effect clips you have edited into a sequence in the bin are not highlighted. To select unreferenced clips: 1.
3. Choose Select Unreferenced Clips from the Bin menu. A message box warns you that unreferenced clips will be highlighted in open bins only (items in closed bins are not shown). 4. Click OK. All unreferenced clips are highlighted in the open bins. n The Select Unreferenced Clips command is effectively the reverse of the Select Media Relatives command. Using Text View Text view provides the most complete view of clip information.
Text View button Arranging Bin Columns This section provides procedures for adding, hiding, moving, duplicating, and deleting columns from a bin. Moving and Rearranging Columns To move a text column in a bin: 1. Click the heading of the column that you want to move. The entire column is highlighted.
2. Drag the column to the position you want, and release the mouse button. The column appears in the new position, and columns to the right are moved to make room. Aligning Bin Columns 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 especially useful for removing spaces left after you move or rearrange columns. To align bin columns: t Choose Align to Grid from the Bin menu.
Showing and Hiding Columns You can select individual or multiple headings to be displayed or hidden in the bin. To choose column headings: 1. With a bin in Text view, choose Headings from the Bin menu. The Bin Column Selection dialog box appears.
2. Select the headings you want to add to the bin: t Click the name of a heading to select it. t Click a highlighted heading to deselect it. t Click All/None to highlight all headings or no headings. 3. Click OK. Only the headings highlighted in the dialog box appear in the bin or Text view. Deleting a Column Deleting a statistical column is the same as hiding the column; you can restore the column at any time by using the Bin Column Selection dialog box.
3. The dialog box contains column names compatible with the column you selected in step 1. The column must contain the same type of data for the copy to occur. Select a column name from the list, and click OK. The column of information appears in the column you designated. Adding Customized Columns to a Bin You can add your own column headings to describe information about clips and sequences.
Custom heading This places the pointer in the data box, beside the first clip in the bin. 4. Choose Align Columns from the Bin menu after you have entered the new column heading. 5. Type the information, and press Enter to move to the next line.
Changing a Custom Column Heading You can change the heading name of custom columns only. You cannot change any of the standard statistical or film column headings. To change the name of a custom column: 1. Press and hold the Alt key, and click the heading to highlight it. 2. Type the new text for the heading, and press Enter. Managing Clip Information in Text View There are several ways to manage clip information in Bin columns.
Table 9-2 Shortcuts for Moving in Text View (Continued) Press To Shift+Tab Move the pointer to the cell in the previous column. You can continue to press Shift+Tab to scroll through cells to the left until the cell in the first column is highlighted. The next time you press Shift+Tab, the cell in the last column is highlighted. Enter Enter any new information typed in the cell and move the pointer down to the cell in the next row.
master timecode track, as described in “Changing the Clip Info” on page 400. You can modify some data directly for master clips, subclips, and other objects stored in a bin. There are two ways to modify data: • You can modify some data directly for master clips, subclips, and other objects stored in a bin. • You can choose Modify from the Bin menu to change specific information for master clips only.
To modify the clip data directly: 1. Click the Text View button (labeled T) in the lower left corner of the bin. 2. Click the cell that you want to modify. Select only one item at a time. 3. Click the cell again to enter text. If the pointer does not change to an I-beam, you might be attempting to modify a column that cannot be directly modified. 4. Type the new information, and press Enter.
Table 9-4 Modify Command Options (Continued) Option Restrictions Decrement Timecode Only start timecode can be decremented after recording. Set Tracks Clip must be unrecorded. Set Source Should match the original source tape name. To modify selected data by using the Modify command: 1. Open the bin. 2. Click the small film clip icon to the left of the clip, sequence, or other object you want to modify. Ctrl+click each additional object you want to modify. 3. Choose Modify from the Bin menu.
6. Click OK. The modification takes effect. Copying Information Between Columns To copy information between columns: 1. Select the column that you want to copy. 2. Choose Duplicate from the Edit menu. A dialog box prompts you to target a column for the data. 3. Select the target column for the data, and click OK. Sorting Clips Sorting clips arranges them in either numerical or alphabetical order, based on the data in the column you select as the sorting criteria.
The objects in the bin are sorted in ascending order. For information on sorting order, see “Sorting Clips in Descending Order” on page 309. n If the Sort command appears dimmed in the menu, you have not selected a column. To reapply the last sort: t Choose Sort Again from the Bin menu with no column selected. This step is especially useful after you have added new clips to a sorted bin. Sorting Clips in Descending Order To sort clips in descending order: 1.
Performing Multilevel Sorting with Columns You can select multiple columns in a bin and perform a multilevel sort by using the information in the columns. To perform a multilevel sort: t Rearrange the columns in the bin to establish the primary column. The column that appears farthest to the left in Text view becomes the primary criterion for the sorting operation. Using Frame View In Frame view, each clip is represented by a single frame, with the name of the clip displayed below the frame.
Clip frame Clip name Frame View button Changing the Bin Background Color You can customize the background color of the bin behind the frames. Changes affect one bin at a time. However, changes you make in Frame view appear in Script view as well. Text view remains black and white. To change the bin background color: 1. Activate the bin you want to change, and make sure you are in Frame view. 2. Choose Set Bin Background from the Edit menu, and select a color from the pop-up palette.
The bin color changes, based on your selection. Enlarging or Reducing Frame Size You must enlarge or reduce all frames in the bin together. You cannot change the size of an individual frame. To enlarge the frame size: t Choose Enlarge Frame from the Edit menu. The display size increases each time you choose this option, up to five times. To reduce the frame size: t Choose Reduce Frame from the Edit menu. The display size decreases each time you choose this option, up to five times.
Rearranging Frames Frame view allows you to rearrange the display of the frames in the bin by moving them. To rearrange frames: 1. Click a single frame, and drag it to its new position. To rearrange more than one frame at a time, Shift+click or lasso multiple frames and drag them to a new position in the bin. 2. Click the background area of the bin to deselect the clips. n When you return to Text view, the order of the clips is changed there as well.
Arranging Frames in a Bin You can tidy up the frames in a bin after you have changed their display by choosing one of the following commands from the Bin menu: Choose To Align to Grid Align all frames to an invisible grid. Fill Window Spread out the frames evenly to fill available space in the bin window. Fill Sorted Make frames appear in Frame view in the order in which they are sorted in Text view.
Entering Script View To enter Script view: t Click the Script View button (labeled S) in the lower left corner of the bin. Adding Text in Script View To type text in the script box: t Click the script text box, and begin typing. This text does not appear in sequences edited from the clips; text appears only in printouts of the bin in Script view. You can use basic word processing procedures to highlight, delete, cut, copy, and paste text between script text boxes.
Rearranging Clips in Script View To rearrange the order of clips in Script view, do one of the following: 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. Printing Bins NewsCutter allows you to print entire bins or individual frames in hardcopy form. To print entire bins: 1. Make sure your printer is correctly configured.
The system prints the active bin. Gathering Format Elements While organizing your project, you can gather various format elements into a single bin that you can open and use later during editing. Some useful format elements might be: • Bars and tone • Head and tail leader • Repeated titles • Countdowns • Graphic elements (repeated animations and so forth) For information on importing graphic elements and titles, see “Importing Files” on page 257.
Importing Color Bars and Other Test Patterns To import a test pattern from a PICT file: 1. Open an existing bin, or create a new one for the test pattern. 2. Select the destination bin. 3. Choose Import from the File menu. The Select Files to Import dialog box appears. 4. Use the Look In pop-up menu to navigate to the folder containing the test pattern file. Test pattern files are located in the Program Files\Avid\NewsCutter folder. 5. Select a test pattern from the file browser section.
When you import SMPTE_Bars.pct, it does not exactly match the SMPTE bars generated by the Video Output tool. The I and Q blocks in the bottom portion of the pattern cannot be exactly represented in the RGB color space used when importing files. If you must have I and Q blocks correct in a sequence, do one of the following: t Record SMPTE bars from a signal generator. t Use the Video Output tool to generate SMPTE bars and record them to tape by using the controls on the deck.
Optionally, you can type a title on the screen that says Tail Leader or Head Leader. 2. Name this clip Head Leader or Tail Leader when you save the title. 3. Create a subclip from an appropriate length of the clip, according to your chosen specifications. 4. (Option) Mark a sync frame in the subclip as follows: a. Load the clip into the Source/Record monitor. b. Find an appropriate sync point and add a locator. c.
a. Find the appropriate sync point. b. Step one frame backward and place an add edit before the sync frame; then step two frames forward and place an add edit after the sync frame. c. Move the position indicator before the first add edit, and open the Audio Mix tool. d. Bring the audio level all the way down. e. Move the position indicator after the second add edit, and use the Audio Mix tool to bring the level all the way down. For information on adding an edit, see “Adding an Edit” on page 452.
CHAPTER 10 Managing Media Files When you record footage, the system creates digital media files for the video and audio tracks on the media drives attached to your system. In addition to the bin tools that allow you to organize the clips that reference these media files, your NewsCutter provides useful tools and features for directly managing media files for storage and playback efficiency, for backup, and for transfer between systems.
Using the Media Tool The Media tool is your window to the recorded video and audio data files stored on your media drives. As an important counterpart to the bins, the Media tool provides similar database tools for manipulating digital media files in tandem with your organization of clips and sequences.
• You can print Media tool data by using the same procedures for printing bins, as described in “Printing Bins” on page 316. The Media tool also has a number of unique features: • Unlike a bin, the Media tool can display all the tracks recorded for each clip as separate media files. Therefore, when you view, delete, and manipulate files, you have the added option of specifying individual video and audio tracks. • Unlike a bin, the Media tool does not display sequences and subclips.
2. Select the display options as follows: • n 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. • n You can select individual media drives or all drives. You can display files for the current project, for selected projects, or for all projects. Only projects with associated online media and the current project appear in the Project(s) list in the Media Tool Display dialog box.
Precompute clip Media file Master Clip Text View button 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. n If you use the Media tool to delete selected media files, you will no longer have access to visuals of the deleted material. If you load a clip for which a media file has been deleted, a blank screen appears with the message “Media Offline.
t Delete all unrelated media upon completion of a project, and retain only the media required for playback of a finished sequence as described in “Consolidating Media” on page 328. To delete selected media files: 1. Choose Media Tool from the Tools menu. 2. In the Media Tool Display dialog box, select the types of files (master clips, precompute clips, or media files) that you want to delete. 3. Click OK. The Media tool opens. 4.
6. Select the media files that you want to delete: • Video media file (V) The master clip linked to that file is black, and the message “Media Offline” is displayed in the Source/Record monitor. Related subclips and sequences are affected in the same way. • Audio media file (A1, A2, A3, A4) The master clip linked to that file is silent. Subclips and sequences created from the master clip are affected in the same way.
simple to move source files with you when you work on a different system. Using the Consolidate feature has the advantage of copying only the amount of media necessary; you save only the sequences and clips used in the project. For example, it will not copy an entire 1-hour audio file to consolidate a single 10-second clip. The Consolidate feature operates differently depending on whether you are consolidating master clips, subclips, or sequences.
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 Original media files Master Clip • Subclipped copy of media files Subclip Master Clip.new.01 Subclip.new.01 Sequences: When you consolidate a sequence, the system copies only the portions of media files edited into the sequence, and creates new master clips for each clip in the sequence.
Consolidating a Sequence Original media files Clip A Clip B Edited copy of media files Clip C Clip A.new.01 Clip B.new.01 Clip C.new.01 New links are established. Original links are broken. Sequence n Because a consolidated sequence is linked to the new files by default, consider duplicating the sequence each time you consolidate if you need to maintain links to the original files.
To consolidate master clips, subclips, or sequences: For more information on rendering effects, see the Avid NewsCutter Effects Guide. 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. With the bin open, select the clips or sequence to consolidate. 3. Choose Consolidate from the Bin menu. The Consolidate dialog box appears.
4. (Option) Select one or more of the options in Table 10-1. Table 10-1 Consolidate Options Select To Video and Audio on same Volume(s) Store the consolidated media files on the same target drive. Deselecting this option allows you to select separate drives for the audio and video media files. Delete original media files when done Delete original media files automatically. Skip media files already Skip files if some related media files are already on the target disk located on the target drive.
7. Click OK. If you are consolidating master clips and did not choose to delete the original media files, a second dialog box appears and offers you a choice. 8. Link the original master clips to the new or old media files, according to preference. 9. Click OK. Another way to back up media files is to copy them directly onto another hard drive by using the Windows NT desktop.
quit NewsCutter, restart the application, and open the sequences bin only. To update offline sequences with the new media files: t Choose Load Media Database from the File menu. The system loads all online master clips and precomputes. n c You need not load the media database more than once during a single editing session because the database remains in memory until you quit the application or restart the NewsCutter system.
Finding a Related Media File The Reveal File command allows you to select a clip in a bin and automatically open its related media file. This is useful if you want to delete or move the media file. To find a related media file: 1. Select the clip in a bin for which you want to find the media file. The clip is highlighted. 2. Choose Reveal File from the File menu. The system searches all available drives and highlights a related media file.
If you click OK, you need to bring the Explorer window forward by pressing and holding the Alt key and pressing the Tab key until you select the OMFI MediaFiles folder. Relinking Media Files Sometimes, after you consolidate or move material between systems, the clips or sequences lose their links to the original media files. When a clip becomes unlinked, it displays the message “Media Offline.” If appropriate media exists online, you can use the Relink command to reestablish the link.
3. Select an option from the “Relink operation on selected clips” section, as shown in Table 10-2, depending on the type of object you are relinking, either non-master clips or master clips. Table 10-2 Relinking Options Select To Relink offline non-master clips Relink clips and sequences to the master clips to any online items that contain the same material. Relink all non-master clips to selected online items Relink related subclips or sequences to the highlighted clip in the bin.
4. Choose an option from the “Relink to media on volume” pop-up menu as shown in Table 10-3. Table 10-3 Relinking Location Options Choose To All Available Drives Search across all media drives that are online. A specific drive volume Relink to media on a specific media drive. 5. (Option) Select “Relink only to media from the current project.” 6. (Option) Select “Match case when comparing tape names.” 7. Click OK.
4. Select “Relink all non-master clips to selected online items” to relink related subclips or sequences to the highlighted clip in the bin. 5. Choose an option from the “Relink to media on volume” pop-up menu: t Choose All Available Drives to search across all media drives that are online. t Choose a specific drive volume if you know the location of the media or if you want to relink to media on a specific media drive. 6. (Option) Select “Relink only to media from the current project.” 7.
For information on unlinking, see “Unlinking Media Files” on page 341. 2. Choose Relink from the Bin menu. The Relink dialog box appears. 3. Select “Relink offline master clips to online media files” to relink master clips to media files that share similar database information. 4. Choose a specific drive volume that contains the original media files from the “Relink to media on volume” pop-up menu. 5. (Option) Select “Relink only to media from the current project.” 6.
Archiving and Restoring Media Files Using Videotapes You can archive to videotape the source media associated with sequences, master clips, and subclips. Archiving the source media to videotape is similar to recording a digital cut, except you can reedit the sequence after you restore it. You can use the archiving process to: • Archive completed projects that you can restore at a later date, if you need to reedit the project. • Provide more space on the media drives for a new project.
handles for transition effects are included in the archive file. The final sequence can be linked to the rerecorded media to re-create the project. Each archived master clip is stamped with the archive tape name and archive timecodes during the restoration process. The original source information on the master clips will remain unchanged.
Deck Selection pop-up menu b. Choose a deck from the Deck Selection pop-up menu. The Select Tape dialog box appears. c. Click Cancel to leave Tape Name unspecified. d. (Option) Select the Custom Preroll option, and choose the number of seconds from the pop-up menu to indicate how many seconds the tape rolls before the archiving process starts. This option overrides the Preroll setting in the Deck Settings dialog box. 2. Create a new bin for the archive, and name the bin.
t Choose Select All from the Edit menu to select all the clips and sequences in the bin. t Ctrl+click to select specific clips or sequences. 6. Choose Archive to Videotape from the Clip menu. The Archive to Videotape dialog box appears. 7. Select the appropriate options in the Archive to Videotape dialog box, as described in Table 10-4. n 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. 8. Click OK.
Archive Length displays the calculated length of time required for archiving the media files. The archive might require more time than indicated because individual clips are not divided between tapes. 9. In 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.
created for each tape. When needed, the system prompts you for another blank tape. When the system finishes creating the archive, a message box notifies you that the process is complete. 12. Copy the project files (bins, project, and settings) to a Zip® disk or equivalent storage device. For more information, see “Backing Up Your Project Information” on page 49. After you archive your project, you can delete the media files from your NewsCutter system to provide more space on your media drives.
Table 10-4 Archive to Videotape Options (Continued) Option Description For Subclips and Sequences: Use handles Select this option to archive additional frames. Handle Length n frames Type the number of additional frames you want to archive at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. Archive entire master clips Select this option if you want to archive the entire master clip.
a. Choose a deck from the Deck Selection pop-up menu. If the Select Tape dialog box appears, click Cancel to leave Tape Name unspecified. b. Choose a resolution from the Res (Resolution) pop-up menu. c. Choose a drive volume from the Target Drive pop-up menu. d. Make sure the audio sample rate is set correctly. See “Adjusting Audio Project Settings” on page 186. n For more information about setting up the Record tool, see Chapter 6. 5.
9. Follow the instructions in the message boxes to complete the restoration. NewsCutter rerecords the archived sequences and clips. 10. Batch import any graphics and render all non-real-time effects. For information about batch import, see “Reimporting Files” on page 268. Workgroup Support NewsCutter includes support for Avid Unity workgroup products, including About MediaManager and About TransferManager.
TransferManager receives and queues transfer requests from one or more clients. Transfers are then initiated by the TransferManager server to offload the client. For information on transferring files between workgroups, see the Avid Unity TransferManager User’s Guide.
CHAPTER 11 Viewing and Marking Footage Before making your first edit, you can review your footage, add locators to clips, mark IN and 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.
Customizing the Source/Record Monitor You can customize the Source/Record monitor by displaying or hiding labels on buttons and by changing the background color. You can also customize the appearance of the Timeline by displaying a variety of information about your sequence. You can customize Trim mode by changing the Transition Play Loop settings for Preroll, Postroll, and Intermission. Changing the Background Color To change the background color of the application: 1.
Using the 16:9 Display Format NewsCutter supports the display of some forms of native 16:9 media with the correct aspect ratio. When you shoot this “wide” format with a camera, it stores it anamorphically (into a standard 4:3 frame) as opposed to letterboxed. When you select the 16:9 option in NewsCutter, the anamorphic 16:9 media is displayed (not letterboxed) in the Source/Record monitor, pop-up monitor, and the Title tool.
Displaying Tracking Information Tracking information consists of any type of format used to identify clips, audio and video tracks, individual frames, or footage durations while you work. The NewsCutter interface displays this information in the Tracking Information menu, located above the Source/Record monitor. This information is updated continuously to reflect your current position in the footage. You can choose various alternative tracking formats from submenus.
Tracking Information menu Tracking Format Options The Tracking Information menu contains options for information to display above the monitors.
The following is a summary of the contents of the menu: n • The upper portion of the menu lists options for summary information, such as master timecode (Mas), duration of the entire clip (Dur), IN to OUT duration (I/O), absolute timecode (Abs), and time remaining (Rem). • The second portion of the menu lists options for displaying the timecode for a specific track (V1-V4 and A1-A8). This list contains options only for the tracks existing in the currently loaded clip or sequence.
Displaying Clip Information The Info window displays statistical information about the clip. You open the Info window from a bin. This window updates information automatically. To display clip information from a bin: 1. Press Ctrl+Alt and click the clip for which you want to display information. A pop-up window with clip information appears. 2. Drag the window to a new location to leave it open.
3. Place and click the mouse pointer where you want to paste the information, and then press Ctrl+V. Displaying the Timecode Window Each pop-up monitor displays one line of timecode. The Timeline also displays one line of timecode. The Timecode window allows you to display one or more lines of timecode in a separate window. To set a timecode display: 1. Choose Timecode Window from the Tools menu. The Timecode window opens. 2. Click anywhere in the Timecode window. 3.
Close button Timecode pop-up menu The window displays the timecode you have chosen. The information is continuously updated based on the location of the position indicator and the monitor that is active. 4. Click the Close button to close the Timecode window.
Table 11-1 Timecode Display Options (Continued) Option Description TC Displays timecode for the chosen track V1-V4 Displays the source timecode of the video on tracks 1, 2, 3, and 4 A1-A8 Displays the source timecode of the audio on tracks 1, 2 , 3, 4, 5, 6, 7, and 8 Clip Name Displays the name of the clip for a specific track None Hides the display Add Display Allows you to add another timecode display Displaying Multiple Timecodes To display multiple timecodes in the Timecode window: 1.
Setting the Font and Point Size for Monitor Displays You can apply a font and point size to a sequence or clip name. To set the font and point size: 1. With the Source/Record monitor active, choose Set Font from the Edit menu. The Set Font dialog box appears. 2. Choose a font from the Font pop-up menu, and type a point size in the Size text box. 3. Click OK. The new font and point size are applied to the sequence name or clip name.
clips for use in a sequence that you build in the Source/Record monitor. • Viewing in the Source/Record monitor: You can drag a clip or sequence into the Source/Record monitor to view, mark, or modify an existing clip or sequence. • Viewing in the Timeline: Use the Timeline to view individual tracks for either a sequence or a source clip. Loading and Clearing Footage You load individual or multiple clips or sequences into the Source/Record monitor or into a pop-up monitor by using different methods.
Loading into a Pop-up Monitor To load clips or sequences into a separate pop-up monitor: 1. Change the bin setting. See “Bin Settings” on page 77. 2. Open a bin, and locate the clip or sequence. 3. Alt+double-click the clip or sequence. The clip or sequence appears in a separate pop-up monitor. Using the Clip Name Menu When you have clips loaded in a monitor, you use the Clip Name menu located above each monitor to switch between various loaded clips or to clear clips from the monitors.
Clip Name menu 2. Choose a different clip or sequence name from the menu. The selected clip or sequence replaces the current clip or sequence in the monitor. 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 while opening the Clip Name menu. Clearing Clips or Sequences from Monitors To clear the monitor or the clip or sequence names from the menu: 1.
