Avid® NewsCutter® Products Input and Output Guide m a k e m a n a g e m ove | m e d i a ™ Avid ®
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Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preparing Logs for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Importing Shot Log Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Converting Log Files with Avid Log Exchange . . . . . . . . . . . . . . . . . . . .
Creating a GPI Trigger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Deleting a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Editing an Existing GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Configuring Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Deleting Deck Configurations . .
Configuring the Sound Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Resizing the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Adjusting the Reference Level . . . . . . . . . . . . . . . . . . . . . . . . . 121 Selecting a Peak Hold Option . . . . . . . . . . . . . . . . . . . . . . . . . 121 Adjusting Audio Input Levels . . . . . . . . . . . . . . . . . . . . .
Compression Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Setting Media Creation Resolutions and Selecting Drives. . . . . . . 152 Chapter 4 Capturing Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Before You Begin Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . . .
Recapturing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Saving Two Versions of a Sequence When Recapturing . . . . 194 Recapturing the Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Other Capture Functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 Working in Quick Record Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . . . .
Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . 228 Using Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Adjusting Phase Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Calibrating the System with Passthrough Signals . . . . . . . . . . 234 Calibrating for Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . .
Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Preset Export Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Creating a New Export Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Exporting Through OMF Interchange . . . . . . . . . . . . . . . . . . . . . . . 279 Exporting Through AAF . . . . . . . . . . . . . . . .
Configuring the Video Server . . . . . . . . . . . . . . . . . . . . . . . . . 316 Configuring the Video Server As a Deck . . . . . . . . . . . . . . . . . 316 Transferring from the Avid Editing System to the Video Server. . . 317 Transferring from the Video Server to the Avid Editing System. . . 319 Chapter 8 Using the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Configuring the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adjusting the Story Timing (iNEWS Only). . . . . . . . . . . . . . . . . . . . . . . 349 Adjusting the Story Timing with a Time Marker (iNEWS Only). . . . 350 Adjusting the Story Timing with a Time Pad (iNEWS Only) . . . . . . 350 Using Associated Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 Saving Changes to a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . 354 Using the Post to Web Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tables Table 1 Supported Resolutions and Field Dimensions . . . . . . . . . .26 Table 2 Line Endings Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . .45 Table 3 Options for Modifying Bin Information . . . . . . . . . . . . . . . .70 Table 4 GPI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 Table 5 GPI Node Settings Options . . . . . . . . . . . . . . . . . . . . . . . .83 Table 6 Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide The Avid® NewsCutter® products help editors, journalists, Web authors, and other professionals create broadcast-quality output. Users can incorporate production elements from full-speed, high-resolution footage, to multimedia artwork and animation, to computer-generated effects and titling. n The documentation describes the features and hardware of all the NewsCutter models. Therefore, your system might not contain certain features and hardware that are covered in the documentation.
Using This Guide Symbols and Conventions Unless noted otherwise, the material in this document applies to the Windows XP operating system. Avid documentation uses the following symbols and conventions: Symbol or Convention Meaning or Action 18 n A note provides important related information, reminders, recommendations, and strong suggestions. c A caution means that a specific action you take could cause harm to your computer or cause you to lose data.
If You Need Help Symbol or Convention Meaning or Action Right-click Quickly press and release the right mouse button. Drag Press and hold the left mouse button while you move the mouse. Ctrl+key Press and hold the first key while you press the second key. If You Need Help If you are having trouble using NewsCutter, you should: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2.
Using This Guide Accessing the Online Library The Avid NewsCutter Products Online Library CD-ROM contains all the product documentation in PDF format. You can access the library from the Online Library CD-ROM or from the Help menu. n You will need Adobe® Acrobat® Reader® installed to view the documentation online. The Acrobat folder on your CD-ROM contains an installer for Acrobat Reader. The effects reference guide requires Apple’s QuickTime® application to view the QuickTime movies.
How to Order Documentation How to Order Documentation To order additional copies of this documentation from within the United States, call Avid Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the United States, contact your local Avid representative. Avid Educational Services For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843).
Using This Guide 22
Chapter 1 Planning a Project This chapter gives a brief description of video formats and resolutions supported by your Avid editing application, and other information that can help you plan your project.
Chapter 1 Planning a Project • 30i NTSC: For NTSC video-originated footage (30 fps) • 24p PAL: For film-originated footage or other 24-fps footage, transferred to PAL videotape • 25p PAL: For 25-fps film-originated footage or other 25-fps footage, transferred to PAL videotape • 25i PAL: For PAL video-originated footage (25 fps) In these options, 23.976p, 24p, and 25p designate 23.976-fps, 24-fps, and 25-fps progressive media. For these projects, your source footage is captured and stored as 23.
Project Resolutions n You cannot create 24p or 25p media or multiple output formats from video footage shot at 30 fps (NTSC) or 25 fps (PAL). The source must be film or HD (high-definition). • Digital video (DV) is an international standard created by a consortium of 10 companies to serve as a consumer digital video format. Avid editing applications support two DV resolutions: DV 25 and DV 50.
Chapter 1 Planning a Project Table 1 26 Supported Resolutions and Field Dimensions Resolution NTSC Per-Field PAL Per-Field Dimensions Dimensions DV 25 4:1:1 720 x 480 720 x 576 DV 25 4:2:0 720 x 480 720 x 576 DV 50 4:2:2 (editing and playback only) 720 x 480 720 x 576 MPEG 50 4:2:2 (editing and playback only) 720 x 256 720 x 308 15:1s 352 x 248 352 x 296 4:1s 352 x 248 352 x 296 2:1s 352 x 248 352 x 296 20:1 720 x 248 720 x 296 10:1 720 x 248 720 x 296 3:1 720 x 248 720 x
Working with Mixed-Resolution Projects These resolutions appear, along with other Avid resolutions, wherever a list of resolutions appears (for example, in the Video Resolution pop-up menu of the Media Creation dialog box). The exact list depends on whether you are working in an NTSC or PAL project.
Chapter 1 Planning a Project Because PAL has more horizontal lines of resolution than NTSC, resizing from PAL to NTSC results in better quality, especially for imported graphics. If you plan to output both NTSC and PAL versions of a sequence, consider using PAL film-to-video transfer and graphics sized for PAL. Your choice will depend on other production requirements, such as audio workflow and hardware availability.
Sample Workflow Sample Workflow Figure 1 shows a possible workflow using a standalone configuration. If you were in a workgroup environment, media can be brought in from, and sent back to, shared storage. Software only models Log Betacam DV 1. (Option) Import a log file to create a bin. 2. Connect your equipment. For analog video, use the Avid Adrenaline DNA or Avid Mojo DNA. For the software only model, use the 1394 connection on the Avid editing system.
Chapter 1 Planning a Project Video and Film Projects Avid editing applications offer you a flexible approach to finishing your project, whether it originates as video or film. For video projects, you can use the offline capabilities of the Avid editing application and the Total Conform capabilities of the Symphony system to produce the highest quality, uncompressed broadcast masters.
Chapter 2 Logging When you log with a deck or import shot log files, you provide the Avid editing system with frame-accurate clip information used to capture the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.
Chapter 2 Logging Logging Tips The following sections provide important guidelines for preroll, timecode formats, and naming of tapes when logging prior to capturing. 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, 5 seconds for 3/4-inch U-matic playback, and 6 seconds for DV playback. To set the default preroll for tape playback: 1.
Logging Tips 2. Click the Preroll pop-up menu, and select a preroll time. Preroll setting Logging Timecode Within an NTSC project, check the timecode format of each tape (dropframe 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.
Chapter 2 Logging To log drop-frame timecode when there is no tape in the deck: 1. Double-click Deck Preferences in the Settings scroll list. The Deck Preferences dialog box opens. Log As pop-up menu 2. Click the Log As pop-up menu, and select Drop Frame. When you are bringing in a bin created outside of the Avid editing system, use semicolons (;) between the hours, minutes, seconds, and frames. To log non-drop-frame timecode when there is no tape in the deck: 1.
Logging Tips Naming Tapes When you type tape names in the Capture tool, consider the following: • It is important that you devise a naming scheme for your tapes. For example, tapes with similar names can be easily sorted and viewed together in a bin. However, it might be difficult to distinguish among tapes with similar names when you try to locate a specific tape quickly. Name tapes based upon the amount and complexity of your source material.
Chapter 2 Logging Adding a Memory Mark You can add a memory mark to a particular location on a tape. The Mark Memory button in the Capture 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. When you remove the tape from the deck, the mark is cleared.
Preparing Logs for Import Preparing Logs for Import For Avid Log Exchange information, see “Avid Log Specifications” in the Help. Avid editing applications provide 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.
Chapter 2 Logging • Document each clip’s name, start timecode, and end timecode. This is the minimum information required to capture 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.
Preparing Logs for Import Up One Level button Files of type pop-up menu Options button 3. Do one of the following: t Click the Files of type pop-up menu, and select Shot Log. The system displays file types that belong to the selected category only. t Click the Files of type pop-up menu, and select All Files. The system displays all files in a selected folder, regardless of file type. Use this option if you want to batch import multiple file types.
Chapter 2 Logging 4. Click Options to open the Import Settings dialog box if you want to select options for combining events on import from the Import settings. 5. Click the Shot Log tab. For more information about shot log options, see “Import Settings” in the Help. 6. After selecting the appropriate options, click OK to return to the Select Files to Import dialog box. 7. Use the Up One Level button to locate the folder containing the source file. 8. Select the file. 9. Click Open.
Setting the Pulldown Phase Setting the Pulldown Phase For information about the pulldown process, see “Transferring 24fps Film” in the Help. If you are logging or capturing 24-fps sources (film-to-tape transfers, media downconverted from 1080p/24 footage, or both), you can set the pulldown-to-timecode relationship for a transferred tape in the Film Settings dialog box.
Chapter 2 Logging The following illustration shows the relationship between film frames and video frames. Four film frames A B C D n Five NTSC video frames (ten fields) A1 odd A2 even B1 odd B2 even B3 odd C1 even C2 odd D1 even D2 odd D3 even A B X C D This setting is not available in matchback projects. However, you can modify the pulldown phase after you log it. See “Entering Pulldown Information” on page 60.
Converting Log Files with Avid Log Exchange For information about fixing an incorrectly logged sync point, see “Modifying the Pulldown Phase After Capturing” on page 187. The pulldown-to-timecode relationship might vary from tape to tape, or within the same tape, depending on how the footage was transferred.
Chapter 2 Logging Any options you set in the ALE utility are saved each time you exit the ALE utility. When you are converting an ATN file that contains multiple sections to an ALE file, multiple ALE files are created. The Avid Log Exchange window displays only the first ALE file created. The succeeding ALE files are given the same file name with incremental numbering. For example, the file Nations1.atn is converted to Nations1.ale, Nations1_2.ale, Nations1_3.ale, and so on.
Converting Log Files with Avid Log Exchange 4. Depending on the type of file you are opening, one of the following occurs: - If the file type is recognized by Avid Log Exchange, the file appears in the Avid Log Exchange window. - If the file does not contain the Windows line-ending format, then the Line Endings dialog box opens.
Chapter 2 Logging The file appears in the Avid Log Exchange window. For specific information on the file types shown here, see “Avid Log Specifications” in the Help. - If the file type is not recognized, the Choose File Type dialog box opens. Select the type of file you are converting, and click OK. The file appears in the Avid Log Exchange window. 5. Use the Options menu to select the tracks to include in the Tracks column of the log. The default track selections are Log V, Log A1, and Log A2.
Converting Log Files with Avid Log Exchange clips. This occurs when you shoot footage across the midnight hour and the first half of the film has 24 hours and the second half has 0 hours. 8. Select Convert > ALE. The default output selection is the Avid Log Exchange (ALE) format. This is the required format for import into an Avid bin. The Avid Log Exchange window displays the converted ALE file.
Chapter 2 Logging 10. Select File > Close. If you made changes in the editor, a message box opens. 11. Click Yes. The converted file is stored in the same folder as the original log file. Using Drag-and-Drop Conversion Use this shortcut to convert any type of file into an ALE file. n Before you use the drag-and-drop conversion, check the options in the ALE utility. The current options are used when you perform the drag-and-drop conversion. To convert a log file by using drag-and-drop conversion: 1.
Converting Log Files with Avid Log Exchange 3. Select the files you want to convert. Avid Log Exchange Shortcut icon 4. Drag the selected files to the Shortcut icon for the ALE utility, and release the mouse button. 5. Depending on the type of files you are converting, one of the following occurs: - If the file type is recognized by the ALE utility, a message box opens, indicating the conversion was successful. - If the file type is not recognized, the Choose File Type dialog box opens.
Chapter 2 Logging 6. Click OK to close the message box. The converted files have the same file names as the original files, except the file name extension matches the converted file format. For example, the .ale file name extension is added to the new file names for the Avid format. The converted files are stored in the folder containing the original log files.
Logging Directly to a Bin 3. Select Tools > Capture. The Capture tool opens.
Chapter 2 Logging 4. To select a deck or device, click the Deck Selection pop-up menu and select Autoconfigure or Adjust Deck, and then load your tape into the deck. The Select Tape dialog box opens. 5. Do one of the following: t Click Cancel to stop the process at any time. t Select “Show other projects” to display the tape names and associated project names for all bins that have been opened in the current session.
Logging Directly to a Bin 9. Double-click the name of the tape in the dialog box, or click New and type the name of the tape. Click OK. A message that the system is waiting for you to mark an IN point is displayed in the message bar. 10. Set the first point by using one of the following methods: t Click the Mark IN button in the upper left corner of the Capture tool or press F4.
Chapter 2 Logging 12. Name the clip by typing a new name before clicking any of the buttons in the Capture tool. n Consider changing the clip name immediately because it is easy to forget the contents of each clip if you are logging many clips. You can, if necessary, accept the clip name, proceed with the logging process, and then change the clip names in the bin at a later time. 13. Repeat these steps until you have logged all your clips.
Logging Directly to a Bin 3. Set up the deck and the Capture tool as described in “Logging with an Avid-Controlled Camera or Deck” on page 50. Mark IN button 4. Start the deck. 5. When you reach the point where you want to start the clip, click the Mark IN button in the upper left corner of the Capture tool (or press the F4 key). The Mark IN button changes to the Mark OUT button, and the deck continues to play. 6.
Chapter 2 Logging Logging with a Non-Avid-Controlled Camera or Deck You can use the Capture tool to log clips directly to a bin from a source that is not Avid-controlled. For example, you can log clips from a camera or deck that is not connected to the system or from handwritten or printed log information for a tape that was previously logged but is not currently available. n When logging with the Capture tool, you should leave the deck empty.
Logging Directly to a Bin 6. Select Tools > Capture. The Capture tool opens. Capture/Log Mode button Mark IN button Channel Selection buttons Message bar Mark IN text box Timecode display Deck controls Clear OUT button Deck Selection pop-up menu Mark OUT text box Source Tape Display button Mark OUT button Mark IN button 7. Click the Capture/Log Mode button in the Capture tool until the LOG icon appears. 8. Click the Source Tape Display button. A dialog box opens. 9.
Chapter 2 Logging Logging Film Information Once you have entered or imported the basic log information into a bin, you might want to add film-related log information before capturing. This section describes procedures and formats for adding various film headings.
Logging Film Information Displaying Film Columns To display film columns in the bin: 1. Click the Bin View pop-up menu, and select Film to display all the required film column headings. The Bin View pop-up menu is located at the bottom of the Bin window. Bin View pop-up menu 2.
Chapter 2 Logging 3. You can also track custom information for the job by creating a custom heading. To create a new heading, type a name that describes the information in the headings bar at the top of the bin. For more information on customizing bin views, see “Customizing Bin Views in Text View” in the Help. Entering Pulldown Information For information about importing a log file, see “Importing Shot Log Files” on page 38.
