® ® Avid NewsCutter Editing Guide
Legal Notices Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement.
Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty. Copyright 1995, Trinity College Computing Center. Written by David Chappell.
The following disclaimer is required by Ultimatte Corporation: Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject to copyright protection. The following disclaimer is required by 3Prong.com Inc.: Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc. The following disclaimer is required by Interplay Entertainment Corp.
FlexCable, TechFlix, Tel-Ray, Thunder, Titansync, Titan, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, tools for storytellers, Torq, Torq Xponent, Transfuser, Transit, TransJammer, Trigger Finger, Trillium Lane Labs, TruTouch, UnityRAID, Vari-Fi, Velvet, Video the Web Way, VideoRAID, VideoSPACE, VideoSpin, VTEM, Work-N-Play, Xdeck, X-Form, Xmon, XPAND!, Xponent, X-Session, and X-Session Pro are either registered trademarks or t
Contents Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Avid Training Services . . . . . . . . . . .
Managing Bins and Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Understanding User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Managing User Profiles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Customizing the Avid User Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Using Workspaces . . . . . . . . . . . . . . . . .
Preparing to Capture Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Preparing to Capture Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Capture Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Chapter 6 Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Capturing and Logging at the Same Time . . . . . .
Chapter 7 Importing Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Preparing to Import Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Creating and Modifying Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Importing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Importing with Multichannel Audio . . . . .
Working with Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 Modifying Clip Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Working with Film Information in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Creating a Storyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Setting the Bin Display . . . . . . . . . . . .
Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436 Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 Archiving and Restoring Media Files to Videotape . . . . . . . . . . . . . . . . . . . . . . . . . 444 Sequence and Clip Information Summary . . . . . . . .
Chapter 13 Creating and Editing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537 Creating a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538 Making a First Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542 Creating an Instant Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543 Undoing or Redoing Edits . . . . . . . . . . . . . . .
Indicating Off-Screen Dialog in a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605 Using Color Indicators in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606 Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606 Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624 Editing From the Script Window . . . . . . . . .
Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706 Maintaining Sync While Trimming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707 Slipping or Sliding Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708 Trimming in Two Directions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711 Chapter 17 Working with Audio. . . . . . . . .
Using Mbox Family Audio Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 824 Configuring USB-to-MIDI Software for External Controllers . . . . . . . . . . . . . . . . . . 828 Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems . . . . 830 Using a GPI Device with the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . 835 Chapter 19 Using Avid Artist Series Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting Projects and Bins Using AFE Files (Windows Only). . . . . . . . . . . . . . . . 981 Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 982 Installing or Copying the Avid Codecs for QuickTime on Other Systems . . . . . . . . 984 Exporting from a Third-Party QuickTime or AVI Application . . . . . . . . . . . . . . . . . . 986 Exporting as Windows Media (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting the Video Pulldown Cadence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1036 Digital Cuts and Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1037 Changing the Default Pulldown Phase for Sequences . . . . . . . . . . . . . . . . . . . . . 1037 Understanding DV Digital Cut Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1038 Delaying the Sequence for a Digital Cut . . . . . . . . . . . . . . . . . . . . .
Creating Avid Editing Projects in an Interplay Environment . . . . . . . . . . . . . . . . . 1122 Connecting to Avid Shared Storage and Mounting Workspaces . . . . . . . . . . . . . 1129 Editing with Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1133 Managing Remote Assets with the Interplay Window . . . . . . . . . . . . . . . . . . . . . . 1146 Finding Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 28 MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1235 Understanding Grouping and Multigrouping Clips . . . . . . . . . . . . . . . . . . . . . . . . 1235 Creating Group Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1236 Creating Multigroup Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1237 MultiCamera Displays . . . . . . . . . . . . . . . . . . . .
Deck Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1310 Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1311 Deck Preferences Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1313 Desktop Play Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1314 Dynamic Relink Settings . . . . . . . .
Video Input Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1381 Video Output Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1382 Video Satellite Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1388 Workspace Linking Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1388 Chapter 31 File Format Specifications . . .
Working with RED Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1468 Editing with Low-Res RED Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1468 Color Management with RED Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1470 Outputting a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1470 Working with HDV . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide This guide contains the task-oriented instructions, conceptual information, and reference information you need to use the features of your Avid editing application. The contents of this guide is also available in the Help. This guide is intended for all users, from beginning to advanced. Unless noted otherwise, the material in this document applies to the Windows® and Mac OS® X operating systems.
If You Need Help Symbol or Convention Meaning or Action (Windows), (Windows only), (Macintosh), or (Macintosh only) This text indicates that the information applies only to the specified operating system, either Windows or Macintosh OS X. Bold font Bold font is primarily used in task instructions to identify user interface items and keyboard sequences. Italic font Italic font is used to emphasize certain words and to indicate variables.
Accessing the Goodies Folder Accessing the Goodies Folder Avid supplies a Goodies folder located on the editing application DVD. Access the Goodies folder by browsing the DVD. This folder contains programs and files you might find useful when trying to perform functions beyond the scope of your Avid editing application. The information in the Goodies folder is provided solely for your reference and as suggestions for you to decide if any of these products fit into your process.
1 Starting a Project Your work begins when you turn on your system, start your Avid editing application, and open an existing project or create a new project.
Working with the Desktop Working with the Desktop You can use some of the desktop navigation features of your operating system to speed your work or customize for your convenience while you edit. You can: • Control how the Windows taskbar appears on the screen (Windows only). • Use the Macintosh Dock as a quick way to launch your Avid editing application (Macintosh only). • Use shortcut menus (also sometimes known as context menus) to quickly access editing commands.
Working with the Desktop To change the taskbar settings: 1. Right-click an unused part of the taskbar, and select Properties. The Taskbar and Start Menu Properties dialog box opens. 2. Select the options you want: t To keep the taskbar hidden, deselect “Keep the task bar on top of other windows” and “Auto hide the task bar.” t To set the taskbar to appear when you want, select “Keep the task bar on top of other windows” and “Auto hide the task bar.” 3. Click OK.
Working with the Desktop Using the Mouse Scroll Wheel for Navigating You can use the mouse scroll wheel to navigate in your Avid editing application, as described in the following table. You can also set the speed to scroll with the mouse wheel, and assign functions to three additional mouse buttons, as described in “Customizing Mouse Functions” on page 30. Option Command To scroll through items in a window or function area with a vertical scroll bar (such as a bin).
Working with the Desktop To set the mouse scroll speed: 1. In the Project window, click the Settings tab, and then double-click Mouse. The Mouse Settings dialog box opens. 2. Select a speed from the Vertical Scroll Speed menu. Normal is the default setting. Normal scrolls one item at a time. Moderate scrolls two items at a time, and Fast scrolls four items at a time. To assign functions to additional mouse buttons: 1. In the Project window, click the Settings tab, and then double-click Mouse.
Working with the Desktop • Disable CPU throttling. In Control Panel > Hardware and Sound > Power Options, select High Performance. • Do not enable the Windows Display setting “Show window contents while dragging.” This setting hinders redraw performance on your Avid editing system. In Control Panel > Appearance and Personalization > Personalization > Window Color and Appearance > Effects, deselect Show window contents while dragging. • Enable setting to adjust for best performance.
Working with the Desktop • Do not leave a Windows Explorer window open. Windows Explorer attempts to update file information. • Do not leave an e-mail application open if it is set to do periodic checks for mail. • Do not run any application that periodically “wakes up” and performs an action. • Disable screen savers. • Do not keep media on the same partition where you install your Avid editing application. Avid recommends external media drives.
Starting Your Avid Editing Application (Windows) • Set sleep options to Never in Energy Saver preference. In System Preferences > Hardware Energy Saver, select Never. • Disable screensavers. In System Preferences > Personal Desktop & Screen Saver > Screen Saver, select Never. Antivirus Applications Antivirus programs that contain autoscanning features can interfere with the operation of your Avid editing application.
Working with Projects To start your Avid editing application, do one of the following: t Click Start > All Programs > Avid > Avid editing application. t Double-click the Avid editing application desktop icon. After your Avid editing application starts, the Select Project dialog box opens. For more information on the Select Project dialog box, see “Working with Projects” on page 35. Working with Projects When you start the editing application, the system displays the project log in window.
Working with Projects Private A Private Project is stored locally. It can be accessed only by the user currently logged on to the editing machine. On a Windows system, a Private Project is always stored under the user’s Documents directory. An administrator may be able to access this project if they have read/write permission to the user’s directory.
Working with Projects Shared A Shared Project is stored locally. It can be accessed by any user that can log on the editing machine. On a Windows system, a Shared Project is always stored in the machine’s Shared Documents directory. External An External Project can be saved to any directory, either local or remote. Depending on the file-system permissions set on the selected folder, other users or an administrator may or may not be able to access the project.
Working with Projects n Avid does not support sharing bins in an Interplay environment. If you create projects on shared storage, do not allow editors to work in the same bin at the same time. This can result in data loss or media corruption. Instead of sharing bins, editors should use the Interplay Window to collaborate and share material.
Working with Projects Locations of Avid Users Folders The Avid Users folder is located in the application folder: n Windows 7 drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Avid Users Macintosh Macintosh HD/Users/Shared/Avid editing application/Avid Users (Windows only) The location of the Avid Users folder depends on the installation path for your Avid editing application.
Working with Projects Select Project Dialog Box The Select Project dialog box lets you find and open a project, create a new project, or establish user profiles. 1 2 5 3 6 4 7 Element Description 1 User Displays the login name of the user currently logged into the system. To change to a different user, log out and log in as that user. 2 Folder Displays the path of the current folder. This path determines which projects appear in the project list and where a new project is created.
Working with Projects 6 Element Description (Continued) Folder buttons The button you select will set the location where you can browse or create projects. Private: Local folder for the user currently logged in. Shared: Local folder that is visible to all users that have accounts on this system. External: Local or remote folder that any other users may have access to depending on the file permissions set on this folder. For more information, see “Working with Projects” on page 35.
Creating a New Project Project Type Source Footage Transfer (Continued) Color Space 1080p/25 For film footage transferred to videotape, or high-resolution files from digital film cameras. YCbCr RGB 1080i/50 For video-originated material, or high-resolution files from digital film cameras. Can be directly captured, edited, and output for HD broadcast. YCbCr RGB 1080i/59.94 For video-originated material, or high-resolution files from digital film cameras.
Creating a New Project 5. Click the Format menu and select a project format that matches your media and delivery requirements. The rest of the options might change depending on the project format you choose. Example of the New Project dialog box 6. Set the following option(s), where applicable: Option SD HD Aspect Ratio The project uses the aspect ratio setting to determine Select either Always uses the 16:9 the display setting in the monitors, and as a factor in 4:3 or 16:9 aspect ratio.
Creating a New Project Option SD n Film HD When using source material that is full frame, the frame compatible format is generated on the fly which may result in a performance slowdown. Available for 23.976p, 24p, 25p, 720p, and 1080p film N/A projects. Click the Film button and select a format for film gauge tracking from the Default Film Type menu. Audio Available for 24p PAL projects. For more information, N/A Transfer Rate see “Audio Transfer Options for 24p PAL Projects” on page 1448.
Setting Project-Naming Conventions Setting Project-Naming Conventions The system limits bins and project names to 27 characters, not including the period and 3-character extension that the system automatically adds to a file name. If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or trailing periods, when you name a project, bin, and user.
Opening and Closing Projects Use the startup project to learn how to edit with your Avid editing application, before you capture any media of your own. You can explore the sequence in the Timeline to learn how it is assembled, and use the clips to practice viewing and editing techniques described in this guide. n If a sequence that was created in an older version of an Avid editing application contains effects or color corrections, you might need to update the sequence.
Opening and Closing Projects To browse for a project in a location other than the default Shared and Private folders: 1. Start your Avid editing application. The Select Project dialog box opens. Browse button in the Select Project dialog box 2. Click the Browse button. The Browse for Folder (Windows) or Project Directory (Macintosh) dialog box opens. 3. Navigate to the folder that contains the project you want. 4. Click OK (Windows) or Choose (Macintosh). 5. Select a project in the Projects list. 6.
Opening and Closing Projects The Interface Settings dialog box opens. 3. Click the General tab, select “Automatically Launch Last Project at Startup,” and then click OK. The next time you start your Avid editing application, it opens your last project. To turn off the automatic opening of projects so that you can select another project when you start your Avid editing application: 1. Deselect “Automatically Launch Last Project at Startup,” and then click OK. 2.
Deleting a Project Deleting a Project To delete a project: 1. Start your Avid editing application. The Select Project dialog box opens. 2. Click the project you want to delete. 3. Press the Delete key. 4. If you see a message asking if you want to delete the selected project and associated bins, click OK The deleted project no longer appears in the Select Project dialog box. c n Deleting a project also deletes any bins that are in that project.
Changing Project and User Names 3. Do one of the following: t Click Leave to quit your Avid editing application. t Click Cancel to return to the Select Project dialog box and select another project. To view remaining storage on your media drives: 1. Click the Info tab in the Project window, and then click Hardware. The Hardware tool opens. 2. Click the appropriate drive tab. For more information, see “Using the Hardware Tool” on page 103.
Backing Up Your Project Information c When you change a user name or a project name, make sure you change the name of the folder and all the files in the folder that have the old name. Your Avid editing application does not automatically change the names of corresponding files in the folder. To change a project name or user name: 1. Navigate to the Avid Projects or Avid Users folder, and then double-click the folder to open it. 2. Click the name of the folder you want to change. The name highlights. 3.
Avid Attic Folder 4. Navigate to the folder that contains the project folder or the user folder you want to save. 5. Drag a project folder or a user folder to the targeted storage location. 6. When the system finishes copying the files, unmount the drive or eject the media and store it. To restore a project or user information from a backup storage device: 1. Mount the drive or insert the removable media that contains the backup copies you want to restore. 2.
Avid Attic Folder When you view a bin folder in Details view (Windows) or List view (Macintosh), you can also identify the most recent backup file based on the timestamp of creation displayed in the Modified column (Windows) or Date Modified column (Macintosh). n The oldest backup file is overwritten only if the second-oldest backup file is more than 2 hours old. Retrieving Files from the Avid Attic Folder (Windows) To retrieve a file from the Avid Attic folder: 1.
Avid Attic Folder 5. If the bin folder is not already in the Details view, select View > Details. The bin folder displays the backup bin files and their creation dates. A backup bin file has the same name as the bin, with a number appended. For example, a bin named Source Clips might have backup bin files named Source Clips.1 and Source Clips.2. 6. Select the backup bin file or files you want to retrieve. 7. Ctrl+drag the selected backup bin files to the desktop.
Avid Attic Folder n Your Avid editing application does not allow a bin and a copy of a bin to be open at the same time. You must keep all other bins closed and open the backup bins one at a time. 6. Create a new bin. For example, if you are retrieving clips from a backup bin called Audio.2, you can call the new bin Audio New. 7. Select the material you want to keep from the backup bin, and drag the files to the new bin. 8. Repeat steps 3 through 7 for any other backup bin files you copied to the desktop.
2 Working with the Project Window The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.
Overview of the Project Window Overview of the Project Window The Project window is a central location for important information and tools that you need as you work on your project. Project window information is organized in tabs. Tab Function Bins Lets you create and open bins. See “Using the Bins Tab” on page 58. Settings Lets you view and modify settings. See “Using the Settings Tab” on page 64. Effects Lets you access a library of effects. See “Applying Effects” in the Help.
Using the Bins Tab To change the information display in the Project window: t Click one of the tabs. To locate and redisplay the Project window, do one of the following: t Select Tools > Project. t Click in an area of the Project window to bring it forward. To close the Project window, do one of the following: t With the Project window active, select File > Close Project. t Click the Close button in the Project window. The Select Project dialog box opens.
Using the Bins Tab Viewing a List of Bins You can view a list of bins in the Project window. The Bins list displays the number, names, sizes, and location of the bins. Bins from other projects appear in the Project window in italic. To view a list of bins associated with the project: t Click the Bins tab in the Project window. Fast menu button (top) and Bins list with bin icons (bottom) in the Bins tab of the Project window. Creating a New Bin To create a new bin from the Project window: 1.
Using the Bins Tab Renaming a Bin Each new bin that you create takes the name of the project that appears in the title bar of the Project window and is numbered incrementally. n n If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or trailing periods, when you name a project, bin, and user.
Using the Bins Tab 3. Select File > Open Selected Bins. The selected bins open in a single window, with tabs indicating the bins. n You can also open multiple bins by dragging them from the Bins tab in the Project window to an open bin. To open a bin from another project: 1. Select File > Open Bin. The Open a Bin dialog box opens. 2. Find and select the bin you want. Bins have the file name extension .avb. 3. Click Open. The bin appears in the Bins list in a folder called Other Bins.
Using the Bins Tab To view a list of only the folder contents and not the folders: t Click the Fast Menu button, and select Flat View. The Trash icon and its contents disappear until Flat View is deselected. Creating a Folder To create a folder in a project: 1. Click the Bins tab in the Project window. 2. Click the Fast Menu button, and select New Folder. A new untitled folder appears. 3. Click the untitled folder name in the Bins list and rename it.
Using the Bins Tab To view items in the Trash: 1. Click the arrow next to the Trash icon in the Bins list. 2. Click the bins or folders you want to keep (or view), and drag them from the Trash to the Bins list in the Project window. 3. Double-click the bin or folder to view it. To empty the Trash in the Bins list: 1. Click the Fast Menu button, and select Empty Trash. A message box opens. 2. Click Empty Trash to delete the bins or folders from the Trash and from your hard drive.
Using the Settings Tab 3. Click OK. n Setting to zero the maximum number of files stored in the Avid Attic folder as well as the maximum number of versions of a bin deletes existing files in the project folder in the Avid Attic folder and prevents any backup bins from being saved. For more information about backup options, see “Bin Settings” on page 1302. Saving Bins Manually To save a specific bin: 1. Click the bin to activate it. 2. Select File > Save Bin. To save selected bins: 1.
Using the Settings Tab To view the Settings list: t Click the Settings tab in the Project window. To open a setting: t Double-click the setting in the Settings list. To view Help for a setting: t Open a setting and press the F1 key (Windows) or the Help key (Macintosh).
Using the Format Tab Using the Format Tab The Format tab in the Project window lets you view basic project information, such as the video format (NTSC, for example). The information lists the options you selected in the New Project dialog box when you created the project. For some project formats, the Project Type list lets you change the format of the project to another format that shares the same frame rate. For example, if you are working in a 1080i/59.
Working with Color Spaces in HD Projects Working with Color Spaces in HD Projects In full HD projects, some Avid editing applications and Avid input/output hardware devices let you work in either the YCbCr or the RGB color space. Your Avid editing application uses a project’s color space setting to control how it displays video, processes most effects, and outputs sequences. RGB and YCbCr both separate colors into three channels, but they store color information differently.
Working with Color Spaces in HD Projects Because no color data is lost, your Avid editing application can make more precise calculations when processing effects using RGB media. The quality improvement over YCbCr processing is most noticeable in effects that perform color analysis, such as chroma keyers. Even if the original video data is in YCbCr, your should consider converting to RGB to process effects as precisely as possible. The disadvantage of RGB is file size.
Changing the Project Color Space for an HD Project You can check the color space of the media for any clip in your project by viewing the Color Space bin heading in the bin that contains the clip. For more information, see “Moving, Aligning, and Deleting Bin Columns” on page 319. Changing the Project Color Space for an HD Project You typically set the color space for a project when you create the project (see “Creating a New Project” on page 42). However, you can change the color space at any time.
Using the Info Tab Using the Info Tab The Info display in the Project window lets you view system memory information and access the Hardware tool. The items listed in this display are for information only and cannot be changed. The Hardware tool gives a visual representation of usage for each drive and provides operating system information. To open the Info display: t In the Project window, click the Info tab.
Managing Bins and Memory n For more information about the Hardware tool, see “Using the Hardware Tool” on page 103. Managing Bins and Memory System memory usage increases depending on how many bins you have open, the number of sequences in a bin, the number of tools that are open, and the size of a sequence. Using more memory can slow system performance. In the Bin tab of the Project window, a memory usage indicator increases and updates as you open and close bins.
Understanding User Profiles Understanding User Profiles User profiles let you switch between settings without having to log out of your system and log back in under a different user name. User profiles let you establish separate settings for different editing functions. User “Jane,” for example, can have separate profiles for “Audio editor,” “Film editor,” or for “Assistant 1,” “Assistant 2,” and so on. User profile folders are kept in the following folder: Windows XP drive:\Documents and Settings\All Use
Managing User Profiles n You can not share user profiles across platforms (Macintosh to Windows or Windows to Macintosh). • Update a user profile to add user settings to an existing Settings list. For example, if you upgrade to a version of your Avid editing application that contains the Send To option from a version that did not have that option, you can choose the Update User Profile option to make sure the Send To settings templates appear in your Settings list.
Managing User Profiles 3. The new user profile name appears in the Project window title bar. To return to the original user profile: 1. Click the Settings tab. 2. Click the User Profile Selection menu, and select the default user profile. n If you use a user profile other than the default and you change to another project, the default user settings load, even though the Project window displays your non-default user profile name. You must reselect the user profile.
Customizing the Avid User Interface 4. Close the windows, and restart your Avid editing application. The deleted user no longer appears in the Select Project dialog box. Customizing the Avid User Interface The Interface Settings dialog box provides you with controls for customizing the brightness and the colors of the Avid user interface. For complete reference information on the Interface Settings dialog box, see “Interface Settings” on page 1358.
Customizing the Avid User Interface To set the brightness and color of interface components: 1. In the Project window, click the Settings tab, and then double-click Interface. The Interface dialog box opens. 2. Click a highlight color to change button highlight colors. 3. Click the Interface Brightness slider to adjust the brightness of the user interface. The Avid editing application provides several presets on the slider. 4.
Customizing the Avid User Interface 6. Do one of the following: t Click Apply to apply the changes you selected. If you click Cancel after you click Apply, interface components retain the colors you applied. t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box. The changes you select do not take effect.
Using Workspaces 4. Type another point size for the font in the Size text box. 5. Click OK. The new font and point size appear in the active window. When you close the window, the last font and point size applied are saved with the window. Using Workspaces Your Avid editing application provides default layouts of windows and tools designed to utilize the application interface efficiently.
Using Workspaces To select a workspace, do the following: t Select Windows > Workspaces > workspacename. To customize the workspace: 1. For the workspace you want to customize, select Windows > Workspaces > workspacename. 2. Open other tools with which you want to work, and position them where you want them. 3. Select Windows > Workspaces > New Workspace. 4. Type a name for the new workspace in the Workspace Name text box. 5.
Using Workspaces To delete a custom workspace: 1. Select Windows > Workspaces > Delete Workspace. The Delete Workspace dialog box opens. 2. Click OK. The active workspace is deleted. Linking User Settings and Workspaces You can link User settings to a workspace. You can create a customized workspace, set up specific options in any Settings dialog box, and link them together by name. For example, you can create an Audio workspace that opens the Audio Mixer tool and Audio tool.
Using Workspaces 6. Name this setting with the same name of your workspace. Examples of linked settings (top and center) and a linked workspace view (bottom) 7. In the Settings list of the Project window, double-click the workspace you want to link. The Workspace View Setting dialog box opens. 8. Select Link to Named settings.
Using Workspaces 9. Type the name of the custom settings to which you want to link the workspace. For more information about creating and naming custom settings, see “Working with Settings” on page 1284. n You can link workspaces only to User settings. 10. (Option) Click the Bin Layout menu and select a layout you want to link to the workspace. For more information, see “Using Bin Layouts” on page 83. 11. Click OK. The workspace is linked to the custom setting you specified.
Using Workspaces 4. Click a workspace button and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard setting. The workspace button appears in the new location. To assing a bin layout button: 1. Select Tools > Command Palette. 2. Click the Workspaces tab. 3. Click the workspace menu next to the button you want to assign. Bin layouts appear in the menu below the divider line. Bin Layout menu in the Workspaces tab of the Command Palette 4.
Using Workspaces Keyboard settings and toolbar button mappings for workspaces are user settings. Bin layouts are project settings. When you link bin layouts to workspaces, to keyboard settings, or to toolbar buttons, you can access these layout assignments only when you work in a project containing a bin layout with the same name as when you created the link. For this reason, you should be careful to maintain a consistent bin layout naming convention for your projects.
Working with Bins and Projects in an Avid Shared Storage Environment To delete a bin layout: 1. Select Windows > Bin Layout > Delete Bin Layout. The Delete Bin Layout dialog box opens. 2. Click OK. Working with Bins and Projects in an Avid Shared Storage Environment Avid MediaNetwork and Avid ISIS let you share bins and projects across the network. When you place your bins and projects on Avid Workspaces (drive volumes), several users can work on the same project at the same time.
Working with Bins and Projects in an Avid Shared Storage Environment Sharing Bins and Projects in Avid Shared Storage Sharing Only Bins If you share only bins, you store the project on your local system and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system identifies the shared bins as follows: • Stores the bin in a Unity Bins folder in the Project window.
Working with Bins and Projects in an Avid Shared Storage Environment The following illustration shows the Project window for a shared project. MSmith TBaksh Bins tab in the Project window, showing a bin that is locked for editing (bold text, top left), the name of the computer that currently has the bin locked (top right), and folders for each computer that accesses the project (bottom) Opening a Shared Project To open an existing project on the shared volume: 1. Start your Avid editing application. 2.
Working with Bins and Projects in an Avid Shared Storage Environment 3. Double-click a Bin icon to open one of the bins. The bin appears with a Bin Lock Status button. You can click the red (locked) or green (unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications. The Bin Lock Status button. When the button is green (top), the bin is unlocked. When the button is red (bottom) the bin is locked.
Working with Bins and Projects in an Avid Shared Storage Environment You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin. To open a bin without controlling the lock: t Alt+double-click (Windows) or Option+double-click (Macintosh) the bin in the Project window. To permanently lock a bin: 1. Select one or more bins in the Project window. 2. Right-click the Bin icon, and select Lock Project Bin.
Working with Bins and Projects in an Avid Shared Storage Environment Avid recommends that you do not use a common prefix for machine names. If you must use a common prefix, make sure all the names are the same length (ABC01, ABC02, ABC03, etc.). • Do not use Windows Explorer to examine, copy, or manipulate shared bin files or shared project folders or their contents when you use those files or folders.
Working with Bins and Projects in an Avid Shared Storage Environment Avid recommends that you institute policies where media files are deleted by the editor who created them, or if necessary, the deleting editors notify the editor who created the media files that a deletion has occurred. This editor can then switch to the desktop and back, and all other editors can see the deleted file go offline.
Working with Bins and Projects in an Avid Shared Storage Environment Drive Filtering in Networked Workflows The Drive Filtering and Indexing tab of the Media Creation Settings dialog box includes three options: • Filter by Resolution • Filter by System Drive • Filter by Launch Drive Depending on the version of your Avid editing system, the drive filtering options could be on or off by default. Avid recommends that all drive filtering options should be on by default.
3 Using Tools The Tools menu provides quick access to essential tools that you can use in your projects. In addition to the tools available from the Tools menu, you can also add a controller to your system that you can use as an alternative to your keyboard and mouse for editing footage.
Using a Deck Controller To move a tool into a window: t Click the tab in the tool you want to move, and drag it to the target window. The tab bar in the target tab window displays all tool tabs. To move a tool into separate window: t Click the tab for the tool you want to move, and drag it to a clear region of the application interface. The tool displays in a separate window.
Deck Controller Window Reference Deck Controller Window Reference 2 1 3 6 4 5 Element 1 Timecode display Description Provides information about the control status of the tape deck: • If the deck is properly connected and power is on, the deck controller displays timecode when you mount a tape. • If a deck is not properly connected to the system or power is off when you open the controller, the indicator displays the message “NO DECK.
The Command Palette Element Description 5 Tape Name button Lets you associate a tape name with the controller and select a tape. For more information, see “Selecting a Source Tape” on page 160. 6 Logging controls Let you log IN and OUT marks while you cue your tape. For more information on logging, see “Logging Directly into a Bin” on page 122. The Command Palette The Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use.
The Command Palette Understanding Button Mapping Mapping user-selectable buttons lets you reconfigure Tool palettes, toolbars, or the keyboard in various combinations to suit different editing needs. n When you map buttons to the keyboard, the mapping might be specific to the current editing mode. For example, buttons mapped to the Page Up key or the Page Down key revert to the default key functions when you enter Effect mode. After you exit Effect mode, the keys return to the mapped function.
The Command Palette The Blank Button The Blank button in the Other tab of the Command palette lets you replace a defined button with an undefined button. If you do not need a specific button on the Tool palette, you can replace this button with a Blank button. For more information on mapping the Blank button to a new location, see “Mapping User-Selectable Buttons” on page 98. Modifier Keys You can add modifier keys to functions already associated with keys and buttons.
The Command Palette t Open the Keyboard palette from the Settings list in the Project window. t Open the Mouse Settings dialog box from the Settings list in the Project window. 2. Select Tools > Command Palette. The Command palette opens. 3. Select Button to Button Reassignment at the bottom of the Command palette. 4. Click the tab from which you want to select a user-selectable button. 5. Drag the button from the Command palette to a button location on the other palette.
Using the Avid Calculator Activating Commands from the Command Palette You can perform a command function directly from the Command palette. For example, you can click the Play button in the Command palette to play the material in the Source monitor. To activate a command from the Command palette: 1. Select Tools > Command Palette. The Command palette opens. 2. Select Active Palette at the bottom of the Command palette. 3. Click the tab from which you want to select a command function. 4.
Using The Console Window To convert your totals at any time to another format: t Click the Format menu, and select a different frame code or key number format. If you enter drop-frame timecode into the calculator while non-drop-frame timecode is selected in the format menu, the calculator converts the entered timecode to a non-drop-frame equivalent (and vice-versa).
Using The Console Window To review errors logged to the Console window: 1. When an error occurs, close the message box and select Tools > Console. 2. Scroll through the Console window to find a log of the error to use when you contact your Avid Reseller or Avid Customer Support. To get information with the Console window: 1. Select Tools > Console. The Console window opens. 2.
Using the Hardware Tool Using the Hardware Tool The Hardware tool provides the following information about the system’s hardware configuration: • n The Drives tab lists each online drive. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive.
4 Logging When you import shot log files or log directly into a bin, you provide your Avid editing application with frame-accurate clip information that it uses to capture the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.
Using Avid Log Exchange to Prepare Log Files for Import When you convert an ATN file that contains multiple sections to an ALE file, the system creates multiple ALE files. The Avid Log Exchange window displays only the first ALE file. The succeeding ALE files are given the same file name with incremental numbering. For example, the file Nations1.atn converts to Nations001.ale, Nations002.ale, Nations003.ale, and so on.
Using Avid Log Exchange to Prepare Log Files for Import The file appears in the Avid Log Exchange window. For specific information on the various file types, see “Log Formats Compatible with Avid Log Exchange” on page 112. 7. 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. After you import the log into an Avid bin, the system captures all tracks shown in this column when you batch capture.
Using Avid Log Exchange to Prepare Log Files for Import The Avid Log Exchange window displays the converted ALE file. The converted file has the same file name as the original file, except the file name extension matches the converted file format. 11. (Option) Select the original file from the Window menu if you want to convert the file again using different options. 12. Select File > Close. If you made changes in the editor, a message box opens. 13. Click Yes.
Using Avid Log Exchange to Prepare Log Files for Import To convert a log file by using drag-and-drop conversion: 1. Check the options that are set in the ALE utility. See “Converting Log Files with Avid Log Exchange (Windows)” on page 105. 2. Create a shortcut for the ALE utility. 3. Open the folder that contains the files you want to convert. Position the folder so the ALE utility Shortcut icon is visible. 4. Select the files you want to convert. 5.
Using Avid Log Exchange to Prepare Log Files for Import Converting Log Files with Avid Log Exchange (Macintosh) Use the ALE utility, included with your system, to convert shot logs that you create during a film-to-tape transfer. To convert a log file to an ALE file: 1. Select Go > Applications, open the ALE folder, and double-click the ALE icon. The Avid Log Exchange dialog box opens.
Using Avid Log Exchange to Prepare Log Files for Import 3. Select the type of file you want to create from the Output list. The default output selection is the Avid Log Exchange (.ale) format. This is the required format for import into an Avid bin. 4. Select the tracks to include in the Tracks column of the log. After you import the log into an Avid bin, the system captures all tracks shown in this column when you batch capture.
Using Avid Log Exchange to Prepare Log Files for Import The system adds the replaces the original file name extension by the extension for the new format. You can only import .ale files into Avid products. Using Drag-and-Drop Conversion for Log Files (Macintosh) Use this shortcut to convert files into an ALE file. n If the log file is a Final Cut Pro, Cinema Tools, or a Tab Delimited shot log file, you cannot use drag-and-drop conversion.
Using Avid Log Exchange to Prepare Log Files for Import Log Formats Compatible with Avid Log Exchange The table lists the log formats that you can import directly or convert for import when you use Avid Log Exchange (ALE). Log Format Requirements File Name Extension AatonBase Conversion required .atn or .atl Avid Log Import directly .ale Cinema Tools Conversion required .txt CMX EDL Conversion required .cmx Evertz® Conversion required .ftl Excalibur Conversion required .ale or .
Avid Log Specifications Avid Log Specifications Use a word processing application or a text editor to prepare an Avid log on any Windows or Macintosh computer You can use the file name extension .txt, but it is not required. To ensure accuracy, you must follow the Avid log specifications described in this section. An Avid log is composed of three sections, in this order: • Global Titles • Standard and custom column Titles • Data Titles When you create an Avid log, you must follow the order precisely.
Avid Log Specifications Global Titles The global Titles must come first in an Avid log file, and you must enter one value for each Title. GLOBAL Titles: Global Titles are case sensitive and must be spelled exactly as shown. Include all required Titles. Other Titles are optional but might be necessary for your project. The maximum number of combined global, standard, and custom Titles in a log file is 64. Title FIELD_DELIM [Enter] or Required [Return] This marks the start of the global Titles.
Avid Log Specifications Column Titles The standard column Titles appear after the global Titles in the Avid log file. You do not enter the data for a column Title along with the Title. You enter the data later, in a separate data section. You must include the five required standard column Titles; they are listed first in the table. You can create your own custom column Titles. Enter them after the standard Titles (see the last Title in the table).
Avid Log Specifications Auxiliary TC5 [Tab] Title for auxiliary timecode. Camera [Tab] Title for the camera used to film this clip. This feature is used in multicamera shoots. Camroll [Tab] Title for the camera roll ID containing this clip. Duration [Tab] Title for timecode Start to timecode End, the length of the video clip. FPS [Tab] Title for video frames per second rate for capturing the individual clip. If omitted, the global entry applies.
Avid Log Specifications TC 24 [Tab] Title for 24-fps timecode. TC 25P [Tab] Title for 25-fps timecode with pulldown. TC 25 [Tab] Title for 25-fps timecode. TC 30 [Tab] Title for 30-fps timecode. Take [Tab] Title for take ID for clip. Tape [Tab] Title for source tape ID for the individual clip. If omitted, the global entry applies. DESCRIPT [Tab] Title for description of clip. COMMENTS [Tab] Title for comments about clip. [Tab] Add any category of information you want.
Avid Log Specifications [Tab] Required Under Tracks Title. Enter the tracks you want captured for the clip. Enter V for MOS takes. Enter A1, A2, or A1A2 for wild sound. Enter D for a data track. [Tab] Required Under Start Title. Enter the video timecode for the sync point, the first frame of the clip. Use colons for non-drop-frame (for example, 01:00:12:20). Use one or more semicolons for drop-frame (for example, 01;18;00;02).
Avid Log Specifications [Tab] Under KN End Title. Identify the key number for the end of the clip. Identify only feet and frames, for example, 0342&07. [Tab] Under KN Duration Title. Identify the length of the clip, in feet and frames. [Tab] Under Labroll Title. Identify the lab roll, use letters and numbers. <1> <2> <3> [Tab] Under Perf Title. Edit the perf for this clip only. (matchback only) [Tab] Under Pullin Title.
Avid Log Specifications [Tab] Under Tape Title. Enter the source videotape ID for this clip only. [Tab] Under DESCRIPT Title. Describe the clip. [Tab] Under COMMENTS Title. Comment on the clip. [Tab] Under the Titles you create, type the appropriate information. [Enter] or [Return] Press Enter (Windows) or Return (Macintosh) after the last entry for the clip. Do not press Tab after the last entry for the clip.
Creating an Avid Log Heading [Return] FIELD_DELIM [Tab] TABS [Return] VIDEO_FORMAT [Tab] NTSC [Return] AUDIO_FORMAT [Tab] 44kHz [Return] TAPE [Tab] 001 [Return] FPS [Tab] 29.
Double-Checking Log Files To create a text document in TextEdit: t Select Format > Make Plain Text. To create an Avid Log by using a word processor or text editor: 1. Enter shot log information according to the specifications described in “Avid Log Specifications” on page 113. 2. Save your file as a text file in the Save As dialog box. You can use the file name extension .txt, but it is not required. c Your Avid editing application only accepts text files (ASCII format).
Logging Directly into a Bin Logging Preroll Leave adequate preroll with continuous timecode prior to IN points when you log your tapes. The recommended minimum preroll is 2 seconds for Betacam® playback, 5 seconds for 3/4-inch U-matic® playback, and 6 seconds for DV playback. n Use the Preroll menu in the Deck Settings dialog box to set the default preroll for tape playback. For more information, see “Deck Settings” on page 1311.
Logging Directly into a Bin • c It is important that you create a naming scheme for your tapes. For example, you can easily sort and view tapes with similar names together in a bin. However, it can be difficult to distinguish among numerous 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. If you modify tape names and timecodes, it can affect any key numbers you enter for selected clips.
Logging Directly into a Bin 3. Select Tools > Capture. The Capture tool opens. The Client monitor displays your video.
Logging Directly into a Bin 5. Click the Deck Selection menu, and select a deck. For more information, see “Selecting a Deck in the Capture Tool” on page 159. 6. Insert your tape into the deck. The Select Tape dialog box opens. Select “Show other project’s tapes” to display the tape names and associated project names for all bins. Select Tape dialog box. Top: New tape name button. Center: list of tapes. Bottom: Show other projects option.
Logging Directly into a Bin 8. Use one of the following methods to set either an IN point or an OUT point for the clip you want to log: t To keep the deck running while you log: Start the deck. At the point where you want to start the clip, click the Mark IN button or press the F4 key. The deck continues to play. If you want to pause the deck while you enter a clip name and comments, see “Pausing the Deck While Logging” on page 128.
Logging Directly into a Bin t To log using timecode: Type a timecode for the clip’s IN point, OUT point, or duration in the timecode text boxes next to the corresponding icon. Then press the Go to IN button or the Go to OUT button to scan the tape forward to the mark. To log the clip into the bin, click the Log Clip button in the Capture tool. Logging controls (left) and Log Clip button (right) The clip name highlights in the bin.
Logging Directly into a Bin 6. Click the Log Clip button or press the F4 key. Your Avid editing application logs the clip in a bin, and the deck starts playing again. Using a Memory Mark When Logging You can add a memory mark to a particular location on a tape, then use the Go to Memory button to move through the tape to the marked location. To use a memory mark for a particular location on a tape: t Click the Mark Memory button in the Capture tool to mark the location.
Logging Directly into a Bin 3. For NTSC projects, click “When no tape in deck log as” menu, and select Non-Drop-Frame or Drop-Frame. 4. Click OK to close the dialog box. 5. Open the bin where you want to store the clips. 6. Select Tools > Capture. The Capture tool opens.
Understanding the Pulldown Phase 5 Clip Comment text box 12 Clear Memory button 6 Timecode display 13 Clear IN and OUT buttons 7 Deck controls 14 Mark IN and OUT buttons 7. Click the Capture/Log Mode button until the LOG icon appears. 8. Click the Source Tape Display button. A dialog box opens. 9. Click Yes to open the Select Tape dialog box. 10. Double-click the name of the tape in the dialog box, or click New and enter the name of the tape. 11. Click OK. 12.
Understanding the Pulldown Phase For information about the pulldown process, see “Transfer of 24-fps Film to NTSC Video” on page 1445. Set Pulldown Phase option in the 24P Settings dialog box You set this relationship when you select the pulldown phase (sometimes called the pulldown frame or pullin frame), which is the video frame at which the master clip starts. The pulldown phase is designated A, B, X, C, or D. Film labs and transfer houses typically use the A frame to start the transfer.
Understanding the Pulldown Phase The illustration shows the relationship between film frames and video frames. A B C D A1 .1 A2 .2 B1 .1 B2 .2 B3 .1 C1 .2 C2 .1 D1 .2 D2 .1 D3 .2 A B X C D Relationship between four film frames (left) and five NTSC video frames (right). On the right, .1 indicates an odd field and .2 indicates an even field.
Setting the Pulldown Phase Setting the Pulldown Phase To set the pulldown phase: 1. Determine the correct pulldown phase for 00:00:00:00 in one of the following ways: t If you capture film-to-tape transfers, check the transfer log. t If you capture tapes that have been downconverted from 1080p/24, check what pulldown frame was set for 00:00:00:00 on the deck that performed the conversion. 2. Double-click 24p in the Settings list of the Project window. 3.
5 Preparing for Capture The chapter provides information on preparing your Avid editing application and your capture hardware before you capture media.
Importing Shot Log Files For information about logging into a bin, see “Logging Directly into a Bin” on page 122. For information about logging and capturing at the same time, see “Capturing and Logging at the Same Time” on page 195. Importing Shot Log Files You can import a shot log file into a bin to make clip information such as start and end timecode available to your Avid editing application. For more information, see “Logging and Shot Logs” on page 135. To import shot log files into a bin: 1.
Importing Shot Log Files 3. Select File > Import. The Select Files to Import dialog box opens. Look in menu (top) and Files of type menu (bottom) in the Select files to import dialog box on Windows. 4. (Option) If you want to select options for combining events on import, click Options to open the Import Settings dialog box. Select the appropriate options from the Shot Log tab, and then click OK to close the Import Settings dialog box and return to the Select Files to Import dialog box.
Preparing the Hardware for Capture t n If you are importing a text file or batch importing multiple file types, click the Files of type menu and select All Files (Windows), or click the Enable menu and select Any Documents (Macintosh). When batch importing multiple files and file types, you should establish global Import settings in advance. See “Creating and Modifying Import Settings” on page 257. 6.
Preparing the Hardware for Capture Item Description (Continued) 16:9 format You can edit with video in the 16:9 aspect ratio for display of wide-screen formats. To view the footage on a Client monitor, you must have a 16:9-compatible Client monitor. Remote switch You must set the deck control switch on the front of the source deck to Remote rather than Local to control the deck with the Capture tool.
Preparing the Hardware for Capture Analog Audio Input If you are capturing audio-only from an analog source, sync is taken from the sync source, either black burst or tri-level, depending on the selection in the Video Output tool. If no sync source is connected, sync is generated from internal timing. With some Avid input/output hardware, you can view the selected sync source in the Hardware tab of the Audio Project settings dialog box, in the Sync Mode field.
Selecting Settings for Capture Selecting Settings for Capture Capture settings include options for capturing, batch capturing, auto capturing, capturing to multiple media files, DV or HDV scene extraction, and setting key commands. Several settings directly affect the capturing process. This section includes information on Media Creation and GPI settings. For reference information about all settings in the Capture Settings dialog box, see “Capture Settings” on page 1303.
Selecting Settings for Capture 2. Click the Media Type tab, and select either OMF or MXF file format. If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. For more information on the media file formats, see “MXF Media” on page 381 and “Specifications for Importing OMFI Files” on page 1397. 3. Click the Capture tab. 4. Click the Video Resolution menu, and select a video resolution.
Selecting Settings for Capture 5. Select a video drive and an audio drive. To select the same drive for both video and audio, click the Single/Dual Drives Mode button until only a single drive menu opens. n The drive that appears in boldface type has the most available space. 6. (Option) You can select drives and create a drive group. Click the Target Drive menu, and select Change Group. For more information on selecting a drive group, see “Selecting the Target Drives” on page 165.
Selecting Settings for Capture To disable resolutions: 1. Select Tools > Media Creation. The Media Creation dialog box opens. 2. Click one of the tabs that includes a Resolutions menu, and note the exact spelling of each resolution you want to disable. 3. Open a text file by doing one of the following: n t (Windows) Click the Start menu, and then select All Programs > Accessories > Notepad. t (Macintosh) Click Go > Applications, and double-click TextEdit. This file must be a plain text file.
Selecting Settings for Capture 4. Type each resolution you want to disable on a separate line. Do not include OMF or MXF. DisabledRes.txt examples The text of the resolution must exactly match the text in the Media Creation dialog box. To disable DV 25, for example, type DV 25 411 with DV in capital letters. Do not disable all resolutions supported by your Avid editing application. You need to keep one resolution available. 5. (Windows) Name and save the file: a. Select File > Save As. b.
Selecting Settings for Capture Because media files are very large, you can filter drives that are not suitable for media storage out of the list of available drives. Filtering drives in this way provides you with a convenient way to store media only on drives with sufficient space. n c If you are working in a network environment, see “Drive Filtering in Networked Workflows” on page 92. Your Avid editing application does not prevent you from using non-Avid drives, but Avid cannot ensure their reliability.
Selecting Settings for Capture t Select Filter Out Launch Drive to remove the drive on which your Avid editing application resides. The drive or drives you filter out 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 your Avid editing application except for the Import, Export, and Relink dialog boxes. n Your settings are not saved until you click OK. 4. Click OK to save your settings.
Selecting Settings for Capture Preroll Method Standard Timecode Description Your Avid editing application uses timecode to determine the preroll point. If there is a not enough consecutive timecode (for example, if there is a break in the timecode), your Avid editing application does not capture the shot and displays an error message. Use this method if you know the timecode is consecutive or if you want to determine if there are timecode breaks.
Selecting Settings for Capture Capturing to multiple media files has the following advantages: c • You can create longer clips whose media files would otherwise exceed the file size limitation of 2 GB. • You can group all drives with the multiple file options. This enables your Avid editing application to capture long clips continuously, for example, satellite feeds. • Your Avid editing application makes more efficient use of drive space, particularly when capturing long clips.
Selecting Settings for Capture General Settings for Capture The General Settings dialog box includes the following options that are relevant to capture. Setting Description Project Type The top portion of the dialog box displays the project type (NTSC or PAL) and other useful information such as the type of film used as source media. NTSC Has Setup This option applies to standard NTSC format and is selected by default.
Configuring Decks Configuring Decks Deck Configuration settings let you establish deck control parameters for a single deck or for multiple decks. You can create multiple versions, allowing you to select among them for frequent changes in hardware configurations. Deck Configuration settings and global deck control preferences appear as separate items (Deck Configuration and Deck Preferences) in the Settings list in the Project window.
Configuring Decks 3. Click the Add Channel button. The Channel dialog box opens. n Channel refers to the signal path for deck control, whether directly through a serial port, through a V-LAN® VLXi system connected to a serial port, or through a FireWire® connection. A direct serial port or FireWire connection allows one deck for each channel, while a V-LAN VLXi system allows multiple decks. 4.
Configuring Decks n Do not autoconfigure a DV camera or deck. Not all DV devices respond to the Auto-configure command. Due to this limitation, Auto-configure selects only a generic device template. When a digital camera is attached to your system, click the Deck Type menu, and select the proper device (described later in this procedure). When a deck is attached, click the Deck Type menu, and select the applicable deck.
Configuring Decks n When a deck is already connected to the system, you can click the Auto-configure button to bypass the Deck Settings dialog box and automatically configure a deck with the default settings. 10. Select the manufacturer and model number of your deck or other device. Selecting a model opens a template of settings for the device you selected. You can change these settings based on your device. For more information, see “Deck Settings” on page 1311.
Understanding Timecode Your Avid editing application checks the deck configuration after you click the Apply button in the Deck Configuration dialog box and when you start a work session. A message box warns you if the configuration does not match the deck. 14. Type a name in the Configuration name text box to name the deck configuration. The new deck configuration appears in the Settings list in the Project window. 15.
Connecting a DV Device NTSC video, however, might use either of the following two formats: • Drop-frame timecode matches the NTSC scan rate of 29.97 frames per second (fps) by dropping two frames of timecode every minute except for the tenth minute. This does not drop any of the video frames themselves. Drop-frame timecode is indicated by semicolons between the digits, for example, 01;00;00;00.
Setting Up the Capture Tool You can connect a DV device to a 1394 port on your computer (Host 1394) For HDV media, playback directly to an HDV device is not supported. You need to export a transport stream. For more information, see “Outputting HDV” on page 1474. Setting Up the Capture Tool The Capture tool provides controls for cueing, marking, and logging footage, and specifies capturing parameters such as source and target locations.
Setting Up the Capture Tool 7 Edit to Timeline buttons (optional) 14 Video Lock icon 1 2 3 9 4 5 6 7 8 Bottom of Capture tool 1 Clip Name text box 6 Deck controls 2 Clip comment text box 7 Deck Selection menu 3 Resolution menu 8 Source Tape Display button 4 Single/Dual Drive Mode button 9 Time remaining on target drive(s) 5 Target Drive menus When you are working in an Avid Interplay environment, the Capture tool lets you select either Local Bins or Remote Bins.
Setting Up the Capture Tool Opening the Capture Tool To open the Capture tool: 1. Ensure the deck or other playback device is properly connected to the system and is turned on. 2. Do one of the following: t Click a bin to activate it and select Bin > Go To Capture Mode. t Select Tools > Capture. 3. Ensure you are in Capture mode. If the Capture tool is in Log mode, click the Capture/Log Mode button until the CAP icon appears.
Setting Up the Capture Tool n After deck control has been properly initialized, it remains active for all deck controllers throughout the session until you quit your Avid editing application. You must have V-LAN VLXi hardware to manage more than one deck at a time. For more information on V-LAN equipment, contact your Avid sales representative. Activating Playback from an Available Deck To activate playback from an available deck: t Click the Deck Selection menu, and select the deck.
Setting Up the Capture Tool n Drop-frame timecode appears in the Timecode indicator with semicolons between hours, minutes, seconds, and frames. Non-drop-frame timecode appears with colons. For more information, see “Understanding Timecode” on page 155. 3. Provide the system with a tape name in one of the following ways: t Select the name of the tape from the list in the Select Tape dialog box and click OK.
Setting Up the Capture Tool To select only those tracks you want to capture: t Click the Channel Selection buttons in the Capture tool. Channel Selection buttons in the Capture tool If you do not see source video or hear source audio in Capture mode, click the Channel Selection buttons to ensure they are not the cause. n When you use an Avid-controlled deck, the TC (timecode) track is selected by default, and the system captures the timecode from the source tape.
Setting Up the Capture Tool To group tracks for multichannel capture: t Click the Audio Channel Grouping buttons in the Capture tool for those tracks you want to capture as stereo audio tracks. The Audio Channel Grouping button turns green when you group tracks. Audio Channel Grouping buttons in the Capture tool When you capture stereo audio, you can view the multichannel audio format in the bin in the Track Formats column.
Setting Up the Capture Tool Detecting a Valid or Locked Sync Signal On systems using Avid input/output hardware, the Capture tool uses an icon to indicate if the sync source you are using is valid and locked. The icon appears in the message bar of the Capture tool. n • Video Lock icon: When you select a video track in the Capture tool, the Video Lock icon is displayed. If the current source has a valid video signal and your Avid input/output hardware can lock to it, the icon is displayed in green.
Setting Up the Capture Tool To select a target bin: 1. (Option — systems in an Avid Interplay environment only) Do one of the following: t If you are capturing to a local bin, select Local Bins. t If you are capturing to a remote project folder in an Avid Interplay environment, select Interplay Folders. For more information about capturing to an Interplay project folder, see “Capturing Media to Interplay Folders” on page 1169. 2. In the Capture tool, click the Bin menu and make a selection.
Setting Up the Capture Tool If you are capturing high-quality resolutions, you need to select striped drives. For more information, see “Getting Information About Striped Drives” on page 139 and “Storage Options and Drive Striping” in the Help. You can filter some drives out of the available drive list. For more information, see “Setting Drive Filtering” on page 145. You can set target drives in the Media Creation dialog box. See “Selecting Video Resolutions and Media Drives” on page 141.
Setting Up the Capture Tool 3. Click each Target Drive menu, and select separate drives for audio and video. The names in bold in the menus have the most storage available. The time remaining on each selected drive, displayed to the right of each menu, is calculated based on your resolution selection. To create and target a drive group: 1. Click the Target Drive menu, and select Change Group. The Drive Group dialog box opens. 2.
Preparing to Capture Audio Selecting a Custom Preroll The Custom Preroll option and menu in the Capture tool lets you select how many seconds the tape rolls before the capturing starts. This option overrides the global preroll setting in the Deck Settings dialog box.
Preparing to Capture Audio The values you set in the Audio Project Settings dialog box are saved as Project settings. You can also save the Audio Project settings as Site settings so that all projects open with the same audio settings. See “Using Site Settings” on page 1289. For information on all Audio Project settings, see “Audio Project Settings” on page 1296. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh).
Preparing to Capture Audio 4. Click the Sample Rate Conversion menu, and select on of the following: Option Description Never When this option is set, your Avid editing application displays a warning message if the sample rate of the incoming media does not match the project sample rate. This is the default option. The Never option is useful when capturing from different sources. The system reminds you that the material that you are capturing is at a different sample rate than the project.
Preparing to Capture Audio You should be aware of the following: • You can mix AIFF-C and WAVE audio media files within a project. • You should elect AIFF-C or WAVE when you need to transfer media files directly to a Pro Tools system for audio sweetening.
Preparing to Capture Audio To select the audio input source: 1. In the Project window, click the Settings tab. 2. Double-click Audio Project. The Audio Project Settings dialog box opens. 3. Click the Input tab. 4. Click the Input Source menu and select the source for the audio you want to capture. 5. Close the Audio Project Settings dialog box. The source you selected is displayed in the Capture tool. You can change the source in the Audio Project Settings dialog box or in the Capture tool.
Preparing to Capture Audio 3. For each input source in the Record/Input list that you want to map, click the matching Output Source 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. (Option) If you do not want an input source mapped to an output source, select from the corresponding Output Source menu.
Preparing to Capture Audio The following table describes the components in the Audio tool. Component Description Reset Peak button Resets the current maximum peak measurements and 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 to Capture Audio The Audio tool opens and displays meters for two to eight channels, depending on the configuration of your system. Audio tool. Top, left to right: Reset Peak (RP) button, In/Out toggle buttons, Peak Hold (PH) Menu button. Left display column: Digital scale (fixed). Right display column: Volume unit scale (adjustable). Adjusting Audio Input Levels You can use the Audio tool and the Audio Project Settings dialog box to check the audio input levels.
Preparing to Capture Audio You can adjust the output by using a deck that supports output gain or by sending the signal through a mixing console. Creating Tone Media You can create your own tone media as a master clip for editing directly into sequences. To create tone media: 1. Open a bin. 2. Select Tools > Audio tool. 3. Click the PH (Peak Hold) menu in the Audio tool, and select Create Tone Media. The Create Tone Media dialog box opens. 4.
Preparing to Capture Audio t In the Audio Punch-In tool, click the Passthrough Mix Tool button. For more information, see “Recording Voice-Over Narration Using Audio Punch-in” on page 805. The Audio Project Settings dialog box opens. To choose the number of tracks (4 or 8) to display in the Passthrough Mix tool: t Click the Number of Mix Panes button. When you select 4 tracks, an additional button appears that lets you display the first 4 or last 4 enabled tracks.
Preparing to Capture Audio 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 (Windows) or Return (Macintosh). For example, if you want to enter the value 12, type it.
Preparing to Capture Audio To calibrate the audio channels for Avid Nitris DX or Avid Mojo DX using the Audio Hardware Calibration tool: 1. Connect the analog outputs to the analog inputs on the back of the Avid Nitris DX or Avid Mojo DX. 2. Double-click Audio Project in the Settings list of the Project window. 3. Click the Hardware tab. 4. Click the HW Calibration menu, and select a new default hardware calibration setting: –14 dBFS, –18 dBFS, or –20 dBFS.