2. Choose one of the following commands: • Clear Monitor removes the displayed clip or sequence from the screen, leaving black. The clips or sequences are still loaded. • Clear Menu deletes the list of all loaded clip or sequence names and leaves only the clip or sequence currently displayed. Resizing Monitors You can resize the Source/Record monitor to provide more area for displaying the Timeline or other windows. You can either hide the video completely or resize the monitor.
To redisplay the video in the monitor: t Right-click in the monitor and choose Hide Video from the shortcut menu. Resizing the Source/Record Monitor You can resize the Source/Record monitor. To resize the monitor: 1. Click in the Source/Record monitor to make it active. 2. Click the lower right corner of the window, and drag to the new size you want the monitor to be. The monitor is displayed with the new size; aspect ratio is maintained.
Using Position Bars and Position Indicators To quickly access frames within a clip loaded into a monitor or to move through the footage, do one of the following: t Use the position indicators that appear in the position bars under the pop-up and Source/Record monitors. The position indicator also appears in the Timeline when you are viewing a sequence.
Position indicator in Timeline Using Buttons You can use the buttons that appear under the Source/Record monitor and in the pop-up monitors to play and step (jog) through your footage. You can also use the keyboard to manipulate footage. To play the clip backward or forward in one-frame increments: t Click the Step (Jog) buttons under the monitors. t Press the 3 or 4 key, or the Right Arrow or Left Arrow key.
Step Backward Step Forward To step (jog) through footage: 1. Load a clip or sequence into the Source/Record monitor. 2.
Stepping Forward and Backward by Field Your NewsCutter system enables you to locate defects on individual fields of a frame with the single-field step feature. By default, the first field of every frame is displayed when you step through material frame by frame. With single-field step, you can view both fields of each two-field frame sequentially to locate a dropout from the source videotape, or dust and scratches from the original film footage.
About the Keyboard The Keyboard palette varies, depending on the type of keyboard attached to your NewsCutter system. If an Avid-supported international keyboard is attached to your NewsCutter system, then the Keyboard palette matches that keyboard. Step buttons Workspace buttons Delete key Play button Home key End key Stop Play buttons Arrow keys The J-K-L keys on the keyboard allow you to play, step (jog), and shuttle through footage at varying speeds.
Shuttling with the J-K-L Keys To shuttle through the footage by using the J-K-L keys on the keyboard: 1. Load a clip or sequence into the Source/Record monitor. 2. Use the J-K-L keys to shuttle at varying speeds: t Press the L key to move forward through the footage at normal speed. You can increase the speed according to Table 11-2.
To stop shuttling: t Press the space bar. Navigating with Home, End, and Arrow Keys In addition to using the buttons in the application, you can use the keys listed in Table 11-3 on your keyboard to navigate through clips and sequences. Table 11-3 Navigating with Home, End, and Arrow Keys Press To 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 Move the footage one frame backward.
The Play button in the monitor toolbar becomes the Mouse Jog button, and the mouse pointer disappears. The mouse now controls jogging. n You can map the Mouse Jog button to any button in the Tool palette or the Timeline top toolbar, or to any key on the Keyboard palette. For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 111. 6. Move the mouse to the right to jog forward or to the left to jog backward. The footage plays only while you move the mouse.
n You can map the Mouse Shuttle button to any button in the Tool palette or to any key on the Keyboard palette. For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 111. 6. Move the mouse to the right to increase the shuttle speed or to the left to decrease the shuttle speed. To pause shuttling with the mouse: t Click the mouse button. To quit shuttling with the mouse: t Press the space bar. The Play button and mouse pointer reappear.
Marking and Subcataloging Footage You can speed the editing process by marking clips with IN and OUT points in advance, by using locators to subcatalog footage, and by creating subclips. Marking IN and OUT Points You can mark IN and OUT points for your clips in advance, which provides several advantages: • You can quickly build a sequence by splicing the marked clips into place one after another.
The sawtooth icon appears on the left side of the monitor to indicate the mark IN frame. Sawtooth icon Mark IN button Clear OUT button Clear IN button Mark OUT button 4. Continue playing, stepping (jogging), or shuttling through the material. 5. Mark an OUT point by doing one of the following: t Click the Mark OUT button under the monitor to mark an OUT point.
t Use the Mark OUT key on the keyboard when marking a clip in a bin. The sawtooth icon appears on the right side of the monitor to indicate the mark OUT frame. Clearing a Mark and Setting a New One You can clear marks and set new ones. To clear the IN point: t Click the Clear IN button (or press the D key). To clear the OUT point: t Click the Clear OUT button (or press the F key). To clear both the IN and OUT points: t Press the Clear Both Marks key (the G key).
Marking an Entire Clip or Segment To mark an entire clip or segment: n A segment in a sequence consists of the material between any two edit points. 1. Load a clip or sequence into the Source/Record monitor. 2. In a sequence, move the position indicator to the segment that you want to mark. 3. In the Track Selector panel in the Timeline, select the tracks corresponding to the cuts you want to mark. Track Selector panel 4. Click the Mark Clip button under the monitor.
Mark Clip button n n To ignore the current track selection and to mark the smallest clip at the current position in the sequence, press and hold the Alt key while you click the Mark Clip button. If you load a master clip into the Source/Record monitor, this procedure places an IN point at the beginning and an OUT point at the end of the clip. Marking Audio Clips You can mark audio and video separately for an edit by using the Audio Mark buttons.
4. Choose Command Palette from the Tools menu. 5. Click the Edit tab. 6. Select Active Palette. 7. Do one or both of the following: Audio Mark IN button Audio Mark OUT button t Click the Audio Mark IN button to mark an IN point. t Click the Audio Mark OUT button to mark an OUT point. To remove audio IN and OUT points: 1. Shift+click the IN point and the OUT point. 2. Click the Clear Both Marks button in the Timeline top toolbar.
n If a subset of the buttons appears in the Tool palette, click the lower right corner and drag to the right and down to reveal the full Tool palette and blank, mappable buttons. Using the Tool Palette Options To see the names of the buttons in the Tool palette: t Hold the mouse pointer over a button. The name of the button appears in a yellow ToolTip box. To have labels appear on the Tool palette buttons: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2.
Using the Tool Palette from the Record Monitor The Fast Menu button does not appear under the Record monitor. To use the Tool palette with the Record monitor: 1. Click the Toggle Source/Record button until the word Source appears next to the the title in the monitor and the button turns green. 2. Click the Fast Menu button under the Source monitor. 3. Click the Tool palette, and drag it to another location in the application. 4.
remain linked to the master clips from which they are created, and the master clips, in turn, reference the recorded media files located on your storage drives. As a result, none of the original footage is lost. Subclips do not limit your access to the original, recorded master clip material when trimming. Therefore, if you must trim beyond the marked IN to OUT points of the subclip to make it longer or shorter, your system accommodates the adjustments during the trim.
A new subclip as referenced in Text view Using Locators Locators are a type of electronic bookmark. Locators allow you to find and identify specific frames during editing. Key words that you enter into the comments attached to a locator allow you to use standard Find procedures to call up the clips quickly. You can display information about the locators by using the Locators window. There are eight Add Locators buttons in the More tab of the Command palette.
• Cutaway markers: Use locators to identify cutaway shots with comments, so that when you return to cover jump-frame edits with cutaway footage, you can quickly access the clips. • Replace markers: Use locators to mark filler segments with comments to identify the items that should replace the filler. When you insert a locator, it appears as a colored oval in the Timeline, in the position bar, and at the bottom of the frame in the monitor. You can also add locators on-the-fly while you record.
Adding Locators While Editing To add locators during an editing session: 1. Load a clip or sequence into the Source/Record monitor. 2. (Option) Select a specific track by using the Track Selector panel. See “Using the Track Selector Panel” on page 443. 3. Cue to the frame and click the Add Locator button. The Add Locator button is found in the More tab of the Command palette and can be mapped to a button or a key.
Deleting Locators To remove a locator from a clip: 1. Select the locator. 2. Press the Delete key. The selected locator is removed. To delete locators by using the Locators window: t See “Deleting Locators by Using the Locators Window” on page 393. Using the Locators Window The Locators window allows you to quickly add comments, go to locator marks, delete locators, and print a list of locators in the currently loaded clip or sequence.
The Locators window is divided into two sections: • The top section displays information in text columns about the locators. • The bottom section allows you to type comments about the frame marked by the selected locator. The following illustration shows a Locators window with three locators. Locator information area Comment entry area Viewing and Navigating in the Locators Window To view locators in the Locators window: 1. Load the sequence containing the locators into the Source/Record monitor. 2.
To navigate in the Locators window: t Press the Tab key to switch between the locator information area and the comment entry area. t Press the Up Arrow and Down Arrow keys to select locators in the locator information area. Sorting Information in the Locators Window You can sort or reverse-sort the locators by using the locator information area in the Locators window. To sort the locators in ascending order: 1. Select the column that you want to sort. The column is highlighted. 2.
Changing the Color of the Locator Icon You can change the color of the locator icon from the Locators window. NewsCutter uses the same color in the Timeline, position bar, and monitor. To change the color of the locator icon: 1. Select a locator in the locator information area of the Locators window. 2. Choose a color from the Locators Fast menu. The icon color of the selected locator changes to the new color.
The Print dialog box appears, reflecting specific options for your printer. 6. Select the print options. 7. Click OK. NewsCutter prints the Locators window. Deleting Locators by Using the Locators Window You can use the Locators window to delete a single locator or multiple locators. To delete locators by using the Locators window: 1. Select the locators in the locator information area of the Locators window by doing one of the following: t Click a single locator. t Ctrl+click multiple locators. 2.
Using Frame Offset Timecode to Cue a Frame To cue a frame by using frame offset timecode: 1. Using the numeric keypad, type a plus (+) sign to move forward or a minus sign (–) to move backward from the current position. 2. Type a number for the frame offset, and press Enter on the numeric keypad. Use the following formats: • One or two digits: Type 1 through 99 to specify a number of frames forward or backward. For example, type –42 to move backward 42 frames.
To cue to a frame based on a known timecode: 1. Type the timecode for the frame by using the numeric keypad on the right side of the keyboard. 2. Use one of these formats: • SMPTE timecode: Use two digits each for the hours, minutes, seconds, and frames with no leading zeros. For example, type 1230200 to enter 01:23:02:00. • Current timecode: If you are finding a timecode that starts at the same time as the current timecode, just type the last digits.
3. Make sure you select the correct track for the frame that you want to match in the Track Selector panel. 4. Click the Match Frame button in the Timeline top toolbar. 5. The frame appears in the Source monitor. n If you do not want to mark the source clip and remove the original marks, press the Alt key as you click the Match Frame button.
CHAPTER 12 First Edits After you have viewed and marked your clips or have created subclips, you are ready to create a sequence.
Setting Up a New Sequence For information about setting up a new sequence, see the following sections: • Starting a New Sequence • Changing the Clip Info • Setting Up Tracks for the New Sequence • Deleting Tracks • Adding Filler Starting a New Sequence To start a new sequence: 1. Do one of the following: t Choose New Sequence from the Clip menu. t Right-click in the Timeline, and choose New Sequence from the shortcut menu.
2. Select the bin in which to store the new sequence, or click New Bin to create and open a new bin. 3. Click OK. An untitled sequence appears in the bin, in the Record monitor, and in the Timeline.
To rename the new sequence: t n Immediately type a new name while the name is highlighted in the bin. If you click anywhere in the interface after creating the new sequence, you deactivate the sequence name field. You must click the sequence name again to rename the sequence. Changing the Clip Info The following optional procedure allows you to rename the new sequence and to set a customized start timecode by using the Get Sequence Info command. To rename a sequence and to set a customized timecode: 1.
n You can switch from non-drop-frame timecode to drop-frame timecode by changing the colons (:) in the Starting TC text box to semicolons (;). The reverse is also true. 4. Click OK. Setting Up Tracks for the New Sequence When you create a new sequence by using the New Sequence command, and no material is loaded in the Source/Record monitor, the Timeline is empty. To add a new track to a sequence loaded in the Source/Record monitor: t Choose New Audio Track or New Video Track from the Clip menu.
To add a new track and to change the numbering system: 1. Press and hold the Alt key, and choose New Audio Track or New Video Track from the Clip menu. The Add Track dialog box appears. Track Type pop-up menu Track Number pop-up menu 2. If you want to switch from the type of new track you chose (for example, from a new video to a new audio track), click the Track Type pop-up menu and choose the other option. 3.
A dialog box appears. 3. Click OK. The track is deleted. Adding Filler You can add a small amount of black filler at the start of your sequence. A brief moment of black before the start of your sequence is sometimes useful during playback or when recording a digital cut. You can also add filler at any time during editing to another part of the sequence. n You can’t add filler to the end of a sequence except during a digital cut, and you can’t add filler to an empty sequence.
Making the First Edit Making the first edit involves the following procedures: • Beginning to Edit • Creating an Instant Rough Cut • Undoing or Redoing Edits Beginning to Edit To begin editing: 1. Load the first clip into a pop-up monitor. If you have not already marked IN and OUT points for the clip in advance or created a subclip, view and mark the clip as necessary. Source Track buttons Source Track Monitor buttons 2.
For example, with a talking head, you might select tracks V1 (picture) and A2 (sound), if the voice was recorded on that track. You would deselect track A1, which might have unwanted wild sound picked up from a second microphone or no sound at all. As another example, if you are laying down a music track first, you would select track A1 or A2, depending upon where the music was recorded, and deselect V1. 3. Click the Splice-in button to add the edit to the sequence in the Source/Record monitor.
Screen display of the first edit in a sequence The end of the last frame of the new edit Timeline generated by the edit 406
Creating an Instant Rough Cut As an alternative to creating a new sequence by editing clips one at a time, you can quickly create a rough cut by selecting and loading multiple clips directly from the bin in Text view and then dragging them into the Timeline. n To create a more accurate rough cut, view and mark clips in the bin in advance. See “Marking IN and OUT Points” on page 377. To create a rough cut from a bin: 1.
To redo only the previous edit or function: t Choose Redo from the Edit menu, or press Ctrl+R. Editing Additional Clips into the Sequence The primary edit functions are splice-in and overwrite. In most cases, you perform three-point edits in which you set three marks — two in the source material and one in the sequence, or the reverse. The fourth mark is determined automatically. The way you set marks depends upon the type of edit you perform.
4. Mark an IN point in the sequence as follows: n a. Switch to the Record monitor by clicking the Toggle Source/Record button until the word Sequence appears next to the title in the monitor. b. Move the position indicator in either the Timeline or the position bar of the Record monitor to the point where you want to splice the clip into the sequence. c. Click the Mark IN button, or press the Mark IN key on the keyboard.
To perform an overwrite edit: 1. In the Source monitor, mark an IN point or an OUT point, but not both, to show the start or end of the clip you want to use. 2. 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 in the Timeline or position bar to the IN point. 3. Click the red Overwrite button under the Source monitor to complete the edit.
Lifting, Extracting, and Copying Material Extract/Splice-in and Lift/Overwrite are Segment mode functions you can also use to remove and reposition segments. For more information, see “Performing Segment Mode Edits” on page 435. Lifting, extracting, and copying allow you to 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.
4. Click the Edit tab. 5. Click the Lift button, or press the Z key to complete the edit. Extracting Material The Extract function removes selected material from a track in the sequence and closes the gap left by its removal. As a result, when you extract material, you shrink the duration of the track or sequence. Extracted Clip Y Before Extract Clip X After Extract Clip X Material is placed in the Clipboard. Clip Z Clip Y Track is shortened. Clip Z To extract material: 1.
Copying Material The Copy to Clipboard function makes a duplicate of selected material in the sequence and leaves the material intact. When you copy material, the sequence remains unaffected. The material can then be inserted into the sequence elsewhere or into another sequence. To copy material to the Clipboard: 1. Mark IN and OUT points in the sequence at the start and end of the material that you want to copy. 2. Select the tracks containing the material.
n These buttons are also in the Edit tab of the Command palette; you can map them to buttons in the Tool palette or keys in the Keyboard palette. See “Mapping User-Selectable Buttons” on page 111. The Copy to Clipboard function is useful for moving or repeating material in a sequence without moving multiple segments in Segment mode or for rebuilding the section at another location. For example, you can: • Copy a portion of a sequence for pasting into another sequence.
Playing the New Sequence You can play a sequence at any time and view it in the Record monitor. Playing a Sequence To play a sequence: 1. Make sure that the Video Track Monitor icon is located on the topmost video track to display all video tracks and effects during playback. 2. Make sure the Audio Track Monitor button for each audio track is selected to ensure proper playback of all audio tracks. 3.
2. Press and hold the Alt key, and press the Play IN to OUT key (6 on the keyboard). The playback loop begins and continues until you press the space bar or click anywhere with the mouse. n If there are no IN or OUT points in the sequence, pressing the 6 key moves the position indicator to the beginning of the sequence and plays IN to OUT in one step.
Proceeding with Editing When you have finished a rough cut, you are ready to fine-tune the sequence. To learn about the Timeline and Segment mode editing techniques: t See Chapter 13. To make frame-accurate adjustments to your edits, use Trim mode: t See Chapter 14. To edit with audio or to mix audio tracks in preparation for playback or output: t See Chapter 15. To edit with synced tracks: t See Chapter 16. To add effects to your sequence: t See the Avid NewsCutterEffects Guide.
CHAPTER 13 Using the Timeline NewsCutter represents each edit and effect in a graphical Timeline structure to help you track and manipulate the elements of your sequence. In addition, the Timeline has its own set of editing tools that you can use to create and revise edits and transitions across multiple tracks. The audio and video tracks in the Timeline play in the Record monitor. You can continually edit your sequence and review your changes in the Record monitor until you are pleased with the result.
Customizing Timeline Views You can customize your Timeline to display a variety of information about your sequence as well as the clips and transitions it contains. You use the Timeline Fast menu and the Timeline settings to change the display. Examples of customizing your Timeline include: • Visual detail: If you want to display more detailed information about clips with which you are working, you can enlarge the video tracks to display clip names and durations, and source and media names.
Table 13-1 describes the Timeline Settings options.
Table 13-1 Timeline Settings Options Option Description Show Marked Region When this option is selected, the system highlights the region from the IN point to the OUT point. Show Marked Waveforms When this option is selected, the system shows waveforms drawn between an IN point and an OUT point instead of over the entire composition. Scroll While Playing When this option is selected, the Timeline scrolls over the position indicator while you play a sequence.
Fast Menu button To choose an item from the Timeline Fast menu: t Click the Fast Menu button and scroll through the menu to select or deselect an option. Selected options have check marks next to them. Table 13-2 lists the Timeline Fast menu options. Table 13-2 Option Suboption Timeline Fast Menu Options Description Default Setup Sets the Timeline display back to the default. Clip Frames Switches on and off the display of clip head frames in the Timeline.
Table 13-2 Option Suboption Timeline Fast Menu Options (Continued) Description Source Names Switches on and off the display of source material names in the Timeline. Media Names Switches on and off the display of original media names in the Timeline. Render Ranges Indicates unrendered effects; see the Avid NewsCutter Effects Guide. None Displays a red line on the portion of any partially rendered effect that is currently unrendered (but does not mark completely unrendered effects).
Additional Procedures for Customizing the Timeline NewsCutter allows you to enlarge and reduce the sizes of the Timeline tracks, and to change the colors of the tracks and background. These procedures include: • Enlarging and Reducing Tracks • Changing the Timeline Track Color Enlarging and Reducing Tracks You can enlarge or reduce the height of one or more tracks to improve visibility and to display more information within the tracks.
Changing the Timeline Track Color To change the background color of the tracks in the Timeline: 1. Click the Timeline to make it active. 2. Choose Track Color from the Timeline Fast menu. 3. Choose a color for the tracks from the Color palette. If you want to choose a custom color for the tracks, press the Alt key while performing this procedure. When you release the mouse button in the Color palette, the Windows Color dialog box appears.
The current Timeline view is applied to the selected name, and that name is displayed in the Settings scroll list in the Project window. You can change the View Name in the Settings scroll list if you want. Setting the Scroll Option for the Timeline When you select Scroll While Playing, the Timeline scrolls over the position indicator while you play a sequence. This is useful if you are viewing the Timeline in more detail and the end of the Timeline is not visible in the monitor.
4. Select Scroll While Playing. n To turn off Scroll While Playing, deselect this option in the dialog box. 5. Click OK. When you play a sequence in the Timeline, the sequence scrolls over the position indicator. When the Timeline has passed the play head and the end of the Timeline is revealed, the Timeline stops moving and the position indicator travels the remaining distance. Scale box n For the Timeline to scroll, you might need to display more detail in the Timeline to expand the sequence.
Navigating in the Timeline The Timeline 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 scale bar, or the Timeline scroll bar to navigate within the Timeline. In addition, marked sections of the sequence are highlighted in the Timeline for visual reference.
Using the Timeline Scroll Bar The Timeline scroll bar appears on the right side of the Timeline bottom toolbar. The Timeline scroll bar functions like any standard scroll bar. You can drag the scroll box to reposition yourself within the Timeline, or click the arrows to scroll left or right. Displaying Detail in the Timeline The scale bar stretches and contracts the Timeline area centered around the position indicator.
Controlling Movement in the Timeline While working in the Timeline, you can use the Ctrl and Alt keys to control the movement of both the position indicator and any segments that you move in Segment mode. To snap to the head of transitions as you move through the Timeline sequence: t Press and hold the Ctrl key as you drag either the position indicator or any segments selected in Segment mode.
To perform segment editing: 1. Select the segments either by clicking a Segment Mode pointer and making selections or by lassoing segments with the mouse. You can select one or several segments or tracks, as described in “Selecting Segments with the Segment Mode Pointer” on page 431 and “Selecting One or More Segments by Lassoing” on page 432. 2. Move the segments by dragging with the mouse. Use either the Extract/Splice-in button or the Lift/Overwrite button to move the segment to a new position. 3.
Selecting One or More Segments by Lassoing To select segments by lassoing: 1. Do one of the following: t Click one of the Segment Mode buttons located in the Timeline bottom toolbar. t Press and hold the Alt key. 2. Draw a lasso beginning in the area above the tracks in the Timeline. Drag to select more than one segment. Begin Lasso box Segment End To switch to Lift/Overwrite mode: t n Click the Lift/Overwrite button after selecting the segments.