Logging Film Information Start timecode Pullin column (information required for NTSC If you do not have a transfer log, or if the transfer log is incorrect, you need to add the information manually. If you log clips by using the Capture tool, the Avid system uses the A frame as the default pulldown phase. You might need to edit this value. n n For 24p projects, you can set a default pulldown phase in the Film Settings dialog box. See “Setting the Pulldown Phase” on page 41 (24p projects only).
Chapter 2 Logging Determining the Pulldown Phase It is easiest to determine the pulldown of a sync point (or pulldown phase) if you ask your film lab to keypunch (cut a small hole in) the sync frame at the zero frame in the original film footage before transferring the film to video. Many film labs or transfer houses can also provide a pulldown frame indicator displayed at the far right of the burn-in key numbers, depending on the equipment available.
Logging Film Information Four film frames A B C D Five NTSC video frames (ten fields) A1 odd A2 even B1 odd B2 even B3 odd C1 even C2 odd D1 even D2 odd D3 even A Timecode change B Timecode change X Timecode change C Timecode change D 4. If there are three keypunched fields, or fields without motion, the pulldown is either B or D.
Chapter 2 Logging To modify the pulldown phase for multiple clips: 1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to modify. 2. Select Clip > Modify. 3. Click the Modify Options pop-up menu, and select Pull-in. 4. Select A, B, C, or D. 5. Click OK. The pullin for all selected clips is changed, based on the pulldown phase you selected. To modify the pulldown phase for multiple clips that have the same pulldown-to-timecode relationship: 1.
Logging Film Information n n If you want to modify the pulldown phase after capturing, you must first unlink the clips. See “Modifying the Pulldown Phase After Capturing” on page 187. After you capture an NTSC transfer, the timecode shows a loss of every fifth frame of video. For example, don’t be alarmed if you find that your timecode jumps at one point from 1:00:14:15 to 1:00:14:17. You haven’t lost a frame, just an extra pulldown field.
Chapter 2 Logging - Other Formats: Enter other key-number formats in the Ink Number column. Type up to eight characters for the prefix, up to five characters for the footage count, two digits as the frame count, and then press Enter (Windows) or Return (Macintosh). The Avid system automatically calculates the ending key number (KN End), based on the timecode duration. c Make sure the correct number appears when you press Enter (Windows) or Return (Macintosh).
Logging Film Information n • In the Film TC column, enter timecode generated by a film camera (using Aaton or Arri timecode) for tracking the picture at the start of the clip. The film timecode should sync with the video timecode logged in the Start column. Only 24-fps timecode is supported. The clip to be captured must contain a video track. • In the TC24 column, enter timecode for original HDTV sources (1080p/24) or audio DATs created for PAL feature film productions that use in-camera timecode.
Chapter 2 Logging Modifying Clip Information Before Capturing The following conditions apply to modifying clip information: • When you modify a clip’s information, related objects are automatically updated to reflect the new data. For example, if you change the name of a clip, the updated name appears in the sequences that use the clip. • Some data cannot be modified after capturing because changes would prevent you from playing back and editing the material successfully.
Modifying Clip Information Before Capturing Using the Modify Command To modify selected clips: 1. Open the bin. 2. Click a Clip icon to select it. Ctrl+click each additional clip you want to modify. Selected clip is highlighted. 3. Select Clip > Modify. The Modify dialog box opens. Pop-up menu 4. Click the pop-up menu, and select an option (for example, Set Timecode By Field).
Chapter 2 Logging 5. After selecting 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. Options for Modifying Bin Information Table 3 describes the options available from the pop-up menu in the Modify dialog box.
Modifying Clip Information Before Capturing Table 3 Options for Modifying Bin Information (Continued) Type of Modification Options Description Decrement Timecode Start or End Changes either the start or end timecode. Decrementing the start timecode automatically modifies the end timecode by the same amount. Only start timecode can be decremented after capturing. Timecode entry field Allows you to enter new decremental timecode.
Chapter 2 Logging Exporting Shot Log Files You can export a shot log file from the Avid editing system in either Tab Delimited or Avid Log Exchange format for making adjustments in a text editor or for importing to another system. To export a shot log based on clip information in a bin: 1. Open the bin containing the clips you want to export, and switch to Text view. 2. Click a Clip icon to select it. Ctrl+click each additional clip you want to export. 3. Select File > Export.
Exporting Shot Log Files 5. Click Options. The Export Settings dialog box opens. 6. Click the Export As pop-up menu, and select either Avid Log Exchange or Tab Delimited as the file type. 7. Click Save As. 8. Type a name in the Setting Name text box. The export setting name is added to the list of formats available from the Export dialog box. 9. Click OK. You are returned to the Export As dialog box. 10. (Option) Change the file name, but keep the default file name extension. 11.
Chapter 2 Logging 74
Chapter 3 Preparing to Capture Capture is the process of creating digital media from videotape or audio input.
Chapter 3 Preparing to Capture Understanding Digital Video (DV) DV refers to digital video that is transferred through equipment conforming to the Institute of Electrical and Electronics Engineers (IEEE) Standard 1394. This equipment (cameras, decks, cables, connectors, and processing boards) is sometimes referred to as FireWire or i.LINK. DV connections let you transfer digital data (both video and audio) directly from a DV camera to a digital nonlinear editing system with no conversion losses.
Preparing the Hardware Preparing the Hardware Before you begin capturing, check the following: • n Remote switch. The deck control switch on the front of the source deck must be set to Remote rather than Local to control the deck with the Capture tool. The deck should be turned on and the control switch set to Remote before you start the Avid editing application. • Striped drives. If you are capturing high-resolution media, you must use striped drives. • Digital Audiotape (DAT).
Chapter 3 Preparing to Capture • NTSC Has Setup: This option applies to standard NTSC format and is selected by default. If the source footage is in the NTSC-EIAJ format standard (used primarily in Japan), deselect NTSC Has Setup. For more information about General settings, see “General Settings” in the Help. c The Avid editing system will not prevent you from using non-Avid drives, but their reliability cannot be guaranteed.
Selecting Settings For information about film-to-tape transfer methods, see Film-to-Tape Transfers in the Help. • Video Pulldown Cadence: allows you to specify the type of film-to-tape transfer that you capture: - Video rate, no pulldown: Select this option when working with 24-fps footage that has been transferred MOS (roughly translated as “without sound”) to 30 fps by speeding up the film, and the audio has been brought into the Avid system separately at 100 percent of the actual speed.
Chapter 3 Preparing to Capture For PAL 24p projects, you can mix audio that has been transferred at 4.1 percent speedup (video rate, PAL Method 1) with audio that has not been transferred (film rate, PAL Method 2). However, Avid does not recommend this. n The Info tab in the Project window allows you to view the audio transfer rate you selected when you created the project.
Selecting Settings Creating a GPI Trigger You can define and save custom general-purpose interface (GPI) settings. After you create a GPI setting, you can use it repeatedly. For example, you can create two GPIs: one to start capturing and one to stop capturing. n n To access the GPI Settings dialog box, you must have a V-LAN VLXi (GPI) connected to your system. V-LAN VLXi is not compatible with the V-LAN Express single-device controller.
Chapter 3 Preparing to Capture 9. Click Add. The GPI Node Settings dialog box appears. For a description of GPI node settings options, see Table 5 on page 83. 10. Select the appropriate settings. 11. Click OK. The GPI Settings dialog box appears. 12. Click OK to set the GPI. 13. Click Apply in the Deck Configuration dialog box. Table 4 GPI Settings Options Option Description Name The V-LAN VLXi name appears. Keep the default or type a new name.
Selecting Settings Table 5 GPI Node Settings Options Option Description Function Select a function for a particular node: • Capture in (Satellite mode) • Play in • Cue to first frame • Stop in • Capture out (Satellite mode) • Play out • Stop out Node Click the Node pop-up menu, and select a Node. The options are node 1 through 6. These correspond to the physical connectors on the back of the V-LAN VLXi box. Action Select an action: • Set activates a command.
Chapter 3 Preparing to Capture 5. Click OK. 6. Click Apply. The GPI setting is deleted. Editing an Existing GPI Setting To edit a GPI setting: 1. Double-click Deck Configuration in the Setting scroll list. The Deck Configuration dialog box appears. 2. Click the VLXi-GT text box. 3. Select the name of the existing GPI you want to edit. 4. Click Edit. 5. Make the applicable changes. 6. Click OK. 7. Click Apply. The GPI setting is updated.
Configuring Decks Deck control settings n You must manually configure the appropriate hardware connections before Deck Configuration settings can take effect. For more information, see the Using the Avid Adrenaline DNA Installation Instructions for the Windows XP Operating System or Using the Avid Mojo DNA Installation Instructions for the Windows XP Operating System. For more information about Deck Configuration settings, see “Deck Configuration Settings” in the Help.
Chapter 3 Preparing to Capture To configure a deck or multiple decks: 1. Double-click Deck Configuration in the Settings scroll list. The Deck Configuration dialog box opens. 2. If you are configuring your system for the first time, click Add Channel to add a new channel box on the left side of the Deck Configuration dialog box and automatically open the Channel dialog box. 3.
Configuring Decks n If you are not sure which port to select, 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. 5. Click OK to close the Channel dialog box. A dialog box opens asking if you want to automatically configure the channel now. 6. Click Yes if you want to automatically configure the channel.
Chapter 3 Preparing to Capture 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. Not all DV devices respond to the Auto-configure command. Due to this limitation, Auto-configure will select only the generic devices. When a digital camera is attached to your system, click the Device pop-up menu, and select the proper device.
Configuring Decks 11. Repeat steps 1 through 10 for each additional channel or deck you want to configure. 12. (Option) Select “Verify configuration against actual decks” if you want the system to check the deck configuration against the devices physically connected to the system. The system checks the deck configuration after you click Apply in the Deck Configuration dialog box and when you start the Avid editing application. A message warns you if the configuration does not match the deck. 13.
Chapter 3 Preparing to Capture t Double-click the deck box in the Deck Configuration dialog box. The Deck Settings dialog box opens. Notes field Manufacturer pop-up menu Model pop-up menu Table 6 describes the Deck Settings options. Table 6 Deck Settings Options Option Suboption Description Name — Type your custom name for the tape deck. The default name matches the deck type. Description — Enter notes about the deck.
Configuring Decks Table 6 Deck Settings Options (Continued) Option Suboption Description Device — Select your model and manufacturer from the pop-up menus.
Chapter 3 Preparing to Capture Deleting Deck Configurations To delete a deck configuration: 1. Double-click Deck Configuration in the Settings scroll list. The Deck Configuration dialog box opens. Delete button 2. Click the names of the currently configured channel and deck in the display area. The entire display area should have a red border. 3. Click Delete. 4. Click Apply to complete the changes and close the dialog box.
Understanding Drop-Frame and Non-Drop-Frame Timecodes For more information about Deck Preferences, see “Deck Preferences Settings” in the Help. Understanding Drop-Frame and Non-Drop-Frame Timecodes Timecode is an electronic indexing method that denotes hours, minutes, seconds, and frames that have elapsed on a videotape. For example, a timecode of 01:03:30:10 denotes a frame that is marked at 1 hour, 3 minutes, 30 seconds, and 10 frames.
Chapter 3 Preparing to Capture minute except for the tenth minute. No video frames are actually dropped. Drop-frame timecode is indicated by semicolons between the digits; for example, 01;00;00;00. Non-drop-frame (NDF) timecode tracks NTSC video at a rate of 30 fps and is indicated by colons between the digits; for example, 01:00:00:00. Non-drop-frame timecode can be easier to work with, but does not provide accurate timing for NTSC broadcast. For example, a typical 1-hour show uses 52 minutes of video.
Setting Up the Capture Tool Opening the Capture Tool To open the Capture tool: t Select Tools > Capture. The Capture tool opens. Deck Selection pop-up menu 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 Input tab in the Audio Project Settings dialog box. The pop-up menus also provide a convenient way to change the settings if necessary.
Chapter 3 Preparing to Capture • Audio input: XLR (+4dBu), RCA (–10dBu), AES/EBU, Optical (ADAT), and Optical (S/PDIF) Software-only models include: Aux, Video, CD Player, Line In, Microphone, Phone Line, and OHCI For more information, see “Preparing for Audio Input” on page 113. n If you change the settings, the settings in the Video Input tool or in the Audio Project Settings dialog box change automatically.
Setting Up the Capture Tool - Microphone (software-only models) - Phone Line (software-only models) Selecting a Deck The Deck Selection pop-up menu in the Capture tool contains a list of decks or cameras that were connected to the system, powered up, and initialized when you entered Capture mode. The first deck or camera in the list is selected by default, unless all decks or cameras are offline.
Chapter 3 Preparing to Capture n Not all DV devices respond to the Auto-configure command. Due to this limitation, Auto-configure selects only the generic devices. When a digital camera is attached to your software-only system, click the Deck Selection pop-up menu, and select the proper device. When a deck with a transcoder is attached, click the Deck Selection pop-up menu, and select the applicable deck. If you forgot to turn on or connect a deck or camera prior to entering Capture mode: 1.
Setting Up the Capture Tool 2. In an NTSC project, play the tape briefly so 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 35.
Chapter 3 Preparing to Capture Channel Selection buttons n If you are not seeing the source video or hearing source audio in Capture mode, click the Channel Selection buttons to make sure the correct tracks have been selected. To select or deselect all tracks at once: t Press and hold the Alt key, and click any Channel Selection button.
Setting Up the Capture Tool For more information see, “Calibrating for Video Input” on page 136 and “Adjusting Audio Project Settings” on page 116. n If you change the settings in the Capture tool, the settings in the Video Input tool or in the Audio Project Settings dialog box change automatically. Setting the Pulldown Switch If you are capturing sound created during an NTSC film-to-tape transfer, you need to set the pulldown switch before you begin capturing.
Chapter 3 Preparing to Capture Film Project Pulldown and Transfer Settings Table 7 indicates how the pulldown switch and transfer settings should be set, depending on your input media. Table 7 Film Project Pulldown and Transfer Settings Project — Pulldown New Project Switch Dialog Box Setting Source Playback Speed Film to Video Transfer Settings (Set in Film Settings Dialog Box) Original sound source synced to NTSC during transfera. 24p NTSC On (0.99) 29.
Setting Up the Capture Tool If you are capturing audio only, make sure to select the proper audio setup options. For more information, see “Establishing Sync for Audio-Only Input” on page 115 and “Adjusting Audio Project Settings” on page 116. If you have set a digital sync mode in the Audio Project Settings dialog box, the Pulldown button is inactive and a message states that the Pulldown button has no effect.
Chapter 3 Preparing to Capture To select a resolution in the Capture tool: You can set the resolution used for capturing in the Capture tool or in the Media Creation dialog box, accessed through the Settings scroll list. t Click the Res (Resolution) pop-up menu, and make a selection. The Resolution list contains a list of the available resolutions, depending on the model of your Avid editing application.
Setting Up the Capture Tool To select a target bin, do one of the following: t Click the Bin pop-up menu in the Capture tool, and select an open bin (only open bins appear in the Bin pop-up menu). t Activate a previously created bin by selecting File > Open Bin; then locate and open the bin in the Open Bin dialog box. t Create a new bin by selecting File > New Bin and then naming and opening the new bin in the New Bin dialog box.
Chapter 3 Preparing to Capture Target Drive pop-up menu Single/Dual Drives Mode button 3. Click the Target Drive pop-up menu, and select a drive. The name shown in bold in the menu has the most storage available. The time remaining is calculated based on your resolution selection.