Preparing to Capture Audio 8. Enter the new reference level in dB. This should be set to match the 0 VU standard in your workflow. Avid recommends a -20 dBfs value. 9. Select the interface you want to calibrate: Analog XLR input, Analog RCA input, Analog TRS input, Monitor output, or Analog output. Options vary depending on your Avid input/output hardware. You can calibrate only one channel at a time. 10. Select the appropriate channel. Channels vary depending on your Avid input/output hardware. 11.
Preparing to Capture Audio 7. At the bottom of the Audio Hardware Calibration window, click Audio Tool. The Audio tool opens. 8. For whichever channels you want to calibrate, switch the Audio Tool channels to input by clicking each In/Out toggle buttons to change the output (O) to input (I). The In/Out toggle buttons in the Audio Tool switch from O to I and highlight in green. The meters levels re-display. 9. Set the tone generator output to the reference level set in the Audio Hardware Calibration window.
Preparing to Capture Audio 6. Enter the new tone levels in dB and the new tone frequency in Hz. 7. Use the Up and Down buttons to adjust the calibration in 0.5dB increments. The following are suggested professional settings: - Monitor output: +4 dBu - Analog output: +4 dBu 8. Click OK. 9. Select the interface you want to calibrate: Monitor output or Analog output. Options vary depending on your Avid input/output hardware. You can calibrate only one channel at a time. 10. Select the appropriate channel.
Preparing to Capture Video 5. In the Console command line, type: DumpMaxPeaks 6. Press Enter (Windows) or Return (Macintosh). A list of peak values appears in the Console window. Preparing to Capture Video The Video Input tool lets you select the format of the video input signal and calibrate composite video, component video, and S-Video.
Preparing to Capture Video Opening the Video Input Tool To open the Video Input tool, do one of the following: t Select Tools > Video Input Tool. t Click the Video Input Tool button in the Capture tool. The Video Input Tool opens.
Preparing to Capture Video Using the Factory Preset Buttons in the Video Input Tool The preset buttons in the Video Input tool show the status of each calibration setting as follows: • When you first open the Video Input tool in a new project, all preset buttons are lit (green), with the factory presets loaded for each slider. • When you click the slider of a lit preset button, the arrow changes to black and the slider moves to the position of the pointer.
Preparing to Capture Video 3. Click the Input menu, and select the appropriate video input channel. Your options for video input depend on the model of your Avid editing application and the project you select. The Video Input tool displays the appropriate parameters for the selected video format. For a description of each parameter, click the Video Input tool and press the F1 key (Windows) or Help key (Macintosh). n Sync for video input comes from the source selected in the Video Input tool.
Preparing to Capture Video n Always play the tape when calibrating. Signal display is unstable when the tape is paused. The Client monitor displays one of the following types of bars (or a variation of them). Top: full-field color bars (the leftmost bar is 100% white). Bottom: SMPTE standard split bars (the leftmost bar in the top row of bars is 75% white, the second bar in the center row of bars is 7.5 black level, and the second bar in the bottom row of bars is 100% white). 5.
Preparing to Capture Video 7. Open the Waveform monitor by clicking the Waveform Monitor button. NTSC (top) and PAL waveform values in the Video Input tool. NTSC values are measured in IRE, with the white level at 100 IRE (digital 235), the black level at 7.5 IRE (digital 16), and the 75% white level at 77 IRE (digital 180, the horizontal dotted line in the display). For NTSC-EIAJ, the black level falls at 0 IRE.
Preparing to Capture Video 11. Adjust the Sat and Hue sliders (composite or S-Video) or the RY Gain and BY Gain sliders (component) until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. There is no hue adjustment for PAL video. n c You can also monitor hue with a vectorscope in the Color Correction tool. See “Working with the Waveform Monitors and Vectorscope Monitor” in the Help.
Preparing to Capture Video Capturing from Unstable Time-Base Sources Your Avid system is optimized for use with modern, broadcast-quality VTRs that contain time-base correctors (TBCs). If the input is stable, your system captures the video by using a high-quality, very-low-jitter clock reference. However, some sources do not include an internal TBC.
Preparing to Capture Video n Video Input settings do not restore the source format (Composite, Component, S-Video, DV, or SDI). The source format you select in the Video Input tool remains the default for that project until you select another format from within the project. This lets you establish a new format on a project basis when moving between systems, or from the offline to the online phase. The Video Input tool is not available on all models.
Preparing to Capture Video 4. Type Default, and click OK. You must use this spelling and initial capitalization. Adjusting Video Levels for Tapes Without Color Bars Color bars are the best way to set the video levels consistently. However, if you have a tape or series of tapes with no color bars, you might need to adjust levels by using the internal Waveform and Vectorscope monitors. n Calibrate your Client monitor before making these adjustments.
Capture Preparations Check List Capture Preparations Check List Check your hardware configurations, particularly connections between your deck and the Avid system. See “Preparing the Hardware for Capture” on page 138. If you are working on a complex project with multiple streams of video and high-resolution images, make sure your drives are striped properly. See “Getting Information About Striped Drives” on page 139.
6 Capturing Media This chapter provides information on capturing media from video or audio input. When you capture, you convert source material into master clips that contain reference information and media files that contain the digital audio and video.
Capturing and Logging at the Same Time For information about setting up the capture tools and adjusting capture settings, see “Preparing for Capture” on page 135. Capturing and Logging at the Same Time When you capture without entering log information in a bin ahead of time, your Avid editing application creates clips and associated media files while you capture. You manually cue source footage with an Avid-controlled deck, using the deck controls in the Capture tool.
Capturing and Logging at the Same Time Naming Clips and Adding Comments in the Capture Tool You can type clip names and comments before or during the on-the-fly capture of a clip. This information is saved in the clip Name and Comments columns in the bin. You can add comments about such things as color correction or directions for editing. If you do not type a clip name before or during capturing, your Avid editing application provides a default clip name.
Capturing and Logging at the Same Time 3. (Option) Press the Tab key and type a comment. You can edit the text before capturing. To add clip names and comments during capture: 1. Click the arrow in the Capture tool to display the Name and Cmnt text boxes. 2. Start typing the clip name at any time during the capture of a clip. 3. After typing the clip name, press the Tab key and type a comment. You cannot edit the text until after the capture is complete, but you can backspace to retype the comments.
Capturing and Logging at the Same Time 4. Finish logging the clip, using either of the following methods: t Set the corresponding IN or OUT point. t Type a timecode for the clip’s duration in the text box next to the Duration mark (below the mark OUT) in the format HH:MM:SS:FF. Your Avid editing application automatically calculates the appropriate timecode for the corresponding mark IN, mark OUT, or duration. 5. Click the Record button in the Capture tool, or press the F4 key.
Capturing and Logging at the Same Time t Mark an OUT point only, then move to a position on the tape that is a few seconds before where you want to start capturing. Play the tape and then immediately click the Record button to begin capturing on-the-fly. When the tape reaches the clip’s OUT point, capturing stops. This method is useful if you do not need a precise IN point, but do need to stop at a precise OUT point, for example, just before a timecode break.
Capturing and Logging at the Same Time 3. Use the deck controls in the bottom left corner of the Capture tool to locate the position on the tape where you want to start capturing. 1 2 3 4 9 5 6 7 8 Deck controls in the Capture tool 1 Shuttle button 6 Pause button 2 Single-Frame Backward button 7 Play button 3 Single-Frame Forward button 8 Eject button 4 Fast Forward/Rewind buttons 9 Clear Marks buttons 5 Stop button 4. To begin capturing, play the deck.
Capturing and Logging at the Same Time n If your Avid editing system is an asset manager client in an MXF/AAF workgroup, you cannot create markers while capturing media using the Capture tool. However, you can use the Frame Chase feature when capturing media from a supported external device using Avid Interplay Transfer. For more information about using Frame Chase, see your Avid Interplay documentation. 5. Click the Pause button at any time to pause play.
Capturing and Logging at the Same Time • Turn off the FAST CUE option in the Deck Settings dialog box, and set the preroll to approximately 4 seconds. For more information, see “Deck Settings” on page 1311. • Prepare accurate notes on the number and content of takes on each tape to identify the content of each clip when necessary. Autocapturing Autocapturing an entire tape can save you time by allowing you to bypass both the logging process and the time it takes to cue each shot.
Capturing Directly from a DV Device n You can map the Record button from the Play tab in the Command palette to a key on the keyboard. This lets you start capturing by pressing a key. The Record button works for either the Capture tool or the Audio Punch-In tool, depending on which tool is active. For more information on mapping buttons, see “Understanding Button Mapping” on page 97.
Capturing Directly from a DV Device Capturing DV 50, DVCPRO HD, or HDV Media How you capture DV 50, DVCPRO HD, or HDV media depends on whether you are using Avid input/output hardware and on what type of Avid input/output hardware is connected to your system: If you are using Avid input/output hardware, or if you are not using an Avid input/output hardware device (software-only), you use a 1394 port on your computer (Host 1394).
Capturing Directly from a DV Device Example of a Capture with Offset The range of DV capture offset in your Avid editing application is from –6 to 24 frames with the default value set to 0. To use DV capture offset, perform several captures with the DV capture offset set to 0. Note the first frame of the master clip for each clip. If the first frame of the master clip is not what you expect, adjust the DV capture offset to account for this variation.
Capturing Audio from a Music CD 6. Repeat this process until you achieve the appropriate offset. Capturing Audio from a Music CD Avid editing applications let you capture selected tracks from a music CD. Once the audio is captured, you can then edit the audio clip to an audio track in your sequence. The following procedure is one method of capturing audio from a CD or microphone in software-only models.
Capturing Audio from a Music CD 1 2 3 6 4 5 1 Toggle Source button set to Satellite mode 4 Selected Bin menu 2 Record button 5 Source Tape Display button 3 Selected audio track 6 Audio menu 5. Click the Toggle Source button until the Satellite Mode icon appears. 6. Select an audio track. 7. Click the Audio menu, and select CD Player. 8. Click the Source Tape Display button. The Select Tape dialog box opens. 9. Click New. 10. Name the tape, and then select the tape. 11. Click OK. 12.
Frame Chase Capture Your Avid editing application captures audio to the selected bin. n You can map the Record button from the Play tab in the Command palette to a key on the keyboard. This lets you start capturing by pressing a key. The Record button works for either the Capture tool or the Audio Punch-In tool, depending on which tool is active. For more information on mapping buttons, see “Understanding Button Mapping” on page 97. 13.
Frame Chase Capture Frame Chase Capture A Frame Chase capture creates media files directly in Avid MediaFiles\MXF\1 and creates a special type of clip known as an in-progress clip. In-progress clips are represented by In-progress master clip and In-progress audio clip icons. In-progress master clip icon (left) and in-progress audio clip icon (right) An initial check-in to Interplay takes place 10 seconds after the capture begins.
Frame Chase Capture 3. Select options as described in the following table, and then click OK. Option Description Maximum (default) capture time Type a number in the text box to define the expected duration in minutes for a Frame Chase clip that you create during on-the-fly or open-ended capture (that is, when no IN and OUT marks are set in the Capture tool). During capture, clip is When this option is selected, Frame Chase capture is enabled.
Batch Capturing from Logged Clips n • The capture process itself is the same regardless of whether you are performing a conventional or a Frame Chase capture. You can rename clips, add comments or markers, and create subclips in the normal way during Frame Chase capture. This information becomes available to all applications in the workgroup following the next update to Interplay after the information is entered.
Batch Capturing from Logged Clips Because your clips are already logged in a bin, you can simplify the interface during batch capture by hiding the deck controller and logging controls in the Capture tool. You can hide any other panels in the Capture tool in a similar way. Unattended batch capturing lets you capture a large number of clips with minimal supervision by selecting Capture settings that avoid a pause in the capture process. To prepare for unattended batch capturing: 1.
Batch Capturing from Logged Clips 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. See “Recapturing and Decomposing” on page 214. 4. Select Bin > Batch Capture. The Batch Capture dialog box opens. If the clips you want to batch capture are not highlighted in the active bin, Batch Capture appears dimmed in the Clip menu. 5.
Recapturing and Decomposing For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, batch capturing fails if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00. n For more information on handle lengths when recapturing, see “Decomposing Sequences” on page 218 and “Recapturing a Sequence Without Using Decompose” on page 223. 6. Click OK.
Recapturing and Decomposing Decomposing creates new, shorter master clips based only on the material you have edited into a sequence, which saves disk space. You can decompose an entire sequence, or you can use the Expert Decompose feature for additional control. For example, you can use Expert Decompose to decompose only some of the material in a sequence, or use it to “up-rez” your clips from SD to HD. After decomposing, you use the batch-capturing process to recapture footage for the new master clips.
Recapturing and Decomposing Recapturing Sequences When you recapture a sequence, you create new master clips and associated media files based on the length of each clip edited into the sequence. Recapturing breaks any links to the original source clips, and only the sequence and its new master clips are linked to the newly captured media files. You can recapture a sequence in two ways: • Decompose to create new master clips, and then batch capture the clips.
Recapturing and Decomposing Decompose gives you more control over the recapturing process than simply recapturing a sequence without using decompose. You can sort or modify the clips that decompose creates before you recapture media. You can also use the Expert Decompose feature to customize how decompose operates. n You do not need to decompose clips that were linked with the AMA (Avid Media Access) method. For information about AMA, see “File Based Media - AMA” on page 344.
Recapturing and Decomposing Target Formats for Expert Decompose The following table lists the target formats that are available using Expert Decompose. If the format of an existing clip is listed in the first column, you can decompose the clip to any of the formats listed in the second column, and then recapture the clip in that format. If the format of an existing clip is not listed in the first column, then you can only decompose and recapture it in its existing format.
Recapturing and Decomposing To decompose one or more sequences: 1. Activate the appropriate bin and select the sequence or sequences. 2. Select Bin > Decompose. The Decompose dialog box opens. 3. To preserve clips that already have existing media files, select “Offline media only.” Do not select this option if you plan to decompose and recapture any material in the sequence or sequences that has available media. 4.
Recapturing and Decomposing When you batch capture, deselecting this option prevents capturing across a discontinuous timecode error. For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, batch capturing will fail if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00. 7.
Recapturing and Decomposing Using Expert Decompose If you select the Expert Decompose option in the Decompose dialog box, the Expert Decompose dialog box opens before the decompose process begins. In the Expert Decompose dialog box, you can: • View information about the tapes/sources or clips in the sequences you are decomposing.
Recapturing and Decomposing To sort or reverse sort a column of information: t Right-click the column heading for any column, and then select one of the following: Command Description Sort Column Sorts the information in order, for example, alphabetically A to Z.
Recapturing and Decomposing Some source formats can only be recaptured in their original format. For these formats, the entry in the Target Format column is only for your information, and you cannot select a different format. For more information, see “Expert Decompose” on page 217. To proceed with the decompose process: t Click OK.
Alternate Source Capture For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, batch capturing fails if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00. 9. Click OK. Your Avid editing application prompts you to load the first tape. 10. Load the tape into the tape deck if you have not already done so. 11.
Alternate Source Capture You can also use an alternate tape name if the original tape name was incorrectly logged. You can use any custom column in the bin as a source name when you batch capture in addition to Labroll, Camroll, and Soundroll, or you can correct for timecode offsets and store them in the Auxiliary TC column and batch capture from that. n n When you use an alternate tape source, the tape does not have to display in the list of tapes.
Using Capture Function Keys 9. A message opens and asks you to mount the (alternate) tape. You can choose to mount the tape or skip this particular clip. 10. Load the tape into the tape deck and click Mounted. The deck rolls to the alternate source timecode and begins the capture process. Your Avid editing application captures each clip from the alternate source timecode and tape. Using Capture Function Keys Several function keys are mapped to specific capture functions when the Capture tool is active.
Handling Errors During the Capture Process 3. Click the key you want to map, and then select the new function from the menu. n The Start Capture function is not included in the key menus. F4 always starts capture. You can map an additional function to F4 to use after capture starts; End Marker Entry is the default. 4. Click OK. Handling Errors During the Capture Process You can log errors that occur during the capture process to the Console window.
Creating Subclips While Capturing 3. Select or deselect “Log errors to the console and continue capturing.” - If “Log errors to the console and continue capturing” is selected, when you batch capture and your Avid editing application encounters an error, it aborts the clip, enters error comments into the Console, and continues capturing the next clip.
Creating Subclips While Capturing You should be aware of the following while creating subclips while capturing: • When you create subclips in 24p or 25p projects, they are always “hard” subclips. You cannot trim past the edges of the subclip when adjusting transitions and edits. Hard subclips prevent film-tracking information errors for editing and cut lists. • For NTSC film-to-tape transfers, you must log the correct pulldown phase before you create subclips.
Adding Markers On-the-Fly While Capturing 3. Enter the time in minutes and seconds to be used by the timed subclip in the Before mark (M:SS) and the After mark (M:SS) text boxes. 4. Click OK. To create a timed subclip: 1. Start capturing. 2. At the point where you want to start a timed subclip, press the mapped function key. This highlights the subclip IN and OUT points, and your Avid editing application creates the subclip automatically. 3.
Naming a New Tape from the Keyboard While Capturing 4. When you finish adding your comment for the marker, press the F4 key (End Marker Entry). The Name and Cmnt (Comment) text boxes revert to association with the master clip or the subclip being captured. Marker comments appear in the Markers window. 5. To see the marker comments, open the Markers window as described in “Viewing Markers in the Markers Window” on page 496.
Adding Extra Text Fields in the Capture Tool Press To J Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal speed. K+L Shuttle the deck at 0.25x normal speed. J+K Shuttle the deck at –0.25x normal speed. The following restrictions apply: • You must select the Capture tool, Digital Cut tool, or Deck Controller window for the keys to be active. • Single-field stepping is not supported. • If you remap the function of the J-K-L keys, you can no longer control decks with those keys.
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 Selection 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.
Ejecting Tapes with a Button or Key Ejecting Tapes with a Button or Key If you click the Eject button and eject a tape, you can bring the fact that the tape must be changed to the attention of any tape operator in a remote machine room. To eject tapes by using a button: 1. Select Tools > Command Palette. 2. Click the Play tab. 3. Select Active palette. 4. Click the Eject button. You can map the Eject button to any button on the Tool palette or any key on the Keyboard palette.
Using Dolby E Media c If you are working in a film project, you cannot use pulldown settings when you capture your media if you want to use Dolby E material. Avid does not support capturing Dolby E media with audio pulldown because pulldown interferes with the preservation of Dolby E information. Selecting Dolby E Safe Settings You can automatically set your Avid editing system to protect Dolby E information during capture.
Using Dolby E Media To select Dolby E safe settings: 1. In the Project window, click the Settings tab, and then double-click Audio Project. The Audio Project Settings dialog box opens. 2. Click the Main tab. 3. Click Keep Dolby E Material Safe, and select Yes. If you modify your sequence to change any of these settings, the Keep Dolby E Safe setting automatically changes to No. You can reset the settings by selecting Yes.
Delaying Audio During Capture To capture media while protecting Dolby E information: 1. In the Main tab of the Audio Project Settings dialog box, Click Keep Dolby E Material Safe, and select Yes. 2. Select Tools > Capture. The Capture tool opens. 3. Check to make sure the Dolby E Safe button displays blue. If the Dolby E Safe button displays yellow, reset the Dolby E Safe settings in the Audio Project Settings dialog box (see “Selecting Dolby E Safe Settings” on page 235). 4.
Working in Quick Record Mode n To use Quick Record mode, you must connect a deck that supports servo-lock signals to the system by using a deck control serial cable and a serial adapter. For information about the cable connection, see the setup information that came with your system. If the appropriate conditions for Quick Record are not present, the messages in the following table might appear. The second column recommends what you can do to be ready for the Quick Record mode.
Capturing in Satellite Mode or No Device Control During Quick Record mode, the timecode display for the deck shows the timecode followed by “* LOCAL”; for example: 00;01;05;14 * LOCAL. Capturing in Satellite Mode or No Device Control LTC (longitudinal or linear timecode) from an external source lets you capture from multiple sources at the same time as recording to tape. This is called satellite Mode.
Capturing in Satellite Mode or No Device Control To capture with external timecode: 1. Select Tools > Capture. The Capture tool opens. Toggle Source button (top), Timecode Source menu and Source Tape Display button (bottom) in the Capture tool 2. Select the audio, video and data tracks. 3. Select the audio and video input. 4.
Capturing in Satellite Mode or No Device Control Option Description LTC Input Detects LTC input. LTC is only available with some Avid input/output hardware devices. If LTC is not available for your configuration, the LTC Input option is grayed out. Auto Detect Detects LTC input by default. If the LTC Input is deactivated, the Capture tool automatically switches to internal timecode. If the LTC Input is reactivated, the Capture tool switches back to LTC Input.
Scheduling a Capture Session t Select a tape name from the list. Tape names and associated projects are listed in two columns. t If the tape is not in the list, click New, and then 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.
Scheduling a Capture Session 3. Click the Setup Capture Schedule button. The Scheduled Record dialog box opens. 4. Do one of the following: 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. If a clip has a start time that overlaps the end of the previous scheduled clip, it appears red. 5. (Option) You can save a schedule as a tab-delimited text file and load it at a later date.
Capturing to the Timeline Capturing to the Timeline You can capture footage directly from tape to a sequence loaded in the Timeline in one step, bypassing several steps such as organizing and reviewing clips, marking edit points, and performing edits. By default, your Avid editing application edits the tracks you select for capturing to the corresponding tracks in the Timeline. You can patch the captured footage to any track in the Timeline.
Capturing to the Timeline b. From the menu, select the track to which you want to patch the captured footage. Track Selector button and menu in the Capture tool (left), and result displayed in the Timeline (right) 5. Mark an IN point in the sequence or move the position indicator to where you want the edit to take place. 6. Mark the source material you want to capture by using the Capture tool logging controls. For more information, see “Logging with Avid-Controlled Decks” on page 124. 7.
Capturing Video Without Pulldown into a 24p NTSC Project Capturing Video Without Pulldown into a 24p NTSC Project Film-to-tape transfers that are made without using pulldown can be captured directly into a 24p project. This feature is useful when special effects are generated on a frame-to-frame basis to tape, and need to be integrated into a 24p project. Before capturing the footage, click the Film to Video Transfer menu in the Film and 24p Settings dialog box, and select Video Rate.
Remote Play, Capture, and Punch-In n If a message appears stating that the Avid Serial Driver is not installed for Remote Play and Capture, make sure the correct serial driver is installed on your system. If you are running Avid Media Browse™ and using the Remote Play and Capture option, you need to run your Avid editing application with the Microsoft driver. If you are running your Avid editing application without Avid Media Browse, you need to install the Avid serial driver.
Remote Play, Capture, and Punch-In 4. Double-click Remote Play and Capture in the Settings list of the Project window. The Remote Play and Capture Settings dialog box opens. 5. Select Mode > Remote Capture. 6. Select Device Code > device. 7. Specify the time (measured in frames) it takes the deck to start playing from a cued position in the Runup area. 8. Select Clip > Remote Play and Capture when you are ready to capture. A check mark appears next to the command to indicate that the system is ready.
Remote Play, Capture, and Punch-In 4. Select Clip > Remote Play and Capture when you are ready to use your system for playing. A check mark appears next to the command to indicate that your system is ready. A yellow outline appears around the Play button in the Source/Record monitor to indicate that Remote Play and Capture is active. The Remote Play and Capture command behaves like a Local/Remote switch on a playback device, with VTR in Local mode by default when you start your system. 5.
Remote Play, Capture, and Punch-In 9. Select Clip > Remote Play and Capture when you are ready to use your system for capturing. A check mark appears next to the command to indicate that your system is ready. A yellow outline appears around the Play button in the Source/Record monitor to indicate that Remote Play and Capture is active. The Remote Play and Capture command behaves like a Local/Remote switch on a playback device, with the VTR in Local mode by default when you start your system. 10.
Modifying the Pulldown Phase After Capturing 14. Control recording from the controller. Remote Punch-In does not use preroll or postroll settings, and it does not initiate a loop playback or audition playback prior to recording. Remote Punch-In begins recording audio to the selected channels as soon as you start the record operation.
Modifying the Pulldown Phase After Capturing 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 starts either with this digit or this digit plus 5. For example, if the A frame has the timecode 1:00:10:20, timecode for all A frames in the clip ends in either 0 or 5. c.
DV and HDV Scene Extraction DV and HDV Scene Extraction While you are capturing DV or HDV footage, the DV and HDV Scene Extraction feature lets you generate subclips and markers automatically, based on time-of-day (TOD) information contained in the DV or HDV format. Discontinuities in the DV or HDV TOD metadata indicate each new take in a master clip or subclip shot on a DV or HDV camera.
DV and HDV Scene Extraction 5. Click OK. 6. Select Tools > Capture and then click the Record button. When capturing has finished, your Avid editing application creates subclips with the same source clip name and the file name extension .sub.01 where TOD information breaks occurred. Marker marks appear in the master clip where TOD information breaks occurred. To set up DV scene extraction after capturing: 1. Open a bin. 2. Click the clip for which you want to create subclips or marker marks.
Using the Panasonic VariCam Using the Panasonic VariCam The Panasonic VariCam® (Panasonic AJ-HD1200A) allows the recording of frame rates between 1fps and 60fps. For example, material captured at 24 frames per second and played back at 24 frames per second has no speed change, but the same action captured at 48 frames per second and played back at 24 frames per second runs at 50% speed (slow motion). The 720p format is always recording to a progressive 60 (59.94) frame tape format.
7 Importing Files When you import files, your Avid editing application converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. You can specify a target drive to store any corresponding media files.
Preparing to Import Files Preparing to Import Files Before you begin the import process, make sure the system and the files are ready for import: • Prepare the files in advance according to specifications described in “File Format Specifications” on page 1389. • Determine the source for the files. Consider copying all files to a single folder before you import. See “Importing Media Files” on page 259.
Creating and Modifying Import Settings To create a new Import setting: 1. Click the Settings tab in the Project window. 2. Right-click Import and select Duplicate. A duplicated entry displays. Custom setting name column in the Settings list of the Project window 3. Select the duplicated entry, click the Custom setting name column, type a name, and press Enter (Windows) or Return (Macintosh).
Importing Media Files 4. Double-click the new Import setting. The Import Settings dialog box opens. 5. Select the appropriate options. For more information about Import settings, see “Import Settings” on page 1352. 6. Click OK. To modify an existing Import setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click an Import setting. The Import Settings dialog box opens. 3. Select the appropriate options, as described in “Import Settings” on page 1352. 4.
Importing Media Files When importing files from third-party applications, you may need to install specific codecs to convert these files into an Avid format. Consider copying all graphics files to a single folder before you import the files. Using this folder helps you manage graphics from multiple sources and streamlines the reimporting process because all graphics point to the same original path.
Importing Media Files 9. From the main menu, select File > Import. The Select Files to Import dialog box opens.
Importing Media Files 3 Options button 7 Source file list 4 Resolution menu 8 Disk Label (for XDCAM only) 10. Do one of the following: t Click the Files of Type menu (Windows) and select All Files, or select the Any Documents option (Macintosh) to display all files in a selected folder, regardless of file type. Use this option if you want to batch import from multiple file types.
Importing Media Files Option Description (Continued) Windows Media Use to import Windows Media (.wmv) files. (Windows only) MetaSync™ Use to import MetaSync XML (.aeo) files that have been created by MetaSync Manager. For more information, see “MetaSync Guide” in the Help. To import a series of sequentially numbered files, select the first file in the sequence. To automatically select the entire sequence of files, you must select the Autodetect Sequential Files option in the Import Settings dialog box.
Importing with Multichannel Audio 16. Select files or deselect files from the source file list by using the standard selection methods for your operating system. 17. Click Open. When the system finishes importing the files, the clips display in the selected bin. If you imported stereoscopic files, standard master clips are created in the bin. These clips must manually be selected and converted into stereoscopic master clips before you do any stereoscopic editing.
Importing with Multichannel Audio You can also open the Import Settings dialog box by clicking the Options button in the For information about the Import Settings, see “Import Settings” on page 1352. 2. Click Edit. The Set Multichannel Audio dialog box opens. 3. Click the format buttons to select one of the following audio track formats for each pair of source channels: Button Track Format Mono Stereo 5.1 Surround Sound 7.1 Surround Sound You must map source audio channels in mono or stereo pairs.
Importing Audio Files from a Music CD Importing Audio Files from a Music CD To import audio files from a music CD: 1. Follow the procedure in “Importing Media Files” on page 259. 2. In step 10, select Files of Type > Audio (Windows) or Show > Audio Documents (Macintosh). 3. In step 16, navigate to the music CD and select the track or tracks you want to import. n (Macintosh) If you encounter an error, copy the audio files to your desktop and import them from there. 4. Finish the procedure.
Sample Rate Conversion and Audio Import To adjust the gain after import: 1. Choose one of the following methods: t Select the clip in the bin, and select Clip > Apply Gain. t Right-click a single clip and select Apply Gain. The Apply Clip Gain menu opens. 2. Type a decibel level from 12 to -96 to adjust the volume, or use the Up and Down arrows on the keyboard to locate the decibel level you want to apply. 3. Click OK. The gain adjustment applies to every clip.
Setting Sample Rate Conversion Options Before Importing Audio Files sample rates with non-pullup or non-pulldown sample rates, and the length and pitch of the imported audio changes by plus or minus .1%. Again, this means that a source audio file with a 48048 sample rate is marked on import with a 48000 sample rate, and it plays back .1% slower than audio with a converted sample rate.
Photoshop Graphics Import 4. Click OK. When the files import and appear in the bin, any converted sample rates display in the bin for the imported files. If you do not convert audio files with pullup or pulldown sample rates, these audio files display in your bin with the sample rate closest to the source sample rate. For example, a file with a 48048 sample rate displays in your bin after import with a 48000 sample rate, regardless of the project sample rate.
Photoshop Graphics Import When you import a multilayered graphic, you can import each layer as a separate object (a matte key or master clip). You can then manipulate individual layers like any other matte key or master clip. You can also import the graphic as a flattened image, or select the layers to import. Some layer options in Photoshop are not supported for import into your Avid editing application. See “Support for Multilayered Photoshop Graphics Import” on page 271.
Photoshop Graphics Import The following illustration shows the layers as they appear in a bin. During the import, your Avid editing application creates a sequence with each layer on a separate video track. This makes it easy to edit all layers into the final sequence. This sequence preserves the names and order of the layers as created in the original Photoshop file. You can then edit the tracks to build up to the full collage.
Photoshop Graphics Import • Hidden layers are imported as matte keys. • Importing converts Opacity to Foreground level in the Matte Key effect. • Importing rasterizes text and shape layers. • Not all layer options and types are supported for import. For information on preserving layer effects during import, see “Importing Photoshop Files” on page 273. For information on support for layer options and types, see the following tables.
Photoshop Graphics Import Special Layer Option Supported Notes Pattern Layer Yes — Adjustment Layer No Adjustment layers include Levels, Curves, Color Balance, Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient Map, Invert, Threshold, and Posterize. Importing Photoshop Files To import a single-layer graphic, or a flattened multilayered Photoshop graphic: t Follow the standard instructions for importing a graphic, as described in “Importing Media Files” on page 259.
Digital Bars and Tone Your Avid editing application displays messages as it creates media for each layer. At the end of the process, the selected bin displays the objects. To preserve layer effects: 1. For the first import, click Select Layers and select all layers except the layers that contain layer effects. 2. For the second import, open Photoshop, hide the layers you’ve already imported, and show the layers that contain layer effects. During the import, click Flattened Image.
Importing Color Bars and Other Test Patterns Importing Color Bars and Other Test Patterns Avid editing applications supply files for color bars and other test patterns. You can import 8-bit PICT files or 16-bit TIFF files. To import a test pattern from a file: 1. Open an existing bin, or create a new one for the test pattern. 2. Select the destination bin. 3. Select File > Import. The Select Files to Import dialog box opens. 4.
Importing Editcam Files 9. Click Open. The clip for the imported file appears in the selected bin. When you import SMPTE_Bars.pct, the file does not exactly match the SMPTE bars generated by the Video Output tool. The I and Q blocks in the bottom portion of the pattern cannot be exactly represented in the RGB color space used when importing files. 10. If you must have I and Q blocks correct in a sequence, do one of the following: t Record SMPTE bars from a signal generator.
Importing Editcam Files To import Editcam files: 1. (Option) Select File > Mount All. If you previously mounted the drive or volume, or if you inserted the FieldPak® before starting your Avid editing application, you do not need to perform this step. 2. Open a bin. 3. Select File > Import. A dialog box opens. 4. Click the Files of Type menu (Windows) or the Show menu (Macintosh), select CamCutter, and then select the CamCutter bin by doing the following: a.
Setting XDCAM Import Options Setting XDCAM Import Options Set the default options to import XDCAM media in the XDCAM tab of the Import Settings dialog box. Use these settings to override the selections made in the Select Files to Import dialog box or to set default behavior when you import XDCAM media. For more information, see “Import Settings: XDCAM Tab” on page 1357. Importing XDCAM Media XDCAM and XDCAM HD devices store media as MXF OP1a interleaved files.
Importing XDCAM EX Media There are several ways to access XDCAM media: • Automatically import all proxy media when you load a disc in your XDCAM device. See “Automatically Importing Proxy Media from an XDCAM Device” on page 282. • Manually import all proxy media on all discs currently loaded on your system. See “Importing Proxy Media from an XDCAM Disk” on page 283.
Importing XDCAM EX Media First you need to export the clip from the XDCAM EX device. There are two export options to choose from, one option is to export “MXF for NLEs.” This option creates an OP1a .mxf file, and then import the file into a bin. The other option is to choose to export “Avid AAF.” This option creates an AAF composition file, and concurrently creates an OPAtom MXF media file. In the Avid AAF export options, choose a valid Avid MediaFiles folder.
Importing XDCAM EX Media To import an XDCAM EX clip using MXF for NLEs: 1. With an XDCAM EX camera or reader attached to your system, insert an XDCAM EX card. 2. Launch the Sony XDCAM EX Clip Browser. n The XDCAM EX Clip Browser application should have come with your Sony camera or reader. For information about the Sony XDCAM EX Clip Browser, see Sony’s documentation. 3. From within the Clip Browser window, select the clips you want to export. 4. Right-click the clips and select Export > MXF for NLEs.
Automatically Importing Proxy Media from an XDCAM Device Automatically Importing Proxy Media from an XDCAM Device You can use this method to automate the process of importing proxy media from your XDCAM device to your Avid editing application. To import proxy media from an XDCAM device: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Automatically Import Proxies when disk is inserted. 4. Click OK. 5.
Importing Proxy Media from an XDCAM Disk 6. Insert a disk into your XDCAM device. The Import XDCAM Proxy from drive: dialog box opens. 7. Type a name in the Disk Label text box. Your Avid editing application uses the disk label for operations such as Batch Import, where you are prompted to insert a specific XDCAM disc that holds the files you want to import. A disk label is required in order to import XDCAM media. 8.
Copying XDCAM Proxy Media to a Local Drive or a Server 6. Click Import. When the import finishes, the clips appear in the selected bin. Your Avid editing application imports XDCAM media at the native resolution of the media on the XDCAM disc. Your Avid editing application ignores other resolution settings — for example, in the Select Files to Import dialog box. 7. (Option) Repeat this procedure for each XDCAM disc that holds media you want to import.
Manually Importing XDCAM Media from the XDCAM Disk Manually Importing XDCAM Media from the XDCAM Disk Use the standard Import function to import XDCAM media into your Avid editing application. Set the default XDCAM import options in the XDCAM tab of the Import Settings dialog box. For more information on import options, see “Import Settings: XDCAM Tab” on page 1357.
Editing XDCAM Proxy Media To import Essence Marks as markers: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Import Essence Marks as markers. 4. Click OK. Editing XDCAM Proxy Media When you import proxy media files, a new master clip is created that you can edit in the timeline just like any other clip.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk To set the playback options for XDCAM media: 1. Right-click the Video Quality menu button, and select Draft Quality (yellow/green) or Best Performance (yellow/yellow). Some effects, such as IllusionFX and FluidMotion effects, do not playback in real time when you select Draft Quality. For these effects, you must also select the Progressive Source button in the Effect Editor before you render. 2.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk To batch import high-resolution XDCAM media: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Batch Import High-resolution Video. 4. Click the Handle Length text box and type the number of additional frames you want to import at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. The default is 30 frames. 5.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk 9. Select Clip > Batch Import. A message box opens. 10. Click the All Clips button. The Batch Import dialog box opens. Single/Dual Drives button (left) and Video Drive and Audio Drive menu location (right) in the Batch Import dialog box Your Avid editing application imports XDCAM media using the native resolution of the XDCAM files. 11.
Editing and Finishing High-Resolution XDCAM Media 12. Click Import. The high-resolution files import. If the source media is stored on more than one disk and not all disks are attached to your system, the system prompts you to insert additional disks as needed. Editing and Finishing High-Resolution XDCAM Media Once you import the high-resolution media, you can playback and edit your sequence with full resolution and in real-time.
Importing Sequences from Pro Tools through Interplay 3. Navigate to the P2 files: t Navigate to the P2 card t Navigate to the folder where multiple P2 cards reside. The system can import P2 files from multiple cards as long as each card has a Contents folder. The Import P2 option imports all the clips on the card. 4. Click OK. A progress box appears as the clips import. When the import is complete, the clips appear in the active bin. You can play and edit the clips; the media resides on the P2 card.
Using the Drag-and-Drop Method to Import Files Using the Drag-and-Drop Method to Import Files To import one or more files by using the drag-and-drop method: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click Import. 3. Select either the default Import setting or one you have created. To view or modify the parameters, double-click the setting. For more information, see “Creating and Modifying Import Settings” on page 257. 4.
Reimporting Files You cannot reimport a mixed-rate sequence because you cannot batch import material in formats other than the project format. A message box appears if you attempt to reimport such material. Instead, you can decompose the sequence, then reimport the resulting clips by opening the bin in projects that match each of the decomposed formats. n OMFI files can contain only one master clip when you reimport them. To reimport files: 1.
Reimporting Files The message box closes and the Batch Import dialog box opens. For reference information on the Batch Import dialog box, see “Batch Import Dialog Box” on page 295. 8. If you want to remove clips from the list, select the clips you want to remove and then click Skip This Clip. The clips are removed from the list and are not imported. 9. Locate the sources for files that weren’t found by doing the following: a. Select a clip or clips displayed in red in the Selected Clips section. b.
Batch Import Dialog Box Batch Import Dialog Box The Batch Import dialog box lets you select a source file for each master clip that you selected in a bin. Your Avid editing application finds the source file automatically if the it is located in the same folder where you last imported the file. For information on working in the Batch Import dialog box as part of the reimporting process, see “Reimporting Files” on page 292. Batch Import dialog box. Top: Selected Clips area.
Batch Import Dialog Box Area Control Selected Clips list Description Shows the clips you selected for import. The caption at the top of the section summarizes the total number of clips shown and how many of them are available for import. Found clips display in black. Clips not found in their original location display in red. Skip This Clip button Removes any clips that you select in the list so that they are not reimported.
8 Working with Bins Bins provide powerful database tools for organizing and managing your captured material. Bin functionality lets you view bin objects and information in several different ways. You can rename, sort, sift, duplicate, assign colors, and delete clips and sequences, move or copy clips from one bin to another, and print single-clip frames or whole bins.
Object Icons in Bins Object Icons in Bins Bins use icons to identify clips, sequences, and other media objects that they display. The table describes all of the object icons that you might see in a bin display. n Icon By default, bins display all existing media objects except source clips and rendered effects.
Bin Views Icon Object Type Description (Continued) Groups (For MultiCamera editing) Clips containing two or more grouped clips, strung together sequentially according to common timecodes Bin Views You can display the contents of your bins in three different ways using the Bin View buttons at the bottom of the bin window. Using Text View Text view provides the most complete view of clip information. It uses database columns that you can rearrange and customize to suit your needs.
Bin Views To select column headings: 1. With a bin in Text view, do one of the following: t Select Bin > Choose Column. t Right-click and select Choose Column. The Bin Column Selection dialog box opens. 2. Select the headings you want to add to the bin: t Click the name of a heading to select it. t Click a selected heading to deselect it. t Click All/None to select or deselect all the headings. 3. Click OK.
Bin Views If the Sort command appears dimmed in the menu, you have not selected a column. 2. To reverse the order of the sort, do one of the following: t Double-click the column heading again. t Right-click the column heading and select the reverse order for the Sort on Column command. To reapply the last sort, do one of the following: t Select Bin > Sort Again with no column selected. This step is useful after you add new clips to a sorted bin. t Click the column heading and select Bin > Sort.
Bin Views Understanding Bin Views Use the Bin View menu (Text view only) to select different bin views. The Bin View menu appears to the right of the bin tabs. The following table describes the default bin views that are available. View Description Capture Contains a set of headings that are useful when capturing footage from tape — for example, start and end timecodes, tape, tracks, and resolutions. Custom Lets you create and save customized views.
Bin Views Bin view settings are also available in the Settings list of the Project window. For more information, see “Working with Settings” on page 1284. Bin tabs (top), Fast Menu button (bottom left), and Bin View menu (bottom right) in the bin Saving a Custom Bin View To save a bin view: 1. Open a bin, click the Bin View button, and select Text. 2. Resize, add, hide, or rearrange bin columns according to preference to customize your view.
Bin Views To change a custom bin view with the Bin View dialog box: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click the custom bin view you want to change. The Bin View dialog box opens. 3. Select and deselect the columns you want to display. 4. Click OK. Using Frame View In Frame view, each clip is represented by a single frame, with the name of the clip displayed below the frame. The system uses the head frame as the default.
Bin Views To enter Frame view: t Click the Bin View button in the bin, and select Frame. Frame view in the bin. Top to bottom: bin tab, clip frame, clip name, and Bin View buttons To enlarge the frame size: t Select Edit > Enlarge Frame. The display size increases each time you select this option, up to seven times. To reduce the frame size: t Select Edit > Reduce Frame. The display size decreases each time you select this option, up to seven times. To rearrange a single frame: 1.
Bin Views To rearrange multiple frames: 1. Do one of the following: t Shift+click the frames. t Lasso the frames by clicking the mouse pointer outside the first frame and drag it to surround the frames with a white dotted line. 2. Drag the selected frames to a new position in the bin. 3. Click the background area of the bin to deselect the clips. To align all frames to an invisible grid: t Select Bin > Align to Grid.
Bin Views You can do the following in Script view: • Add text. • Use basic word processing procedures to highlight, delete, cut, copy, and paste text between script boxes. • Rearrange clips. • Select any frame to represent the footage. • Play back the footage within any clip. To enter Script view: t Click the Bin View button in the bin, and select Script. Script view in the bin. Top to bottom: bin tabs, script text box, Script Bin View button To type text in the script box: 1.
Bin Procedures n When you return to Text view, the order of the clips is changed there as well. Bin Procedures You can manipulate material in the bin in a variety of ways, including selecting, deleting, duplicating, moving, copying, and sifting clips and sequences. When you work with bins, an asterisk appears before the bin name in the bin’s title bar. The asterisk indicates that the changes to the bin have not been saved. Once you save the bin, the asterisk is removed.
Bin Procedures To move a bin into separate window: t Click the tab for the bin you want to move, and drag it to a clear region of the application interface. The bin displays in a separate window. To view bin tabs that do not display in the tab panel, do one of the following: t Click the Previous Bin button or the Next Bin button to shift the tab view to the left or the right. The bin tab displays adjusts to display the next bin either on the left or the right.
Bin Procedures To select multiple clips or sequences in a bin, do one of the following: n t Ctrl+click (Windows) or Cmd+click (Macintosh) clips to add them to your selection. t Select a clip, and then Shift+click another clip to select a range of items. If you then Shift+click another clip, the range covers all clips from the one you originally selected to the new clip. In Frame view, the range of items includes all clips within a rectangular region bounded by the first and last clips selected.
Bin Procedures To move clips or sequences from one bin into another: 1. Create or open another bin. Give the bin a name that represents its purpose or contents. 2. Position or resize the original bin and the new bin so that you can see both of them at the same time. 3. Select the clips or sequences that you want to move. 4. Drag the clips or sequences to the new bin. n If the destination bin’s display has been set to show reference clips, the referenced object types do not appear until you save the bin.
Bin Procedures 3. Press and hold the Ctrl key (Windows) or the Command or Option key (Macintosh) and drag the clips or sequences to the destination bin, and release the mouse button. The copies appear in the destination bin, and the originals remain in the source bin. The system does not add the file name extension .Copy.n to the clip or sequence as it does when duplicating.
Bin Procedures The Delete dialog box opens which displays the items that you selected. By default, media files are not selected for deletion. Examples of the Delete dialog box with one master clip selected (left) and with multiple clips selected (right) 3. Select the items you want to delete: t Select clips and their associated media files for deletion. t Select only the media files for deletion if you want to retain the clips to recapture later.
Bin Procedures 4. Click OK. If you choose to delete media files, a dialog box opens. 5. Click Delete. The selected clips, sequences, and media file are deleted. n When you select a title for deletion, you might see more than one resolution. Changing the Bin Background Color You can customize the background color of the bin. Changes affect only the currently active bin. Also, you can reset the bin background color to the default color for your Interface settings. To change the bin background color: 1.
Bin Procedures To add a Color column to a bin: 1. With a bin in Text view, select Bin > Choose Columns. The Bin Column Selection dialog box opens. 2. In the column list, click Color. 3. Click OK. The Color column appears in the bin. By default, a new column appears as the first column in the bin, to the left of all other columns. You can reposition the Color column by clicking the column heading and dragging it to a new location. To assign a color to a clip, subclip, sequence, or effect clip in a bin: 1.
Bin Procedures If the Lock column does not display, you might have the column hidden. For information on hiding and restoring bin columns, see “Moving, Aligning, and Deleting Bin Columns” on page 319. To unlock previously locked items: 1. Select the items in the bin. 2. Select Clip > Unlock Bin Selection. You can use the clip-locking feature along with archiving software to automatically archive all locked media files.
Bin Procedures Selecting Offline Items in a Bin Offline items are clips, subclips, or sequences that are missing some or all of their original media files or that have never been captured. To identify offline items, do one of the following: t Select Bin > Select Offline Items. t Click the Bin Fast Menu button, and then select Select Offline Items. The bin highlights all items that are missing media files.
Bin Procedures 4. Select the clip or sequence, and select Bin > Select Media Relatives. The system highlights all related objects in all open bins. Example of finding media relatives. In the bin on the right, objects are highlighted if they relate to the sequence selected in the bin on the left. Selecting Unreferenced Items in a Bin When you select unreferenced clips, your Avid editing application highlights all clips not currently referenced by clips or sequences that are in the open bins.
Working with Bin Columns Working with Bin Columns The topics in this section describe how to work with the columns of information that appear in the bin when you are in Text view. For more information on Text view, see “Using Text View” on page 299. For information on modifying the information that appears in bin columns, see “Modifying Clip Information” on page 325. Moving, Aligning, and Deleting Bin Columns You can move, align, and delete columns in a bin.
Working with Bin Columns t Click the column heading in a bin, and then select Edit > Delete. t Click the column heading in a bin, and then press the Delete key. The column disappears from the view, and surrounding columns close to fill the space. 3. When you delete a custom column, a confirmation dialog box opens. Select OK to delete the column or HIde to hide the column and save the custom information. c If you delete a custom column, all information in the column is deleted.
Working with Bin Columns To add a new custom column: 1. Move any existing column to the right or left to create an empty area. Move the column partly over the adjacent column. If you move the column too far, the column repositions. 2. Click an empty area to the right of the current headings in the headings box. A text box appears. 3. Type the column heading you want, and press Enter (Windows) or Return (Macintosh). Column headings must contain a maximum of 14 characters, including spaces.
Working with Bin Columns 2. Scroll to the bottom of the list and select the metadata headings you want to add to the bin. Manufacturer generated metadata column headings in the Bin Column Selection dialog box 3. Click OK. Only the metadata headings selected appear in the bin. n When you use AMA and metadata column headings, Avid recommends that you do not create custom bin views. Use the default preset bin views.
Working with Bin Columns Shortcut Description Shift+Tab Moves the pointer left to the cell in the previous column. You can continue to press Shift+Tab to scroll through cells to the left until the cell in the first column highlights. The next time you press Shift+Tab, the cell in the last column highlights. Enter (Windows, on main Enters any new information you type in the cell and moves the pointer down to the keyboard) or Return cell in the next row.
Working with Bin Columns Adding Timecode Columns to a Bin or the Media Tool To add timecode columns to a bin or to the Media tool: 1. Select Bin > Choose Columns. The Bin Column Selection dialog box opens. 2. Ctrl+click (Windows) or Command+click (Macintosh) the timecode columns you want to display. 3. Click OK. The timecode columns appear in the bin or the Media tool. Frame Counting for Timecodes The table shows the frame count for each timecode available for your Avid editing application.
Modifying Clip Information Modifying Clip Information You can change or modify the information in certain columns for your master clips, subclips, tapes, and other objects stored in the bin. This is useful if some of the data is incorrect or if you need to conform information for organizational purposes. The following conditions apply to modifying clip information: • When you modify a clip’s information, related objects automatically update to reflect the new data.
Modifying Clip Information You can modify any data in the bin even while you log, prior to capture. After the footage is captured, however, you can modify information only in selected headings, with restrictions. For more information, see the following table. c When you modify tape names and timecodes, the modification affects any key numbers you enter for the selected clips.
Modifying Clip Information Bin Column Heading Description Creation Date Date and time you log or capture the clip. Disk Label For XDCAM media, this heading displays the user-supplied disk label you create when you import the media file. For other media, the heading displays the disk label of the drive from where you imported the clip. For more information, see “Importing XDCAM Media” on page 278. Drive Last known drive where the media for the master clip existed. Duration Length of the clip.
Modifying Clip Information Bin Column Heading Production Description Name of the production associated with the clip. Metadata information from a P2 file. Modifiable after capture with no restrictions. Project Project under which the media was originally captured. Pullin Telecine pulldown of the first frame of the clip (pulldown phase). Pullin can have the values A, B, X (matchback only), C, or D. For 24p projects and matchback projects only.
Modifying Clip Information You can apply changes with the Modify command to master clips only. You cannot alter subclips and sequences in this way. You can modify the data of captured, imported and file-based clips. In addition, you can perform modifications that only alter the end timecodes or the tracks before capture. c When you modify tape names and timecodes it affects any key numbers entered for the selected clips. To modify the clip data directly in a bin: 1.
Modifying Clip Information 4. Click the Modify Options menu, and select an option. 5. Select an option or type information into the text boxes. For more information, see “Modify Command Options” on page 330. 6. Click OK. The modification takes effect. Modify Command Options Type of Modification Options Description Set Timecode Drop/ Non-drop Drop, Non-drop Changes the timecode format between drop-frame and non-drop-frame. Setting must match the timecode format of the tape.
Modifying Clip Information Type of Modification Options Description Increment Timecode Start or End Changes either the start or end timecode. If you increment the start timecode automatically, it modifies the end timecode by the same amount. You can only alter start timecodes after capture. Timecode text box Lets you enter custom incremental timecode. Start or End Changes either the start or end timecode.
Working with Film Information in Bins Copying Information from Another Cell in a Custom Bin Column To copy information from another cell in a custom column: 1. Press and hold the Alt key (Windows) or Option key (Macintosh) while you click in the destination cell to reveal a menu of all items entered in that column. 2. Select the text from the menu. The text appears in the cell.
Working with Film Information in Bins To specify the gauge of the film: t Ctrl+click the cell, and then select one of the following film sizes and perf count or frame count: - 35mm, 4 perf - 35mm, 2 perf - 35mm, 3 perf - 35mm, 8 perf - 16mm, 40 perf - 16mm, 20 perf - 65mm, 15 perf (used in IMAX® films) - 65mm, 10 perf - 65mm, 8 perf - 65mm, 5 perf - VistaVision® Tracking 3-Perf Counts You can track 3-perf counts in film projects.
Creating a Storyboard To select an edgecode type: t Ctrl+click the cell, and select the edgecode type that matches the edgecodes on the film.
Sifting Clips and Sequences n You can also display bins as tabs in a common bin window. For more information, see “Using Bin Tabs” on page 308. You can use the Set Bin Display option to display clips referenced by a sequence, even if the clips were not previously in the bin. To set the bin display: 1. Place a sequence in a new bin and click the bin. 2. Select Bin > Set Bin Display. The Set Bin Display dialog box opens. 3. Select the object types that you want to see: master clips, subclips, sequences..
Sifting Clips and Sequences To sift clips or sequences: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. Custom Sift dialog box. Left to right: Criterion menu, Text to Find text box, and Column or Range to Search menu 2. Click the Criterion menu, and select one of the sifting options. 3. Click the first Text to Find text box, and type the text that you want to use as a sift criterion.
Sifting Clips and Sequences To view the sifted bin: t Select Bin > Show Sifted. The word “sifted” appears in parentheses after the bin name when you view the bin in its sifted state. Understanding Sifting Timecodes or Keycode Ranges You can sift on a timecode (or keycode) number within a specific range. For example, you can sift for all the clips that start before and end after a particular timecode.
Sifting Clips and Sequences If you type a value in the Text to Find text box in the Custom Sift dialog box, click the Column or Range to Search menu, and select Start to End Range. Example of a bin after a custom sift by timecode. The detail of the Custom Sift dialog box (top) shows the query used for sifting, and the bin (bottom) shows only those clips that encompass the timecode number entered. Some column pairs explicitly define a range, for example, Start and End or Mark IN and Mark OUT.
Sifting Clips and Sequences Keycodes contain letters, numbers, and a dash before the feet and frames; for example, KJ23 6892-0345+13. When you sift on a keycode number, you enter only the numbers after the dash (the actual counter portion). Any information before the dash is ignored. If you do enter characters before the dash, they must match the corresponding characters in the bin column exactly. The table lists all columns associated with explicit ranges and their corresponding menu choices.
Working with Restricted Material Sifting Timecodes or Keycode Ranges To sift for a timecode or keycode number within a specific range: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. 2. Type the timecode (or keycode) number for the range in which you want to sift. 3. Type the timecode number for the range in which you want to sift. 4. Click the Column or Range to Search menu, and select a range; for example, Start to End Range or Mark In to Out Range.
Working with Restricted Material Restriction marker on a clip in the bin When you first open a restricted clip or load a sequence containing restricted clips, a warning message box opens. The warning appears every time you open or display a clip on restricted material in this session, not just on the present clip. The same warning appears when you try to perform a digital cut, send the sequence to playback, or export.
Printing Bins n The restriction is tied to the source tape name and timecode. You can disassociate the restriction from the clip if you change those values in the bin. To view Restriction comments, do one of the following: t Click the View Restrictions button in the warning message box when it opens. t Select Tools > Restrictions. The Restriction window opens. It displays the name, head frame, and description of each restricted clip.
Printing Bins 3. Select File > Print Frame. The Print dialog box opens. 4. Select the Print options. 5. Click OK (Windows) or Print (Macintosh). The system prints the frame currently displayed in the active monitor.
9 File Based Media - AMA You can link, import, or export clips and sequences from many third-party volumes or third-party files to and from the Avid editing system. You can manipulate and edit this media as you would any other clip or sequence. You obtain this media from a third-party device (a camera, reader, or drive), from a CD or DVD, from a folder on your system, or from a virtual volume (a server connected to your system).
XDCAM, XDCAM EX and HDCAM SR Media XDCAM, XDCAM EX and HDCAM SR Media The Sony® XDCAM™ decks and camcorders use an optical disk with either a capacity of 23.3 or 50 GB to store recorded media. The XDCAM devices record media in high-resolution MPEG IMX™, DVCAM™, and XDCAM HD formats or corresponding low-resolution or compressed (proxy) media (MPEG-4).