To deselect one or more segments: t Use the Segment Mode pointer to Shift+click specific segments on any track, leaving the remaining tracks selected. About Finding Black Holes and Flash Frames The following two commands help you quickly find parts of your sequence that you might want to delete from the final sequence: • Find Black Hole • Find Flash Frames Black holes are segments of the sequence that consist of one or more frames of filler.
Finding Flash Frames To find flash frames: 1. Check or set the maximum frame length that you want the system to detect by doing the following: a. Click the Settings button in the Project window. b. In the Settings scroll list, double-click Timeline. The Timeline Settings dialog box appears. c. Click the Edit tab. d. In the option Find Flash Frames Shorter Than, indicate the maximum number of frames you want the system to detect.
• Bind editing directly into a sequence • Top and tail editing • Setting the duration for filler • Cutting, copying, and pasting • Effects editing • Working with tracks • Match framing • Backtiming Performing Segment Mode Edits There are two methods for editing segments or adding clips: • Extract/Splice-in, indicated by a yellow arrow • Lift/Overwrite, indicated by a red arrow Consider the following when editing segments: • Transition effects on either side of a moved selection are dele
• With a group, you can click any one of the selected segments to drag the entire group to a new position. • You can select black filler as a segment. Extracting/Splicing-in Segments Use Extract/Splice-in to move the selected segments in the Timeline without affecting the adjacent material. The total duration of the sequence is unaffected. Like the standard Splice-in function, the Extract/Splice-in edit inserts the segment into the new position.
5. Click the Extract/Splice-in button again if you want to leave Segment mode. n To cancel a segment edit in progress, drag the edit out of the Timeline and release the mouse button. Alternatively, choose Undo from the Edit menu. Lifting/Overwriting Segments Use Lift/Overwrite to replace existing material at the new position, while leaving blank space in the previous position. The total duration of the sequence is unaffected.
5. Click the Lift/Overwrite button again if you want to leave Segment mode, or continue to lift and overwrite segments. n To undo a segment move, choose Undo from the Edit menu or press Ctrl+Z. Deleting Segments with Segment Mode Segment mode allows you to quickly delete whole segments in the Timeline without having to first mark IN and OUT points. In addition, you can select multiple segments in separate tracks anywhere along the Timeline to delete them all at once. To delete segments quickly: 1.
the Overwrite button. You can use Segment mode to edit clips directly from a bin into the sequence in the Timeline. To perform a direct edit from a bin into your Timeline: 1. For a more accurate edit, mark IN and OUT points for each clip or create subclips, as described in “Marking and Subcataloging Footage” on page 377. Otherwise, the entire clip is edited into the sequence. 2.
a. Click the Settings button in the Project window. b. In the Settings scroll list, double-click Bin. c. Select “Enable edit from bin (Splice, Overwrite).” d. Click OK. 2. Mark an IN point or OUT point in the Timeline, or move the position indicator to the place where you want the clip to appear. 3. Select a clip in the bin. The entire clip is edited into the sequence, unless you marked IN and OUT points. 4.
For information about how Mark Clip works, see “Marking an Entire Clip or Segment” on page 380. To edit using Top and Tail commands: 1. Load the sequence you want to edit into the Timeline. 2. Select the track or tracks you want to edit and deselect all other tracks. 3. Move the position indicator to the location where you want to perform an edit. 4. Choose Command Palette from the Tools menu. 5. Click the Edit tab. 6. Select Active Palette. 7.
n For instructions on how to use filler, see “Adding Filler” on page 403. Cutting, Copying, and Pasting in the Timeline You can use the traditional shortcut keys for cutting, copying, and pasting segments selected in the Timeline. To cut or copy and paste: 1. Select the segment by using one of the Segment Mode buttons. 2. Choose Copy from the Edit menu (Ctrl+C) to copy, or choose Cut from the Edit menu (Ctrl+X) to cut. 3.
Using the Track Selector Panel As your project progresses, you might need to add and edit with additional audio or video tracks. You use multiple tracks of video primarily for effects. NewsCutter allows you to edit up to four tracks of video and audio. While working with multiple tracks, you can use the Track Selector panel to select, manipulate, delete, lock, patch, and monitor your tracks. You can use multiple tracks to layer audio effects and sound or to add video titles and other effects.
The record side on the left side of the panel displays only those tracks currently in use for the sequence. However, if you edit source material with a track selected that does not yet exist on the record side, by default the track appears on the record side after the edit takes place.
Monitoring Video The Video Track Monitor button determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing. When there are multiple video tracks, all tracks below the monitored track are active during playback. When you edit with multiple tracks, you can activate the monitor on a lower track to monitor only the video on that track.
black or gold Speaker icon when the audio track is selected for monitoring playback and output. • To hear more than four tracks at once, you must mix down some of them to a maximum of four. For more information, see “Mixing Down Audio Tracks” on page 553. • By default, all monitored audio tracks are selected for scrubbing. To isolate specific audio tracks for scrubbing, see “Soloing Audio Tracks in the Timeline” on page 474.
Monitoring a Solo Track You can monitor a single video or audio track during editing. Solo monitoring has several advantages: • You can view any individual layer of a composited effect. • You can isolate an individual audio track with a single mouse click (without manually deselecting the other audio tracks). • You can eliminate slow cueing and playback when working with a complex sequence by monitoring a specific track.
c. Audio tracks d. No tracks 5. Continue to click the button to repeat the cycle. n You can map the Cycle Picture/Sound button to any button in the Tool palette or any key on the Keyboard palette. For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 111. Locking Tracks You can lock selected tracks to prevent further editing from being performed on them.
2. Do one of the following: t Right-click in the Timeline, and choose Lock Tracks from the shortcut menu. t Choose Lock Tracks from the Clip menu. The Lock icon indicates that the selected tracks are locked, and no further editing can occur on the locked tracks until you choose Unlock Tracks from the Clip menu. To unlock tracks: 1. Select the tracks you want to unlock. 2. Do one of the following: t Right-click in the Timeline, and choose Unlock Tracks from the shortcut menu.
New source track order identifies the patch. An audio patch from a source track to a record track During patch After patch To undo a patch: t Manually repatch to the previous track. The selected source track moves beside the record track to which it is patched as soon as you draw the arrow and release the mouse. The patched track remains highlighted in preparation for your edit. You can proceed to select any other tracks required for the edit.
• You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. • Sync locking affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you trim anywhere in the sequence. Sync locking affects Trim mode.
To restore a deleted track: t Choose Undo from the Edit menu. Adding an Edit The Add Edit function places an artificial edit point between the frames of a clip. The edit appears in the Timeline as a transition between two clips; when you play the clip, the footage appears unchanged because the frames are continuous. Add edit placed between frames 1 2 3 4 5 6 7 Footage plays back continuously. This form of edit is also known as a match frame.
3. Click the Add Edit button in the Tool palette. See “Opening the Tool Palette” on page 382. The edit appears in the sequence with an equals sign to indicate a match-frame edit. Removing Match-Frame Edits To remove match-frame edits, do one of the following: t Choose Undo from the Edit menu. If you made other edits since you performed the Add Edit function, when you use the Undo command, you will lose those additional edits.
Consider the following: • NewsCutter needs only three marks to perform a backtimed edit when four edits of unequal duration exist in the sequence. The IN and OUT points set in the Timeline always take precedence. • If you do not mark an IN point in the sequence, the system uses the position indicator as the IN point. • If you do not mark an OUT point in the clip and no OUT point is set in the sequence, the system uses the end of the clip as the OUT point.
3. Select the printing options. 4. Click OK. The system prints the current view of the Timeline.
CHAPTER 14 Working in Trim Mode Basic editing in the Timeline initially produces a rough cut, which can be loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can enter Trim mode and 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.
The Settings scroll list appears. 2. Double-click Trim. The Trim Settings dialog box appears. 3. Configure the Trim settings you want. You set and alter the lengths of the preroll, postroll, and intermission intervals by clicking the appropriate text box and typing a new value. Using Basic Trim Procedures You can enter Trim mode in several different ways, depending on the type of trim you expect to perform. Once in Trim mode, you can: • Select trim sides. • Perform and review the trim.
3. Select Active palette. 4. Click the Trim Mode button. You can also press the Trim Mode key on the keyboard. By default, the system enters Trim mode and selects the transition nearest the position indicator for dual-roller trimming. This method is useful for selecting straight-cut transitions on one track or across video and audio tracks. By default, only the transitions in the tracks highlighted in the Track Selector panel are selected for trimming.
n You can map the Trim Mode button to any button in the Tool palette or any key on the Keyboard palette. For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 111. Exiting Trim Mode To exit Trim mode, use one of the following methods: t Press the Trim Mode key on the keyboard, or click the Trim Mode button in the Other tab of the Command palette. t Click the Step Forward button or the Step Backward button under the Source/Record monitor.
Selecting Additional Transitions While in Trim mode, you can select additional transitions for trimming in different contexts. Select tracks on the record side to add transitions. To select additional transitions on contiguous tracks for trimming on the same side: t Click the corresponding Record Track buttons in the Track Selector panel. Likewise, you can deselect tracks in the Track Selector panel to remove transitions on those tracks from the trim procedure.
and, in some cases, to maintain sync by performing a single-trim procedure across multiple tracks and transitions. Performing a Basic Trim After you select your transitions and trim sides, you can perform a basic trim. To perform a trim, use one of the following procedures: 1 frame t Use the Trim buttons to trim forward or backward by 1-frame or 10-frame increments.
one or both trim sides, and the monitors display the new incoming or outgoing frames. Reviewing the Trim Edit To review the most recent trim edit or to play the currently selected transition while in Trim mode: 1. Click the Play Loop button. The system enters a playback loop. This repeatedly begins at a preroll point before the transition and ends at a postroll point, pausing briefly before beginning playback again. 2. Stop the playback loop by clicking the Play Loop button again. 3.
Selecting Segments for Slip or Slide Trimming To select segments for either slip or slide trimming, do one of the following: t In Segment mode, select a segment for slip trimming. Then enter Trim mode by clicking the Trim Mode button. t In Trim mode, Alt+double-click a segment to select it for slide trimming. You can also select two or more segments on different tracks for simultaneous slip or slide trimming. To do so, Shift+click the segments. Then press the Shift key as you enter Trim mode.
Surrounding material remains fixed. Before slip Slip 1 frame to the right. 1 2 3 4 4 5 Frames After slip 2 • 3 In slide trimming, the two outer monitors for the outgoing (A-side) and incoming (B-side) frames change because the clip remains fixed while the footage before and after it is trimmed. Surrounding material is selected. Before slide 1 2 3 Slide 1 frame to the right.
Table 14-1 Key Functions in Slip or Slide Trim Key Slips / 10 frames forward m 10 frames backward period (.) 1 frame forward comma (,) 1 frame backward 2. Monitor the progress of the trim by using the monitors, the Trim counters, and the Timeline. When you reach the end of available material while slipping a segment, the trim stops. Similarly, when you reach the next transition while sliding a clip along a track, the trim stops. 3.
Audio overlap example Before trimming V1 A1 A2 Clip A Clip B Clip C After trimming V1 A1 A2 Clip A Clip B Clip C Clip B audio is extended. Clip C audio is trimmed in. To create an overlap edit: 1. Perform a straight-cut edit between two clips, including audio and video tracks. • If the timing of the video edit is crucial, mark edit points according to video. • If the timing of the audio transition is crucial, edit to audio. 2.
You can extend edits backward or forward in the Timeline. In either case, like a dual-roller trim, the Extend Edit function always maintains sync relationships. To perform an extend edit: 1. Select the tracks you want to extend. 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 it is after the edit, mark an OUT point. 3. Choose Command Palette from the Tools menu. 4. Click the Trim tab. 5. Select Active Palette. 6.
Adding Black While Trimming Because single-roller (A-side or B-side) trims shorten or lengthen the duration of the track being trimmed, any relationships that exist with other tracks downstream of the trim will be thrown out of sync. To add black while trimming: t Press and hold the Alt key while performing any of the A-side or B-side trim procedures to maintain the overall duration of the track and the sync relationships. The system adds a black segment to fill the duration of trimmed frames.
n You can add black only while performing single-roller trims because dual-roller trims do not cause sync breaks. Trimming with Sync-Locked Tracks n Sync-locked tracks aid only single-roller trim functions in Trim mode because dual-roller trims do not cause sync breaks. To trim with sync-locked tracks: 1. While in Trim mode, click next to the tracks you want to keep in sync. The Sync Lock icon appears, and the location of the position indicator determines the sync point across tracks.
If you trim the B-side of the transition in the same direction, the additional sync-locked segments slide back in the sequence to maintain sync until they encounter another segment in the same track. At this point, you can trim no further and the system emits a warning sound. • When you trim back the A-side of a transition, additional segments locked in sync move back as well.
CHAPTER 15 Working with Audio You edit audio by using many of the same techniques and tools you use to edit video, including editing, Segment mode, and Trim mode functions. NewsCutter 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. In addition, you can adjust the high, low, and midrange frequency ranges of segments by using the Audio Equalization (EQ) tool.
About Audio Tools NewsCutter provides a collection of tools for managing and fine-tuning audio volume, pan, equalization, and transitions. The general purpose of each tool is as follows: • Audio tool: Use this tool primarily for adjusting and calibrating global input and output levels when you record from analog sources or from output to tape. For more information, see “Using the Audio Tool” on page 188 and “Calibrating for Audio Output” on page 576.
Accessing Audio Effect Tools You can access the following tools from any of the audio effect tools: • Audio Mix (for adjusting pan and volume) • Automation Gain • AudioSuite • Audio EQ To access one of the audio effect tools: t Choose one of the tools from the Tools menu. To switch to another tool: t Choose the new tool from the Effect Mode Selector pop-up menu.
Audio Editing Aids NewsCutter provides audio track soloing, audio scrub features, and waveform plots specifically designed for frame-accurate cueing, marking, and editing of audio. You can use these features any time during editing or while making adjustments with the audio tools. Soloing Audio Tracks in the Timeline You can solo multiple tracks in the Timeline. This feature allows you to: • Listen to several tracks at once without turning other audio tracks off or down.
audio to help you accurately mark edit points or analyze transitions for careful trimming. Smooth Scrub Versus Digital Scrub You have two options for scrubbing audio in either the sequence or the source material: • Smooth audio scrub: This feature mimics the variable-pitch playback of traditional analog tape. • Digital audio scrub: This feature takes advantage of the digital environment by sampling incoming frames, outgoing frames, or both at normal pitch and playback rate.
Table 15-1 Number of Tracks and Scrub Speeds When you play footage forward or backward at: You can scrub: Normal speed Up to 4 tracks Two times normal speed Up to 4 tracks Three times normal speed 2 tracks Greater than three times normal speed 0 tracks To ensure an audio track is monitored during scrubbing: t Alt+click the Audio Track Monitor button in the Track Selector panel for the chosen track.
Performing Smooth Audio Scrub You perform the smooth audio scrub procedure by using either the J-K-L keys or the mouse, as described in this section. Using the J-K-L Keys to Perform Smooth 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. You cannot activate digital audio scrub with three-button play. You can monitor while stepping (jogging) or while shuttling at fixed rates up to three times normal speed.
4. Select Active Palette. 5. Activate the mouse for jogging or shuttling by pressing the Mouse Jog button or the Mouse Shuttle button. Mouse Jog allows you to move the position indicator with the mouse. Mouse Shuttle allows you to control the speed of the position indicator by dragging the mouse. To deactivate jog or shuttle, press the space bar or the Escape key. 6. Play the footage with the mouse.
Digital scrub example This entire section is sampled. Step 10 frames Selected track Outgoing frames (behind position indicator) Incoming frames (ahead of position indicator) Adjusting Digital Scrub Parameters The default parameters for the number of frames you hear as you scrub are zero frames of outgoing audio (behind the position indicator) and one frame of incoming audio (ahead of the position indicator). To isolate frames for marking or trimming, the default parameters are sufficient.
2. Click in a text box, and type a new number of outgoing or incoming frames in the Source Scrub area, the Timeline Scrub area, or both. The new parameters are now in effect. Performing the Digital Scrub Procedure To locate an audio edit point in audio by using digital scrub: 1. Solo an audio track for scrubbing, and adjust the output volume, if necessary. 2. Press the Caps Lock key to activate digital audio scrub.
When you have found the correct frame, mark the location, trim the transition, or perform any other function you choose. If you are sampling incoming frames (with the default scrub parameters, for example), the system places the position indicator at the head of the last sampled audio point. If you are sampling outgoing frames, the system places the position indicator at the tail of the last sampled audio point.
Adjusting Default Pan Settings To open the Audio Settings dialog box: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Audio. The Audio Settings dialog box appears. By default, the audio tracks for clips alternate with track 1 on the left speaker and track 2 on the right speaker for monitoring and output. The option All Tracks Centered instructs the system to center the pan of all tracks between the two speakers for monitoring and output.
2. Click the Timeline Fast menu button, and choose Sample Plot. The sample plot displays the entire amplitude of the audio waveform. This is the same as the sample voltage values you would see on an analog oscilloscope waveform. Waveform sample plot n Press Ctrl+period at any time during the redraw of the waveform plot to stop the redraw. 3.
This procedure is useful when you view detail in loud passages. n You can select Show Marked Waveforms in the Timeline Settings dialog box to narrow the view of the tracks in the Timeline. This option provides faster displaying of the Timeline because the waveform is displayed only between the IN point and the OUT point. 4. Move through the audio shown in the waveform by using any of the playback methods. You hear sound as you track the audio visually.
The Audio Mix tool allows you to: • Adjust pan and volume for an individual clip, a whole track, several tracks at once, or a whole sequence. • Adjust the volume, pan, or both for one track at a time. • Adjust the volume, pan, or both for multiple tracks simultaneously by ganging them together. The system uses these adjustments for all playback, including output to a digital cut. n The Audio Mix tool adjusts entire clips only.
Render Effect button Audio Loop Play button Fast Menu button Effect Mode Selector pop-up menu Display/Hide Sliders button Bypass Clip Gain button Track Selection Menu button Volume Level display Gang button Level slider Pan level and slider Resizing the Audio Mix Tool You can simplify the Audio Mix Tool display by clicking the Display/Hide Sliders button to switch between hiding and displaying the Volume Level sliders.
Adjusting One Audio Track at a Time To adjust one audio track at a time in the Audio Mix tool: 1. Load a clip or sequence, and activate the appropriate monitor: t To adjust a track in a source clip, make sure the Source monitor is active by clicking the Toggle Source/Record button until Source appears next to the title in the monitor and the button turns green.
4. Select the audio track to be adjusted by doing one of the following: n t Click the Track Selection Menu button for the appropriate audio track. t Alt+click the Track Selection Menu button, and then choose a track from the pop-up menu. To verify or change the output channels, use the Audio tool (choose Audio Tool from the Tools menu). 5.
8. Apply the adjustments to a chosen region of the track by using the Audio Mix Fast menu located in the top bar of the tool. See “Applying Pan Value Adjustments” on page 490. 9. Play through the audio again, using the J-K-L keys. 10. Repeat steps 6 through 9 until you are satisfied with the pan and volume levels. The system uses the new settings whenever you play back or record the sequence.
Adjusting Pan Values To adjust the pan values in the audio track panel, do one of the following: t Click the Pan Value display to reveal the pop-up slider, and then drag the slider to a new position. t Alt+click the Pan Value display for MID. If the sequence is playing, notice that play stops when you make an adjustment (the Audio Mix tool does not provide real-time audio control). You can adjust volume while playing the clip.
Table 15-2 Pan Adjustment Commands (Continued) Choose To Remove Pan/Vols on Track Delete all audio mix adjustments that have been applied to segments in the marked regions of selected tracks. Each audio clip is restored to its previous pan and volume settings. The options in the Fast menu appear dimmed until you select a track by clicking the Track Selection Menu button. (To apply the adjustments to multiple tracks, click additional Track Selection Menu buttons.
2. Adjust either volume or pan for one of the tracks by using any of the techniques described in “Adjusting One Audio Track at a Time” on page 487, and the other tracks will maintain the same relative levels. When you gang two or more tracks, you gang both the Level and the Pan sliders. To set all ganged sliders to the same value for volume: t Click the number along the vertical edge of the Volume Level slider, or type a value in one of the Volume Level displays and then press Enter.
Modifying Pan Values There are two basic ways to work with pan values: • Create or modify an audio pan/vol effect. This method creates an effect that is stored with the sequence. • Modify the way that the system interprets pan values during playback. Creating or Modifying an Audio Pan/Vol Effect To create or modify an audio pan/vol effect, do one of the following: n t Use the Pan sliders at the bottom of the Audio Mix tool. See step 6 of “Adjusting One Audio Track at a Time” on page 487.
remap a track to any channel by clicking the channel assignment display and by choosing another channel. Bypassing Existing Volume Settings You can have the system ignore the volume settings established with the Audio Mix tool when playing back or recording a sequence. To turn off current volume adjustments, do one of the following: t Click the Bypass Clip Gain button in the Audio Mix tool. t Click the Clip Gain button in the Bypass area in the Audio tool. The volume controls disappear.
There are limitations on adjusting volume; you can also improve response time. See “Limitations on Adjusting Volume” on page 496 and “Improving Response Time” on page 496. For more information on the Audio tool, see “Using the Audio Tool” on page 188. To adjust volume while playing an Audio Mix effect: 1. Do one of the following: t Choose an existing Audio Mix effect. t Identify an area of the clip with IN and OUT points. t Move the position indicator to an audio clip. 2.
Limitations on Adjusting Volume If there is no Audio Mix effect on the clip before you start, you will not hear any changes until you click the Audio Loop Play button to stop and replay the effect. As you adjust the volume values on an existing Audio Mix effect, you might not hear the results immediately. It takes a few seconds for the NewsCutter system to apply the changes to the clip.
Gain values in decibels Graphic representation of keyframes and gain ramps in the Timeline NewsCutter uses a linear ramp to change the volume from one gain keyframe to the next. Automation Gain Values and System Clip Gain Values When you add a keyframe to a clip with Clip Gain already on, the keyframe is placed at 0 dB. Values set by the volume Level sliders in the Audio Mix tool are referred to as system clip gain values. Audio gain keyframes are additive to the system clip gain values.
2. Apply an EQ effect and any other audio effects. 3. Use Audio Gain Automation to fine-tune the volume of different sections of the audio in the sequence. You can view the clip gain and the automation gain values in the Timeline at the same time. To turn on the display of either or both, use the Audio Data submenu of the Timeline Fast menu and select Audio Auto Gain or Audio Clip Gain. Adjusting Volume in the Timeline To use Audio Gain Automation to adjust volume: 1.