Setting Up the Capture Tool 2. Click the Single/Dual Drives Mode button in the Capture tool until it displays the Dual Drives icon. Target Drive pop-up menu Single/Dual Drives Mode button Timeremaining 3. Click the Target Drive pop-up menu, and select separate drives for audio and video. The names shown in bold in the menus have the most storage available. The time remaining on each selected drive is calculated based on your resolution selection.
Chapter 3 Preparing to Capture n • Each captured clip is limited by the Avid editing 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 selected drive, the time remaining displayed in the Capture tool is based on 2 GB per clip at the selected resolution. This number reappears for each clip captured, as long as there is adequate drive space.
Setting Up the Capture Tool 4. Accept the default or type a different time limit in the “Maximum (default) capture time” text box. c If you think that any of your captured clips might exceed 30 minutes, make sure you enter a higher estimate in this text box; otherwise, the system stops capturing at 30 minutes. 5. Click OK to close the dialog box and apply the options. 6. Select Tools > Capture. The Capture tool opens.
Chapter 3 Preparing to Capture 7. To capture to multiple files across drives, click the Target Drive pop-up menu, and select Change Group. The Drive Group dialog box opens. 8. Ctrl+click multiple drives to include in the capturing session, or click All to select all drives. n If you click Clear, all selections are removed. You must select at least one drive before you can click OK to close the dialog box. 9. Click OK to close the dialog box and apply the changes. 10. Proceed with capturing.
Setting Up the Capture Tool Selecting the Preroll Method The Preroll Method pop-up menu in the Capture Settings dialog box includes the following four methods that help you capture more efficiently when a source tape contains timecode breaks: • Best Available: The Avid editing application first checks the tape for timecode to use for preroll. - If there is no timecode, or not enough timecode, the system uses the control track for preroll.
Chapter 3 Preparing to Capture After the system adjusts the preroll to the individual shot, it will return to using the user-specified preroll time until it needs to adjust the time again. - If the adjusted preroll time is too short to sync lock at the IN point, the system does not capture the shot and displays an error message. Use this method if you know there are timecode breaks and want to capture material as automatically as possible.
Preparing for Audio Input This option is especially useful when you are batch capturing across timecode breaks, but you can also select this option when you are manually capturing one clip at a time. Preparing for Audio Input Avid editing systems support direct input of four channels of audio. Source track assignments are mapped directly to audio tracks in the captured clips.
Chapter 3 Preparing to Capture If you switch the audio format in the middle of a project, all new audio media files are written in the new format with the following exceptions: • Media files written when rendering audio effects: The system uses the file type of the A-side (outgoing audio) media for a transition. For example, if the A-side of an audio dissolve is in OMF (AIFF-C) format and the B-side (incoming audio) is in OMF (WAVE) format, the rendered file is OMF (AIFF-C).
Preparing for Audio Input Establishing Sync for Audio-Only Input When you capture audio with video, the video input always generates sync for both. When you capture audio only, sync for the input signal can come from several sources: • c Analog audio input: If you are capturing audio-only from an analog source, sync is generated from a black burst generator or house sync source when it is connected to REF IN on the Adrenaline DNA.
Chapter 3 Preparing to Capture Check for a valid digital sync signal as follows: • If the yellow indicator light labeled DIGITAL on the audio converter shines steadily during input, the system is receiving a valid digital sync signal. • If the yellow indicator light blinks during input, the system is not receiving a valid sync signal. Make sure you have a digital sync signal source properly connected to channel 1 or channel 2.
Preparing for Audio Input Configuring the Sound Card Depending on the sound card installed on your Avid system, you might need to customize the configuration of audio input and audio output. Usually this configuration occurs automatically when you install the Avid application. Some sound cards, however, require further customization to ensure full compatibility between the application and the audio hardware on your system.
Chapter 3 Preparing to Capture Record/Input list Playback/Output list Input sources Output Source pop-up menus Default button Audio device name 3. For each input source in the Record/Input list that you want to map, click the matching Output Source pop-up menu from the Playback/Output list and select an output source. n You can map an input source to only one output source at a time. The options available for mapping depend on your audio hardware. 4.
Preparing for Audio Input 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 capturing. 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 capture device.
Chapter 3 Preparing to Capture Table 8 describes the components in the Audio tool. Table 8 Audio Tool Components Component Description Reset Peak button Resets the current maximum peak measurements. It also stops the playback of the internal calibration tone. In/Out toggle buttons Switch the meter displays for each channel between input levels from a source device and output levels to the speakers and record devices. I indicates Input, and O indicates Output.
Preparing for Audio Input Adjusting the Reference Level The 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 VU scale up or down based on the headroom parameters of your playback devices. To customize the VU scale: 1. Click the Peak Hold pop-up menu, and select Set Reference Level. The Set Reference Level dialog box opens. 2. Type the new value for the reference level (–12, for example), and click OK. 3.
Chapter 3 Preparing to Capture To delete the peaks and start over at any time: t Click the Reset Peak button in the Audio tool. Adjusting Audio Input Levels You can use the Audio tool and the Audio Project Settings dialog box to check the audio input levels. If the input levels are too high or too low, you need to adjust the output level of your source signal, if possible. Before you capture, make sure the audio I/O device is properly calibrated.
Preparing for Audio Input To adjust global audio input levels using the Audio Project Settings dialog box: 1. Click the In/Out toggle buttons in the Audio tool for the channels that you will use for input. The Audio tool displays an I for Input. In/Out toggle buttons 2. Play back the source audio (from a digital camera or videotape, for example). If the capturing includes reference tone, cue to the tone and play it back. 3. Double-click Audio Project in the Settings scroll list.
Chapter 3 Preparing to Capture Input Level slider 5. Click the slider and drag it to raise or lower the audio input level. 6. (Option) If you want extra gain, do the following: a. Click the slider and drag it toward the bottom of the Input Gain control. b. Select the +20 dB Gain check box. c. Adjust the volume on the Input Level meter. Creating Tone Media To create tone media: 1. Open a bin. 2. Click the Peak Hold pop-up menu, and select Create Tone Media.
Preparing for Audio Input Peak Hold pop-up menu The Create Tone Media dialog box opens. 3. 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. 4. Click the pop-up menus, and select a target bin for the tone master clip and a target drive for the tone media. 5. Click OK. After a few seconds, a master clip appears in the target bin. The default name reflects the options you selected.
Chapter 3 Preparing to Capture Calibrating Input Channels for the Audio I/O Device You can use the calibration features of the Audio tool to fine-tune the input and output channels of the audio I/O device. These adjustments should be made when you first install the system and repeated occasionally thereafter (for example, once a month). To calibrate input channels for the audio I/O device: 1. Connect a sine wave generator that can produce a 1-kHz tone, +4 dBu @ 0 VU to channel 1 of the audio I/O device.
Preparing for Audio Input 6. Repeat this procedure for each input channel of the audio I/O device. To return to the default Audio tool display: t Click the Peak Hold pop-up menu, and select Calibrate. 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.
Chapter 3 Preparing to Capture Using the Passthrough Mix Tool The Passthrough Mix tool allows you to select the mix and adjust the volume and pan values of the source audio that you monitor. You can adjust the mix, volume, and pan values of multiple-monitored channels, controlling either individual channels manually or several channels simultaneously by ganging them together. n The Passthrough Mix tool adjusts monitored audio only and has no effect on the captured audio signal.
Preparing for Audio Input n You can open the Passthrough Mix tool by clicking the Passthrough Mix Tool button in the Capture tool or the Audio Punch-In tool. For more information, see “Capturing Voice-Over Narration” in the Help. For information on using the Passthrough Mix tool, see “Resizing the Passthrough Mix Tool” on page 129 and “Monitoring Audio with the Passthrough Mix Tool” on page 129.
Chapter 3 Preparing to Capture - n Select Direct Mix to send the input signal to its corresponding output channel. In Direct Mix mode, the Pan Value display and pop-up sliders at the bottom of the Passthrough Mix tool are replaced by Channel Menu buttons. 5. Select the audio channel to be adjusted by doing one of the following: n t Click the Channel Selection button for the appropriate audio channel. t In Direct Out mode, click the Channel Menu button, and select a channel from the pop-up menu.
Audio Meters in the Timeline To change an audio level value in the audio panel in the Passthrough Mix tool, do one of the following: t Click a number along the vertical edge of the Volume Level slider. t Click the Volume Level slider, and type a value. Values are cumulative until you press Enter. For example, if you want to enter the value 12, type it. However, if you type 1 and then want to change the value to 2, press Enter before you type the 2.
Chapter 3 Preparing to Capture To display the Audio meters in the Timeline: t Click the Meter Menu button, and select Show Audio Meters. The Audio meters display in the Timeline. Meter Menu button Master Volume button Tracks In/Out toggle buttons When a sequence is in the Timeline and you press the Play button, the Audio meter displays the audio levels of the audio tracks in your sequence. n When the Audio meter is hidden, extra mappable buttons are available.
Audio Meters in the Timeline Table 9 Audio Meter Menu Options (Continued) Option Description Peak Hold Keeps the highest meter value displayed in the meters for a short duration after the highest value is hit. Infinite Hold Keeps the highest meter value displayed in the meters infinitely. Reset Peaks Clears the meters of any values. Set Reference Level Opens the Set Reference Level dialog box. Allows you to change the default audio reference level.
Chapter 3 Preparing to Capture To adjust the volume control: 1. From the Timeline, click and hold the Master Volume button. Master Volume button Audio Meter Menu button If you do not see the Master Volume button, click the Audio Meter Menu button, and then select Show Audio Meters. The Master Volume button is displayed with the Audio meters. The Volume Control slider appears. 2. Continue to click and hold, and drag the volume control to the audio level you prefer. 3. Release the mouse button.
Audio Meters in the Timeline Using the Console Window to Check Audio Levels Once you have played back audio through the Audio tool, you can use the Console window to view a list of precise information about the peak levels. To check peak levels in the Console window: 1. Select Tools > Audio Tool. The Audio tool opens. Reset Peak button 2. Click the Reset Peak button to clear the system’s capture of the most recent maximum peaks. 3. Play a sequence or portion of the sequence. 4.
Chapter 3 Preparing to Capture 5. In the Console command line, type DumpMaxPeaks. Console command line 6. Press Enter. A list of peak values appears in the Console window. Calibrating for Video Input You should calibrate the input levels for each videotape when you capture to ensure continuity of picture quality between tapes.
Calibrating for Video Input n c 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. When recapturing media from an offline project, check video settings for each tape. Do not rely on saved settings. Manually Calibrating for Video Input To manually calibrate for videotape input: 1. Select Tools > Video Input Tool. The Video Input tool opens. 2.
Chapter 3 Preparing to Capture 4. Click the Signal Lock-TV button located below the sliders in the Video Input tool only if you are capturing 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 Signal Lock-TV button does not improve the video quality, Avid recommends that you purchase a time-base corrector (TBC).
Calibrating for Video Input 6. Open the Waveform monitor by clicking the Waveform Monitor button in the Video Input tool. 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 the settings listed in Table 10.
Chapter 3 Preparing to Capture Table 10 Luminance Settings for Video Input (Continued) Parameter/ Video Standard SMPTE Bars Full-Field Bars at 75% or 100% Signal Level Video Standard: NTSC NTSC-EIAJ PAL 7.5 IRE 0.0 IRE NAa 7.5 IRE 0.0 IRE 0.3 V Adjust Line Selector slider to approximately 220 Adjust Line Selector slider to approximately 150 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.
Calibrating for Video Input 8. Close the Waveform monitor, and open the Vectorscope monitor by clicking the Vectorscope Monitor button. Vectorscope Monitor button Line Selector slider 9. Adjust the Line Selector slider to display the signal for color bars at approximately line 150 (this applies to all formats and all types of bars). 10.
Chapter 3 Preparing to Capture Limitation When Using Consumer Decks or Decks Without Time-Base Correctors This section describes some difficulties you might encounter when working with consumer video decks and tapes (such as VHS) or decks that do not provide time-base correction or stabilized timing on their outputs. Workarounds are described when available.
Calibrating for Video Input Green Line in VHS Video Some VHS tape decks do not output the full 240 lines of video normally included in the VHS format. As a result, after you capture from a device such as a VCR, a green line might appear at the bottom of the monitors in Avid editing systems. This line is at the bottom of the visible area of the picture, and is not seen in a standard consumer monitor in most cases.
Chapter 3 Preparing to Capture 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, Avid editing applications apply the settings automatically when that tape is loaded into the deck in the future (for example, when you are recapturing). 3. Click OK. Whenever you batch capture or recapture, the system recalls the saved settings as follows: n 144 • The system looks for a tape setting. If the setting exists, the system recalls it.
Calibrating for Video Input Saving a Custom Default Setting for the Video Input Tool To create a customized default Video Input tool setting: 1. Select Tools > Video Input Tool. The Video Input tool opens. Settings pop-up menu 2. Adjust the calibration settings as described in “Manually Calibrating for Video Input” on page 137. 3. Click the Video Input tool Settings pop-up menu, and select Save As. A dialog box opens. 4. Type Default in the dialog box and click OK.
Chapter 3 Preparing to Capture Adjusting Video Levels Without Color Bars Color bars are the best way to set the video levels consistently. However, if you have a tape or series of tapes with no color bars, you might need to adjust video levels by using the Waveform and Vectorscope monitors. n Calibrate your monitor before adjusting video levels by eye. Table 11 describes the criteria for adjusting video levels by eye, without color bars.
Compression Resolutions and Storage Requirements Large media files at high resolutions can take up very large amounts of disk space. When you are selecting an image resolution for your project, you need to balance your requirements in terms of image quality with your available disk resources. You can use lower resolutions when your work does not require very high image quality (for example, in offline work or in CD-ROM or Web authoring projects) and higher resolutions when you need excellent image quality.
Chapter 3 Preparing to Capture Digital Video Resolutions Avid editing applications use the following digital formats: • DV 25 4:1:1 (NTSC and PAL) • DV 25 4:2:0 (PAL) • DV 50 4:2:2 (NTSC and PAL) • MPEG 50 (NTSC and PAL) JFIF Compression and Resolutions Avid uses a simple notation — x:1 — to identify the compression resolutions it supports. The value of x indicates the level of compression that is applied to the image data.
Compression Resolutions and Storage Requirements Compression Groups and Image Quality Although it is generally true that a lower compression resolution means higher image quality, the compression group itself (single-field or two-field) is also a factor in the quality of the final image. Single-field resolutions work with smaller amounts of original image data than two-field resolutions.
Chapter 3 Preparing to Capture Table 12 Resolution 15:1s 4:1s 2:1s 20:1 10:1 3:1 150 Field Size (Pixels) Compression Resolution Specifications Fields Per Frame Drive Striping Requirements Quality 352 x 248 (NTSC) 1 352 x 296 (PAL) None Offline 352 x 248 (NTSC) 1 352 x 296 (PAL) None 352 x 248 (NTSC) 1 352 x 296 (PAL) 2-way striping 720 x 248 (NTSC) 2 720 x 296 (PAL) None 720 x 248 (NTSC) 2 720 x 296 (PAL) None 720 x 248 (NTSC) 2 720 x 296 (PAL) 2-way striping Maximum storage with e
Compression Resolutions and Storage Requirements Table 12 Resolution 2:1 1:1 (uncompressed) Field Size (Pixels) Compression Resolution Specifications (Continued) Fields Per Frame Drive Striping Requirements Quality 720 x 248 (NTSC) 2 720 x 296 (PAL) 4-way striping Online 720 x 248 (NTSC) 2 720 x 296 (PAL) — Provides the highest image quality of any compressed resolution and sustains two-stream playback on 4-way striped drives Online Provides the highest image quality Mixing Resolutions You can
Chapter 3 Preparing to Capture • You can exchange material between projects with a minimum of recapturing. • You can develop material among workstations at different resolutions and bring the material together for a final cut without recapturing. Setting Media Creation Resolutions and Selecting Drives The Media Creation dialog box allows you to set the video resolution and to select drives for capturing, creating titles, importing, performing audio and video mixdowns, and creating motion effects.