XDCAM, XDCAM EX and HDCAM SR Media XDCAM and XDCAM EX Formats and Resolutions Number of Audio Channels Resolution/Bit Rate Frame Rate/Raster XDCAM HD: 1080i/59.94, 1080i/50, 1080p/23.976, 2 or 4 720p/50, 720p/59.94*, 1440 x 1080, 2 or 4 1280 x 720 (25/35mb) 2 or 4 2 or 4 XDCAM HD 17.5 Mbits XDCAM HD 25 Mbits XDCAM HD 35 Mbits XDCAM HD 50 Mbits (24-bit audio) 1080i/59.94, 1080i/50, 1080p/23.976, 8 1080p/25, 1080p/29, 720p/59.94, 720p/50, 1920 x 1080, 1280 x 720 XDCAM EX 25Mbits* 1080i/59.
XDCAM, XDCAM EX and HDCAM SR Media HDCAM SR Formats and Resolutions The following table lists the formats and resolutions available when you work with HDCAM SR media: Number of Audio Channels Media Type Frame Rate/Raster HDCAM SR Lite 1080i/50, 1080i/59.94, 1080p/23.976, 1080p/24, 1080p/25, 1080p/29.97, 1280 x 720 16 HDCAM SR SQ 1080i/50, 1080i/59.94, 1080p/23.976, 1080p/24, 1080p/25, 1080p/29.
XDCAM, XDCAM EX and HDCAM SR Media Installing the XDCAM Drivers Before you use XDCAM or XDCAM EX devices, you need to load the appropriate drivers. Your XDCAM device should include a CD that includes the driver. To install XDCAM or XDCAM EX drivers: t n Follow the instructions included with your XDCAM or XDCAM EX device. Download the most up to date driver from the Sony website, www.sony.com. Connecting the XDCAM or XDCAM EX Device Use an IEEE-compliant 1394 (i.
XDCAM, XDCAM EX and HDCAM SR Media To eject an XDCAM EX card from its device: 1. With an XDCAM EX card inserted in the XDCAM EX device and your Avid editing application running, click the Safely Remove Hardware icon located at the bottom right-hand corner of the taskbar. 2. Select Safely Remove XDCAM EX device name. This removes the XDCAM EX device from your system. 3. To use the card again, unplug and then plug-in the XDCAM EX device from your system using the USB cable.
P2 Media 3. Navigate to the actual XDCAM EX card or XDCAM disk and select the folder with the media. 4. Do one of the following: t Copy and paste the contents of the card or disk media folder to the folder on the other drive. t Click the card or disk folder and drag it to the folder on the other drive. 5. Eject the card or disk. P2 Media Panasonic’s P2 equipment records DV, DVCPRO, and DVCPRO 50 media on compact, solid-state memory cards (P2 cards).
P2 Media Panasonic Format Avid Format Number of Audio Channels DVCPRO 50 DV 50 (NTSC and PAL) 4 AVC-Intra See “Resolution Specifications: AVC-Intra” in the Help for a detailed list. Avid editing applications support one video track and up to four tracks of 48 kHz, 16-bit audio, the maximum you can record on Panasonic P2 equipment. P2 Files and Folders Panasonic P2 video and audio media is recorded in MXF format, one of the two media file formats you can use in Avid editing applications.
P2 Media Panasonic P2 devices write individual MXF audio and video media files for each track of each clip. For example, a P2 clip that includes one track of video and four tracks of audio is stored on the P2 card as five individual media files. Within your Avid editing application the five media files are represented as a single clip with audio and video. Installing the Panasonic P2 Drivers Before you use a Panasonic P2 device, load the appropriate drivers.
P2 Media Setting up a P2 Card Reader (Windows only) Before using a P2 card reader with a Windows system, you need to set Autoplay options. To set up a P2 card reader for the first time: 1. Make sure your Avid editing application is not running. 2. Make sure the appropriate driver is installed. See “Installing the Panasonic P2 Drivers” on page 352. 3. Connect the card reader to a USB port. 4. Insert a P2 card into each slot. Each P2 card displays as a single lettered drive on the Windows desktop. 5.
P2 Media Before you start your Avid editing application, Avid recommends that you rename each P2 card to its unique serial number as shown on the card edge when it’s mounted in the reader. For example, P21 = Card1, P22 = Card2, P23 = Card3. n The P2 name changes back to “No Name” when you reformat the card in the camera. 6. Start your Avid editing application and open a project. 7. Insert the P2 cards. The P2 cards automatically display on the desktop. To unmount a P2 drive: 1. Select File > Unmount.
P2 Media 4. Do one of the following: t Copy and paste the Contents folder to the folder on the other drive. t Click the Contents folder and drag it to the folder on the other drive. 5. Eject the P2 card. Changing P2 Cards in the Card Reader You can change (“hot-swap”) cards while you work in your Avid editing application. To change one or more cards in the P2 card reader: 1. Remove the old card or cards and insert the new ones. 2. Select File > Mount All.
P2 Media Spanned Clips and P2 Spanned clips are clips that extend from one card to another. Avid supports working with spanned P2 clips in your Avid editing application. The following illustration shows how clips can span multiple cards. Example of spanned P2 clips. The white rectangles represent P2 cards and the gray rectangles represent clips. The first and third clips span multiple cards.
AVCHD Media • P2 and XDCAM EX spanned media covers multiple drives, but the bin displays only one drive letter. The drive letter in the bin might be any of the drives, but is usually the highest lettered drive where the media exists. • If necessary, copy all spanned clips to another drive to ensure a clip’s integrity before you swap out the cards. AVCHD Media AVCHD is a file-based format and does not use magnetic tape.
AVCHD Media AVCHD Formats and Resolutions The following table lists the formats and resolutions available when you work with AVCHD media: Number of Audio Channels (maximum) Resolution/Bit Rate Raster/Frame Rate H.264/Bit Rate 1080i/50, 1080i/29.97, 1080p/23.976, 4 1080p/25, 1080p/29.97, 720p/59, 720p/50, 720p/29.976, 720p/25, 720p/23.98, 1920 x 1080, 1440 x 1080, 1280 x 720 AVCHD Files and Folders AVCHD media files are recorded in MTS format; the file contains both the video and audio.
Canon XF Media Spanned Clips and AVCHD Spanned clips are clips that extend from one card, disc or drive to another. Avid supports working with spanned AVCHD clips in your Avid editing application. For more information about spanned clips, see “Spanned Clips and P2” on page 356.
Canon XF Media For specific Canon XF workflow steps, see “Workflow for Editing Canon XF Clips with AMA” on page 405. Canon XF Formats and Resolutions The following table lists the formats and resolutions available when you work with GFCAM media: Resolution/Bit Rate Raster/Frame Rate MPEG-2 HD 50 and 35Mbits 25Mbits 1920 x 1080, 1280 x 720 1440 x 1080 Number of Audio Channels (maximum) 4 Canon XF Files and Folders Canon XF video and audio media files record in MXF format.
GFCAM Media Copying Canon XF Files to a FireWire or Network Drive After you mount the flash card, you can copy the Canon XF media to a FireWire drive or a network drive and then eject the flash card. You might find it convenient to copy several flash cards to other drives so you can reuse the cards. You can connect a FireWire drive, for example, and store the contents of several flash cards on the drive so you can keep using the flash cards in the camera.
GFCAM Media GFCAM Formats and Resolutions The following table lists the formats and resolutions available when you work with GFCAM media: Number of Audio Channels (maximum) Resolution/Bit Rate Raster/Frame Rate MPEG-2 HD LongGOP 50 Mbits, 102 Mbits (1080i/59.94, 1080i/50, 1080p/23.98 8 pulldown, 1080p/29.97, 1080p/25, 720p/59, 720p/50, 720p/25, 720p/23.98 pulldown) 1440 x 1080 n n n 1080p/23.98 pulldown and 720p/23.98 pulldown record at 59.94fps and are only compatible with 1080i/59.94 and 720p/59.
GFCAM Media The GFCAM video file directory stores MXF files regulated by SMPTE 390M (MXF OP-Atom) and SMPTE 381M (MXF mapping MPEG streams into MXF GC). If a video clip needs to split, such as under the FAT32 file system, the system creates multiple MXF files for that clip. The GFCAM audio file directory stores MXF files regulated by SMPTE 382 (MXF mapping AES3 and BWF into the MXF GC). Each file has an AES channel that consists of two audio channels.
RED Media 4. Do one of the following: t Copy and paste the contents of the GFPAK media folder to the folder on the other drive. t Click the GFPAK folder and drag it to the folder on the other drive. 5. Remove the GFPAK. Working with Shot Marks and Check Marks with GFCAM Media GFCAM products use Shot Marks and Check Marks to store metadata about media clips. Shot Marks allow GFCAM cameras to mark events such as clip start points or audio clipping.
RED Media For specific RED workflow steps, see “Workflow for Editing RED Clips with AMA” on page 406. For information about the AMA process, see “The Avid Media Access (AMA) Workflow” on page 384. RED Formats and Resolutions The following table lists the formats and resolutions available when you work with RED media: Media Type Resolution RED R3D 2K 2:1 2K 16:9 2K ANA 3K 2:1 3K 16:9 3K ANA 4K 2:1 4K 16:9 4K ANA 4.
RED Media Each clip folder (.RMD) is at the root directory. In each of these folders is the .RDC folder which contains the video, audio, and metadata files: • (Windows) drive:\camera+reel_date.RMD\camera+reel_clip_date+random number.RDC • (Macintosh) Macintosh HD/camera+reel_date.RMD/camera+reel_clip_date+random number.RDC AMA detects folders named with RMD and RDC and files named .R3D.
RED Media 3. Navigate to the actual drive or card and select the contents of the folder. You can select the top directory of several RDC folders (containing an R3D file and a color metadata file such as RSX or RMD). 4. Do one of the following: t Copy and paste the contents of the folder to the folder on the other drive. t Click the drive or card folder and drag it to the folder on the other drive. 5. Remove the drive.
RED Media For information on settings (templates) in the Settings menu and how to apply a setting, see “Using Source Settings” on page 371 and “Applying a Source Setting” on page 372. 3. Drag the video slider to the frame you want to view. The new frame displays and the histogram updates. The histogram is a tool that helps you more precisely adjust Source Settings. For more information about the histogram, see “Understanding the Source Settings Histogram” on page 373 4.
RED Media Option Description Gamma Curve Lets you override the gamma curve. Choose from: REC.709: a REC.709 gamma curve with a linear portion at black and a gamma at 2.2 curve REDLog: maps the 12-bit sensor data on to a 10-bit curve with minimal loss REDLogFilm: a way of containing a large dynamic range in a video file. Needs to be viewed through a LUT to convert it for viewing on a monitor. REDSpace: based on REC.
RED Media Option Description DRX Lets you recover potentially lost dynamic range by extending and balancing highlights, taking into account the rendering intent of the desired Kelvin and Tint white balance. Click and drag the slider from 0.00 to 1.00. Default is 0.00. Debayer Detail Choose from High (default), Medium, or Low. Chroma Denoise Choose from Off (default), Minimum, Milder, Mild, Strong, or Maximum. OLPF Controls the optical low-pass filter.
RED Media Option Description Blue Increases or decreases the camera’s sensitivity to blue light by amplifying the B channel digital video signal received from the sensor. At 0 (zero), no blue light is visible, the image has a strong yellow cast. Click and drag the slider from 0.00 to 10.00. Default is 1.00. 5. Click Apply. The changes apply to your clip. You can continue to make additional changes.
RED Media When you edit a clip into a sequence, the material you edit in uses the clip’s current attribute values or RED source settings. If you change the RED source settings at a later point in your workflow, the sequence does not automatically adjust for the change. If you want the sequence to use the RED source settings for clips that you have changed since you edited, you must refresh the sequence.
RED Media To import additional source settings: 1. From the Source Settings window, click the Load button. The Load External Settings window opens. 2. Browse to the Settings file. 3. Change the filter to display RSX, RLX or RMD files. 4. Select your setting and click OK. The new source setting appears in the Source Settings menu, and is immediately applied to the clip.
RED Media n Pixels with color values that are out of range are grouped into either the maximum or minimum color values on the plot. Spikes in either the highest or lowest color values might indicate loss of color information due to clipping. Your Avid editing application draws separate histograms for the red, green, and blue color components. The histograms for each color stack on top of one another, with the fill color changing appropriately to indicate overlap.
RED Media Option Result Zoom In Zooms in on the lower half of the vertical axis. Changes the scaling of the vertical axis so that the height is half that of the maximum value in the plot. You can zoom in indefinitely to display, for example, 1/4, 1/8, or 1/16 of the maximum value. Zoom Out Zooms out of the vertical axis by a factor of two. Changes the scaling of the vertical axis to be twice that of the maximum value in the plot.
QuickTime Media 3. Select the playback quality from the R3D Source Quality (Debayer) menu. t Full t Half (Best Quality) t Half (Good Quality) t Quarter t Eighth t Sixteenth 4. Click OK. 5. Transcode, mixdown or render your clip or sequence as required. For information about transcoding, see “Using the Transcode Command” on page 428. For information about mixdown, see “Performing a Video Mixdown” in the Help. For information about render, see “Basics of Effects Rendering” in the Help.
QuickTime Media Supported QuickTime AMA Codecs and Resolutions You can create a QuickTime movie on an Avid editing system or from a third-party application such as Adobe After Effects with a supported QuickTime AMA codec. QuickTime codecs are installed automatically on your Avid editing system, or you can install the Avid codec on the system which runs the third-party application.
QuickTime Media The Source Settings dialog box opens. The clip displays in the video area. For information on settings in the Settings menu and how to apply a setting, see “Applying a QuickTime Source Setting” on page 380. 3. Drag the video slider to the frame you want to view. The new frame displays and the histogram updates. The histogram is a tool that helps you more precisely adjust Source Settings.
QuickTime Media Option Description Field Layout (Available when Field Ordering > Interlaced is selected) Merged (default): Alternates field information. Split: Based on the field ordering selection (Interlaced Odd or Interlaced Even), fields will be split into one over the other. For example, all odd fields are over all even fields.
QuickTime Media Applying a QuickTime Source Setting Source Settings lets you choose from a Custom of Default setting. Each source setting has its own color values associated with it. To apply a source setting to a QuickTime clip: 1. Right-click a QuickTime clip in the bin (or Shift-click multiple clips), then choose Set Source Settings. The Set Source Settings window opens and your clip displays in the viewer. 2. Select a setting from the Source Settings menu.
MXF Media Understanding the QuickTime Source Settings Histogram The histogram in the Source Settings window helps you visualize the distribution of color values in an image. You can use the histogram to adjust the Source Settings of your AMA media more precisely while avoiding clipping and color imbalance. Example of a Source Settings histogram. The histogram plots color values on the horizontal axis and the percentage or proportional number of pixels on the vertical axis.
MXF Media creation process. The MXF format is independent of the type of content that it contains, so an MXF file can contain video and/or audio at any resolution or compression. In many instances MXF files encapsulate media which is already formatted to one of the existing industry standards. MXF allows for easy exchange of material between file servers, tape streamers and digital archives.
MXF Media MXF Formats and Resolutions The following table lists the formats and resolution by vendor that have been qualified with the MXF plug-in: Company Resolution/Bit Rate Raster/Frame Rate Number of Audio Channels (maximum) Omneon, Rhozet D10 SD 30i 4 or 8 Sony XDCAM HD 1080i/59.94, 1080i/50, 4 1080p/23.976, 1440 x 1080 4 4 4 4 1080i59, 1080i50 XDCAM HD 17.5 Mbits XDCAM HD 25 Mbits XDCAM HD 35 Mbits HDV (25 Mbits CBR) XDCAM HD 50 Mbits 1080i/59.94, 1080i/50, 1080p/23.
The Avid Media Access (AMA) Workflow Number of Audio Channels (maximum) Company Resolution/Bit Rate Raster/Frame Rate Canon DVCPRO 50: DV 50 SD NTSC 30i and PAL 25i MPEG IMX: MPEG 30 MPEG 40 MPEG 50 SD NTSC 30i and PAL 25i SD NTSC 30i and PAL 25i SD NTSC 30i and PAL 25i Sony MPEG-4 (proxy media) SD NTSC 30i and PAL 25i 4 or 8 Canon XF MPEG-2 HD 50 and 35Mbits 1920 x 1080, 1280 x 720 25Mbits 1440 x 1080 Ikegami MPEG-2 HD LongGOP 50 Mbits Sony, Ikegami n 4 4 or 8 4 1080i/59.
The Avid Media Access (AMA) Workflow To display metadata information in your bin, see “Adding a Metadata Bin Column Heading” on page 321. The following considerations and limitations apply: • When the AMA setting is activated, the non-AMA method does not appear in the File menu. Deactivate the AMA setting to display the File > Import P2 (and Import XDCAM Proxy) option. The AMA setting is on by default. • The Link to AMA File(s) menu choice is available for third-party AMA file based media plug-ins.
The Avid Media Access (AMA) Workflow To set up AMA: 1. In the Project window, click the Settings tab. 2. Double-click AMA. The AMA Settings dialog box appears. 3. Click the Volume Mounting tab. 4. Select “Enable AMA Volume Management.” By default, this option is selected. If you deselect the option and then reselect it, you must quit and restart your Avid editing application. When this option is selected, the File > Import menu item is no longer available. 5.
The Avid Media Access (AMA) Workflow 7. To customize your bin, click the Bins tab. By default, the system links your clips into a new bin using the same name as your project name. If you want to change the bin name or want to use an already existing bin, you can make these changes in the Bins tab. For more information on Bins options, see “AMA Settings: Bins Tab” on page 1293.
The Avid Media Access (AMA) Workflow AMA Linking with Ancillary Data You can AMA link to an XDCAM or an MXF (SMPTE 436M) clip with ancillary data, the ancillary data appears in your bin. You can link to the ancillary data clip without an Avid input/output hardware, however, in order to view the ancillary data in a monitor, an Avid Nitris DX or Avid Mojo DX device is required.
The Avid Media Access (AMA) Workflow 3. Click the Link Options tab. The Link Options tab lists any multichannel audio mappings in the current AMA Settings template. 4. Click Edit. The Set Multichannel Audio dialog box opens.
The Avid Media Access (AMA) Workflow 5. Click the format buttons to select one of the following audio track formats for each pair of source channels: Button Track Format Mono Stereo You must map source audio channels in mono or stereo pairs. For example, you cannot map A1 to a mono track and A2 and A3 to a stereo track. Instead, map A1 and A2 to mono tracks, and A3 and A4 to a stereo track. If the source media does not have an audio channel on A2, the Avid editing application ignores the channel. 6.
The Avid Media Access (AMA) Workflow Linking Media with AMA Use the File > Link to AMA Volume(s) option if you link to media which originates on a volume (XDCAM EX, XDCAM, P2, RED or GFCAM). You can also use File > Link to AMA Volume(s) if you want to link to multiple QuickTime files located in a single folder. If you link directly to a single media file clip, use the File > Link to AMA File(s) option.
The Avid Media Access (AMA) Workflow Depending if you are using an existing bin or creating a new bin, the Bin Selection dialog box opens. 3. Select Bin Selection options. Option Description Single Bin Based On Selected Folder Places all linked clips into one default bin. n Single Bin Named Lets you create a new bin and type in a new bin name. Places all linked clips into that bin. Bin(s) Based on Current AMA Setting Places the clips in the bin(s) you set up in the AMA Settings Bins tab.
The Avid Media Access (AMA) Workflow 2. If there is no active bin, a dialog box appears asking you to select a bin. The Select file(s) for AMA linking dialog box opens. 3. From the AMA Plugin Filter menu, select the type of file. Option Description All AMA Plugins Files Searches and displays all files. QuickTime Searches and displays only QuickTime files. MXF Searches and displays only MXF files. RED R3D Searches and displays only RED files. 4. Select the file(s) you want to link.
The Avid Media Access (AMA) Workflow Linking to AMA Multiple Resolution Media Before you link to low-resolution or high-resolution media, you need to select the video and audio quality in the AMA Settings Quality tab. The steps below highlight linking to low-resolution media. You can also link to high-resolution media. n For information about linking with AMA, see “The Avid Media Access (AMA) Workflow” on page 384. To link to low-resolution media: 1. In the Project window, click the Settings tab. 2.
The Avid Media Access (AMA) Workflow 5. Insert the disk into the device. 6. Select Bin Selection options from the Bins tab. For information on bin selection options, see “Linking Media with AMA” on page 391. 7. Select File > Link to AMA Volume. The Browse for Folder dialog box opens. 8. Navigate to the clips, and then click OK. The clips appear in the bin or bins depending on the bin options you select. A link icon appears next to the clips.
The Avid Media Access (AMA) Workflow 4. Click the Highest Quality for your video (audio is always set to Highest Quality) and click OK. The highest quality clips replace the most compressed (low-resolution) clips in the bin. A link icon appears next to the clips. If the bin contains clips from multiple volumes, you will be prompted to insert another disk.
The Avid Media Access (AMA) Workflow 4. Click the appropriate resolution for your video in the Consolidate Preference section, and click OK. If a particular resolution is not available, it will be grayed out. 5. To consolidate the clip, follow the steps in “Using the Consolidate Command” on page 424. The resolutions you select in the Consolidate Preference area of the AMA Settings Quality tab displays in the Transcode/Consolidate dialog box when you consolidate or transcode.
The Avid Media Access (AMA) Workflow 6. Click Open. The new clip highlights in the bin. n If the new file is not compatible with the clip in the bin (it does not have the same duration, edit rate or number of tracks), the clip in the bin retains its original link. The AMA Plug-in Log File The Avid system creates an AMA plug-in log file when you link clips. The log file records errors and information about the clips.
The Avid Media Access (AMA) Workflow 3. Click OK. The system removes the virtual volume from your system and clips linked to this virtual volume appear offline. When you restart your Avid editing application, the system scans the system for virtual volumes and the clips appear online. Virtual Volumes and AMA Bins If you select Volume Name in the AMA Bin Settings tab, the system names the bin the same name as the virtual volume drive name.
Workflows for Editing with AMA To delete files on a local drive in your Avid editing application: 1. In a bin, select the clips you want to delete. 2. (Option) Right-click and select Unlock Bin Selection. 3. Press the Delete key. The Delete dialog box opens. 4. Select Delete master clips and Delete associated media files. 5. Click OK. Workflows for Editing with AMA The following topics include high-level procedures of a typical workflow you might use when you edit with a particular media type and AMA.
Workflows for Editing with AMA 3. Insert the XDCAM disk or XDCAM EX card. The system links the XDCAM clips into a bin. The media itself remains on the disk. The clips point directly to the high-resolution media on the disk. For XDCAM clips from an optical disk, a progress bar appears to show you how much time is left to link the media. n If you use multiple cards and you remove one of the cards, your media displays offline. 4. Use the master clips to edit the sequence. 5.
Workflows for Editing with AMA You should be aware of the following: • Playback performance from an optical disk is very slow. To create a sequence with multiple effects or layered tracks, Avid suggests that you consolidate the media to a local drive, instead of working directly from the optical disk. • Avid has turned off redrawing of waveforms in the Timeline when you link to XDCAM clips that reside on a disk. This allows for a faster linking process.
Workflows for Editing with AMA 14. To consolidate your media, see “Consolidating Multiple Resolution Media” on page 396. n When you consolidate, if you want to keep your AMA clips linked to the original source, select the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files dialog box. 15. Click the Highest Quality for your video and audio and click OK. The highest quality clips appear in the bin along with the low resolution (most compressed) clips.
Workflows for Editing with AMA n When you consolidate, if you want to keep your AMA clips linked to the original source, select the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files dialog box. n When you transcode a sequence, the system automatically defaults to convert both audio and video. You cannot transcode video only with P2. n For information on consolidating your sequence, see “Consolidating Media” on page 422.
Workflows for Editing with AMA 6. Click Open. The clips appear in the active bin. A link icon appears next to the clips. 7. Use the master clips to edit and output a sequence. 8. (Option) Rename the clips to organize your material. 9. Transcode your sequence or clips. n When you transcode a sequence, the system automatically defaults to convert both audio and video. You cannot transcode video only with AVCHD. n For information on transcoding your sequence, see “Using the Transcode Command” on page 428.
Workflows for Editing with AMA Workflow for Editing GFCAM Clips with AMA A typical workflow is as follows: 1. The GFCAM AMA plug-in should be installed on your system. 2. Insert the GFPAK. Your Avid editing system links the GFCAM clips automatically into a bin. The media itself remains on the disk. The clips point directly to the high-resolution media on the disk. n If you use multiple GFPAKs and you remove one of the GFPAKs, your media displays offline. 3. Use the master clips to edit the sequence. 4.
Workflows for Editing with AMA 3. Right-clip the clip in the bin and select Set Source Settings. For detailed information to set clip parameters, see “Adjusting RED Source Settings” on page 367. 4. Use the master clips to edit the sequence. 5. (Option) Rename the clips to help you organize your material. 6. Choose the video quality from the Transcode & Consolidate tab of the Media Creation setting. For more information, see “Preparing your RED Clip for Transcode, Mixdown, or Render” on page 375. 7.
Workflows for Editing with AMA n To link to multiple QuickTime files, use the File > Link to AMA Volume(s) option and select the folder that stores all the QuickTime files. n For information about AMA, see “The Avid Media Access (AMA) Workflow” on page 384. The Select file(s) for AMA linking dialog box opens. 6. From the AMA Plugin Filter menu, select QuickTime. 7. Locate and select the .mov file(s) you want to link. Ctrl+click or Shift+click to select multiple files. 8. Click Open.
Workflows for Editing with AMA n For information on consolidating your sequence, see “Consolidating Media” on page 422. For information on transcoding your sequence, see “Using the Transcode Command” on page 428. Workflow for Editing MXF Clips with AMA A typical workflow is as follows: 1. The MXF AMA plug-in should be installed on your system. 2. Create a supported MXF file (create a supported MXF file from your third party application, for example: Rhozet or Omneon). 3. Move the .
Workflows for Editing with AMA Workflow for Editing Clips with Ancillary Data and AMA The following steps describe a typical workflow for editing XDCAM or MXF clips with ancillary data and AMA. n Do not mix AMA and traditional workflows. Either use AMA or use the traditional import/batch import workflow.
Workflows for Editing with AMA 7. Use the master clips to edit the sequence. When you load the clip into a sequence, a Data track appears which contains the ancillary data. 8. You can then transcode or consolidate your sequence or clips. n When you consolidate, if you want to keep your AMA clips linked to the original source, select the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files dialog box.
10 Managing Media Files When you capture footage, the system creates digital media files on the media drives connected to your system. In addition to the bins where you organize the clips that reference these media files, your Avid editing application provides tools for directly managing these media files.
Working with Media Files in an Avid Interplay Environment Working with Media Files in an Avid Interplay Environment If you are using your Avid editing system in an Avid Interplay environment, you can use Avid’s media asset manager, the Avid Interplay Engine, to share media files between systems.
Using Avid Editing Systems in an Avid LANshare Workgroup Using Avid Editing Systems in an Avid Workgroup Environment When you work with Avid Interplay, you belong to a workgroup that allows you open a bin with assets stored in the Interplay database. To read and write media to the database you first need to mount a workspace. For information on mounting workspaces, see “Mounting Workspaces on an Avid Unity MediaNetwork System” on page 1129 and “Mounting Workspaces on an Avid ISIS System” on page 1130.
Viewing Media with a 100Base-T Connection to Avid ISIS 3. Select “Auto-connect to LANshare at Launch.” 4. Click Connect, and then click OK. The dialog box closes, and auto-connect is set. Viewing Media with a 100Base-T Connection to Avid ISIS Avid editors can access MPEG-2 low-resolution video and MPEG-1 Layer II (or MP2) compressed audio stored on an Avid ISIS media network.
Mounting and Unmounting Drives This is useful in several circumstances: n c • If you work with optical drives for backup and retrieval of low-resolution material, you can unmount drives and mount them as needed to avoid cluttering the desktop during normal use. • If you work with an extensive array of fixed-storage drives, which might involve many partitions divided among several projects, you can selectively mount and unmount drives according to use.
Using the Media Tool n If you receive an error message that prevents you from unmounting a drive, it might be that you have Avid Media Access (AMA) enabled. AMA does not require you to mount and unmount drives. AMA is on by default. To turn off AMA (and unmount your drive), see “Selecting the AMA Settings” on page 385. Using the Media Tool The Media tool is your window into the captured video and audio data files stored on your media drives.
Using the Media Tool n • Media Tool database and display options are saved as User settings. When you close the Media tool, the view you are in (Brief, Frame, Script, or Text) is saved and any customizations of columns are saved. • You have the option of saving a custom view of the Media tool. Any view created in the Media tool is available from all bins and all custom bin views are available in the Media tool from the Views menu.
Using the Media Tool Opening the Media Tool To open the Media tool: 1. Select Tools > Media Tool. The Media Tool Display dialog box opens. 2. Select the media drives from which to load by doing one of the following: t In the Media Drive(s) list, select individual media drives. t Click the All Drives button. The Media tool loads the media database only for the drives you select. The more drives you select, the more memory is required for the Media tool to open. 3.
Using the Media Tool 4. Select Master Clips, Precompute Clips, Media Files, or any combination of the three. 5. Click OK. The Media tool opens. Example of media objects in the Media tool. Top to bottom: a master clip, a precompute clip, and a media file. Deleting Media Files with the Media Tool You can use the Media tool to delete selected media files without harming the related master clips, subclips, and sequences.
Using the Media Tool 3. Do one of the following: t Select Edit > Delete. t Press the Delete key. The Delete Media dialog box opens. 4. Select the media objects that you want to delete: Option Description Video media file (V) After deletion, the master clip linked to that file is black, with the message “Media Offline” displayed. Related subclips and sequences are affected in the same way. Audio media file After deletion, the master clip linked to that file is silent.
Consolidating Media 5. Click OK. A dialog box opens, asking you to confirm the deletion. 6. Click Delete. The selected media files are deleted. Consolidating Media When you consolidate media files, your Avid editing application finds the media files or portions of media files associated with selected clips, subclips, or sequences. It then makes copies of them, and saves the copies on a target drive that you specify.
Consolidating Media The new master clips are also numbered incrementally beginning with .01. Consolidating master clips does not save storage space because your Avid editing application copies the same amount of media for each clip. Consolidating a master clip (original clips and media files in red, new clips and media files in black). Top: in this scenario, the original master clip remains linked to the original media file (for example, on drive A), and the new master clip (which receives a .new.
Using the Consolidate Command Consolidate finished sequences to: n • Create backup files. • Preserve only the captured media required for playback, and delete the rest to use less storage space. • Gather dispersed media onto one drive for storage or transfer to another system. Because a consolidated sequence is linked to the new files by default, consider duplicating the sequence each time you consolidate if you need to maintain links to the original files. Consolidating a sequence.
Using the Consolidate Command The Consolidate/Transcode dialog box opens. 4. Select Consolidate in the upper left corner. 5. In the Target Drive(s) area, select a drive or drives.
Using the Consolidate Command 6. Select the appropriate options. Option Description Video, audio and data on same drive(s) Select to store the consolidated media files on the same target drive. Deselecting this option lets you select separate drives for the audio, video and data media files. Handle length n frames If you are consolidating subclips or sequences, type a handle length for the new clips, or accept the default: leave it at 60 frames (NTSC), 50 frames (PAL), or 24 frames (progressive).
Using the Consolidate Command Option Description (Continued) Target Audio Bit Depth Select either 16 bit or 24 bit. Convert Audio Format Select this option to convert the audio to the target audio format. Target Audio Format Select either OMF (WAVE), OMF(AIFF-C), or MXF (PCM) audio format. See “Audio Projects Settings: Main Tab” on page 1296. 7. Click Consolidate in the lower right corner. The Copying Media Files dialog box opens. 8.
Using the Transcode Command c Do not make copies of media files from the Windows desktop or the Macintosh desktop while your Avid editing application is running. Also, do not keep duplicate copies of media files online; either delete the originals, take the backups offline, or store the backups in a folder with a different name. Using the Transcode Command The Transcode option in the Consolidate/Transcode dialog box lets you create new clips and new media files that use a different resolution.
Using the Transcode Command The Consolidate/Transcode dialog box opens. 3. Select Transcode in the upper left corner. 4. In the Target Drive(s) area, select a drive or drives.
Using the Transcode Command 5. In you are an Interplay environment, with Dynamic Relink enabled, select whether or not to create new master clips for the transcoded media. For more information, see “Understanding How Clips are Associated with Multiple Resolutions” on page 1195. The Create new clips check box in the Consolidate/Transcode dialog box 6. Click the Target Video Resolution menu, and select a video resolution. n If your project uses an HD resolution, you cannot select OMF as a file format.
Using the Transcode Command 7. Select the appropriate options. Option Description Video and audio on same drive(s) Select to store the transcoded media files on the same target drive. Deselecting this option lets you select separate drives for the audio and video media files. Handle length n frames If you are transcoding subclips or sequences, type a handle length for the new clips, or accept the default: leave it at 60 frames (NTSC) or 50 frames (PAL).
Loading the Media Database Option Description (Continued) Target Audio Bit Depth Select either 16 bit or 24 bit. Convert Audio Format Select this option to convert the audio to the target audio format. Target Audio Format Select either OMF (WAVE), OMF (AIFF-C), or MXF (PCM) audio format. See “Audio Projects Settings: Main Tab” on page 1296. 8. Click Transcode in the lower right corner. Your Avid editing application creates new media files and clips, according to your selections.
Refreshing Media Directories n c You do not need to load the media database more than once during a single editing session because the database remains in memory until you quit your Avid editing application or restart your system. If a bin continues to display the message “Media Offline” after loading the media database, either the media files are missing or the links have been broken. For more information, see “Relinking Media Files” on page 436.
Backing Up Media Files To delete all unreferenced clips and media files: 1. Select the sequence in the bin. 2. Select Bin > Select Sources. All source clips for the sequence are highlighted in the bin. c Motion effects are not counted as references by the sequence. If you want to keep motion effects, Ctrl+click (Windows) or Command+click (Macintosh) any motion effects to add them to the selection. 3. Click the bin containing the highlighted clips to activate it. 4. Select Bin > Reverse Selection.
Finding a Related Media File Finding a Related Media File The Reveal File command lets you select a clip in a bin and automatically open its related media file. This command is useful if you want to delete, move, or label the media file. To find a related media file: 1. Select the clip in a bin for which you want to find the media file. The clip is highlighted. 2. Select File > Reveal File.
Relinking Media Files Relinking Media Files Sometimes, after you consolidate or move material between systems, the clips or sequences lose their links to the original media files. When a clip becomes unlinked, it displays the message “Media Offline.” If appropriate media exists online, you can use the Relink command to reestablish the link. n In an Avid Interplay environment, relinking through the Relink dialog box is limited to non-master clips (subclips and sequences).
Relinking Media Files To relink master clips, subclips, or sequences: 1. Select the unlinked object or objects in the bin. 2. Select Clip > Relink. The Relink dialog box opens.
Relinking Media Files 3. Select options.
Relinking Media Files Option Description Allow relinking between tape and file based media Allows you to relink between imported and AMA linked media and captured tape based media. When comparing tape names to source file names the tape names are treated like source file names, for example extensions are ignored and version separators are included. Match case when comparing tape and source file names Makes tape name and source file name search case sensitive.
Relinking Media Files Option Description Format Lets you select a target project format for relinking. The selected format is used for quality comparison; you specify the relink format in the “Relink to” parameter. Resolution Lets you select a target resolution for relinking. The selected resolution is used for quality comparison; you specify the relink resolution in the “Relink method” parameter.
Relinking Media Files 7. If you selected Specific Resolution as your Relink method, Select one of the following: t Use Existing Media — displays the media to which the clips are currently linked t Unlink (Take Offline) — unlinks the clip and displays the message Media Offline If you are working in an offline resolution and want to capture in a higher resolution, select Unlink to ensure that you recapture all the media at the higher resolution.
Relinking Media Files Relinking Tape and File Based Media You can relink between imported and AMA linked media and captured tape based media. Usually you can only relink between clips with the same source file name or clips with the same tape name. By selecting the “Allow relinking between tape and file media” option, the system can relink by comparing the tape name to the source file name or the source file name to the tape name.
Unlinking Media Files To relink consolidated subclips or sequences: 1. Select the new master clips for a consolidated subclip or sequence (the clips have the file name extension .new), and unlink them. For information on unlinking, see “Unlinking Media Files” on page 443. 2. Select Clip > Relink. The Relink dialog box opens. 3. Select “Relink offline master clips to online media files” to relink master clips to media files that share similar database information. 4.
Archiving and Restoring Media Files to Videotape To unlink master clips from their current links: 1. Select the master clips to unlink. 2. Depending on your operating system, do one of the following: t (Windows) Ctrl+Shift+Right-click the clips and select Unlink. t (Macintosh) Using a multi-button mouse: Press and hold Cmd+Shift and Right-click the clips and select Unlink, or select Clip > Unlink from the main menu.
Archiving and Restoring Media Files to Videotape n The media files experience generation loss when the media is archived and restored because the target videotape format might include some compression. The archiving process divides the archive into multiple archive sequences based on the lengths of the available videotapes. The archiving to videotape process adds handles to the new clips that let you reedit the sequence after you restore the media files from the videotape.
Archiving and Restoring Media Files to Videotape 6. Select Clip > Archive to Videotape. The Archive to Videotape dialog box opens. 7. Select the appropriate options. If the clips or sequences that you want to archive are not highlighted in the active bin, Archive to Videotape appears dimmed in the Clip menu. Option Description Archive Name Type a name for the archive in the Archive Name text box. ProjectArchive is the default name.
Archiving and Restoring Media Files to Videotape 8. Click OK. The Tape Lengths dialog box opens. The Archive Length area displays the calculated length of time required for archiving the media files. The archiving process might require more time than indicated because individual clips are not divided between tapes. 9.
Archiving and Restoring Media Files to Videotape 11. Follow the instructions displayed in the message boxes to complete the archiving process. A set of archive sequences is created in the Archive bin, and the source media is output to the videotape. One archive sequence is created for each tape. When needed, the system prompts you for another blank tape. The tapes are requested in the order that they appear in the Tape Lengths dialog box.
Sequence and Clip Information Summary 7. Select Clip > Restore from Videotape. The Restore from Videotape dialog box opens. 8. (Option) If you are repeating the restore process, select “Restore only those items for which media is currently unavailable.” Otherwise, deselect this option. 9. Click OK. The Capture tool becomes the active window. 10. Follow the instructions displayed in the message boxes to complete the restore process.
Sequence and Clip Information Summary Example 3: Plug-in Information An Effect Summary displays a list of effects found in the selection, including how many times the sequence uses an effect. For plug-ins loaded on your system, a section displays a summary of the plug-ins used, displaying the name, the vendor, the version and the ID of the plug-in. This can help by providing a list of the plug-ins needed for online work.
Sequence and Clip Information Summary The Sequence Report dialog box opens. 2. (Option) Do the following: t If you selected specific tracks, click Enabled Tracks Only. t If you set In and Out points, click Use Marks. If you want to run a report on the entire sequence regardless of tracks or marks, do not select either of these options. 3. Select the Summary Info options you want to include in your report. For information on report options, see “Summary Information Options” on page 452. 4.
Sequence and Clip Information Summary 5. Use the default file name or rename the report and choose a folder to save the report to, click Save. If you select more than 8 sequences, a dialog box asks if you want to generate sequence reports for all selected items. The application writes the report to a text file and opens a text editor. Summary Information Options The following options allow you to select which information to include in the sequence report.
Sequence and Clip Information Summary Summary Option Suboption Create Clip Summary or Create Source Summary Description Depending on the criteria you selected, a Clip Summary displays the number of clips found, type of clip, track, offline information, clip name, and clip Mob ID. A Source Summary displays the number of tape-based sources found, project name, tape name, tape ID, and tape Mob ID. It also displays a list of import paths for any imported clips, such as graphics.
11 Viewing and Marking Footage Before you begin editing, you can review your footage, add markers and comments to clips, mark IN to OUT points, and create subclips. By viewing and marking your material in advance, you can concentrate on editing and refining your sequence at a later time without having to pause and set marks each time you load a new clip.
Viewing Methods Viewing Methods You can work with clips and sequences in several ways, depending on your needs and preferences. Each method has its own uses and advantages, as described in the following table: Viewing Method Description In bins You see pictorial images of the clips in your bins by using Frame or Script view and can play the clips in the bin. For more information, see “Using Frame View” on page 304 and “Using Script View” on page 306.
Customizing Monitors n To view 16:9 footage on a Client monitor, you need an HD monitor or a 16:9 compatible full-screen NTSC or PAL monitor. Source/Record monitor in two-monitor layout You can customize the Source/Record monitor in a variety of ways, for example, to accommodate footage of different aspect ratio or to display different buttons and information. Resizing the Monitors You can resize the monitors that display your footage in a variety of ways.
Customizing Monitors To expand the Source/Record monitor into two monitors: t Click either edge of the Source/Record monitor and drag it to the outside. To switch between the monitors in the two-monitor display: t Press Esc. To hide or display the video in a monitor: t Right-click the monitor, and select Hide Video. The video disappears or reappears. When the video is hidden, the Hide Video command has a check mark beside it.
Customizing Monitors Tracking information is updated continuously to reflect your current position in the footage. You can select which information you want to track from the Tracking Information menu (see “Tracking Format Options” on page 459). The Tracking Information menu in the Record monitor By default, the tracking information area displays no data until you select a tracking format. There is no display of tracking data when there is no material loaded in the monitor.
Customizing Monitors Tracking Format Options The Tracking Information menu contains options for information to be displayed above the monitors. The contents of the menu varies, depending on the monitor. Examples of the three panes in the Tracking Information menu for the Source monitor (left) and for the Record monitor (right) Panes in the Tracking Information Menu The Tracking Information menu has three panes. You can select an option from pane 1, pane 2, or pane 3 to be displayed above a monitor.
Customizing Monitors Pane Description (Continued) Pane 1 example when you select Sequence > TC1 Pane 1 example when you select Source > V1 Pane 2 Lists Source or Sequence timecode options, such as master timecode (Master), duration of the entire clip (Duration), IN to OUT duration (In/Out), absolute timecode (Absolute), and time remaining (Remain). The format type that you select from pane 1 determines the tracking format that is displayed.
Customizing Monitors Pane Description (Continued) Example of Pane 2 in the Tracking Information menu Pane 3 Displays the timecode for the source track of a specific track (V1, A1, A2, and so on). The information is continuously updated based on the location of the position indicator. Tracking Format Options The following table describes the tracking format options. Option Description Master Displays master timecode at present location. Duration Displays total duration of the sequence.
Using the Info Window Option Description (Continued) TC1, 24, 25, 25PD, 30D, 30ND For 24p and 25p projects only. TC1: base timecode for the project; 24: 24p project; 25: 25p project; 25PD: 25p with pulldown: 30D: 30 drop frame; 30ND: 30 non-drop frame Clip Name Displays the name of the clip. Timecode Displays tracking information as timecode (24p and 25p projects include a submenu with the various timecodes). Footage For 24p and 25p projects only. Displays tracking information as feet and frames.
Using the Timecode Window To display information from a bin: 1. Select a clip or sequence in a bin. You can use any bin view, and you can Ctrl+click to select multiple media objects. 2. Do one of the following: t Press Ctrl+I (Windows) or Command+I (Macintosh). t Right-click the clip or sequence and select Get Info. The Info window opens. Only fields with data are displayed. If you select more than 8 media objects, a dialog box asks if you want to open information windows for all selected items.
Using the Timecode Window To set a timecode display: 1. Select Tools > Timecode Window. The Timecode window opens. 2. Click anywhere in the Timecode window, and select an option. Example of a Timecode menu The window displays the timecode you have chosen. The Timecode menu contains the same options as the Tracking Information menu. For a description of the Timecode options, see “Displaying Tracking Information” on page 457. 3.
Playing Video to the Client Monitor Playing Video to the Client Monitor You might want to see your sequences and effects as they appear on an external display monitor. To do this, connect a Client monitor to your Avid system.
Selecting the Video Display Settings Deactivating the Client monitor might be useful, for example, when you are screening material for clients and you want to make an editing change. You can deactivate the Client monitor display so that the client does not see your editing work while it is in progress, then activate the display to show the finished edit. The status of the Client monitor display does not persist between working sessions on your Avid editing application.
Selecting the Video Display Settings To select Video Display settings: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click Video Display. The Video Display Settings dialog box opens. The options available in the Video Display Settings dialog box vary depending on the model and configuration of your Avid editing application. 3. Select or modify the options for video display and click OK.
Playing Video to a Full-Screen Monitor - “Setting the Video Quality for Playback” on page 484 - “Options for Controlling Real-Time Effects Playback” in the Help Playing Video to a Full-Screen Monitor The Full Screen Playback option lets you view your video on a full-screen monitor. To enable full screen playback: 1. Make sure your system is properly set up for full-screen monitor play. For more information, see “Understanding Full Screen Playback Options” in the Help. 2.
Using the Tool Palette 3. Click the Desktop Play Delay slider to increase or decrease the amount of frame offset. You might need to readjust the frames a few times to find the correct offset. Using the Tool Palette The Tool palette provides additional buttons for editing and navigating with your Avid editing application. The Tool palette buttons can appear with or without labels, and you can “tear off” the Tool palette to display it in another screen location.
Playing Selected Clips in a Loop To view the names of the buttons in the Tool palette: t Move the pointer over a button. The name of the button appears in a ToolTip box. To display labels on the Tool palette buttons: 1. In the Project window, double-click the Interface Setting. The Interface Setting dialog box appears. 2. Select Show Labels in Tool Palette. 3. Click OK. Labels appear on the buttons under the icons.
Loading and Clearing Footage n If a sequence that was created in an older version of an Avid editing application contains effects or color corrections, you might need to update the sequence. If a sequence requires updating, the Update Sequence dialog box might open when you load the sequence. For more information, see “Updating and Reverting Existing Effects in Sequences” in the Help. Loading Clips or Sequences into Monitors To load clips or sequences into a monitor: 1.
Loading and Clearing Footage To switch between clips: 1. Click the name of the current clip or sequence displayed above the monitor to reveal the Clip Name menu. The list in the lower portion of the menu contains a list of all the clips or sequences currently loaded in the monitor. 2. Select a different clip name from the menu. The selected clip replaces the current clip in the monitor display.
Controlling Playback To clear the monitor or the clip or sequence names from the menu: 1. Click the name of the clip or sequence currently displayed above the monitor to reveal the Clip Name menu. 2. Select one of the following commands: Command Description Clear Monitor Removes the displayed clip or sequence from the screen, leaving black. The clips or sequences are still loaded. Clear Menu Deletes the list of all loaded clip or sequence names and leaves only the clip currently displayed.
Controlling Playback Using Position Bars and Position Indicators You can quickly access frames or move within loaded footage by using the position indicators that appear in the position bars under the monitors (and in the Timeline when you are viewing a sequence). The position bars represent the length of the clip or sequence, and the position indicator marks your current position in the clip or sequence.
Controlling Playback To access frames in or move through loaded footage, do one of the following: 1. If you want to use the position indicator in the Timeline to view footage, do one of the following: t Deselect the segment tools on the Timeline palette, or click the Smart tool toggle bar to deselect all edit tools on the Timeline palette. t Position the mouse pointer over the Timeline ruler or the Timecode (TC1) track to move through the sequence. 2.
Controlling Playback Playback Control Buttons You can use the buttons that appear below the Source/Record monitor and in the pop-up monitors to play and step through your footage. You can also use additional buttons available in the Command palette to control playback. You can remap Command palette buttons onto some existing button locations (for example, in the Tool palette) or to the keyboard. For more information about mapping user-selectable buttons, see “Understanding Button Mapping” on page 97.
Controlling Playback Button Primary Default Location Function (Continued) Step Forward button Monitors Moves the footage one frame forward. • Press and hold the Alt key (Windows) or Option key (Macintosh) while clicking the button to move 10 frames (NTSC and PAL) or 8 frames (24p) forward. Step Backward 10-frames or 8-frames button Move tab in Command palette Moves the footage 10 frames backward (NTSC or PAL) or 8 frames backward (progressive formats).
Controlling Playback c n To return to viewing only field 1 of each frame, make sure you park on field 1 of a frame before using the Step Forward or Step Backward buttons. Any edits you make using the paint tools affect both field 1 and field 2 of each frame. Playback Control Using the Keyboard Many playback functions, including most of the playback controls covered in “Playback Control Buttons” on page 476, are mapped to keys on your keyboard.
Controlling Playback Keys Function Home, End, Left Arrow, • and Right Arrow keys J, K, and L keys Home key—move to the beginning of a clip or sequence • End key—move to the end of a clip or sequence • Left Arrow key—moves the footage 1 frame backward • Right Arrow key—moves the footage 1 frame forward Let you play, step, and shuttle through footage at varying speeds.
Controlling Playback Press the L Key To Play Footage at NTSC Rate PAL Rate 24p Rate 4 times 5x normal speed 150 fps 125 fps 120 fps 5 times 8x normal speed 240 fps 200 fps 192 fps t Press the J key to move backward at the same shuttle speed increments. t Press the K and L keys together for slow forward (8 fps for NTSC, 6 fps for PAL, and 6 fps for 24p projects). t Press the K and J keys together for slow backward.
Playing Back to a DV Device Playing Back to a DV Device If you do not have Avid input/output hardware attached to your system (software-only), you can play back DV media through a DV device. Your options for playback of media to a DV device vary, depending on whether the media is played back as DV 25, DV 50, or DVCPRO HD (DV 100). • You can play back DV 25 media through a DV device attached to a 1394 port on your computer..
Video Quality Options for Playback n - If you do not select Realtime Encoding, you are in native play mode. You must render all effects and any media not matching the selected format will be played as black. The Video Quality menu only lets you select Full Quality (green) playback. Disabling Realtime Encoding is helpful if your machine has a slower processor. - Select Realtime Encoding to output 24p media to a DV device. You must also select Full Quality playback.
Video Quality Options for Playback Video Quality Name and Icon Description (Continued) DNxHD Native Processes and plays the full image raster of DNxHD native media only. This option does not process any effects in the sequence or any media that is not DNxHD encoded. Non-DNxHD media is replaced by black frames. Draft Quality Processes and plays a subsample of the full image raster for the project that uses 1/4 of the image information. Uses a bit depth of 8 bits.
Setting the Video Quality for Playback Setting the Video Quality for Playback To set the video quality for playback: 1. Do one of the following: t Click the Video Quality Menu button to cycle through the video quality options available until the button icon indicates the video quality you want. t Right-click the Video Quality Menu button, and select a video quality option. For detailed information on the video quality options, see “Video Quality Options for Playback” on page 482. 2.
Marking and Subcataloging Footage Even if your marks are not accurate now, your Avid editing application lets you trim the edit points and fine-tune the sequence later without reediting the material. To mark IN and OUT points: 1. Load a clip or sequence from a bin into a monitor, or select a clip in the bin (Frame view or Script view). 2. Play or step through the material. Use the J-K-L keys when playing a clip in a bin (Frame view or Script view).
Marking and Subcataloging Footage 5. Mark an OUT point by doing one of the following: t Click the Mark OUT button under the monitor to mark an OUT point and stop playback. t Press the Mark OUT key when marking a clip in a bin. By default on United States keyboards, the Mark OUT key is the O key. In the monitor, a Sawtooth icon appears on the right to indicate the mark OUT frame. To clear the IN point, do one of the following: t Click the Clear IN Mark button. t Press the Clear IN Mark key.
Marking and Subcataloging Footage To mark an entire clip or segment: 1. Load a clip or sequence into a monitor. 2. In a sequence, move the position indicator to the segment that you want to mark. 3. In the Track Selector panel in the Timeline, select the tracks corresponding to the cuts you want to mark. For more information, see “Understanding the Track Selector Panel” on page 664. 4. Click the Mark Clip button.
Marking and Subcataloging Footage To create subclips: 1. Load a clip into a monitor and mark the material from which you want to create the subclip. For more information, see “Marking IN and OUT Points” on page 484. 2. Do one of the following: t Press and hold the Alt key (Windows) or Option key (Macintosh), and then drag the picture from the monitor to the bin in which you want to store the subclip. t Click the Make Subclip button in the Edit tab of the Command palette.
Using Markers To remove audio IN and OUT points: t Shift+click the Clear IN Mark, Clear OUT Mark, or Clear Both Marks button. Using Markers Markers are a type of electronic bookmark. They let you find and identify specific frames during editing. Keywords that you enter in the comments attached to a marker let you use standard Find procedures to call up the clips quickly. You can display information about the markers using the Markers window.
Using Markers Use Description Cutaway markers Use markers to identify cutaway shots with comments so that when you return to cover jump-frame edits with cutaway footage, you can quickly call up the shots using basic Find procedures. Replace markers Use markers to mark filler segments with comments to identify the items that should replace the filler. Semi-permanent IN or OUT points Use markers with the Mark Markers button to put multiple sets of markers on a long clip, and so on.
Using Markers When you insert a marker, it appears as an oval in the Timeline, in the position bar, and at the bottom of the frame in the monitor. The color of the oval corresponds to the color of the marker button you used. Example of a marker in the monitor, position bar and in the Timeline You can add markers to your source material while you are in an editing session, as described in “Adding Markers While Editing” on page 491.
Using Markers 3. Cue to the frame, and click an Add Marker button. The Add Marker buttons are in the More tab of the Command palette. The Marker edit entry window opens. The marker name, color, frame, and track information appear. By default, the marker name is the user name logged onto your system. The following illustration shows the Marker edit entry window. Marker edit entry window. Top: a comment in the comment area. Bottom: button to open the Markers window 4.
Using Markers 3. Map the Add Marker button to a key by doing the following: a. Open the Command Palette, click the More tab, and select Button-to-Button Reassigment. b. In the Settings list of the Project window, double-click Keyboard. c. Drag an Add Marker button to a key on the Keyboard palette. For more information about mapping buttons to keys, see “Mapping User-Selectable Buttons” on page 98. 4.
Using Markers 5. (Option) Change the color from the Color menu or change the marker name. 6. To save your information, click OK, or press the Enter key. The information is stored with the marked frame. The marker oval appears in the Timeline, in the position bar, and at the bottom of the frame in the monitor. 7. (Option) Click the Marker icon in the to edit marker information. To keep the Marker edit pane from opening: 1. Select Tools > Markers. The Markers window opens. 2.
Using Markers Marking an Area Using Markers You can mark the area between two markers by using the Mark Marker button. To mark the area between two markers: 1. Move the position indicator between two markers. 2. Click the Mark Markers button in the Edit tab of the Command palette. The area between the two markers is selected. Moving to the Previous or Next Marker You can move to a frame marked by a marker by using the Go to Previous Marker button or the Go to Next Marker button.
Using Markers You can use the Markers window to: • Go to the marker in the sequence or clip. • Find frame, timecode, and footage information about each marker. • Modify and sort the display. • Display frames for easy visual reference. • Change the color of the Marker icons. • Delete a single marker or multiple markers. • Export markers to send out as a review and approval file. • Print the Markers window.
Using Markers To view markers in the Markers window: 1. Load the sequence containing the markers. 2. Do one of the following: t Right-click the Source/Record monitor and select Markers. t Select Tools > Markers. Working in the Markers Window You can perform a number of basic procedures in the Markers window. You can select markers, go to the frame marked by a marker, display marker frames or additional information, sort markers, change marker column widths, change marker colors, and delete markers.
Using Markers To display XML and Trigger columns: t Right-click, and select Show MetaSync. To sort markers: 1. Click the heading of the column that you want to sort. 2. Right-click, and select Sort Column (to sort in ascending order) or Reverse Sort Column (to sort in descending order). To change column widths: 1. Click the heading of the column that you want to resize. 2. Right-click, and select Enlarge Column or Reduce Column.
Using Markers 3. Type a file name and click Save. The marker is saved as a text file (.txt). To import markers. 1. With a sequence loaded in the Source/Record monitor, right-click and select Markers. 2. From the Markers window, right-click and select Import Markers. The Import dialog box opens. 3. Select the tab-delimited file containing the markers you want to import, and then click Open. 4.
Using Markers You can also use a text editor to cut and paste markers in the Markers window. This lets you move markers easily between clips, sequences, tracks, or different users on your system. Timecode, clip data, color, marker identification, and comments are all associated with a marker entry. You can edit the entries before pasting them into a new clip or sequence using the Markers window, or you can save the marker information as a text file and distribute it as needed.