The following illustration shows the expanded audio track with volume data. 4. Click the Add Keyframe button in the Tool palette to add keyframes along the Timeline. NewsCutter adds a keyframe to each enabled track. A straight line appears in the selected audio track. The line shows the current gain level for that track in the Audio Mix tool. n You adjust gain in the Automation Gain tool by dragging keyframes in the Timeline or by placing the position indicator on a keyframe and adjusting the slider.
After you add the first keyframe to a segment, you can adjust the gain for the entire clip. When you move the keyframe up or down, the corresponding volume Level slider in the Automation Gain tool also moves. Deleting Audio Gain Keyframes To delete a single audio keyframe: 1. Move the pointer over the keyframe. 2. When the pointer changes to the hand pointer, press the Delete key. If there are identical keyframes in other active tracks, the system deletes them also. (Do not press the mouse button.
n To snap to the decibel lines, press and hold the Ctrl key while you drag the point. t Move a keyframe horizontally to move the start or end of a ramp. Move the pointer to a keyframe. When the pointer changes to the hand pointer, press and hold the Alt key, click the keyframe, and drag it. t Move several keyframes vertically on a track at the same time by marking IN and OUT points to select the area you want.
• JL Cooper MCS-3000X MIDI automation controller • Yamaha® 01V digital mixing console For a description of the fader controllers and mixer, and for information on attaching them, see Appendix D. For information on using these external fader controllers or the mixer, see “Recording Automation Gain Information” on page 510. Adjusting the Volume of Individual Keyframes To edit the volume for individual keyframes by using an external fader controller or mixer: Position indicator lights 1.
About the Automation Gain Tool Before this section discusses recording volume in the Timeline, it describes the Automation Gain tool in detail. The following illustration shows the Automation Gain tool.
The following features are similar to the Audio Mix tool: • Bypass Auto Gain button: This button allows you to temporarily turn off the Automation Gain effect. This button is the same as the Bypass Clip Gain button in the Audio Mix tool. • Render Effect button: This button is particularly useful for rendering audio effects. For example, if you change the level of a clip that contains a rendered audio dissolve, the effect becomes unrendered.
Track Solo Button The Track Solo button (Speaker icon) lets you mute and solo individual audio tracks during Audio Gain Automation recording. Button Color Description Purple (default) The audio track is on. Gray The audio track is muted. Green The track is soloed. You can solo more than one track at a time. To switch between solo and on: t Click the Track Solo button. To switch between on and mute: t Alt+click the Track Solo button.
You can also use the buttons above each fader on the external fader controller or mixer to solo or mute an individual audio track as follows: • FaderMaster Pro: Has one button that you can use to solo or mute an individual audio track during Audio Gain Automation recording: t Press the button above the fader once to switch between solo and on. t Press the button above the fader twice quickly to switch between mute and on. • MCS-3000X: Has separate buttons for solo and mute.
Colors Description Both lights are gray. Either there is no fader controller or mixer attached to the system or the NewsCutter system does not recognize the fader controller or mixer. If the system does not recognize the fader controller or mixer, check the connection as described in the Avid NewsCutter Setup Guide. The position indicator lights are especially useful for the FaderMaster Pro because it is important to position the faders close to the track volume before you start recording.
Track Selection Menu button To apply the adjustments to multiple tracks: t Click additional Track Selection Menu buttons. To access the Track Selection Menu button options and choose either a track or None, do one of the following: t Press and hold the Alt key while clicking the Track Selection Menu button. t Click the Track Selection Menu button.
To apply the adjustments: t Choose one of the commands listed in Table 15-3 from the Fast menu. Table 15-3 Automation Gain Commands Choose To Set Pan on Track Apply the same pan or volume levels currently set in the Audio Mix tool to all segments in the marked regions of the tracks. Filter Automation Gain on Track Remove approximately 50 percent of the keyframes in the marked region.
Recording Automation Gain Information You can instruct the NewsCutter system to record your actions while playing the clip as you move sliders to adjust the volume. The system creates the corresponding keyframes and saves them as part of a pan/volume audio effect. After you finish the recording, you can move, add, and delete keyframes to achieve the results you want.
t Press and hold the Ctrl key while dragging in the Track Selector panel. 4. Move the position indicator to the section of audio that you want to adjust and mark IN to OUT points. 5. In the Track Selector panel, select the tracks to which you want to record automation gain. 6. Click the Record button, or press the B key to start recording your actions. 7. Listen to the audio, and adjust the Level sliders in the Automation Gain tool as necessary.
Using a Keyboard Shortcut You can map the Fast Forward and Rewind buttons to your keyboard to speed your editing of audio keyframes. To use the Fast Forward and Rewind keys when editing audio keyframes: 1. Choose Command Palette from the Tools menu. 2. Click the Move tab. 3. Map the Fast Forward and Rewind buttons to the Keyboard palette. See “Mapping User-Selectable Buttons” on page 111. 4. Click the Automation Gain tool to make it active. 5.
Position indicator lights 3. (FaderMaster Pro only) Note the colors of the position indicator lights for the track you want to adjust. Move the fader until both lights are blue. If you cannot adjust it to the exact position where both lights are blue, get it as close as you can. 4. Set Preroll and Postroll values, if necessary. 5. Click the Record button to start recording your actions. 6.
n If you delete too many keyframes, use the Undo command to restore them. 10. Repeat step 9 until you have decreased the number of keyframes to an acceptable level. You should remove as many excess keyframes as possible while still maintaining the volume changes. Using the Audio EQ Tool The Audio Equalization (EQ) tool supports real-time, segment-based frequency equalization on individual clips. This feature allows you to adjust the high, low, and midrange frequency ranges of an audio clip.
Render Effect button Fast Menu button Effect icon Audio Loop Play button Effect Mode Selector pop-up menu Display/Hide EQ Graph button Track Selection pop-up menu Enable/Disable EQ Effect button EQ Parameter display Bypass RT EQ button Low shelf Three bands of controls Parametric midrange High shelf EQ Range slider EQ Parameter graph Audio EQ Tool Features This section describes the basic buttons and menus in the Audio EQ tool as well as the EQ-specific items in the tool.
Table 15-4 Audio EQ Options Use To Effect Mode Selector pop-up menu Choose among the Audio EQ, Audio Gain Automation, Audio Mix, and AudioSuite Plug-in tools. Audio Loop Play button Make adjustments to an EQ effect while you play the effect. This button is also a mappable button in the Command palette. For more information about using this button, see “Adjusting Volume While Playing an Audio Mix Effect” on page 494. Render Effect button Render an effect without leaving the Audio EQ tool.
EQ-Specific Features 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. A shelf affects all frequency values within the range of the shelf. The low shelf affects all frequencies from 20 Hz to the low shelf turnover point. • The second band is the parametric midrange. This band has two bandwidth values, 1/4 octave and 2 octaves.
within the marks, either in part or whole, will have the effect applied to them. The following illustration shows the Audio EQ tool with the frequency response curve displayed, and identifies the related areas of the tool.
Applying Audio EQ Effects To adjust audio EQ for a track: 1. Load the sequence containing the audio track. 2. (Option) Isolate a portion of an audio segment by placing add edits. 3. (Option) Mark a range of audio segments by adding IN to OUT points in the track. 4. Open the Audio EQ tool. 5. Select the audio track to be adjusted from the Track Selection pop-up menu in the Audio EQ tool. Track Selection pop-up menu The Track Selector panel in the Timeline is updated to reflect your selection.
Values are cumulative until you press Enter. For example, if you want to enter the value 12, type it. However, if you enter 1 and then want to change the value to 2, press Enter before typing the 2. t Click a slider, and then drag the slider to a new position. t Click the EQ Parameter display, and type a value. 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.
Before Set EQ In/Out After Set EQ In/Out – EQ effect is added to all the other audio clips. If there is no EQ setting on the currently selected clip, choosing Set EQ In/Out deletes the EQ settings on all clips within the IN to OUT range. For example, because there is no EQ setting on the last audio clip in the following example, Set EQ In/Out deletes the EQ effect from all the other audio clips.
Before Set EQ In/Out After Set EQ In/Out – EQ effect is deleted from all other audio clips. 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. 9. Play through the audio again, using the Audio Loop Play button. 10. Repeat steps 6 to 9 until you are satisfied with the EQ adjustments. Saving Audio EQ Effects NewsCutter treats an EQ setting as an effect.
following illustration shows an EQ Effect icon in a bin and in the Timeline. EQ effect icon in a bin EQ Effect icon in the Timeline To save EQ settings in a bin: t Drag the effect icon in the Audio EQ tool to a bin.
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 the Avid NewsCutter Effects Guide. Removing Audio EQ Effects 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 Click the Remove Effect button in the Tool palette. See “Using the Tool Palette” on page 382.
Low Shelf Example This example adjusts the low shelf to deemphasize the bass. By dropping the low shelf to –20 dB, we are able to deemphasize it. However, there are voices on this track, and dropping the low shelf also removes some bass from the voices. To compensate for the loss of bass: 1. Use the 2-octave midrange setting to create a wide midrange. 2. Move the midpoint of the parametric curve to 88 Hz. 3. Boost the midrange of the parametric curve to +7.7 dB.
To isolate the frequency: 1. Use the 1/4-octave influence range. 2. Set the midrange EQ parameter to –15 dB. 3. Use the EQ Range slider to move the midpoint of the parametric curve until it isolates the bass frequency. In this case, the bass frequency that we want to deemphasize is approximately 80 Hz. Use the EQ Range slider to move the center point of the parametric curve and locate a specific frequency.
Using Audio EQ Templates Your NewsCutter system provides a set of predefined audio EQ templates. These templates address a number of common audio problems such as removing tape hiss or boosting the low frequency on a music track. The templates are accessible from the Fast menu in the Audio EQ tool. You can also add your own custom EQ templates to the Fast menu. The Fast menu in the Audio EQ tool provides access to a number of predefined EQ templates, as shown in the following illustration.
Applying an EQ Template To apply an EQ template from the Audio EQ Tool Fast menu: 1. Move the position indicator to the audio clip in the Timeline. 2. Click the Fast Menu button, and choose the template from the Audio EQ Tool Fast menu. NewsCutter places the EQ effect on the audio clip. The following illustration shows the contents of the Audio EQ tool when you select the Female Voice with Presence template in the Timeline.
Creating Your Own Templates If you create an EQ effect, you can use it again as a template in another sequence or on another track. To create your own EQ effect template: 1. Drag the effect icon from the Audio EQ tool to a bin. The system creates an EQ effect in the bin. 2. Rename the template by clicking the text and typing a new name. Effect icon Adding an EQ Template to the Fast Menu You can add your own EQ templates to the Audio EQ Tool Fast menu.
b. Choose All Files from the Files of Type pop-up menu at the bottom of the dialog box. The Site_EQs_Bin.avb file appears. c. Double-click the Site_EQs_Bin.avb file. 4. Drag one of your EQ templates to Site_EQs_Bin. 5. If you have not already done so, name the template by clicking the text and typing a name. 6. Close the bin. n The NewsCutter system does not save the effect to the bin until you close the bin. 7. Click the Audio EQ Tool Fast Menu button, and look for your new template.
To improve the response time, do one of the following: t Monitor as few audio tracks as possible. t Deselect the video track, if practical. t Use IN and OUT points to choose a narrow interval to adjust. Digidesign AudioSuite Plug-Ins NewsCutter supports AudioSuite, the Digidesign host-based, file-based plug-in specification. Users have access to audio-processing plug-ins developed by Digidesign and by Digidesign third-party developers.
The DAE folder contains the following: • A DAE Prefs folder The plug-in vendor might install settings in this folder. • A DAE Plug-Ins folder containing the following: - A set of basic plug-ins from Digidesign. - A file named AvidAppPlugIn.dpm. NewsCutter requires this file; do not delete it. Several basic plug-ins are installed automatically. For a description of the plug-ins, see Appendix A.
Additional parameters for working on master clips Status display Applying an AudioSuite Plug-In to a Clip in the Timeline The following illustration shows the default layout of the AudioSuite window.
To apply an AudioSuite plug-in to a clip in the Timeline: 1. Open the AudioSuite window by doing one of the following: t Choose AudioSuite from the Tools menu. t If an audio tool is already open, choose AudioSuite from the Effect Mode Selector pop-up menu. 2. Use the Track Selection pop-up menu to choose the tracks that you want to modify. When you choose an item from this menu, the system selects or deselects the corresponding track in the Timeline.
Using a Plug-In Dialog Box The contents of the plug-in dialog boxes vary, but the top six buttons are always visible. If a particular button is not available, it appears dimmed. The following illustration shows the Digidesign Normalize plug-in. These six buttons appear on all AudioSuite Plug-in dialog boxes. Table 15-5 shows the options. Table 15-5 Normalize Options Click To OK Save the effect and close the dialog box. Cancel Close the dialog box and not save the effect.
Table 15-5 Normalize Options (Continued) Click To Bypass Play the selected audio without processing. This is useful for comparing the audio with and without processing applied. Max Peak at Perform an analysis pass on the audio. Depending on the plug-in, the text and function of this button might change. Some plug-ins require an analysis pass on the audio data before they can process the information. If so, they perform the first pass automatically.
Rendering 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, the NewsCutter system automatically renders the effect before it creates an audio mixdown or audio dissolve containing the effect. For more information, see “Troubleshooting AudioSuite Plug-Ins” on page 545. Creating New Master Clips You can use AudioSuite plug-ins to create new master clips.
The following illustration identifies the controls that appear when you expand the AudioSuite window.
Table 15-6 AudioSuite Options (Continued) Use To Input Source Track selectors Choose the input source tracks for the effect. The system automatically chooses a preview track and displays a blue Speaker icon on the track. To change the preview track, Alt+click the appropriate source track. If the source track that is set as the current preview track is deselected, the system chooses the lowest available track.
Table 15-6 AudioSuite Options (Continued) Use To Status display Provide information about the current state of the DAE application and the currently applied effect. For stereo and multichannel processing plug-ins, the Status display identifies the maximum number of tracks that can be processed. If more than the maximum are initially selected, the system automatically disables tracks until it reaches the plug-in’s maximum number.
For mono processing, the system creates a new master clip with the same number of tracks that you selected in the AudioSuite window. For stereo and multichannel processing, the plug-in creates a master clip with the number of tracks equal to the number of output streams from the plug-in. For example, a plug-in that operates on stereo pairs creates a two-channel master clip.
Mode button. The button is yellow when Master Clip Processing mode is active. 2. If you dropped more than one master clip into the AudioSuite window, choose a clip to work on from the Clip Selection pop-up menu. 3. Choose the input sources from the Input Source Track selectors. 4. (Option) Change the preview source track; Alt+click the Input Source Track selector. 5. (Option) Type a value in the Handle Length text box to lengthen the clip by a specific amount.
Using AudioSuite Effect Templates When you create a new master clip, the system also creates an AudioSuite effect template in the bin. This effect template contains a reference to the original master clip to which the effect was applied. The system names the template by combining the original clip name with the effect name, for example, Test Audio clip - AudioSuite Plug-In Effect: Normalize. The template is useful if you want to modify the effect after it is created.
b. Choose All Files from the Files of Type pop-up menu at the bottom of the dialog box. The Site_AudioSuite_Bin.avb file appears. c. Double-click the Site_AudioSuite_Bin.avb file. 4. Drag one of your AudioSuite templates to Site_AudioSuite_Bin. 5. If you have not already done so, name the template by clicking the text and typing a name. 6. Close the bin. n The NewsCutter system does not save the effect to the bin until you close the bin. 7.
Troubleshooting AudioSuite Plug-Ins The following topics describe problems you might encounter when using the AudioSuite plug-ins. • Canceling a Render Operation • Addressing Errors When Rendering a Plug-in Effect Canceling a Render Operation You can press Ctrl+period to cancel a render operation. However, be careful not to press these keys multiple times.
Recording Voice-Over Narration You can record one channel of audio directly into the Timeline for voice-over narration. This feature saves you the extra steps of recording the narration to tape first, recording, and then editing the audio clip into the sequence. The narrator can also watch the sequence and hear playback of edited sound tracks while recording. You can replace part (or all) or an existing track or you can instruct Newscutter to create a new track for the voice-over.
4. In the Timeline, patch the source track to the record track you want. For more information on patching, see “Patching Tracks” on page 449. 5. Click the Record button. 6. Stop the recording as follows: t If you started with both IN and OUT points in the Timeline, NewsCutter 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.
Voice-over clip Fine-Tuning Audio Transitions When you are making audio level and pan adjustments, NewsCutter looks at either an individual clip in the Source/Record monitor, a segment in the sequence, or entire tracks. To change level or pan settings in an area not defined by a discrete clip or group of clips, use the Add Edit function to define your own custom area. To isolate clip portions for adjustment: 1.
Fading and Dipping Audio In traditional analog editing, you manually change volume levels to smooth audio transitions between elements in an edited sequence by: • Fading audio up or down • Dipping audio to a lower level • Crossfading between audio elements on two separate channels With the NewsCutter system, these effects are more accurately termed audio dissolves because they occur instantly when you apply the same dissolve effect that you use for video tracks.
3. Do not choose another effect from the Add pop-up menu; only dissolves work with audio tracks. 4. Align the dissolve with respect to the cut point by doing one of the following: t Choose the location for the dissolve from the Position pop-up menu according to Table 15-7. Table 15-7 Dissolve Positions Choose To Ending at Cut Fade the audio on the A-side to 0, ending at the cut point. Centered on Cut Create a crossfade. Custom Create a crossfade.
Table 15-7 Choose To Starting at Cut Fade the audio up from the B-side, starting at the cut point. t n Dissolve Positions (Continued) Click inside the effect in the graphic display, and drag it to position the effect with respect to the cut point. The system automatically selects the Custom option in the Position pop-up menu when you click in the graphical display. 5.
n For more information about the Quick Transition dialog box, see the Avid NewsCutter Effects Guide. Dipping Audio To dip audio from a higher level to a lower one — for example, when bringing music down and under a voice-over track — you can use the procedures described in “Using Audio Gain Automation” on page 496, or use the procedure described in this section. To apply a dip in audio: 1.
Mixing Down Audio Tracks When you work with multiple audio tracks while editing your material, you might need to mix down the final audio to two tracks. To mix down several edited audio tracks to one or two audio tracks: 1. Load a sequence into the Source/Record monitor. 2. Click the Track buttons in the Track Selector panel to select the audio tracks you want to mix down. 3. Mark an IN point and an OUT point at the start and end of the material you want to mix down.
Selected section of audio Destination tracks 5. Do one of the following: t Select Mono, and select the target track to which you want to mix down the audio. t If you want stereo, select Stereo and select two target tracks for the mixed-down audio. 6. Choose a bin and a drive. The drive is the media drive where the system stores the media files for the mixed-down audio. 7. Click OK. The audio is mixed down, and NewsCutter displays the new master clip in the bin.
CHAPTER 16 Syncing Methods NewsCutter provides special tools that help you establish and maintain sync relationships between various clips. This includes managing sync between unrelated clips or clips with the same timecode, match-framing footage, and ganging footage.
can also autosync any audio and video clips based on an artificial IN point or OUT point relationship you establish with marks. Use the following guidelines when autosyncing: • You can autosync audio clips with video clips only. • You can create only one autosynced subclip at a time. You cannot autosync numerous pairs of audio and video clips simultaneously. • If the audio and video clips do not have matching source or auxiliary timecode, you must establish common sync frames.
2. Select an option, based on the following: • Inpoints if you are syncing according to IN points set in both clips. • Outpoints if you are syncing according to OUT points set in both clips. • Source Timecode if the two clips have matching timecode. • Auxiliary TC1–TC5 if the two clips have matching timecode in the same auxiliary timecode column. Choose an Auxiliary TC, 1 through 5, from the pop-up menu. 3. Click OK.
Editing to Avoid Sync Breaks One way to avoid breaking sync is to maintain the duration of the track when you add or remove material, as follows: • When adding material to a track, use the Overwrite function instead of Splice-in, whenever possible. • When removing material from a track, use Lift instead of Extract. (The Lift function leaves filler of the same duration when you remove footage.
Fixing Sync in Trim Mode To restore frames to sync in Trim mode: 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. Consider the following: • Sync lock any additional tracks that are synced to the track you are trimming. Otherwise, you might restore sync in one track and break it in the others. See “Using Sync Lock” on page 560.
• Move the out-of-sync track, if possible, beyond the overlapping range with the synced material to eliminate the sync break. Managing Sync with Multiple Tracks The sync breaks display in the Timeline makes it easy to manage sync between video and one or two audio tracks. You can use additional techniques to manage sync when you work with four or more tracks, including syncing with tail leader and syncing with locators.
There are several unique aspects to sync locking: • Sync locking is available only in Trim mode. Edits performed in Segment or Effect mode will override sync-locked tracks. • Sync locking applies to single-roller trims only; dual-roller trims do not break sync. • You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. • Sync locking affects entire tracks.
To restore sync by using tail leaders: 1. Move the position indicator to the black segment that follows the out-of-sync leader. 2. Select the track, and then click the Mark Clip button. You can measure the break by checking the IN to OUT duration of the marked segment. 3. Find the point at which the sync was lost. 4. Add or remove frames by using the appropriate edit function, as described in “Fixing Sync Breaks” on page 558. As a quick fix, click the Extract/Splice-in button.
To mark sync points with locators: 1. Move the position indicator to the point in the sequence where you want to maintain sync between two or more tracks. 2. Select the top video track, and click the Add Locator button. The system adds a red locator to the top track in the Timeline and in the Source/Record monitor. To add a note that will appear in the Source/Record monitor whenever you park on the locator frame (such as Music sync or Sound Effect sync): 1.
To adjust the sync break: 1. Measure the sync break by first moving the position indicator to the leftmost locator and clicking the Mark IN button. Then move it to the other locators and click the Mark OUT button. 2. Check the IN to OUT duration of the marked section. To restore sync: 1. Find the point at which the sync was lost. 2. Add or remove frames by using the appropriate edit function, as described in “Fixing Sync Breaks” on page 558.
CHAPTER 17 Output Options The NewsCutter system provides tools for generating output for individual tracks or entire sequences to various videotape or audiotape formats. You can also use VTR emulation for direct playback of sequences by using an edit controller in an analog editing suite.