Compression Resolutions and Storage Requirements t Select Filter Out Launch Drive to remove as a storage choice the drive on which the Avid editing system resides. The drive or drives you select do not appear in the other Media Creation tabs as possible locations where you can store media. They also do not appear in other drive selection menus in the application except for the Import, Export, and Relink dialog boxes. 4. Click the tab for the area in which you want to work. Media pop-up menu 5.
Chapter 3 Preparing to Capture 7. Select a video drive and an audio drive. To select the same drive for both audio and video, click the Single/Dual Drives Mode button until only a single drive pop-up menu opens. n The drive that appears in boldface type has the most available space. 8. (Option) If you are working with the Capture tab, you can select a drive group. Click the Media pop-up menu, and select Change Group.
Chapter 4 Capturing Media When you capture media, 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.
Chapter 4 Capturing Media Before You Begin Capturing Depending on your immediate needs and chosen capturing method, use the following guidelines for working through this chapter: 156 • If you want to add clip names and comments on-the-fly while you capture, see “Adding Clip Names and Comments On-the-Fly” on page 157. • If you want to include information in text fields in addition to the Name and Cmnt (Comment) fields, see “Adding Extra Text Fields in the Capture Tool” on page 157.
Adding Clip Names and Comments On-the-Fly Adding Clip Names and Comments On-the-Fly The annotate feature allows you to type clip names and comments during the capturing 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 capturing of a clip.
Chapter 4 Capturing Media 2. Click the Extra Field button. The Field Selection dialog box opens. 3. Click the New Field button The New Field Name dialog box opens. 4. In the Field Name text box, type the name you want to appear as a text field in the Capture tool. This is also the name that appears in the bin column heading. 5. Click OK in the New Field Name dialog box. The Field Selection list opens with your new text field selected.
Adding Extra Text Fields in the Capture Tool 6. Click OK in the Field Selection dialog box. The new text field appears in the Capture tool. Press the Tab key to move between fields while capturing. To display or hide text fields: 1. Select Tools > Capture. The Capture tool opens. 2. Click the Extra Field button. The Field Selection dialog box opens. 3. Do one of the following: t Select the text fields that you want to display in the Capture tool.
Chapter 4 Capturing Media t Select Edit > Delete. t Press the Delete key. The column is deleted from the view and the entry in the Field Selection list is deleted. Adding Locators On-the-Fly Locators mark a single frame within a clip or sequence so you can attach a note or find the frame at a later time. This section describes a shortcut method of adding locators on-the-fly while capturing.
DV Capture Offset To create a subclip on-the-fly: 1. Start capturing as usual. 2. At the point where you want the subclip to begin, press the F1 key. This highlights the subclip IN point in the Capture tool. Subclip Status indicator 3. While the system is capturing, you can type a name for the subclip. Press the Tab key to type comments about the clip. 4. When you want the subclip to end, press the F2 key. This highlights the subclip OUT point in the Capture tool.
Chapter 4 Capturing Media DV Data Transcoder Analog data Avid system RS-422 controller Analog deck Figure 2 RS-422 Controls a DV Device Configuration To offset the sequence for capture: 1. Double-click Deck Preferences in the Settings scroll list. The Deck Preferences dialog box opens. 2. Determine the approximate offset, and then type the offset in the Capture Offset (frames) text box.
Capturing and Logging at the Same Time 3. Click OK. The delay is reflected in the DV Capture Offset box in the Capture tool. 4. Capture your material. See “Capturing from One Point to Another” on page 164 and “Capturing On-the-Fly” on page 167. 5. Repeat this process until you achieve the appropriate offset. Capturing and Logging at the Same Time When you capture without entering log information in a bin ahead of time, the system creates clips and associated media files while you capture.
Chapter 4 Capturing Media Two additional techniques you can use when capturing and logging at the same time are described in the following sections: • “Capturing with Time-of-Day Timecode” on page 172 • “Capturing in Satellite Mode or No Device Control” on page 172 Capturing from One Point to Another Capturing from an IN point to an OUT point allows you to specify exactly where to begin and end capturing. You can specify only an IN point or an OUT point, and the system enters the other mark on-the-fly.
Capturing and Logging at the Same Time n The Time Remaining display changes to show the file size of the clip being captured, based on the IN and OUT points or on the settings in the Media Files tab of the Capture Settings dialog box. 4. While the system is capturing, you can type a clip name or enter comments about the clip. When the tape reaches the clip’s OUT point or you click the Record button again, capturing stops, and the system creates a new clip in the bin.
Chapter 4 Capturing Media 4. Click the Record button in the Capture tool. The Capture tool automatically rewinds the tape to the preroll point before the IN point of the clip, and the tape begins to play. The box to the right of the Record button flashes bright red, and the message bar displays the message that the system is capturing.
Capturing and Logging at the Same Time Capturing On-the-Fly Use the capturing on-the-fly method in any of the following circumstances: n • If you are eager to begin editing immediately and no adequate logs exist for importing to the system or setting marks • If you are capturing from a source deck that cannot be controlled by the Capture tool or a VLXi unit • If your source tape does not have timecode • If you are capturing from a digital source such as a CD-ROM or DV camera • If you are capturi
Chapter 4 Capturing Media To capture on-the-fly: 1. Click the Capture/Log Mode button in the Capture tool until the CAP icon appears. The Capture tool is ready to capture. Trash button Capture/Log Mode button Record button Triangular opener (to display comments) Name text box Comment text box Deck controls 2. (Option) Click the Clip Name and Comment triangular opener in the Capture tool to display the Name and Cmnt (Comment) text boxes, if you plan to enter clip names or comments during capturing.
Capturing and Logging at the Same Time Fast Forward button Rewind button Stop button Play button Step Backward 1 Frame button Single-Frame Step Forward button Eject button Pause button 4. Click the Play button and when the deck gets up to speed, click the Record button. n n Make sure you have cleared any previous marks so the deck does not begin cueing to the previous location.
Chapter 4 Capturing Media When you have long, continuous clips (for example, footage from a live event), the captured material for a single clip might exceed the 2-GB limit for file sizes in the Avid editing system. In this case, you must select “Capture to multiple files” in the Media Files tab of the Capture Settings dialog box. Follow the Autocapture procedure to allow the system to complete the capture process unattended for an entire tape. To autocapture: 1.
Capturing and Logging at the Same Time 3. Click OK. 4. In the Capture tool, click the name of the camera or deck, and select Adjust Deck. 5. Double-click the deck box for the video deck from which you are capturing. The Deck Settings dialog box opens. 6. Deselect Fast Cue, and set the preroll to approximately 4 seconds. 7. Click OK to close the Deck Settings dialog box. 8. Create one bin for each source tape.
Chapter 4 Capturing Media 11. Load the source tape, and cue past any false starts. Mark OUT 12. (Option) If you want the system to stop capturing at a chosen point on the tape, cue the tape to a chosen OUT point and click the Mark OUT button in the Capture tool. 13. Play the tape, and wait 4 seconds before clicking the Record button. The system automatically captures the entire tape.
Capturing and Logging at the Same Time Satellite mode using external timecode is especially useful for live events, dramatic multicamera shows, and video material coming in on routers that do not support timecode. You can start editing immediately after the shooting without waiting to capture from the backup reference tapes. If you are taking a feed from a source based on a time-of-day timecode generator, setting IN and OUT points is especially useful.
Chapter 4 Capturing Media 3. Click the Toggle Source button until the Satellite Mode icon appears. Toggle Source button Timecode Source pop-up menu Source Tape Display button 4. Click the Timecode Source pop-up menu, and select one of the following: n 174 The devices that appear in the Timecode Source pop-up menu originate from the current Deck Configuration settings. - Internal: Uses internal system timecode. - LTC Input: Detects LTC input. - Auto Detect: Detects LTC input by default.
Capturing and Logging at the Same Time - Firewire Timecode: Detects timecode over a FireWire connection. FireWire Timecode will only be listed in the pop-up menu if you have a FireWire deck configured in the Deck Configuration dialog box. See “Configuring Decks” on page 84. - RS422 Timecode: Detects timecode over a serial connection. RS422 Timecode will only be listed in the pop-up menu if you have an RS422 deck configured in the Deck Configuration dialog box. See “Configuring Decks” on page 84. 5.
Chapter 4 Capturing Media t Click New if the tape is not in the list, and type a new tape name in the text box that appears at the bottom of the Tape Name list. t Click the Source Tape Display to display the tape names and associated project names for all bins that have been opened in the current session. Stop the process at any time by clicking Cancel. 7. Click OK. The tape name is displayed in the Capture tool. 8.
Capturing and Logging at the Same Time Table 13 Scheduled Record Settings (Continued) Setting Description Schedule list Contains a list of scheduled satellite feed capture sessions. Each item in the list contains: • Name to give the created clip • When to start capturing • How long to continue capturing Any clip whose start time overlaps the end of the previous scheduled clip will be red. Clear Erases the schedule list.
Chapter 4 Capturing Media To set a timed capture session: 1. Select Tools > Capture. The Capture tool opens. 2. Click the Toggle Source button until the Satellite Mode icon appears. 3. Click the Setup Record Schedule button. The Scheduled Record dialog box opens. 4. Do one of the following: n t Type the clip name, start time, and clip duration in the appropriate columns. t Click Load and navigate to a tab-delimited text file of a schedule.
Capturing Audio from a Music CD 7. Click OK. The Setup Record Schedule button changes to green and the Toggle Source button displays the Satellite Mode icon with a clock. The timecode fields contain the information for the upcoming capture session. To clear the scheduled capture: 1. Select Tools > Capture. The Capture tool opens. 2. Click the Toggle Source button until the Satellite Mode icon appears. 3. Click the Setup Record Schedule button. The Scheduled Record dialog box opens. 4. Click Clear. 5.
Chapter 4 Capturing Media 4. Select Tools > Capture. The Capture tool opens. Record button Toggle Source button set to Satellite mode Audio pop-up menu Selected audio track Selected Bin pop-up menu Source Tape Display button 5. Click the Toggle Source button until the Satellite Mode icon appears. 6. Select an audio track. 7. Click the Audio pop-up menu, and select CD Player. 8. Click the Source Tape Display button. The Select Tape dialog box opens. 9. Click New in the Select Tape dialog box. 10.
Capturing to the Timeline Capturing to the Timeline You can capture footage directly from tape into a sequence loaded in the Timeline in one step, bypassing several steps such as organizing and reviewing clips, marking edit points, and performing edits. To capture to the Timeline: 1. Prepare to capture as described in Chapter 3. 2. Select options in the Capture Settings dialog box: a. Double-click Capture in the Settings scroll list. The Capture Settings dialog box opens. b. Click the Edit tab. c.
Chapter 4 Capturing Media 8. Click the Splice-in button or the Overwrite button in the Capture tool to select the type of edit. 9. Click the Record button to begin capturing. 10. If you did not mark the OUT point in advance, click the Record button again when the footage reaches the appropriate frame. n If you already marked an OUT point, capturing will stop automatically. When capturing ends, the clip appears in place in the sequence, and a master clip appears in the bin.
Batch Capturing from Logged Clips n You can also patch tracks in the Timeline in the same way that you patch tracks when editing from a pop-up monitor. See “Patching Tracks” in the Help. Batch Capturing from Logged Clips Once you have imported a log or manually logged a group of clips to a bin, you can automate the capture process by using the batch capture capabilities of Avid editing systems. If you want to batch capture, source tapes must have timecode that matches the timecode for the selected clips.
Chapter 4 Capturing Media To prepare for unattended batch capturing: t Select the following options in the Capture Settings dialog box: - Switch to emptiest drive if current drive is full (in the Batch tab) - Capture across timecode breaks (in the General tab) Batch Capturing Clips To batch capture clips: 1. Make sure you selected the correct Capture Settings and set up the Capture tool, as described in Chapter 3. 2. Open the bin that stores the clips you want to capture. 3.
Batch Capturing from Logged Clips 5. Select Bin > Batch Capture. The Batch Capture dialog box opens. n If the clips that you want to batch capture are not highlighted in the active bin, Batch Capture appears dimmed in the Bin menu. 6. Select options in the dialog box: For more information on handle lengths when recapturing, see “Recapturing Sequences” on page 194. t If the bin contains some clips that are already captured and you do not want to recapture those clips, select “Offline media only.
Chapter 4 Capturing Media with handles causes the new master clip to begin at 1:00:09:00, a batch capture will fail if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00. n If you are batch capturing the original source master clips used in the sequence, the sequence is updated automatically. Therefore, you might want to deselect the sequence during this procedure. 7. Click OK. If you have not loaded a tape, the system prompts you to insert the first tape. 8.
Modifying the Pulldown Phase After Capturing Modifying the Pulldown Phase After Capturing If you have captured film-originated clips (NTSC transfer only) that seem to stutter, the problem could be an incorrectly logged pulldown phase. The pulldown phase is the video frame at which the master clip starts: A, B, X, C, or D. You log this pulldown phase in the Pullin column of a bin. To solve the problem, you need to determine the correct “pullin” frame, modify the clip information, and recapture the clip.
Chapter 4 Capturing Media b. Think of these frames as frames B and X of a four-frame series. No movement A B X D Incorrect sequence A B C D Correct sequence Step backward (either one frame from the B frame or two frames from the X frame) to locate the correct A frame. Note the last digit of its timecode. Timecode for all A frames in the clip will start either with this digit or this digit plus 5.
DV Scene Extraction To modify the clip information: 1. In a bin, select the clip you want to modify and press the Delete key. The Delete dialog box appears. 2. Deselect the option “Delete master clip(s)” and select “Delete associated media file(s).” 3. Click OK. The original media file is deleted. 4. Make sure the clip is still selected. Press Ctrl+Shift and choose Unlink from the Clip menu. The clip information is unlinked and you can modify the clip information. 5.
Chapter 4 Capturing Media Discontinuities in the DV TOD metadata indicate each place in a master clip or subclip where a new take was initiated on a DV camera. Using this feature, you can capture an entire DV tape as a single master clip and have the system automatically locate all the takes for you, eliminating the need to log manually. You can perform a DV Scene Extraction in two ways: t Set up the DV Scene Extraction option before capturing.
DV Scene Extraction 2. Click the DV Options tab. 3. Select DV Scene Extraction. 4. Select one of the following options: t Add Locators: Creates locator marks where the TOD information breaks occur while capturing. t Create Subclips: Creates subclips where the TOD information breaks occur while capturing. t Both: Creates subclips and locator marks where the TOD information breaks occur while capturing. 5. Click OK. 6. In the Capture tool, click the Record button.
Chapter 4 Capturing Media Setting Up DV Scene Extraction After Capturing You can use DV Scene Extraction with an Avid editing application with DV media. To set up DV Scene Extraction after capturing: 1. Open a bin and select the clip or clips for which you want to create subclips or locator marks. 2. Select Bin > DV Scene Extraction. The DV Scene Extraction dialog box opens. 3.
Recapturing Your Material Recapturing Your Material Recapturing is the process of capturing previously captured source footage based on existing clips and sequences. Recapturing uses the batch capture process and does not require extra logging time because the clip information for items such as source tracks, timecodes, and resolutions already exists in the bin. There are several situations in which you might want to recapture: c • You can recapture a sequence after you transfer it to another system.
Chapter 4 Capturing Media • Subclips are smaller sections of master clips. When you recapture a subclip, the system creates a new master clip that is linked to new media files and reflects the shortened length of material. Therefore, recapturing subclips streamlines the capture process. Also, recapturing breaks the link from the subclip to the original master clip. If you edit the subclip into a sequence, however, the sequence will reflect any changes in the newly captured subclip.