Using Markers To copy and paste markers using the Markers window and a text editor: 1. Select the markers in the Markers window by doing one of the following: t Click a single marker. t Ctrl+click (Windows) or Command+click (Macintosh) multiple markers. 2. Do one of the following: t Select Edit > Copy. t Press Ctrl+C (Windows) or Command+C (Macintosh). 3. Open a text editor application, and paste the selection into the document. The marker information displays in the text document.
Using Markers 3. Press Ctrl+Alt+P (Windows) or Command+Option+P (Macintosh) to place the marker information in the Console window. 4. Select Tools > Console. The Console window opens. 5. Select File > Page Setup. The Page Setup dialog box opens, reflecting the specific options for your printer. 6. Select the Page Setup options. 7. Click OK. 8. Select File > Print. The Print dialog box opens, reflecting the specific options for your printer. 9. Select the Print options. 10.
Finding Frames, Clips, and Bins To keep the Marker edit window from opening: 1. Select Tools > Markers. The Markers window opens. 2. Select Disable Marker Popup Always from the Fast menu. The Marker edit window now does not open even if you double-click a marker. Finding Frames, Clips, and Bins Once you have captured, viewed, marked, and subcataloged numerous clips for a project, you might have difficulty relocating specific clips or frames among several bins.
Finding Frames, Clips, and Bins 3. (Option) If you are using a notebook computer or a keyboard that does not have a dedicated numeric keypad, press and release the left Control key twice quickly. This lets you enter timecode using standard keys on the keyboard, such as the number keys and the Enter key (Windows) or Return key (Macintosh). 4. Enter the timecode for the frame by using the numeric keypad on the right side of the keyboard.
Finding Frames, Clips, and Bins To cue a frame using frame offset timecode: 1. Click the monitor that is displaying the clip or sequence that you want to search. 2. (Option) If you are using a notebook computer or a keyboard that does not have a dedicated numeric keypad, press and release the left Control key twice quickly. This lets you enter timecode using standard keys on the keyboard, such as the number keys and the Enter key (Windows) or Return key (Macintosh). 3.
Finding Frames, Clips, and Bins Searching for a Clip or Sequence with Text Find Text find allows you to enter text and search bins, Scripts and the Timeline for the information you enter. You can customize your search by selecting to only search the active bin or search all bins across a single project. Bins do not have to be open for the system to search in them, Find searches all bins and scripts within your project. The text find feature is included with your Avid editing application.
Finding Frames, Clips, and Bins • To make sure all your open bins are indexed, click the Project window and select File > Save All. This will save all opened bins. When the Bin Index light turns solid green, perform your search. This will ensure that your results include the most up-to-date files. • Before you filter to refine your results, you need to first perform a find, then the Filter columns are selectable. To open a search window: 1.
Finding Frames, Clips, and Bins 4. If you select Clips and Sequences, then select from the menu: Bins in Project Bins and Scripts in Project The system searches for the text criteria in all the bins/scripts within the project regardless if the bin/script is currently opened. Current Bin The system searches for the text criteria in the last active bin. The system then selects the first occurrence in the bin. Press Ctrl+G (Windows) or Cmd+G (Macintosh) to take you to the next occurrence 5.
Finding Frames, Clips, and Bins 10. If you would like to open the clip(s) in a Source monitor when you double-click a clip in the Results window, then select Load into monitor. n Loading the clip in the Source monitor is dependant on the option you have chosen for “Double-click loads object in” in your Bin Settings. 11. With your text criteria entered, click Find or press Enter. A Cancel button appears and the system informs you that it is finding your text criteria.
Finding Frames, Clips, and Bins n You can also locate frames in a sequence that match a selected source frame; see “Performing a Reverse Match Frame” on page 510. Match framing does not create a permanent sync relationship between clips but provides a convenient way of locating, marking, and editing matching material. To use Match Frame to locate the source clip for a selected frame or motion effect: 1. Load a sequence into the Source/Record monitor. 2.
Finding Frames, Clips, and Bins 4. Click the Reverse Match Frame button in the Other tab of the Command palette. Your Avid editing application cues the sequence to the matching frame on the record side. If the frame exists in more than one place, the sequence cues to the first location of the match frame and continues through the sequence to subsequent locations each time you click the Reverse Match Frame button. Selecting Tracks for Matching Frames Track selection determines the match frame.
Sequence and Clip Information Summary To find the bin in which a specific clip in a sequence is located: 1. Move the position indicator to the clip within the sequence. 2. Press and hold the Alt key (Windows) or the Option key (Macintosh), and click the Find Bin button. Your Avid editing application opens the bin and highlights the clip.
Sequence and Clip Information Summary Example 1: Preparing for Online Editing When you move your sequence from an offline system to an online system, you can run an effect summary and a source summary report. The Effect Summary displays a list of all effects, including a separate list of plug-ins used. The Source Summary lists all the tapes you need for recapture and all of the import paths for imported graphics.
Sequence and Clip Information Summary To generate a summary report: 1. Do one of the following: t From a bin, right-click a sequence and select Sequence Report. You can select multiple sequences for generating reports. t With a sequence loaded in a monitor, right-click the monitor and select Sequence Report. The Sequence Report dialog box opens. 2. (Option) Do the following: t If you selected specific tracks, click Enabled Tracks Only. t If you set In and Out points, click Use Marks.
Sequence and Clip Information Summary 3. Select the Summary Info options you want to include in your report. For information on report options, see “Summary Information Options” on page 515. 4. Click Generate Report. The Save Summary Output File As dialog box opens. 5. Use the default file name or rename the report and choose a folder to save the report to, click Save. If you select more than 8 sequences, a dialog box asks if you want to generate sequence reports for all selected items.
Sequence and Clip Information Summary Summary Option Suboption Description Show Missing Effects Select this option if you want to only display the Only plug-in effects missing from your sequence. Plug-in effects that are missing in your sequence display as “Unavailable Effect,” but also lists the type of effect and other important information which help you identify the type of effect. This option is helpful when you move your sequence to a system that does not have the plug-in installed.
12 PhraseFind The PhraseFind option (phonetic find) searches and finds audio dialogue throughout bins in a single project. PhraseFind starts by indexing all the audio in your bins (based on the language you choose). You then enter search criteria, and the system searches through those bins for all occurrences of the audio search criteria you enter. PhraseFind indexes and finds audio in master clips, subclips and group clips.
Purchasing and Activating PhraseFind How Do I Purchase PhraseFind? • You can purchase PhraseFind through your Avid Reseller. • You can purchase PhraseFind from your Avid editing application’s Find window. • You can purchase PhraseFind directly through the Avid web store at http://shop.avid.com, then search for PhraseFind.
Purchasing and Activating PhraseFind - The inside cover of your Avid editing application Installation Guide - If you purchased your Avid editing application from the Avid store, you can also view your System ID number by logging in to your Store account at http://account.avid.com/ If you have a dongle attached to your Avid editing application, check the License Profile tab of the Avid License Control tool or use DongleManager to obtain your System ID.
Purchasing and Activating PhraseFind 5. Restart your Avid editing system. Your trial is activated. Your 30-day trial of PhraseFind also includes access to all available languages during the trial. You do not need to activate any additional language packs at this time. However, you need to select your language from the Select a Language menu in the PhraseFind window. 6. In the PhraseFind window, select your language from the Select a Language menu and wait for the PhraseFind Index to turn green.
Purchasing and Activating PhraseFind To purchase PhraseFind through the Avid editing application’s Find Window: 1. Open your Avid editing application and an Avid project. 2. Press Ctrl+F or select Edit > Find. The Find window opens. 3. Type a word or phrase in the text box, then click the PhraseFind button. A dialog box opens which informs you that PhraseFind is not activated on this machine. 4. Click Buy.
Purchasing and Activating PhraseFind Activating PhraseFind with the Avid License Control Tool When you purchase PhraseFind and open the Avid License Control tool, you are ready to activate the PhraseFind feature. You can only use and activate PhraseFind on a single machine at one time. If you have an Internet connection on the machine that you will be using PhraseFind, follow the instructions “To activate PhraseFind with the Avid License Control tool and with an Internet connection:” on page 523.
Purchasing and Activating PhraseFind To activate PhraseFind with the Avid License Control tool and with an Internet connection: 1. With the Avid License Control tool open, click Activate next to PhraseFind. A dialog box opens.
Purchasing and Activating PhraseFind 2. If your computer has an Internet connection, select “I am connected to the Internet and will use this computer.” 3. Click Continue. The Avid Activation dialog box opens. 4. Enter your system identification number in the System ID text box. This number pre-displays if you have activated your Avid editing application. If the System ID does not appear, see “What Will I Need to Activate PhraseFind?” on page 518 for more information.
Purchasing and Activating PhraseFind 6. Click Activate. The Activation tool confirms your system information, and the Select the default language dialog box opens. 7. Select your language. The language you choose is the one free language included with PhraseFind. You can also purchase additional language packs and select different languages to search on in the Find window.
Purchasing and Activating PhraseFind 8. Click Download to download the license.bin file to your system. Depending on your web browser, the license.bin file could be located on your desktop or in a download folder. 9. Move the license.bin file to the system you need to activate PhraseFind. You can use a removable storage device such as a USB drive or you can transfer the data over your network. 10. Open the Avid License Control tool. 11. Click Browse and navigate to the license.
Purchasing and Activating PhraseFind 5. Click Continue. The Avid Activation dialog box opens. 6. Enter your system identification number in the System ID text box. This number pre-displays if you have activated your Avid editing application. If the System ID does not appear, see “What Will I Need to Activate PhraseFind?” on page 518 for more information. n You can copy and paste your system identification number and your Activation ID from a text file to the appropriate text boxes. 7.
Understanding PhraseFind Understanding PhraseFind Now that you have purchased and activated PhraseFind, there are a few things that might help you understand how PhraseFind works. Things You Should Know About PhraseFind • You can continue to work while the system indexes your project. • The system creates a SearchData and a PhoneticData folder located in your Projects folder when you index text or phonetic searches.
Understanding PhraseFind Selecting a Language Avid supports several different languages. Language packs are purchased separately. You receive one free language with the purchase and activation of PhraseFind. You can purchase and have multiple languages licensed on your system, however, you can only use one language per project. Every time you choose a new language, the system re-indexes and re-populates with the new language phonetic files.
Using PhraseFind Using PhraseFind To open the Find window: 1. Open your Avid editing application and an Avid project. 2. Press Ctrl+F (Windows) or Cmd+F (Macintosh), or select Edit > Find. The Find window opens. n The PhraseFind Index status at the bottom of the window indicates if the phonetic files in your bins have been indexed. A full green display indicates that your files have been indexed and are ready to search.
Using PhraseFind Bins and Scripts in Project The system searches for the text criteria in all of the bins and script bins (takes and clips) within this project. Results are limited to bins and script bins. Current Bin The system searches for the text criteria in the current active bin. The system then selects the first occurrence in the bin. Press Ctrl+G (Windows) or Cmd+G (Macintosh) to take you to the next occurrence. (Applies to text find only.) 7.
The Results Window The Results Window The results of your find display in the Results window for both text find and PhraseFind.You can then filter your findings to narrow your results. You can also choose to display specific columns, and sort or move columns. In PhraseFind, the Score column lists your results in order of importance (ranging from 100 to 50). The system displays all the results, however, the score with the higher value is more probable the audio dialogue you are searching for.
The Results Window To display columns: 1. Click Select Columns. The Click column names to select dialog box opens. The default columns are pre-selected (Bin, Name, Duration, Video, Creation Date, Start, End, Tracks, Mark IN-OUT, IN-OUT). The Icon, Name and Bin columns always display. The Score column always display in PhraseFind. Column selections reset from search to search. The system does not remember columns you have previously selected. 2. Click the columns you want to display in the Results window.
Filtering Your Find Results To load a clip in the Source monitor: t Click Load into monitor. When you double-click a clip in the Results window, the clip opens in the Source monitor. To open multiple clips, you need to double-click each clip in the Results window to open in a Source pop-up monitor. n Loading the clip in the Source monitor is dependant on the option you have chosen for “Double-click loads object in” in your Bin Settings.
Find Window Attributes Find Window Attributes The following table describes the attributes available in the Find window for PhraseFind and text find. Results Window Attributes Description Find: Allows you to enter your search text criteria. Find Click this button when you enter text in the textbox and you are ready for the system to search for your alphanumeric results.
Find Window Attributes Results Window Attributes Description Whole words only Available when you select Current Script. Select this option when you only want to find that word. For example with this option selected, if you enter “eat,” the system will only find eat. Not eating, eats, neat. Select Columns Opens a dialog box which allows you to select columns to display in the Results window.
13 Creating and Editing Sequences This chapter introduces you to procedures that you use to build a sequence, as described in the following topics: • Creating a New Sequence • Making a First Edit • Creating an Instant Rough Cut • Undoing or Redoing Edits • Editing Additional Clips into the Sequence • Mixing Frame Rates and Field Motion Types • Mixing Frame Sizes and Aspect Ratios • Refreshing Sequences to Use Current Clip Attributes • Lifting, Extracting, and Copying Material • Adding Com
Creating a New Sequence Creating a New Sequence You can create a new sequence in one of two ways, depending on the requirements of your workflow: • To set specific parameters for the sequence before you start editing, you can use the New Sequence command to create and name a sequence, set the start timecode, (see “Changing the Name and Timecode for a Sequence” on page 539) and determine the numbers and types of tracks (see “Track Display for New Sequences” on page 540) to use before you make the first edi
Creating a New Sequence 2. (Option) In the bin, click the Name field and rename the new sequence. Changing the Name and Timecode for a Sequence To rename a new sequence and set a start timecode: 1. Do one of the following: t From a bin, right-click a sequence and select Sequence Report. You can select multiple sequences for generating reports. t With a sequence loaded in a monitor, right-click the monitor and select Sequence Report. The Sequence Report dialog box opens.
Creating a New Sequence 3. Drag the pointer across the start timecode (Starting TC) to select it, and type a new timecode. You need to type only the first colon (non-drop-frame timecode) or semicolon (drop-frame timecode). For example, type 01:000000 for 01:00:00:00. For information about non-drop-frame and drop-frame timecode, see “Understanding Timecode” on page 155. 4. For 24p or 25p projects, select the start key number (Starting EC) and type a new start key number. 5. Click Apply Changes. 6. Click OK.
Creating a New Sequence Adding Filler You can add a small amount of black filler at the start of your sequence. A brief moment of black before the start of your sequence is sometimes useful during playback or when recording a digital cut. You can also add filler to another part of the sequence at any time during editing. n You cannot add filler to the end of a sequence or to an empty sequence. You can create black title media and insert it at the end of a sequence.
Making a First Edit Making a First Edit This topic describes a method for adding a first clip to a sequence. You can use this method after you create a new sequence, as described in “Creating a New Sequence” on page 538. You can also use this method without creating a new sequence in advance, in which case the sequence is created as soon as you make the edit. To begin editing: 1. Load the first clip into a monitor. For more information, see “Loading and Clearing Footage” on page 470. 2.
Creating an Instant Rough Cut 4. Click the Splice-in button to add the edit to the sequence in the Source/Record monitor. The Source/Record monitor displays the end of the last frame of the new edit. (You can drag the position indicator in the Timeline or the position bar beneath the monitor to review the clip.) The edit also generates a graphical display of the cut in the Timeline. Screen display for the first edit in a sequence. Top: monitor window showing the sequence.
Creating an Instant Rough Cut To create a rough cut from a bin: 1. In the bin, sort the clips in the order in which you want them to appear in the sequence. For example, in Frame view, arrange the bin so that you can drag clips into the storyboard order you want. 2. Select the tracks for the edit. n If no sequences are loaded in the Source/Record monitor, the Timeline has no features. 3. Do one of the following: t Ctrl+click (Windows) or Command+click (Macintosh) the clips.
Undoing or Redoing Edits Undoing or Redoing Edits You can undo or redo up to 100 previous actions listed in the Edit menu. You can undo or redo a just completed command, or you can search through a submenu to undo or redo all commands leading back to a particular command. Undo and Redo commands in the Edit menu. Top: the Undo/Redo command for the previous edit. Bottom: the Undo/Redo List command.
Editing Additional Clips into the Sequence In most cases, you perform three-point edits in which you set three marks—two in the source material and one in the sequence, or the reverse. The fourth mark is determined automatically. The way you set marks depends on the type of edit you perform. Performing an Insert or Splice-in Edit An insert or splice-in edit inserts marked source material into the sequence without replacing material already in the sequence.
Editing Additional Clips into the Sequence Performing an Overwrite Edit An overwrite edit replaces a section of the sequence with the selected source material. An overwrite edit replaces existing material and does not lengthen the overall duration of the sequence unless the material used to overwrite goes beyond the end of the sequence. 4 1 1 2 2 3 4 3 An overwrite edit. Clip 4 overwrites parts of clips 2 and 3 (shaded in red) when you edit it in at the insertion point (red line).
Mixing Frame Rates and Field Motion Types n By default, the Replace Edit button is located on the Edit tab of the Command Palette. You can use it from the Command Palette or map it to a monitor palette. For information about mapping buttons, see “Understanding Button Mapping” on page 97. To perform a replace edit: 1. Move the position indicator to select a sync frame in the source clip. The frame displays in the monitor.
Mixing Frame Rates and Field Motion Types How Your Avid Editing Application Handles Mixed Rate Clips Motion Adapter Effects Your Avid editing application uses Motion Adapter effects to handle: • Clips that have a different frame rate from the project’s frame rate • Clips with field motion that need adjustment to be compatible with the project • Clips with 2:3 pulldown or strobe frames Motion Adapter effects allow mixed rate clips to play at the project’s frame rate and to have the correct field moti
Mixing Frame Rates and Field Motion Types User Interface Summary for Mixed Rate Clips Illustration Description In the Timeline, several visual indicators highlight mixed rate clips. For more information, see “Viewing Mixed Rate Clips in the Timeline” on page 551. In the Motion Effect Editor, you can view the parameter values for a Motion Adapter effect, and adjust the render type. To make further adjustments, you need to promote the Motion Adapter effect to a Timewarp effect.
Mixing Frame Rates and Field Motion Types Viewing Mixed Rate Clips in the Timeline Mixed rate clips that are unrendered always appear with a green dot that represents the Motion Adapter effect, the green dot appears on mixed rate clips edited into a sequence. If you use the Toggle Source/Record button to view the Timeline for a mixed rate clip loaded in the Source monitor, you also see the green dot on that clip. Mixed rate clips also display with their original frame rate appended to the clip name.
Mixing Frame Rates and Field Motion Types The illustration shows the Motion Adapter effect in the Motion Effect Editor, with the Type list and the Promote button active, and other parameters inactive. n In some circumstances, the Adaptive Deinterlace Source option is active in the Motion Effect Editor for a Motion Adapter effect. Adaptive deinterlacing is a processing option that can improve the look of interlaced source material that is being converted to progressive frames.
Mixing Frame Rates and Field Motion Types The system displays the current parameter values for the adapter. If you have not yet made any manual adjustments to the adapter, the values you see are those your Avid editing application created automatically. For example, you see a Speed percentage value that adjusts the clip’s speed to the project’s rate. The Type list (render options) is active. The Adaptive Deinterlace Source option might also be active. Other parameters are inactive. 3.
Mixing Frame Rates and Field Motion Types The illustration shows the Field Motion bin column and the menu that lets you change the Field Motion attribute value. Changes you make to the Field Motion attribute apply only to the individual clip or subclip. You can have several subclips derived from the same master clip, and set different Field Motion values on each of them.
Mixing Frame Rates and Field Motion Types 3. Click the Field Motion item for the clip or subclip, and select one of the following: Option Description Interlaced Use for all video with interlaced field motion. 2:3 Film Only available for clips or subclips created in 30 fps projects. Use for a clip or subclip that contains 2:3 pulldown.
Mixing Frame Rates and Field Motion Types Behavior of Mixed Rate Material at Different Video Quality Settings Be aware of the following if you work with mixed rate clips when you use the Draft Quality, Best Performance, or DNxHD Native video quality options: • You do not see an accurate pulldown cadence when you field-step through material where pulldown is inserted. This is a limitation of Timewarp and Motion Adapter effects when you work in draft qualities.
Mixing Frame Rates and Field Motion Types n You cannot transcode clips across edit rates using the Transcode Server in Interplay. Grouped Clips and Mixed Rate Material Be aware of the following if you group clips or work with grouped clips: • You cannot group clips that have different frame rates • You cannot load a grouped clip whose frame rate does not match the project's frame rate. If you load this type of clip into the Source monitor or drag it into the Timeline, an error message appears.
Mixing Frame Sizes and Aspect Ratios Mixing Frame Sizes and Aspect Ratios You can work with media of different frame sizes, aspect ratios, and pixel aspect ratios in the same sequence. For example, you can mix SD 4:3, HD 16:9, and film formats. How Your Avid Editing Application Reformats Clips in Sequences Your Avid editing application reformats a clip in a sequence when the aspect ratio, pixel aspect ratio, or frame size of the clip do not match those of the project.
Mixing Frame Sizes and Aspect Ratios To change the aspect ratio for a project, do one of the following: t Click the Format tab in the Project window, then click the Aspect Ratio menu, and select either 4:3 or 16:9, depending on the aspect ratio you want to use.
Mixing Frame Sizes and Aspect Ratios n If you are working in an Interplay environment, do not change the Reformat attribute from the Stretch setting. If you use a different setting, and you then use Interplay Transcode or Send to Playback, the results might not be what you expect. The illustration shows the Reformat bin column and the menu that lets you choose a Reformatting Option. Changes you make to the Reformat attribute apply only to the selected clip in the bin.
Mixing Frame Sizes and Aspect Ratios Reformatting Options Reference The table describes the choices available under the Reformat bin heading and their effect when you edit a clip into a sequence of a different size or aspect ratio. These options have no effect on clips that do match the project size and aspect ratio. For information on how to set the reformatting options for a clip, see “Mixing Frame Sizes and Aspect Ratios” on page 558.
Mixing Frame Sizes and Aspect Ratios Option Description Pillarbox/Letterbox preserve aspect ratio Scales the clip to create the largest possible image without cropping, while maintaining the original aspect ratio. The illustration shows two examples. When you edit a 16:9 clip into a 4:3 sequence (left), the resulting segment has horizontal bars at the top and the bottom. When you edit a 4:3 clip into a 16:9 sequence (right), the resulting segment has vertical bars at the sides.
Refreshing Sequences to Use Current Clip Attributes Refreshing Sequences to Use Current Clip Attributes You can change certain attribute values or settings for a clip at any time. You can change a clip’s Field Motion attribute value or its Reformat attribute value. You can also change the source settings for a RED clip that has been linked in a sequence.
Lifting, Extracting, and Copying Material Lifting, Extracting, and Copying Material Lifting, extracting, and copying let you remove or reposition material quickly in your sequence. For example, you can move a clip from the end of your sequence to the beginning; or you can remove the material from the sequence altogether. Your Avid editing application places the material you remove into the Clipboard. You can then paste the material elsewhere in the sequence or into another sequence.
Lifting, Extracting, and Copying Material To extract material: 1. Mark In and Out points at the start and end of the material in the sequence that you want to extract. 2. Select the tracks containing the material. The system performs the function on selected tracks only. If sync locks are on, all material on all tracks is extracted. For more information, see “Understanding the Track Selector Panel” on page 664 and “Understanding Locking and Sync Locking” on page 672. 3.
Adding Comments to Sequence Clips The Clipboard lets you restore lifted or extracted segments quickly. This is useful if you have performed one or more edits since removing the material. In contrast, if you use the Undo function to restore the material, your Avid editing application also undoes all edits performed in the meantime. n Material in the Clipboard does not appear as a clip in the bin and is deleted when you close the project.
Playing Back a Sequence To add comments to the clips in a sequence: 1. Click one of the Segment buttons (located in the Timeline palette), and highlight the clip to which you want to add a comment in the Timeline. Segment Overwrite button (red) and the Segment Insert button (yellow) 2. Click the Clip Name menu above the monitor, and select Add Comments. The Comments dialog box opens. 3. Type your comments in the text box, and click OK.
Playing Back a Sequence 4. Go to the start of the sequence. Click the left side of the position bar to reposition the position indicator at the beginning or press the Home key on the keyboard. 5. Use the position indicator, buttons, mouse, or keyboard to play, step, or shuttle through footage. View the sequence in the Source/Record monitor or the Client monitor. To start a playback loop: 1. Mark In and Out points in the sequence.
Understanding Sync Breaks Playing a Limited Duration of a Sequence Long sequences with many effects can be time-consuming to work with in the Timeline. Working with a shorter sequence can save time. The Play Length Toggle feature lets you switch between playing the entire sequence and playing a limited duration centered around the current position of the sequence. When you use the Play Length Toggle feature, the Play button and Play Length Toggle button change to white.
Understanding Sync Breaks By default, the Timeline displays sync breaks whenever they occur while you edit. They appear at break points as white numbers indicating negative or positive offset values relative to zero. The Sync Breaks option also displays match-frame edits as an equal sign (=) on the edits. For more information on match frames, see “Working with Add Edits (Match Frames)” on page 681.
Fixing Sync Breaks Task Tips Perform Segment Use the Lift/Overwrite function instead of Extract/Splice-in. (Lift/Overwrite edits leaves filler behind and overwrites material at the new destination, maintaining sync in both cases.) For more information, see “Working with Segments” on page 652. Trimming Sync lock tracks to avoid breaking sync or use the Alt (Windows) or Option (Macintosh) key function for adding black during trims. For more information, see “Maintaining Sync While Trimming” on page 707.
Understanding Sync Lock You can customize the sync breaks display in the Timeline, for example to limit the display to video tracks only. This can reduce clutter and help you focus on a particular set of fixes. To restore frames to sync while Trimming: t Perform one or more single-roller trims on the out-of-sync tracks. Trim the exact number of sync-break frames displayed in the Timeline to reverse the break. For more information on performing trims, see “Working with Trim Edits” on page 689.
Understanding Sync Lock • You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. • Sync lock affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you add, move, trim, or remove material anywhere in the sequence.
Understanding Sync Lock To mark sync points with markers: 1. Move the position indicator to the point in the sequence where you want to maintain sync between two or more tracks. 2. Select all tracks where you want the markers to appear. 3. Click an Add Marker button. The system adds a marker to the enabled tracks in the Timeline and in the Record monitor. Example of markers in sync in the Timeline To add a note whenever you park on the marker frame (such as Music sync or Sound Effect sync): 1.
Ganging Footage in Monitors Using Add Edit When Trimming When you trim with several audio tracks in sync, you can create an edit in the silent or black areas of the synced tracks. They occur in line with the track you trim, and they trim all the tracks at once to maintain sync. n You can also add an edit to filler. For more information, see “Working with Add Edits (Match Frames)” on page 681. To use the Add Edit button while trimming: 1. Move the position indicator to the edit that you want to trim. 2.
Autosyncing Clips Ganged monitors, with the green gang monitor indicator 4. View the footage in any of the monitors. As you move through footage in one monitor, the footage in all other monitors freezes. The footage is updated when the play stops. Simultaneous full-motion playback is not possible, although the system maintains sync at all times.
Autosyncing Clips Understanding Autosyncing Autosyncing is often used for projects in which picture and sound were captured separately. These clips are often synced based on common film timecode, sound timecode, or auxiliary timecode. You can also autosync™ any audio and video clips based on a user-defined In point or Out point relationship that you establish with marks. For example, you can use the slate as a common visual and audio reference for autosyncing the clips.
Autosyncing Clips 3. Select an option, based on the following: Option Description Film TC/Sound TC Use this option if you sync clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not in a 24p or 25p project. Inpoints Use this option if you sync two clips at a time according to In points set in both clips. Outpoints Use this option if you sync two clips at a time according to Out points set in both clips.
Understanding AutoSequence n In a 35mm 4 perf or 35mm 3 perf project type, you can "perf slipped" the subclip up to a 1/4 frame in either direction for even tighter sync. Understanding AutoSequence AutoSequence is used when picture and sound are captured separately. AutoSequence lets you add audio or video to the original videotape if it was transferred without sound or picture.
Adding Audio or Video to Original Videotape Using AutoSequence Adding Audio or Video to Original Videotape Using AutoSequence c If you add audio only, make sure the video tracks are not enabled when you begin recording a digital cut. If you add video only, make sure you do not enable audio tracks when you record a digital cut. To add audio or video to your original videotape: 1. (Option) Use the AutoSync command to create synchronized subclips from your tape’s master clips and your audio or video clips.
Creating Video and Audio Leaders When you enable phantom marks, your Avid editing application displays blue mark In or Out icons in the position bars below both the Source and the Record monitors. These phantom marks indicate one, two, or sometimes three edit points calculated by your Avid editing application to complete an edit. The following examples illustrate two typical scenarios. Setting One Mark In this example, you set only the mark In on the source side.
Creating Video and Audio Leaders To create leaders for picture tracks: 1. Create a black screen in the Title tool for tail leader, or a white screen for head leader. For information on using the Title tool, see “Creating Titles” in the Help. 2. (Option) Type a title onto the screen that says Tail Leader or Head Leader. 3. Name this clip Head Leader or Tail Leader when you save the title. 4. Create a subclip from an appropriate length of the clip, according to your chosen specifications. 5.
Using MetaSync to Synchronize Metadata c. Bring the audio level all the way down. d. Move the position indicator after the second add edit, and use the Audio Mixer tool to bring the level all the way down. After you prepare the leader, you can splice the leader while you edit onto the audio tracks that you want to keep in sync. You can use the sync points for visually aligning tracks.
14 Script-Based Editing The following topics provide information about working with script-based editing: • Understanding Lined Scripts • Script Integration — Lining in the Digital Realm • Understanding the Script Window • Working with the Script Window • Working with Script Text • Working with Page or Scene Numbers and Searching in a Script • Linking Clips to a Script • Interpolating Position for Script Integration • Working with Slates in the Script Window • Working with Takes in the Sc
Understanding Lined Scripts A traditional lined script is created by hand at the time of shooting. The following is an example of a scene from a lined script. 33/1 33A/1 33A/2 33B/133B/2 33B/3 33C/1 33C/2 Each vertical line drawn through the scene represents a single take from the moment the director says “Action” to the moment the director says “Cut.” Each scene might require several camera angles and positions, with one or more takes, all of which are lined and identified alphanumerically.
Script Integration — Lining in the Digital Realm The following table summarizes the lining techniques and numbering system shown in the example. Master shot The line labeled 33/1 is the master shot that usually covers all the action in a wide shot. The first number in the label indicates the scene number as written on the script (scene 33). The number following the slash indicates that this is the first take captured on film for the master shot.
Script Integration — Lining in the Digital Realm Unlike the traditional lining of a script, digital script integration usually happens after the shoot. For example, the assistant editor uses the notes of the continuity person as the basis for script integration. The following is an example of the script shown in “Understanding Lined Scripts” on page 584, prepared and lined using script integration.
Script Integration — Lining in the Digital Realm Indicators You can apply off-screen dialog indicators or colors to indicate such things as preferred takes, takes used in the current active sequence, or line changes in dialog. Script marks The double arrows marking the takes at various points represent marked lines of dialog in the script that are synchronized to matching dialog in the source clip.
Understanding the Script Window The following is an example of an audiovisual script for a news magazine piece imported into the Script window, with the basic features of script integration applied. Left to right: narration track synced to the script, B-roll shots ready to be loaded and cued (color indicates preferred shots), music cuts linked to appropriate sections of the script. Understanding the Script Window You begin the script integration process by importing a script into a project.
Working with the Script Window However, the Script menu provides several commands that override the Script settings. Script menu commands are described throughout this chapter. You can also specify the text encoding of the script from the Script menu. This ensures that diacritical marks and multibyte character sets appear correctly in your script.
Working with the Script Window To set Script settings: 1. Double-click Script in the Settings list in the Project window. The Script Settings dialog box opens. 2. Make the changes to settings that you need, and then click OK. For information on the settings, see “Script Settings” on page 1373. To import a new script: 1. Place the script file in a local or network directory that is available to your Avid editing system. c The imported script must be in text format.
Working with the Script Window To select text encoding: t Select Script > Text Encoding, and then select one of the following: Option Description None Your Avid editing application uses your system’s default encoding. Select this option when the text was created on a system with the same system character set you are currently using. Use this option for non-Latin-based encoding where UTF-8 was not used.
Working with Script Text To adjust the left margin of an imported script: 1. Select Script > Left Margin. The Left Margin dialog box opens. 2. Type a new margin size (in pixels) in the text box, and click OK. The Script window reflects the new setting. To open the Info window from a Script window: 1. Press the Alt key (Windows) or the Option key (Macintosh), and click the Takes tab. 2. Drag the window to a new location to leave the Info window open.
Working with Script Text To select a single line of script: t Click anywhere in the line to highlight it. To select several lines of script, use one of the following methods: t Lasso the first line of the selection, drag through the text, and release the mouse button when you finish lassoing the lines you want to select. As you drag, a box outlines your selection. After you release the mouse button, the text is highlighted.
Working with Page or Scene Numbers and Searching in a Script 4. Select Edit > Paste. If you select only one line at the insertion point, a message box asks if you want to replace the selected line. If you select more than one line at the insertion point, no message box opens. When you select Edit > Paste, your Avid editing application replaces the selected lines with the text you cut or copied in step 2. You cannot use the Undo command after performing this step. 5.
Working with Page or Scene Numbers and Searching in a Script To add a page or scene number: 1. Select the line of the script at the beginning of the scene or page. 2. Click the Add Scene (AS) or the Add Page (AP) button in the Script window toolbar, or select Script > Add Scene or Script > Add Page. A dialog box opens. 3. Type the number for the scene or page, and click OK. The scene number appears in the left margin.
Linking Clips to a Script To delete a page or scene number: 1. Select the first line of the scene or page. You can also delete all page or scene numbering throughout a range of the script by selecting the range of lines or the entire script. 2. Press the Delete key. The Delete dialog box opens. 3. Select the options for Delete scene(s) or Delete page break(s) as appropriate, and click OK. Your Avid editing application deletes the numbering from the Script window. To search for a page or scene number: 1.
Linking Clips to a Script To link clips to the script: 1. Open the script bin by double-clicking the Script Bin icon. 2. Open the source bin for the clips that you want to link to the script. 3. (Option) Sort the source clips to make the job easier: t You can sort the Scene/Take column for an alphanumeric list of clips that matches their relative order in the script.
Interpolating Position for Script Integration A slate frame appears above the text, with one or more of the takes covering the scene as lines. 6. Continue to apply clips to additional portions of the script until you have finished creating all your slates. Alternatively, you can create slates one at a time, place script marks, and fine-tune the lining of each scene before proceeding to the next portion of the script.
Working with Slates in the Script Window Working with Slates in the Script Window Once you create a slate by dragging a clip into the Script window, you can manipulate the slate’s appearance and position. You can: • Select one or more slates. Selecting multiple slates is especially useful when you are adding or deleting color or off-screen dialog indicators across takes, as described in “Working with Takes in the Script Window” on page 603.
Working with Slates in the Script Window To hide or show the slate frames, do one of the following: t Select or deselect Show Frames in the Script Settings dialog box before you open the Script window. For more information, see “Script Settings” on page 589. t Select or deselect Script > Show Frames. When Show Frames is enabled, a check mark appears to the left of the Show Frames command. When Show Frames is deselected, the Script window shows only the clip names for the takes.
Working with Slates in the Script Window When Show All Takes is deselected, the Script window shows only one take for each nonactive slate. To move a slate, do one of the following: t To move a slate horizontally, drag it to the left or the right. If necessary, resize the Script window by dragging the size box. t To move a slate vertically without moving the position of the take lines in the script, drag it up or down.
Working with Takes in the Script Window n c When you delete slates and takes from the Script window, the captured source clips remain in the source bins. You cannot undo the deletion of slates. To restore a slate after deletion, you need to re-create the slate. See “Linking Clips to a Script” on page 597. Working with Takes in the Script Window Script integration provides a number of tools and techniques for manipulating the relationship between lined takes in the Script window and their source clips.
Working with Takes in the Script Window 3. Drag the clip to the slate. The new take appears in the slate and is applied to the selected region of the script. You need to manually adjust the take lines if the new take covers a region different from the existing slate. See the procedure below. To delete one or more takes: 1. Select the takes in the Script window. 2. Press the Delete key. The Delete dialog box opens. 3. Select Delete Takes, and click OK. The takes are deleted.
Indicating Off-Screen Dialog in a Script To load multiple takes into the Source monitor: t Select multiple takes, and then double-click any take you selected. To play back a take, do one of the following: t Double-click a take to load it into the Source monitor, and then click the Play button or press the Play key. The clip plays back and stops when it reaches the end. t Select a take in the script, and then click the Play button at the top of the Script window.
Using Color Indicators in the Script Window Using Color Indicators in the Script Window You can use color to indicate several pieces of information, including: • Preferred takes or takes used in the current active sequence. • Picture versus audio track used in the current active sequence. • Line changes in dialog. • Use of multiple cameras. To apply color to takes: 1. Select Script > Color > color. 2.
Script Marks • Place marks in a playback loop in real time. For more information, see “Using Real-Time Screening and Marking” on page 608. • Place marks automatically using ScriptSync, if you have purchased the ScriptSync feature in your Avid editing application. For more information, see “Marking with ScriptSync” on page 610 and “Moving or Deleting a Script Mark” on page 623. Once you have created script marks, you can load and play marked segments. You can also move or delete existing marks.
Script Marks 3. Click the Play button, or press the Play key. The take plays in the monitor. You can also step (jog) or shuttle through the footage, place the position indicator on the exact frame, or scrub the audio to find the exact line of dialog. The clip does not have to be playing. 4. When the playback reaches the selected line of dialog, click the Add Script Mark button or press the Add Script Mark key. The line is marked in the Script window with a small horizontal bar, and play stops. 5.
Script Marks To use real-time screening and marking: 1. Select one or more takes. 2. Click the Record button in the Script window toolbar. The first selected take changes to green in the Script window, your Avid editing application loads the clip into the Source monitor, and the clip begins to play. Example of real-time screening and marking: several takes are selected for automatic playback, and the current playback is highlighted in green 3.
Script Marks t Use variable-speed play controls (J-K-L keys on the keyboard) to shuttle, step, or pause during playback. t Press the Tab or Shift+Tab keys on the keyboard to begin playback of the next or the previous take. As each take reaches its end, your Avid editing application automatically loads and plays the next take. 5. Continue to place marks until all takes have been screened. To stop the playback loop: t Press the space bar.
Script Marks 3. Select Script > ScriptSync. The ScriptSync dialog box opens. 4. Select options as described in the following table. Option Description Language Select the language of your script (this setting is for both the audio and the text). n Depending on the language you select, the Acoustic model (Broadcast or Telephony) that Nexidia uses changes. Only one model applies per language. Broadcast has a higher resolution and can be more accurate than Telephony in some cases.
Script Marks Option Description Skip text before colon ‘:’ Select this option to skip all text before the first colon in a line of text. For example, select this option if your script uses the convention of placing a character’s name before a colon when the character begins to speak. Skip lines indented less than dialog Select this option if action is indented less than dialog in your script.
Script Marks Purchasing and Activating ScriptSync The ScriptSync option is sold separately from your Avid editing application. Once you purchase ScriptSync, you will receive a ScriptSync Activation ID that you use to activate the ScriptSync feature. You activate the ScriptSync feature with the Avid License Control tool. To find out the benefits of the ScriptSync feature, you can try out ScriptSync for a free 30-day trial period before you purchase.
Script Marks What Will I Need to Activate ScriptSync? • The ScriptSync Activation ID (obtained after you purchase ScriptSync) If you purchased through an Avid Reseller, the ScriptSync Activation ID is on a sticker adhered to your Instruction letter. If you purchased through the Avid web store, you receive your ScriptSync Activation ID through an Avid e-mail or you can also view your Activation ID by logging in to your Store account at http://account.avid.com/.
Script Marks Running the 30-Day Trial of ScriptSync Before you purchase ScriptSync, you can try it out for a 30-day period. After the 30 days, if you do not purchase ScriptSync, you will no longer have access to the ScriptSync feature. The system keeps you informed of how many days you have left before the trial period ends. n If you are running the Avid editing application trial version, you do not need to run the trial version of ScriptSync.
Script Marks 6. Select Script > ScriptSync. A dialog box opens which informs you of how many days you have left on your 30-day trial. This message displays with the remaining time only when you restart the Avid editing application and click ScriptSync again. 7. Click Buy. The system opens the Avid web store, allowing you to purchase ScriptSync. Once you purchase ScriptSync and obtain your ScriptSync Activation ID, you can activate ScriptSync.
Script Marks If You Purchased ScriptSync through an Avid Reseller or Directly Online Once you purchase ScriptSync, you will receive your ScriptSync Activation ID. You need to open the Avid License Control tool to activate the ScriptSync feature. The Avid License Control tool is installed with your Avid editing application and is located in the Utilities folder. To open the Avid License Control tool: 1. Open the Avid License Control tool from your Avid editing application.
Script Marks To copy system information from the License Profile tab: 1. With the Avid License Control tool open, click the License Profile tab. The License Profile tab displays information about your system, including: Device ID, OS, System ID, Activation ID, software Version, if your software is activated or deactivated. 2. Click Copy. The information copies to your Clipboard.
Script Marks A dialog box opens. 2. If your computer has an Internet connection, select “I am connected to the Internet and will use this computer.
Script Marks 3. Click Continue. The Avid Activation dialog box opens. 4. Enter your system identification number in the System ID text box. This number pre-displays if you have activated your Avid editing application. If the System ID does not appear, see “What Will I Need to Activate ScriptSync?” on page 614 for more information. n n If you have a dongle attached to your system, the system should pre-display your System ID.
Script Marks To activate ScriptSync with the Avid License Control tool and with no Internet connection: 1. With the Avid License Control tool opened, click Activate next to ScriptSync. A dialog box opens. 2. Select “I am not connected to the Internet and will be using another computer that is connected to the Internet.” 3. Click Continue. The Avid Activation dialog box opens. 4. On the second computer open a Web browser and navigate to http://avid.com/license.
Script Marks Deactivating the ScriptSync License n n n If you need to move ScriptSync to a different computer, deactivate the ScriptSync license. You must have an Internet Connection to deactivate ScriptSync. You do not need to deactivate the Trial version of ScriptSync. Deactivating ScriptSync 1. Open the Avid License Control tool from your Avid editing application.
Script Marks The takes load and play back one after another. You can use the Tab key or J-K-L keys to jump between takes and to control playback. Moving or Deleting a Script Mark When you move a script mark up or down, the mark in the source clip remains at the same frame but is resynced to a new line in the script. When you remove a script mark, you do not delete the marked portion of the take, only the sync point between the script and the source clip. c You cannot undo the deletion of script marks.
Finding Clips and Script Finding Clips and Script After you place script marks, which synchronize lines in the Script window to frames in the source clips, you can use the Find Script or Find Bin buttons to search back and forth between the two items. To find the script linked to a loaded clip: 1. Place the position indicator in the clip at the line of dialog (or within a range of dialog) that you want to find. 2. Click the Find Script button in the Other tab of the Command palette.
Editing From the Script Window Revising the Script During or after each session, or when a scene or segment is completed, the editor or assistant editor can update the Script window to reflect the final edit decisions made during the day. This maintains a complete record of the elements used to construct the scene or segment, as well as all existing alternatives. You can quickly retrieve all the source material in one window whenever you need to make further changes.
Editing From the Script Window 5. Prepare the sequence for the next edit: a. Create new tracks, if necessary. b. Enable the appropriate source and record tracks. c. Patch the tracks, if necessary. d. Mark an IN point in the sequence for the next edit. 6. Double-click the next preferred take to load it. 7. Play the clip until you reach the appropriate OUT point, and stop play. 8. Perform the edit on-the-fly. 9. Repeat steps 5 through 8 until you have moved through the entire scene or segment. 10.
15 Using the Timeline Your Avid editing application represents each edit and effect on a timeline to help you track and manipulate the elements of your sequence. The Timeline continuously updates as you work, displaying icons and information that you can customize in various ways. The Timeline also has its own set of editing tools for creating and revising edits and transitions across multiple tracks. The audio and video tracks in the Timeline play in the Source/Record monitor.
Customizing Timeline Views • Manipulate the height of tracks as part of a view For more information, see “Enlarging and Reducing Timeline Tracks” on page 631. • Highlight clips in the Timeline for special purposes For more information, see “Displaying Clip Colors in the Timeline” on page 632. • Hide or display audio waveforms or pan and gain automation. For more information, see “Audio Displays in the Timeline” on page 724. • Hide or display the Track Control panel.
Customizing Timeline Views Purpose Description (Continued) Editing for online If you are editing offline with plans to generate an EDL and finish the sequence in an online videotape suite, you can track detailed clip and dupe-reel information by displaying and enabling Dupe Detection. Using the Timeline Fast Menu You can customize the appearance of the Timeline by using various options from the Timeline Fast Menu.
Customizing Timeline Views Option Description (Continued) Effect Icons Switches the display of effect icons; see “Changing Timeline View Settings for Effects” in the Help. Render Ranges Indicates unrendered or partially rendered effects; see “Using Partial Render” in the Help. Dissolve Icons Switches the display of transition dissolve icons. Clip Frames Switches the display of start frames for each segment in the Timeline. Clip Text Displays a submenu of clip text display options.
Customizing Timeline Views Option Description (Continued) Track Control Panel Displays or hides the Track Control panel; see “The Track Control Panel” on page 643. More Detail Expands the Timeline horizontally around the position indicator. Less Detail Shrinks the Timeline horizontally around the position indicator. Show Every Frame Displays every frame in the Timeline if you select Show Track > Film. Show Entire Sequence Shows the entire sequence within the Timeline.
Customizing Timeline Views Displaying Clip Colors in the Timeline You can use colors to highlight the following types of clips in the Timeline: • n Clips that have offline media. When you work with nested layers, a clip that contains offline media appears colored even if the missing media is located in a nested layer. • Clips whose frame rate does not match the sequence frame rate (mixed-rate clips).
Customizing Timeline Views To display clip colors in the Timeline: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Select one or more of the following: Option Description Resolution Tracking Colors clips to indicate the availability of particular resolutions in a MultiRez environment. For more information, see “Using Clip Coloring to Show Available Resolutions” on page 1218. This option is only available if you are working in a MultiRez environment.
Customizing Timeline Views Option Description SD/HD Colors clips that do not match the video definition type of the project format — in an HD project this option colors the SD clips, while in an SD project this colors the HD clips. n You can also display clip text that can help you to identify particular clips by selecting Clip Text > Clip Resolutions from the Timeline Fast menu. Timeline Local Colors clips to which you have assigned a local color in the Timeline.
Customizing Timeline Views To change the display colors for the Resolution Tracking, Offline, Mixed Rates, or SD/HD options: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Click the color swatch for the option you want to change. A color picker grid opens. 3. Click a color in the grid. The color you select becomes the display color for that option. To reset the display colors for the Resolution Tracking, Offline, Mixed Rates, and SD/HD options: 1.
Customizing Timeline Views Changing the Timeline Background or Track Color To change the background color of the Timeline: 1. Deselect all the tracks in the Timeline. The Background Color command appears only when all tracks are deselected. 2. Click the Timeline Fast Menu button, and select Background Color > color. To change the color of the selected tracks in the Timeline: 1. Click in the Timeline to activate it. 2. Select the tracks whose color you want to change. 3.
Customizing Timeline Views To assign a local clip color: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Select Timeline Local, and then click OK. 3. Select one of the segment tools in the Timeline palette, and select a clip you want to color. 4. Do one of the following: t Select Edit > Set Local Clip Color > color to select a standard color. t Select Edit > Set Local Clip Color > Pick to select a custom color from the Windows Color dialog box.
Customizing Timeline Views Displaying Timecode Tracks in the Timeline You can display separate tracks for different timecodes in the Timeline. By default, the Timeline displays all the tracks. You can hide the timecode tracks by deselecting them in the Show Track submenu of the Timeline Fast menu. The master timecode also displays in the Timeline ruler above the Timeline. To customize the tracks to be displayed in the Timeline: t n Click the Timeline Fast Menu button, and select Show Track > tracks.
Customizing Timeline Views n For the Timeline to page or scroll, you might need to display more detail in the Timeline to expand the sequence. Click the slider and drag it to the right to expand the Timeline. All effect icons are hidden as you scroll. To set the playback option: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens, displaying a list of your current Timeline settings. For more information, see “Timeline Settings” on page 1375. 2.
Customizing Timeline Views n If the Timeline or monitor window is hidden behind another window, select the window again from the Tools menu. To resize the Timeline window: t Click the Resize box at the lower right corner of the window, and drag it. t (Macintosh only) Click the Maximize button in the top right corner of the window. The Timeline expands to full-screen size. To restore a resized Timeline window to its default position: t Click the Timeline and select Windows > Home.
Customizing Timeline Views • Create single- and dual-roller trims, such as ripple trims and overlap edits • Adjust transition effects in the Timeline Timeline palette, located to the left of the Timeline, with the Timeline ruler at the top of the Timeline The Timeline palette provides you with the most common tools you need for Timeline editing, as well as several buttons you can use to enable editing modes such as Effect mode or Color Correction mode.
Customizing Timeline Views Icon Tool Description Trim Mode Allows you to enter traditional Trim Mode without selecting a trim tool. Source/Record mode Enters Source/Record mode. Effects mode Enters Effects mode, opening the Effect Editor and changing the Record monitor to the Effect Preview monitor. Color Correction mode Enters Color Correction mode, opening the color correction controls. Motion Effect Opens the Motion Effect Editor, allowing you to edit Timewarp effects.
Customizing Timeline Views When you combine functions on the Timeline palette, you modify how the mouse pointer functions in the Timeline: • When you select the Lift/Overwrite or Extract/Splice-in button, the mouse pointer changes to a segment edit pointer for either Lift/Overwrite or Extract/Splice-in edits. If you select both buttons, the segment edit depends on which region of the segment in the Timeline that you activate. For more information, see “Working with Segments” on page 652.
Customizing Timeline Views • Mark tracks as inactive or solo or mute tracks so you can monitor the audio on a track. Track Control panel Component Description Waveform Turns on or off the waveform display for individual tracks. Clip Gain/Pan Turns on or off the clip gain, auto gain, and pan display for individual tracks. Inactive Removes a track from audio monitoring so you can play back your sequence without process the plug-in effects or automation for the inactive track.
Customizing Timeline Views To show the Track Control panel, do one of the following: t Click the Timeline fast menu and select Track Control Panel. To hide the Track Control panel, deselect Track Control Panel. t Click the Track Control Panel button above the Timeline. Track Control panel, with the Track Control Panel button above the Timeline Displaying Source Material in the Timeline You can display source material in the Timeline.
Customizing Timeline Views By default, the Timeline displays only the available tracks for source material. Both the button and the position indicator turn green to indicate that you are viewing source material. Displaying the Timeline Top Toolbar You can display a top toolbar in the Timeline for easy access to editing buttons. You can also map additional buttons to the Timeline top toolbar. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 98.
Customizing Timeline Views Managing Customized Timeline Views You can save a customized Timeline view. Timeline views appear in the Settings list in the Project window. You can save, rename, and copy multiple views. Your Avid editing application saves the Timeline information from the Timeline Fast menu with each view. You can select alternate views from the View menu located in the Timeline bottom toolbar. The Timeline view is labeled Untitled until you name and save a customized Timeline view.
Customizing Timeline Views Using Timeline View Buttons The More tab of the Command Palette contains eight Timeline View buttons that you can use to switch between Timeline views. You can map these buttons to any mappable button location or to the keyboard, or you can use them directly in the Command Palette. You must create at least one Timeline view to use the Timeline View buttons. For more information, see “Managing Customized Timeline Views” on page 647.
Navigating in the Timeline To use a Timeline View button or key, do one of the following: t Click the Timeline view button in the location to which you have mapped it. t Press the key on the keyboard that you have associated with the Timeline View button. t In the More tab of the Command Palette, select Active Palette, and then click the Timeline View button.
Navigating in the Timeline Understanding the Timeline Position Indicator and Scroll Bar The position indicator in the Timeline marks your place in the sequence. It also determines how your Avid editing application interprets some of your commands. For example, when you perform an edit, the system takes the location of the position indicator as the In point in the absence of established marks.
Navigating in the Timeline • You can use the Focus button to quickly change your view of the Timeline so that you focus on a few seconds of material on either side of the position indicator. The Focus button centers the position indicator and scales the Timeline so each second of time in the sequence fills 90 pixels in the display. The Focus button is located in the Timeline bottom toolbar next to the Timeline Fast Menu button.
Working with Segments Controlling Movement in the Timeline While working in the Timeline window, you can use modifier keys to control the movement of both the position indicator and any segments that you move. To snap to the head of transitions: t Press the Ctrl key (Windows) or Command key (Macintosh) as you drag either the position indicator or any selected segments.
Working with Segments You can also edit directly from a bin, as described in “Bin Editing into the Timeline” on page 662. Guidelines for Segment Editing General Guidelines • Moving a selection with an Extract/Splice-in edit deletes transition effects on either side of the selection. If the selection includes multiple segments around a transition effect, moving the segments preserves transition effects inside the selection.
Working with Segments • Drag from left to right. If you drag from right to left, you enter Trim mode with slip rollers selected. • Link selection does not affect which segments you select when you lasso segments in the Timeline. Selecting and Deselecting Segments You can select segments for moving or editing by activating tools on the Timeline palette and then clicking segments in the Timeline, or you can lasso one or more segments. You can also select linked clips when you enable Link Selection.
Working with Segments n When you draw a lasso, if neither segment tool in the Timeline palette is selected, Lift/Overwrite mode is enabled by default. To switch the mode, click the Extract/Splice-in button, after drawing the lasso. To deselect one or more selected segments, do one of the following: t To deselect an entire track, click the Track button in the Track Selector panel.
Working with Segments • Link selection operates across tracks, not along the same track. However, if a video segment links to an audio segment that includes a cut point, link selection operates on both audio segments. • When two or more video tracks from the same clip overlap in the Timeline and sync is broken with the linked audio segments, link selection links to the video segment with the smallest sync break point.
Working with Segments To select segments on enabled tracks using the multiple segment selection buttons: 1. Move the position indicator to the first or last segment you want to select. 2. Select Tools > Command Palette, and click the Edit tab. 3. Do one of the following: t Click the Select Left button to select segments under the position bar and all segments to the left. t Click the Select Right button to select segments under the position bar and all segments to the right.
Working with Segments Moving Segments with Drag and Drop You cannot move segments to locked tracks. If you attempt to drop a selection on a locked track, the move fails and all selected segments return to their original position in the Timeline. If you move audio segments, you can only move segments on mono tracks to other mono tracks and segments on stereo tracks to stereo tracks. To perform a segment edit: 1.
Working with Segments To cancel a segment move, do one of the following: t If you have not dropped the selected segment at a new location, drag the selection out of the Timeline window and release the mouse button. t If you have dropped the selected segment at a new location, select Edit > Undo. Deleting Segments You can use the segment tools in the Timeline palette to delete whole segments in the Timeline quickly without having to mark In and Out points.
Working with Segments Marking Clips and Sequences As an alternative to marking sections of the Timeline in Source/Record mode for deleting, copying, subclipping, rendering, or creating an EDL or digital cut, you can use the segment tools to mark segments quickly. To mark segments in the Timeline: 1.
Working with Segments Cutting, Copying, and Pasting in the Timeline You can use the shortcut keys for cutting, copying, and pasting segments selected in the Timeline. To cut or copy and paste segments: 1. Do one of the following: t Select both of the segment tools on the Timeline palette, and then position the mouse pointer over the top of the segment (for Lift/Overwrite operations) or the bottom of the segment (for Extract/Splice-in operations).
Working with Segments Enabling Only One Segment Edit Tool at a Time You can use the Timeline Settings dialog box to specify the behavior of the segment tools in the Timeline palette to allow only one segment tool to be enabled at a time. This overrides the default behavior, which allows both segment tools to be enabled at once, and is useful in some workflows. For more information on Timeline settings, see “Timeline Settings” on page 1375.