• Mix down multiple audio tracks if necessary. Systems equipped with a two-channel audio board can generate a maximum of two channels. See “Mixing Down Audio Tracks” on page 553. • Prepare the record tapes. See “Preparing Record Tapes” on page 580. • (Option) Record reference bars and tone to tape. See “Recording Bars and Tone” on page 581. Establishing Sync for Output Sync for output comes from the reference input (REF) when black burst or house sync is connected to the Meridien I/O box.
Calibrating for Video Output You can calibrate for video output by using the factory preset buttons or by performing a basic video calibration: c • Calibrating for video output, using the factory preset buttons: You should use the factory preset buttons if you do not have an external Waveform monitor or if your site engineers calibrate the system as a general maintenance procedure.
Basic Video Output Calibration You can calibrate by using digital color bars and tone that you create and edit into the sequence. n If you or your site engineers calibrate the system as a general maintenance procedure, or if you do not have an external Waveform monitor, leave the Video Output tool set to the preset values. To calibrate for video output: 1. Choose Video Output Tool from the Tools menu. The Video Output tool opens.
n • For Component or S-Video output, select either Component or S-Video as appropriate, and then click the Show Controls button in the Out 2 pane. • For Serial Digital output, click the Show Controls button in the Out 3 pane. • For SDTI output, see “Adjusting Video Output for SDTI” on page 572. The Video Output tool for systems equipped with the serial digital I/O board for recording to a D1 or digital Betacam VTR does not display basic calibration controls.
Table 17-1 Video Format Output Parameters (Continued) Parameter Video Formats Description RY Gain Component The red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. The signal consists of the following base equation for red (R), green (G), and blue (B) components: R–Y = –0.587G – 0.114B + 0.701R BY Gain Component The blue (B) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard.
n The internal Waveform and Vectorscope monitors do not display output signals from the system. 4. Adjust luminance values based on Table 17-2. Table 17-2 Parameter/ Video Standard a Black level (setup) Luminance Settings for Video Output SMPTE Bars Full-Field Bars at 75% Signal Level Full-Field Bars at 100% Level Adjust Black slider to place black level at: Adjust Black slider to place black level at: Adjust Black slider to place black level at: 7.5 IRE 0.0 IRE 0.3 V 7.5 IRE 0.0 IRE 0.
n If you do not have separate Vectorscope and Waveform monitors, you can use the Client monitor’s “blue only” feature, if available, to adjust SC phase output. For more information on this feature, see your monitor’s documentation. 6. Save this setting by choosing Save As from the Settings pop-up menu, typing a name, and clicking OK. n Output settings are Site settings, available to all users and all projects on the system.
Using Test Patterns The expanded Video Output tool provides a pop-up menu of test patterns you can use to calibrate the system output. To display a test pattern: t Click the Test Patterns pop-up menu, and choose a pattern. To add test patterns to the list: 1. Quit the NewsCutter application. 2. Find or create a PICT file for a chosen pattern. n You can create your own test pattern files by recording the pattern from videotape and exporting it as a PICT file.
horizontal blanking interval used to synchronize the timing of two or more video signals. SC Phase (subcarrier phase) controls are also available for timing two or more signals based on the color burst portion of a composite or S-Video signal. In most situations, you do not need to calibrate the horizontal phase or subcarrier phase of the output signal.
4. Calibrate the input by using the Video Input tool, as described in “Calibrating for Video Output” on page 567. 5. Save the input calibration settings as the system Default settings, as described in “Saving Video Input Settings” on page 203. 6. Choose Video Output Tool from the Tools menu. The Video Output tool opens. 7. Choose Record from the Tools menu. The Record tool opens. 8.
recalled each time a new tape is loaded for recording in the current project. Calibrating for Audio Output The following sections describe how to calibrate your system for audio output: • Setting the Calibration Tone • Calibrating Global Output Levels • Adjusting Output on Four-Channel Audio Systems Setting the Calibration Tone The Audio tool provides an internal calibration tone that you can customize and play as a reference signal on a digital cut.
4. Type new values for the tone level and frequency, and click OK. To play back the tone: t Choose Play Calibration Tone from the Peak Hold pop-up menu. To check the adjusted tone level in the meters: t Make sure the In/Out (I/O) toggle buttons are set to O for Output. Calibrating Global Output Levels You can use the meters and the master attenuator (output control slider) in the Audio tool to make global level adjustments for output from the system.
The Audio tool opens. Show/Hide Setup Control button Show/Hide Output Control button Peak Hold pop-up menu Mix Mode Selection pop-up menu Setup Options panel Show/Hide Input Control button IN/OUT toggle buttons Reset Peak button Input Control slider Channel Output Control slider assignments (master attenuator) All or Timeline Track Maps pop-up menu 2. Click the Show/Hide Output Control button (the Speaker icon) to display the master attenuator (slider). 3.
t Choose Direct Out to map monitored tracks directly to up to four channels of output (depending on your hardware configuration). By default, Direct Out maps all audio tracks in numerical sequence to existing output channels. You can remap a track to any channel by clicking the channel assignment display and by choosing another channel. 5.
Preparing Record Tapes The two basic methods of recording to tape are: • Frame-accurate recording, using the Digital Cut tool • Manual recording, using controls on the record deck Each method requires different treatment of the record tapes. Frame-Accurate Recording Frame-accurate recording involves using the Digital Cut tool to record your sequence onto a prestriped tape (a tape with prerecorded control track and timecode) or a partially striped tape.
onto non-Avid-controlled decks, such as a consumer-grade VHS or Hi-8. To record manually: 1. If the record deck has a serial control switch, set it to Local. 2. Use the controls on the deck to start the videotape recording. 3. Play the sequence. Recording Bars and Tone You can also record a portion of bars and tone onto the tape before recording a digital cut.
5. Record the bars and tone as either an insert or assemble edit according to the operation of your record deck and chosen method. You can create your own tone media; see “Creating Tone Media” on page 192. Enabling Assemble-Edit Recording Insert editing is the default setting for the Digital Cut tool. You can also use assemble-edit settings in NewsCutter, along with the assemble-editing capabilities of your record deck, to quickly record frame-accurate digital cuts without striping entire tapes in advance.
Assemble-edit option 3. Select “Allow assemble edit for digital cut.” 4. Click OK. 5. Make sure the record deck has the following settings: • The free run/rec (record) run switch should be set to record run. • The Ext (external)/Int (internal) sync switch should be set to internal. • The switch for internal timecode should be set to Regen (regenerate) or Slave Lock, not Preset.
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 allows you to control the decks 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” on page 590. • Local mode allows you to manually control the record deck by using the controls on the deck.
The Digital Cut tool provides several options for managing the recording of your sequence. For example, you can: • Record using either assemble or insert edits. • Record a selected portion of the sequence or selected tracks. • Record according to different timecode parameters. You can also preview the digital cut before recording it to tape. The Digital Cut tool includes its own deck controls for: • Cueing a record deck from the Digital Cut tool (Remote mode only).
Enable Video Track button Sequence Tracks pop-up menu Audio Track Selection panel Timecode text boxes Deck controls Deck Selection pop-up menu Previewing a Digital Cut You can preview a digital cut before recording it to tape to make sure your preparations and output settings are correct or for screening purposes. n You can preview a digital cut only if a digital camera or deck is connected to your system. To preview a digital cut: 1. Choose Digital Cut from the Clip menu. The Digital Cut tool opens.
Play Digital Cut button Track Selection menu Halt Digital Cut button Mix Mode Selection toggle button Preview Digital Cut button Local option Deck control option area 2. Select Local in the deck control option area. The deck control option area changes. 3. Select With Countdown to preview the digital cut using the default computer-generated countdown containing the Avid logo. 4. Select With Countdown and Custom Screen to preview the digital cut using a customized countdown screen that you create.
6. Click the Preview Digital Cut button in the Digital Cut tool. The system plays the digital cut in the Source/Record monitor and in the video monitor (if you have one). n To stop the playback at any time, press the space bar or click the Halt Digital Cut button. Creating a Custom Countdown Display The option Custom Screen allows you to change the font (type style), size, and color of the countdown numbers. You can also import your own PICT file as a background. To create a custom countdown: 1.
5. Choose another font, font size, or font color from the pop-up menus. n The menus display all currently available fonts, as determined by the contents of the Fonts folder. 6. Click Import if you want to import an available PICT file to use as a custom background. The Directory dialog box appears. 7. Locate a PICT file to serve as the new background image, and click Open. 8. Click OK. The custom countdown screen is ready for previews.
Recording a Digital Cut to Tape To record a digital cut to tape: 1. Load a sequence into the Source/Record monitor. (You cannot access digital cut options without a sequence loaded.) n Make sure the Source/Record monitor is completely visible on the desktop and is not covered by any other windows or tools. 2. Choose Digital Cut from the Clip menu. The Digital Cut tool opens. Play Digital Cut button Enable Video Track button Mix Mode Selection toggle button Track Selection menu 3.
n t Switch to Stereo to mix the currently monitored audio tracks into a stereo pair. t Switch to Mono to pan all the currently monitored tracks to center. t Switch to Direct Out to map monitored tracks directly to up to four channels of output (depending on your hardware configuration). By default, Direct Out maps all audio tracks in numerical sequence to existing output channels. You can remap a track to any channel by clicking the channel assignment display and choosing another channel.
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 the appropriate IN points on the tape. t Choose Record Deck Time to ignore the timecode of the sequence and to start the recording wherever the record deck is currently cued. t Choose Mark In Time to ignore the sequence timecode. Establish an IN point on the record tape by cueing and marking with the deck controls. 9.
n If you see degraded image quality in your digital cut (particularly visible as noise during black), deselect the option “Poll deck during digital cut” in the Deck Preferences dialog box and record the digital cut again. With this option deselected, the timecode display in the deck controller will not update for the duration of the digital cut.
Consider the following limitations on sequences when the target device is SDTI: • All effects must be rendered. If you attempt to perform a digital cut on a sequence that has unrendered effects, a message box appears, giving you the option to cancel or proceed. If you proceed, all unrendered effects play as simple cuts. • You cannot mix DV 50 material with DV 25.
VTR Play Emulation VTR play emulation allows you to control a sequence loaded in the Source/Record monitor from an edit controller for playback in the edit room along with other sources. n n To use VTR play emulation, you must connect a supported controller (any controller that uses Sony serial control protocol) to the system by using a special Avid 9-pin VTR emulation cable and a serial adapter. For information about the cable connection, see the setup information that came with your system.
Table 17-3 VTR Emulation Settings Options Option Description Device Code Select the device code that identifies the VTR that the system will emulate. The edit controller adjusts to this choice. The default value is a Sony PVW 2800, which performs all the common play and record functions. You do not need to change the device code value unless your edit controller does not recognize the VTR emulator or you want to emulate a specific VTR.
Enabling VTR Play Emulation Before you enable VTR play emulation, be sure the controller is properly connected. To enable VTR play emulation: 1. Choose Serial (COM) Ports from the Tools menu. The Serial (COM) Ports tool opens. See “Using the Serial (COM) Ports Tool” on page 120. 2. Select the appropriate port from the VTR Emulation pop-up menu. 3. Close the Serial (COM) Ports tool. The system saves the setting as a Site setting, effective for all projects. 4.
Once active, VTR play emulation allows you to control the sequence with an edit controller as follows: • You can shuttle, step (jog), play, cue, and mark points based on master sequence timecode for editing onto another master. IN and OUT points will appear in the Timeline only if the controller sends that information to the NewsCutter system. • Your control of the NewsCutter system is for play only. For example, you cannot arm tracks or send record commands to the NewsCutter system itself.
CHAPTER 18 Exporting and Exchanging Material You can export material directly from your NewsCutter system to many supported file types. You can export an individual frame, a selected region of footage, or an entire clip or sequence.
• Exporting Tracks as Audio Files • Exporting as a Graphic File • Exporting as an MPEG-2 File • Transferring a Project Between Systems • Transferring Media to and from a Video Server About Exporting Files There are several reasons why you might want to export video, audio, or both from NewsCutter: n • You can export files to be viewed as an AVI or QuickTime movie. • You can export files in MPEG-2 format.
Preparing to Export a Sequence If you are exporting part or all of a sequence — to create an OMFI file, an AAF file, a QuickTime file, an AVI file, or a graphic sequence, for example — you can speed the export process by preparing the sequence in advance, as follows: For more information on rendering, see the Avid NewsCutter Effects Guide. • Make sure all media for the sequence is online. For more information about selecting offline items in a bin, see “Selecting Offline Items in a Bin” on page 293.
media. For more information on performing an audio mixdown, see “Mixing Down Audio Tracks” on page 553. n • For OMFI or AAF files, consider consolidating the sequence to create smaller source clips, thereby saving time and disk space. For more information on consolidating media, see “Using the Consolidate Command” on page 331. • OMFI or AAF files with very complex sequences can fail during import into some applications due to memory limitations.
To perform a video mixdown: 1. Render all effects. See the Avid NewsCutter Effects Guide. 2. Select the tracks you want to mix down. n Make sure the Record Track Monitor button in the Track Selector panel is in the topmost track that you want to mix down. Video mixdown works from the monitored track down, regardless of track selection. 3. Mark an IN point and an OUT point around the area to mix down. 4. Choose Video Mixdown from the Clip menu. The Video Mixdown dialog box appears. 5.
Exporting Frames, Clips, or Sequences For information on using the drag-and-drop method, see “Using the Drag-and-Drop Method for Export” on page 606. This section provides the steps for exporting frames, clips, and sequences. For information on exporting for digital distribution on the World Wide Web, CD-ROM, or DVD, see “Using AvidLinks” on page 608. To export frames, clips, or sequences: 1.
2. Select a clip or sequence in one of two ways: t Click the monitor that displays the clip or sequence you want to export. t Click the clip or sequence in a bin. Ctrl+click to select multiple clips or sequences. 3. Choose Export from the File menu, or right-click and choose Export from the shortcut menu. The Export As dialog box appears with a default file name in the File name text box, based on the file type. 4. Select the destination folder for the file. 5. (Option) Change the file name.
7. (Option) If you want to check the current Export setting, click Options to open the Export Settings dialog box, view the selections, and then click Save to return to the Export As dialog box. For more information about Export settings, see Table 18-2. 8. Click Save. The file is exported and appears at the chosen destination. n c c NewsCutter saves the intermediate movie that it makes for some formats in a temporary folder. Make sure the temporary folder is on a drive with plenty of space.
position indicator to the frame you want to export. Make sure Use Marks is selected in the Export Options dialog box. n n t To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. If you mark an IN point and no OUT point, the system exports from the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the Export Options dialog box.
General Settings dialog box, which you access from the Settings scroll list. To save time, assign the temporary folder to a folder on the same drive where you will be dragging the export. Using AvidLinks AvidLinks enables you to send data from NewsCutter to other Avid applications. You can use AvidLinks to export to any of the applications listed in Table 18-1.
n You can also access AvidLinks by right-clicking and choosing it from the shortcut menu. 3. Choose an application from the AvidLinks submenu. The AvidLink Export To application name dialog box appears with a default file name in the File name text box, based on the file type. 4. (Option) Change the file name. 5. Select the destination folder for the file. 6. Click Save.
The file is exported and appears at the chosen destination. Using OMM to Export Clips Exporting through Open Media Management™ (OMM™) allows you to copy or “check in” clips from a bin to an asset manager application such as Avid MediaManager. Avid Unity MediaManager is the asset manager used in the Avid Unity MediaNet environment, which includes Avid Unity storage.
n For more information on the asset manager, see the Avid Unity MediaManager User’s Guide. Customizing Export Settings In addition to selecting preset templates, NewsCutter allows you to customize and name your Export settings. Use the following procedures to customize your Export settings. Creating a New Export Setting To create a new Export setting from the Settings Scroll list: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Click Export. 3.
3. Choose Untitled from the Export Setting pop-up menu. 4. Click Options. The Export Settings dialog box appears. 5. Select the appropriate file type and options from the Export As pop-up menu, as described in Table 18-2. 6. Click Save As. The Save Export Setting dialog box appears. 7. Type a name in the Setting Name text box, and click OK. The Export As dialog box appears, and the new setting appears in the Export Setting pop-up menu. 8. Click Save to complete the export.
Table 18-2 Export As Option Export Settings Dialog Box Options (Continued) Description QuickTime Reference Select this option to create a QuickTime reference movie. A QuickTime reference movie contains pointers (links) to movie files. This is similar to exporting as composition only. See “QuickTime Reference Movies” on page 621. MPEG-2 Select this option to export the selected media object in the MPEG-2 file format. See “Exporting as an MPEG-2 File” on page 663.
About OMF Interchange OMF Interchange® (OMFI) is a platform-independent file format that stores both the digital media (video, audio, graphics, animation) and the information describing how the media is edited together to form a final sequence. This editing information, called a composition, is the OMFI representation of the sequence created in NewsCutter. The OMF Interchange format is the result of cooperative efforts of many industry and standards partners and Avid Technology, Inc.
To export an OMFI composition only (Method 1): 1. Select the file you want to export. 2. Choose Export from the File menu, or right-click in the bin and choose Export from the shortcut menu. The Export As dialog box appears. 3. Click Options. The Export Settings dialog box appears. 4. Choose OMFI from the Export As pop-up menu and select Link to Video Media, Link to Audio Media, or both. 5. Select OMFI 1.0 or OMFI 2.0. For more information about which to select, see Table 18-3. 6.
The Export As dialog box appears. 3. Click Options. The Export Settings dialog box appears. 4. Choose OMFI from the Export As pop-up menu. 5. Select options as described in Table 18-3. 6. Click Save, or click Save As to create a new setting. See “Creating a New Export Setting” on page 611. The Export As dialog box reappears. 7. Select the destination folder for the file. 8. (Option) Change the file name. In most cases, keep the file name extension. 9. Click Save.
Table 18-3 Export Settings Dialog Box (OMFI Options) (Continued) Option Description Embed WAVE Audio Media Select this option to export audio tracks in the WAVE format (.WAV file name extension) for audio files. WAVE media is embedded in the OMFI file. Use this option if you plan to enhance audio in an OMFI-compatible application such as a digital audio workstation. Nearly all Windows and Windows NT applications that support sound use WAVE files. QuickTime also supports the WAVE format.
There are two types of data in an AAF file: • Media such as audio and video • Composition information, or metadata, that provides the instructions needed to combine and modify the media portions of the AAF file to produce a complete multimedia program As with OMFI export, there are two basic methods for exporting files: • AAF compositions only (Method 1) • AAF compositions with media files (Method 2) For more information about AAF, see www.aafassociation.org.
5. Click Save, or click Save As to create a new setting. See “Creating a New Export Setting” on page 611. The Export As dialog box reappears. 6. Select the destination folder for the file. 7. (Option) Change the file name. In most cases, keep the file name extension. 8. Click Save. The file is exported and appears at the chosen destination.
9. Click Save. The file is exported and appears at the chosen destination. Table 18-4 Export Settings Dialog Box (AAF Options) Option Description Embed Video Media Select this option to include (embed) video media in the AAF composition; for example, if you plan to add video or film effects in an AAF-compatible application. Link to Video Media Select this option when you use Method 1 (composition only). Embed WAVE Audio Media Select this option to export audio tracks in the WAVE format (.
QuickTime Reference Movies A QuickTime reference movie is a QuickTime movie that contains composition information but no movie data. Instead, the movie contains pointers to the original media in the OMFI MediaFiles directory on local or network media drives. Because the QuickTime reference movie does not contain media, the file is much smaller than a QuickTime movie, usually only a few kilobytes per file.
n For more information, see “Preparing to Export a Sequence” on page 601. 2. Choose Export from the File menu. The Export As dialog box appears. 3. Select the Export settings by doing one of the following: t Choose a setting from the Export Setting pop-up menu if you have created a setting in advance, and go to step 10. t If you want to review or edit a setting or create a new setting, go to step 4. 4. Click Options. The Export Settings dialog box appears. 5.
6. Select options as described in Table 18-5. 7. Click Save to save the current setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 611. The Export As dialog box reappears with the default QuickTime reference movie file name extension in the File name text box. 8. Select the destination folder for the file.
9. (Option) Change the file name. In most cases, keep the default file name extension. 10. Click Save. The file is exported and appears at the chosen destination. 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.
Table 18-5 Export Settings Dialog Box (QuickTime Reference Options) (Continued) Option Description Fill Spaces with Black When this option is selected, blank spaces in video tracks are filled with black in the QuickTime movie. Because QuickTime movies do not recognize blank spaces, it is a good idea to select this option. When this option is deselected, a QuickTime movie might interpret spaces in the video track as gray or the background of the player.
Table 18-5 Export Settings Dialog Box (QuickTime Reference Options) (Continued) Option Description Pixel Aspect Ratio The pixel aspect ratio allows you to apply a scaling to the video: Square, 4:3 Non-Square, or 16:9 Non-Square. The pixel aspect ratio allows you to control the display format without modifying the source file. This feature creates metadata — additional data that is stored with the QuickTime movie.
To export as a QuickTime movie: 1. Select the material you want to export in one of the following ways: You can use the drag-and-drop method to export QuickTime files. See “Using the Drag-and-Drop Method for Export” on page 606. t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure Use Enabled Tracks is selected in the Export Settings dialog box. You can select this option before the export.
QuickTime Movie (Same as Source) QuickTime Movie (Custom) 6. Select Same as Source to use the resolution of the source file, or select Custom to customize your settings. 7. Select the remaining options; use Table 18-6 as a reference. 8. Click Save to save the current setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 611. The Export As dialog box appears with the default QuickTime file name extension in the File name text box. 9. (Option) Change the file name.
The file is exported and appears at the chosen destination. c c NewsCutter allows a maximum exported file size of 2 GB. If you exceed this limit, the file is unusable and an error message is displayed. Break up large sequences or master clips into smaller pieces. If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.
Table 18-6 Option Suboption QuickTime Movie Export Options (Continued) Description Video and Audio Select this option if you want to export an entire clip or sequence as a QuickTime movie that contains both video and audio. Video Only Select this option if you want only video in the QuickTime movie. Audio Only Select this option if you want only audio in the QuickTime movie. Video Format Width x Height This option sets the width of the clip.