Recapturing Your Material To recapture a sequence: 1. Open or activate the bin containing the sequence or clips. 2. Select the sequences or the clips you want to recapture: t Select Edit > Select All to select all the clips in the bin. t Ctrl+click to select specific clips. 3. Select Bin > Batch Capture. The Batch Capture dialog box opens. 4. Click the Handle Length text box, and type the number of additional frames you want to capture at the head frames and tail frames of the new master clips.
Chapter 4 Capturing Media Other Capture Functions The following functions are also available when capturing: • Working in Quick Record Mode • Controlling Decks from the Keyboard • Naming a New Tape from the Keyboard • Ejecting Tapes with a Button or Key • Returning to the Previous Place in the Select Tape Dialog Box Working in Quick Record Mode Quick Record mode allows the deck to control the capturing of media into Avid editing systems.
Other Capture Functions Table 14 Quick Record Condition Messages (Continued) Message Cause or Action Required No source tape selected Give the source tape a name in the Capture tool. Click the Source Tape Display button and name the tape. Selected deck will not Servo Some deck models do not generate a servo-lock Lock signal. This is defined in the deck’s template. n Deck not in Local mode If this message appears, make sure you have the correct deck selected in the Deck Selection pop-up menu.
Chapter 4 Capturing Media 4. Select the Servo Lock Mode option. The Toggle Source button changes to the Quick Record Mode button. 5. When the “Waiting for Servo Lock” message appears, press the deck’s Play button. The system starts capturing when the deck is in servo lock and stops capturing when the deck is not in servo lock (for example; stopped, rewinding, or shuttling).
Other Capture Functions 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 Capture mode: 1. Select Tools > Capture. The Capture tool opens. 2. Do one of the following: t Put a tape in the deck. t Click the Source Tape Display button. The Select Tape dialog box opens. 3. Press Ctrl+N. A new tape name text box opens. 4. Type the new tape name. 5. Press Enter to register the tape name. 6.
Chapter 4 Capturing Media n You can map the Eject button to any button on the Tool palette or any key on the Keyboard palette. See “Mapping User-Selectable Buttons” in the Help. 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.
Chapter 5 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.
Chapter 5 Importing Files • For graphics file and OMFI (Open Media Framework® Interchange) file import, prepare the files in advance according to specifications described in “File Format Specifications” in the Help. • For a complete description of all options in the Import Settings dialog box, see “Import Settings” in the Help. Working with Mixed-Resolution Projects You can work with mixed resolutions in the same sequence.
Creating and Using Import Settings feature is especially useful when you use the drag-and-drop method to import multiple files (see “Using the Drag-and-Drop Method to Import Files” on page 209). The default Import setting and any additional Import settings you create appear in the Settings scroll list (see “Using the Settings Scroll List” in the Help).
Chapter 5 Importing Files 4. Adjust the options for the setting as described in the following procedure. To adjust the parameters in an Import Settings dialog box: 1. Double-click Import or the newly created Import setting in the Settings scroll list. The Import Settings dialog box opens. The following illustration shows the default settings for the Image tab of the Import Settings dialog box. 2. Select the appropriate options.
Importing Files Importing Files You can access files for import from any folder or drive source mounted on the desktop, such as a floppy disk, fixed drive, removable drive, or network server. You can import more than one file at a time, including files of multiple types. Consider copying all graphics files to a single folder on the internal hard drive before you import the files.
Chapter 5 Importing Files Look In pop-up menu Up One Level button Details button File browser File to import Files of Type pop-up menu Options button Video Resolution pop-up menu Single/Dual Drive button Media Drive pop-up menu 4. Click the Files of Type pop-up menu to display only files of the selected file type in the file browser, and select an import file type: 206 t Select Shot Log to import Avid Log Exchange (.ALE) files containing clip information to a bin.
Importing Files n t Select CamCutter to import clips captured with Editcam or Editcam-station products. See “Importing Editcam Files” on page 217. t Select AAF to 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. t Select MetaSync Files to import XML files that have been created by MetaSync™ Manager.
Chapter 5 Importing Files n For a complete description of all options in the Import Settings dialog box, see “Import Settings” in the Help. 7. Select the options you want. Click OK to save the settings. 8. Close the Import Settings dialog box, and return to the Select Files to Import dialog box. 9. For graphics and video files, click the Video Resolution pop-up menu, and select a resolution for the imported media. n OMFI and AAF files do not convert DV 25 to DV 50 or DV 50 to DV 25. 10.
Using the Drag-and-Drop Method to Import Files 13. 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.
Chapter 5 Importing Files Importing Photoshop Graphics You can import both single-layer and multilayered graphics created in Adobe Photoshop®. If you import multilayered graphics, you can preserve the original layers, and then edit them individually.
Importing Photoshop Graphics Importing Multilayered Photoshop Graphics A multilayered graphic is a graphic file that was created in Photoshop with two or more layers. This section includes the following topics: n • Understanding Multilayered Graphics Import • Importing Multilayered Files You can import multilayered graphics created in Photoshop 6.0 or later.
Chapter 5 Importing Files The Avid editing application imports each layer as an individual matte key with alpha channel. In this example, the graphic uses a background image, so the system creates the background image as a master clip. (If the graphic used a transparent background, the background layer would be imported as a matte key.) The following illustration shows the layers as they appear in a bin.
Importing Photoshop Graphics During the import, the Avid editing application creates a sequence with each layer on a separate video track. This makes it easy to edit all layers into the final sequence. The sequence preserves the names and order of the layers from the original Photoshop file, as shown in the following illustration. You can then edit the tracks to build up to the full collage. Note the following: • Graphics must be RGB 8 or 16 bits, or grayscale.
Chapter 5 Importing Files You can also preserve layer effects and the original structure of the file by importing the file in two stages: 1. For the first import, click Select Layers in the message box that appears, and select all layers except the layers that contain layer effects. 2. For the second import, open Photoshop, hide the layers you have already imported, and show the layers that contain layer effects. During the import, click Flatten Image.
Importing Photoshop Graphics Table 16 Support for Photoshop Special Layer Types Layer Option Supported Notes Type Layer Yes None. Solid Layer Yes Solid layers are imported as a graphic with a full-screen opaque alpha channel. Gradient Layer Yes Gradient transparency is preserved. Pattern Layer Yes None. Adjustment Layer No Adjustment layers include Levels, Curves, Color Balance, Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient Map, Invert, Threshold, and Posterize.
Chapter 5 Importing Files t Click Sequence of Layers if you want to preserve layers (up to the number of tracks supported by the Avid editing application). Additional layers are imported into the bin, but not as tracks in a sequence. This choice applies to all files you have selected for import. t Click Select Layers if you want to select which layers to preserve. The Select Layers dialog box opens. Select the layers you want to import and click OK.
Importing Editcam Files The list shows all files that were imported and the maximum number of layers possible. You might want to import each file again individually and select which layers to import. n The matte keys will be edited into the sequence as downstream keys. In the Effect Editor, to access parameters such as Position, deselect the Downstream Key option. You might need to render multiple matte keys. For complete information on downstream keys and rendering, see the Avid Effects Guide.
Chapter 5 Importing Files 6. Ignore the field regarding video and audio drive selection. 7. Proceed with the import operation. The system displays a dialog box asking you to identify the drives that contain the media files. 8. Select the FieldPak drive letters as appropriate. n If the drive is not listed, return to step 1 and follow the procedure again. 9. Complete the import process. The Avid editing application creates entries in the selected bins that reference the clips on the FieldPak.
Reimporting Files 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.
Chapter 5 Importing Files 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.
Reimporting Files To remove a clips from the Selected Clips list: 1. Select one or more clips in the Selected Clip list. 2. 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 select a video resolution.
Chapter 5 Importing Files To reimport imported files: 1. Open the bin, and select the imported master clips and sequences that you want to reimport. 2. Select Bin > Batch Import. A message box opens. 3. Select one of the following: t Offline only: Reimports only the selected imported master clips that are missing their media files. t All clips: Reimports all the selected imported master clips; for example, if you need to change the video resolution of the imported master clips.
Reimporting Files 8. (Option) By default, the file is imported using the Import settings from the last time it was imported. You can change the Import settings for all clips being imported by doing the following in the Import Options section: a. Select “Override clip settings with current settings.” b. Click Current Settings to open the Import Settings dialog box. c. Select the appropriate options. d. Click OK to close the Import Settings dialog box. 9. Click Import. The file is imported.
Chapter 5 Importing Files 224
Chapter 6 Output Options The Avid editing application provides tools for generating output for individual tracks or entire sequences to various videotape or audiotape formats. In addition, you can generate an edit decision list (EDL) to be used by editors in a videotape suite for preparing a master tape. You can also use VTR emulation for direct playback of sequences by using an edit controller in an analog editing suite.
Chapter 6 Output Options Preparing for Output Preparing for video output involves the following procedures: • Render all non-real-time effects. See the Avid Effects Guide. • Select video outputs. See “Selecting Video Output” on page 226. • Select audio outputs. See “Calibrating for Audio Output” on page 236. • Calibrate and adjust video output levels. See “Calibrating Global Output Levels” on page 237. • Calibrate and adjust audio output levels. See “Calibrating for Audio Output” on page 236.
Preparing for Output Establishing Sync for Output Sync for output comes from the LTC input when black burst or house sync is connected to the Adrenaline DNA. If there is no reference connected to the LTC input, output sync is generated from internal timing.
Chapter 6 Output Options c Before you calibrate video output for an NTSC-EIAJ (Japan) project, make sure the option “NTSC Has Setup” is deselected in the General Settings dialog box. (See “General Settings” in the Help.
Preparing for Output To calibrate for video output: 1. Select Tools > Video Output Tool. The Video Output tool opens. Preset buttons n You can capture your output to any of these devices, or all at once if you capture manually. For more information, see the Using the Avid Adrenaline DNA Installation Instructions for the Windows XP Operating System or Using the Avid Mojo DNA Installation Instructions for the Windows XP Operating System.
Chapter 6 Output Options 2. Select the output format to display the appropriate controls: The Video Output tool displays the appropriate parameters for the selected video format, as described in Table 17. Table 17 Video Format Output Parameters Parameter Video Formats Description H Phase S-Video, Component and Composite See “Calibrating the System with Passthrough Signals” on page 234.
Preparing for Output Table 17 Video Format Output Parameters (Continued) Parameter Video Formats Description BY Gain Component The blue (B) 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: B–Y = (–0.587G + 0.886B – 0.
Chapter 6 Output Options 4. Adjust luminance values based on Table 18. Table 18 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 0.3 V Video Standard: NTSC 7.5 IRE NTSC-EIAJ 0.
Preparing for Output 6. Save this setting: a. Click the Settings pop-up menu, and select Save As. b. Type a name. c. Click 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 select a pattern. To add test patterns to the list: 1.
Chapter 6 Output Options Adjusting Phase Controls The Video Output tool provides controls for adjusting horizontal phase globally for output. Horizontal phase, or H Phase, is the 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 SVideo signal.
Preparing for Output 4. Calibrate the input by using the Video Input tool, as described in “Calibrating for Video Output” on page 227. 5. Save the input calibration settings as the system Default settings, as described in “Saving Video Input Settings” on page 143. 6. Select Tools > Video Output Tool. The Video Output tool opens. 7. Select Tools > Capture. The Capture tool opens. 8.
Chapter 6 Output Options The Video Output settings, a Site setting, applies to all users and projects on the system. The default Video Input settings will be recalled each time a new tape is loaded for capturing in the current project. Calibrating for Audio Output The Audio tool allows you to generate and customize calibration tone and to adjust global output levels.
Preparing for Output 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 in the Audio tool and the Output Control slider (master attenuator) in the Output tab in the Audio Project Settings dialog box to make global level adjustments for output from the system. These adjustments affect levels for all output tracks to both the speakers and record devices.
Chapter 6 Output Options 2. Click the Output tab. Bypass panel Mix Mode Selection Menu button Stereo Mix Tracks pop-up menu Which Set of Track Maps button Output Control slider (master attenuator) All or Timeline Track Maps pop-up menu Output Track Maps Channel Assignment pop-up menu 3. Click the Mix Mode Selection Menu button, and select a type of output. - Select Stereo to mix the currently monitored audio tracks into a stereo pair.
Preparing for Output - You can select All or Timeline from the All or Timeline Track Maps pop-up menu above the track and channel selectors buttons as follows: Timeline allows you to assign output channels to the tracks monitored in the Timeline. All allows you to select between all available tracks. n If you want to map output channels to audio channels not listed in the Output Tracks Maps area, click the Which Set of Track Maps button to display other available audio tracks.
Chapter 6 Output Options 7. Play back one of the following sources of reference audio by doing one of the following: t Click the Peak Hold (PH) Menu button, and select Play Calibration Tone. t Play back a representative sequence or clip containing audio. 8. Watch the levels in the meters, and adjust the master attenuator to the level that you want. n To adjust levels for individual tracks, use the Audio Mix tool. 9. Close the Audio tool. 10. Close the Audio Project Settings dialog box.
Preparing for Output To perform assemble-edit recording: t Record black with timecode onto the tape, including the necessary preroll prior to the IN point plus at least 10 seconds (partially striped tape). Manual Recording Manual recording (sometimes referred to as crash recording) involves bypassing deck control in the Avid editing application and using manual operation of the record deck. Because the timing of playback is based on manual procedures, the recording is not frame accurate.
Chapter 6 Output Options To record bars and tone manually: 1. Select Tools > Video Output Tool. 2. Click the Test Patterns pop-up menu, and select a color bars pattern. If you do not see the Test Patterns pop-up menu, click the Arrow button at the lower left corner of the window. 3. Click the Peak Hold (PH) pop-up menu in the Audio tool, and select Play Calibration Tone. 4. Set the record deck to Local for manual recording. 5.
Preparing for Output To enable assemble-edit recording: 1. Double-click Deck Preferences in the Settings scroll list. The Deck Preferences dialog box opens. Assemble-edit option 2. Select “Allow assemble edit for digital cut.” 3. Click OK. 4. 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.
Chapter 6 Output Options 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: n • 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 “Performing a Digital Cut to Tape (Remote Mode)” on page 250.
Using the Digital Cut Tool 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. • Have the system locate those real-time effects with dropped frames. You can also preview the digital cut before recording it to tape.
Chapter 6 Output Options Enable Video Track button Preview Digital Cut button Sequence Tracks pop-up menu Audio Track Selection buttons Deck controls Deck Selection pop-up menu Timecode text boxes Selecting a Deck in the Digital Cut Tool The Deck Selection pop-up menu in the Digital Cut tool contains a list of all decks that were connected to the system, powered up, and initialized when you opened the Digital Cut tool.
Using the Digital Cut Tool If the words “No Deck” appear in the pop-up menu, you need to configure a deck in the Deck Configuration dialog box. See “Configuring Decks” on page 84. If a deck name appears in italics in the pop-up menu, the deck has lost power or has been disconnected. Click the pop-up menu, and select Check Decks to reestablish deck control. To activate an available deck for a digital cut: t Click the Deck Selection pop-up menu, and select the deck.
Chapter 6 Output Options Play Digital Cut button Halt Digital Cut button Mix Mode Selection toggle button Preview Digital Cut button Sequence Tracks pop-up menu Local option Deck control option area 2. Select Remote or Local in the deck control option area. 3. Select the options that you want for the digital cut. See “Performing a Digital Cut to Tape (Remote Mode)” on page 250. 4.