Working with Multiple Tracks t Extract/Splice-in (yellow) acts as a splice edit, inserting the clip into the sequence, moving existing material down, and lengthening the total duration. If you do not select a segment tool, or if you select both tools, your Avid editing application defaults to the segment tool specified in the Timeline Settings dialog box. For more information, see “Setting the Default Segment Edit Tool” on page 661. 3. Drag a clip from the bin into the Timeline.
Working with Multiple Tracks Occasionally, effects editing involves a procedure known as nesting. Nesting involves stepping into existing tracks to reveal added layers for combining multiple images and digital video effects. When you apply an effect, you can step out to view and render the effect as one segment on the track. You can nest up to 24 additional tracks within each track. n For more information on nesting techniques, see “Nesting Effects” in the Help.
Working with Multiple Tracks Icon Button Audio Track, Source and Record Timecode button The source side of the panel displays only those tracks available for the clip currently loaded. For example, a clip that has audio captured only for track A1 does not display an A2 track in the Track Selector panel. The record side of the panel displays only those tracks currently in use for the sequence.
Working with Multiple Tracks The Tracks tab of the Command Palette contains buttons for all available Timeline tracks. You can map these buttons to any mappable button location or to the keyboard, or you can use them directly in the Command Palette. For more information, see “Mapping User-Selectable Buttons” on page 98 and “Activating Commands from the Command Palette” on page 100.
Working with Multiple Tracks Understanding Track Monitoring The following information describes how track monitoring functions and your options for monitoring tracks. For procedures on monitoring or soloing tracks, see “Monitoring and Soloing Tracks” on page 668. Monitoring Video The Video Track Monitor button determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing.
Working with Multiple Tracks • By default, Direct Out maps all audio tracks in numerical sequence to existing output channels. • You can customize the output of audio tracks, as described in “Setting Audio Output Options” on page 1013. Advantages of Solo Monitoring When editing, you can isolate individual video or audio tracks for monitoring without having to deselect monitoring of all other tracks.
Working with Multiple Tracks To activate or deactivate monitoring for a track: t Click the Track Monitor button for the track on either the source-side or the record-side. Track Selection panel, with video and audio tracks selected for monitoring To select a track for solo monitoring: 1. Ctrl+click (Windows) or Command+click (Macintosh) the Track Monitor button for the video track you want to solo monitor. 2. Click the Solo button for the audio track you want to solo monitor.
Working with Multiple Tracks You can perform only one patch per edit, but there is no limit on the number of times you can patch from the same source track. Audio can patch only to audio, and video only to video. Also, you can only patch multichannel audio tracks to multichannel audio tracks, or mono tracks to mono tracks. Your Avid editing application dims the track selector buttons on tracks with unsupported track formats when you patch tracks.
Working with Multiple Tracks To undo a patch: 1. Click in the Record monitor or Timeline. 2. Manually repatch to the previous track. The selected source track moves beside the record track to which it is patched as soon as you draw the arrow and release the mouse. The patched track remains highlighted in preparation for your edit. You can proceed to select any other tracks required for the edit. After you make the edit, you can continue to work on the same track or patch to a different track as necessary.
Working with Multiple Tracks 4. Move the position indicator in the Timeline to the clip you want to replace. 5. Select Tools > Command Palette. 6. Click the Play tab. 7. Click the Alternate Edit button. The system replaces the clip and performs an Edit Review command. (For information on Edit Review, see “Reviewing Trim Edits” on page 702.) The replacement clip prerolls in the sequence, using the preroll time specified in the Trim Settings dialog box.
Working with Multiple Tracks Locking and Sync Locking Tracks The following illustration shows the location of the Sync Lock and Lock buttons in the Track Selector panel, and the icons that appear on these buttons. For more information on your options for locking tracks, see “Understanding Locking and Sync Locking” on page 672. Top to bottom: Lock icon, Sync Lock icon, and Sync Lock All button in the Track Selector panel To lock tracks: 1. Select the tracks you want to lock (Source, Record, or both). 2.
Working with Multiple Tracks Adding and Deleting Tracks Your Avid editing application lets you create up to 24 video and 24 audio tracks in the Timeline when building a sequence. (You can monitor 16 audio tracks at a time.) You can also add a data track, which is used for ancillary data. For more information, see “Preserving HD Closed Captioning and Ancillary Data” on page 1045. By default, new tracks are numbered consecutively.
Working with Multiple Tracks t Select Clip > New Meta Track. t Select Clip > New Data Track. The Add Track dialog box opens. 2. (Option) Select the type of track you want to add (for example, a video or an audio stereo track) by clicking the Track Type menu, and selecting that option. 3. (Option) Select a track number other than the default number displayed in the dialog box by selecting another number from the Track Number menu. 4. Click OK.
Working with Multiple Tracks To delete one or more tracks from a sequence: 1. Click one or more Track Selector buttons to select the tracks you want to delete. 2. Press the Delete key. The Delete Track(s) dialog box opens. 3. Click OK. The tracks are deleted.
Working with Multiple Tracks n If splitting stereo tracks to mono tracks causes your sequence to exceed 24 audio tracks, or if splitting to mono cannot maintain the relative order of tracks or the left/right channel alignment, the Avid editing application cannot complete the operation and an error message displays. You can reduce the number of audio tracks in your sequence and retry the operation.
Working with Multiple Tracks To split all stereo audio tracks in the Timeline to mono, do one of the following: t Right-click in the Timeline, and select Split All Tracks to Mono. t Select Clip > Split All Tracks to Mono. All stereo tracks in the Timeline split into two separate mono tracks, with the new mono tracks added below each original stereo track. . A copy of your original sequence is saved to your bin as [sequence_name].Copy.[number].
In to Out Highlighting in the Timeline In to Out Highlighting in the Timeline When you mark a sequence with In to Out points, the system indicates the selection by highlighting the marked region on selected tracks in the Timeline. Marked region highlighting in the Timeline This visual guide helps you monitor track and segment selection more carefully when mixing or applying effects across multiple tracks and segments.
Performing a Quick Edit Using the Top and Tail Commands To edit in Heads view or Heads Tails view: 1. Click the Track buttons to select the tracks to be edited. 2. Click the Timeline Fast Menu button, and select View Type > Heads or Heads Tails. The Timeline changes to one of the following displays. Heads view (top) and Heads Tails view (bottom) in the Timeline. Heads view shows the Head frame for each clip. Heads Tails view shows both the head and tail frames for each clip. 3.
Working with Add Edits (Match Frames) 4. Do one of the following: t Click the Top button to extract footage from the start of the clip or segment to the position indicator. t Click the Tail button to extract footage from the position indicator to the end of the clip or segment. Working with Add Edits (Match Frames) The Add Edit function places an artificial edit point between frames of a clip.
Dupe Detection 3. Click the Add Edit button. The edit appears in the sequence with an equal sign to indicate a match frame. n By default, the match-frame indicator is white. If a change in level occurs, the match-frame indicator changes to red. To add an edit to filler clips at the position indicator: 1. Move the position indicator to the selected frame. 2. Alt+click (Windows) or Option+click (Macintosh) the Add Edit button.
Dupe Detection When you activate Dupe Detection, each set of duplicate frames is tagged with a different color. (Up to 10 color sets can be distinguished during a single detection process.) Matching frames have matching colors. You can use any of the Trim Mode options to remove the duplicate frames, if necessary. The colored bars that distinguish duplicate frames in the sequence appear automatically above the frames in the Timeline.
Dupe Detection Methods for Changing Handle Length in Dupe Detection In 35mm film editing (using the single-strand method), one extra frame, known as the safety frame, provides tabs for the negative cutter to use when cutting two segments of film together. However, this frame is always lost during the negative conform. 1 2 3 Example of a splice on a safety frame. Frames 1 and 3 are still usable, but frame 2 has been cut in the middle and is lost.
Editing with the Film Track Adding specific handle lengths to dupes (as they appear both in the sequence and in film lists) has the following advantages: • In 35mm single-strand conforming — Editors can better track duplicate frames and provide the negative cutter with more than one safety frame to avoid losing specific frames.
Finding Black Holes and Flash Frames To display the film track: t Click the Timeline Fast Menu button, and select Show Track > Film. A row of film frames appears at the top of the Timeline. The film track displays as many representative frames as possible within the window. Film track in the Timeline To adjust your view of the Timeline quickly for frame-by-frame viewing and editing: t Click the Timeline Fast Menu button, and select Show Every Frame.
Finding Black Holes and Flash Frames 3. Move the position indicator to the beginning of the sequence or before the part of the sequence you want to search. 4. Select Clip > Find Black Holes. The position indicator moves to the first segment that contains filler. You can then edit or delete the filler, if necessary. To find the next segment that contains filler: t Select Clip > Find Black Holes again. To find flash frames: 1. Set the maximum frame length that you want to detect: a.
Printing the Timeline Printing the Timeline To print the Timeline: 1. Click the Timeline to activate it. 2. Select File > Print Timeline. The Print dialog box opens. The name of the printer and details of the dialog box vary, depending on your facility. 3. Select the Print options. 4. Click OK (Windows) or Print (Macintosh). Your Avid editing application prints the current view of the Timeline. You can also use the Print Timeline command to print the Timeline in Heads view or in Heads Tails view.
16 Working with Trim Edits Basic editing of a sequence initially produces a rough cut, which is loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can use trim edits to fine-tune the transitions between each clip or between whole segments. You can also trim edits as you build a sequence rather than create a rough cut first.
Trimming with the Timeline Palette Trimming with the Timeline Palette You can perform trim edits by using the trim tools on the Timeline palette. This lets you create trims quickly in your sequence which you can later fine-tune by using the advanced functionality of trimming.
Understanding Trim Displays Small Trim Display Small Trim display leaves the monitor display intact and has smaller displays of outgoing and incoming frames. Small Trim display — replaces Record monitor in two-monitor view. Outgoing and incoming frames appear side-by-side on the right, with playback loop parameter controls above them, and with frame offset counters and Trim buttons beneath them.
Understanding Trim Displays Quick Trim Display If you display only the Record monitor (for example, as you review the final version of a sequence), you can use Quick Trim display for making quick adjustments to transitions in your sequence. Like Small Trim display, Quick Trim display replaces the Record monitor with smaller displays of outgoing and incoming frames. Quick Trim display — replaces Record monitor in single monitor view.
Trim Settings Overview Big Trim Display Big Trim display replaces the Source and Record monitors with displays of outgoing and incoming frames. Big Trim display also shows transition playback loop parameters. Big Trim display — replaces both monitors in two-monitor view. Outgoing frames appear on the left and incoming frames appear on the right. Bottom, left to right: Playback loop parameter controls, frame offset counters, and Trim buttons.
Timeline Trim States Timeline Trim States When you trim using the Timeline palette, the kind of edit you can perform depends on which trim tools you select and the position of the mouse pointer relative to the transition you want to trim. If you enable both the Overwrite Trim and Ripple Trim tools and then hover the pointer over the upper half of your clip, you can perform an overwrite trim edit on either the outgoing frames (A-side) or the incoming frames (B-side).
Selecting Trim Sides Icon Trim Type Dual-roller trim Trim Zone Transition between outgoing and incoming clips Selecting Trim Sides You can trim a transition on either the outgoing side (A-side or tail), the incoming side (B-side or head), or both sides (dual-roller).
Selecting Trim Sides You can map these buttons to other locations, as described in “Mapping User-Selectable Buttons” on page 98. t Use the Cycle Trim Sides button to cycle between selection for a single transition of the A-side, B-side, or both. t Lasso a transition to select both sides of a transition for trimming. If you lasso multiple transitions from left to right, you select the segment and not the transitions. If you lasso multiple segments from right to left, you select transitions for slip trim.
Selecting Trim Sides t Click a location in the Timecode (TC1) track at the bottom of the Timeline or the Timeline ruler at the top of the Timeline. The position indicator moves to that location.
Overwrite Trimming To select additional transitions for single-roller trimming in varying locations on different tracks: t Shift+click the transitions in the Timeline. This method is useful when you work with staggered transitions across multiple tracks, This also lets you select both A-side and B-side transitions for simultaneous trimming in opposite directions (asymmetrical trim). You cannot do this with dual-roller trims.
Ripple Trimming To perform and overwrite trim: 1. Do one of the following: t Select the Overwrite Trim tool on the Timeline palette, and then click a transition to select it for trimming. Shift+click to select multiple clips aligned at the same transition.
Dual-Roller Trimming To perform a ripple trim: 1. Do one of the following: t Select the Ripple Trim tool on the Timeline palette, and then click a transition to select it for trimming. Shift+click to select multiple clips aligned at the same transition.
Refining Trims Your Avid editing application selects the transition nearest the position indicator for dual-roller trimming. The dual-roller icon appears on all highlighted tracks. This method is useful for selecting straight-cut transitions on one track or across video and audio tracks.
Reviewing Trim Edits t Use the J-K-L keys to trim forward or backward in the sequence. t Use the numeric keypad at the right side of the keyboard, as follows: - To move the transition a specific number of frames, type a plus sign (+) or minus sign (–) and the number of frames (from 1 to 99), and then press Enter. If the number of frames exceeds 99, type an f after the number to indicate frame count. For example, to enter 200 frames, type 200f and press Enter.
Trimming with the J-K-L Keys 3. Modify the length of the preroll, postroll, and transition effect duration by clicking the appropriate timing text box and typing a new value. Preroll length text box (top left), postroll length text box (top right), and transition effect duration text box (bottom) 4. To stop the playback loop, click the Play Loop button again. 5. To deselect trim points, click the timecode track in the Timeline or click the Toggle Source/Record button.
Trimming During a Playback Loop For convenience, this method isolates the trim controls to just three keys. n When trimming with the J-K-L keys, you cannot completely trim away all frames in a segment. Your Avid editing application always leaves one frame. To remove the remaining frame, see “Refining Trims” on page 701. To trim on-the-fly: 1. Click either the outgoing (A-side) or incoming (B-side) monitor to play in real time during the trim. 2.
Creating Overlap Edits Your Avid editing application performs the trim before the next playback loop. You can then view the trimmed transition during playback and make further changes until you are satisfied with the result. 4. When you finish, exit the playback loop by doing one of the following: t Press the space bar. t Click the Play Loop button.
Extending an Edit Extending an Edit Use an extend edit to perform dual-sided (A-side and B-side) trims on selected tracks. An extend edit lets you quickly create a split edit without selecting trim sides at a transition. It also lets you establish the exact frame that you want to trim to by using the position indicator. You can extend edits backward or forward in the Timeline. In either case, like a dual-roller trim, extend edits always maintain sync relationships. To perform an extend edit: 1.
Maintaining Sync While Trimming Maintaining Sync While Trimming Because single-roller trims (A-side or B-side) can change the duration of the track being trimmed, any relationships that exist with other tracks downstream of the trim lose sync.
Slipping or Sliding Segments If you trim the B-side of the transition in the same direction, the additional sync-locked segments slide back in the sequence to maintain sync until they encounter another segment in the same track. At this point, you can trim no further and the system emits a warning sound. - When you trim back the A-side of a transition, additional segments locked in sync move back as well.
Slipping or Sliding Segments The type of trim you perform (slip or slide) determines which frames update: • In slip trimming, the two inner monitors for the head and tail frames of the clip change because this adjusts only the contents of the clip. It does not affect the frames that precede and follow the clip. 1 2 3 4 2 3 4 5 Example of a one-frame slip to the right. The head and tail frames of the segment change by one frame. The material before and after the segment remains fixed.
Slipping or Sliding Segments Slipping or Sliding Segments in a Four-Frame Display If you expand the Source/Record monitors to a two-monitor display, you can use four-frame display when trimming. For more information on expanding the Source/Record monitor, see “Resizing the Monitors” on page 456. To slip and slide segments in a four-frame display: 1. Place the position indicator on the segment you want to slip or slide. 2. Right-click in the Timeline, and then select Select Slip Trim or Select Slide Trim.
Trimming in Two Directions Trimming in Two Directions You can select non-contiguous transitions in the Timeline and perform a trim simultaneously on all selected transitions. This allows you to trim segments without altering the duration of the sequence in cases where you cannot perform a simple dual-roller trim.
17 Working with Audio You edit audio by using many of the same techniques and tools you use to edit video. Your Avid editing application also provides several unique features that facilitate audio editing, such as audio scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between speakers as well as the frequency ranges of segments.
Overview of Audio Tools • Recording Voice-Over Narration • Using Automatic Voice-Over Overview of Audio Tools The following table describes the general purpose of each audio tool in your Avid editing application: Audio tool Description Audio Mixer tool This tool adjusts pan and volume levels on clips or whole tracks within a sequence. For more information, see “Using the Audio Mixer Tool” on page 740.
Overview of Audio Tools To access one of the audio effect tools: t Select Tools > tool name. To keep more than one tool open at the same time: t Select Tools > tool name, and then drag the tool to a tabbed tool window. To prevent confusion, your Avid editing application allows only one copy of an audio effect tool to be open at a time. For example, you can open only one copy of the Audio EQ tool.
Working with Multichannel Audio Tracks 6. Do one of the following: t Select Fill Undecodeable Frames to instruct the system to fill in any timecode breaks with continuing timecode. This is the default. t Deselect Fill Undecodeable Frames if you do not want to fill timecode breaks. For example, in a 3-minute master clip, the audio timecode starts at 1:00:20:20. At 1:00:22:10, the timecode ends.
Working with Multichannel Audio Tracks • 5.1 surround sound • 7.1 surround sound The Track Formats column in the bin Text view displays the format for all multichannel audio tracks in a master clip. You can modify the audio format by grouping or ungrouping selected audio tracks. You can modify audio formats for master clips only. Track formats for sequences, group clips, or subclips cannot be modified.
Working with Multichannel Audio Tracks To set the multichannel audio format for audio tracks: 1. Open the bin and click the Text tab. 2. Click the icon to the left of the clip you want to modify. Ctrl+click (Windows) or Cmd+click (Macintosh) each additional object you want to modify. 3. Do one of the following: t Select Clip > Modify. t Right-click a clip and select Modify. The Modify dialog box opens. 4. Click the Modify Options menu, and select Set Multichannel Audio.
The Track Control Panel Option Description Mono tracks Sets the paired audio tracks to two mono tracks. Stereo tracks Sets the paired audio tracks to one stereo track. 5.1 Surround Sets the selected tracks to one 5.1 surround sound track. sound tracks Sets the selected tracks to one 7.1 surround sound track. 7.1 Surround sound tracks 6. Click OK. The bin information updates to reflect the audio format modifications.
The Track Control Panel Component Description Solo Allows you to monitor a single track of audio without deselecting other tracks. RTAS plug-ins Lists the RTAS plug-ins inserted on the track. Clicking the button for an existing RTAS insert opens the RTAS plug-in window so you can edit the plug-in parameters. Clicking a blank RTAS button opens the RTAS tool so you can insert a plug-in on the track. Mute Allows you to mute a single track of audio without deselecting it.
The Track Control Panel For more information about audio scrubbing, see “Using Audio Scrub” on page 721. n You can also use the Track Solo buttons in the Audio Mixer tool. See “Using the Track Solo and Track Mute Buttons” on page 746. To solo an audio track: t Click the Solo button in the Track Control panel for the track you want to solo. The Solo button turns green, and Mute buttons on all other audio tracks turn orange.
Using Audio Scrub Icon State Description Inactive track — Voices and audio plug-ins are not processed for these tracks during playback. To make an audio track inactive, do the following: t Deselect the Active/Inactive button in the Track Control panel. You can click the Active/Inactive button again to restore audio monitoring to the track.
Using Audio Scrub The following table shows how many tracks you can scrub at the varying speeds of play. When you play footage forward or backward at: You can scrub: Normal speed 16 tracks Two times normal speed 16 tracks Three times normal speed 2 tracks Greater than three times normal speed 0 tracks To ensure an audio track is monitored during scrubbing: t Enable the Active/Inactive button in the Track Control panel for the selected track.
Using Audio Scrub Adjusting Digital Scrub Parameters The default parameters for the number of frames you hear as you scrub are zero frames of outgoing audio (behind the position indicator) and one frame of incoming audio (ahead of the position indicator). To isolate frames for marking or trimming, the default parameters are sufficient.
Audio Displays in the Timeline You can also activate digital audio scrub by pressing and holding the Shift key while you drag the position indicator or click the Step buttons as described in step 3. 3. Move through the material in one of the following ways to hear the scrub: t Drag the position indicator. t Click the Step buttons to step through in fixed increments: 1 frame backward, 1 frame forward, 10 frames (8 frames for 24p) backward, or 10 frames (8 frames for 24p) forward. Step Buttons.
Audio Displays in the Timeline The following notes apply to audio displays: n • When you click a Waveform or Clip Volume/Pan button in the Track Control panel, or when you Alt+click (Windows) or Option+click (Macintosh) a Waveform or Clip Volume/Pan button to display all waveforms or pan displays, the Avid editing application maintains the display setting with the sequence. You cannot save specific per track settings in a custom Timeline view.
Audio Displays in the Timeline Press Ctrl+period (Windows) or Command+period (Macintosh) at any time during the redraw of the waveform plot to stop the redraw. The waveform appears in all audio tracks. 3. (Option) Maximize the visibility of your waveform display using one of the following procedures: t Continue to expand or shrink your view of the Timeline by using the scale bar, spreading out the waveform plots to show detailed variations in the audio levels.
Audio Displays in the Timeline The waveform appears in the selected tracks. You can turn off all waveforms on selected tracks by disabling Allow Per Track Settings. This disables the display of waveforms, but it does not change the per track settings. Enabling per track settings again restores your per track waveform displays. You can also save the Allow Per Track Settings state as part of a customized Timeline view. For more information, see “Customizing Timeline Views” on page 627.
Audio Displays in the Timeline To turn on the display of clip volume values and volume automation values for selected tracks, do the following: t Click the Clip Volume/Pan button in the Track Control panel for the tracks you want to display clip or volume automation information, and select Clip Volume or Volume. The volume values appear in the selected tracks. t (Option) If you want to view both clip volume and volume values, repeat the previous step and select an additional volume value to display.
Audio Displays in the Timeline 5. Click the Convert Sample Rates When Playing menu, and select Always. 6. Click the Show Mismatched Sample Rates as Different Color menu, and select Yes. Depending on which sample rate you selected for your project, the color black is displayed on those clips.
Audio Displays in the Timeline Adjusting Volume You can adjust your speaker or headphone volume without leaving your Avid editing application. You can also mute audio in several ways: • Using the Master Volume button in the Timeline • Using the Mute button in the Play tab of the Command palette The Mute button lets you quickly make all audio tracks inactive or active during editing. This is convenient when you fine-tune complex audio and video edits, making it possible to shift quickly between the two.
Displaying Audio Formats in Bins 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. To adjust the volume control (models using Avid input/output hardware): t n Adjust the volume control on your Avid input/output hardware to the desired audio level. Adjusting the volume control affects the volume only while you work in your Avid editing application.
Working with Surround Sound Audio To add the Audio Format column to a bin: 1. With a bin in Text view, select Bin > Choose Columns. The Bin Column Selection dialog box opens. 2. Click Audio Format in the list to select it. 3. Click OK. The Audio Format column appears in the bin. Working with Surround Sound Audio Avid editing applications let you edit audio in mono and multichannel formats, including surround sound audio.
Working with Surround Sound Audio L C LFE R Lsr Rsr 5.1 SMPTE surround sound configuration, with left (L), center (C), right (R), left surround rear (Lsr), right surround rear (Rsr), and low frequency effects (LFE) speakers C LFE L R Lss Rss Lsr Rsr 7.
Working with Surround Sound Audio To assign a surround sound sequence format: 1. Select Tools > Audio Mixer. The Audio Mixer tool opens. Audio Mixer tool: Sequence Format button 2. Click the Sequence Format button and select one of the following: t Stereo Sequence t 5.1 Sequence t 7.1 Sequence Channel meters in the Audio Mix tool default to the Film format (for 5.1 sequences) or Pro Tools (for 7.1 sequences). Channel meters in the Audio tool reflect the monitor mix format.
Working with Surround Sound Audio You can mix mono, stereo, and surround sound audio tracks in any supported multichannel format. The Audio Mixer tool indicates the track format by the number of track meters contained in its fader strip (for example, a single meter for mono tracks, a pair of meters for stereo tracks, and six meters for 5.1 tracks). Assigning track output determines the format of that output.
Working with Surround Sound Audio Sequence format Speaker Layout 7.1 Mono: All channels panned to center Stereo: C and LFE channels panned to center; L and R channels panned to Left/Right; Lsr, Rsr, Lss, and Rss channels panned to Left/Right and volume lowered by 3dB 5.1: C, L, R, Lsr, Rsr, and LFE channels panned to appropriate speakers; Lss and Rss channels panned to center of the Left/Left Rear and Right/Right Rear speaker pair 7.
Working with Surround Sound Audio Assigning Surround Sound Mix Output You can set a surround sound mix output for any sequence in your project. This specifies how the Avid editing application sends surround sound signals to your speakers and determines what you hear when you monitor the audio in your sequence. Your monitor mix output might differ from your sequence format.
Working with Surround Sound Audio If your workflow requires analog output to a tape deck, you configure the XLR outputs to connect to a deck. You see these channels, 1 through 4, in the Direct Out Channel Menu map in the Output tab of the Audio Project Settings dialog box. If your workflow does not require analog output to a tape deck, you can use the XLR outputs to provide Center, LFE, Left Rear and Right Rear channels for desktop monitoring.
Working with Surround Sound Audio HDMI carries both video and audio in an uncompressed, all-digital signal. HDMI is an interface standard for audiovisual equipment such as high-definition television. In order to use HDMI for audio, the HDMI device attached to your system must receive at least two channels of PCM (uncompressed) audio at the project sample rate and receive 6 channels or more of PCM audio.
Adjusting the Play Buffer Size for Audio (Software-only Models) Adjusting the Play Buffer Size for Audio (Software-only Models) You can use third-party host audio devices, such as a Sound Blaster® audio card, in software-only configurations of Avid editing applications. Although most host audio devices work properly within Avid editing applications, some exhibit problems during output (for example, audio clicking).
Using the Audio Mixer Tool Mode Task Description Live Mix Lets you temporarily override any existing volume and pan automation settings. You can use the controls on the Audio Mixer tool or use an external controller to change volume and pan settings without modifying the existing volume and pan automation settings. For more information, see “Using Live Mix Mode” on page 774.
Using the Audio Mixer Tool 2 Element Description (Continued) Monitor Mix button Controls how your system interprets audio values during playback: • Stereo: Mixes the currently monitored audio tracks into a stereo pair. Depending on your Avid input/output hardware, you can customize the mix using the Stereo Mix Tracks option. • Mono: Pans all the currently monitored tracks to center and ignores pan effects. • 5.
Using the Audio Mixer Tool Element Description (Continued) 8 Display/Hide Sliders Lets you switch between hiding and displaying the Volume Level sliders. button 9 Which Set of Tracks Lets you select which enabled tracks to display in the mix panes. When you display to Display in Mix 8 panes (with the Number of Mix Panes button), Grp 1 displays tracks 1-8. Click the Panes buttons Which Set of Tracks to Display in Mix Panes button to change it to Grp 2, which displays tracks 9-16.
Using the Audio Mixer Tool 7 8 9 1 2 3 4 5 6 10 Bottom part of Audio Mixer tool Element Description 1 Pan value and knobs Displays the pan value and lets you adjust it. These controls appear only when you select a surround sound format using the Sequence Mix Format menu or when you set Stereo, 5.1 Surround, or 7.1 Surround as output in the Audio Project settings. 2 Track Solo and Track Lets you solo or mute selected tracks.
Using the Audio Mixer Tool Element Description (Continued) 7 Group buttons Lets you group adjustments across tracks and have two or more sliders move at the same time. 8 Stereo Link For stereo sequences, links the two pan controls so that when you move one Pan Location cursor, the other moves in a parallel direction.
Using the Audio Mixer Tool A track needs to be monitored in the Timeline before you can work with it in the Audio Mixer tool. Using the Track Solo and Track Mute Buttons The Track Solo and Track Mute buttons let you mute and solo individual audio tracks in all three modes. The settings persist between modes and stay in effect when you close the Audio Mixer dialog box. When you solo or mute tracks in the Audio Mixer tool, the system solos or mutes the corresponding tracks in the Timeline.
Rendering and Unrendering Order for Audio Effects The position indicator lights are especially useful for the FaderMaster Pro because you must position the faders close to the track volume before you start recording. Otherwise, you might create an unwanted jump in the volume when you move the faders during a recording. n Your Avid editing application does not record values from a fader on the FaderMaster Pro until you move the fader.
Audio Volume Staging and an Audio Editing Workflow n If you have an AudioSuite plug-in and an Audio EQ effect applied to the same effect, only the Audio EQ effect icon displays. The AudioSuite plug-in still applies even though the icon is not visible. Audio Volume Staging and an Audio Editing Workflow You can adjust the volume of an audio clip at several points during an editing session. For example, you can adjust volume using the Audio Mixer tool in Clip Volume mode and Volume and Pan Automation mode.
Using Clip Volume and Pan Mode 3. Use the Audio Mixer tool in Volume and Pan Automation mode to fine-tune the volume of different sections of the audio in the sequence. This workflow also applies to using AudioSuite and RTAS plug-ins because some plug-ins affect the level of the audio. Often, if you use clip volume to raise or lower the level before you apply an audio effect, you can achieve higher quality results.
Using Clip Volume and Pan Mode n You can create pan effects only when you select stereo or surround sound output (in the Output tab of the Audio Project Settings window). Adjusting Clip Volume and Pan for Audio Tracks To adjust clip volume and pan for audio tracks: 1. Load a clip or sequence, and activate the appropriate monitor: t To adjust a track in a source clip, click the Source monitor to make it active.
Using Clip Volume and Pan Mode 6. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the keyboard) to play, shuttle, or step through the audio to check for necessary volume or pan adjustments. The keyboard can control either the Source or Record monitor, depending on which monitor was active when you opened the Audio Mixer tool. Switch your selection by clicking the appropriate monitor. 7. Decide whether to raise or lower the volume.
Using Clip Volume and Pan Mode 8. Decide if you want to adjust pan values. To adjust the pan values in a mix pane, do one of the following: t Click the Pan control, and then drag the control to a new position. Drag left or up to pan to the left, or drag right or down to pan to the right. t Alt+click (Windows) or Option+click (Macintosh) the Pan Value display for MID. t If you are working with a stereo sequence, two Pan controls appear in the Audio Mix tool for each track.
Using Clip Volume and Pan Mode Surround Sound Pan Controls When you work with surround sound sequences, you might need to pan tracks to the appropriate speakers. For example, if your surround sound sequence includes mono or stereo tracks, you might need to pan them to the left rear or right rear speaker positions. Your Avid editing application provides a multichannel Pan grid and an Advanced Panner which allow you to control audio panning.
Using Clip Volume and Pan Mode The following table describes the Pan grid and Advanced Panner controls: Element Description 1 Pan Grid Allows you to input pan information by dragging the Pan Location cursor anywhere within the grid. 2 Advanced Panner button Opens the Advanced Panner. 3 Stereo Link button For stereo sequences, links the two pan controls so that when you move one Pan Location cursor, the other moves in a parallel direction.
Using Clip Volume and Pan Mode Using the Pan Grid for Surround Panning The Pan grid displays for all mono and stereo tracks in a 5.1 or 7.1 multichannel sequence. The grid allows you to quickly adjust the pan for these tracks. For greater control over pan values, you can use the Advanced Panner (see “Using the Advanced Panner for Surround Sound Panning” on page 755. To pan using the Pan grid: 1. Select Tools > Audio Mixer. The Audio Mixer tool opens. 2.
Using Clip Volume and Pan Mode For example, when panning left front to right rear with the Position controls, you hear audio from just those two speakers. By comparison, when panning in the X/Y Grid, a diagonal pan might result in audio being heard in some or all channels. The difference is that the Position controls pan discretely between the front and rear positions of the panning trajectory, while the X/Y Grid panning takes place in the full surround sound panning grid. To pan using the X/Y Grid: 1.
Using Clip Volume and Pan Mode 5. Click the Advanced Panner button. The Advanced Panner opens. 6. (Option) If you are working with a stereo track, click the Stereo Link button if you want to link the two Pan controls so that when you move one control the other moves correspondingly. You can also click the Stereo Mirror button so that the two Pan controls mirror each other as you adjust them. 7. Drag the Pan Location cursor to pan the track.
Using Clip Volume and Pan Mode 8. When you finish adjusting pan with the Advanced Panner, click the Close button to return to the Audio Mixer tool. To pan using the Position controls: 1. Adjust the Front and Rear Position controls to set the trajectory line. 2. Rotate the Front/Rear Position control to pan along the trajectory. The Pan Location cursor is constrained to the trajectory line. 3.
Using Clip Volume and Pan Mode 5. Click the Advanced Panner button. The Advanced Panner opens. 6. Turn the Center Percentage control as needed. 7. When you finish adjusting the Center Percentage with the Advanced Panner, click the Close button to return to the Audio Mixer tool. To adjust the LFE control: 1. Select Tools > Audio Mixer. The Audio Mixer tool opens. 2.
Using Clip Volume and Pan Mode 3. In the Audio Mixer tool, select the audio track to be adjusted by doing one of the following: t Click the Track Selection button for the appropriate audio track. t Alt+click (Windows) or Option+click (Macintosh) the Track Selection button, and then select a track. 4. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the keyboard) to play, shuttle, or step through the audio to check for necessary pan adjustments. 5.
Using Clip Volume and Pan Mode Audio Mixer Fast Menu: Clip Volume and Pan Mode The commands in the Audio Mixer tool Fast menu operate differently, depending on the types of points you set within the clip or sequence, as described in the following table: Points Set Description Both In and Out points Commands apply adjustments to selected tracks between the points. In point only Commands apply adjustments to full clips from the In point to the end of selected tracks.
Using Clip Volume and Pan Mode Note the following: • The commands in the Fast menu appear dimmed until you select a track. • Levels set in master clips carry across to the sequence after you edit the clips. • Clip volume values are the values for the entire segment; for example, you cannot set volume for a portion of a segment without affecting the entire segment. To set volume for a portion of a segment, use Volume and Pan Automation mode.
Using Clip Volume and Pan Mode To adjust volume while playing a Clip Volume effect: 1. Do one of the following: t Select an existing Clip Volume effect. t Identify an area of the clip with In and Out points. t Place the position indicator over an audio clip. 2. Click the Audio Loop Play button in the Audio Mixer tool. Your Avid editing application repeatedly loops through the selected area as follows: - If you have In and Out points on your sequence, the command loops over the selected area.
Using Clip Volume and Pan Mode Modifying How Your Avid Editing Application Interprets Pan The way you record footage in the field and capture it with your Avid editing application affects the way sound pans between the speakers. By default, the system pans mono audio tracks 1 and 3 to the left speaker output and pans mono tracks 2 and 4 to the right speaker output. When you adjust pan values on multichannel stereo tracks, you pan the stereo mix of the left/right audio pair for the clip.
Using Clip Volume and Pan Mode with field audio recorded (and subsequently captured) variably between A1 and A2. Panning all the audio to center eliminates the distraction of having to listen to left and right speakers, in turn. It also smooths the playback of the edited sequence because all shots are panned to center. To adjust the pan on clips: 1. In a bin, select the clips you want to pan to the center. 2. Select Clip > Center Pan. A dialog box opens and asks you to confirm the pan. 3. Click OK.
Using Volume and Pan Automation Using Volume and Pan Automation Volume and pan automation lets you change the volume or pan values of a segment by adding and manipulating volume or pan automation keyframes in the Timeline. The following illustration shows an expanded audio track containing volume keyframe information. Example of the graphic representation of keyframes and volume ramps in the Timeline. Volume values in decibels are highlighted on the left.
Using Volume and Pan Automation Sequence Format Audio Track Format Volume and Pan Parameters Surround Sound 7.1 Mono None, Clip Volume, Volume, Pan (Front, Rear, FrontRear, Center %, Side Center %), LFE Volume Stereo None, Clip Volume, Volume, Pan L (Front, Rear, FrontRear, Center %, Side Center %), Pan R (Front, Rear, FrontRear, Center %, Side Center %), LFE Volume 5.1 None, Clip Volume, Volume 7.
Using Volume and Pan Automation 3. (Option) Expand the audio track by doing one of the following: t Press and hold Ctrl+L (Windows) or Command+L (Macintosh). t Press and hold the Ctrl key (Windows) or the Option key (Macintosh) while dragging in the Track Selector panel. When the pointer changes to a cross, drag the cross to expand or shrink the track. If you expand the audio tracks enough, you can display volume data. The following illustration shows the expanded audio track with volume data. 4.
Using Volume and Pan Automation t Click a keyframe and use the sliders, Pan controls, Position controls, or other controls in the Audio Mixer tool to adjust the volume or pan. t To snap to the decibel lines, press and hold the Ctrl key (Windows) or the Command key (Macintosh) while you drag the point. t Move a keyframe horizontally to move the start or end of a ramp. Place the pointer over a keyframe.
Using Volume and Pan Automation Feature Description Record button Starts and stops the recording. Cancel button Stops a recording without saving the recorded data. Preroll text box Lets you provide a visual cue before the recording begins. Your Avid editing application backs up the blue position indicator for the prescribed number of seconds.
Using Volume and Pan Automation Using the Audio Mixer Tool for Volume and Pan Automation You can record volume automation or pan information without using an external fader controller or mixer. You can also use command in the Audio Mixer tool Fast menu in Volume and Pan Automation mode for other tasks such as removing or incrementally adjusting volume automation or pan on a marked region. For more information, see “Audio Mixer Tool Fast Menu: Volume and Pan Automation Mode” on page 772.
Using Volume and Pan Automation 10. Decrease the number of keyframes: a. Click the Track Selection Menu button for the track to enable the Fast menu. b. Click the Audio Mixer Tool Fast Menu button, and select Filter volume automation on Track or Filter Pan on Track. 11. Repeat step 10 until you have decreased the number of keyframes to an acceptable level. You should remove as many excess keyframes as possible while still maintaining the volume changes.
Using Volume and Pan Automation Command Description (Continued) Filter Pan on Track Removes approximately 50 percent of the pan keyframes in the marked region. Adjust Volume/Pan on Track Opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks.
Using Live Mix Mode Using Live Mix Mode Live Mix mode lets you temporarily override existing volume and pan automation settings currently applied to a sequence. The most common way to use Live Mix mode is with a 002 or Command|8 attached as a control surface. When you use an external controller you can play the audio and override existing volume and pan automation settings in real time.
Using Live Mix Mode Entering Live Mix Mode To enter Live Mix mode: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Live Mix Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Live mode setting. The Audio Mixer tool changes to Live Mix mode. Using Live Mix Mode with an External Controller To use a control surface in Live Mix mode: 1. Connect and configure the control surface.
Using Live Mix Mode 7. (Option) Change to Volume and Pan Automation mode and play the audio. The faders jump back to the volume automation settings and automatically move with any volume automation keyframes on the track. 8. (Option) Change back to Live Mix mode and play the audio. The faders jump back to the settings you last used in Live Mix mode and the audio plays at the Live Mix mode setting. You cannot save the Live Mix mode settings between editing sessions.
Using Live Mix Mode Audio Mixer Tool Fast Menu: Live Mix Mode The commands in the Audio Mixer tool Fast menu operate differently depending on the types of points you set within the sequence, as described in the following table: Points Set Description Both In and Out points Commands apply adjustments to selected tracks between the points. In point only Commands apply adjustments to full clips from the In point to the end of selected tracks.
Using Live Mix Mode Live Mix Mode Example The following illustration shows the Live Mix mode settings on two tracks in the Timeline. Track A1 is at 0 dB, and the volume of track A2 is set to -45. The Live Mix mode settings are not represented in the Timeline, but you can hear the difference when you play the audio. Live Mix level settings at 0 dB and -45 dB The following illustration shows a sequence in the Timeline with volume automation applied.
Fading and Dipping Audio The following illustration shows the result after choosing Set Live Mix to Automation In/Out from the Audio Mixer Fast menu. The portion of the Timeline between the In and Out on Track A1 is changed to 0 dB and the same portion of Track A2 is changed by -45 dB to match the Live Mix settings. The system adds volume automation keyframes at the In and Out points and creates ramps from the In and Out points to the new value.
Fading and Dipping Audio To apply a fade or crossfade: 1. Move the position indicator to a transition. 2. Click the Fast Menu button under the Source/Record monitor. The Tool palette opens. 3. Click the Quick Transition button (which appears by default in the second row of buttons below the Record monitor or in the Timeline top toolbar). The Quick Transition dialog box opens. 4. Click the Add menu, and Select Dissolve. Only dissolves work with audio tracks. 5.
Fading and Dipping Audio 7. If you selected Custom Start, type the number of frames before the transition to begin the effect in the “Start n frames before cut” text box. Otherwise, leave the default value in the text box. 8. (Option) Click the Target Drive menu, and select a media drive other than the default. 9.
Audio Sample Rate Conversion Audio Sample Rate Conversion The following options are available for audio sample rate conversion: • You can perform sample rate conversion on a clip or sequence, as described in “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 782. • You can perform sample rate conversion as part of a Transcode operation. See “Using the Transcode Command” on page 428. • You can perform sample rate conversion as part of a Consolidate operation.
Mixing Down Audio Tracks 3. Choose from the following options: Option Description Sample Rate Lets you choose between 32 kHz, 44.1 kHz and 48 kHz. The broadcast standard for most high-end video postproduction houses is 48 kHz. Choose the rate based on the requirements of your facility. Quality Lets you choose the conversion quality: High, Medium, and Low. Delete Original When you select this option, the system automatically deletes the Media original media after the conversion process completes.
Mixing Down Audio Tracks 4. Select Clip > Audio Mixdown. The Audio Mixdown dialog box opens. The Source Tracks area lists the source audio tracks and the Range area lists the start and end timecodes for the section of audio you have selected to mix down. 5. Select Mono, Stereo, 5.1, or 7.1 and select the target track to which you want to mix down the audio.
Splitting Multichannel Tracks to Mono Tracks Splitting Multichannel Tracks to Mono Tracks You can split a multichannel audio track in the Timeline into separate mono tracks if you want to edit separate audio channels or if you need to export a sequence either to an older version of the Avid editing application or to Avid Pro Tools. You can also split a clip or sequence with multichannel tracks to mono from a bin.
Using the Audio EQ Tool When the Avid editing application splits a stereo track to two mono tracks, it changes some audio properties of the track: • Removes stereo track effects such as RTAS plug-in effects. • Converts stereo AudioSuite plug-in effects to mono effects. • Applies any existing volume automation to the resulting mono tracks. • Applies any existing pan automation to the resulting mono tracks, panning odd-numbered tracks to the left and even-numbered tracks to the right.
Using the Audio EQ Tool To access the Audio EQ tool, do one of the following: t Select Tools > Audio EQ. t If one of the Audio tools is already open, click the Effect Mode Selector menu, and select EQ. The Audio EQ tool opens. Audio EQ Tool Features This topic describes the basic buttons and menus on the Audio EQ tool as well as the EQ-specific items on the tool. 1 2 3 4 6 5 7 Top part of the Audio EQ tool Button Description 1 Effect icon Lets you create an EQ template.
Using the Audio EQ Tool Button Description 6 Enable/Disable Lets you enable or disable the current EQ effect. When the button is yellow, EQ Effect the effect is enabled. (The button text “In” stands for “Inline.”) 7 Bypass RT EQ Lets you instruct the system to ignore all the EQ effects. This button is also available in the Audio Mixer tool and the Output tab in the Audio Project Settings dialog box. If you select this feature in one place, it is selected in the others as well.
Using the Audio EQ Tool • The second band is the parametric midrange. This band has two bandwidth values, 1/4 octave and 2 octaves. These values control the width of the curve. For more information, see “Audio EQ Examples” on page 794. • The third band, the high shelf, has four turnover points (6 kHz, 8 kHz, 12 kHz, and 15 kHz). The high shelf affects all frequencies from the high shelf turnover point to 20 kHz. The horizontal center line of the graph is 0 (zero).
Using the Audio EQ Tool The following illustration shows the Audio EQ tool with the frequency response curve displayed and identifies the related areas of the tool. Example of shelf, parametric midrange, and turnover point information in the Audio EQ tool. The current value for all EQ parameters is 0 dB. Top: buttons that display turnover points (for the low shelf and high shelf curve) and bandwidth (in this case, 2 octaves) around the center point of the parametric curve.
Using the Audio EQ Tool 5. Click and hold the Track Selection Menu button in the Audio EQ tool, and select a track to be adjusted. Track Selection Menu button in the Audio EQ tool The Track Selector panel in the Timeline updates to reflect your selection. If you enable multiple tracks in the Timeline, plus signs (+) appear next to the enabled tracks in the Audio EQ tool. 6. Click the Audio Loop Play button to play the currently selected audio clip within the current In to Out range.
Using the Audio EQ Tool Saving Audio EQ Effects Your Avid editing application treats an EQ setting as an effect. You can save EQ settings in a bin just as you save any other effect template. This makes it easy to save EQ settings and apply them whenever you need them. The following illustration shows an EQ Effect icon in a bin and in the Timeline. Examples of an EQ effect icon in the bin and in the Timeline To save EQ settings in a bin: t Drag the effect icon in the Audio EQ tool to a bin.
Using the Audio EQ Tool For example, the following illustration shows a segment with one EQ effect applied to the second audio clip on the first audio track. If you select Set EQ In/Out, the current EQ effect is also applied to the first and third audio clips on the first audio track. If there is no EQ setting on the currently selected clip, selecting Set EQ In/Out deletes the EQ settings on all clips within the In to Out range.
Using the Audio EQ Tool Removing Audio EQ Effects with the Remove Effect Button To remove an Audio EQ effect: 1. Move the position indicator to the effect in an active track. 2. Do one of the following: t Click the Remove Effect button on the Tool palette. For more information, see “Using the Tool Palette” on page 469. t In Effect mode, press the Delete key. Audio EQ Examples The following procedures are examples of two different ways to use the Audio EQ tool to remove excess bass from an audio track.
Using the Audio EQ Tool 3. Boost the midrange of the parametric curve to +7.7 dB. To isolate the frequency: 1. Use the ¼-octave influence range. 2. Set the midrange EQ parameter to –15 dB.
Using the Audio EQ Tool 3. Use the EQ Range slider to move the midpoint of the parametric curve until it isolates the bass frequency. In this case, the bass frequency to de-emphasize is approximately 80 Hz. Once you locate the frequency you want, you can adjust it as needed. To locate a specific frequency and either emphasize or de-emphasize it: t Use the ¼-octave influence range and a large negative decibel value. t Keep both the high shelf and low shelf set to zero.
Using the Audio EQ Tool Using Audio EQ Templates Your Avid editing application provides a set of predefined audio EQ templates. The EQ templates are designed to fix problems that you often encounter with audio clips. For example, Tape Hiss Filter rolls off frequencies above 4 kHz. NTSC Hum Buster cuts the bass on frequencies that often cause hum on NTSC systems. The templates are accessible from the Fast menu in the Audio EQ tool. You can also add your own custom EQ templates to the Fast menu.
Using the Audio EQ Tool The following illustration shows the contents of the Audio EQ tool when you select the Female Voice with Presence template in the Timeline. As explained in the tool, you cannot change the parameters of a predefined EQ template. n To see the parameter values of one of the EQ templates that cannot be edited, view the Console window after you apply the effect. For more information, see “Using The Console Window” on page 101.
Using the Audio EQ Tool To add an EQ template to Site_EQs_Bin: 1. Open the bin containing your EQ templates. 2. Select File > Open Bin. A dialog box opens. 3. Navigate to the bin named Site_EQs_Bin.avb in one of the following locations: (Windows) drive:\Program Files\Avid\Avid editing application\ SupportingFiles\Site_Effects (Macintosh) Macintosh HD/Applications/Avid editing application/ SupportingFiles/Site_Effects 4. Double-click the Site_EQs_Bin.avb file. The Site_EQs_Bin window opens. 5.
Recording Voice-Over Narration Recording Voice-Over Narration Your Avid editing application provides you with two ways to record voice-over narration directly into the Timeline: • Using the Capture tool. • Using the Audio Punch-in tool. Recording voice-over narration directly into your Avid editing application saves you the extra steps of recording the narration to tape first, capturing the narration audio to your Avid system, and then editing the audio clip into the sequence.
Recording Voice-Over Narration The Capture tool opens. Voice-over button (top) and Audio Input menu (bottom) in the Capture tool 3. Click the Voice-over button in the Capture tool. 4. Click the Audio Input menu, and select the appropriate input. 5. In the Timeline, patch the source track to the record track you want. For more information on patching, see “Patching Tracks” on page 669. 6. Click the Record button. 7.
Recording Voice-Over Narration Your Avid editing application automatically names the voice-over. You can change the name as you would for any clip (for example, change the name in the bin). The following illustrations show the results of adding a voice-over. Examples of adding a voice-over in the Timeline. Top: voice-over adding a new track. Bottom: voice-over replacing a portion of a track.
Recording Voice-Over Narration The following illustration shows the features of the Audio Punch-In tool. The following table describes the features of the tool. 1 2 3 4 8 5 6 9 10 11 12 7 13 14 Audio Punch-In Tool Feature Description 1 Play In/Out button Starts playing with the ability to perform a real-time punch-in. The play loops from the In point to the Out point but stops looping once recording completes. This button blinks bright green while playing.
Recording Voice-Over Narration Audio Punch-In Tool Feature Description 7 Input Channels button Identify the channels on the audio hardware used for recording. Click the appropriate button to select the channel. Alt+click (Windows) or Option+click (Macintosh) the button to display a menu and select another channel. The selected input channels are not used for playback. Do not select the same channels as mix output on the Audio Mixer tool.
Recording Voice-Over Narration Audio Punch-in Tool Scenarios You can punch-in audio in several ways: • Scenario 1 — Set only an Out point. The position indicator is used as the In point. Set a preroll time. Click the Play In/Out button to loop continuously through the sequence. Click the Record button when you find what you want to punch-in, and then click the Record button again to end recording. • Scenario 2 — Set an In point and an Out point around the material you want to record. Set a preroll time.
Recording Voice-Over Narration The Audio Punch-In tool opens. For information on the buttons and other controls in the Audio Punch-In tool, see “Audio Punch-in Tool Features” on page 802. Audio Punch-In tool. Top, left to right: Play In/Out button, Record button, and Stop button. Center: Input Source menu. Bottom left: Input Channels buttons. Bottom right: Timeline Track menus. 3.
Recording Voice-Over Narration During the audio punch-in process, you have the ability to record over the duration of the sequence or from the In point to the Out point. 9. Click the Stop button, or press the space bar to stop play and recording. Your Avid editing application automatically names the voice-over and saves it as an audio clip. You can change the clip name as you would for any other clip. The position indicator stops to get ready for your next voice-over. 10.
Using Automatic Voice-Over 3. Record your voice-over as described in “Recording Voice-Over Narration Using the Capture Tool” on page 800 or “Recording Voice-Over Narration Using Audio Punch-in” on page 805. 4. As you record, monitor the previously recorded audio tracks along with your current recording from the meters in the Audio tool and from the sound on the speakers.
Using Automatic Voice-Over 3. Select Bin > Auto VO. The Auto VO dialog box opens. 4. From the Using track menu, select the audio track that you want to control the edit. 5. Select one of the following: t Extract segments, to remove all segments with audio on the track selected in step 4. t Keep segments, to retain all segments with audio on the track selected in step 4 and remove all other segments. 6. Click OK. Your Avid editing application creates a new sequence in the bin and names it by adding a .
18 Using External Audio Devices Avid editing applications support the following external fader controllers or mixers for volume automation and pan recording or as control surfaces. n External fader controllers or mixers are optional. You do not need them to perform volume automation or pan recording on an Avid editing system. • 002 (Windows only) and Command|8 — These units support touch-sensitive flying faders. While recording volume automation, the faders automatically move.
The following table compares Avid external controllers and mixers.
Configuring an External Controller For more information on using these external fader controllers or mixers, see “Understanding Volume or Pan Automation Recording” on page 770. Configuring an External Controller Some fader controllers require specific configuration procedures before you can use the devices with your Avid editing application.
Configuring External Controller Settings 4. Check the color of the position indicator lights. If the external fader controller is connected, at least one of the lights should be on (blue). If the external fader controller is not connected properly, the lights will probably appear gray. Position indicator lights in the Audio Mixer tool 5. Move the faders on the external fader controller. The corresponding fader should move in the Audio Mixer tool.
Configuring External Controller Settings To configure your Avid editing application for a controller and open the Controller Settings dialog box: 1. Double-click Controller Settings in the Settings list of the Project window. The Controller Settings dialog box opens. 2. Click the Port menu, and do one of the following, depending on your operating system, to select the appropriate port: t (Windows) Select COM1 or COM2 t (Macintosh) Select Port #1, #2, #3, or #4 3. Select Controller > [controller]. 4.
Using an External Fader Controller or Mixer to Record Volume Automation 4. Do one of the following: t To map an unshifted function, click the function in the Command palette and drag it to the button in the Controller Settings dialog box whose function you want to program. t If your controller uses shifted functions, press and hold the Shift key on your keyboard, click the function in the Command palette, and drag it to the button in the Controller Settings dialog box whose function you want to program.
Adjusting the Volume or Pan of Individual Keyframes 7. Click the Audio Loop Play button to play the clip and test your results. 8. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and select Filter Volume Automation on Track — In/Out. (Click the Track Selection button for a track to enable Filter Automation.) If you delete too many keyframes, use the Undo command to restore them. 9.
Using the 002 and the Command|8 For information on connecting a fader controller or mixer, see “Using an External Fader Controller or Mixer to Record Volume Automation” on page 815. n The position indicator lights do not apply to pan. Using the 002 and the Command|8 You can use the Command|8 as a control surface for your Avid editing application as well as a controller for volume automation and pan recording.
Using the 002 and the Command|8 Configuring the Command|8 Before you configure your Command|8 with your Avid editing application, install and configure the device as described in the documentation that comes with Command|8. n You must start Command|8 before you start your Avid editing application. If you start your Avid editing application when the controller is turned off, you must exit your Avid editing application, turn the controller on, and then start your Avid editing application.
Using the 002 and the Command|8 The buttons on the 002 (for Windows systems only) and Command|8 can have different functions depending on the modifier key you press. You can either use the keyboard or press one of the Keyboard Modifier switches on the controller surface. n For the 002 and the Command|8, pressing the Option key on a Macintosh system is equivalent to pressing the Alt key on a Windows system. Pressing the Command key on a Macintosh system has no equivalent on a Windows system.
Using the 002 and the Command|8 The following illustration shows the Command|8 Controller Settings dialog box. Groups of controls in the Command|8 Controller Settings dialog box. Top, left to right: Console View controls, Transport and Navigation controls, Display Controls and Foot Switch. Center: Keyboard Modifier switches. Bottom: Open Command Palette button.
Using the 002 and the Command|8 3. From the Controller menu, select either 002 Controller (Windows only) or Command|8. 4. Click Edit Settings. The 002 Controller Settings dialog box or Command|8 Controller Settings dialog box opens. 5. Click Open Command Palette. The Command palette opens. 6. Click Menu to Button Reassignment on the Command palette. As you move the mouse over a button, the cursor changes to a menu icon. 7. Click the button on the dialog box that you want to change.
Using the 002 and the Command|8 To ensure that you perform the correct operation when you press a button on the control surface: 1. Map some buttons to menu commands that makes a particular window or tool active. For example, on the 002, the F5 key is mapped to Tools > Timeline by default for Windows systems. Pressing the F5 button on the 002 makes the Timeline active. 2. (Option) To see the function of a mapped button, hold the cursor over the button to view the tooltip.
Using the 002 and the Command|8 Using a 002 or Command|8 to Record Pan To record pan information using a Command|8: 1. Attach the 002 (Windows only) or Command|8 to your system. (See “Configuring the Command|8” on page 818.) The position indicator lights change to blue when the fader controller or mixer is on and correctly attached to the system. Position indicator lights 2. Click the Timeline Fast Menu button and select Audio Data > Pan. 3.