Table 18-6 Option Suboption QuickTime Movie Export Options (Continued) Description Create Preview Select this option if you want to create of a preview of the QuickTime movie. Pixel Aspect Ratio The pixel aspect ratio allows you to apply a scaling to the video: Square, 4:3 Non-Square, or 16:9 Non-Square. The pixel aspect ratio allows you to control the display format without modifying the source file. This feature creates metadata — additional data that is stored with the QuickTime movie.
6. Click Settings in the Video pane. 7. Select the options, using Table 18-7 for reference. Table 18-7 QuickTime Movie Format Options Format Options Suboption Description Compressor For high-quality, lossless compression (in which no picture information is lost). Animation Uses a run-length-encoded (RLE) scheme to encode each pixel, resulting in a file that is 70 to 95 percent the size of the uncompressed file.
Table 18-7 Format Options Suboption QuickTime Movie Format Options (Continued) Description Avid Meridien Compressed For compression compatible with Avid products. Allows fast import. See “Using the Avid Codecs for QuickTime” on page 645. Avid Meridien Uncompressed For 1:1 resolution. Allows fast import. See “Using the Avid Codecs for QuickTime” on page 645. export at the same resolution as your current clips, choose n For Same as Source instead of Custom.
Table 18-7 Format Options Suboption Intel® Indeo® Video 4.4 QuickTime Movie Format Options (Continued) Description For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen size playback from CD-ROM or hard drive. do not export at 720 x 540 and 720 x 486 frame sizes, n Files even though these sizes are listed.
Table 18-7 Format Options Suboption Planar RGB QuickTime Movie Format Options (Continued) Description For high-quality, lossless compression (in which no picture information is lost). Results in large files. Encodes each image plane separately, using a run-length-encoded (RLE) scheme. Used primarily to support Photoshop files, which are usually stored using a planar run-length algorithm. Colors PNG Portable Network Graphics, used to replace GIF as a bitmap still-image format for newer Internet browsers.
Table 18-7 QuickTime Movie Format Options (Continued) Format Options Suboption Description Quality Click the option and drag this slider to adjust the image quality for the exported file. The selections vary according to the codec you choose. Some codecs have only one Quality setting. If you selected Avid Meridien Compressed or Uncompressed, a dialog box appears, allowing you to choose a resolution. Motion Frames per second Choose a frame rate from the pop-up menu.
Table 18-7 Format Options Suboption QuickTime Movie Format Options (Continued) Description Hinted Streaming Choose if you are putting the exported file on a streaming server. The file will not stream without a hint track for each track in the movie. Exporting as an AVI File To export as an AVI file: 1. Identify the material you want to export in one of the following ways: t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others.
You can set these options in advance. See “Customizing Export Settings” on page 611. 3. Choose the Export settings by doing one of the following: t If you created a setting in advance, choose a setting from the Export pop-up menu, and go to step 12. t If you want to review or edit a setting, go to step 4. 4. Click Options. The Export Settings dialog box appears. 5. Choose AVI from the Export As pop-up menu. 6. Select AVI options as described in Table 18-8. 7.
The Video Compression dialog box appears. 8. Select the compressor you want, and click Configure to further configure the codec. For more information, see Table 18-9. 9. Click OK to close the Video Compression dialog box and return to the Export Settings dialog box. 10. Click Save to save the current setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 611. The Export As dialog box appears with a default file name in the File name text box. 11.
AVI Settings Table 18-8 describes the AVI Settings options in the Export Settings dialog box. In the Video Format tab, you can also select further options by clicking Codec Options. Table 18-8 Option Suboption AVI Settings Options Description Use Marks When this option is selected, the system 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.
Table 18-8 Option AVI Settings Options (Continued) Suboption Description Width x Height This option allows you to set the width of the clip. Scale to Fit: This option will size to fit the specified width and height. Crop/Pad: Crop/Pad never scales or resizes frames. If necessary, the system adds black lines to the top and bottom to achieve the correct size or crops lines off. Color Levels This options allows you to set color to RGB or ITU-R 601.
Table 18-8 Option AVI Settings Options (Continued) Suboption Description Sample Rate Select this option to select the sample rate. Project Rate: The native rate of the chosen audio media ( 48 kHz). 22.050 kHz: Half the sample rate of 44.1-kHz media. 11.025 kHz: One quarter the sample rate of 44.1-kHz media. Sample Size Select this option to select the sample size. 16-bit: When this option is selected, the system exports a 16-bit audio sample size (currently the industry-standard bit rate for audio).
AVI Video Compression Dialog Box Options Table 18-9 describes the Video Compression dialog box for AVI options. Table 18-9 Video Compression Dialog Box for AVI Options Option Suboption Description Compressor Microsoft Video 1 For when you create files that will play with Video for Windows. Click Configure to open the Video Compression dialog box. You can then adjust the quality of the compressed file by using the Temporal Quality Rate slider.
Table 18-9 Option Video Compression Dialog Box for AVI Options (Continued) Suboption Description Avid AVI Codec 2.0d2 Use this option to choose Avid resolutions. See “Using the Avid Codec for AVI” on page 648. Microsoft MPEG-4 For Web content containing both video and audio. (V3 is the Video Codec V2 most recent version.) Click Configure to open the Configure dialog box. You can then adjust the frequency of the keyframes, as well as compression control and data rate.
About Avid Codecs You can use the following Avid codecs (compressor/decompressor) when exporting QuickTime or AVI files from NewsCutter or from third-party applications for import into NewsCutter: • Avid Codecs for QuickTime • Avid Codec for AVI Using the Avid Codecs for QuickTime The Avid Codecs for QuickTime create encapsulated media files for export of high-resolution files that are readable within QuickTime applications.
The Export Settings dialog box appears. 4. Choose QuickTime Movie from the Export As pop-up menu. 5. Select Custom. 6. Click Format Options. The Movie Settings dialog box appears. 7. Click Settings in the Video pane. The Compression Settings dialog box appears.
8. Choose Avid Meridien Uncompressed or Avid Meridien Compressed from the Compressor pop-up menu. 9. Adjust the Quality slider. 10. Click OK in the Compression Settings dialog box, and then click OK in the Movie Settings dialog box. The Export Settings dialog box reappears. 11. Click Save to save the current setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 611. The Export As dialog box appears with a default file name in the File name text box. 12.
Using the Avid Codec for AVI The Avid Codec for AVI creates encapsulated media files for export of high-resolution files that are readable within AVI-compatible applications. To export a clip or sequence with the Avid Codec for AVI: 1. Identify the material you want to export in one of the following ways: t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others.
6. Choose Avid AVI Codec 2.0d2 from the Compressor pop-up menu. 7. Click Configure. The Avid AVI Codec Configuration dialog box appears. 8. Select the appropriate format for the media you want to create: NTSC or PAL. 9. Select the appropriate board set for the media: Interlaced or Progressive. 10. Choose a resolution from the Resolution pop-up menu. 11. Click Close. 12. Click OK to close the Video Compression dialog box and return to the Export Settings dialog box. 13.
14. (Option) Change the file name. In most cases, keep the default file name extension. 15. Select the destination folder for the file. 16. Click Save. The file is exported and appears at the chosen destination. Installing an Avid Codec on Other Systems When you install NewsCutter on your system, the Avid Codecs for QuickTime and the Avid Codec for AVI are automatically installed.
3. Install the codec in the other workstation in the C:\Winnt\System32 folder. Copying a Codec to a Macintosh System To install the Avid Codec for QuickTime on a Macintosh system: 1. On the Macintosh, open the Extensions folder in the System folder. 2.
Exporting from a Third-Party Application To export files from a QuickTime-compatible application or an AVI-compatible application on a Windows NT system for import (or reimport) into NewsCutter: 1. Make sure the applicable codec is installed on the workstation. See “Installing an Avid Codec on Other Systems” on page 650. 2. Conduct the export procedure according to the procedures used by the particular software. 3.
5. Choose a setting from the Export pop-up menu. If you do not have a preset audio template, choose Untitled, and then click Options. The Export Settings dialog box appears. 6. Choose Audio from the Export As pop-up menu. 7. (Option) If you marked IN or OUT points, make sure Use Marks is selected.
selected. To export the entire clip or sequence, deselect Use Marks and Use Enabled Tracks. 8. Select additional options as described in Table 18-10. 9. Click Save to save the current setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 611. The Export As dialog box appears with the audio file name extension in the File name text box. 10. (Option) Change the file name. In most cases, keep the file name extension. 11. Select the destination folder for the file. 12.
Exporting as a Graphic File NewsCutter allows you to choose from a number of graphic format options. To export as a graphic file: 1. Mark an IN point to export the marked frame from a bin or a monitor, or move the position indicator to the frame you want to export. 2. Select a clip or sequence in one of two ways: t Click the monitor that displays the clip or sequence you want to export. t Click the clip or sequence in a bin. 3. Choose Export from the File menu. The Export As dialog box appears. 4.
Graphic Format pop-up menu Format Options button 5. Choose Graphic from the Export As pop-up menu. 6. Select options as described in Table 18-11. 7. Make sure Use Marks is selected if you want to export a specific frame. 8. Choose a format from the Graphic Format pop-up menu. Use Table 18-12 to make your selection. 9. Click Save to save the current setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 611.
12. Click Save. The file is exported and appears at the chosen destination. When you are working with the Format Options settings, you can click Default to return the settings to their default values. Table 18-12 describes the additional Graphic Format options.
Table 18-11 Export Settings Dialog Box (Graphic Options) (Continued) Option Suboption Description Sequential Files This option produces a series of still images, numbered sequentially, and uses IN and OUT points to determine what to export. The fps rate of the source file determines the number of still image files that are produced (30 files per second NTSC, 25 files per second PAL). File Field Order This option allows you to choose the field that will be the upper field during export.
Table 18-12 Graphic Format Options Settings (Continued) File Type Parameters Description OS/2 This option creates files that are compatible with systems running the IBM OS/2® operating system. Chyron Cineon Developed by Chyron Corporation for use with video frame buffers of Chyron® character generator titles. Blackpoint This option allows you to adjust a film exposure value that corresponds to filming a 2% black card. Values can be between 0 and 1022.
Table 18-12 Graphic Format Options Settings (Continued) File Type Parameters IFF JPEG Description Developed by Electronic Arts. IFF (Interchange File Format), or more specifically IFF-ILBM (InterLeaved BitMap), is the standard file format by which applications on the Amiga platform transfer image files. Quality This option controls the output file size and quality. Higher values produce better images but larger file sizes.
Table 18-12 Graphic Format Options Settings (Continued) File Type Parameters Description PICT Create MacBinary header This option creates a file with a MacBinary header. This option allows you to save the file in the Pixar® format. Pixar PNG MacBinary is a file format for representing all the information in a Macintosh file in one binary file. It is a compact file format, useful for storing a Macintosh file on a non-Macintosh system for later retrieval.
Table 18-12 Graphic Format Options Settings (Continued) File Type Parameters Description TARGA Color Depth This option controls how images are saved. The 5-bit option saves data in Targa 16 format. The 8-bit option saves data in Targa 24/32 format. Compression This setting controls the size of the file on disk. Disabling compression creates larger files on disk. Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files.
Table 18-12 Graphic Format Options Settings (Continued) File Type Parameters XWindows YUV Description Developed by the MIT X Consortium, and is supported by many X Window System™ applications on workstations and some personal computers. Format This option controls the video format of saved images. If set to NTSC, NTSC video format (720 x 486) is used. If set to PAL, PAL video format (720 x 576) is used. Images are either padded with black or cropped.
n For more information, see “Preparing to Export a Sequence” on page 601. 3. Choose Export from the File menu. The Export As dialog box dialog box appears. 4. Select the Export settings by doing one of the following: t If you have created a setting in advance, go to step and choose a setting from the Export Setting pop-up menu. t If you want to create or edit a setting, choose Untitled from the Export Setting pop-up menu, and then go to step . 5. Click Options. The Export Settings dialog box appears.
7. Do one of the following: n t Select Use Marks if you are exporting a marked sequence. t Deselect Use Enabled Tracks and Use Marks if you are exporting an entire sequence. Use Enabled Tracks is selected by default.
8. Drag the Bit Rate slider to select a bit rate between 4 and 8.5 megabits per second. 9. Select the aspect ratio. 10. Click Save to save the current setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 611. The Export As dialog box appears with a default file name in the File name text box. 11. Select the destination folder for the file. 12. (Option) Change the file name. Keep the .mov file name extension. 13. Click Save.
different Avid system or to a third-party application, see the Avid Products Collaboration Guide.
Methods for Transferring Files Between NewsCutter Systems The type of transfer device you use depends 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. Table 18-13 lists the recommended devices for transferring files between systems.
For more information about compatibility between Avid editing applications, see the Avid Products Collaboration Guide and the Avid NewsCutter Release Notes. Transferring a Project and Associated Media Files There are two basic methods for transferring projects with their media files between NewsCutter systems: • Back up the project files and transport the media files on a removable storage device. • Send sequences, clips, or entire projects to a network storage device.
4. Remove the drives containing the media files, and take them and the floppy disk to the new location. n For more information on moving hard drives, removable drives, and striped sets from one system to another, see the Avid MediaDrive Utilities User’s Guide. 5. With the system at the new location turned off, insert or connect the drives and start the system. 6. Copy the project folder and any settings files to the appropriate folder on drive C.
To transfer project files, user profiles, and site settings to another Avid system: 1. On the source system, select the project folder, user folder, or Site Settings file you want to transfer. The default locations are listed in Table 18-14. Table 18-14 Default Folder and File Locations n Folder or File Location Project folder drive:\Avid\NewsCutter\Avid Projects User folder drive:\Avid\NewsCutter\Avid Users Site Settings file drive:\Avid\NewsCutter\Settings The exact location depends on how News
Transferring Media to and from a Video Server A video server is an optional component used with NewsCutter as part of a workgroup environment. Setting Up a Video Server You can transfer media to and from a video server, such as the Grass Valley Group® Profile®, through audio, video, and serial RS-422 connections. NewsCutter controls the video server in much the same way as it controls a video deck. For information on connecting a video server, see the Avid NewsCutter Setup Guide.
Configuring the Video Server as a Deck Before transferring media from the video server to NewsCutter, you must configure the video server as a deck on NewsCutter. For complete information on configuring a deck, see “Configuring Decks” on page 158. To configure the video server as a deck: 1. Click the Settings button in the Project window. The Settings Scroll list appears. 2. Double-click Deck Configuration. The Deck Configuration dialog box appears. 3. Click Add Channel. The Channel dialog box appears. 4.
The dialog box closes and returns you to the Deck Configuration dialog box. 10. Click Apply. Transferring from NewsCutter to the Video Server To transfer a sequence from NewsCutter to the video server: 1. Add the TapeID heading to the bin that includes the sequence as follows: a. Click the Fast Menu button in the lower left corner of the bin window and choose Headings. The Bin Column Selection dialog box appears. b. Select TapeID and click OK. NewsCutter adds the TapeID column to the bin columns.
Play Digital Cut button Record to Tape pop-up menu Mark IN text box 4. Select Entire Sequence. 5. Select Remote. 6. Choose Mark In Time from the Record to Tape pop-up menu. 7. Choose a tape name as follows: a. Click the Tape name display. The Select Tape dialog box appears. b. Click New. A New Tape name line appears in the dialog box. c. Type a new name, press Enter, and click OK. 8. Establish time for the IN point in the Mark IN text box. The time for the IN point must be equal to the preroll time.
For complete information on creating a digital cut, see “Using the Digital Cut Tool” on page 584. Transferring from the Video Server to NewsCutter After you connect the video server and select the appropriate settings, you can record media from the video server to NewsCutter. Some video servers allow you to drag clips from the video server’s user interface into the Record tool in NewsCutter. n Not all functionality is the same in each video server’s user interface.
CHAPTER 19 Using the NRCS Tool The Newsroom Computer System (NRCS) tool lets you use one computer to view stories and rundowns located on the iNEWS™ NRCS server and to edit sequences in NewsCutter. You use the NRCS tool to connect to an iNEWS (formerly Avstar) server, access stories from the server, and edit them on your NewsCutter system. When you open a story in the NRCS tool, you can make formatting and content changes to the story instead of moving to an iNEWS workstation to do the editing.
n • Saving Changes to a Story • Finding the Read Time of a Story • Building a Sequence from a Story • Building a Sequence with a Specific Duration • Sending and Receiving NRCS Mail • Disconnecting from the iNEWS Server Your iNEWS 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 The first time you open the NRCS tool, the NRCS Settings dialog box appears.
n You can also access the NRCS Settings dialog box through the Settings scroll list of the Project window. 2. Type the name of the server and, if you want, a default user name. 3. (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. 4. Click the iNEWS tab to make additional changes to the NRCS settings.
5. Configure the Message-of-the-Day (MOTD) settings and Mail Directory as follows: • n n c If you want the MOTD to have a different file name, type the new name in the Message-of-the-Day Directory text box. SYSTEM.MESSAGE is the standard location on the iNEWS server for the message-of-the-day files. Enter a different location only if your system administrator suggests doing so.
6. Click OK to accept the NRCS settings. The NRCS Login dialog box appears. iNEWS server name 7. Type a user name if you did not set a default name in the NRCS Settings dialog box. 8. Type the password. 9. Click OK. The NRCS tool connects to the iNEWS server. If you selected Every Connection or First Connection in the NRCS Settings dialog box, the Message-of-the-Day dialog box appears. The iNEWS administrator enters the MOTD. 10. (Option) Click Next to see the next MOTD. 11.
When the connection is established, the list of directories appears in the Directory panel of the NRCS tool. Starting the NRCS Tool To start the NRCS tool after it has been configured: 1. Choose NRCS Tool from the Tools menu. The NRCS tool opens.
2. Click the Connect button. The NRCS Login dialog box appears. iNEWS server name 3. Type a user name if you did not set a default name in the NRCS Settings dialog box. 4. Type the password. 5. Click OK. The NRCS tool connects to the iNEWS server. If you selected Every Connection or First Connection in the NRCS Settings dialog box, the Message-of-the-Day dialog box appears. 6. (Option) Click Next to see the next MOTD. 7. Click OK to close the MOTD dialog box.
Understanding the NRCS Tool The following figure shows the parts of the NRCS tool. Disconnect button Send Mail button Story form Story name Formatting toolbar Build Sequence button Save button Edit button WPM rate Read time Directory panel Production Cue text box Story panel Use Table 19-1 to learn more about the options available in the tool. n Many of the concepts and options in the NRCS tool are similar to those of the iNEWS client application.
Table 19-1 NRCS Tool Options Name Description Disconnect button Releases the connection to the iNEWS server. Send Mail button Opens a dialog box for sending mail to others in the iNEWS workgroup. Directory panel Lists the contents of the news database you are accessing. Story form Contains summary information about the story in predefined headings. You can alter the information only in Edit mode, and not when a gray background appears. Story name Shows the directory path and name of the story.
Table 19-1 NRCS Tool Options (Continued) Name Description Production Cue text box Displays production cues that have been scripted into a story. Using the Directory Panel In the Directory panel, you move through the directories on the iNEWS server. In this panel, you perform the following functions: • Open a story. • Make a shortcut to a directory. • Remove a shortcut to a directory. • Delete a story.
Closed directory Open directory Story 2. Double-click the story name, or press Enter. The story’s text appears in the Story panel. Making a Shortcut to a Directory To save time accessing a directory you use often, create a shortcut to the directory: 1. Navigate to the directory. 2. Right-click the directory name. A shortcut menu appears. 3. Choose Make Shortcut. The NRCS tool creates the shortcut, which appears in italics above the server name in the Directory panel.
Shortcut Server name Removing a Shortcut to a Directory If you want to remove a shortcut to a directory: 1. Right-click the directory name. A shortcut menu appears. 2. Choose Remove Shortcut. The shortcut is removed. Deleting a Story The NRCS tool allows you to delete a story without having to go through the iNEWS workstation, if your iNEWS User settings have the necessary permissions. See your system administrator if you are unsure of your settings. To delete a story: 1.
2. Choose Delete File, or press the Delete key. A message box appears. 3. Click Delete to complete the process, or click Cancel to stop the deletion. Changing the Text View You can change the screen display of the entire text of a story without entering Edit mode. The shortcut menu that opens when you right-click in the Story panel allows you to change the font and point size of the text. To alter the appearance of the text in your story: 1. Right-click in the Story panel. A shortcut menu appears. 2.
Editing Story Text You can perform basic editing functions on your stories by using the NRCS tool, eliminating the need to do the work on the iNEWS workstation and saving valuable time in the editing process. Entering Edit Mode You enter Edit mode by clicking the Edit button. Use Edit mode to perform the following functions: • Format text. • Rearrange text. • Mark text as Presenter Instructions. • Mark text as Closed Captioned. • Add a production cue. • Delete a production cue.
To remove text formatting: 1. Select the formatted text. 2. Do one of the following: t Click a button in the Formatting toolbar to remove the bold, italic, or underlining. t Right-click the text, and choose Bold, Italic, or Underline from the shortcut menu. Rearranging Text in a Story The shortcut menu provides commands for cutting, copying, pasting, and deleting text. To rearrange the text in a story: 1. Select the text you want to cut, copy, or delete. 2.
To mark text as Presenter Instructions: 1. Select the text you want to mark. 2. Do one of the following: t Click the Presenter Instructions button in the Formatting toolbar. t Right-click the text, and choose Presenter Instructions from the shortcut menu. The text changes to red, indicating Presenter Instructions. Marking Text as Closed Captioned Your story can also contain text marked for Closed Captioning. Closed Captioned text is green in the Story panel.
Story panel. In addition, a production cue marker appears in the story text to indicate where each production cue belongs in the story. Production Cue text box Production Cue marker To insert a production cue into your scripted story: 1. In the Story panel, move the cursor next to or within the text where you want to place the production cue. 2. Right-click and choose Insert Production Cue from the shortcut menu.
Deleting a Production Cue If you want to delete a production cue, you must delete the production cue marker, not just the text within the Production Cue text box. To delete a production cue: 1. Select the production cue marker in the Story panel. 2. Do one of the following: t Press the Delete key. t Right-click the marker, and choose Delete from the shortcut menu. Marking Text as Machine Control You can mark text in the Production Cue as Machine Control.
To mark text as Normal: 1. Select the text from which you want to remove the formatting. 2. Do one of the following: t Click the Normal button in the Formatting toolbar. t Right-click the text, and choose Normal from the shortcut menu. The text changes to black, indicating that the text contains no formatting. Saving Changes to a Story After you edit a story, you can save the changes by modifying the original story or by creating a new story.