Using the Digital Cut Tool To stop the recording at any time, do one of the following: t Press the space bar. t Click the Halt Digital Cut button. Outputting Directly to a DV Device In software-only models, you can output DV 25 sequences directly to a DV device. This lets you output without any loss due to compression and decompression. To output directly to a DV device: 1. Select the DV 25 sequence you want to output. 2. Render all effects. 3. Select Clip > Digital Cut. The Digital Cut tool opens.
Chapter 6 Output Options 4. Select Digital Cut Native. c Select Digital Cut Native only if you are outputting a sequence with all effects rendered. 5. Select other Digital Cut options. 6. Perform the digital cut. Performing a Digital Cut to Tape (Remote Mode) Capture in remote mode allows you to control your record deck by using the deck controller in the Digital Cut tool. This mode provides frameaccurate control when you record a sequence to tape. To record a digital cut to tape: 1.
Using the Digital Cut Tool 2. Select Clip > Digital Cut. The Digital Cut tool opens. Play Digital Cut button Enable Video Track button Mix Mode Selection toggle button Sequence Tracks pop-up menu 3. Switch to one of the following modes by clicking the Mix Mode Selection toggle button as follows: 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.
Chapter 6 Output Options 4. Select or deselect Entire Sequence, based on the following: t Select Entire Sequence if you want the system to ignore any IN or OUT points and play the entire sequence from start to finish. t Deselect Entire Sequence if you have established IN points, OUT points, or both for recording a portion of the sequence. 5. Select Digital Cut Native if you are outputting a sequence with all effects rendered. 6.
Using the Digital Cut Tool t Select Mark In Time to ignore the sequence timecode. Establish an IN point on the record tape by cueing and marking with the deck controls. 11. (Option) Select Custom Preroll, click the pop-up menu, and select the number of seconds to indicate how many seconds the tape rolls before the digital cut starts. This option overrides the preroll setting in the Deck Settings dialog box. 12. Select the audio and video tracks you want represented in the digital cut preview.
Chapter 6 Output Options 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.
Using the Digital Cut Tool 2. Select Clip > Digital Cut. The Digital Cut tool opens. Enable Video Track button Mix Mode Selection toggle button Sequence Tracks pop-up menu 3. Switch to one of the following modes by clicking the Mix Mode Selection toggle button as follows: 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. 4.
Chapter 6 Output Options 6. Click the Effect Safe Mode button (selected by default) to allow the system to notify you that an effect needs to be rendered. During a digital cut, real-time effects can drop frames. To eliminate the chance of dropping frames, it’s best to render the real-time effects that might drop frames. The Effect Safe Mode option analyzes and identifies real-time effects that might cause dropped frames during the digital cut and allows you to render them.
DV Digital Cut Delay DV Digital Cut Delay To delay the sequence for a digital cut: 1. Double-click Deck Preferences in the Settings scroll list. The Deck Preferences dialog box opens. 2. Select Override Recommended Digital Cut Offset. 3. Determine the approximate delay and type the delay in the Digital Cut Delay (frames) text box. 4. Click OK. The delay is reflected in the DV Offset box in the Digital Cut tool. 5. Perform a digital cut. See “Using the Digital Cut Tool” on page 244. 6.
Chapter 6 Output Options Understanding Passthrough When the Digital Cut tool is active, the footage you see in the monitor is passing through from an input source to the output channels. Passthrough, also known as confidence view, uses the input source you specified in the Input tab in the Audio Project Settings dialog box, the Video Input tool Audio pop-up menu, or the Capture tool Audio pop-up menu. It does not use the target device you selected in the Digital Cut tool.
Chapter 7 Exporting and Exchanging Material You can export and exchange material with another system, another application, or another platform. Your Avid editing application provides tools for exporting clips and sequences in various formats or for transferring projects and media between systems.
Chapter 7 Exporting and Exchanging Material • Avid Codecs • Exporting Tracks As Audio Files • Exporting As a Graphics File • Transferring a Project Between Systems • Transferring Media to and from a Video Server Exporting Files There are several reasons why you might want to export video, audio, or both from the Avid editing application: • You can export files to be viewed as an AVI or QuickTime movie.
Preparing to Export a Sequence 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 Effects Guide. • Make sure all media for the sequence is online.
Chapter 7 Exporting and Exchanging Material 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/Transcode Command” in the Help. • OMFI or AAF files with very complex sequences can fail during import into some applications due to memory limitations.
Mixing Down Video Tracks 3. Mark an IN point and an OUT point around the area to mix down. 4. Select Clip > Video Mixdown. The Video Mixdown dialog box opens. 5. (Option) Click the Target Bin pop-up menu, and select a different bin. 6. Click the Target Drive pop-up menu, and select a target drive for storing the new master clip. 7. Click the Resolution pop-up menu, and select a video resolution for the mixdown. 8. Click OK. A progress indicator appears, showing the progress of the video mixdown.
Chapter 7 Exporting and Exchanging Material Exporting Frames, Clips, or Sequences For information on using the drag-anddrop method, see “Using the Drag-andDrop Method for Export” on page 266. n n This section provides the steps for exporting frames, clips, and sequences. To export frames, clips, or sequences: 1. Select 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.
Exporting Frames, Clips, or Sequences 3. Select File > Export, or right-click and select Export. The Export As dialog box opens 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. In most cases, keep the default file name extension. 6. Click the Export Setting pop-up menu, and select a setting. This setting determines the format of the exported file. The default setting is labeled Untitled.
Chapter 7 Exporting and Exchanging Material n For information on creating a new settings, see “Creating a New Export Setting” on page 277. 8. Click Save. The file is exported and appears at the selected destination. n c c The Avid editing application 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.
Exporting Frames, Clips, or Sequences 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 Settings dialog box. t To export the entire clip or sequence, deselect Use Enabled Tracks and Use Marks in the Export Settings dialog box, and make sure the topmost track is monitored.
Chapter 7 Exporting and Exchanging Material Using ProEncode You can send media files to the Avid ProEncode service for encoding in different output formats. The ProEncode option creates QuickTime reference movies from your media files. It then distributes them to multiple workstations where media files can be encoded for output as RealSystem™ or QuickTime. ProEncode is layered on top of the Avid Distributed Media Services (DMS) software infrastructure.
Using AvidLinks ProEncode creates a QuickTime reference movie and prompts you for the name of your DMS broker. For information on configuring ProEncode, see the Avid ProEncode Setup and User’s Guide. Using AvidLinks AvidLinks enables you to send data from the Avid editing system to other Avid applications. The AvidLinks option provides you with a choice of several OMFI Export templates. The resulting files are either compositiononly or composition with embedded audio or video.
Chapter 7 Exporting and Exchanging Material You can use AvidLinks to export to any of the applications listed in Table 19. Table 19 Available Avid Applications for AvidLinks Export Options Supported Media Objects Avid Application Output File AudioVision OMFI 1.0 with embedded AIFF-C audio media. All audio media is converted to AIFF-C. — Digidesign® Pro Tools OMFI 2.0 with embedded or external AIFF-C media. All audio media is converted to AIFF-C.
Creating Files for a DVD n You can also access AvidLinks by right-clicking the media object and selecting AvidLinks. 3. (Option) Change the file name. 4. Select the destination folder for the file. 5. Click Save. The file is exported and appears at the selected destination. Creating Files for a DVD You can use the Send To feature to send a QuickTime reference movie to a DVD Authoring application if the authoring application is installed on your Avid Editing system.
Chapter 7 Exporting and Exchanging Material Send the QuickTime Reference Movie Directly to the DVD authoring application: n You can use the Send To feature to export a QuickTime reference movie from a film project (24p, 25p, or 23.976p) if the application to which you are exporting supports these rates. 1. Select a sequence in a bin. You can select multiple sequences. 2. Select File > Send To. The Send To dialog box opens. 3. Click the Send To pop-up menu, and select the DVD authoring application.
Creating Files for a DVD 6. Select other options as described in Table 20. Table 20 DVD Options Option Description Pixel Aspect Ratio Select this option to apply a scaling to the video: 4:3 or 16:9. The pixel aspect ratio allows you to control the display format without modifying the source file. The default is 4:3. Use Enabled Tracks Select this option if you want the system to use tracks that are enabled in the Timeline (default). To export the entire clip or sequence, deselect this option.
Chapter 7 Exporting and Exchanging Material Exporting Video in DV Stream Format The DV Stream format is often used for distribution over the Web. Use this option when exporting video that will be combined or processed with other DV-formatted media. This option requires a video track. n The DV Stream format appears after you have installed QuickTime. If you want to use the QuickTime application for exporting sequences, download the latest version of QuickTime from the Apple® Web site at: www.apple.
Exporting Video in DV Stream Format 4. Click Options. The Export Settings dialog box opens. 5. Click the Export As pop-up menu, and select DV Stream. 6. Select your options. For more information about DV Stream options, see “Export Setting: DV Stream Options” in the Help.
Chapter 7 Exporting and Exchanging Material 7. Click Format Options. The DV Export Settings dialog box opens. 8. Select a video format and an audio format. For compatibility with DV cameras that require unlocked audio, deselect Locked. 9. Click OK to close the DV Export Settings dialog box. 10. Click Save in the Export Settings dialog box. The file is exported and appears at the selected destination.
Customizing Export Settings • Macintosh Image: Exports a PICT file for use in Macintosh graphic applications. See “Exporting As a Graphics File” on page 307. • Windows Image: Exports a BMP file for use in Windows graphic application.“Exporting As a Graphics File” on page 307. You can select or customize these settings, as described in “Exporting Frames, Clips, or Sequences” on page 264. Creating a New Export Setting To create a new Export setting from the Settings scroll list: 1.
Chapter 7 Exporting and Exchanging Material 4. Click Options. The Export Settings dialog box opens. 5. Click the Export As pop-up menu, and select the appropriate file type and options. For more information about Export Settings options, see “Export Setting Dialog Box Options” in the Help. 6. Click Save As. 7. Type a name in the Setting Name text box, and click OK. The Export As dialog box opens, and the new setting appears in the Export Setting pop-up menu. 8. Click Save to complete the export.
Exporting OMFI and AAF Files Exporting Through 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 Avid editing applications.
Chapter 7 Exporting and Exchanging Material c To avoid errors and incompatibilities when you import and export OMFI files, observe the recommendations in “Exchanging Titles in OMFI Format” on page 283. Exporting Through AAF Advanced Authoring Format (AAF), is a cross-platform, multimedia file format that allows interchange of media and composition information between AAF-compliant applications.
Exporting OMFI and AAF Files Method 2: Compositions with Embedded Media Avid editing applications can export an OMFI or an AAF file that contains all the editing information for the selected master clip or sequence along with the video and audio media files for that master clip or sequence. See “Exporting OMFI or AAF Files” on page 281. Exporting OMFI or AAF Files To export master clips or sequences as OMFI or AAF files: 1. Select the master clip or sequence you want to export. 2. Select File > Export.
Chapter 7 Exporting and Exchanging Material 6. Do one of the following: t To save your revised settings in the existing settings file, click Save. The Export As dialog box opens again. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. The Export As dialog box opens again. 7. (Option) In the Export As dialog box, change the file name. In most cases, keep the file name extension the same.
Exchanging Titles in OMFI Format Exchanging Titles in OMFI Format You can export real-time title clips, imported graphic clips with alpha channel, and sequences that include these kinds of title or graphic clips as files in OMFI 2.0 format. Title information is preserved and appears accurately in your system when you reimport the OMFI files.
Chapter 7 Exporting and Exchanging Material 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.
QuickTime Reference Movies t n To export the entire clip or sequence, make sure the topmost track is monitored. For more information, see “Preparing to Export a Sequence” on page 261. 2. Select File > Export. The Export As dialog box opens. 3. Select the Export settings by doing one of the following: t Click the Export Setting pop-up menu, select a setting 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.
Chapter 7 Exporting and Exchanging Material 6. Click Save to save the revised setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 277. The Export As dialog box reappears with the default QuickTime reference movie file name extension in the File name text box. 7. Select the destination folder for the file. 8. (Option) Change the file name. In most cases, keep the default file name extension. 9. Click Save.
QuickTime Reference Movies To export as a QuickTime movie: 1. Select the material you want to export in one of the following ways: You can use the dragand-drop method to export QuickTime files. See “Using the Dragand-Drop Method for Export” on page 266. 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.
Chapter 7 Exporting and Exchanging Material 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. For more information about QuickTime Movie Export Options, see “Export Setting: QuickTime Movie Export Options” in the Help. 8. Click Save to save the revised setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 277.
QuickTime Reference Movies 11. Click Save. The file is exported and appears at the selected destination. c c Avid editing systems allow 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.
Chapter 7 Exporting and Exchanging Material 5. Click Format Options. The Movie Settings dialog box opens.
Exporting As an AVI File 6. Click Settings in the Video area. The Compression Settings dialog box opens. 7. Select the options. For more information about QuickTime Compression Settings, see “Export Setting: QuickTime Compression Settings” in the Help. 8. Click OK. Exporting As an AVI File To export as an AVI file: 1.
Chapter 7 Exporting and Exchanging Material 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. If you mark only an OUT point, the system exports from the beginning to the OUT point. Make sure Use Marks is selected in the Export Settings dialog box.
Exporting As an AVI File 4. Click Options. The Export Settings dialog box opens. 5. Click the Export As pop-up menu, and select AVI. 6. Select AVI options from the Video Format tab. For more information about AVI options, see “Export Setting: AVI Setting” in the Help. 7. Select an AVI codec by clicking Codec Options. The Video Compression dialog box opens.
Chapter 7 Exporting and Exchanging Material 8. Select the compressor you want, and click Configure to further configure the codec. For more information about compression options, see “Export Setting: AVI Setting” in the Help. 9. Click OK to close the Video Compression dialog box and return to the Export Settings dialog box.
Exporting As an AVI File 10. Select AVI options from the Audio Format tab. For more information about Audio Format options, see “Export Setting: AVI Setting” in the Help. 11. Click Save to save the revised setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 277. The Export As dialog box opens with a default file name in the File name text box. 12. Select the destination folder for the file. 13. (Option) Change the file name.
Chapter 7 Exporting and Exchanging Material c c The Avid editing system allows a maximum exported file size of 2 GB. If you exceed this limit, the file is unusable and the system displays an error message. Break up large sequences and 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.
Avid Codecs Exporting with the Avid DV Codec or an Avid Meridien Codec To export a clip or sequence with the Avid DV codec or one of the Avid Meridien codecs: 1. Select 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. 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.
Chapter 7 Exporting and Exchanging Material 6. Click Format Options. The Movie Settings dialog box opens.
Avid Codecs 7. Click Settings in the Video area. The Compression Settings dialog box opens. 8. Click the top Compressor pop-up menu, and select Avid, DV, Avid Meridien Uncompressed or Avid Meridien Compressed. 9. Click the Options button. The Quality slider does not affect your settings. One of the Codec Configuration dialog boxes appears. 10. Choose the settings you want and click OK. 11. Click OK in the Compression Settings dialog box, and then click OK in the Movie Settings dialog box.
Chapter 7 Exporting and Exchanging Material Exporting with the Avid ABVB NuVista Codec for QuickTime To export a clip or sequence with the Avid ABVB NuVista Codec for QuickTime: 1. Select 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. 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.
Avid Codecs 7. Click Settings in the Video area. The Compression Settings dialog box opens. 8. Click the top Compressor pop-up menu, and select Avid ABVB NuVista.
Chapter 7 Exporting and Exchanging Material 9. Adjust the Quality slider. The Avid ABVB/NuVista Codec Configuration dialog box opens. 10. Select the appropriate format for the media you want to create: NTSC or PAL. 11. Select the appropriate board type for the media: - NuVista - ABVB 12. Select or deselect Input, depending on your source. 13. Click the Resolution pop-up menu, and select a resolution. The menu is updated according to the format and system type you select. 14.