Using Mbox Family Audio Devices Using the Latch Mode Feature on the 002 and Command|8 The 002 (Windows only) and Command|8 have a Latch Mode button for each track that lets you easily punch-in and punch-out small sections of volume automation information. The Channel View buttons on the 002 are used as the Latch Mode buttons. These buttons are directly above the display on the 002 and directly below the display on the Command|8. The first two buttons are labeled EQ and Dynamics.
Using Mbox Family Audio Devices The Mbox device and the video I/O device remain as two separate audio sub-systems. They are not combined to increase the number of available audio channels. For audio input/output, the system creates a list of input options based on the audio devices that are present — for example, Mbox Mic/Line, Mbox S/PDIF, or Host 1394. The following table lists some of the features of the Mbox 2 and the Mbox (3rd Generation) family of audio devices.
Using Mbox Family Audio Devices 4. Double-click Audio Project Settings. The Audio Project Settings dialog box opens. 5. Click the Hardware tab. 6. Click the Peripheral menu, and then select your Mbox device. 7. Close the Audio Project Settings dialog box. Once you configure the Mbox device, you can select the audio input interface in the Capture tool and the Audio Punch-in tool. For more information, see “Preparing to Capture Audio” on page 168 and “Recording Voice-Over Narration” on page 800.
Using Mbox Family Audio Devices 3. Do one of the following: t (Windows 7) If the View by menu is set to Category, click Hardware and Sound, and then click Avid Mbox Pro. t (Windows 7) If the View by menu is set to Large icons or to Small icons, click Avid Mbox Pro. t (Windows XP) Click Avid Mbox Pro. The Mbox Pro Control Panel opens. 4. Select your headphone output, and then click the Audio Source menu and select Stereo Mix 1. 5. Close the Mbox Pro Control Panel.
Configuring USB-to-MIDI Software for External Controllers Configuring USB-to-MIDI Software for External Controllers If your fader controller uses USB-to-MIDI software, you can install and configure the software to recognize your fader controller once you have connected a fader controller to your Avid editing system. For information on connecting your controller and installing USB-to-MIDI software, see the instructions that came with your controller.
Configuring USB-to-MIDI Software for External Controllers 9. Click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders. If the external fader controller is connected and the system is using the correct MIDI port, then the Audio Mixer tool displays the following: - At least one of the position indicator lights is on (blue). - The Recording Status Light changes to gold. Position indicator lights 10.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems 5. Select Tools > Audio Mixer. 6. Do one of the following: t Click and hold the Audio Mixer Mode button and select Automation Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Automation Mode setting. If the fader or mixer is on and correctly configured, the indicator lights on the Audio Mixer tool should change to blue.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems Not all version of Avid editing applications are compatible with Pro Tools|HD Native hardware. For up-to-date information on co-installation and supported configurations, see the ReadMe for your Avid editing application. If you use Matrox MX02 Mini hardware or if you have Avid DX hardware installed with your system, you cannot access the Pro Tools|HD Native hardware.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems 3. Click the Hardware tab. 4. Click the Control Panel button. The ASIO Control Panel opens. 5. (Optional) Click the Buffer Size menu and select a buffer size. Generally, smaller buffer sizes are preferable. However, if you experience any problems with performance (such as clicks and pops during recording or playback), try increasing the Buffer Size setting. 6.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems 7. Click Advanced. The Hardware Setup dialog box opens. 8. Select the options you want for your audio input/output operations. For more information on the settings in the Hardware Setup dialog box, see “Configuring Your Pro Tools|HD Native System” in the Pro Tools|HD Native User Guide that came with your Pro Tools system. Your Avid editing application uses only 8 channels of audio output.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems To configure the CoreAudio driver: 1. Do one of the following: t If your Avid editing application is running and you have an audio sequence loaded in the Source/Record monitor, click Play and then click the CoreAudio Manager icon in the dock. t Double-click the CoreAudio Manager file (located in /Applications/Digidesign/). The CoreAudio Manager opens. 2. (Optional) Click the Buffer Size menu and select a buffer size.
Using a GPI Device with the Audio Punch-In Tool 4. Select the options you want for your audio input/output operations. For more information on the settings in the Hardware Setup dialog box, see “Configuring Your Pro Tools|HD Native System” in the Pro Tools|HD Native User Guide that came with your Pro Tools system. Your Avid editing application uses only 8 channels of audio output. Also, the application controls the audio sample rate, not your HD or Native hardware. 5.
Using a GPI Device with the Audio Punch-In Tool Understanding GPI Trigger Signals Your Avid editing application sends three different GPI trigger signals under the following circumstances: Trigger Signal Sent When Play Out Playback begins. Recording with the Audio Punch-In tool ends but playback continues because a postroll value is set in the Audio Punch-In tool (that is, the signal is sent when the Stop button in the Audio Punch-In tool changes to blue).
Using a GPI Device with the Audio Punch-In Tool Example of Linking GPI Actions to Trigger Signals You can configure the GPI to respond to each signal sent by your Avid editing application in a specific manner. For a simple indicator light, you might create a GPI setting linking the Record Out signal from your Avid editing application to the GPI Set action (to turn the light on) and a setting linking the Stop Out signal from your Avid editing application to the GPI Reset action (to turn the light off).
Using a GPI Device with the Audio Punch-In Tool Connecting a V-LAN VLXi Controller and GPI The V-LAN VLXi controller and VLXi-GT GPI connect to your Avid system through a direct serial connection as shown in the following illustration.
Using a GPI Device with the Audio Punch-In Tool Configuring a V-LAN VLXi Controller and GPI Once you have connected a V-LAN VLXi controller and VLXi-GT GPI to your Avid system, you can configure the system to communicate with the controller and the GPI, and create GPI settings appropriate to your needs. For more information on creating settings, see “Working with GPI Settings” on page 839. To configure the V-LAN VLXi controller and the VLXi-GT GPI: 1.
Using a GPI Device with the Audio Punch-In Tool 3. Select the appropriate settings. For more information about GPI settings option, see “GPI Settings Options” on page 841. 4. Click Add. The GPI Node Settings dialog box opens. 5. Select the appropriate settings. For more information about GPI Node settings option, see “GPI Settings Options” on page 841. 6. Click OK. The GPI Settings dialog box opens. 7. Click OK to set the GPI. 8. Click Apply in the Deck Configuration dialog box. To edit a GPI setting: 1.
Using a GPI Device with the Audio Punch-In Tool GPI Settings Options The following tables describe the GPI settings and GPI Node settings options. GPI Option Description Name Keep the default V-LAN VLXi name, or type a new name. Description (Option) Add a description of the GPI trigger. Device Type Select V-LAN, which is the Avid-supported device type. Address Select the V-LAN network address to which the VLXi-GT is assigned. Valid addresses on the V-LAN network are 16 through 19.
Using a GPI Device with the Audio Punch-In Tool GPI Node 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 menu, and select a node. Nodes 1 through 6 correspond to the physical connectors on the back of the VLXi-GT GPI device. Action Select an action: • Set activates a command. • Reset deactivates a command.
19 Using Avid Artist Series Controllers This section includes topics that provide information on configuring and using the Avid Artist Series controllers with your Avid editing application: Avid Artist Control, Avid Artist Transport, and Avid Artist Mix. These controllers employ the EUCON™ (Extended User Control) protocol, which allows for integrated control of your Avid editing application and EUCON-compatible devices.
Installing EuControl Software Installing EuControl Software The EuControl application controls your Artist Series controller and communicates with your Avid editing application. You must install EuControl before you use any Artist Series controller.
Installing EuControl Software 3. You should check for updated firmware for your Artist Series controller by doing the following: a. Do one of the following: t (Windows) Double-click the EUCON icon in the notification area. EUCON icon in the notification area t (Macintosh) Click the EUCON icon in the dock, and then select Window > EuControl Settings. The EuControl Settings dialog box opens. b. Click the Surfaces tab, and then click Update Firmware.
Configuring Avid Artist Series Controller Settings Configuring Avid Artist Series Controller Settings You use the Controller Settings dialog box to configure your Avid editing application so that it can communicate with your Artist Series controllers. To configure your Avid editing application for an Artist Series controller: 1. Double-click Controller Settings in the Settings list of the Project window. The Controller Settings dialog box opens. 2. Select Controller > EUCON Controller. 3. Click OK.
Configuring Ethernet Connections (Macintosh) 3. In the Other area, click Euphonix. The Euphonix dialog box opens. 4. Click the Network Interfaces menu and select either Ethernet 1 or Ethernet 2, depending on which Ethernet port you want to use for your Artist Series controller. 5. Close the Euphonix dialog box. 6. Select the Apple menu > System Preferences. 7. In the Internet & Wireless area, click Network. The Network dialog box opens. 8. Click the Action menu and select Set Service Order.
Setting the IP Address Setting the IP Address Avid Artist Series controllers typically use Dynamic Host Configuration Protocol (DHCP) to obtain its IP address, usually from a router. The controllers revert to link-local addressing to generate an IP address if a DHCP server is not found on the network — for example, when you connect a controller to a system using an Ethernet cable.
Setting the IP Address The parameter is deselected, and the Touchscreen displays the IP Address and Subnet Mask fields. 3. Touch the first box of the IP Address field to select it, and then adjust its value by turning any of the eight knobs or the Jog wheel. 4. Repeat the previous step to adjust all values of the IP Address and the Subnet Mask fields. 5. Touch OK to save this static IP address. Turn off the controller and then turn it on to use the new IP address.
Setting the IP Address 3. Press the Enter key to move the cursor to the next screen. 4. Do one of the following: t Use the Jog wheel to set the value of the IP Address field. t Press the + (plus) key or the – (minus) key on the numeric keypad to increment or decrement the value. You can also use the numeric keypad to enter the number directly. 5. Repeat step 3 and step 4 to adjust all values of the IP Address and the Subnet Mask fields.
Configuring EuControl Settings 4. Use the knob to set the value of the IP Address field. 5. Repeat step 3 and step 4 to adjust all values of the IP Address and the Subnet Mask fields. You can press the Page Left key to move the cursor back to the previous field or screen to change a parameter to a different value. 6. Press the Page Left and Page Right keys at the same time to save this static IP address. Turn off the controller and then turn it on to use the new IP address.
Configuring EuControl Settings 3. Do one of the following: t (Windows) Double-click the EUCON icon in the notification area. EUCON icon in the notification area t (Macintosh) Click the EUCON icon in the dock, and then select Window > EuControl Settings. EuControl Settings application opens. The All Surfaces list displays all available Artist Series controllers.
Configuring EuControl Settings 4. Click the Automatically add: menu, and select one of the following: t To add all controllers listed in the All Surfaces list — which lists all devices available on your subnet — select All Surfaces. This setting is useful when you are the only person running EuControl on your network. t To add only those controllers listed in the My Surfaces, select My Surfaces Only.
Artist Series Controller Button Mappings 7. (Option) If you want more than one workstation to access your Artist Series controllers, do the following: a. Select the workstation in the All Workstations list and click Add. b. Select the workstation in the My Workstations list and click Attach. A check mark appears in the Attached column in the My Workstations list. The workstation can now access the Artist Series controllers connected to EuControl. 8. Close the EuControl Settings application.
Customizing Avid Artist Series Controls The Soft Keys tab displays the name of the active application above the option menus and the soft key assignments. EuControl Settings: active application, option menus, soft key display buttons The default EuControl button mappings include the following: • Surface — The Surface keys control the functions assigned to the 12 buttons located below the Touchscreen on Artist Control. The Surface section organizes the buttons in 6 pages.
Customizing Avid Artist Series Controls To change a function in the Artist Series controls: 1. In the EuControl application, click the Soft Keys tab. 2. Click the Section menu, and select one of the following: - Surface - Touchscreen - Numpad - TU Softkeys - TU Wheel The Soft Keys tab displays the existing controls for the selected section. The Artist Transport controls for the Touchscreen.
Customizing Avid Artist Series Controls 3. Do one of the following: t Select a button whose function you want to customize, and click Command. t Double-click a button whose function you want to customize. The Soft Key Command Editor opens. 4. Specify the action you want to associate with the control button. The Soft Key Command Editor organizes the default commands as they appear in the Command palette or in menus. 5. Close the Soft Key Command Editor.
Customizing Avid Artist Series Controls The Soft Keys tab displays the existing controls for the selected section. The Artist Transport controls for the Touchscreen. 3. If the display does not include any blank keys, click the Page menu and select a new page. You can also click the Add button to add a new page. 4. Do one of the following: t Select a blank key and click Command. t Double-click a blank key. The Soft Key Command Editor dialog opens.
Moving Through Footage with Artist Series Controllers 5. Click Add and select one of the following: - Key - EuCon - Page - MC - Wheel 6. In the Details column, select the function you want to associate with the new soft key. EUCON commands automatically label the button but do not select an icon. 7. Close the Soft Key Command Editor. The Soft Key tab updates and displays the new function.
Volume Automation and Pan on Artist Series Controllers • The track selection buttons on your Artist Series controller allow you to select and deselect tracks in the Timeline. Selecting tracks in the Timeline or in the Audio Mixer tool updates the track selection display in your Artist Series controller. • You can solo and mute tracks on your Artist Series controller to isolate tracks as you monitor the audio playback.
Recording Volume Automation and Pan with Artist Series Controllers assignments by the number of available faders — for example, shifting assignments from tracks 1 – 8 to tracks 9 – 16. The Nudge button changes track assignments by one track — for example, shifting assignments from tracks 1 – 8 to tracks 2 – 9. Artist Mix provides buttons and indicator lights mapped to standard audio editing functions: Button Function SEL Controls and indicates pan recording.
Recording Volume Automation and Pan with Artist Series Controllers 3. Attach the Artist Series controller to your system. (See “Configuring Avid Artist Series Controller Settings” on page 846.) The position indicator lights in the Audio Mixer tool change to blue when the fader controller or mixer is on and correctly attached to the system. Position indicator lights 4. Click the Timeline Fast Menu button and select Audio Data > Auto Gain or Audio Data > Audio Pan. 5.
Using the Latch Mode Feature on Artist Series Controllers To change the tracks assigned to faders on the Artist Series controller, do one of the following: t To move the track assignments to the left or right by the number of available faders, click the Bank Left or Bank Right button. t To move the track assignments to the left or right by one track, click the Nudge Left or Nudge Right button.
Using the Artist Series Controller for Editing Media Using the Artist Series Controller for Editing Media You can use your Artist Series controller to perform some of the basic editing functions available in your Avid editing application, including the following: • Mark In and Out points • Splice in and Overwrite edits • Lift and Extract edits • Trim edits • Multicamera edits These functions allow you to edit and trim clips in your sequences using the controller rather than the buttons and tools
Controller Application Sets Avid Artist Control The following table lists the default application set for Avid Artist Control when used with your Avid editing application. n Not all hardware and software versions support all of the functionality listed in this section. Some buttons might be unavailable on your controller.
Controller Application Sets Control Function Fader strips Allow you to adjust parameters while recording volume automation or pan. Press the Shift key and touch a fader to set it to unity gain. Soft key navigation Moves through the pages listing soft key functions in the display. Press Shift+up arrow (Home) or Shift+down arrow (End) to go to the first or last page. Display Displays functional information and controls, including the knob functions, Touchscreen controls, soft key labels.
Controller Application Sets Control Function Close (Shift+Nudge Right) Closes the active dialog box or tool. Home (Shift+Bank Left) Moves the set of four tracks assigned to the faders to tracks 1 – 4. End (Shift+Bank Right) Moves the set of four tracks assigned to the faders to the last bank of four faders. Zoom Horz Allows you to use the Jog wheel to zoom horizontally in the Timeline. Zoom Vert (Shift+Zoom Horz) Allows you to use the Jog wheel to zoom vertically in the Timeline.
Controller Application Sets Avid Artist Transport The following table lists the default application set for Avid Artist Transport when used with your Avid editing application. n Not all hardware and software versions support all of the functionality listed in this section. Some buttons might be unavailable on your controller.
Controller Application Sets Control Function Display Displays functional information including timecode, active application, and soft key labels. Soft keys Provide editing and navigation functions specified in the soft key pages in the application set. You can view the soft key functions by pressing the Show button.
Controller Application Sets Control Function Application Switches between the two most recently used open applications. Press and hold the Application button while turning the Jog wheel in either direction to cycle among all open applications. Workstation (Shift+Application) Allows you to change the active workstation if you have more than one system attached to your controller. For information on attaching multiple workstations, see the documentation that came with your Artist Series controller.
Controller Application Sets Control Function Display Displays functional information including timecode, active application, and soft key labels. Back Moves the knob set functions up one level if the knob set in the display is a submenu. Top Moves the knob set functions to the topmost level if the knob set in the display is a submenu. Page (left and right) Changes the knob set functions by one page. Cfg (Shift+Page left and right) Opens a knob set configuration page if available.
Controller Application Sets Control Function Mix (Shift+Pan) Displays the Mix knob set to configure output routing. Fader strips Allow you to adjust parameters while recording volume automation or pan. Press the Shift key and touch a fader to set it to unity gain.
20 Using Audio Plug-Ins This chapter describes how to access and use the audio plug-ins, including the Real-Time AudioSuite (RTAS) and AudioSuite plug-ins that come with your Avid editing application. • Real-Time AudioSuite Plug-Ins • Avid AudioSuite Plug-Ins • Core Avid Audio Plug-Ins Real-Time AudioSuite Plug-Ins Your Avid editing application supports up to five RTAS plug-in inserts on each audio track.
Real-Time AudioSuite Plug-Ins Inserting an RTAS Plug-In on a Track in the Timeline You can insert up to five RTAS plug-in track effects (inserts a through e) on an audio track. When you insert a plug-in effect to a track, you select the track where you want to apply the effect, which insert location you want to use on the track, and the specific effect you want to add to your sequence. You can also insert an RTAS plug-in track effect by dragging an RTAS effect template from a bin to your sequence.
Real-Time AudioSuite Plug-Ins To insert an RTAS plug-in using the Effect Palette: 1. In the Project window, click the Effects tab. The Effect Palette appears. 2. Click an RTAS effect category, select the RTAS effect you want, and drag it to the segment or to the RTAS insert button where you want to apply the insert. You can only insert mono effects on a mono track, stereo effects on a stereo track, and surround sound effects on a surround sound track. The Select Insert dialog box opens. 3.
Real-Time AudioSuite Plug-Ins Editing an RTAS Plug-In on a Track in the Timeline After you insert an RTAS plug-in on an audio track, you can access the plug-in controls by using the Track Control panel or the RTAS tool. When you select an RTAS insert button in the Track Control panel or an effect in the RTAS tool, the controls for the plug-in appear in the RTAS tool window.
Real-Time AudioSuite Plug-Ins If a plug-in is inserted on the track, the Select Effect button displays the name of the plug-in and the RTAS tool opens a window associated with the plug-in. The Compressor/Limiter Dyn 3 plug-in window displayed in the RTAS tool dialog box. You can also open the RTAS tool by selecting Tools > RTAS or right-clicking the Record Track button for the track where you want to edit an insert and selecting RTAS tool.
Real-Time AudioSuite Plug-Ins 6. (Option) Click the Bypass button if you want to play audio without processing the track effect. This lets you compare the audio with or without the plug-in effect. If you click Ctrl+Bypass (Windows) or Cmd+Bypass (Macintosh), you can disable RTAS effects on all tracks in the Timeline. The Bypass button and the RTAS insert buttons on the selected track change to blue. 7. To save your changes, do one of the following: t Click the Save Effect icon in the RTAS tool.
Real-Time AudioSuite Plug-Ins You must have one empty insert on your audio track so you do not replace an existing insert when you reorder the inserts. To modify the order of RTAS inserts on a track, do the following: t Click an RTAS insert button and drag it to an empty insert button in the Track Control panel. Removing RTAS Inserts on a Track Removing an insert deletes the effect from the track. To remove an RTAS insert: 1. Do one of the following: t Select Tools > RTAS.
Avid AudioSuite Plug-Ins To apply an RTAS effect template to an audio track, do one of the following: t Drag the RTAS effect template from the bin to an RTAS insert button in the Track Selection panel. t Drag the RTAS effect template from the bin to a segment on the track where you want to apply the effect. The Select Insert dialog box opens so you can select the insert where you want to apply the effect. The RTAS effect is applied to the track.
Avid AudioSuite Plug-Ins c n Your Avid editing application requires the files in the Plug-Ins folder named AvidAppPlugIn.dpm and AvidAppPlugIn.dpm.rsr (Windows) or Avid_Application_PlugIn (Macintosh). Do not delete them. AudioSuite Plug-ins supported by Avid appear in the Plug-In Selection menu in the AudioSuite window. Using Avid AudioSuite Plug-Ins You can use AudioSuite plug-ins in two ways. • You can apply a plug-in to a clip in the Timeline and then create a rendered effect.
Avid AudioSuite Plug-Ins Applying an AudioSuite Plug-in to a Clip in the Timeline The following illustration shows the default layout of the AudioSuite window.
Avid AudioSuite Plug-Ins 3. (Option) To select multiple tracks, press the Shift key while you select additional tracks from the Track Selection menu. Plus signs (+) mark the additional tracks and indicate that the effect is applied to more than one track. 4. Click the Plug-In Selection menu, and select a plug-in. Your Avid editing application automatically applies the plug-in effect to the track or tracks in the Timeline. It applies stereo effects to stereo tracks and mono effects to mono tracks. 5.
Avid AudioSuite Plug-Ins The following table describes the six common buttons: Button Description OK Saves the effect and closes the dialog box. Cancel Closes the dialog box and does not save the effect. Preview Plays back a portion or all of the currently selected audio clip with processing. Some plug-ins can preview in real time and some cannot.
Avid AudioSuite Plug-Ins Rendering AudioSuite Plug-in Effects You need to render all AudioSuite plug-ins before you can play back the effect. If you do not render the effect manually, your Avid editing application automatically renders the effect before it creates an audio mixdown or audio dissolve containing the effect. n When you render an audio effect on an AMA media clip, all audio media files are written as PCM (MXF), regardless of what you set for the audio file format.
Avid AudioSuite Plug-Ins The following illustration identifies the controls in the expanded AudioSuite window. For information on the controls in the top part of the window, see “Applying an AudioSuite Plug-in to a Clip in the Timeline” on page 882. 1 9 2 10 3 11 4 6 7 5 8 The following table describes the controls in the AudioSuite window. Control Description 1 Clip Selection menu Lets you choose the active clip.
Avid AudioSuite Plug-Ins Control Description 4 Target Bin for New Master Lets you choose the target bin. The system places the new media and a Clip menu corresponding AudioSuite effect template in the bin. The template lets you modify the effect at a later time. 5 Status display Provides information about the current state of the DAE (the software that manages the AudioSuite plug-ins) and the currently applied effect.
Avid AudioSuite Plug-Ins Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins AudioSuite plug-ins let you select the following types of processing: • Mono processing only — This option is available for plug-ins that operate on only one mono audio track at a time. The other option (Stereo) appears dimmed. The plug-in applies the effect to each source track individually, in a serial manner.
Avid AudioSuite Plug-Ins Using AudioSuite Plug-ins to Create New Master Clips To create new master clips using the AudioSuite plug-ins: 1. Drag one or more master clips or subclips into the AudioSuite window. Your Avid editing application automatically enters Master Clip Processing mode and expands the AudioSuite window, if necessary. 2. If you dropped more than one master clip in the AudioSuite window, select a clip to work on from the Clip Selection menu. 3.
Avid AudioSuite Plug-Ins Template names take the following format: • (Windows) Your Avid editing application combines the original clip name with the effect name — for example, Test Audio clip - AudioSuite Plug-In Effect: Normalize. • (Macintosh) Your Avid editing application adds an effect file name extension to the effect name — for example, QuietClip.NormalizeQuietClip.Normalize.effect. You can use the template if you want to modify an effect on a clip. To use a template to modify a master clip: 1.
Avid AudioSuite Plug-Ins Using AudioSuite Plug-Ins in Stereo You can use some AudioSuite plug-ins on either mono or stereo tracks. To use AudioSuite plug-ins in stereo, be aware of the following: • To process a mono track and obtain a stereo result, select the desired track or mark an In point and Out point, then either select an empty track or add an new one. When you process the audio, the result will be two tracks or regions that represent the right and left channels of the processed audio.
Working with Dolby E Surround Sound Plug-ins 2. To cancel a render operation, press Ctrl+period (Windows) or Command+period (Macintosh). Be careful not to press these keys multiple times. If you press Ctrl+period (Windows) or Command+period (Macintosh) after the render operation stops from a previous Ctrl+period (Windows) or Command+period (Macintosh), your Avid editing application closes the window after it cancels the render operation.
Core Avid Audio Plug-Ins Core Avid Audio Plug-Ins A set of core audio plug-ins installs with your Avid editing application. RTAS and AudioSuite Plug-ins supported by Avid, such as the core set, appear in the RTAS tool and the AudioSuite Plug-in Selection menu with their plug-in name. n Other audio plug-ins might get installed on your system for use with Pro Tools, or you might download plug-ins. Avid does not recommend using unsupported plug-ins with Avid editing applications.
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description AIR Frequency Shifter Shifts the audio signal’s individual frequencies inharmonically. For more information, see “AIR Frequency Shifter (RTAS)” on page 905. AIR Fuzz-Wah Modifies the audio signal with different types and varying amounts of transistor-like distortion. For more information, see “AIR Fuzz-Wah (RTAS)” on page 906. AIR Kill EQ Removes the Low, Mid, or High broadband frequency range from an audio signal.
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description Compressor/Limiter III Applies either compression or limiting to audio material, depending on the ratio of compression used. For more information, see “Compressor/Limiter III — Dynamics III (RTAS and AudioSuite)” on page 926. D-Verb™ Provides a studio-quality reverberation or ambience processing to single or multiple tracks. For more information, see “D-Verb (RTAS and AudioSuite)” on page 930.
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description Multi-Tap Delay Lets you control up to four independent delays applied to the audio clip. For more information, see “Multi-Tap Delay (AudioSuite)” on page 946. Normalize Finds the peak value in the source audio file and scales the entire file proportionally to that maximum value. For more information, see “Normalize (AudioSuite)” on page 947.
Core Avid Audio Plug-Ins AIR Chorus (RTAS) You can use the AIR Chorus plug-in to apply a short modulated delay to give depth and space to the audio signal. The following table lists the AIR Chorus plug-in parameters: Parameter Description Rate Lets you adjust the rate of the low frequency oscillator (LFO) applied to the delayed signal as modulation. The higher the setting, the more rapid the modulation.
Core Avid Audio Plug-Ins Parameter Description Output Lets you lower the Output level of the distorted signal from 0–100%. At 0%, no distorted signal passes through the output. At 100%, the distorted signal passes through the output at full volume. Tone Lets you shape the timbral quality of the distortion. Clipping • Pre Shape — Lets you increase or decrease a broad gain boost (or attenuation) of treble frequencies in the processed signal.
Core Avid Audio Plug-Ins AIR Dynamic Delay (RTAS) You can use the Dynamic Delay Plug-In for a delay line that can synchronize to the tempo of your audio sequence, and you can modulate the delay using an envelope follower. The following table lists the AIR Dynamic Delay plug-in parameters: Parameter Description Sync When you enable Sync, the delay time synchronizes to the tempo of your audio sequence. When you disable Sync, you can set the delay time in milliseconds independently of the tempo.
Core Avid Audio Plug-Ins Parameter Description Feedback Lets you adjust the amount of delay feedback. At 0% the delayed signal repeats only once. As you increase the feedback, the number of times the delay repeats increases. At 100%, the delay repeats for an extended period of time. Each Delay mode produces a different feedback pattern, especially when you do not center the L/R Ratio. Delay Section • EQ Env Mod Feedback Mode Mix L/R Ratio — Lets you set the ratio of left to right delay times.
Core Avid Audio Plug-Ins AIR Enhancer (RTAS) You can use the Enhancer plug-in to enhance the low and high broadband frequencies of the audio signal. The following table lists the AIR Enhancer plug-in parameters: Parameter Description High Gain Adjusts the frequency to boost the high end. Low Gain Adjusts the frequency to boost the low end. Tune Lets you set the center frequency for low and high-end enhancement. Harmonic Generation Output • Low — Sets the center frequency for the bass boost.
Core Avid Audio Plug-Ins Parameter Description Mix Lets you balance the amount of dry signal with the amount of wet (processed) signal. At 50%, the output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it is all wet. AIR Filter Gate (RTAS) You can use the Filter Gate effect to chop up the audio signal into staccato rhythmic patterns with variable filtering, amplitude, and panning.
Core Avid Audio Plug-Ins Parameter Description Rate Lets you select the duration, or frequency of the Low Frequency Oscillator (LFO). The duration of one cycle of the LFO is measured in Steps. Mix Lets you balance the amount of dry signal with the amount of wet (filtered) signal. At 50%, the output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it is all wet.
Core Avid Audio Plug-Ins Parameter Description Rate Lets you select from the following rhythmic values: • 16 (sixteenth note) • 8T (eighth-note triplet) • 16D (dotted sixteenth-note) • 8 (eighth note) • 4T (quarter-note triplet) • 8D (dotted eighth-note) • 4 (quarter note) • 2T (half-note triplet) • 4D (dotted quarter-note) • 2 (half note) • 1T (whole-note triplet) • 3/4 (dotted half note) • 4/4 (whole note) • 5/4 (five tied quarter notes) • 6/4 (dotted whole note) • 8/4 (
Core Avid Audio Plug-Ins Parameter Description EQ Provides controls for cutting lows from the Flanger signal, and inverting phase. • Phase Invert — When enabled, Phase Invert flips the wet signal’s polarity, which changes the harmonic structure of the effect. • Low Cut — Lets you adjust the Low Cut frequency for the Flanger, to limit the Flanger effects to higher frequencies. Feedback Lets you adjust the amount of delay feedback for the Flanger. At 0%, the delay repeats only once.
Core Avid Audio Plug-Ins AIR Fuzz-Wah (RTAS) You can use the Fuzz-Wah plug-in to color the audio signal with different types and varying amounts of transistor-like distortion. The following table lists the AIR Fuzz-Wah plug-in parameters: Parameter Description Fuzz Turns the distortion effect on and off. Drive Sets the level of gain in the Fuzz algorithm. Mix (Fuzz) Lets you balance the amount of dry signal with the amount of wet (distorted) signal.
Core Avid Audio Plug-Ins Parameter Description Mix (overall) Lets you balance the amount of fuzz-processed signal with the amount of wah-processed signal. At 50%, there are equal amounts of fuzz and wah signal. At 0%, the output is all fuzz, and at 100% it is all wah. AIR Kill EQ (RTAS) You can use the Kill EQ plug-in to remove the Low, Mid, or High broadband frequency range from an audio signal.
Core Avid Audio Plug-Ins AIR Lo Fi (RTAS) You can use the Lo Fi effect to bit-crush, down-sample, clip, rectify, and mangle the input signal. The following table lists the AIR Lo Fi plug-in parameters: Parameter Description Sample Rate Lets you resample the audio signal at another sample rate. Anti-Alias Provides control over anti-aliasing filters that you can use before and after downsampling to reduce aliasing in the resampled audio signal. • On — Lets you enable or disable the Anti-Alias filter.
Core Avid Audio Plug-Ins Parameter Description LFO Lets you apply a Low Frequency Oscillator to modulate the Sample Rate. • Sync — Synchronizes the LFO Rate to the audio sequence tempo. When you enable Sync, you can select a rhythmic subdivision or multiple of the beat for the LFO Rate. When you disable Sync, you can change the modulation rate independently of the sequence tempo.
Core Avid Audio Plug-Ins Parameter Description Env Mod Provides Envelope Modulator control over an envelope follower that can affect the sample rate. You can use this for accentuating and enhancing signal peaks (such as in drum loops) with artificially generated high-frequency aliasing. Distortion • Attack — Sets the time it takes to respond to increases in the audio signal level. • Release — Sets the time it takes to recover after the signal level falls.
Core Avid Audio Plug-Ins Parameter Description Mod • Pre Delay — Sets the Pre-Delay in milliseconds. • Waveform — Selects a triangle or a sine wave for the LFO. This affects the character of the modulation. The sine wave has a gentler ramp and peak than the triangle wave. Voices Sets the number of layered chorus effects that are applied to the audio signal. The more voices you use, the thicker the effect.
Core Avid Audio Plug-Ins Parameter Description Delay Taps Provides five Taps (delay lines). Each tap provides the same set of controls. You can edit the controls for each tap independently of the other taps. • On — Turns the selected tap’s signal on or off. • Delay — Sets the length of delay for the tap, relative to the main Delay setting. • Level — Changes the output level of the tap. • Pan — Pans the audio signal from the tap left or right in the stereo field.
Core Avid Audio Plug-Ins Parameter Description EQ Provides tonal control over the reverb signal. • Low Cut — Adjusts the frequency for the Low Cut filter. For less bass, raise the frequency. • High Cut — Adjusts the frequency for the High Cut filter. For less treble, lower the frequency. Reverb Time Changes the length of the reverberation’s decay. Mix Lets you balance the amount of dry signal with the amount of wet (processed) signal.
Core Avid Audio Plug-Ins Parameter Description Rate When you enable Sync, the Rate control lets you select a rhythmic subdivision or multiple of the beat for the Phaser Modulation Rate. When you disable Sync, you can change the phaser rate independently of the sequence tempo.
Core Avid Audio Plug-Ins Parameter Description Phaser Provides control over the effect’s center frequency and number of phaser stages (or poles). LFO • Center — Lets you change the frequency center (100 Hz to 10.0 kHz) for the phaser poles. • Poles — Lets you select the number of phaser poles (stages): 2, 4, 6, or 8. The number of poles changes the character of the sound. The greater the number of poles, the thicker and more sweeping the sound.
Core Avid Audio Plug-Ins Parameter Description Early Reflections Changes the perceived location of the reflecting surfaces surrounding the audio source. Reverb simulates early reflections by using multiple delay taps at different levels that occur in different positions in the stereo spectrum (through panning). Long reverberation generally occurs after early reflections dissipate.
Core Avid Audio Plug-Ins Parameter Description Room Controls the overall spatial feel of the simulated room. High Frequencies Low Frequencies • Ambience — Affects the attack of the reverb signal. At low settings, the reverb arrives quickly, simulating a small room. At higher settings, the reverb ramps up more slowly, emulating a larger room. • Density — Changes the rate at which the sound density of the reverb tail increases over time. Higher Density settings create a smoother reverberated sound.
Core Avid Audio Plug-Ins The following table lists the AIR Spring Reverb plug-in parameters: Parameter Description Pre-Delay Determines the amount of time (0–250 ms) that elapses between the original audio event and the onset of reverberation. Reverb Provides control over the diffusion and stereo width of the reverb signal. • Diffusion — Changes the rate at which the sound density of the reverb tail increases over time. Higher Diffusion settings create a smoother reverberated sound.
Core Avid Audio Plug-Ins AIR Stereo Width (RTAS) You can use the Stereo Width effect to create a wider stereo presence for mono audio signals. The following table lists the AIR Stereo Width plug-in parameters: Parameter Description Mode Lets you specify the method by which the Stereo Width plug-in will create the artificial stereo field.
Core Avid Audio Plug-Ins AIR Talkbox (RTAS) You can use the Talkbox effect to add voice-like resonances to audio signals. The following table lists the AIR Talkbox plug-in parameters: Parameter Description Vowel Lets you choose the shape of the formant filter, by the vowel sound that is simulated (OO/OU/AU/AH/AA/AE/EA/EH /EE/ER/UH/OH). Env Depth Creates a positive or negative offset in the setting of the Vowel control, effected by the envelope follower. At its center, the knob has no effect.
Core Avid Audio Plug-Ins Parameter Description LFO Provides controls that let you apply a Low Frequency Oscillator to modulate the Formant setting. Sync — Synchronize the LFO Rate to the audio sequence tempo. When you enable Sync, you can select a rhythmic subdivision or multiple of the beat for the LFO Rate. When you disable Sync, you can change the modulation rate independently of the sequence tempo.
Core Avid Audio Plug-Ins Parameter Description Envelope Modulates the Formant setting by using an envelope follower. This allows you to accentuate and enhance signal peaks in rhythmic material. Mix • Thresh — Sets the amplitude threshold at which the Formant setting begins to be modulated by the envelope follower. • Attack — Sets the time (10.0 ms to 10 seconds) it takes to respond to increases in the audio signal level. • Release — Sets the time (10.
Core Avid Audio Plug-Ins Parameter Description Envelope Provides an envelope follower for controlling the Cutoff frequency, which allows you to control the envelope’s shape and depth of modulation. LFO Mode Output • Attack — Sets the time (10.0 ms to 10 seconds) it takes to respond to increases in the audio signal level. • Release — Sets the time (10.0 ms to 10 seconds) it takes to recover after the signal level falls.
Core Avid Audio Plug-Ins Bomb Factory BF76 (RTAS and AudioSuite) The Bomb Factory BF76 plug-in is a compressor modeled after the solid-state (transistor) 1176 studio compressor. Introduced in the late 1970s, the 1176 offers a much different compression sound than other compressors.
Core Avid Audio Plug-Ins The following table lists the Chorus plug-in parameters: Parameter Description Gain Lets you adjust the input volume of the chorus to prevent clipping or to increase the level of the processed signal. This slider is set to a default of +3 dB. If you recorded your source audio close to peak level, this +3 dB default setting might cause clipping. Use this control to reduce the input level.
Core Avid Audio Plug-Ins Compressor/Limiter III — Dynamics III (RTAS and AudioSuite) The Compressor/Limiter III plug-in applies either compression or limiting to audio material, depending on the ratio of compression used. Compression reduces the dynamic range of signals that exceed a chosen threshold by a specific amount. Limiting prevents signal peaks from ever exceeding a chosen threshold, and is generally used to prevent short-term peaks from reaching their full amplitude.
Core Avid Audio Plug-Ins Parameter Description Gain Reduction meter (GR) Indicates the amount the input signal is attenuated (in dB) and shows different colors during dynamics processing.
Core Avid Audio Plug-Ins Parameter Description Compressor/Limiter panel (COMP/LIMIT) Knee Sets the rate at which the compressor reaches full compression once the threshold has been exceeded. As you increase this control, it goes from applying “hard-knee” compression to “soft-knee” compression. Values range from 0dB (hardest response) to 30dB (softest response). With hard-knee compression, compression begins when the input signal exceeds the threshold. This can sound abrupt and is ideal for limiting.
Core Avid Audio Plug-Ins Parameter Description Attack Sets the attack time, or the rate at which gain is reduced after the input signal crosses the threshold. Values range from 10 microseconds (fastest attack time) to 300 milliseconds (slowest attack time). The smaller the value, the faster the attack. The faster the attack, the more rapidly the Compressor/Limiter applies attenuation to the signal.
Core Avid Audio Plug-Ins D-Verb (RTAS and AudioSuite) Digital reverberation processing can simulate the complex natural reflections and echoes that occur after a sound has been produced. Reverberation can take relatively lifeless mono source material and create a stereo acoustic environment that gives the source a perceived weight and depth in a mix. In addition, digital signal processing can be used creatively to produce reverberation characteristics that do not exist in nature.
Core Avid Audio Plug-Ins Parameter Description Decay Controls the rate at which the reverberation decays after the original direct signal stops. The value of the Decay parameter is affected by the Size and Algorithm parameters. You can set this parameter to infinity on most algorithms for infinite reverberation times. Pre-Delay Lets you determine the amount of time that elapses between the original audio event and the onset of reverberation.
Core Avid Audio Plug-Ins The following table lists the DeEsser III plug-in parameters: Parameter Description Levels panel Input/Output level meters Show peak signal levels before and after processing.
Core Avid Audio Plug-Ins Parameter Description De-Esser panel Frequency Sets the frequency band in which the De-Esser operates. Values range from 500 Hz (lowest frequency) to 16 kHz (highest frequency). When HF Only is disabled in the Options panel, gain is reduced in frequencies within the specified range. When HF Only is enabled, the gain of frequencies above the specified value will be reduced.
Core Avid Audio Plug-Ins The following table lists the Delay plug-in parameters. Parameter Description Input Controls the input volume of the delay to prevent clipping. Mix Lets you control the balance between the delayed signal and the original signal. If you use a delay for flanging or chorusing, you can control the depth of the effect somewhat with the Mix setting. LPF (Low-Pass Filter) Controls the cutoff frequency of the low-pass filter.
Core Avid Audio Plug-Ins EQ (AudioSuite) EQ plug-ins provide a set of high-quality options for adjusting the frequency spectrum of audio material: • 1-Band EQ III • 4-Band EQ III • 7-Band EQ III 1-Band EQ III Parameters The following table lists the 1-Band EQ III plug-in parameters. Parameter Description Input Sets the input gain of the plug-in before EQ processing, letting you make up gain or prevent clipping at the plug-in input stage.
Core Avid Audio Plug-Ins 4-Band EQ III Parameters The following table lists the 4-Band EQ III plug-in parameters. Parameter Description In and Out meters Show peak signal levels before and after EQ processing. Green indicates nominal levels. Yellow indicates pre-clipping levels, starting at –6 dB below full scale. Red indicates full scale (clipping) levels. The clip indicators to the right of each meter indicate clipping at the input of output stage of the plug-in. Click a clip indicator to clear it.
Core Avid Audio Plug-Ins Parameter Description Type selectors The HPF, LPF, LF, and HF band sections have type selectors that toggle between the two available filter types for that section, as follows: Q • High-Pass Filter (HPF band) — Attenuates all frequencies below the Frequency setting at the selected slope while letting all frequencies above pass through. • Low-Notch EQ (HPF band) — Attenuates a narrow band of frequencies centered around the Frequency setting.
Core Avid Audio Plug-Ins 7-Band EQ III Parameters The following table lists the 7-Band EQ III plug-in parameters. Parameter Description In and Out meters Show peak signal levels before and after EQ processing. Green indicates nominal levels. Yellow indicates pre-clipping levels, starting at –6 dB below full scale. Red indicates full scale (clipping) levels. The clip indicators to the right of each meter indicate clipping at the input of output stage of the plug-in. Click a clip indicator to clear it.
Core Avid Audio Plug-Ins Parameter Description Type selectors The HPF, LPF, LF, and HF band sections have type selectors that toggle between the two available filter types for that section, as follows: Q • High-Pass Filter (HPF band) — Attenuates all frequencies below the Frequency setting at the selected slope while letting all frequencies above pass through. • Low-Notch EQ (HPF band) — Attenuates a narrow band of frequencies centered around the Frequency setting.
Core Avid Audio Plug-Ins Expander/Gate III — Dynamics III (RTAS and AudioSuite) The Expander/Gate III plug-in applies expansion or gating to audio material, depending on the ratio setting. Expansion decreases the gain of signals that fall below a chosen threshold. It is particularly useful for reducing noise or signal leakage that creeps into recorded material as its level falls, as often occurs in the case of headphone leakage.
Core Avid Audio Plug-Ins Parameter Description Gain Reduction meter (GR) Indicates the amount the input signal is attenuated (in dB) and shows different colors during dynamics processing.
Core Avid Audio Plug-Ins Parameter Description Attack Sets the attack time, or the rate at which gain is reduced after the input signal crosses the threshold. Use this along with the Ratio setting to control how soft the Expander’s gain reduction curve is. Values range from 10 microseconds (fastest attack time) to 300 milliseconds (slowest attack time). Release Sets how long it takes for the gate to close after the input signal falls below the threshold level and the hold time has passed.
Core Avid Audio Plug-Ins Parameter Description Sum Inputs button When you use the Flanger plug-in in Stereo mode, a Sum Inputs button appears next to the right channel Input Level slider. Clicking the Sum Inputs button sums the source input signals (regardless of whether the input is mono or stereo) before processing them. The source signal then appears in the center of the stereo field, and the processed signal is output in stereo.
Core Avid Audio Plug-Ins Gain (AudioSuite) Gain lets you boost or lower amplitudes in a file or selection by a specified amount. Use Gain for smoothing out undesirable peaks and other dynamic inconsistencies. You can specify the desired gain level in several ways: • Enter a numeric decibel value. • Enter a percentage value. • Drag the slider. • Press and hold the Ctrl key (Windows) or the Command key (Macintosh), then drag the slider to fine-adjust.
Core Avid Audio Plug-Ins Lo-Fi Plug-In (RTAS and AudioSuite) Lo-Fi down-processes audio by reducing its sample rate and bit resolution. It is ideal for emulating the grungy quality of 8-bit samplers. The following table lists the Lo-Fi plug-in parameters: Parameter Description Sample Rate The Sample Rate slider adjusts an audio file’s playback sample rate in fixed intervals from 700 Hz to 33 kHz in sessions with sample rates of 44.1 kHz, 88.2 kHz, or 176.
Core Avid Audio Plug-Ins Parameter Description Noise Generator The Noise slider mixes a percentage of pseudowhite noise into the audio signal. Noise is useful for adding grit into a signal, especially when you are processing percussive sounds. This noise is shaped by the envelope of the input signal. The range of this control is from 0 to 100%. When noise is set to 100%, the original signal and the noise are equal in level.
Core Avid Audio Plug-Ins Parameter Description Sum Inputs button When you use the Multi-Tap Delay plug-in in Stereo mode, a Sum Inputs button appears next to the Mix sliders. Clicking the Sum Inputs button sums the source input signals (regardless of whether the input is mono or stereo) before processing them. The source signal then appears in the center of the stereo field, and the processed signal is output in stereo.
Core Avid Audio Plug-Ins You can select one of two display options by clicking the corresponding button in the Options area of the plug-in window. Display Option Description Phase Meter The Phase Meter indicates the phase coherency of two channels of a multichannel signal. The Phase Meter is green when the channels are positively out of phase (values from 0 to +1) and red when the channels are negatively out of phase (values from 0 to –1).
Core Avid Audio Plug-Ins You can select the following meter types: Meter Description Peak (Default meter type) Uses the metering scale in DigiRack EQ III and Dynamics III plugins. RMS (Root Mean Square) was used in previous versions of the Avid SurroundScope plugin and uses the same “true” RMS metering scale. n The “true” RMS meter scale is not the same as the AES 17 RMS scale. For a sine wave with a peak value of –20 dBFS, the “true” RMS meter will show a value of –23 dBFS.
Core Avid Audio Plug-Ins Ping-Pong Delay (AudioSuite) The Ping-Pong Delay plug-in modifies an audio signal by adding a controllable delay to the original signal. It is ideal for adding spatialization and creating a characteristic ping-pong echo effect. The following table lists the Ping-Pong Delay plug-in parameters: Parameter Description Gain Adjusts the input volume of the Ping-Pong Delay to prevent clipping or increase the level of the processed signal.
Core Avid Audio Plug-Ins The following table lists the Pitch Shift plug-in parameters. Parameter Description Gain The Gain controls set the input level, in tenths of a decibel. Set the input level so that the plug-in can adequately handle amplitude peaks in the selection. Dragging the slider to the right increases gain, and dragging the slider to the left decreases gain. Coarse and Fine Adjust the pitch by dragging either of the two faders, or by typing values in the Coarse and Fine text boxes.
Core Avid Audio Plug-Ins Parameter Description Reference Pitch The Reference Pitch feature generates a sine wave tone that you can adjust to match a selected portion of audio material, and then use as an audible reference when pitch-shifting other audio material in your session. To use the Reference Pitch feature: 1. Select the audio material you want to use as a pitch reference. Click the Preview button to begin playback of the selected audio. 2.
Core Avid Audio Plug-Ins Parameter Description Rectification • Positive Rectification — This rectifies the waveform so that its phase is 100% positive. The audible effect is a doubling of the audio signal’s frequency. • Negative Rectification — This rectifies the waveform so that its phase is 100% negative. The audible effect is a doubling of the audio signal’s frequency.
Core Avid Audio Plug-Ins The following table lists the Sci-Fi plug-in parameters: Parameter Description Input Level Input Level attenuates signal input level to the Sci-Fi processor. Since some Sci-Fi controls (such as Resonator) can cause extreme changes in signal level, adjusting the Input Level is particularly useful for achieving unity gain with the original signal level. The range of this control is from –12 dB to 0 dB.
Core Avid Audio Plug-Ins Parameter Description Envelope Follower Causes the selected effect to dynamically track the input signal by varying with the amplitude envelope of the audio signal. As the signal gets louder, more modulation occurs. This can be used to produce a very good automatic wah-wah-type effect. When you select the Envelope Follower, the Mod Amount slider changes to a Mod Slewing control.
Core Avid Audio Plug-Ins Option Description Signal Lets you select the waveform: • Sine • Square • Sawtooth • Triangle • White Noise • Pink Noise Use the rms and peak buttons to switch the calibration of the generated signal between RMS and Peak modes. Peak generates the signal at the maximum possible level without clipping. RMS generates the signal at levels consistent with the root-mean-square value, or the effective average level of the signal.
Core Avid Audio Plug-Ins The following table lists the Time Compression Expansion plug-in parameters. Parameter Description Source and Destination The Source text boxes display the length of the current selection before processing in each of the listed formats. All the text boxes in both columns update dynamically, so a change made to one value is immediately reflected in the values displayed in the other text boxes.
Core Avid Audio Plug-Ins Parameter Description Min Pitch The Min Pitch slider lets you select the minimum (lowest) pitch that is used in the plug-in’s calculations during the time compression and expansion process. The slider has a range of 40 Hz to 1000 Hz. By controlling the minimum pitch, you can focus the time compression and expansion process for maximum efficiency depending on the audio’s spectral shape.
Core Avid Audio Plug-Ins The following table lists the Time Shift plug-in parameters. Parameter Description Audio You use the Audio parameter controls to select the most appropriate time compression and expansion mode for the type of material you want to process, and to attenuate the gain of the processed audio to avoid clipping.
Core Avid Audio Plug-Ins Parameter Description Time You use the Time parameter controls to specify the amount of time compression or expansion you want to apply. The Original column displays the Start and End times, and Length of the edit selection. Times are displayed in units of the timebase selected in the Units menu. The Processed column displays the target End time and Length of the processed signal. Times are displayed in units of the timebase selected in the Units menu.
Core Avid Audio Plug-Ins Parameter Description Formant/Transient You use the Formant or Transient parameter controls to adjust either the amount of formant shift or the transient detection parameters, depending upon which mode you select in the Audio section. n The Formant parameter is available only when you select Monophonic as the Audio mode. The Transient section is available with slightly different controls, depending on whether you select Polyphonic or Rhythmic as the Audio mode.
Core Avid Audio Plug-Ins The following table lists the Trim plug-in parameters: Parameter Description Phase Invert Inverts the phase (polarity) of the input signal to change the frequency response characteristics between multi-miked sources or to correct for miswired microphone cables. Gain Provides -[Infinity] dB to +6 dB or +12 dB of gain adjustment, depending whether the Gain toggle is set to +6 or +12.
21 Exporting Frames, Clips, or Sequences This chapter describes how to export files for use with another system, application, or platform.
Understanding Export Understanding Export You can export material directly from your Avid editing application to many supported file types. You can export an individual frame, a selected region of footage, or an entire clip or sequence. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.
Preparing to Export a Sequence Depending on how you choose to export, you can: • Use the Export setting or Send To template you select without modification. • Modify the options in the setting or template for use in the current export only. • Modify the Export setting and save the modifications to that setting. • Modify the setting or template and save the modifications as a new Export setting or a new custom Send To template.
Exporting With the Send To Templates Preparation Task Description Make sure all audio clips have the same sample rate. For more information, see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 782. You can also use OMFI or AAF to change the sample rate. For more information, see Guidelines for Exporting OMFI and AAF Files. Check and adjust all pan and audio levels. All current Pan and Level settings in the sequence are carried to the exported media.
Exporting With the Send To Templates 3. (Option) If you are sending to Avid Pro Tools, select one of the template options in the following table. The last three options are only available when you send to Pro Tools over an Avid shared storage using Send To > Pro Tools on Avid Unity. Option Description Avid Video Consolidate Audio Select this option to send to a Avid Pro Tools system that supports playback of Avid standard definition (SD) video using a video peripheral.
Exporting With the Send To Templates The Send To dialog box opens. The Filename text box displays the name of the sequence or clip you chose. 4. (Option) Type a new file name in the Filename text box. 5. (Option) If you are sending to Sorenson Squeeze, click the Options button to select Sorenson Squeeze settings. For more information, see the Sorenson Squeeze documentation. 6. Click Set to browse to the drive and folder where you want to store the exported file.
Exporting With the Send To Templates 7. (Option) If the template you are using can automatically launch the application that handles the exported file, an Auto Launch option appears in the Send To dialog box and is selected. Auto Launch might also have sub-options. You typically do not change these settings, but you can deselect Auto Launch if you do not want the application to launch automatically, and you can change the selection of sub-options. 8.
Send To Templates Reference 14. (Option) If you are sending to DVD One Step, select the capacity of your DVD medium from the Capacity menu, and then click OK. The capacity of your DVD medium must match the size you select from the Capacity menu. For information about the other options in the Burn to DVD dialog box, see the Sonic documentation. Your DVD is burned. Send To Templates Reference The following table describes the Send To templates that Avid supplies.
Creating a Custom Send To Template for Exporting to Third-Party Applications Template Description Avid DS You can send a sequence to Avid DS as an AFE file or an AAF file. The Avid DS Send To template does not auto-launch Avid DS by default. If you have Avid DS installed on your system and want to launch it automatically, you can select Auto Launch and browse for Avid DS. Select Auto Load Exported File(s) if you want the files you export to automatically load in the Avid DS application.
Creating a Custom Send To Template for Exporting to Third-Party Applications The Send To dialog box opens with a default export template. 3. (Option) Type a new file name in the Filename text box. 4. Click Set to browse to the drive and folder that you want to be the default location for storing the exported file. Whenever you return to a Send To dialog box, the destination folder you set last appears in the destination field. 5.
Exporting With the Export Command or the Drag-and-Drop Method c. Click Open. d. Select Auto Load Exported File(s) if you want the files you export to automatically load in the third-party application. e. Select Reveal file if you want the system to search available drives, open Windows Explorer or the folder (Macintosh), and highlight related media files. 6. Make any changes to the Export settings that you need by clicking the appropriate Options button, making the changes, and then clicking Save. 7.
Exporting With the Export Command or the Drag-and-Drop Method Regardless of the method you use for the export itself, you must first identify and select the material you want to export. n Your Avid editing application saves an intermediate file in a temporary folder as part of the export process. Ensure that the temporary folder is on a drive with plenty of space. You can view and change the location of the temporary folder in the General Settings dialog box.
Exporting With the Export Command or the Drag-and-Drop Method To export a frame, clip, or sequence by using the Export menu command: 1. Identify and select the material you want to export as described above. 2. Do one of the following: t Select File > Export. t Right-click the clip or sequence, and then select Export. The Export As dialog box opens with a default file name in the File name text box (Windows) or the Save As text box (Macintosh), based on the file type. 3.
Customizing Export Settings Depending on the export format, Export settings can be complicated. In some cases, options in the Export Settings dialog box open additional dialog boxes with further options. If you are modifying Export settings, consult the appropriate reference tables in “Export Settings” on page 1321 for detailed information. 5. In the Export As dialog box, select the destination folder for the file. 6. (Option) Change the file name. In most cases, keep the file name extension the same. 7.
Customizing Export Settings 4. Name the setting by doing the following: n a. Click the custom name column. b. Type a name. c. Press Enter (Windows) or Return (Macintosh). The custom name column is the center column in the Project window. When you move the pointer over the custom name column, the pointer changes from a pointing finger to a text insertion bar. 5. Double-click the new Export setting. The Export Settings dialog box opens. 6.
Guidelines for Exporting OMFI and AAF Files Guidelines for Exporting OMFI and AAF Files OMFI and AAF are industry-standard file formats that let you exchange compositions and media between applications. OMF Interchange and AAF, as implemented in Avid editing applications, provide two basic methods for exporting files. When you export to OMFI or AAF, select OMF 1.0, OMF 2.