2. Click Modify to save the changes to the original story, or click New to save the changes to a new story. n n The "if possible" modifier means that if someone has already modified the story or you do not have the permission to modify, you cannot modify the story. A new story is saved instead. If you click New, the NRCS tool creates a new story with the same name as the original story. You should rename the story in the NRCS tool and save it again to avoid confusion.
2. Do one of the following: t Right-click and choose Select All from the shortcut menu. t Select a portion of the text with the mouse. The read time appears in the upper right corner of the NRCS tool. The wpm rate used in the calculation appears next to the read time. Presenter Calculated read time for the selected text wpm rate (varies by presenter) Selected story text n The NRCS tool does not include Closed Captioned or Presenter Instructions text in the read time.
n Tape time in the NRCS tool corresponds to duration in the NewsCutter Timeline. To build a sequence from a story: 1. Open the bin in which you want to place your sequence. 2. Do one of the following: t Select the story in the Directory panel, and drag the story to the open bin. t Select the story in the Directory panel, right-click, and choose Build Sequence from Story. The duration of the sequence matches the tape time of the story.
Story name Tape Time New sequence generated from the story in the NRCS tool Timeline with a duration time that equals the tape time of the story Building a Sequence with a Specific Duration To build a sequence with a specific duration: 1. Open the bin in which you want to place your sequence.
2. Type the duration you want for the sequence in the Tape Time text box. 3. Click Save. 4. Click the Build Sequence button. A sequence is created in the bin, and filler is added to the Timeline. n The Tape Time text box appears dimmed if you do not have edit privileges. Your iNEWS administrator determines your level of access. Sending and Receiving NRCS Mail The NRCS tool contains a mail application that allows you to send mail to other iNEWS users on the network.
2. Type an address in the To text box. 3. (Option) Type a subject in the Subject text box. 4. Type your message in the message area. 5. Click Send to send the message, or click Cancel to close the dialog box without sending the message. Receiving NRCS Tool Mail To receive NRCS tool mail: 1. Navigate to and open the PEOPLE directory in the Directory panel. 2. Select the letter of the alphabet that matches the first letter in your iNEWS user name. 3. Select your user name from the list. 4.
Disconnecting from the iNEWS Server When you have finished using the NRCS tool, you should disconnect from the iNEWS server. To disconnect from the iNEWS server: t n n Click the Disconnect button. If you selected “Logout when NRCS Tool is closed” in the NRCS Settings dialog box, simply close the NRCS tool. The NRCS tool automatically disconnects from the server. You can also disconnect from the server by switching to a workspace that does not contain the NRCS tool.
APPENDIX A Using AudioSuite Plug-Ins This appendix describes how to access and use the AudioSuite plug-ins, including the set of core plug-ins that comes with your Avid system. It also provides a list of other plug-ins that are supported by this release.
Accessing the AudioSuite Plug-Ins To access the plug-ins: t Choose AudioSuite from the Tools menu. The AudioSuite window opens. Core AudioSuite Plug-Ins The following basic plug-ins are installed automatically as part of the Avid system software installation: • Invert — Inverts the polarity (phase of the audio file). • Duplicate — Creates a new master clip from a selected audio clip. The plug-in uses the IN and OUT points on the selected clip to define the boundaries of the new clip.
• EQ — Allows you to adjust frequency equalization on individual audio clips. • Compressor — Reduces the dynamic range of signals that exceed a selected threshold by a specific amount. • Limiter — Prevents signal peaks from exceeding a chosen level so that they don’t overload amplifiers or recording devices. • Gate — Reduces noise by decreasing the gain of signals that fall below a user-selectable threshold.
These plug-ins come with their own documentation. For more information, see the Digidesign Web site at: www.digidesign.com DINR–Broadband Noise Reduction (BNR) The Broadband Noise Reduction (BNR) feature of the Digidesign Intelligent Noise Reduction (DINR) plug-in provides broadband and narrow-band noise reduction for suppressing unwanted elements such as tape hiss, air conditioning rumble, and microphone preamplifier noise.
Maxim The Maxim™ plug-in performs peak limiting and sound maximizing. Maxim takes advantage of the random-access nature of disk-based recording to anticipate peaks in audio material and preserve their transient attacks when performing reduction. It helps preserve the character of the original audio signal without clipping peaks or introducing distortion.
The D-Fi and D-FX plug-ins come with their own documentation. For more information, see the Digidesign Web site at: www.digidesign.com Description of Core AudioSuite Plug-Ins The following sections give a brief overview of each plug-in and, where appropriate, describe how to use the plug-in. Invert The Invert plug-in reverses the polarity of the selected audio. All positive sample amplitude values are made negative, and all negative amplitudes are made positive.
of the performance remain unchanged while the overall volume level of the passage is raised. In addition to the standard AudioSuite parameters, the Max Peak At controls let you specify how close to maximum level (the clipping threshold) the peak level of your selection or file will be boosted. You can enter this information in one of three ways: t Enter a numeric decibel value below the clipping threshold. t Enter a percentage of the threshold. t Adjust the on-screen slider.
To configure the Gain parameters, do one of the following: t Enter the new level as a decibel amount (dB) or percentage (%) by double-clicking in the respective text box and typing a new value. t Use the slider to adjust the gain manually; press and hold the Ctrl key before clicking and dragging the slider to fine-adjust. Reverse Reversed sounds are useful effects in many music and film and video projects. The Reverse plug-in lets you perform this type of processing very easily.
DC Offset Removal The DC Offset Removal plug-in removes DC offset from your audio files. The term “DC offset” describes a specific type of audio artifact that might appear in digital audio signals. The DC Offset plug-in can be identified in a waveform overview because it appears to have a near-vertical fade in with a constant or “steady-state” offset from zero when the file is actually “silent” (it contains no audible audio).
Master Clip Mode Parallel Processing The Time Compression Expansion plug-in allows two tracks to be time-compressed or expanded as a “stereo pair,” so that the two sides of the stereo signal are processed relative to each other. The Time Compression Expansion plug-in has special parameters that let you enter time compression or expansion values in different formats, as explained below. They are located in the Source and Destination columns and include the Ratio slider.
To use the special control features: • Press and hold the Ctrl key to engage slider fine-tune mode. • Alt+click a field or slider to reset its default value. Time Compression Expansion Parameters The Time Compression Expansion plug-in has the following parameters: Source and Destination The Source text boxes display the length of the current selection before processing in each of the listed formats.
The controls below the bar line allow you to fine-tune the time compression and expansion process. They include the Crossfade, Min Pitch, and Accuracy sliders. Crossfade The Crossfade slider allows you to manually adjust the crossfade length in milliseconds to optimize performance of the Time Compression Expansion plug-in according to the type of audio material you are processing.
and expansion process for maximum efficiency — it all depends on the audio’s spectral shape. This slider should be set lower when you process bass guitar or another instrument with a similarly low range. Set the min pitch higher when processing instruments such as snare drums, violins, and other higher range instruments and sounds. Experiment with combinations of the other fine-tune controls in relation to the Min Pitch slider.
Edit the Pitch Shift parameters by double-clicking and typing in any Destination text box or by clicking and dragging the sliders. All Pitch Shift plug-in controls are linked, so that changing one changes the others.
Pitch Shift Parameters The Pitch Shift plug-in has the following parameters: Gain The Gain controls set the input level, in tenths of a decibel. The input level should be set 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.
Consider that altering a file in this way has little detrimental effect on the fidelity of audio files, whereas time correction can affect fidelity in a pronounced way. Ratio The Ratio slider lets you set the amount of transposition (pitch change). Moving the slider to the right raises the pitch of the processed file, and moving the slider to the left decreases its pitch. Press and hold the Ctrl key before clicking and dragging the slider to fine-adjust.
EQ There are two EQ plug-ins: • 1-Band EQ II • 4-Band EQ II The EQ II plug-ins provide an enhanced “British EQ” sound that is favored by contemporary audio engineers and producers. EQ II Parameters The EQ II plug-ins have the following parameters: Input Allows you to control the input gain of the EQ to prevent the possibility of clipping.
Freq Allows you to designate the center of the frequency region to be cut or boosted. Q (Peak only) Allows you to set the bandwidth of the Peak filter. Higher values represent narrower bandwidths. Lower values represent wider bandwidths. Bypass Bypasses the EQ. The 4-Band EQ II has individual Bypass buttons for each band (black buttons with EQ curve icons).
High-Shelf Produces a lift or a cut at the specified frequency and above it. Low-Pass Attenuates all frequencies above the selected cutoff frequency setting at a rate of 12 dB per octave while allowing all others below the frequency to pass through. For this reason, no gain control is available for this filter. Compressor The Compressor plug-in reduces the dynamic range of signals that exceed a selected threshold by a specific amount.
could cause gain reduction that persists through a soft section. Of course, compression has many creative uses that break these rules. The Compressor has built-in metering that allows you to monitor the amount of gain reduction taking place. The Gain Reduction meter usually remains at 0 level when the input signal is below the threshold, and falls to the left to show the amount of gain reduction in decibels when the input signal exceeds the threshold.
Threshold Allows you to set the threshold level. Signals that exceed this level will be compressed. Signals that are below it will be unaffected. A level setting of 0 dB is equivalent to no compression. Unlike scales on analog compressors, metering scales on a digital device reflect a 0-dB value, which indicates full scale (FS) — the full-code signal level. There is no headroom above 0 dB. Ratio Allows you to set the compression ratio. The range is based on decibels above the threshold.
Knee Allows you to set the rate at which the compressor reaches full compression once the threshold has been exceeded. This parameter ranges from 0 (hardest response) to 200 (softest response). Graph Displays the response curve set by the Compressor’s Threshold, Ratio, and Knee settings. As you adjust these parameters, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings. External Key This parameter has no effect on the AudioSuite plug-ins.
Limiting is used to remove occasional peaks because gain reduction on successive peaks wouldn’t be noticeable. If audio material contains many peaks, the threshold should be raised and the gain manually reduced so that only occasional, extreme peaks are limited. The Limiter’s ratio is internally set to 100:1, and the attack time is automatically set to 0 milliseconds. The Limiter is similar to heavy compression.
Threshold Allows you to set the threshold level. Signals that exceed this level will be limited. Signals that are below it will be unaffected. Attack Allows you to set the Limiter’s attack time. The smaller the value, the faster the attack. The faster the attack, the faster the Limiter applies attenuation to the signal. If you use fast attack times and heavy limiting, you should use a proportionally longer release time, particularly with material that contains many peaks in close proximity.
Gate The Gate plug-in reduces noise by decreasing the gain of signals that fall below a user-selectable threshold. Gate Parameters The Gate plug-in has the following parameters: Phase Invert Allows you to invert the phase (polarity) of the input signal in order to change frequency response between multi-miked sources or to correct for miswired microphone cables. Gating (Reduction Meter) Indicates the amount of reduction in dB. Threshold Allows you to set the threshold level.
Decay Allows you to control how long it takes for the Gate to close after the signal falls below the threshold level. Range Sets the depth of the Gate when closed. This parameter has a maximum depth of –80 dB. Setting the Gate to higher range levels allows more of the gated audio that falls below the threshold to peek through the gate at all times.
Expanders can be thought of as soft-noise gates because they provide a gentler way of cutting off noisy low-level signals than the typically abrupt cutoff of a gate. If you want, however, you can use this plug-in as Gate by setting the Ratio to its maximum value and using short Attack, Decay, and Hold settings.
Attack Allows you to set the Expander’s attack time. This parameter determines how quickly a signal’s level is reduced once it falls below the threshold. This setting, along with the Ratio setting, allows you to control how soft the Expander’s gain reduction curve is. Hold Allows you to specify a duration (in seconds or milliseconds) that the Expander/Gate will stay open after the initial attack cycle.
Graph Displays the response curve set by the Expander/Gate’s Threshold, Ratio, and Range settings. As you adjust these parameters, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings. External Key This parameter has no effect on the AudioSuite plug-ins. Key Listen This parameter has no effect on the AudioSuite plug-ins. Mod Delay The Mod Delay plug-ins provide time-delay-based effects.
Mod Delay Parameters The Mod Delay plug-ins have the following parameters: Input Allows you to control the input volume of the delay to prevent clipping. Wet/Dry Allows you to control the balance between the delayed signal and the original signal. If you are using a delay for flanging or chorusing, you can control the depth of the effect somewhat with the Wet/Dry setting. LPF (Low-Pass Filter) Controls the cutoff frequency of the low-pass filter.
Rate Allows you to control the rate of modulation of the delayed signal. Feedback Allows you to control the amount of feedback applied from the output of the delay back into its input. It also controls the number of repetitions of the delayed signal. Negative Feedback settings give a more intense “tunnel-like” sound to flanging effects.
APPENDIX B File Format Specifications To be compatible with a variety of imaging standards, your NewsCutter system accommodates many file types and formats. For import and export procedures, see Chapter 8 and Chapter 18. This appendix contains descriptions, specifications, and notes for importing and exporting specific file formats. To ensure usability and high quality, the files in some formats require preparation before being imported to the NewsCutter application.
The following list briefly describes the supported graphic (image) file formats: • Alias: Alias PIX image format, developed by Alias Research, Inc. (now Alias|Wavefront, a division of Silicon Graphics Limited) for use with their animation and visualization software. • BMP: Developed by Microsoft Corporation as the standard image file format used by Microsoft Windows. • Chyron: Developed by Chyron Corporation for use with video frame buffers of Chyron character-generated titles.
• Pixar: Developed by Pixar for stored pictures. • PNG: Developed by the PNG Development Group originally as an alternative to the GIF™ image format. PNG is an acronym for Portable Network Graphics and is pronounced “ping.” • QRT: Developed on the Amiga personal computer to run on several operating systems. This format is used by many ray tracing programs, such as DKB Ray Trace and the QRT ray tracer. • Rendition: Developed by Numerical Design Ltd. • SGI: Developed by Silicon Graphics, Inc.
Preparing Graphic Files for Import Before you import a graphic file to NewsCutter, you can use third-party image-editing software, such as Adobe Photoshop, to make adjustments such as the following: n • Convert the file to the appropriate size, resolution, and bit depth. • Crop or color-correct an image. • Eliminate jagged edges in an image by using the image-editing application’s anti-aliasing or high-quality option.
Graphic File Import Specifications Table B-1 contains graphic file import specifications. The table uses the following terms: • Full-screen image size: These numbers describe the recommended width and height, in pixels, to create a source image that will be displayed full-screen after import. Using these dimensions helps minimize distortion after conversion to the Avid application native resolution of 720 x 486 non-square pixels for NTSC or 720 x 576 for PAL.
Table B-1 Graphic File Import Specifications Format Default File Name Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) Alpha Channel Support Notes Alias .als 720 x 486 NTSC 24-bit color, 720 x 576 PAL 8-bit grayscale No BMP .bmp 720 x 486 NTSC 1-, 4-, 8-, and 24-bit 720 x 576 PAL No Dots-per-inch (dpi) information is preserved. Four-bit BMP files saved with run-length-encoded compression are not supported. Photoshop does not support four-channel BMP files. Chyron .
Table B-1 Graphic File Import Specifications (Continued) Format Default File Name Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) IFF .iff Alpha Channel Support Notes 720 x 486 NTSC 1-bit through 24-bit 1-bit 720 x 576 PAL color; alpha 1-bit through 8-bit only grayscale; 64-color EHB; 4096-color HAM; 262,144-color HAM8; SHAM; A-HAM; A-RES JPEG .jpg 720 x 486 NTSC 24-bit color, 720 x 576 PAL 8-bit grayscale OMFI .omf 720 x 486 NTSC 720 x 576 PAL PCX .
Table B-1 Graphic File Import Specifications (Continued) Format Default File Name Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) Alpha Channel Support Notes Pixar .pxr 720 x 486 NTSC 24-bit, 36-bit 720 x 576 PAL Yes PNG .png 720 x 486 NTSC 1-bit through 32-bit 720 x 576 PAL Yes QRT .dbw 720 x 486 NTSC 24-bit 720 x 576 PAL No Rendition .6rn 720 x 486 NTSC 32-bit 720 x 576 PAL Yes SGI .
Table B-1 Graphic File Import Specifications (Continued) Format Default File Name Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) Alpha Channel Support Notes Sun Raster .sun 720 x 486 NTSC 1-, 8-, or 24-bit 720 x 576 PAL No TARGA .tga 720 x 486 NTSC 8-, 15-, 16-, or 24-bit; 720 x 576 PAL 32-bit Yes TIFF .
Animation Files NewsCutter supports the following animation file formats: • AVI (Audio Video Interleave): Developed by Microsoft for storing video and audio information as part of its Video for Windows standard. • ERIMovie: Developed by Elastic Reality, Inc. (now a division of Avid Technology, Inc.) for quick playback of rendered movies on Silicon Graphics, Inc. platforms. Table B-2 lists animation file import specifications.
Table B-2 Animation File Import Specifications (Continued) Format Default File Alpha Name Exten- Bit Depth Channel Support sion Support Notes PICS Animation .pcs 2-, 4-, 8-, 16-, and 32-bit Sequenced image Various files Yes Only uncompressed data can be stored in PICS format. PICS export does not allow PICS containers larger than 16 MB. Yes Name each file in the sequence NameN.ext, with Name identifying the animation, N indicating the file order, and .
Table B-3 QuickTime File Import and Export Specifications (Continued) QuickTime File Import Specifications Notes Resolution Use Export settings to specify the compression ratio of a QuickTime file for export. For more information, see Table 18-2. The resolution of a QuickTime file is set at export time from a third-party application equipped with the Avid Codec for QuickTime. NewsCutter imports the file at this resolution.
Table B-4 AVI File Import and Export Specifications Avid Codec for AVI AVI File Import and Export Specifications Notes You can export Avid AVI files by using standard AVI conversion or by using the Avid Codec for AVI. Importing AVI is done by the Avid codec for QuickTime. Use the Avid Codec for AVI for importing AVI files into an Avid system when you export from NewsCutter or a third-party application. Files created by the codec are readable within applications also equipped with the codec.
Audio File Formats The supported audio file formats include: n • Audio Interchange File Format (AIFF-C): Format for audio files developed by Apple Computer, Inc. • WAVE Format (WAV): Format for audio files developed jointly by Microsoft and IBM. WAV files are playable by nearly all Windows applications that support sound. You can record, render, and edit audio in AIFF-C or WAV file formats. OMFI Files OMF Interchange (OMFI) was developed by Avid Technology, Inc.
Table B-5 OMFI File Import Specifications (Continued) OMFI File Import Specifications Notes Frame or Edit rate You must import sequences and clips to projects that have the same edit rate (29.97 fps for NTSC, 25 fps for PAL). If the edit rates do not match, you will receive an error message. cannot import an OMFI audio file that was produced with an n NewsCutter edit rate equal to the audio sample rate. Trying to import such a file results in the error message Unrecognized file type.
Table B-5 OMFI File Import Specifications (Continued) OMFI File Import Specifications Notes Reimporting Avid media files If you import OMFI files containing media that you exported from the same NewsCutter system, you need to delete the original media. Otherwise, the new media will not overwrite the original media. To learn how to locate the original media for a sequence, see Chapter 10.
• Upper field is first: The upper field in the frame (odd-numbered lines, when the frame lines are numbered starting from 1) occurs temporally before the lower field, as shown in the following illustration. This arrangement can be termed “upper field first” (or “lower field second”).
Preventing a Spatial Field Mismatch on Import Table B-6 shows the proper spatial field position for each of the common video formats in NewsCutter systems. Table B-6 Recommended Field Settings for Two-Field Import and Export Avid Video Format Import/Export Frame Size Upper/Lower Field Spatial Setting Field Setting for Import and Export a AVR NTSC 720 x 243 x 2 Upper field is first. Odd Field AVR PAL 720 x 288 x 2 Upper field is first.
Spatial Field Relationship on Export The default export operation is automatically carried out as shown in Table B-6. The fields will be properly interleaved in the export frames (one frame per file). If an import comes in mismatched and the dropping of the top line and repeating of the bottom line is performed, you might choose to have the export operation performed to prevent a shift up or down by a line.
Field 2 will always be the second frame in the edit frame. Cuts will always precede field 1. Fields in Video In the video signal, fields have a temporal position that is unambiguously and uniquely tied to the details of the video signal, regardless of whether the signal is analog or digital (SDI). This means that working around a field spatial mismatch should be done by correcting the spatial relation between the two fields rather than the temporal position.
APPENDIX C Avid Log Specifications This section explains the Avid log file format. The NewsCutter application can import logs that meet Avid log specifications. These logs must follow the formatting requirements described here.
Log Formats Table C-1 lists the log formats that can be imported directly into the NewsCutter application. You can use Avid Log Exchange to adapt other log formats so that they meet Avid log specifications. Table C-1 Compatible Log Formats Log File Name Extension Avid logs .ale Log right .ale Understanding Avid Log Specifications This section contains tables that show how to enter headings and data to create an Avid log.
The following is a sample heading from the format table: FPS [Tab] <25> <29.97> n [Enter] Required Capture rate is 25 fps for PAL and 29.97 fps for NTSC video. FPS is a required heading. To make a log entry for the FPS heading: 1. Type FPS. 2. Press the Tab key. 3. Type one of the supported values (25 or 29.97). 4. Press Enter.
Global Headings The global headings must come first in an Avid log file, and you must enter one value for each heading. Table C-2 shows the format for the global headings and the supported values for each heading. Table C-2 Avid Log Global Headings GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown. Include all required headings. Other headings are optional but might be necessary for your project.
Table C-2 TAPE [Tab] FPS [Tab] <25> <29.97> Avid Log Global Headings (Continued) [Enter] Required Name of the videotape reel you are logging. If you omit this heading, the file name becomes the global tape name. You can override this for individual clips. [Enter] Required Capture rate is 25 fps for PAL and 29.97 fps for NTSC video. [Enter] Press Enter a second time after entering the FPS value. This marks the end of the global headings.
Table C-3 Avid Log Column Headings COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown. Note that the first five headings are required. Other headings are optional but might be necessary for your project. The maximum number of combined global, standard, and custom headings in a log file is 64. Column [Enter] Required Indicates the start of the column headings. Name [Tab] Required Heading for clip name.