Avid Codecs Installing an Avid Codec on Other Systems When you install the Avid editing application on your system, the Avid Codecs for QuickTime is automatically installed. If you want to export a QuickTime movie from a third-party application such as Adobe After Effects® for use on an Avid editing system, you should have the appropriate Avid codec installed on the system running the third-party application.
Chapter 7 Exporting and Exchanging Material To copy the Avid DV Codec for QuickTime to another Windows system: 1. Insert the Avid editing application installation CD-ROM. 2. On the opening screen, click Browse CD Contents. If the installer does not start automatically: a. Double-click the My Computer icon. b. Double-click the CD-ROM drive icon. 3. Double-click the Goodies folder. 4. Double-click the AvidDV25Codec folder. 5. Copy the AvidQTDV25Codec.qtx file to a floppy disk or network server.
Exporting Tracks As Audio Files Exporting from a Third-Party Application To export files from a QuickTime-compatible application or an AVIcompatible application on a Windows system for import (or reimport) into Avid editing systems: 1. Make sure the applicable codec is installed on the workstation. See “Installing an Avid Codec on Other Systems” on page 303. 2. Conduct the export procedure according to the procedures used by the particular software. 3.
Chapter 7 Exporting and Exchanging Material 5. Click the Export pop-up menu, and select a setting. If you do not have a preset audio template, select Untitled, and then click Options. The Export Settings dialog box opens. 6. Click the Export As pop-up menu, and select Audio. 7. Do one of the following: t Select Use Marks if you are exporting a marked sequence. t Select Use Enabled Tracks if you are exporting specific tracks in a sequence.
Exporting As a Graphics File 12. Click Save. The file is exported and appears at the selected destination. 13. Click OK. Exporting As a Graphics File Avid editing applications allow you to select from a number of graphic format options. To export as a graphics 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.
Chapter 7 Exporting and Exchanging Material Graphic Format pop-up menu Format Options button 5. Click the Export As pop-up menu, and select Graphic. 6. Select the graphic options. For more information about Graphic options, see “Export Setting: Graphic Options” in the Help. 7. Make sure Use Marks is selected if you want to export a specific frame. 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 277.
Transferring a Project Between Systems Transferring a Project Between Systems This section describes how to move projects and media folders between Avid editing applications.
Chapter 7 Exporting and Exchanging Material Table 21 lists the recommended devices for transferring files between systems. Table 21 Devices for Transferring Files Transfer Device For Transferring Floppy drive or equivalent device Project and settings files Removable storage device, such as a hard drive Media, project, and settings files A network storage device, such as a file server.
Transferring a Project Between Systems To transfer a work in progress and associated media files to another Avid editing system: 1. (Option) Consolidate the media for the project onto an appropriate drive for transfer to the other system. n For more information on consolidating, see “Consolidating Media” in the Help. n When editing in a workgroup environment, you must consolidate your media files before checking them in to MediaManager.
Chapter 7 Exporting and Exchanging Material n The Avid editing application reconstructs the MediaFiles database the first time you start the application to incorporate the new media into the system’s internal directory. Transferring Projects, User Profiles, and Site Settings To open projects, bins, and user profiles created with another Avid system, you must transfer specific folders directly into the Avid Projects or Avid Users folder before starting the application.
Transferring a Project Between Systems n The exact location depends on how your Avid editing application was installed on your system. 2. Copy the files to a floppy disk or to a location on a server. 3. On the destination system, copy the project folder, user folder, or Site Settings file to the appropriate location, as listed in step 1. n Do not rename the project folder. The project settings will not link to the project if you rename the project folder.
Chapter 7 Exporting and Exchanging Material To create an AFE file that includes all bins in a project: 1. Click the project window and select File > Export. The Export Project As dialog box opens. 2. Select a location, name the file, and click Save. 3. Transfer the AFE file to a location you can access from the other Avid application. You can use removable media, a network connection, or an Avid Unity shared storage system.
Transferring Media to and from a Video Server To create an AFE file that includes the contents of a single bin: 1. Open the bin. 2. Click the bin, and select File > Export. The Export Bin As dialog box opens. 3. Select Avid File Exchange from the Export Bin As list. 4. Select a location, name the file, and click Save. 5. Transfer the AFE file to a location you can access from the other Avid application. You can use removable media, a network connection, or an Avid Unity shared storage system.
Chapter 7 Exporting and Exchanging Material Setting Up a Video Server You can transfer media to and from a video server through audio, video, and serial RS-422 connections. The Avid editing system controls the video server in much the same way as it controls a video deck. For information on connecting a video server, see the Using the Avid Adrenaline DNA Installation Instructions for the Windows XP Operating System or Using the Avid Mojo DNA Installation Instructions for the Windows XP Operating System.
Transferring Media to and from a Video Server 4. Click the Ports pop-up menu, and select a port. Make sure that this port corresponds to the port selected for the video server’s serial connection. 5. Click OK. A message box opens, asking if you want to Autoconfigure the channel. 6. Click No. n The Avid editing application does not currently support the Autoconfigure function for the video server. 7. In the Deck Configuration dialog box, click Add Deck. The Deck Settings dialog box opens. 8.
Chapter 7 Exporting and Exchanging Material 2. In the TapeID column, type the name of the sequence on which you want to perform a digital cut to the video server. The name on the video server is restricted to 15 characters when using the BVW controller setup. The video server will truncate any names longer than 15 characters. For seamless integration, you should not use special characters or spaces when naming the sequence. 3. Select Clip > Digital Cut. The Digital Cut tool opens.
Transferring Media to and from a Video Server 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. The default preroll time for the video server is 1 second. For a preroll time of 1 second, type 01:00. 9. Click the Play Digital Cut button. For complete information on creating a digital cut, see “Using the Digital Cut Tool” on page 244.
Chapter 7 Exporting and Exchanging Material 320
Chapter 8 Using the NRCS Tool The Newsroom Computer System (NRCS) tool lets you use one computer to view stories and rundowns located on an Avid iNEWS™ server or on an Electronic News Production System (ENPS) server, and to edit sequences in the Avid editing application. You use the NRCS tool to connect to an iNEWS server to access story scripts, and to edit stories on your Avid editing system.
Chapter 8 Using the NRCS Tool n • Editing Story Text (iNEWS Only) • Finding the Read Time of a Story • Building a Sequence from a Story • Adjusting the Story Timing (iNEWS Only) • Using Associated Sequences • Saving Changes to a Story (iNEWS Only) • Using the Post to Web Feature • Sending and Receiving NRCS Mail (iNEWS Only) • Disconnecting from Your NRCS Server Your iNEWS or ENPS user permissions define how many of these procedures you can perform.
Configuring the NRCS Tool The following procedures describe the minimum steps for configuring the ENPS server. To create a group on the ENPS server: 1. Start the ENPS client application and log in as an ENPS administrator. n You must have ENPS administrator server rights to perform system maintenance functions. n Each folder at the bottom of the application contains a green dot. This dot is called a Rover. 2. Click the fourth Rover (dot) from the left, and select System Maintenance > Groups. 3.
Chapter 8 Using the NRCS Tool n The new ID must match the Avid editing system name exactly. This field is case sensitive. 5. Fill in the following columns in the MOS Configuration window. - Description: Type the description of the new client, for example, Avid editor. - IP Address: Type the IP address for the Avid editing system client. - ActiveX: Leave this field blank. - Program Group: Select the group you just created, for example, Avid was used in the previous procedure.
Configuring the NRCS Tool Configuring the NRCS Settings To configure the NRCS settings and to connect to the server: 1. Double-click NRCS in the Settings scroll list. The NRCS Settings dialog box opens. 2. Click the pop-up menu, and select an NRCS server: - iNEWS - ENPS The options that appear depend on the server selection. n The NRCS Settings dialog box also appears when you connect to a server if the active NRCS setting is missing a name in the Server text box. 3. Type the name of the server. 4.
Chapter 8 Using the NRCS Tool 6. Click the iNEWS or the ENPS tab to make additional changes to the NRCS settings. 7. Select the options in the iNEWS or the ENPS tab: t (iNEWS) Configure the Message-of-the-Day (MOTD) settings, Mail Directory, and Story Field Assignment values as follows: a.Decide if you want to view the MOTD or not. If so, then select if you want to view the message on every connection to the iNEWS server, or on only the first connection to the iNEWS server. b.
Configuring the NRCS Tool c Contact your system administrator to ensure that the Mail Directory name is appropriate for use in your newsroom environment. d.When you click the Build Sequence button in the NRCS Tool window, the duration of the new sequence is determined by the value in the Story Form field you select. Enter a Story Form field name in the Story Field text box. n The Story Form headings in the NRCS Tool window are provided by the iNEWS server.
Chapter 8 Using the NRCS Tool 8. Click the Post to Web tab to make additional changes to the NRCS settings. Select the appropriate options for your script. For more information about options, see “NRCS Settings” in the Help. 9. Click OK to accept the NRCS settings. Starting the NRCS Tool To start the NRCS tool after it has been configured: 1. Select Tools > NRCS Tool. The NRCS tool opens. 2. Click the Connect button.
Understanding the NRCS Tool 5. (iNEWS only) Click OK. If you selected Every Connection or First Connection in the NRCS Settings dialog box, the Message-of-the-Day dialog box opens. n The iNEWS administrator enters the Message-of-the-Day (MOTD). 6. (iNEWS only option) Click Next to see the next MOTD. 7. (iNEWS only) Click OK to close the MOTD dialog box. The list of directories appears in the Directory panel of the NRCS tool.
Chapter 8 Using the NRCS Tool The following illustration shows the components of the NRCS tool that appear when the Avid editing system is connected to an ENPS server. Connect/ Disconnect button Directory panel Story Name Mark text box IN/OUT button MOS media Production panel item Build Find Sequence Sequence button button Post To Web button Read Time display Story panel Table 23 describes the components of the NRCS tool.
Understanding the NRCS Tool Table 23 Component Server Support NRCS Tool Components Description Connect/Disconnect iNEWS and ENPS button Establishes or cancels the connection to the iNEWS or the ENPS server. Send Mail button iNEWS Opens a dialog box for sending mail to others in the iNEWS workgroup. Show/Hide Story Form triangular opener iNEWS Opens and closes the Story Form display. Story Name text box iNEWS and ENPS Shows the directory path and name of the story.
Chapter 8 Using the NRCS Tool Table 23 NRCS Tool Components (Continued) Component Server Support Description Build Sequence button iNEWS and ENPS Builds a sequence in the Timeline: • (iNEWS) Uses the duration specified in the Story Field Assignment text boxes of the NRCS settings. The default Story Field is Tape-Time, or 30 seconds if the Story Field tape time value is zero. (Tape time in the NRCS tool corresponds to duration of the sequence in the Timeline.
Using the Directory Panel Opening a Story After you establish a connection to the iNEWS or the ENPS server, the Story panel remains blank until you open a story. To open a story: 1. Navigate through the directories, and find the file you want to open. In the Directory panel, all triangles point right when you first log in, which indicates closed directories. Triangles that point down indicate open directories. Directories or files within a directory are indented below that directory.
Chapter 8 Using the NRCS Tool Creating a Shortcut to a Directory (iNEWS Only) You can save time accessing directories you use often by creating shortcuts to directories in the Directory panel. To create a shortcut to a directory: 1. Navigate to the directory. 2. Right-click the directory name, and select Make Shortcut. The NRCS tool creates the shortcut, which appears in italic above the server name in the Directory panel.
Changing the Text Display n You can also select the story and press the Delete key. 2. Do one of the following: t Click Delete to complete the deletion. t Click Cancel to stop the deletion. Changing the Text Display 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.
Chapter 8 Using the NRCS Tool • Deleting a Production Cue (iNEWS Only) • Marking Text As Machine Control (iNEWS Only) • Formatting Text (iNEWS Only) • Marking Text As Normal (iNEWS Only) • Adding a Loaded Cue (iNEWS Only) • Using a Loaded Cue (iNEWS Only) • Deleting a Loaded Cue (iNEWS Only) To enter Edit mode: t Click the Edit button. Rearranging Text in a Story (iNEWS Only) The shortcut menu provides commands for cutting, copying, pasting, and deleting text.
Editing Story Text (iNEWS Only) 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. t Right-click the text, and select Presenter Instructions. The text changes to red, indicating Presenter Instructions. Text marked as Presenter Instructions is not included in the read time of a story. For more information, see “Finding the Read Time of a Story” on page 342.
Chapter 8 Using the NRCS Tool Adding a Production Cue (iNEWS Only) Production cues are playback instructions for devices such as video machines, still stores, and character generators. When you insert production cues, they appear in the Production panel. In addition, a Production Cue marker appears in the story text to indicate where each production cue belongs in the story. Production Cue marker Production Cue text box To insert a production cue into your scripted story: 1.
Editing Story Text (iNEWS Only) Deleting a Production Cue (iNEWS Only) 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 select Delete. Marking Text As Machine Control (iNEWS Only) You can mark text in the Production Cue text box as Machine Control.
Chapter 8 Using the NRCS Tool t Click the Text Underlined, the Italic, or the Bold button. t Right-click the text, and select Underline, Italic, or Bold. To remove text formatting: 1. Select the formatted text. 2. Do one of the following: t Click the Text Underlining, the Italic, or the Bold button to deselect it. t Right-click the text, and reselect Underline, Italic, or Bold.
Editing Story Text (iNEWS Only) To create a loaded cue: 1. Select the clip or sequence you want to use as a loaded cue. 2. Click the file and drag it to the Story panel. Position it in the script at the point where you want the cue. A Production Cue marker appears within the Story panel, and a Clip icon and clip name appear in the Production Cue text box.
Chapter 8 Using the NRCS Tool The clip or sequence appears in the bin or in the Source/Record monitor. You can then use and edit it like any other clip or sequence. n If the NRCS tool cannot find the clip or sequence, you receive an error message and the clip or sequence will not be loaded. If the clip or sequence cannot be found on your local media storage and you are in a workgroup environment with MediaManager, the NRCS tool downloads the clip or sequence.
Finding the Read Time of a Story n If you want to change the wpm rate for the presenter, you must make the changes through the iNEWS or the ENPS workstation. If you want to change the presenter for an iNEWS story, you can edit the name in the Presenter text box and save the changes. To calculate the read time of a story: 1. Move the pointer to the Story panel. 2. Do one of the following: t Right-click, and select Select All. t Select a portion of the text with the mouse.
Chapter 8 Using the NRCS Tool Building a Sequence from a Story The NRCS tool allows you to create a new sequence with a length that corresponds to a particular story. This feature makes it very easy to edit in shots and to create a sequence quickly according to the duration of the story. n (iNEWS) The Tape-Time text box in the story form of the NRCS tool corresponds to duration in the Avid editing application’s Timeline.
Building a Sequence from a Story n Sequences created with any of these methods have a fixed minimum length. You can lengthen the sequences (by adding clips) but not shorten them. (iNEWS) If you select a story from the Directory panel, Avid editing applications create a sequence even if the Tape-Time text box is blank or zero. If the Tape-Time text box for the story is blank, the duration of the sequence defaults to 30 seconds.
Chapter 8 Using the NRCS Tool Story name Build Sequence button Tape-Time text box New sequence generated from the story in the NRCS tool Timeline with a duration time that equals the tape time of the story Consider the following when you place clips in the new sequence: 346 • Loaded cues are processed in the order they appear in the story text. Only those that appear before the end of the text (and before the end of the sequence) will be edited into the sequence.
Building a Sequence from a Story • As the series of clips are edited into the Timeline, the ends of the earlier clips get overwritten, so their lengths are set by the time separation of the anchors in the story text. Script-Based IN and OUT Points You can use the Mark IN/OUT button to place IN and OUT points in the Timeline based on text highlighted in the NRCS tool. You can then use the IN and OUT points as a guide to build a sequence.