Guidelines for Exporting OMFI and AAF Files n When you export sequences with effects through AAF, certain effect types are not exported to the AAF file. When you check compositions into an asset manager through AAF, all effects are exported. For export to Avid DS, use AFE files. See “Exporting Projects and Bins Using AFE Files (Windows Only)” on page 981.
Guidelines for Exporting OMFI and AAF Files Setting Guidelines Media Destinations (Video Details and Audio Details tabs) • Using the Folder option with “Use Same Folder as AAF File” is very convenient for moving files back and forth between your Avid editing application and Pro Tools.
Exporting Projects and Bins Using AFE Files (Windows Only) Setting Guidelines Remove Track Effects Selecting this option removes all audio track effects — for example, Real-Time AudioSuite (RTAS) effects — during export. This option is selected by default. Split Tracks to Mono Selecting this option splits all multichannel audio tracks to separate mono tracks. For more information, see “Splitting Multichannel Tracks to Mono Tracks” on page 785. This option is selected by default.
Exporting QuickTime Movies Exporting the AFE File to Avid DS Once the edits are completed in the Avid Media Composer, export the sequence as an AFE to Avid DS for finishing. To export an AFE from Avid Media Composer to Avid DS: 1. Select the sequence in the bin, right-click on it and select Send To > Avid DS. The Send To: Avid DS dialog box opens with the default export template. 2. (Optional) Change the file name. 3.
Exporting QuickTime Movies n Your Avid editing application does not support sample rates higher than 48kHz for QuickTime audio export. If you export material that has a higher audio sample rate, the resulting QuickTime movie has 48kHz audio. Option Description Same as Source This option is available when you select QuickTime Movie from the Export Settings dialog box. When you select this option, your Avid editing application copies the media files directly with no resolution change.
Installing or Copying the Avid Codecs for QuickTime on Other Systems A set of Avid codecs for QuickTime are installed automatically when you install your Avid editing application. You can use these codecs to export QuickTime files from your Avid system, or to export QuickTime files from third-party applications for fast import into an Avid system.
Installing or Copying the Avid Codecs for QuickTime on Other Systems To copy the Avid QuickTime Codecs from one system to another system: 1. On your Avid system, open one of the following folders: (Windows) drive:\Program Files\QuickTime\QTComponents (Windows) drive:\Windows\System32 (Macintosh) MacintoshHD/Library/QuickTime 2. Copy the codecs you need to a removable device or network server. The following table describes the codecs: Codec (Windows) Codec (Macintosh) Description AvidAV1xCodec.
Exporting from a Third-Party QuickTime or AVI Application Exporting from a Third-Party QuickTime or AVI Application To export files from a QuickTime compatible application or from an AVI compatible application on a Windows system for import (or reimport) into your Avid system: 1. Ensure the applicable codec is installed on the system. See “Installing or Copying the Avid Codecs for QuickTime on Other Systems” on page 984. 2.
Creating a Custom Profile for Windows Media Export (Windows Only) Creating a Custom Profile for Windows Media Export (Windows Only) To create a custom profile for Windows Media: 1. Select the sequence or clips you want to export. 2. Select File > Export. The Export As dialog box opens. 3. Click Options. The Export Settings dialog box opens. 4. In the Export As menu, select Windows Media. 5. (Option) Select Use Marks.
Exporting Media to XDCAM Devices 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7. Click the Add button and select either Video or Audio. 8. Choose your custom profile settings. For more information, see “Export Settings: Windows Media (Windows Only)” on page 1336. 9. Click Save As Custom Profile. 10.
Exporting to XDCAM For information on connecting your XDCAM device, see “Connecting the XDCAM or XDCAM EX Device” on page 348. See “XDCAM and XDCAM EX Formats and Resolutions” on page 346 for the formats and resolutions you can export to the XDCAM device. Exporting to XDCAM You can export NTSC and PAL projects. Depending on the format (SD or HD), you need to use the appropriate XDCAM device (if you export SD media, use an XDCAM SD device; if you export HD media, you must use an XDCAM HD device).
Exporting to XDCAM You can also right-click the clip or sequence in a bin and select Export to Device. The XDCAM Export Settings dialog box opens. 5. (Option) Select Use Marks. The current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. The system uses tracks that are enabled in the timeline. To export all the tracks in the sequence, deselect this option. 7. Select an XDCAM disk from the Target XDCAM Disk list.
Exporting XDCAM OP1a Media If you use the Sony PDW HD1500 or the Sony PDW 1500 XDCAM device, export of up to 8 tracks of audio is supported for the MPEG IMX and XDCAM HD 50 Mbits formats. For other formats or devices that do not support 8 tracks, the system mixes down to audio tracks 1 and 2 during export. 9. Select a Bit Depth: 16 or 24 bits. For HD projects, select 16 bits. XDCAM HD devices are not capable of handling 24 bits, except for the Sony PDW HD1500 device, which is capable of handling 24 bits.
Exporting Your Clip or Sequence to a P2 Card Option Description Video Format Lists all XDCAM codecs supported by your project type. Audio Bit Depth Defines bit depth, based on the sample rates supported by your project type. You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. For more information, see “Audio Project Settings for Capture” on page 168.).
Exporting as Windows Media Using a VC1 Resolution 3. Select Clip > Export to Device > P2. The P2 Export Settings dialog box opens. 4. Select options as described in “Export Settings: P2” on page 1345. If you do not connect to a P2 device or camera, the options are not available. 5. (Option) If you connect to a P2 device and it does not appear in the P2 Device list, select File > Mount All to update the list of mounted drives. 6. Click Save.
Exporting as Windows Media Using a VC1 Resolution 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected sequence or clip determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7.
Using Avid Interplay Media Services Using Avid Interplay Media Services The Media Services Settings dialog box lets you connect to an Avid Interplay Media Services Broker. Broker services are used in an Avid Interplay environment where dedicated computers automate time-consuming operations. The following table describes the broker services that you might use.
22 Generating Output Your Avid editing application provides tools that let you generate output for individual tracks or entire sequences to various videotape or audiotape formats.
Selecting the Device for Output • Mix down multiple audio tracks, if necessary, as described in “Mixing Down Audio Tracks” on page 783. • Prepare the record tapes, as described in “Preparing Record Tapes” on page 1016. • (Option) Record reference bars and tone to tape, as described in “Recording Bars and Tone” on page 1017. • (Option) Prepare for assemble editing, as described in “Enabling Assemble-Edit Recording” on page 1018. • For 23.
Selecting the Sync Source for Output To select the sync source: 1. Select Tools > Video Output Tool. 2. Select the sync source from the Sync Lock menu: Reference, Tri-Level, or Internal. The Tri-Level option appears only if you are working in an HD project. If the source you select is not correctly connected, or if the sync generator is set to an incorrect frame rate, your Avid editing application will automatically switch to internal timing.
Selecting the Sync Source for Output For more information, see “Selecting the Timecode Format for Output” on page 1034 and “Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding” on page 1035. To set LTC timecode for output: 1. In the Settings list in the Project window, double-click General. 2. Select “Generate LTC On Playback.” 3. Click OK. Adding LTC Out During Preroll You can add black filler to the beginning of a sequence when performing a digital cut.
Selecting a Video Output Signal 3. Select the LTC out during preroll option. 4. Press the Play Digital Cut button. LTC Output During Digital Scrub (When Using Nitris DX only) LTC timecode will be output when the blue bar in the record monitor is moved, that is, during “digital scrub.” The LTC value is only output when audio is also output, that is, when Caps Lock is engaged or the shift key is down.
Calibrating for Video Output Calibrating for Video Output You can calibrate for video output by using any of the methods described in the following table: Method Description Calibrate for video output by using the factory presets You should use the factory presets if you do not have an external Waveform monitor, or if your site engineers calibrate the system as a general maintenance procedure. For more information, see “Using the Factory Preset Buttons in the Video Output Tool” on page 1002.
Calibrating for Video Output Using the Factory Preset Buttons in the Video Output Tool The preset buttons in the Video Output tool show the status of each Calibration setting as follows: • When the Video Output tool opens the first time you run your Avid editing application, all preset buttons are lit (green), with the factory presets loaded for each slider. • When you click a slider of a lit preset button, the button dims (appears gray), and the slider returns to the most recent manual level setting.
Calibrating for Video Output To calibrate for video output: 1. Select Tools > Video Output Tool. The Video Output tool opens. 2. Click the Options tab. 3. Click the Sync Lock menu and select Internal, Reference, or TriLevel (if available) to lock your output connection to the appropriate signal. Some input/output hardware configurations automatically detect TriLevel sync and do not display it as an option.
Calibrating for Video Output n Sync for output comes from the reference input (REF) or HD TriLevel Sync input on the Avid input/output hardware or from internal timing. For more information, see “Selecting the Sync Source for Output” on page 997. If you do not have separate Vectorscope and Waveform monitors, you can use the client monitor’s “blue only” feature, if available, to adjust SC phase output. For more information on this feature, see your monitor’s documentation. 4.
Calibrating for Video Output 9. Adjust luminance values based on the information in “Luminance Settings for Video Output” on page 1007. 10. Depending on your output type and input/output hardware, adjust the following sliders until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. Not all sliders are available for some configurations.
Calibrating for Video Output 3. Click the Input menu, and select a video format. The selected input provides the passthrough signal. 4. Calibrate the input if necessary by using the Video Input tool, as described in “Calibrating Video Input” on page 185. 5. Save the input calibration settings as the system Default setting, as described in “Saving Video Input Settings” on page 190. 6. Select Tools > Video Output. 7. Select Tools > Capture.
Calibrating for Video Output Luminance Settings for Video Output Use the following luminance settings for video output. For Black level (setup), adjust the Black slider to place the black level at the following settings: Video Standard Level NTSC 7.5 IRE NTSC-EIAJ 0.0 IRE PAL 0.3 V (not applicable for SMPTE bars) For White level (gain), adjust the Y Gain slider to place the white level at the following settings: Video Standard Level NTSC 100 IRE NTSC-EIAJ 100 IRE PAL 1.
Preparing for Converting HD Formats Preparing for Converting HD Formats Your Avid editing application attached to an Avid Nitris DX, or Avid Mojo DX can crossconvert an HD sequence to another HD format or downconvert an HD sequence to an SD format, provided that the sequence has a compatible frame rate for the format to which you are converting. Before you output a converted sequence, you need to set the appropriate options in the Video Output tool.
Preparing for Converting HD Formats 4. Click the Downconvert menu, and select the format that you want to output. The options are Anamorphic, Letterbox, Center Cut. The following illustrations show how a high-definition image is adjusted for downconvert. Example of downconversion formats. Top: the HD image. Bottom, left to right: Anamorphic, Letterbox, and Center Cut SD downconverted images. 5.
Preparing for Converting HD Formats HD Sequence Format n Crossconverted HD Format Downconverted SD Format When crossconverting the 720p/23.976 format, your Avid editing application adds 2:3 pulldown frames to create a sequence with the correct frame rate. 720p/25 1080i/50 25i PAL 720p/50 1080i/50 25i PAL 1080p/23.976 1080i/59.94 720p/59.94 30i NTSC n When crossconverting the 1080p/23.
Preparing for Audio Output Preparing for Audio Output You can use the Audio tool to generate and customize a calibration tone and to monitor global output levels. Use the Audio Project settings to adjust the global output levels and specify other output settings. The following procedures provide information about preparing for audio output. For information on audio mix procedures such as adjusting volume and pan for selected tracks or audio mixdown, see “Working with Audio” on page 712.
Preparing for Audio Output Calibrating Global Output Levels You can use the meters in the Audio tool to monitor the global output level of your sequence. If necessary, you can use the Output Gain slider (master attenuator) in the Output tab in the Audio Project Settings dialog box to adjust the output from the system. These adjustments affect levels for all output tracks to both the speakers and record devices. c You should leave this output level at the factory preset of 0 dB.
Preparing for Audio Output 5. Play back one of the following sources of reference audio by doing one of the following: t Click the Peak Hold (PH) Menu button, and select Play Calibration Tone. t Play back a representative sequence or clip containing audio. 6. Watch the levels in the meters, and adjust the master attenuator to the level that you want. n To adjust levels for individual tracks, use the Audio Mixer tool. See “Using the Audio Mixer Tool” on page 740. 7. Close the Audio tool. 8.
Preparing for Audio Output 3. Click the Mix Mode Selection Menu button, and select a type of output. - Select Stereo to mix the monitored audio tracks into a stereo pair (two paired mono channels) with applied pan effects. - Select Mono to map all the monitored tracks to a pair of mono channels, with all channels panned to center and pan effects bypassed.
Preparing for Audio Output 5. Select the output format and assign the output channels in the tabbed interface at the bottom of the dialog box. Options vary depending on the type of input/output hardware you have attached to your system. For more information, see “Audio Project Settings: Output Tab” on page 1298. 6.
Preparing Record Tapes For example, if you have 8 channels of HD SDI output enabled and attempt to change the sample rate to 96 kHz, the system displays the message. In this example you can switch the project to 96 kHz, but if the SDI outputs are enabled, the system will convert all audio output to 48 kHz. c This affects all audio outputs, not just the SDI outputs. That means AES/EBU output will be converted and any Analog output will also be converted.
Preparing Record Tapes Striping Record Tapes (Recording Black with Timecode) Before you can record a frame-accurate digital cut, you must prepare the record tapes in advance by using one of the following options: • To perform insert-edit recording, stripe the record tapes (record black with timecode for the entire duration of the tape) in advance (prestriped tape).
Enabling Assemble-Edit Recording 4. Set the record deck to Local for manual recording. 5. Record the bars and tone as either an insert or assemble edit according to the operation of your record deck and selected method. Your deck must be capable of frame-accurate editing to perform this step. For information on creating your own tone media, see “Creating Tone Media” on page 176. Enabling Assemble-Edit Recording Insert editing is the default setting for the Digital Cut tool.
Using ExpertRender to Prepare Effects for a Digital Cut n These switches are often located below the machine’s playback control buttons. For more information, see the documentation provided with your record device. Using ExpertRender to Prepare Effects for a Digital Cut Real-time effects might exceed the capabilities of your system and cause dropped frames during a digital cut. You can choose to have your Avid editing application select and render effects that might cause dropped frames.
Using the Digital Cut Tool Using the Digital Cut Tool The Digital Cut tool provides controls when you record a sequence to tape. The Digital Cut tool has the following operating modes: • Remote mode lets you control the record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. See “Recording a Digital Cut to Tape (Remote Mode)” on page 1023.
Using the Digital Cut Tool In Remote mode, the Digital Cut tool includes its own deck controls for: • Cueing a record deck from the Digital Cut tool. • Cueing the tape and adding an IN point. This capability applies when you click the menu in the deck control area, and select Mark In Time. The Mark OUT button does not appear in the deck controller section of the Digital Cut tool because it has no effect on digital cuts. Also, the Mark OUT and Duration text fields are read-only. You cannot alter them.
Using the Digital Cut Tool 4 Halt Digital Cut button 9 Deck control area 5 Preview Digital Cut button 10 Timecode text boxes Selecting a Deck in the Digital Cut Tool The Deck Selection menu in the Digital Cut tool contains a list of all decks that were connected to the system, turned on, and initialized when you opened the Digital Cut tool. The Deck Selection menu also lists three commands: Command Description Adjust Deck Opens the Deck Settings dialog box.
Using the Digital Cut Tool To preview a digital cut: 1. Select Clip > Digital Cut. The Digital Cut tool opens. 2. Select Remote or Local in the Deck Control options area. 3. Select the options you want for the digital cut. 4. Select the audio tracks, data track, and topmost video track you want represented in the digital cut preview by using the Sequence Track buttons. The track display in the Digital Cut tool varies according to the tracks existing in the sequence. 5.
Using the Digital Cut Tool 5. Select or deselect the Entire Sequence option based upon the following: t Select the Entire Sequence option if you want the system to ignore any IN or OUT points and to play the entire sequence from start to finish. t Deselect the Entire Sequence option if you have established an IN point, an OUT point, or both for recording a portion of the sequence. 6.
Using the Digital Cut Tool 12. Click the menu in the Deck Control options area, and select an option to indicate where to start recording on the tape. Option Description Sequence Time Starts the recording at a timecode existing on tape that matches the start timecode of the sequence. If you intend to record several sequences to tape one after another, this option requires resetting the start timecode on each sequence to match appropriate IN points on the tape.
Using the Digital Cut Tool 18. (Option) To stop the recording at any time, do one of the following: n t Press the space bar. t Click the Halt Digital Cut button. After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending upon the record deck model. This provides several frames of overlap for the next IN point before the control track and timecode break up.
Using the Digital Cut Tool Recording a Digital Cut to Tape (Local Mode) Recording in Local mode lets you manually control your record deck by using the controls on the deck. This mode is useful when you need to use non-Avid-controlled decks, such as consumer-grade VHS or Hi8. To record a digital cut to tape: 1. Make sure you selected the appropriate device for the material you are recording. See “Using the Digital Cut Tool” on page 1020. 2. Load a sequence into the Source/Record monitor.
Output Mode Resolution Options 7. (Option) Select Stop on Dropped Frames. When you select this option, if the system detects a dropped frame during output, the digital cut stops. You can fix the frame with ExpertRender and then continue. For more information, see “Using ExpertRender to Prepare Effects for a Digital Cut” on page 1019. 8. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of the digital cut. 9. Select Local in the Deck Control options area. 10.
Output Mode Resolution Options With some output modes, you can also use the Bit Depth menu to select either 8-bit or 10-bit effects processing. If this option is not available, the Bit Depth menu is either grayed out or does not appear. For more information, see “Options for Controlling Real-Time Effects Playback” in the Help.
Outputting DV 50 and DVCPRO HD Media Directly to a DV Device Outputting DV 50 and DVCPRO HD Media Directly to a DV Device You can output DV 50 or DVCPRO HD sequences directly to a DV device. This lets you output without any loss due to compression and decompression. You can output: If the project is: And if the output device is: DV 50 Any SD project 1394 DVCPRO HD The following HD projects: 1394 • 720p/23.976 • 720p/50 • 720p/59.94 • 1080i/50 • 1080i/59.
Selecting Output Formats for 23.976p and 25p Projects from a PAL sequence, or a PAL sequence from an NTSC sequence. You click the Output Format menu in the Digital Cut tool to select the formats you want, as described in “Selecting Output Formats for 23.976p and 25p Projects” on page 1031. (NewsCutter) Depending on the type of project you are working with, NTSC or PAL, the system will only display output options for one format. You cannot switch from NTSC to PAL or PAL to NTSC.
Output Format Reference for 23.976p and 25p Projects Output Format Reference for 23.976p and 25p Projects The following table provides reference information for the Output formats (play rates) available in the Digital Cut tool for 23.976p and 25p projects. Digital Cut Tool Output Format (Play Rate) Target Project or System, and Recording Media 23.
Output Format Reference for 23.976p and 25p Projects Digital Cut Tool Output Format (Play Rate) Target Project or System, and Recording Media Description Plays back the sequence at 29.97 fps. This play rate tells your Avid editing application to speed up the playback speed without adding pulldown fields. As a result, the sequence plays faster (25 percent faster for 24p, 20 percent faster for 25p).
Selecting the Timecode Format for Output If you are working in a 23.976 project, all output play rates are available, but only 23.976 NTSC maintains the original audio quality. For 23.976 NTSC, the audio rate is not slowed down for output and remains at 48 kHz. For 29.97 NTSC, the audio rate is sped up 25 percent and is not usable. Use this output rate for animations and other special applications. 24 fps NTSC requires a sample-rate conversion, so high-quality audio is not guaranteed.
Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding To select the timecode format for output: 1. Select Clip > Digital Cut. 2. Do one or both of the following: t Click the RS422 Output menu, and select Drop or Non-Drop. t Click the LTC Output menu, and select Drop or Non-Drop. Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding You can output drop-frame and non-drop-frame NTSC timecode simultaneously from a 23.
Selecting the Video Pulldown Cadence If you select 29.97 fps as your Dest. TC Rate, the sequence duration displayed in the Timecode Duration display of the Digital Cut tool is slightly shorter than the duration shown in the Timeline. This shorter duration occurs because the video play rate is sped up in comparison with the audio timecode rate. If you select 30.00 fps, the sequence duration in the Digital Cut tool matches the sequence duration in the Timeline.
Digital Cuts and Audio Digital Cuts and Audio You can use one of several tape formats and methods for audio output, but the following are most common: n • Record a digital cut directly to videotape by using analog output. • Record a digital cut directly to DAT or DA-88 by using digital output. • Play the sequence to an audiotape recorder by using analog output. You cannot control some analog audio decks from the Digital Cut tool.
Understanding DV Digital Cut Delay If your sequence ends on a B or C frame, edit the sequence to end on an A or D frame to create a continuous 2:3 pulldown. For more information on film-to-tape transfers, see “Transferring Film to Tape” on page 1441. To change the default pulldown phase for a sequence: 1. Open the bin that holds the sequence. 2. Check if the Pullin column appears. If not, do the following: a. Click the Bin Fast Menu button, and select Title Onlys. b.
Delaying the Sequence for a Digital Cut delay are also inconsistent. If the sequence is missing frames at the beginning of the digital cut on the tape, increase the delay. If the first frame of the sequence is repeated, decrease the DV digital cut delay. The starting frame of the sequence should change according to your delay. For example, suppose the DV digital cut delay is set to 0 frames.
Understanding Passthrough 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 menu, or the Capture tool Audio menu. It does not use the target device you selected in the Digital Cut tool.
Vertical Blanking Information The following table lists the extra vertical blanking lines for both NTSC and PAL: Field Video Raster Line Number Ranges NTSC (5 Lines/Field) PAL (8 Lines/Field) Field 1 16-20 15-22 Field 2 278-282 328-335 Displaying and Preserving Vertical Blanking Information Avid editing applications using Avid input/output hardware automatically preserve the extra lines of vertical blanking information when you capture footage.
Vertical Blanking Information To display vertical blanking information and preserve it for a digital cut: 1. Select Tools > Video Output Tool. The Video Output tool opens. VBI menu in the Video Output tool 2. Click the VBI menu and select Preserve. If you select Blank, your Avid editing application fills the vertical blanking interval with video black (R=G=B=16). 3. Close the Video Output tool. Any VBI information that is present in your clips or sequences will now be displayed.
Vertical Blanking Information Editing a Sequence with Vertical Blanking Information After a sequence is created and output from an Avid editing system, some facilities apply VBI information to the tape to add information such as closed captioning. Often, the tape is recaptured so that the sequence can be repurposed for another market. The VBI option in the Video Output tool lets you display the VBI information and maintain the information when you output the repurposed sequence.
Vertical Blanking Information The following problems may occur: • If the frame contains vertical blanking information, the picture quality of the entire frame might be slightly degraded due to the added entropy or complexity from the vertical blanking lines. The higher the compression ratio, the greater the number of artifacts that might be visible. For a compression ratio of 2:1, the number of artifacts might not be noticeable at all.
Preserving HD Closed Captioning and Ancillary Data Feature Meridien Current Can VBI information affect compression quality? Yes Yes Can compression affect VBI quality? Yes Yes For details on how Meridien systems support VBI, see the Preserving Information in the Vertical Blanking Interval white paper on the Avid Knowledge Base.
Preserving HD Closed Captioning and Ancillary Data Data Track Method The Data Track method stores ancillary data as a separate MXF file. A D (Data) track is added to your sequence, along with the video and audio track. You can edit clips on the D track, just as you would any other clip.
Preserving HD Closed Captioning and Ancillary Data of a data track in the Avid EDL Manager’s Track Selector panel with the D track button. Events which contain a Data track appear in an EDL with a “D” where the “V” appears for video tracks. Adding a Data Track You can add one Data track directly to the Timeline or you can extract the ancillary data from a video clip to create the Data track.
Preserving HD Closed Captioning and Ancillary Data Ancillary Data and AMA Avid Media Access (AMA) is a plug-in architecture that lets you link directly to clips from a third-party volume or to a file based media clip into a bin without storing the media directly on your system. You can AMA link to an XDCAM or an MXF (SMPTE 436M compliant) clip with ancillary data, the ancillary data appears in your bin and it creates a Data track in your Avid sequence.
Preserving HD Closed Captioning and Ancillary Data Moving from Legacy Method to Data Track Method The following explains what you need to know when you capture ancillary data with the Legacy method and move to the Data Track method. You might need to perform additional steps when you move sequences or clips from the legacy method to the data track method. • You should not mix SMPTE 436M (data track) ancillary data media with legacy method media.
Preserving HD Closed Captioning and Ancillary Data How Ancillary Data Embedded in DNxHD Media Is Handled in the Data Track Method and the Legacy Method Data Track Method Legacy Method Create a D track Not Applicable Not Applicable Play Not Applicable Yes (with Avid Nitris DX or Avid Mojo DX only) Edit Not Applicable Not Applicable Capture Not Applicable Yes (with Avid Nitris DX or Avid Mojo DX only) Transcode Not Applicable Not Applicable Yes (with Avid Nitris DX or Avid Mojo DX and source
Preserving HD Closed Captioning and Ancillary Data Legacy Method When you use the legacy method, ancillary data preservation is subject to the following requirements and limitations: • n You must capture and output the HD media using Avid Nitris DX or Avid Mojo DX input/output hardware. Software only systems do not support capture and output of HD ancillary data.
Preserving HD Closed Captioning and Ancillary Data 3. From the Ancillary Data Mode Setting, select SMPTE 436M. The system enables all four slots. 4. Select a Data Type for each slot you want to display ancillary data for. The default DID and SDID number displays for that slot. 5. Select Enabled next to the appropriate slot. 6. Deselect Enabled for those slots you do not want to capture ancillary data for. 7. Click OK.
Preserving HD Closed Captioning and Ancillary Data Controlling Ancillary Data with a Console Command (Legacy Method only) You can turn the ancillary data option on and off and set the slots with Console Commands. To switch the ancillary data feature on and off with a Console command: 1. Select Tools > Console. 2. Type the following command: Embeddnxcc To set the default for ancillary data preservation for all four slots: 1. Select Tools > Console. 2.
Preserving HD Closed Captioning and Ancillary Data The following table describes the options you can set in the command: Option Description Slot A value from 1 to 4 that specifies a data slot On/Off A value of 1 or 0 DID A hex number (for example, 0x61) SDID A hex number (for example, 0x60) For example: - To turn off data slot 1, type Embeddnxccoptions 1 0 - To set data slot 2 to hold CEA 708 data, type Embeddnxccoptions 2 1 0x61 0x01 - To set data slot 4 to hold a custom data type, type Emb
Preserving HD Closed Captioning and Ancillary Data 3. Decide on your method of capture, see “Capturing Media” on page 194 for more information. Depending on the options you select, ancillary data clips along with the video and audio clips you selected to capture, appear in the bin. Performing a Data Mixdown With the Data Track method, a data mixdown lets you combine several clips into one new master clip. You can use data mixdown after you finish building your sequence and want to make it into one piece.
Preserving HD Closed Captioning and Ancillary Data To export to an XDCAM device: 1. Connect your XDCAM HD device. 2. Select the appropriate mode on your XDCAM HD device that corresponds to the video format that you will be exporting. For example, set your XDCAM device to 1080i 59.94 if you want to export a clip or sequence at XDCAM-35 1080I/59.94. 3. Select the sequence or clips to export, or select the data track. 4. With an XDCAM device connected to your system, select Clip > Export to Device > XDCAM.
Preserving HD Closed Captioning and Ancillary Data 7. Select an XDCAM HD disk from the Target XDCAM Disk list. If the target XDCAM disk you are exporting to already has other clips on it, you are only allowed to export a clip with the same number of audio tracks. For example, if the target XDCAM disk has a clip with 4 tracks of audio, you cannot export a new XDCAM clip with 2 tracks. You either have to reformat the disk and wipe it clean or add two dummy tracks to your 2-track sequence before you export.
23 Transferring Projects This chapter contains information about transferring projects to another Avid editing system. • Transferring Project and Media Files Between Avid Editing Systems Transferring Project and Media Files Between Avid Editing Systems There are two basic methods for transferring projects: • Moving project folders, settings, and media files between the systems. • Moving project folders and settings between the systems, and then recapturing the media.
Transferring Project and Media Files Between Avid Editing Systems Transferring Files Between Windows Systems The following table shows the available methods for transferring files between Windows systems. Method Requirements Restrictions All Files (can be used as media drives) External SCSI drive None For compatibility information, see the Avid Drive Striping Tables, which are available by searching for “drive striping” on the Avid Customer Support Knowledge Base.
Transferring Project and Media Files Between Avid Editing Systems Transferring a Project Using Shared Storage If you are using your Avid editing system in an Avid Unity environment, you can use Avid Interplay to share media files, projects, and bins between systems. For more information, see your Avid Unity and Avid Interplay documentation. You can also share bins and projects in an Avid Unity environment that does not use Avid Interplay.
Transferring Project and Media Files Between Avid Editing Systems n When editing in an Avid Interplay environment, you must consolidate your media files before checking them in to the asset manager. c Do not rename the folders named OMFI MediaFiles or Avid MediaFiles located on the media drive. The target system uses the folder names to locate the media files. 2.
Transferring Project and Media Files Between Avid Editing Systems 7. Copy the folders or files to the appropriate folder. The folder locations might be slightly different, depending on the product and how it was installed. Ignore any Resource folders or files that appear. 8. Start your Avid editing application. The new project appears in the Project window. New user settings appear in the Users list. Site settings are active for all projects at the new location.
24 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 your Avid editing application. You use the NRCS tool to connect to an iNEWS server to access story scripts and to edit stories on Avid NewsCutter.
Configuring the NRCS Tool n • Sending and Receiving NRCS Mail (iNEWS Only) • Disconnecting from Your NRCS Server Your iNEWS or ENPS user permissions define how many of these procedures you can perform. If you are unsure of your permissions, consult your system administrator. Configuring the NRCS Tool You must configure the NRCS settings before you can connect to an iNEWS or an ENPS server.
Configuring the NRCS Tool 5. Fill in the following columns in the MOS Configuration window. Column Description Description Type the description of the new client — for example, Avid editor. IP Address Type the IP address for the Avid editing system client. Repeater ID Select the Repeater ID (ENPS MOS Repeater Name). To configure the running order: 1. Click the news group folder. Typically, this should be the third folder. Do not click the Rover. The group folder lists the running orders. 2.
Configuring the NRCS Tool 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 lists no name in the Server text box. 3. Type the name of the server. 4. (iNEWS only) If you selected the iNEWS server, type a default user name. 5. (Option) Select “Logout when NRCS Tool is closed” if you want to terminate the connection to the server every time you close the NRCS tool. 6.
Configuring the NRCS Tool 7. Click the iNEWS or the ENPS tab to make additional changes to the NRCS settings. 8. (iNEWS only) Configure the Message-of-the-Day (MOTD) settings, Mail Directory, and Story Field Assignment values: a. 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. 9. (iNEWS only) Select the default metadata used when creating a sequence with the NRCS tool: a. Clicking the Build Sequence button in the NRCS tool creates a new sequence with a duration determined by the value in the specified Story Form field. Enter a Story Form field name in the Duration text box. The default is the iNEWS tape-time field.
Configuring the NRCS Tool b. Type the NCS ID of your server in the NCS ID text box. NCS ID is the assigned name of the ENPS system. Type the name that your system administrator supplies. c. If you want to list running order names, including the Editorial Start date and time, select Show running order start date/time. d. If you want to list story names, including the page number, select Show story page number. e.
Starting the NRCS Tool 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. (iNEWS only) The NRCS Login dialog box opens for the iNEWS server. The iNEWS server name appears as part of the title bar text. (ENPS only) The NRCS tool connects to the ENPS server. (A login dialog box does not appear for the ENPS server.) 3.
NRCS Tool Components NRCS Tool Components The following illustration shows the components of the NRCS tool that appear when NewsCutter connects to an iNEWS server.
NRCS Tool Components The following illustration shows the components of the NRCS tool that appear when NewsCutter connects to an ENPS server.
NRCS Tool Components The following table describes the components of the NRCS tool. Component Server Support 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.
Using the Directory Panel Component Server Support Description (Continued) Find Sequence button iNEWS and ENPS Locates a sequence associated with a story. Read Time display iNEWS and ENPS Displays the amount of time to read the selected text on air, based on the read rate. Production panel iNEWS and ENPS Displays production information: Story panel n iNEWS and ENPS • (iNEWS) Displays production cues and timing markers scripted into a story.
Using the Directory Panel You can also use the NRCS tool settings dialog box to change the form fields that display in the Directory Panel. See “Configuring the NRCS Settings” on page 1065. To open a story: 1. Navigate through the directories to the file you want to open. The panel organizes directories in a tree hierarchy, with stories as the base item in the tree. n (ENPS only) A small green light flashes on the Disconnect button as the tool receives stories from the server.
Using the Directory Panel Using Shortcuts with Directories (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 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 lets you change the font and point size of the text. You save the font and point size with the current NRCS settings, but the changes apply only to the local client. Settings on the iNEWS or the ENPS server do not change.
Editing Story Text (iNEWS Only) Rearranging Text in a Story (iNEWS Only) The shortcut menu provides commands for cutting, copying, pasting, and deleting text. To rearrange the text in a story: 1. Select the text you want to cut, copy, or delete. 2. Right-click the text, and select the appropriate command. 3. Position the cursor in the story where you want to paste the text. 4. Right-click, and select Paste.
Editing Story Text (iNEWS Only) To mark text as Closed Caption: 1. Select the text you want to mark. 2. Do one of the following: t Click the Closed Caption button. t Right-click the text, and select Closed Caption. The text changes to green, indicating closed captions. 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.
Editing Story Text (iNEWS Only) To mark text as Normal: 1. Select the text from which you want to remove the formatting. 2. Do one of the following: t Click the Normal button. t Right-click the text, and select Normal. The text changes to black, indicating that the text contains no formatting. Adding a Production Cue (iNEWS Only) Production cues are playback instructions for devices such as video machines, still stores, and character generators.
Editing Story Text (iNEWS Only) To insert a production cue into your scripted story: 1. In the Story panel, move the pointer next to or within the text where you want to place the production cue. 2. Right-click, and select Insert Production Cue. A blue asterisk marker appears within the Story panel, and a blank box opens in the Production panel. 3. Type the cue information in the text box. To delete a production cue: 1. Select the Production Cue marker in the Story panel. 2.
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. Example of a loaded cue.
Finding the Read Time of a Story To use a loaded cue: t Click the Production Cue text box and drag it to a bin or to the Source/Record monitor. The clip or sequence appears in the bin or in the Source/Record monitor. You can then use and edit it like any other clip or sequence. If the NRCS tool cannot find the clip or sequence, you receive an error message and the clip or sequence will not be loaded.
Sequences and Stories The read time appears in the upper right corner of the NRCS tool. n If you have ToolTips enabled, the current wpm rate appears in the label for the Read Time display. For more information on ToolTips, see “” on page 1358. Example of a read time calculation for selected text in the Story panel. The read time appears in the Read Time display (right) and is calculated based on the presenter identified in the Presenter text box (left).
Sequences and Stories Consider the following when you place clips in the new sequence: • The NRCS tool processes loaded cues in the order they appear in the story text. The tool edits only those that appear before the end of the text (and before the end of the sequence) into the sequence. • The NRCS tool uses the read time of the text up to the anchor point for the loaded cue to determine the placement of the Timeline position bar for each edit. The clip’s IN to OUT points determine the edit length.
Sequences and Stories (ENPS) The new sequence is built from the first media item in the story. The length of the media item becomes the sequence’s duration, and the tape ID is also assigned. You can create a sequence from any MOS media item in the story by dragging the item’s production cue to a bin (known as loaded cues in iNEWS). 3. (Option) If you Shift+click the Build Sequence button, a new bin will be created to hold the new sequence (named after the sequence).
Sequences and Stories NewsCutter bases the length of the created sequence on an assigned duration, associated with the story. NewsCutter bases the position of the IN and OUT points on an approximate calculation, depending on the word count and the assumed read time. The assigned sequence length and the computed story length might not be the same. You can create a sequence longer or shorter than the actual read time of the story.
Associating a Sequence with a Story n You can use the Timecode pop-up menu to compare the IN and OUT points. For more information on using the Timecode display, see “Using the Timecode Window” on page 463. Associating a Sequence with a Story In addition to using the NRCS tool to create a new sequence, you can associate an existing sequence with an iNEWS or an ENPS story. This lets you create a video sequence in NewsCutter, and then later associate it with a story in the iNEWS or ENPS database.
Adjusting the Story Timing (iNEWS Only) Adjusting the Story Timing (iNEWS Only) You might want to adjust the story timing in cases where you use the Mark IN/OUT button to set In and Out points in the Timeline based on the story text timing. For example, if your story has introductory text that you do not want included in the sequence, you can set In and Out points in the sequence so that the extra text offsets the computed times. You must be in Edit mode to insert timing cues in a story.
Adjusting the Story Timing (iNEWS Only) For example, if part of the story has a video clip but no corresponding text, this creates an offset of the timing of any following text. You can fix this by adding a Time Pad cue at the point where the video clip occurs (using the clip duration as the value). You must be in Edit mode to insert timing cues in a story. For information on entering edit mode, see “Editing Story Text (iNEWS Only)” on page 1077.
Using Associated Sequences Using Associated Sequences The NRCS tool lets you locate sequences associated with NRCS stories or, conversely, to locate stories from their associated sequences. This makes it easier to find stories on your iNEWS or ENPS server (for example, when the tape ID is unknown) or to load sequences for NRCS scripts directly into the Timeline. n (iNEWS) Only sequences created with the NRCS tool and which have valid identifiers in the NrcsID bin column can be associated with a story.
Using the Post to Web Feature Using the Post to Web Feature You can use the NRCS tool to generate a hypertext version of your iNEWS or ENPS story for viewing on the World Wide Web. The Post to Web feature helps you to create Internet content directly from a single script rather than requiring the production of dual content, one for broadcast and one for the Web.
Using the Post to Web Feature 4. (Option) Click the Lowercase button to convert the story if Post to Web does not automatically reformat the script (for example, if you did not select the Always option in the Post To Web tab in the NRCS Settings dialog box). The Lowercase button appears only if Post to Web did not convert the story to lowercase characters. To create a Web page without a preloaded story: 1. Click the Post To Web button. 2.
Using the Post to Web Feature 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 menu, and select a clip. The selected text is highlighted in blue and becomes a link to the clip. Example of linking a clip to text, showing selected text (top) and the Linked Clip menu (bottom) t n Select the text in the Story text box that you want to associate with a clip, right-click in the story text, and select Link > clip.
Using the Post to Web Feature The selected text is highlighted in blue and becomes a link to the clip. The Link submenu in the Post to Web dialog box t Click a clip and drag it from an open bin to the Story text box. Post to Web creates a link wherever you place the selection cursor. If you selected text in the Story text box before dragging in the clip, the tool highlights the selected text and creates a link. If you did not select any text, the tool inserts the name of the clip and creates a link.
Using the Post to Web Feature Templates provide a way to organize features common to all Web stories. For example, a template can place headlines in the same place relative to the text of a story, using the same font and style as similar stories on a Web page. Post to Web arranges these features into fields where you can enter necessary information before producing the finished content for your Web site. n The template descriptions in this section refer to HTML coding only as an example.
Using the Post to Web Feature n If you do not include any format elements, $TEXT$ is assumed—for example, . Using the Text Tag in Post to Web Templates You use the Text tag to position headlines, headings, subheadings, captions, or other text elements on your Web page. The Text tag takes the following form: < ! - - TEXT “Label” format elements $TEXT$ - - > Labels appear in the Field column of the Template tab in the Post To Web dialog box.
Using the Post to Web Feature The HTML code showing the Post to Web output: Wetlands Controversy Using the Clip Tag in Post to Web Templates You use the Clip tag to create links to media files stored on a server. When you link a video clip to your story (see “Linking Clips for Post to Web” on page 1093), Post to Web automatically creates a Uniform Resource Locator (URL) for the clip. The Clip tag inserts the URL into the Web page. You can also include text, such as captions, to accompany the media.
Using the Post to Web Feature Clip tag in a template ($URL$ is the placeholder for a URL reference to a clip and $TEXT$ is the placeholder for text): The Label (left), the clip name (center) that is the basis for the URL, and the user-supplied text (right) that replaces the $TEXT$ placeholder The HTML code showing the Post to Web output:
Using the Post to Web Feature In this tag, n is an integer (1 to 9) which identifies the video format that displays in the left column of the Export Settings field in the Post tab. This number is used by a placeholder ($URLn$) inside the Clip tag to associate a video format with a specific clip. “Label” is a field name specified in the template, and it appears in the left column of the Export Settings field in the Post tab. The Videoformat tag applies to the whole template.
Using the Post to Web Feature Using the Hyperclip Tag in Post to Web Templates You use the Hyperclip tag to include information and formatting for any linked clips in your story. When you link a video clip to your story (see “Linking Clips for Post to Web” on page 1093), Post to Web lets you add HTML formatting (for example, table tags), JavaScript code, text, or other elements.
Using the Post to Web Feature 4. Do one of the following: t Click the Template menu, and select a template. The menu lists the most recently used templates. t Click the Browse button, and select a template from the appropriate folder. t Use Windows Explorer to locate a template file, then click the template file and drag it to the Template text box. 5. Click the Text Fields tab. 6.
Using the Post to Web Feature You can also export clips through Avid editing systems with the Direct Export option. In this case, you set export options through the Export Settings dialog box. For more information on export settings, see “Exporting With the Export Command or the Drag-and-Drop Method” on page 973 and “Customizing Export Settings” on page 976. To post a story to the Web: 1. Load a story into the Story panel. 2. Click the Post To Web button. The Post To Web dialog box opens. 3.
Sending and Receiving NRCS Mail (iNEWS Only) For ProEncode formats, the Options button applies only to the QuickTime reference movie sent to ProEncode. To edit the video format settings for ProEncode output, see the Avid Interplay Media Services Setup and User’s Guide. 6. In the Image area, click the Format menu, and select a graphics format for the images associated with the video clips. 7.
Sending and Receiving NRCS Mail (iNEWS Only) Sending NRCS Tool Mail (iNEWS only) To send mail from within the NRCS tool: 1. Click the Send Mail button. The Send NRCS Mail dialog box opens. 2. Type an address in the To text box. 3. (Option) Type an address in the CC text box. 4. (Option) Type a subject in the Subject text box. 5. Type your message in the message area. 6. Do one of the following: t Click OK to send the message. t Click Cancel to close the dialog box without sending the message.
Disconnecting from Your NRCS Server 4. Select the Mail directory. 5. Select the mail message from the list (if there is more than one message). The mail message appears in the Story panel of 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.
25 Working with Avid Interplay from an Avid Editing System Avid Interplay is an asset management system that provides a central database of assets (such as master clips, subclips, sequences, and graphics) that you use during your production process. If you are working on an Avid editing system, you can think of these assets as remote assets.
Dos and Don’ts for Editors Working with Avid Interplay Why Do I Need to Do Things Differently? When Interplay is part of your workgroup environment, you need to work in a slightly different way. When you are editing with an Avid editing application (such as Media Composer, NewsCutter or Symphony) within an Interplay environment, it is important to work with the asset management tools provided by Interplay.
Dos and Don’ts for Editors Working with Avid Interplay DOs n • Log in to Interplay when prompted, with your individual username and password. This will ensure that you have the correct access rights to the Interplay folders that you need. • Create a new project for your work, or use one that you are confident is not being used by any other users at the same time. • Create a new bin, or use one that you are confident is not being used by any other users at the same time.
Checklist for Editors Working with Interplay DON’Ts • Don’t locate media using the File > Open Bin menu. • Don’t share bins: that is, don’t work inside a bin that is already being used by another editor • Don’t purposely avoid checking in an unfinished sequence thinking that another editor will finish it and check it in when done.
Checklist for Editors Working with Interplay Step Refer to Learn about working with your bins in Interplay. “Working with Interplay and Remote Assets” on page 1112. During Editing: Create a new bin, or use one that you are confident is not being used by any other users at the same time. Learn some basic rules about what you should and should not “Dos and Don’ts for do in an Interplay environment. Editors Working with Avid Interplay” on page 1107.
Working with Interplay and Remote Assets Step Refer to After Editing: Name the final sequence according to the naming conventions BEFORE you check it in. Check the Unchecked-in Avid Assets/your username folder for any unchecked-in assets. Delete any assets (media, effects, and so on) that you no longer require. Support for HD RGB Media Avid Interplay supports two HD RGB resolutions: • 1:1 10-bit HD RGB. This resolution is supported for check in, check out, and deletion.
Working with Interplay and Remote Assets The following illustration shows the Project window alongside an opened bin from an Avid editing project, and the corresponding folder in the Interplay Window. Top: the Project window and opened bin from an Avid editing application. Bottom: the corresponding folder in the Interplay Window. The project folder and its subfolders also contain project settings that primarily govern media acquisition — for example, frame rates, formats, and target workspaces.
Administrator Settings for Avid Editing Clients You can work directly with assets in the Interplay Window, or you can copy (check out) assets to a bin in an Avid editing project. The bin then contains local copies of the remote assets. You can modify the local copy of an asset, but the changes remain local until you save the changes (check in) to the database.
Using the Interplay Window - Can modify markers: If yes, allows the selected user or group to modify or delete markers. If no, a user of an Avid editing application can still modify markers on an asset, but can check in only the asset, not the marker metadata (an error message is displayed). In most cases, if an administrator wants a user to create markers, select “yes” for both “Can create markers” and “Can modify markers.” Both settings are needed because adding text is one aspect of modifying a marker.
Connecting to the Avid Interplay Database For more information about using and customizing the Interplay Window, see “Editing with Avid Assets in the Interplay Window” on page 1141 and “Managing Remote Assets with the Interplay Window” on page 1146. Connecting to the Avid Interplay Database Before you can connect to the Avid Interplay database and access remote assets, you need to configure the Interplay settings in your Avid editing application.
Connecting to the Avid Interplay Database 4. In the Interplay Server Name text box, type the computer name or IP address of your Interplay server, and then click OK. It is important to type the correct computer name or IP address. This is the location where the editing system looks to access the database and to check in and check out Avid assets. 5. In the Settings list, double-click Interplay User. 6. In the User Name text box, type a user name. This name must be a known user on your workgroup system. 7.
Connecting to the Avid Interplay Database 10. In the Project Settings, double-click Interplay Folder. The Interplay Folder Settings dialog box opens. 11. Click the Set button, and a directory tree is displayed for the Interplay database that you logged in to. 12. Select a folder to use as the default Interplay Root Folder for your project and click OK.
Connecting to the Avid Interplay Database Logging in to Interplay and Opening the Interplay Window If you configured the Interplay User settings to log in to the database when you select your project, the Interplay Login dialog box opens when you start your Avid editing application. If you did not select this option, then you must open the Interplay User settings before logging in to the database. After you log in, you have the option of opening the Interplay Window.
Connecting to the Avid Interplay Database n You can override the Host Name and User Name settings in the Interplay Login dialog box. 3. If an Interplay Folder path is not set, the Interplay Folder Settings dialog box is displayed. Set the path and other options and click OK. See “Configuring Interplay Settings on the Editing Workstation” on page 1116. (Option) You can set an option to display a message box that asks you to confirm the Interplay Folder path, if it is already set.
Connecting to the Avid Interplay Database 4. Select options to verify the directory path. - On login: If this setting is selected, a message box asks you to confirm the directory path after you log in to Interplay. Select “for new projects only” if you want this message box displayed only after you create a new project. When the message is displayed after login, click OK to accept the directory path, or click Change Setting to open the Interplay Folder Settings dialog box.
Creating Avid Editing Projects in an Interplay Environment Creating Avid Editing Projects in an Interplay Environment One of the biggest decisions you will make regarding your workflow is the location of the projects and bins created by the editing applications.
Creating Avid Editing Projects in an Interplay Environment Private A Private Project is stored locally. It can be accessed only by the user currently logged on to the editing machine. On a Windows system, a Private Project is always stored under the user’s Documents directory. An administrator may be able to access this project if they have read/write permission to the user’s directory.
Creating Avid Editing Projects in an Interplay Environment Shared A Shared Project is stored locally. It can be accessed by any user that can log on the editing machine. On a Windows system, a Shared Project is always stored in the machine’s Shared Documents directory.
Creating Avid Editing Projects in an Interplay Environment External An External Project can be saved to any directory, either local or remote. Depending on the file-system permissions set on the selected folder, other users or an administrator may or may not be able to access the project. The external option is particularly useful when you want to save the project on shared network drive to make project maintenance easier. n Avid does not support sharing bins in an Interplay environment.
Creating Avid Editing Projects in an Interplay Environment Interplay Settings in the Editing Application The Interplay Folder setting defines where the Avid editing application checks files into the Interplay database. After you open a project you can specify several Interplay settings, including the Interplay Folder. To access the settings, open the Settings scroll list in the in the Project window. The following table lists the Interplay-related settings.
Creating Avid Editing Projects in an Interplay Environment Defining the Interplay Folder Setting The Interplay Folder setting defines where assets will be checked into the Interplay database. You need to define the location for each project. The examples in this chapter assume that you are using the Projects folder in the Interplay database. The following illustration shows the setting defined for the Projects folder. Use the Set button to define the location. The Project folder selected.
Creating Avid Editing Projects in an Interplay Environment For a Day-of-the-Week workflow, use the Projects\ setting in the Interplay Folder Setting window. Then, when multiple editors work in the 01Moday project, there will be one 01Monday folder populated by the bins from each system. This keeps the organization easier to maintain.
Connecting to Avid Shared Storage and Mounting Workspaces Connecting to Avid Shared Storage and Mounting Workspaces If you need to manually connect to your Avid shared-storage system and mount workspaces, use one of the procedures in this section. For complete information, see your Avid shared-storage documentation.
Connecting to Avid Shared Storage and Mounting Workspaces 4. If you are not logged in with a valid MediaNetwork user name and password, you are prompted to supply them before the Avid Unity Connection Manager dialog box opens. In the Login dialog box (Windows) or the Network Logon dialog box (Macintosh), type a valid MediaNetwork user name, password, and Domain name (if necessary), and click OK.
Connecting to Avid Shared Storage and Mounting Workspaces To connect to the Avid ISIS network: 1. Do one of the following: t (Windows) If the Client Manager icon is not available in the Windows taskbar, select Start > All Programs > Avid > ISIS Client > ISIS Client Manager. t (Windows) Click the Client Manager icon in the Windows taskbar. t (Windows) Right-click the Client Manager icon and select ISIS Client Manager. The ISIS Client Manager opens. The Avid ISIS Client Manager.
Connecting to Avid Shared Storage and Mounting Workspaces 4. Click the Connect button. When the connection is successful: - Workspaces you have been given access to are listed in the workspace list. - The Connect button changes to Disconnect when the connection is complete. - The Change Password and Launch Management Console buttons become active. 5.
Editing with Remote Assets t Select a range of contiguous workspaces by clicking on the first workspace row in the range, then Shift+clicking on the last. t Select all workspaces by right-clicking in the Workspaces list and selecting “Select all”. t Select all workspaces by pressing Ctrl+A. 3. Right-click, and select Mount. The Client Manager mounts the selected workspaces on your client and the Online icons for the mounted workspaces change to green.
Editing with Remote Assets To check Avid assets out of the Interplay database using the Interplay Window: 1. Start your Avid editing application, and either create a new project or open a bin in an existing project. 2. Log in to the Interplay database. For more information, see “Connecting to the Avid Interplay Database” on page 1116. 3. Select Tools > Interplay Window. 4.
Editing with Remote Assets If you check out an asset and modify it (for example, you edit a sequence), and check out the asset again without checking in the modified version, the following warning is displayed: This message could also appear if another user has checked in a modified version of the asset after you checked it out. Click “Update anyway” to overwrite the local version with the version on the database, or click “Keep local modifications” to preserve the local version.
Editing with Remote Assets If you attempt to check out a sequence that already exists in a different open bin, a message informs you that a duplicate sequence will be created and renamed (with the extension Copy.n). You can respond to the message in one of the following ways: n • Click OK to check out the sequence and create a duplicate. • Click Cancel to end the operation without checkout.
Editing with Remote Assets Checking Avid Assets In to the Interplay Database The process of adding Avid assets to the Interplay database or updating Avid assets already in the database is called checking in.
Editing with Remote Assets Method Description Force a check-in of selected items If you want to make sure items are checked into the database (including items that have not been modified and items that do not exist in the database), select the items, right-click, and select Check In To Interplay. Select assets and This command also forces a checkin of all selected items.
Editing with Remote Assets 4. (Option) You can set an option to display a message box that asks you to verify the folder into which the assets will be checked in. t Click OK to accept the directory path and complete the checkin. t Change Setting to cancel the checkin and open the Interplay Folder Settings dialog box. t Click Cancel to cancel the checkin. The message box is shown the first time you check in from a project. See “Verifying the Interplay Checkin Folder” on page 1120.
Editing with Remote Assets 4. (Option) Right-click the Projects folder in the Interplay Window, select Create a New Folder, and then type a name for the folder. 5. Select one or more items in the bin and drop them in a folder in the Interplay Window. Automatically Checking In Avid Assets You can automatically check in media assets by setting the appropriate option in the Avid Interplay Administrator.
Editing with Remote Assets n If an Interplay folder contains assets that are not contained in its corresponding bin, the Update Bin from Interplay command does not add these assets to the bin. To update remote assets: 1. Open the bin that contains the local copies of your remote assets. 2. To update all items in a bin, select the bin and do one of the following: t Select Bin > Update Bin from Interplay. t Click the Bin fast menu, and select Update Bin from Interplay. 3.
Editing with Remote Assets 4. Navigate to the project containing the master clips and sequences you want to use, and click the project folder. The Interplay Window displays the Avid assets in the Interplay folder. 5. Select the clip or sequence you want to view 6. Do one of the following: t Drag the clip or sequence from the Interplay Window into the Source monitor. t Double-click the clip or sequence in the Interplay Window. The Source monitor displays the remote asset.
Editing with Remote Assets For more information on how the Frame Chase capture process works, see “Frame Chase Capture” on page 208. Editing with In-Progress Clips The following procedure outlines the basic steps for editing using an in-progress clip when you use the Interplay Window to access the Interplay database. To edit using an in-progress clip: 1. Open your Avid editing application, open a project, and open the Interplay Window. 2.
Editing with Remote Assets 7. When the clip is completely captured, select Bin > Update Bin from Interplay. This command ensures that the latest version of the clip is used in your sequence and removes restrictions related to in-progress clips. 8. Save the sequence. Limitations When Working With In-Progress Clips During the Frame Chase capture process the final length of the clip is unknown until the capture is complete and the clip information is updated.
Editing with Remote Assets Function Description Consolidate, You cannot consolidate, transcode, or perform audio conversion with an in-progress clip. All Transcode, and the media must be available and the length of the clip known before you can perform these Audio Conversion functions. However, you can consolidate and transcode subclips and sequences that reference or contain in-progress clips.
Managing Remote Assets with the Interplay Window Managing Remote Assets with the Interplay Window You access remote assets through the Interplay Window. This lets you see all of the Avid assets available to your project, manage your assets, and access the Avid assets stored in Interplay folders so you can edit the clips in your sequence.
Managing Remote Assets with the Interplay Window Assets can carry two different kinds of markers: • Reservations: Reservations protect assets from deletion and moving. Assets protected by a reservation are marked by a Reservation icon in Avid Interplay Access. For more information on reservations, see “Understanding Reservations” on page 1147. • Restriction markers: Restrictions indicate limitation warnings on the use of media assets. Assets that include a restriction are marked by a Restriction icon.
Managing Remote Assets with the Interplay Window For more detailed information on reservations, see the Avid Interplay Access User’s Guide. Understanding Restrictions Restrictions are placed on Avid assets by adding the restrictions to markers in Avid Interplay Assist. A restriction can represent material that should not be used.
Managing Remote Assets with the Interplay Window Each individual link to an asset has its own access control. This means that it is possible to have read/write/delete access to an asset in folder A, but only read access to another instance of the asset in folder B. For example, if a master clip is visible in two folders, one with a reservation and one without, when you delete the master clip in the non-reserved folder, the master clip in the reserved folder (and the related media) is not deleted.