Table C-3 Avid Log Column Headings (Continued) Offline [Tab] Heading for tracks currently without recorded media files online. Tape [Tab] Heading for source tape ID for the individual clip. If omitted, the global entry applies. Video [Tab] Heading for video resolution. COMMENTS [Tab] Heading for comments about clip. [Tab] [Enter] Press the Tab key between each heading. Do not press the Tab key after the last heading. Add any category of information you want.
Table C-4 Avid Log Data Headings DATA HEADINGS: The word Data marks the start of the data for each clip. Data [Enter] Required Enter the word Data to mark the start of the logged clip entries. DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so that it aligns with its column heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to enter data for all the required values.
Table C-4 Avid Log Data Headings (Continued)
Sample Avid Log This section contains a sample Avid log for an NTSC video project. Formatting keys, such as [Tab] and [Enter], are shown in brackets. Heading [Enter] FIELD_DELIM [Tab] TABS [Enter] VIDEO_FORMAT [Tab] NTSC [Enter] AUDIO_FORMAT [Tab] 44.
APPENDIX D Connecting an External Fader Controller or Mixer to Your NewsCutter System For information on external fader controllers and mixers and how to connect them to your NewsCutter system, see the following sections: • Supported Fader Controllers and Mixers • Using the FaderMaster Pro and MCS-3000X • Using the Yamaha 01V Digital Mixing Console Supported Fader Controllers and Mixers Your NewsCutter system supports the following external fader controllers for Automation Gain recording: • JL Cooper
n • JL Cooper MCS-3000X MIDI Automation controller. This unit supports touch-sensitive flying faders. While you are recording gain, the faders automatically move. You can grab a fader and move it during an automation gain recording to quickly punch in a small change in volume. • Yamaha 01V Digital Mixing Console. This unit is a full-feature digital mixer that also supports audio gain automation with flying faders. The faders are not touch sensitive (see Table D-1). An external fader is optional.
The following provide additional information on touch sensitivity and snap mode: • Touch sensitivity: As soon as you touch a moving fader on the MCS-3000X, the unit passes control of the fader to you. See “MCS-3000X Buttons” on page 766. On the Yamaha 01V, you must press the fader’s On button to gain control of a moving fader. For a description of how to control the faders on the Yamaha 01V, see “Operational Notes for the Yamaha 01V Mixer” on page 773.
The following illustration labels each row of buttons: Select Snap Mode Solo Mute • Select buttons: The green light next to the Select button for a track is on when you are recording audio gain automation on the track. The green light is off when you are listening to the volume level in the Timeline. If the track is in Snap mode, as soon as you touch the fader, the Select button light turns on to indicate that you are recording.
Using the Snap Mode Feature on the MCS-3000X Fader Controller For each track, the MCS-3000X has a Snap Mode button that allows you to easily punch in and punch out small sections of automation gain information. The second row from the top contains the Snap Mode buttons. For more information on button location, see “Using Audio Gain Automation” on page 496. In Snap mode, the fader automatically stops recording as soon as you release it.
The green light next to the Select button for a track is on when you are recording audio gain automation on the track. The green light is off when you are listening to the volume level in the Timeline. Ganging Faders on the FaderMaster Pro Fader Controller You can use the features available on the FaderMaster Pro to gang faders. When the faders for two tracks are ganged, both faders send identical volume messages for both tracks when you move one fader. This can be useful when you have stereo tracks.
Using the Yamaha 01V Digital Mixing Console NewsCutter supports the Yamaha 01V digital mixing console. The Yamaha 01V is a fully functional digital audio mixer that also supports automation gain recording. The following illustration shows 01V controls. The exploded view shows the buttons that you use to operate the unit for automation gain recording. For a comparison with other external faders, see “Adjusting the Volume of Individual Keyframes” on page 502.
Setting Up the Yamaha 01V Digital Mixer This section describes how to set up the Yamaha 01V digital mixer. For instructions on connecting the Yamaha 01V to your NewsCutter system, see the Avid NewsCutter Setup Guide. Initializing the Yamaha 01V This section describes how to initialize the Yamaha 01V digital mixer. These steps should have to be done only once and repeated only if the mixer’s operational parameters have been manually changed to something that is incompatible with NewsCutter.
Configuring the Mixer After you initialize the mixer, you must configure it to receive and transmit MIDI messages. To configure the mixer to recognize MIDI control messages: 1. Press the MIDI button. The system displays the first pane of the MIDI Options window. 2. Set the following controls on the MIDI Options window: • Set Control Change TX to ON. • Set Control Change RX to ON.
6 6 6 6 6 6 6 6 6 6 6 6 6 6 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5 5 5 5 5 5 5 5 5 5 5 5 5 5 6 5 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 0 CURSOR ENTER 1 17 2 18 3 19 4 20 5 21 6 22 7 23 8 24 9 10 11 12 13/14 15/16 STEREO MASTER Channels 1–12 (mono) Channels 17–24 Channels 13–16 (two stereo inputs) When you start NewsCutter, it automatically configures the Yamaha 01V to use ch
2. When recording automation gain, use the On button on each channel to switch from Timeline control of audio gain to user control of audio gain. You can punch in and out of gain recording as many times as you want. The Yamaha 01V faders are not touch sensitive in the same way as the JL Cooper MCS-3000X MIDI Automation controller. As soon as you touch a moving fader on the MCS-3000X, the unit passes control of the fader to you.
2. Set the following controls on the MIDI Options window: • Set Param Change TX to ON. • Set Param Change RX to ON. However, if this mode is on when you are mixing audio, it interferes with the normal operation of the mixing board functions. If the NewsCutter system audio outputs are connected to the 01V, it is best to leave Param Change TX and Param Change RX set to OFF.
APPENDIX E Using the JL Cooper Media Control Station3 The JL Cooper Media Control Station3 (MCS3) provides an alternative to using the keyboard and mouse to edit footage. While you need to use the keyboard and mouse for naming and recording functions, you can program and use the MCS3 controller for navigation and frequently used editing functions. Your NewsCutter documentation explains the editing process in detail. For hardware installation instructions, see the Avid NewsCutter Setup Guide.
• Editing Footage with the MCS3 Controller • Creating Multiple Controller Settings • Troubleshooting Overview of the MCS3 Controls The MCS3 controls are as follows: • Function buttons — Map the NewsCutter Command palette functions to buttons on the MCS3. • Jog/Shuttle wheel — Press this wheel to switch between Jog and Shuttle modes. In Jog mode, turn this wheel to the right to increase viewing speed. In Shuttle mode, turn this wheel to the right to fast forward and to the left to rewind.
F1 F2 F3 F4 F5 F6 W4 W3 Function buttons W5 W2 W6 W1 W7 Jog/Shuttle wheel Navigation buttons Opening the MCS3 Controller Settings Dialog Box Before you can map MCS3 buttons to the Command palette, you must open the Controller Settings dialog box. To open the Controller Settings dialog box: 1. Click the Settings button in the Project window. The Settings scroll list appears.
Controller Settings 2. Double-click Controller Settings. The Controller Settings dialog box appears. Make sure the appropriate port and controller are selected. 3. Choose COM1 or COM2 from the Port pop-up menu. 4. Choose JL Cooper MCS3 Controller from the Controller pop-up menu. 5. Click Edit Settings. The MCS3 Controller Settings dialog box appears.
Mapping the MCS3 Buttons When the MCS3 controller is first installed, there is a set of default button mappings (see “Using the Default Button Mappings” on page 781). Not all the buttons on the MCS3 are mapped to functions in the Command palette. To add new functions or change the default button assignments, see “Custom Mapping MCS3 Buttons” on page 782.
Using the Default Button Mappings When you first open the MCS3 Controller Settings dialog box, a set of default functions is mapped to the MCS3 buttons. There are two types of buttons on the MCS3 controller: • Navigation buttons • Function buttons Default Navigation Buttons The navigation buttons appear at the bottom of the MCS3 Controller Settings dialog box. From left to right, they are: n • Rewind • Fast Forward • Stop • Play You cannot change the navigation button definitions.
Default Function Buttons Each function button is labeled with an F or W followed by a number. In NewsCutter, there is no difference between an F and a W function button. Avid provides default button mappings. You can reassign these buttons by following the instructions in “Custom Mapping MCS3 Buttons” on page 782. Table E-1 shows the MCS3 button numbers and the default button mappings.
To map Command palette functions to MCS3 buttons: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Controller Settings. The Controller Settings dialog box appears. 3. Choose COM1 or COM2 from the Port pop-up menu. 4. Choose JL Cooper MCS3 Controller from the Controller pop-up menu. 5. Click Edit Settings. The MCS3 Controller Settings dialog box appears. 6. If the Command palette is not already open, choose Command Palette from the Tools menu.
Controller Settings dialog box whose function you want to program. t Map a shifted function — Press and hold the Shift key on your keyboard, click the function in the Command palette, and drag it to the button in the MCS3 Controller Settings dialog box whose function you want to program. As you drag between the two windows, the pointer changes to the hand pointer. When you release the mouse, the new function appears on the MCS3 button. To map a menu choice to one of the MCS3 buttons: 1.
2. From the Shift Key Button pop-up menu, choose the function button that you want to assign as the Shift key on the MCS3. The default is None. Therefore, you need to use the Shift key on your keyboard to switch between shifted and unshifted functions on the MCS3. 3. Press the assigned button on the MCS3 to display the shifted functions in the Controller Settings dialog box. n If you assign a button on the MCS3 as the Shift key, you cannot use this button for an editing function.
Table E-2 Maximum Jog Speed Options Option Description 1/4 speed The jog speed does not exceed one quarter the recorded speed. 1/2 speed The jog speed does not exceed one half the recorded speed. Normal The jog speed corresponds to how fast you turn the wheel (default). 2x speed The jog speed does not exceed twice the recorded speed. 4x speed The jog speed does not exceed four times the recorded speed. Customizing the Maximum Shuttle Speed You can customize the maximum shuttle speed.
Table E-3 Maximum Shuttle Speed Options Option Description 1x The recorded frames per second 2x Two times the recorded frames per second 4x Four times the recorded frames per second 8x Eight times the recorded frames per second (default) 16x Sixteen times the recorded frames per second 32x Thirty-two times the recorded frames per second Operating the Jog/Shuttle Wheel The jog/shuttle wheel controls how you move through footage. You switch between Jog and Shuttle modes by pressing the wheel.
Moving Through Footage in Jog Mode The red arrow lights above the jog/shuttle wheel are off when you are in Jog mode. If they are on, press the wheel to enter Jog mode. • When the jog/shuttle wheel is stationary, the footage is paused. • Turn the wheel to the right (clockwise) to advance the footage. • Turn the wheel to the left (counterclockwise) to rewind the footage. Moving Through Footage in Shuttle Mode The red arrow lights above the jog/shuttle wheel are on when you are in Shuttle mode.
c Because the MSC3 controller operates in the active window and the MCS3 Controller Settings dialog box is modal, you must close the MCS3 Controller Settings dialog box before you can use the MCS3 for editing. 3. Open one of the following windows: • Record Tool • Digital Cut Tool • Deck Controller • Timeline The MCS3 controls the active window. 4. Use the jog/shuttle wheel and the navigation buttons to move back and forth between clips and sequences. 5.
2. Click the Controller Settings you want to duplicate. 3. Choose Duplicate from the Edit menu. 4. A copy of the selected Controller Settings appears in the Settings scroll list. 5. To rename the duplicate Controller settings, click the space to the right of “Controller Settings,” type a descriptive name in the text box, and press Enter. 6. Select the Controller Settings that you want to make active. A check mark indicates the active Controller Settings.
• You chose the wrong port from the Port pop-up menu of the Controller Settings dialog box. To identify the problem: 1. Click OK to close the message box. 2. Make sure you chose the appropriate serial port in the Controller Settings dialog box. 3. Make sure you chose JL Cooper MCS3 Controller in the Controller Settings dialog box. 4. Check the cable connections. 5. Press the jog/shuttle wheel. When the controller is in Shuttle mode, the red arrow lights above the wheel are on. 6.
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ volume in the Audio Mix tool 485 volume in the Timeline 496 Adjusting chrominance settings 571 Adjusting luminance settings 571 AIFF-C file format described 747 option in General settings 80 Alias file format brief description of 735 import specifications for 739 Alpha channel adding to a graphic image 737 defined 738 in imported animation 743 options in Import settings 256 support in graphic formats 739 Anti-aliased images 737 Archive to Videotape dialog box 345 Archiving m
crossfading 549 dipping 552 dissolves 549 EQ templates 527 fading 549 file formats (General settings) 80 format heading in Avid logs 759 levels fine-tuning with add edit 548 mixdown 553 pan adjusting in Audio Mix tool 485 pitch shift 537 scrub 474, 481 setting pan defaults 481 time compression 537 tracks mixing down 553 volume adjusting in Audio Mix tool 485 adjusting in the Timeline 496 adjusting while playing 494 waveform plots, displaying 482 Audio clips, marking 381 Audio effect tools, accessing 473 Aud
Gain 709 Gate 727 installing 531 Invert 708 limitations 544 Limiter 724 Maxim 707 Mod Delay 731 Normalize 709 Pitch Shift 715 Reverse 710 supported 704, 705 Time Compression Expansion 711 troubleshooting 545 Automation Gain connecting a fader controller 764 Fast menu 508 keyboard shortcuts 512 selecting tracks in 508 Auto-Save options (Bin settings) 78 Autosyncing clips 555 Auxiliary timecode 361 AVI file format description 743 import and export specifications for 746 AVI (Avid Codec for AVI) export specifi
Bins display in Frame view 61 in Project window 63 in Script view 62 in Text view 60 Bit depth, defined 738 Black holes in Timeline described 433 finding 433 Black level adjusting for output 571 Blank button, using 112 Blue-only feature 572 BMP file format additional export options 658 described 735 import specifications for 739 Buttons Blank 112 Build Sequence (NRCS tool) 685, 697 Disconnect (NRCS tool) 685 Edit mode (NRCS tool) 685, 690 mapping user-selectable 111 Save Story (NRCS tool) 685 Send Mail (NRC
using test patterns 573 video input table of luminance settings 201 with passthrough signals 574 Calibration tone, setting 576 CCIR video levels Import settings 256 Channel dialog box 159 Choosing a user 44 Chrominance settings adjusting for video output 571 Chunking 156, 221 Chyron file format brief description of 735 import specifications for 739 Cineon file format additional Export options 659 brief description of 735 import specifications for 739 Clear Menu command (Monitor menus) 366 Clear Monitor comm
Deck control from the keyboard 241 setting ports 120 Deck Preferences settings, access and description 85 Deck settings Fast Cue option 164 for configuring decks 161 Preroll option 164 Default Function buttons 782 Deleting clips and sequences 286 locators 393 Production cues (NRCS tool) 694 stories (NRCS tool) 688 Device Code option (VTR Emulation settings) Consolidating media files defined 328 procedure 332 Context menus (Windows) 54 Copy to Clipboard button 413 Copying clips 286 to Clipboard 413 Countdow
Tape Lengths 345 Video Compression 648 Video Mixdown 603 View Name (bin) 281 Digidesign D-Fi plug-in 707 Digidesign D-FX plug-in 707 Digital audio scrub adjusting parameters for 478 compared to smooth audio scrub 475 using 478 Digital Audio Scrub options (Audio settings) Duplicate AudioSuite plug-in 708 Duplicating clips and sequences 284 E Edit controller with VTR play emulation 595 with VTR record emulation 244 edit delay option 595 Edit Delay option (VTR Emulation settings) 479 245, 596 Digital Beta
Expander/Gate AudioSuite plug-in 728 Export settings access and description 85 options for specific file types 656 Video Compression options 655 Exporting Advanced Authoring Format (AAF) 617 graphic files 655 graphic files, specifications for 738 MPEG-2 files 663 OMFI files, described 614 OMFI files, methods for 614 preparing for 601 Quick Time Movie files 629 QuickTime Movie 626 QuickTime Reference Movie files 621 TARGA files 662 Wavefront files 662 YUV files 663 Exporting Avid AVI files (Windows) 637 Expo
Gate AudioSuite plug-in 727 General settings 79 access and description 85 audio file formats 80 drive filtering options 80 Global headings in Avid logs 757 Global settings, Import 250 Graphics (image) files field ordering in 749 recommended field settings 751 Grass Valley Group Profile video server 672 Font setting for bins 283 setting for clip name 362 Footage clearing marks from 379 displaying current position 355 marking and subcataloging 377 viewing and playing 352 Four-channel audio board systems adju
Import settings 250 access and description 86 alpha channel options 256 aspect ratio options 254 CCIR video levels 256 dominance options 255 RGB graphics levels 256 Importing animation files 743 color bars 318 graphics files 738 OMFI files 740, 747 Targa files 742 TIFF files 742 Wavefront files 742 XWindows files 742 YUV files 742 Importing files before you begin 250 guidelines for 250 procedure for 258 using drag-and-drop method for 262 iNEWS server configuring (NRCS tool) 680 disconnecting from (NRCS tool
L Luminance settings adjusting for video output 571 table of 571 Layering mapping buttons for 110 L-cut See Overlap edit L-edit See Overlap edit Left Arrow key 374 Lift button 412 Lifting material 412 Limiter AudioSuite plug-in 724 Linear timecode 229 Load Filler command (Clip Name menus) 403 Locators accessing in sequence or clip 392 adding while editing 388 deleting 393 displaying comments 389 icon, changing color of 392 moving to previous or next 388 removing from source material 389 using 386 Locators
Filter Automation Gain (Automation Gain Fast menu) 509 Hardware (Tools menu) 118 Headings (Bin menu) 287 Load Filler (Clip Name menu) 403 mapping 112 Modify (Clip menu) 139 Remove Automation Gain (Automation Gain Fast menu) 509 Remove Clip Gain (Audio Mix Fast menu) MCS-3000X fader controller recording audio gain 513 supported 501 Media files archiving and restoring 342 archiving options 347 backing up 335, 342 consolidating defined 328 procedure 332 deleting 326 finding related 336 loading the database 33
sending mail 700 understanding the NRCS tool 684 using the Directory panel 686 WPM rate 696 NTSC (National Television Standards Committee) video waveform values 201 NTSC frame resolution for imported files 739 NTSC video luminance values 571 NTSC-EIAJ 80 waveform values 201 Mouse jogging with 374 shuttling with 375 Moving clips and sequences 285 projects between systems 669 settings between systems 670 MPEG-2 Export 663 N Navigating in dialog boxes 104 Navigation buttons described 781 MCS3 controls 777 No
P Play tab Play Length Toggle button 376 Playback with audio scrub 474 Playback loop starting 415 Playing Play Length function 376 Plug-ins AudioSuite 531 dialog box 535 Fast menu 536 PNG file format additional export options for 661 described 736 import specifications for 741 Position bar, using in the Timeline 368 Position indicator, using in the Timeline 368 Preparing to record 146 Preparing, sequences for export 601 Preroll option (Deck settings) 164 Presenter Instructions, marking text as (NRCS tool)
master clips and subclips 238 on-the-fly 218 preparing fo 146 selecting drives for 156, 207 setting only mark IN 218 to the Timeline 232 using time-of-day 229 with external timecode 229 with SDTI 220, 231 with VTR emulation 244 Reimporting imported files 271 Relinking consolidated clips 340 media files 337 Remove Automation Gain command (Automation Gain Fast menu) 509 Remove Clip Gain command (Audio Mix Fast menu) 490 Remove Pan command (Audio Mix Fast menu) Projects closing 49 creating new 46 moving betwe
output signal, configuring 593 performing a digital cut with 593 recording with 200, 220, 231 signal types 232 Segment mode deleting segments 438 Extract/Splice-in edits 436 Lift/Overwrite edits 437 Segments cutting, copying, and pasting in Timeline Resolutions video, setting 156, 207 Restore from Videotape dialog box 349 Restoring media files from videotape 348 Restricted characters, file names 44 Reveal File command (File menu) 336 Reverse AudioSuite plug-in 710 RGB graphics levels Import settings 256 Ri
Set Bin Display dialog box 274 Set Level commands (Audio Mix Fast menu) working with multiple 89 workspace 101 Settings scroll list Bin view 85 described 85 using 75 Settings window 121, 778, 783 SGI file format additional export options for 661 described 736 import specifications for 741 Shared volume segmentation ("chunking") 156, 490 Set Pan command (Automation Gain Fast menu) 509 Set Pan commands (Audio Mix Fast menu) 490 Settings AAF export 620 Audio export 654 audio pan default 481 Audio project 85
Specific File Type options (Export settings) 656 Specifications for Avid log 755 Splice-in button 405 Split edit, creating 465 Standard heading in Avid logs 758 Stepping backward by field 371 forward by field 371 Stories building a sequence (NRCS tool) 697 deleting (NRCS tool) 688 editing (NRCS tool) 690 finding read time (NRCS tool) 696 Story panel, adding production cues (NRCS tool) 692 Striped drives 147, 343 Striped tape 580 Subclips creating with Make Subclip button 385 rerecording 238 Sun Raster file
Tracking format options 356 Tracking information displaying 355 Tracks adding 401 audio, mixing down 553 cycling through 447 ganging in the Audio Mix tool 491 ganging on an external fader 769 sync-locked, trimming with 469 Transfer settings, access and description 87 TransferManager, described 350 Transferring projects between systems 669, 670 settings between systems 670 Transferring video to a video server 674 to an Avid system 676 Transitions, audio, fine-tuning 549 Transparency adding to a graphic image
U Videotape archiving media files with 342 restoring media files from 348 View mode (NRCS tool), editing in 689 View Name dialog box (bin) 281 Views script 314 script, entering 315 VITC (vertical interval timecode) NTSC 207 PAL 207 Voice-over narration about media files 547 connecting the hardware for 546 creating 546 described 546 Voiceover See Voice-over narration 546 Volume adjusting in the Audio Mix tool 487 bypassing adjustments 494 in the Timeline 498 recording audio gain 510 while playing an effect
Waveform plots (audio) 482 Wavefront file format additional Export options 662 described 736 import specifications for 742 Windows NT taskbar, using 34 Workgroup support 350 Workspace access and description 87 assigning buttons to 97, 101 assigning windows to 97 customizing 97 deleting 97 linking to user setting 101, 102 settings 98 switching between workspaces 103 WPM rate, finding (NRCS tool) 696 www.AvidProNet.