Chapter 8 Using the NRCS Tool To set IN and OUT points based on the story timing: 1. Load the appropriate sequence in the Timeline. 2. Select a portion of the text in the Story panel. The read time of the selected text appears in the upper right corner of the NRCS tool. Story panel Mark IN/OUT button Read time 3. Click the Mark IN/OUT button. The NRCS tool places IN and OUT points in the Timeline, based on the computed read time of the selected text.
Adjusting the Story Timing (iNEWS Only) Adjusting the Story Timing (iNEWS Only) You might want to adjust the story timing in cases where you will be using the Mark IN/OUT button to set IN and OUT points in the Timeline based on the story text timing. For example, if there is introductory text in a story that is not part of the sequence you will be building, when you set IN/OUT points in the sequence, then the computed times will be offset by the extra text.
Chapter 8 Using the NRCS Tool Adjusting the Story Timing with a Time Marker (iNEWS Only) Because the calculated story timing might not exactly match the required sequence or clip duration, the NRCS tool allows you to add cues that can assign a specific time to a point in the text. To add a cue that assigns a specific story time to a point in the text: 1. In the Story panel, right-click a point in the text where you want to add a Time Marker cue, and select Insert Time Marker.
Adjusting the Story Timing (iNEWS Only) Time Pad cue n You must be in Edit mode to insert timing cues in a story (see “Editing Story Text (iNEWS Only)” on page 335). To add a cue that inserts a Time Pad cue at a point in the text: 1. In the Story panel, right-click a point in the text where you want to add a Time Pad cue, and select Insert Time Pad. 2.
Chapter 8 Using the NRCS Tool Time Pad cue Read Time display Using Associated Sequences The NRCS tool allows you to locate sequences associated with NRCS stories or, conversely, to locate stories from their associated sequences. This makes it easier to find stories on the iNEWS or the ENPS server (for example, when the tape ID is unknown) or to load sequences for NRCS scripts directly into the Timeline.
Using Associated Sequences n If the sequence is located in an unopened bin, the NRCS tool opens the bin before loading the sequence. To locate a story associated with a sequence: 1. Select a sequence in an open bin. 2. Click the sequence and drag it to the NRCS tool. Place it in the Story Name text box. The story is loaded into the Story panel.
Chapter 8 Using the NRCS Tool Saving Changes to a Story (iNEWS Only) After you edit a story, you can save the changes by modifying the original story or by creating a new story. It is important to remember, however, that when you save a story in the NRCS tool, the story is actually saved on the iNEWS server. Therefore, use caution when saving a story because your changes might affect others using the same story. Changes cannot be saved to the ENPS server.
Using the Post to Web Feature Using the Post to Web Feature Through the NRCS tool, the Avid editing application can generate a hypertext version of your iNEWS or ENPS story for viewing on the World Wide Web. The Post to Web feature helps you to create Internet content directly from a single script rather than requiring the production of dual content, one for broadcast and one for the Web.
Chapter 8 Using the NRCS Tool The Post To Web dialog box opens with the story script displayed in the Story text box of the Story tab. Formatted text Clip linked by loaded cue Story text box n Loaded cues in the script are highlighted in blue within the text box. See “Adding a Loaded Cue (iNEWS Only)” on page 340. 3. Edit the script in the Story text box. 4.
Using the Post to Web Feature t Cut or copy text from another document and paste it into the Story text box. t Type the text of your story in the Story text box. Linking Clips Post to Web allows you to link additional clips to the text of your story for inclusion in a Web page. (iNEWS only) When you post a story to the Web, loaded cues in the iNEWS story become links to clips stored on your Web server. However, you might have other footage for your story that you want to add for viewing on the Web.
Chapter 8 Using the NRCS Tool 3. Do one of the following: t Select the text in the Story text box that you want to associate with a clip, click the Linked Clip pop-up menu, and select a clip. The selected text is highlighted in blue and becomes a link to the clip. Selected text Linked Clip pop-up menu t n 358 Select the text in the Story text box that you want to associate with a clip, right-click in the story text, and select Link > clip.
Using the Post to Web Feature The selected text is highlighted in blue and becomes a link to the clip. Link submenu t Click a clip and drag it from an open bin to the Story text box.
Chapter 8 Using the NRCS Tool The link is created within the text wherever the selection cursor was located. If you selected text in the Story text box before dragging in the clip, the selected text is highlighted and a link is created. If you did not select any text, the name of the clip is inserted and a link is created. n If you hold the Shift key down while dragging a clip from a bin, you can place the clip anywhere in the story and Post to Web ignores any selected text.
Using the Post to Web Feature These tags use placeholders to insert text and media files in the Web page created when you post a story to the Web. You can specify the text and media files to be included in your Web page by using the following placeholders: • $TEXT$ • $URL$ • $IMGURL$ The following sections describe how you use tags and placeholders with the Post to Web templates. Avid provides generic HTML templates in the following location: drive:\Program Files\Avid\Utilities\PostToWeb_Sample_Templ
Chapter 8 Using the NRCS Tool < ! - - TEXT “Label” format elements $TEXT$ - - > “Label” is a field name specified in the template; it appears in the Text Fields tab of the Template tab in the Post To Web dialog box. Format elements are optional. They include any HTML tags used in formatting your Web page (for example, table tags), and they can precede and follow the placeholder. The Text tag uses the $TEXT$ placeholder.
Using the Post to Web Feature HTML code showing the Post to Web output Student Protests Strike Paris User-supplied text that replaces the $TEXT$ placeholder n If you do not enter any text for a text field, the corresponding text tag in the template will not be included in the output page. This includes any page formatting code in the format elements. The Clip Tag You use the Clip tag to create links to media files stored on a server.
Chapter 8 Using the NRCS Tool The following examples show a Clip tag as it appears in a template, in the template fields in the Post To Web dialog box, and in the HTML code generated by the template when Post to Web creates a Web page.
Using the Post to Web Feature n If you do not specify a clip for one of the video fields, the corresponding clip tag in the template will not be included in the output page. This includes any page formatting code in the format elements. Using a Template with Post to Web To format a story with a Web template: 1. Load a story into the Story panel. 2. Click the Post To Web button. The Post To Web dialog box opens. 3. Click the Template tab. Pop-up menu Template text box Template fields 4.
Chapter 8 Using the NRCS Tool t Use Windows Explorer to locate a template file. Click the template file and drag it to the Template text box. 5. Click the Text Fields tab. 6. For any display fields, click in the text the column to the right of the field name and type any text you want displayed on the Web page. Text column n The specific template you use defines which fields are displayed in the Text Fields and Video Fields tabs. 7. Repeat step 6 for each field you want to customize. 8.
Using the Post to Web Feature 9. Select an item in the field and do one of the following: t Right-click in the Clip column, and select a clip. t Click a clip and drag it from an open bin. Place it in the appropriate row. Clip column Shortcut menu 10. (Option) If the field has a Text column, click the column to the right of the field, and type any text you want displayed with the clip on the Web page (for example, a caption).
Chapter 8 Using the NRCS Tool software on your Avid editing system and have configured a DMS broker on your Avid Unity or local area network, you can use the ProEncode option for Post to Web. In this case, the DMS broker provides export settings for your media files. For information on ProEncode, see “Using ProEncode” on page 268 and the Avid ProEncode Setup and User’s Guide. You can also export clips through Avid editing systems with the Direct Export option.
Using the Post to Web Feature n If you use Direct Export, and the format you want for your video clips does not appear in the pop-up menu, click the Options button and select a format from the Export Settings dialog box. 5. In the Video area, click the Format pop-up menu and select a video format. n n ProEncode formats are supplied by the ProEncode DMS broker. The format name must include the file name extension enclosed in brackets; for example, “low bandwidth QuickTime [.mov].
Chapter 8 Using the NRCS Tool n Post to Web assigns the name in the Folder text box to the Web page file created when you post the story to the Web. 10. Click the Post button. Post to Web creates the text file formatted for the Web, links video clips and image files, and stores them in the folder specified in the Post tab of the Post To Web dialog box. Sending and Receiving NRCS Mail (iNEWS Only) The NRCS tool contains a mail application that allows you to send mail to other iNEWS users on the network.
Sending and Receiving NRCS Mail (iNEWS Only) Receiving NRCS Tool Mail (iNEWS only) 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. Select the Mail directory. 5. Select the mail message from the list (if there is more than one message). The mail message is displayed in the Story panel of the NRCS tool.
Chapter 8 Using the NRCS Tool Disconnecting from Your NRCS Server When you have finished using the NRCS tool, you should disconnect from the iNEWS or the ENPS server. To disconnect from the iNEWS or the ENPS server: t n 372 Click the Disconnect button. If you selected “Logout when NRCS Tool is closed” in the NRCS Settings dialog box, the NRCS tool automatically disconnects from the server whenever you close the tool or switch to a workspace that does not include the NRCS tool.
Index ABCDEFGHIKLMNOPQRSTVW Numerics 24p and 25p projects starting 23 25i projects starting 23 30i projects starting 23 A AAF (Advanced Authoring Format) export 280 Add Channel button (Deck Configuration dialog box) 86 Add Deck button (Deck Configuration dialog box) 87 Adding Production cues (NRCS tool) 338 Adjust Deck command (Deck Selection pop-up menu) 97, 246 Adjusting audio input levels 122 chrominance settings 232 luminance settings 232 output 237 AFE files described 313 exporting projects and bins
Index Audio levels adjusting in Audio tool 123 checking with Console window 135 Audio mix adjusting in the Passthrough Mix tool 129 Audio pan adjusting in the Passthrough Mix tool 131 Audio Project settings adjusting 116 audio file formats 113 Audio Project Settings dialog box description 116 Audio settings adjusting 116 Audio Source Tape TC Rate (Film Settings dialog box) 80 Audio tool adjusting audio input levels 123 Calibrate mode 126 checking input levels with 122 digital scale, defined 120 features, d
Index Buttons Build Sequence (NRCS tool) 331, 344 Disconnect (NRCS tool) 331 Edit mode (NRCS tool) 335 Edit/Save (NRCS tool) 331 Effect Safe Mode 252 extra fields 157 In/Out (Audio tool) 120 Post To Web (NRCS tool) 355 Reset Peak (Audio tool) 120 Save Story (NRCS tool) 331 Send Mail (NRCS tool) 331 BY Gain slider adjusting for video output 232 C Calibrate command (Peak Hold Menu button) 126 Calibrating for video output 227 global output levels 237 phase controls 234 using basic video output 228 using test
Index Codecs Avid Codecs for QuickTime 296 downloading 304 third-party 305 Coincidence Wait mode 177 Columns bins 157 Compression ratios defined 148 disk striping requirements 148 mixing 151 single-field 148 specifications 150 two-field 148 Configuring decks 84 video servers 316 Console window checking audio levels 135 Control track using for preroll 111 Converting shot log files with Avid Log Exchange 44 Crash recording procedure 241 Creating subclips during capturing 160 tone media 124 Web page 355 Creat
Index Digital Cut tool 244 deck controller in 246 selecting decks from 246 Digital scale (Audio tool) defined 120 Digital video (DV) 76 Directory panel deleting stories 334 making shortcuts 334 opening a story 333 removing shortcuts 334 saving stories 354 using 332 Disconnect button (NRCS tool) 331 Disconnecting from the iNEWS server (NRCS tool) 372 Disk striping in relation to compression ratios 148 Displaying film columns 59 DMS (Distributed Media Service) 268 Downconversion HDTV to SDTV 24 Drag-and-drop
Index Exporting AAF files 280 audio files 305 AVI files 291 bins as AFE files 313 DV Stream files 274 DVD files 271 graphic files 307 OMFI files 279 preparing for 261 ProEncode files 268 projects as AFE files 313 QuickTime Movies 286 QuickTime Reference Movie files 284 Exporting Avid AVI files 292 Exporting files creating new settings 277 preparing for 261 preparing for OMFI export 261 procedure for 264 reasons for 260 settings 276 using drag-and-drop method 266 with Avid Codec for AVI 293 with Avid Codecs
Index Hard subclips 160 HDTV workflow with downconversion 24 Hue slider adjusting for video output 232 iNEWS server configuring (NRCS tool) 326 disconnecting from (NRCS tool) 372 setting up (NRCS tool) 325 Ink numbers entering 67 Input audio 96, 113 video 95 Insert-edit capturing 240 Installing Avid Codec for QuickTime 303 I K i.
Index preroll 32 procedures for 31 tape names 35 timecodes 34 with a non-Avid-controlled deck 56 with an Avid-controlled deck 50 Logs creating 37 described 31 importing 38 preparing for import 37 LTC (longitudinal timecode) capturing with 172 Luminance settings adjusting for video output 232 table of 232 M Mail configuring directory for NRCS tool 326 receiving (NRCS tool) 371 sending (NRCS tool) 370 Marking text as Closed Caption (NRCS tool) 337 text as machine control (NRCS tool) 339 text as normal (NRCS
Index deleting a story 334 deleting production cues 339 disconnecting from the server 372 editing stories 335 elements of, described 331 ENPS tab options 327 entering Edit mode 335 finding read time of a story 342 formatting text 339 linked clips 357 loaded cues 340 Logging out option 325 Mail Directory options 326 making shortcuts to directories 334 marking text as Closed Caption 337 marking text as machine control 339 marking text as normal 340 marking text as Presenter Instructions 336 Message-of-the-Da
Index resolutions 103, 148 waveform values 139 Passthrough described 258 signals, calibrating with 234 Passthrough Mix tool adjusting audio mix 129 adjusting audio volume 131 adjusting pan values 131 described 128 resizing 129 using 128 Peak Hold option (Audio tool) 121 Peak Hold pop-up menu (Audio tool) defined 120 Phase controls adjusting for output 234 Photoshop files importing multilayered 211 procedure 215 understanding 211 importing single-layer 210 Post to Web Clip tag 363 creating a Web page 355 de
Index R Read time, finding (NRCS tool) 342 Recapturing See also Batch capturing saving duplicated versions 194 sequences 195 Receiving mail (NRCS tool) 371 Record settings batch 80 edit 80 general 80 media files 80 selecting 80 Record tool deck selection 97 extra text fields 157 opening 95 quick record 196 time remaining display 107 video resolution 103 Recording assemble-edit 241 bars and tone 241 digital cut 240, 250 digital cuts using Local mode 254 using Remote mode 250 frame-accurate digital cuts 241,
Index moving between systems 312 NRCS 355 selecting for capturing 77 sound card configuration 117 video server 316 Shared volume segmentation (”chunking”) 169 Shortcuts making (NRCS tool) 334 removing (NRCS tool) 334 Shot log files converting with Avid Log Exchange 44 exporting 72 importing 38 Shot logs 31 Signal, servo-lock 196 Single-field compression ratios 148 Site settings moving between systems 312 SMPTE bars 232 Sound Card Configuration settings configuring sound cards 117 Sound roll entering data f
Index Text tag (Post to Web) 361 Timecode capturing with time-of-day 172 drop-frame 93 entering 66 external 172 non-drop-frame 93 Timed Record option 176 Timeline capturing to 181 Time-of-day timecode external source 173 Tips, logging 32 Tone recording 241 setting calibration 236 Tone media 124 Tools Digital Cut 244 Video Input 137 Video Output 227 Total Conform 30 Tracks audio, selecting 99 Transferring projects between systems 310, 312 settings between systems 312 through AFE 313 Transferring video to a
Index W WAVE file format option in Audio Project settings 113 Web page creating 355 Web templates Clip tag 363 formatting stories 360 HTML tags 360 placeholders 360 Story tag 361 Text tag 361 Workflows for video projects 24 Working with multiple formats 30 WPM rate (NRCS tool) finding 342 Writing DVD files 271 386