Managing Remote Assets with the Interplay Window To move clips or sequences from one folder to another: 1. In the Research panel, select the clip or sequence that you want to move. 2. Drag the clip or sequence to the destination folder in the Media Directory panel, and release the mouse button. To copy clips from one folder to another: 1. In the Research panel, select the clip or sequence that you want to copy. 2.
Managing Remote Assets with the Interplay Window Creating Folders and Shortcuts in the Interplay Window If you have the appropriate rights, you can create folders in the Avid Interplay database to help organize your projects. You can also save time accessing remote assets you use often by creating shortcuts to Interplay folders and catalogs in the Media Directory panel. To create a new folder in the Interplay Window: 1.
Managing Remote Assets with the Interplay Window Modifying the Appearance of the Interplay Window You can modify the appearance of the Interplay Window to hide the Media Directory panel or to split the tool horizontally (so the Media Directory panel and the Research panel display on the left and right sides of the tool) or vertically (so they display at the top and bottom of the tool). You can also specify which media objects you want to display in the Interplay Window.
Managing Remote Assets with the Interplay Window Understanding Column Display in the Interplay Window You can modify the display of columns in the Interplay Window in a variety of ways. You can: • Sort the information in all of the columns in the media tabs in the Research panel except the Frame column The Type column sorts alphabetically based on the type of media object (audio clip, master clip, sequence, subclip).
Managing Remote Assets with the Interplay Window To move a column in the Interplay Window: t Click the heading of the column in the Research panel that you want to move, then drag the column to the position you want and release the mouse button. The column appears in the new position, and the other columns shift to make room. To hide a column: t Right-click the column heading and select Hide this Column. When you hide columns, they are listed on the menu below the Hide this Column option.
Managing Remote Assets with the Interplay Window 2. Select the columns you want to display. For MultiRez clips, you can select a column for each resolution (1:1, DV 25, and so on). See “Single Clip, Multiple Resolutions” on page 1196. 3. Click OK. The new columns appear to the right of the existing columns in the Research panel. To create a new column: 1. Right-click a column heading and select New Column. 2. Type a name for the new column.
Managing Remote Assets with the Interplay Window To select a value for a custom property in the Research panel: 1. Make sure your Administrator has set up the custom property and imported the list of values. 2. Right-click a column heading and select Select Working Set of Columns. The Select Working Set of Columns dialog box opens. The dialog box displays three sections of properties as defined in the Interplay Administrator, separated by dotted lines: System, Custom, and Resolutions. 3.
Managing Remote Assets with the Interplay Window 4. Locate the custom column in the Research panel and click it in the cell for the asset you want to label. The list of values for the property appears. 5. Select a value. The value appears in the cell. 6. Select values for additional assets.
Managing Remote Assets with the Interplay Window Selecting Asset Types To select asset types and reference clips to display: 1. Right-click the Type column heading in the Research panel and select Set Type Filter. n You need to right-click the column heading. If you right-click elsewhere in the column, the option does not appear in the context menu. The Set Type Filter dialog box opens. 2. Select the asset types you want to display. 3.
Managing Remote Assets with the Interplay Window Renaming Clips in the Interplay Window You can rename a clip in a folder directly by modifying the information displayed in the Research panel. n This action also renames copies of these clips. It does not rename duplicated clips. To change the name of a clip: 1. Click the cell in the Name column that you want to modify. The clip row is highlighted. 2. Click the cell again to enter text. The pointer changes to an I-beam. 3.
Managing Remote Assets with the Interplay Window To refresh just the front tab in the Research panel: t Click the Refresh button. The Refresh button on a tab in the Research panel To update a search result tab: t Execute the search again. Navigating to a Folder that Contains a Selected Asset You can use a command to navigate (go to) to a folder that contains a selected asset. To navigate to a folder that contains a selected asset: 1.
Managing Remote Assets with the Interplay Window Updating Writable Properties in the Property Merge Dialog Box If you have Write privileges in your Interplay environment, you can change several of the properties associated with assets, for example, Comments or Name. These are called writable properties. If you try to change a writable property that another user modified after you accessed the asset, the Property Merge dialog box opens.
Managing Remote Assets with the Interplay Window To update the server with your change: 1. Select the version of the property you want to see in the Merged Value text box: - Original - the state of the asset before you accessed it - Your change - this version is selected by default - Current (on server) You can select any combination of the versions. The versions appear in the Merged Value text box in the order in which you select them. 2.
Managing Remote Assets with the Interplay Window 3. Click the Layout menu, and select Save Layout As. The initial layout name is “Default.” Once you save a layout, the Layout menu displays the saved layout name. If you want to save changes to an existing layout, click Save Layout. Location of the Layout menu in the Interplay Window The Enter Column Layout Name dialog box opens. 4. Type a name for the custom view, and click OK. The layout is saved and added to the list of layouts in the Layout menu.
Managing Remote Assets with the Interplay Window Opening Multiple Tabs in the Interplay Window When you open a new Interplay folder, its contents replace the current contents displayed in the Interplay Window. If you want to keep the contents of more than one folder open at a time, you can save the Research panel display as a tab in the Interplay Window and then open the contents of the new folder as a separate tab. This way, you can keep multiple folders open at once.
Managing Remote Assets with the Interplay Window To change the font from the Research Panel context menu: 1. Right-click and select Set Research Panel font. The Select Research Panel Font dialog box opens. n On Windows XP, the dialog box lets you select and preview options other than Font and Size, but those options do not affect the font in your Avid editing application. You can change only Font and Size. 2. Select a font and a size, and then click OK. The font in the panel changes.
Finding Remote Assets To change the font from the Directory panel context menu: 1. Right-click in the Directory panel and select Set Directory Panel font. The Select Directory Panel Font dialog box opens. 2. Select a font and a size, and then click OK. The font in the panel changes. Finding Remote Assets You find Avid assets stored in the Interplay database by searching Interplay folders. The most common method of finding remote assets is to perform a search based on attributes.
Finding Remote Assets To perform a search: 1. Click the Media Search tab. To open an additional search tab, do one of the following: - Press Ctrl+F (Windows) or Command+F (Macintosh). - Right-click an Interplay folder and select Search. The folder you select is displayed in the Search In field. 2. In the Text field, type a search term. You can specify words or characters for your search. Search terms are not case-sensitive and apply to all searchable text attributes of the Avid assets in your search.
Finding Remote Assets 8. Click Search. The Interplay Window performs the specified search and returns all matching records in the Research panel. The name of the search tab changes to the text that you searched for. 9. (Option) To start a new search, click Reset or open a new search tab. Then repeat steps 2 through 8. If necessary, click the show/hide arrow in the upper left of the tab to show the Reset button and the search fields.
Capturing Media to Interplay Folders Attribute Options Description Category Examples: Weather Sports Local News Lets you specify which category to search. The specific categories listed for this attribute are defined by the system administrator.
Capturing Media to Interplay Folders 3. Select Tools > Capture. The Interplay Folders selection button (top) and the Bin menu (bottom) in the Capture tool 4. Set up the Capture tool as described in “Capturing Media” on page 194. 5. Click the Interplay Folders selection button. 6. Click the Bin menu, and select an open Interplay folder. 7. Start capturing as usual.
Performing a Send-to-Playback as a Background Process from an Avid Editing Application Performing a Send-to-Playback as a Background Process from an Avid Editing Application Depending on your workgroup configuration, the send to playback operation of Long GOP OP1a media can run in the background, allowing the Avid editing system to perform other tasks. The workgroup must have an Avid Interplay STP Encode service installed.
26 Using Interplay Transfer to Export Media Avid Interplay Transfer lets you transfer Avid assets to and from another workgroup, send finished sequences to a configured playback device, and capture media from a configured ingest device. You can also use Interplay Transfer in a standalone environment (an environment other than Avid shared storage) to move Avid assets between workstations. When you use Interplay Transfer in a workgroup environment, you can use several types of transfers.
Setting Transfer Settings in the Avid Editing Application For more information on Interplay Transfer, see the Avid Interplay Transfer Setup and User’s Guide. To install the Interplay Transfer client software on an Avid editing system: 1. Insert the Avid Interplay Installer DVD and double-click autorun.exe. 2. Click Clients on the Main Menu page. The Client Support page opens. 3. Click Avid Editor Support. The Install Avid Editor Support page opens. 4. Click Avid Interplay Transfer Client. 5.
Setting Transfer Settings in the Avid Editing Application 3. Click the Settings tab. 4. In the Standalone/Incoming Requests area, do one of the following: t Select “Refuse All Requests,” if you do not want to receive files from another workgroup. t Select “User Dialog To Accept/Refuse,” and one of the following methods for accepting transfers: - Wait for User Action (No Timeout) — You receive a message request for a transfer. You must click OK for the transfer to occur.
Setting Transfer Settings in the Avid Editing Application - In the Timeout (seconds) text box, type the amount of time you want to set for the timeout. 5. In the Status Window area, do the following: a. In the text box, type the number of seconds you want the status window to update. b. (Option) Select “Bring up window if error occurs” if you want errors to display. 6.
Setting Transfer Settings in the Avid Editing Application 9. Click the TMClient.ini tab. 10. In the Other Workgroups area, click Add. The Add Workgroup To List dialog box opens. If you want to edit the names of any of the Interplay Transfer servers or workstations listed in the Other Workgroups area, select the name, click Edit, and make the changes. 11.
Setting Transfer Settings in the Avid Editing Application Send to Playback with Multichannel Audio Tracks This section describes a best practice for sending a sequence containing multichannel audio tracks to playback when using Direct Out mode. For information on sending multichannel audio to playback using Multiple Mixes, see “Mapping Audio Tracks to Output Channels” on page 1177. When using Direct Out mode, keep the multichannel audio tracks at the bottom of your audio tracks.
Setting Transfer Settings in the Avid Editing Application 3. Click the Settings tab.
Setting Transfer Settings in the Avid Editing Application 4. In the Output Audio Mix area, select Multiple Mixes, and then click Edit. The Multiple Mix Editor dialog box opens. 5. Click the Format buttons to cycle through the available options until you find the appropriate format: Option Description Mono tracks Maps audio tracks to mono channels, with any assigned stereo tracks mixed down to a mono channel.
Setting Transfer Settings in the Avid Editing Application 7. (Option) In the Label text box, type a label to identify the type of output for your mixdown. You can use the labels to describe the kind of mixdown for your output, but the Avid editing application does not send this information to the playback device. 8. Repeat steps 5 through 8 to map additional audio tracks to output channels. 9. When you finish assigning tracks to output channels, click OK to save your mixdown sequence.
Transferring Avid Assets from an Avid Editing Application n The custom name column is the center column in the Project window. When you move the pointer over the custom name column, the pointer changes from a pointing finger to a text insertion bar. You can select this new setting whenever you send a sequence to playback using Interplay Transfer.
Transferring Avid Assets to a Playback Device Transferring Avid Assets to a Playback Device In a broadcast environment, you can transfer a finished sequence to a configured playback device. For information about configuring the playback device for transfers, see the Avid Interplay Transfer Setup and User’s Guide. To send a finished sequence to a playback device: 1. (Option) If you want to use a Transfer setting template, select the custom Transfer setting in the Settings tab in the Project window.
Transferring Avid Assets to a Playback Device 5. Click OK. The sequence is sent to the Interplay Transfer server, which then sends it to the selected playback device. You can now work on another project while the transfer is taking place. For information on monitoring the transfer of assets, see “Monitoring Transfers from Within the Avid Editing Application” on page 1185.
Transferring Avid Assets to a Playback Device 8. On your Avid editing system, open the bin that contains the sequences you want to send. 9. Select the sequences. 10. Select Transfer > Send To Playback and select the available playback device to which you want to send the sequence. The Send to Playback dialog box opens. 11. Click OK. The sequences play back based upon the order in which they appear in the NRCS rundown list.
Monitoring Transfers from Within the Avid Editing Application resolutions not matching the target resolution settings in the Dynamic Relink dialog box are transcoded to the target resolution. The application creates a new master clip (with the extension .new) and associates the new clip with the new transcoded media.
Monitoring Transfers from Within the Avid Editing Application 2. Right-click the status of a particular transfer to display the status options. See “Transfer Status Window Options” on page 1186. A plus sign in the PWT column indicates the clip or sequence has been set to a high priority. Transfer Status Window Options The following table lists the status options available when you right-click a transfer displayed in the Transfer Status window during a transfer.
Monitoring Transfers from Within the Avid Editing Application Sort lists the information in alphabetical order. Clearing the Transfer Status Window When you are using the Transfer Status window from within the Avid editing application to view the status of any transfers, you should periodically clean up the Transfer Status window. The Transfer Status window is cleared of any leftover status messages when you exit the Avid editing application and then restart it.
27 Using MultiRez and Dynamic Relink This chapter provides information about using MultiRez and dynamic relinking. MultiRez is available only on Avid editing systems that have the Avid Interplay Media Indexer installed.
Understanding MultiRez and Proxy Editing Proxy editing is a workflow where you edit with a low-resolution version of media and then conform the edits into a composition that refers to an equivalent high-resolution version of the same content. This workflow is similar to the offline/online model that is common in a post-production workflow.
Acquiring Media at Multiple Resolutions Acquiring Media at Multiple Resolutions In an Avid Interplay environment, you can create and store multiple resolutions of the same media. These can be acquired in several ways. You can configure a workgroup to ingest both high and low-res media simultaneously. You can also first create master clips with high-res media, and if your hardware permits it, you can re-capture these clips as low-res proxies.
Acquiring Media at Multiple Resolutions n You can only create one new resolution at a time using batch capture. To capture multiple resolutions at the same time (ie: high-res and a proxy simultaneously), use the Interplay Low-Res Encoder. See the Interplay documentation for more information. To batch capture a different resolution: 1. Prepare your system for batch capturing, as described in the Help for your Avid editing application.
Acquiring Media at Multiple Resolutions Batch capture does not create any new master clips. As new media files are created, the Media Indexer adds them to its database, and the original master clip is associated with additional media files. Media files in multiple resolutions are indicated by black dots in the appropriate bin columns. The following illustration shows a clip originally captured at 15:1s and batch captured at 1:1 (uncompressed).
Acquiring Media at Multiple Resolutions 4. Click All Clips to import new resolutions for media that is already online, in addition to offline media. The message box closes and the Batch Import dialog box opens. 5. In the Import Target area, select the desired resolution and storage location. 6. In the Import Options area, select “Keep existing local media” and any other options. 7. Click Import. Your Avid editing application imports the files and creates media in the resolution you specified.
Acquiring Media at Multiple Resolutions Transcoding Media to Low-Res Proxies Transcoding allows you to convert media to any Avid supported format. Use the transcode operation only if your hardware does not support batch capturing in a desired proxy format. Transcoding is only useful for creating lower resolution versions of high-res media; it is not recommended that you transcode from low-res to high-res.
Understanding How Clips are Associated with Multiple Resolutions Understanding How Clips are Associated with Multiple Resolutions In a MultiRez environment, relinking is source based. That is, your Avid editing application relinks a clip to its media according to the source of the clip rather than the name of the clip. Whenever you create a new tape or import a file, your Avid editing application creates a unique source ID that is used by your Avid editing application and is not visible to users.
Options for Clip and Media Association n Avid CaptureManager also uses a source ID to associate a master clip with any media created at the same time, such as a clip captured with two resolutions in a dual-ingest configuration. However, instead of associating all clips from the same tape with the same source ID, CaptureManager creates a new source ID every time it captures a new clip.
Options for Clip and Media Association In a bin, black circles in the 15:1s column and the 1:1 column show this association, as in the following illustration. This information also appears in the Interplay Window. For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on page 1223. n You can batch capture the clip in additional resolutions; there is no limitation to the number of media files associated with a clip.
Options for Clip and Media Association If your Avid editing application creates a new master clip (with the extension .new), it associates the new clip with the new transcoded media. In this case, your Avid editing application copies the source ID to the new clip and new media. When the Avid Interplay Transcode transcodes a clip, it associates the new resolution with the original clip. It does not create a new clip. The following illustration shows a clip captured in 1:1 and transcoded to 15:1s.
Options for Clip and Media Association created with the clip. The media files associated with the clip are called affinity resolutions or affinity media. The affinity model applies when you are deleting clips and media from a bin. For more information, see “Deleting MultiRez Clips and Media from a Bin” on page 1226. Partial Clips, Multiple Resolutions MultiRez also supports association of clips that share only part of a timecode span.
Understanding Dynamic Relink You can also create partially online files through archiving, consolidation, and transcoding a subclip. For more information, see “Working with Partially Online Files” on page 1227. Understanding Dynamic Relink Dynamic relink is a feature that lets you select which media you want to use when you are working in a MultiRez environment. Typically, you use low-res media for offline editing and high-res media for a final master. For instance, you can edit in SD and output in HD.
Understanding Dynamic Relink You specify these settings in the Dynamic Relink Settings dialog box, which is available in the Settings list of the Project window. For more information, see “Using the Dynamic Relink Settings Dialog Box” on page 1208.
Workflow: Editing a Film or HD Project using MultiRez The following illustration shows a bin and a sequence. The first version of the sequence shows the clip in the working resolution (15:1s) and the second version shows the same clip in the target resolution (1:1). The clip name is the same in both cases, but the resolution of the clip (as shown in the text on the clip) is different. Left: clip associated with working and target resolutions. Top right: sequence with clip in working resolution (15:1s).
Workflow: Editing a Film or HD Project using MultiRez To create a Film or HD Project: 1. When you create the project, make sure it supports the resolution you want to use. For example, for 25p Film projects, select 1080p/25. The following illustration shows the Project selection for a 25p Film project used in this example. 2. (Film only) If your source media is film-based, check the Film box and select the Film Type.
Workflow: Editing a Film or HD Project using MultiRez The following illustration shows the clip in the Interplay window and the bin. Notice that both the high-res and low-res are online.
Workflow: Editing a Film or HD Project using MultiRez 3. Open the Dynamic Relink dialog box and set the working resolution to the low-res proxy. The following illustration shows the Dynamic Relink values used in this example to link to the low-res media. 4. Edit the media into a sequence. By default, whenever you load clips into a monitor or the Timeline, they are linked to media that matches the working settings.
Workflow: Editing a Film or HD Project using MultiRez The following illustration shows the bin after the sequence is created. In this example, the administrator has already archived and deleted the high-res material. The MultiRez bin columns show that the high-res media is completely offline. The high-res media is now offline (empty circle in the bin) 5.
Workflow: Editing a Film or HD Project using MultiRez 8. Open the Dynamic Relink dialog box and set the working resolution to the high-res version. The following illustration shows the Dynamic Relink values used to link to the high-res video and audio. In this example, a specific resolution was chosen. 9. Render effects in the target resolution if necessary.
Considerations When Working with Dynamic Relink 10. Output your final master by doing one of the following: t Create a digital cut. t Use the Send to Playback command. When you perform a Send to Playback operation, your Avid editing application automatically renders effects and relinks your sequence to the target resolution. c When you use the Send to Playback command, make sure you are using the target settings required by the playback device or Send to Playback fails.
Using the Dynamic Relink Settings Dialog Box Opening the Dynamic Relink Settings Dialog Box To open the Dynamic Relink Settings dialog box, do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink. t Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink Settings. Enabling Dynamic Relink To enable dynamic relink: 1. Do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink.
Using the Dynamic Relink Settings Dialog Box To apply working and target settings: 1. Do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink. t Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink Settings. 2. Select Enable Dynamic Relink. 3. Click the Working Settings tab, and then select your working settings. For information on available settings, see “Dynamic Relink Settings” on page 1314. 4.
Using the Dynamic Relink Settings Dialog Box Working Settings The working settings in the following illustration instruct your Avid editing application to link to the specific video resolution of 15:1s MXF. If it cannot find this resolution for a particular clip, it should display a “Media Offline” slide. Specific parameters are also set for audio: 44.1 kHz and 16-bit.
Using the Dynamic Relink Settings Dialog Box Similarly, for audio, your Avid editing application should use media with a sample rate less than or equal to 44.1 kHz/16 bit. If your Avid editing application finds no match for this rule, it should use the closest media that is available.
Using the Dynamic Relink Settings Dialog Box Target Settings The target settings in the following illustration instruct your Avid editing application to use 30i NTSC as the project format and 1:1 MXF (uncompressed) as the specific video resolution. If your Avid editing application cannot find this resolution for a particular clip, it should display a “Media Offline” slide. Specific parameters for final audio are also set: 48 kHz and 24-bit.
Using the Dynamic Relink Settings Dialog Box Dynamically Relinking to the Target Settings You need to dynamically relink to the target settings when: • You need to do color correction or apply another effect that requires viewing media in the target resolution. In this case, you might temporarily switch from working settings to target settings, apply the effect, and then switch back to working settings. • You are performing a digital cut.
Using the Dynamic Relink Settings Dialog Box Using Dynamic Relink with Mixed Rate Clips When you send a mixed rate sequence to playback, you can use the dynamic relink feature to output your sequence at a specified target format and resolution. Dynamic relink attempts to link clips in your sequence following the options you set in the Dynamic Relink settings dialog box (for more information, see “Using the Dynamic Relink Settings Dialog Box” on page 1208).
Relinking in Frame Chase Editing Relinking in Frame Chase Editing Frame Chase editing is a workgroup feature that lets you work on a clip while it is being captured. If you are using Frame Chase editing with MultiRez, your Avid editing application can dynamically relink to in-progress media. After the clip is completely captured, your Avid editing application manages it in the same way it manages other clips.
Displaying Whether Media Is Available for Dynamic Relinking Two features provide this information: • MultiRez button • Clip coloring Using the MultiRez Button to Show Available Media The MultiRez button in the Timeline bottom toolbar lets you display two types of information: • Whether the media currently linked to a clip matches the working or target settings (Show Mismatches display) • Whether media for a clip is available in the target settings (Show Target Availability display) Clicking the Mul
Displaying Whether Media Is Available for Dynamic Relinking Button Display Description Top half of diamond black - Show Target Availability display. If the background is yellow, some media is not available in the target settings. This information is the same whether the clips are linked to working settings or target settings. If the background is gray, all media is available in the target settings.
Displaying Whether Media Is Available for Dynamic Relinking If no match is found option Default color if clip does Default color if not match current settings clip is offline Keep Existing Media Blue Red Relink to Offline Red Red Use Closest Media Blue Red If you click the MultiRez button to show availability in the target resolution (top half of diamond black), clips are colored as follows: - No color change: The clip is available in the target settings - Color changes (to yellow by default)
Displaying Whether Media Is Available for Dynamic Relinking The following illustration shows a sequence of clips that are linked to working settings. The MultiRez button is blue, indicating that there are clips in the Timeline that do not match the working resolution. If you select Keep Existing Media or Use Closest Media (in the Working Settings tab of the Dynamic Relink Settings dialog box) and enable clip coloring, clips that are not in the working resolution are colored blue by default.
Displaying Whether Media Is Available for Dynamic Relinking n The “Relink to Offline” option does not delete the existing media. To relink to the media, select a different option in the Dynamic Relink dialog box. The next example shows the Timeline after you click the MultiRez button to view the target resolution availability.
MultiRez Button Menu MultiRez Button Menu The following table describes the options in the MultiRez button menu: Option Description Enable Clip Coloring When this option is selected, clips that are linked to media that does not match the specified Dynamic Relink settings are colored. Your Avid editing application uses the following colors by default for clips in the Timeline: • No color change: In the Show Mismatches display, the clip is linked to media that matches the working settings.
MultiRez Bin Headings Option Description (Continued) Show Target Availability Indicates whether media is available that matches the target settings (Show Target Availability display). If media is not available, the MultiRez button turns yellow. If Enable Clip Coloring is selected, clips for which media is not available in the target settings are yellow.
MultiRez Bin Headings Your Avid editing application creates the list of headings from the resolutions that are compatible with the current project format. This list varies by project format and model. For example, if you are working in a 30i NTSC project, the list includes all resolutions that are compatible with 30i NTSC and 1080i/59.94 formats. These headings appear at the bottom of the Bin Column Selection list. You need to select which columns you want to appear in the Text tab of the bin.
Understanding Options for Deleting MultiRez Clips and Media MultiRez columns show the availability of the resolution by using the following icons: Filled circle Online Half-filled circle Partially online Empty circle Offline or Not Available The following bin columns display special behavior when you are using MultiRez and dynamic relink: • Video format: This column displays the resolution of the media files to which the clips in the Timeline are currently linked, so it changes, depending on which r
Deleting MultiRez Clips and Media from a Bin n Multiple audio sample rates are not listed in the Delete dialog box.
Working with Partially Online Files Working with Partially Online Files There are several cases where you might be working with MultiRez clips that are partially online: • Consolidating and transcoding a portion of a clip or a subclip. • Consolidating and deleting original media. • Partially restoring from an archive. Clips that are partially online are marked in a bin by a half circle.
Working with Partially Online Files After consolidating and transcoding, the new master clip is shown in the bin as having media in both DV 25 and 15:1s, while the original master clip is shown as having full media in DV 25 and partial media for 15:1s. If you trim the original sequence to expose more of the DV 25 clip, the Timeline displays as offline frames in the portions that are not available in 15:1s. Viewing a Source Clip in the Timeline You can view an entire source clip in the Timeline.
Working with Partially Online Files Consolidating and Deleting Original Media You can create partial clips when you consolidate and then delete the original media. The result is similar to the example in “Consolidating and Transcoding a Portion of a Clip” on page 1227, in which a new clip is created through consolidation. To consolidate and delete the original media: 1. Assume you have the same 10-minute master clip that has DV 25 and 15:1s versions of the media. 2.
Quality Matching Quality Matching Your Avid editing application follows a specific process when attempting a dynamic relink. Dynamic relink provides you with a way to relink to media if the specific resolution or sample rate is not available. The Dynamic Relink Settings dialog box includes the following options that enable this feature, called quality matching: • In the common area, for the option “If no match is found,” you can select “Use Closest Media.
Quality Matching • n For the audio relink quality, if you select Specific Resolution as a relink method, you can select “Greater than or equal to,” or “Less than or equal to” as a filter for the audio relink quality. Your Avid editing application looks for an exact match. If it can’t find an exact match, it links to the closest media that satisfies the selected filter, based on sample rate and bit depth.
Quality Matching 3. Is there media with the same field order (topness)? 4. Is there media in the same compression family? 5. Is there media of the same or similar compression value or audio sampling? 6. Is there media of the same bit depth? 7. Is there media in the same color space? At each step, media is examined. Your Avid editing application continues looking for media until a single match remains.
Quality Matching n Some resolutions might not be available in your Avid editing application. Resolution Family Resolution Name HD 1:1 10b RGB 1:1 10b 1:1 DNxHD 220 DNxHD 185 DNxHD 175 DNxHD 90 DNxHD 145 DNxHD 120 DNxHD 115 DNxHD 60 DNxHD 45 DNxHD 36 DNxHD 145-TR DNxHD 120-TR DVCPro n DNxHD resolutions are based on the frame rate of the project. For example, DNxHD 220 has a compressed data rate of 220 Mb/sec at 29.97 fps.
Quality Matching Example of Quality Matching This example is typical of a newsroom offline session. In this workflow, clips are usually captured simultaneously in MPEG-2 and DV 25, but sometimes the MPEG-2 clips are not available. You want to get media immediately, and you want the lowest (most compressed) resolution available to use less network bandwidth, but you’ll take DV 25 if that’s all that’s available.
28 MultiCamera Editing The Avid MultiCamera editing features let you incorporate multiple camera angle sources into the nonlinear editing process.
Creating Group Clips • The MultiGroup function is designed primarily for situation comedies and similar productions that record multiple takes sequentially on the same source tapes. Multigrouping does not provide any benefit when you edit with clips that do not share common timecode or were not recorded sequentially, and might even cause the wrong clips to be grouped together.
Creating Multigroup Clips 4. Select an option, based on the following: Option Description Film TC/Sound TC Use this option if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. Inpoints Use this option if you are syncing according to IN points set in each clip. Outpoints Use this option if you are syncing according to OUT points set in each clip.
MultiCamera Displays 4. Select an option, based on the following: Option Description Film TC/Sound TC Use this option if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. Inpoints Use this option if you are syncing according to IN points set in each clip. Outpoints Use this option if you are syncing according to OUT points set in each clip.
MultiCamera Displays Full-Monitor Display When you first load a grouped or multigrouped clip, the Source monitor displays a single frame from one clip in the group. This is called Full-Monitor display when working with group clips because you can view each angle in full-monitor size as you edit. The basic features of Full-Monitor display: • Provides source-oriented control of multicamera material. You can switch camera angles, cue, and mark material without affecting the sequence.
MultiCamera Displays Quad Split Source View After loading a group clip into the Source monitor, you enter Quad Split Source view by clicking the Quad Split button located in the Command palette in the MCam tab. The Source monitor splits into four camera angles of the group clip. A Group Menu icon appears above the Source and Record monitors. Quad Split Source view, with the four camera angle views in the Source monitor and the sequence or linecut in the Record monitor.
MultiCamera Displays Nine Split Source View After loading a group clip into the Source monitor, you enter Nine Split Source view by clicking the Nine Split button located in the Command palette in the MCam tab. The Source monitor splits into nine camera angles of the group clip. A Group Menu icon appears in the second row of information above the Source and Record monitors. Nine Split Source view, with the nine camera angle views in the Source monitor and the sequence or linecut in the Record monitor.
MultiCamera Displays MultiCamera Mode After loading a group clip into the Source monitor and editing it to create a new sequence, select MultiCamera Mode from the Special menu to activate the features. The MultiCamera Quad Split Edit or MultiCamera Nine Split Edit is displayed, depending on whether you were in Quad Split Source view or Nine Split Source view before entering MultiCamera mode.
MultiCamera Displays The basic features of MultiCamera mode: • Provides sequence-oriented control of multicamera material, in contrast to Full-Monitor display, Nine Split Source view, and Quad Split Source view. Whenever you play back, cue, switch camera angles, or mark material, your changes occur in the sequence. • Synchronizes all camera angles displayed in the Source monitor and continuously updates during playback and editing.
MultiCamera Editing Techniques Limitations on Playback of MultiCamera Media To play back a group clip or a multigroup clip, you must be in MultiCamera mode. In addition, the following limitations apply to playback performance for standard-definition projects and high-definition projects: • In an SD project, you must have Avid input/output hardware attached to your system in order to view multicamera display in a client monitor during a digital cut.
MultiCamera Editing Techniques If the group contains more camera angles than the multi-split display, the Up Arrow and Down Arrow keys cycle through all the clips. Only the first four clips are shown in the Quad Split display and only the first nine clips are shown in the Nine Split display. When the Record monitor is active, you can place the position indicator within any segment and use the arrow keys to switch the group clip selected for that segment.
MultiCamera Editing Techniques To use this method, you must first map the Add Edit button onto the keyboard. Consider mapping the Add Edit button to a function key next to the default MultiCam keys. For more information on mapping keys, see “Understanding Button Mapping” on page 97. To add edits: 1. Load the group or multigroup clip into the Source monitor and splice it into a sequence. 2. Play the sequence. Each time you want to make an edit, stop and press the Add Edit key.
MultiCamera Editing Techniques You can select the Audio Follow Video option from the Group menu to instruct the system to switch both audio and video for each camera angle or selective camera style. The Group Menu icon changes to green when you select the Audio Follow Video option. Audio Follow Video overrides the track selection beside the Timeline and switches audio in track A1 only.
MultiCamera Editing Techniques To select an additional clip from the group to appear in one of the multi-split displays: 1. Press the Ctrl key to activate the display of clip names in the multi-split displays. 2. Ctrl+click the multi-split display where you want to show the new clip. The clips in the group are listed in the Multi-angle View menu. Select additional angles from the Multi-angle View menu 3. Select the clip you want to display from the Multi-angle View menu.
Selective Camera Cutting Committing MultiCamera Edits You can remove the grouped clips in a sequence and replace each of them with its selected clip. This might be useful if you experience poor performance with a very complex multicamera sequence on a slower system, for example, a sequence that uses many multicamera clips and many effects or color corrections. To commit multicamera edits: 1. Select the sequence you want to affect. 2. Right-click the sequence and select Commit Multicam Edits.
Selective Camera Cutting 6. To replace a portion of the take with a part from another take, use the timecode notes again to cue the take, set marks, and perform a replace edit. 7. When you are finished with a scene, repeat the procedure for each additional scene in the sequence.
29 The Avid Marketplace The Avid Marketplace feature allows you to purchase video (stock footage), sound effects, music and plug-ins from within your Avid editing application. This chapter describes the process of downloading stock footage clips and Avid supported plug-ins from within your Avid editing application. You must be connected to the Internet to access features offered in the Avid Marketplace.
Avid Marketplace Media Libraries Quick Start Avid Marketplace Media Libraries Quick Start The following section contains high-level steps you can perform to search, preview and select stock footage clips to purchase and include in your Avid editing sequence. See other topics in this chapter for detailed steps and more information. To purchase stock footage: 1. From your Avid editing application, select Marketplace > Media Libraries. The Avid Media Libraries window opens. 2.
Avid Marketplace Media Libraries Quick Start 13. You can now add the clips to your sequence. 14. If you want, you can create a Stock Footage Report (.txt file) to see which clips you have used in your sequence, right-click the sequence in the bin or right-click the sequence in the Record monitor and select Stock Footage Report. For more information, see “Creating a Stock Footage Report” on page 1270. 15.
Creating a User Sign In and Password 19. Open the sequence that contains the comp (low resolution) clips, and right-click then select Relink Stock Footage to Sequence. The system creates a copy of the sequence which links to the high resolution clips. The copy is named with the original sequence name followed by .Relinked.n, where n is the number of the duplicates created from the original sequence. The clips relink to your sequence.
Creating a User Sign In and Password To sign in to the Avid Media Libraries for the first time: 1. Select Marketplace > Media Libraries. The Avid Media Libraries window opens. 2. From the Stock Video section, click on the link that brings you to the Avid Thought Equity Motion site. 3. In the Thought Equity Motion page, click Register. The Register Information window opens. 4. Enter required information including e-mail and password. 5. Click Submit Registration.
Licensing Options Licensing Options Thought Equity Motion displays the legal rights and clearance under each clip. Within a search, licensing options include: • Rights Managed footage is subject to specific usage restrictions. These typically include a limit on the number of times used, broadcast territory, and a usage time period. Additional licenses can be purchased for additional uses. • Royalty Free footage can be used for an unlimited period of time and number of uses.
Searching through Stock Footage Performing a Search To start a search: 1. Select Marketplace > Media Libraries. The Avid Media Libraries window opens. 2. From the Stock Video section, click on the link that brings you to the Avid Thought Equity Motion site. 3. Click Sign in and enter your user name or email and password. If you have not registered yet, click Register. See “Creating a User Sign In and Password” on page 1254. 4. Click Log On. The system signs you in to Thought Equity Motion. 5.
Searching through Stock Footage 6. Click the Search button or press Enter. The system returns your results in the Display window. 7. Place your cursor over the thumbnail to preview a clip. 8. Use the navigation buttons to move Backward, Forward, and Refresh your last action. To change the display options: 1. Enter your search terms in the Search for footage bar. 2. Click the Search button or press Enter. The system returns your results in the Display window. 3. Click Display Options.
Searching through Stock Footage 4. Select the results per page, Grid view (thumbnail) or Text view and to display your thumbnail as a still image or video. 5. Click Apply. The Display window updates to the new options. Basic Search Terms You can use Boolean modifiers to limit or expand your footage search. • Use the following modifiers: AND, NOT & OR (entered as capital letters). • AND: Use when you want to return clips featuring both terms.
Searching through Stock Footage To filter your results: t After you perform an initial search, you can narrow your search by selecting the following options in the menu located to the left of your search results. Filter search results options Description Content Type Allows you to choose from Clips, Screeners, or Text Records. Select one of these options to search for only a specific content type. Format Allows you to choose from SD, HD or Available on Film formats.
Searching through Stock Footage Filter search results options Description Speciality Allows you to choose from Aerial, Slow Motion, Time Lapse, Black and White, Clips with Audio, Clips without Audio. Select one of these option to search for only a specific speciality. Other Allows you to choose to search from a Newer Than (Date), Older Than (Date), Reference Number/ID, Duration Greater Than (seconds), Duration Less Than (seconds), and Title. To refine your search results: 1.
Searching through Stock Footage To add a clip to a Thought Equity Motion bin folder: 1. Once you have identified a clip to add to a bin, click the Add (+) button. The clip is added to your default bin. 2. To add a clip to a different bin, click the check box to select the clip. 3. From the Clip tools menu, select Add selected to bin folder name. The clip is added to your selected bin.
Searching through Stock Footage Icon Description Information (i) Allows you to view additional information about the clip. View (Magnifying Glass) Opens a window that displays detailed information about the clip including: licensing options and pricing. Comments Allows you to enter comments about your clip. Remove (X) Allows you to remove the clip from your bin. View shot reel Displays multiple shots from the selected clip.
Searching through Stock Footage To manage multiple bins: 1. Click My Bins. A menu displays folder options. 2. Click Manage My Bins. A list of your bins display. 3. Use the Bin tools menu to Select all, Select none or Remove selected bins. 4. Use the Sort by menu to sort and search across multiple bins. 5.
Downloading Stock Footage Clips to Your Avid Bin Icon Description You can edit, but do not own You can add or remove clips from the bin, update clipping information and manage the display. You cannot delete the bin or assign ownership. You can view, but not edit You can select clips to view, download comps and add them to your cart.
Downloading Stock Footage Clips to Your Avid Bin Column Name Description Vendor Download Master The master format stored online for download, if available (for example, QuickTime/DVCPRO HD). This file is used to transcode to other formats, if needed. Vendor Asset Description The vendor’s description for the clip. Vendor Asset Keywords The vendor’s list of keywords for the clip. Vendor Asset Status The current status of the clip (Comp, Purchased).
Downloading Stock Footage Clips to Your Avid Bin 3. Click the Download comp buttons or choose Options > Download comp. If you select the Download Comp Arrow icon, a Download window opens allowing you to select a Customize Comp clip. See the steps in the following procedures to customize your comp clip. If you select the Download Comp button or the menu item, the Select a bin window opens. If you only have one Avid bin opened, the clip downloads to that bin.
Downloading Stock Footage Clips to Your Avid Bin 3. Click Download X Comps. X represents the number of clips in the bin. For example, if there are twelve clips to download, the button will display as Download 12 Comps. If you only have one Avid bin opened, the clip downloads to that bin. If you have several Avid bins opened, the Select a bin window opens. 4. Select the bin you want to download the clips to or click New Bin, and then click OK.
Downloading Stock Footage Clips to Your Avid Bin 3. Click the Download arrow button above the clip preview. The Download window opens. 4. Click Customize Your Comp. 5. If you want to include burn-in timecode or an asset name, select Time code or Asset name. These options display in your clip. 6. Click Make a custom comp request. The request is sent to Thought Equity Motion. You will receive an e-mail once your custom comp is available to download.
Downloading Stock Footage Clips to Your Avid Bin To download comp clips outside of the Avid editing application to an Avid bin: 1. If you are downloading a comp clip or a custom comp clip from an external browser, download the comp files to your system. You can store the downloaded files in the Avid Downloads folder or to your Desktop. If there are multiple clips, the downloaded file will be zipped. You will need to unzip them. 2.
Downloading Stock Footage Clips to Your Avid Bin To generate a Stock Footage Report: 1. Do one of the following: t From a bin, right-click a sequence and select Stock Footage Report. You can select multiple sequences for generating reports. t With a sequence loaded in a monitor, right-click the monitor and select Stock Footage Report. The Save Stock Footage Report As dialog box opens. 2. Use the default file name or rename the report and choose a folder to save the report to, click Save.
Purchasing Your Stock Footage Column Heading Description SRC_DUR The duration of the clip. CLIP_NAME The clip name. If you renamed the stock footage clip in the bin, the renamed clip appears first, followed by the vendor clip name in parenthesis. STATUS If available, the status of the clip. Either Comp or Purchased. PRICE If available, the price of the stock footage clip. VENDOR The name of the vendor where you downloaded the stock footage clip.
Purchasing Your Stock Footage The Avid Marketplace window opens to the Avid Thought Equity Motion site. A bin is created within the My Bins menu with the same name as your sequence and a time stamp. This new bin includes all the stock footage clips and related information about each clip from your sequence. The clips you plan to purchase display in the window with information about each clip. The custom clip displays the start and end time of your clip you plan to purchase. 2.
Downloading your High Resolution Stock Footage Downloading your High Resolution Stock Footage After your purchase is successfully completed, you can download your high resolution stock footage. n To download clips, Avid uses the AMA method. AMA is selected by default. To make sure AMA is enabled, check the Volume Mounting tab in AMA Settings and make sure that “Enable AMA Volume Management” is selected.
Downloading your High Resolution Stock Footage Your account opens with the clips you have purchased. 3. Click Download Masters. n You need to click Download Masters for each clip. The clips download to your selected Avid bin. If there is no bin open or multiple bins are opened, the Select a Bin dialog box opens asking you to select a bin or create a new bin. A download progress bar appears, in the lower-left corner of the Avid Marketplace window, with the number of clips to download.
Relinking High Resolution Media to Your Sequence To download your stock footage outside of the Avid editor: 1. Open a web browser and login to the Thought Equity Motion website. 2. If the clips you want to download are stored in the Thought Equity Motion bin, download the entire bin or individual clips. A zip file is created for an entire bin. The zip file name is the bin name and the date. There may be a delay in receiving the zipped file. Individual clips download immediately. 3.
Relinking High Resolution Media to Your Sequence n Make sure that the drive you specify in the Media Creation > Import tab dialog box supports the bandwidth and has enough space to support the downloaded stock footage media. 2. Select the downloaded high resolution clips that corresponds to the comp (low resolution) clips. 3. Open the bin that contains the sequence with the comp (low resolution) clips. 4. Select and then right-click the sequence, and select Relink Stock Footage to Sequence.
Avid Marketplace Plug-ins Avid Marketplace Plug-ins The Avid Marketplace Plug-ins window allows you to purchase and download Avid supported plug-ins from within the Avid editing application, you can open the Avid Marketplace Plug-ins page to download audio and video plugins. You will need to quit the Avid editing application to install them and then relaunch the application. Click the options listed at the top of the page to go to other Avid Marketplaces.
Purchasing and Downloading a Plug-in from the Avid Marketplace 5. Enter the quantity. 6. Click Add to Cart. 7. Enter a promotional code if you have one, then click Apply. 8. Click Proceed to Checkout. 9. If you have an account, click the Returning Customers check box. You will be prompted to enter your e-mail address and password. Click login. If you do not have an account enter your billing information. The Account, Billing & Shipping Info window displays. 10.
30 Settings This chapter provides information on how to use settings. • Understanding Settings • Working with Settings • Options for Moving User Settings Files This chapter also provides reference information for all settings categories.
Understanding Settings • Interplay Folder, Interplay Server, and Interplay User Settings • Keyboard Settings • Marquee Title Settings • Media Creation Settings • Media Services Settings (Windows Only) • Mouse Settings • NRCS Settings • Passthrough Mix Tool • PortServer Settings • Remote Play and Capture Settings • Render Settings • S3D Settings • Safe Colors Settings • Script Settings • Sound Card Configuration Settings (Windows Only) • Timeline Settings • Trim Settings •
Understanding Settings You can also switch between users and work with user profiles. For more information, see “Switching to Another Set of User Settings” on page 1286 and “Understanding User Profiles” on page 72. The following illustration shows the Settings tab in the Project window.
Understanding Settings n For information about the location of the user and project folders, see “Avid Projects and Avid Users Folders” on page 38. • Site settings establish default parameters for all new users and projects on a particular system. They can apply to particular configurations of equipment installed at the site. They can also include other User or Project settings that you copy into the Site Settings window. Site settings are stored in a separate Settings folder: - (Windows XP) drive:\Docu
Working with Settings Working with Settings You can open a dialog box for most settings that lets you view the current settings and to change them if necessary. You can also duplicate, rename, copy, and move settings among files or systems. Viewing and Modifying Settings You can view most settings in a dialog box or window that also lets you change the settings. You cannot modify the following types of settings: • Settings that require the presence of standalone peripherals.
Working with Settings Filtering the Settings List You can filter the Settings list in the Project window so that it displays a more focused group of settings. To change the Settings list display in the Project window: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the Fast Menu button, and select a settings group. The selected settings group has a check mark in the Settings menu, and the Settings list displays only the settings in that group.
Working with Settings Switching to Another Set of User Settings User settings are not project or site specific, so you can display another set of User settings in the Project window. To select another user: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the User Selection menu, and select another name. Your Avid editing application saves the previous user’s settings, loads the new user’s settings, and displays them in the Project window.
Working with Settings Selecting Among Multiple Settings If you have multiple versions of a setting (for example, multiple Export settings), only one setting at a time is active. Settings that are currently active have a check mark to the left of the setting name. To change the active setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click in the space to the left of the setting that you want to select as the active setting.
Working with Settings 3. Right-click the selected setting (or one of the multiple selected settings), and select Restore to Default. A message box opens. 4. Click Copy & Restore to copy the current settings before restoring the default settings, or click Restore to discard the current settings. The system restores the default values for the selected settings. Copying Settings Between Settings Files You can copy selected settings: • Between existing settings files.
Working with Settings 3. Drag the selected setting to the destination settings window. The copied settings are saved when you close or save the file or project. You can also drag settings from the settings window into the Settings list in the Project window. To copy a setting from a settings file into the Settings list with the setting active: 1. Drag the setting into the Settings list. A message box opens. 2.
Options for Moving User Settings Files 5. Close the Site Settings window. All new users and projects opened from the Select Project dialog box use these settings as the default settings. Options for Moving User Settings Files You might want to move user settings information from one location to another on your system, or from one system to another. The easiest and most reliable way to do this is to take advantage of user profiles.
Summary of Settings Setting Name Description Reference Topic Capture “Capture Settings” on page 1303 Defines how your Avid editing application captures and batch captures in specific situations. Communication Sets a port for Remote Play and Capture. (Serial) Ports “Communication (Serial) Ports Tool Settings” on page 1308 Controller Settings Sets the default controller, port selection, and custom “Controller Settings” on page 1308 controller buttons.
Summary of Settings Setting Name Description Reference Topic Interplay Server Lets you specify the Avid Interplay Server location on “Interplay Server Settings” on the network. page 1360 Interplay User Lets you set the preference for accessing Avid asset manager. “Interplay User Settings” on page 1360 Keyboard Lets you map commands from the Command palette to the keyboard.
AMA Settings Setting Name Description Reference Topic Timecode Window Displays various timecodes in an adjustable window. Appears in the Settings list to facilitate copying settings. For more information, see “Using the Timecode Window” on page 463. Timeline Sets general Timeline preferences. “Timeline Settings” on page 1375 Trim Customizes the Trim mode environment. “Trim Settings” on page 1379 Video Display Sets options for video input, desktop video, Client monitor use, and effects preview.
AMA Settings Option Description Consolidate/Transcode Preference: Audio This option allows you to consolidate/transcode your audio media to the Highest Quality or Most Compressed resolution. AMA Settings: Volume Mounting Tab Option Description Enable AMA Volume Management Enables AMA linking of file-based media from supported third-party devices and drives. You must quit and restart your Avid editing application for the changes to take effect.
Audio Settings Audio Settings Option Description Source Scrub Defines the number of outgoing and incoming frames you hear as you scrub the source. Timeline Scrub Defines the number of outgoing and incoming frames you hear as you scrub in the timeline. Default Pan Controls the way you want sound to pan between speakers: • Alternating L/R: Sends the odd tracks to the left channel and the even tracks to the right channel.
Audio Project Settings Audio Project Settings You can save multiple Audio Project settings and select one as the active setting. If you edit an inactive setting, your Avid editing application does not display items that are not saved. For example, Mix Mode does not display in an inactive setting because you cannot save it in the Project settings. n The Direct Out mode is saved in the Audio settings, not the Audio Project settings.
Audio Project Settings Option Description DV Audio Pattern Controls whether variation in the audio sample rate is allowed. Select the option expected by your device. • Unlocked Audio: Allows some imprecision in the audio sample rate, with a variation of up to +/– 25 audio samples per frame. • Locked Audio: Keeps the audio clock locked precisely to the video clock, so exactly the same number of audio samples and video frames are recorded or transmitted in each cycle of the phase relationship.
Audio Project Settings Audio Project Settings: Input Tab The options that appear in this tab depend on your audio configuration and the hardware installed on your system. Your options might differ from those listed here. Option Description Input Gain slider Depending on your Avid input/output hardware, controls your computer’s volume settings. (Windows only) Select the +20 dB check box to boost gain for low gain inputs. Input Source Controls the type of audio input.
Audio Project Settings Option Description Mix Mode Selection button Controls how your system interprets audio values during playback: Stereo Mix Tracks • Stereo: Mixes the currently monitored audio tracks into a stereo pair. Depending on your Avid input/output hardware, you can customize the mix using the Stereo Mix Tracks option. • Mono: Pans all the currently monitored tracks to center and ignores pan effects.
Audio Project Settings Option Description Output type option tab: Analog Turns analog output on or off. Output type option tab: SD SDI This option is available depending on your Avid input/output hardware. Use the On or Off option to control whether to embed the audio with the video in SDI output.
Audio Project Settings Option Description HW Calibration Depending on your Avid input/output hardware, matches the software audio calibration to your Avid hardware. The default value for the software and hardware is -20dBFS. Other available values are -14dBFS and -18dBFS. If you don’t change your hardware settings, keep this value at -20dBFS. For information on changing the hardware setting, see “Calibrating Audio Hardware for Avid Nitris DX and Avid Mojo DX” on page 178.
Bin Settings Bin Settings Option Description Auto-Save interval n minutes Defines the interval between attempts to auto-save project files. The default is 15 minutes. Inactivity period n seconds Defines how long your Avid editing application waits when your system is inactive before automatically saving the project files. The default is 15 seconds. Force Auto-Save at n minutes Defines the maximum interval between auto-saves.
Capture Settings Capture Settings Capture settings include essential options for capturing, batch capturing, auto capturing, capturing to multiple media files, DV scene extraction, and setting key commands. Capture Settings: General Tab Option Description Stop deck after capture When this option is selected, the deck stops when the capture operation is complete. Pause deck after capture When this option is selected, the deck pauses when the capture operation is complete.
Capture Settings Option Description Ignore Detected Media Read Errors When this option is selected, capture accuracy improves, especially on tapes that appear to be experiencing a lot of dropouts. Capture a single video frame only When this option is selected, your Avid editing application captures a single frame of video from your clip. When you click the Record button, your Avid editing application captures the currently displayed frame.
Capture Settings Option Description Rewind tape when finished When this option is selected, your Avid editing application automatically rewinds tapes after batch capturing finishes. Eject tape when finished When this option is selected, the tape ejects as soon as the last shot from that tape is captured. You can do other tasks while the tape is in use and be alerted as soon as the tape is no longer needed.
Capture Settings Capture Settings: OMF Media Files Tab The OMF Media Files tab is available in the Capture Settings dialog box when you select OMF in the Media Type tab of the Media Creation dialog box. Option Description Capture to a single file, 2 GB limit When this option is selected, capture stops when the media captured has taken up 2 gigabytes (GB) of storage space on the media drive.
Capture Settings Option Description During capture, clip is updated in Interplay When this option is selected, Frame Chase capture is enabled. An initial check-in takes place 10 seconds after a capture begins. Subsequent Interplay updates occur at intervals defined by the Update Interval option. Select an update interval from the menu to determine how frequently updates to Interplay occur during a Frame Chase capture. In most circumstances you should keep the update interval low (1 minute or 2 minutes).
Communication (Serial) Ports Tool Settings Option Description Timed Subclip Defines a preset duration for subclips created while capturing. Communication (Serial) Ports Tool Settings The Communication (Serial) Ports tool lets you view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without closing your Avid editing application or shutting down the computer.
Correction Settings Correction Settings For more information, see “Customizing Color Correction Mode Settings” in the Help. Correction Settings: Features Tab Option Description Saved Color Labels Controls how custom colors are named in bins: • None: When this option is selected, your Avid editing application does not supply a name. • RGB: When this option is selected, your Avid editing application uses the 8-bit values for the red, green, and blue components as the name.
Deck Configuration Settings Correction Settings: AutoCorrect Tab Option Description When applying Color Defines the first, second, and third automatic color correction that your Avid editing correction from the application makes when you apply the Color Correction effect from the Effect Effect Palette, perform Palette: the following operations: • Nothing: Makes no adjustment.
Deck Settings Option Description Add deck Click to add a deck or DV device. Opens the Deck Settings dialog box. For information on the Deck Settings options, see “Deck Settings” on page 1311. Delete Click to delete a deck or DV device.
Deck Settings Option Description Show Filters the devices that display in the Device menu: • All Devices: Displays all devices by manufacturer and model. • Decks: Displays only decks by manufacturer and model. • Transcoders: Displays only transcoders by manufacturer and model. Preroll Defines how many seconds the tape rolls before capture or digital cut starts. The default is based on the type of videotape recorder (VTR).
Deck Preferences Settings Deck Preferences Settings Option Description When the deck contains no tape or drop frame cannot be detected set timecode to Sets the timecode format (Drop Frame or Non-drop Frame) for logging clips when no tape is in the deck or when your Avid editing application cannot detect drop frame or non-drop frame. When a tape is in the deck, your Avid editing application automatically uses the existing timecode format on the tape.
Desktop Play Delay Option Description Host-1394 DV Capture Offset & Digital Cut Offset (when Host 1394 capture is available) This group of options varies depending on your DV input/output configuration. Digital Cut Offset (when Host 1394 capture is not available) • Capture Offset (frames): Defines the number of frames by which you want to offset while you capture. For more information, see “Understanding DV Capture Offset” on page 204. This option only appears when Host 1394 capture is available.
Dynamic Relink Settings Dialog Box Area Working settings tab and Target settings tab Option Description (Continued) Override Working Settings with Target Settings Lets you perform a dynamic relink to the target settings. When this option is selected, the working settings are not available but the target settings remain active and modifiable. In the Timeline and monitors, you see media that matches the target settings.
Dynamic Relink Settings Dialog Box Area Option Description (Continued) Relink if quality Available when Specific Resolution is the Relink method. Defines a relational operator and a resolution to compare against.
Effect Editor Settings Dialog Box Area Option Description (Continued) Relink if sample rate and bit depth The relational operators on the left for sample rate and bit depth are similar to the relational operators for the Video parameter “Relink if quality” menu. However, the two menus have an additional entry, “Any,” which lets you use one criteria and ignore the other. For example, you could select sample rate equal to 44.1 kHz and bit depth to “Any”.
Effect Editor Settings Option Description Real Time Update When this option is selected, your Avid editing application updates the rendered effect image in real time. Because the update can be slow for complex effects, you have the option to deselect real-time updating. Set Position To Keyframe When this option is selected, your Avid editing application moves the position indicator to the keyframe when you click a keyframe indicator.
E-mail Settings E-mail Settings The Email Settings dialog box lets you configure your Avid editing application so that it can notify you by e-mail when any of the following operations completes: n • Render • Export • Consolidate or Transcode Some mobile telephone services can deliver e-mail as a text message or notify you by text message when an e-mail has been received. If your service includes this feature, consider using it as a convenient way to receive your notifications.
E-mail Settings Option Description From Name Defines the name that appears in the From header field of an e-mail your Avid editing application sends. From Address Defines the e-mail address for the account that your Avid editing application uses to send the e-mail. To Address Defines the e-mail address to which your Avid editing application sends the e-mail.
Export Settings Export Settings Common Export Settings Standard Formats for Export The following table describes the standard Export file formats available in the Export As menu of the Export Settings dialog box. You can also Export to P2 cards or XDCAM disks. For more information, see “Export Settings: P2” on page 1345 and “Export Settings: XDCAM” on page 1345. Option Description OMFI 1.0 OMFI 2.
Export Settings Option Description XDCAM MXF OP1a Video Format: Lists all XDCAM codecs supported by your project type. Audio Bit Depth: Defines bit depth, based on the sample rates supported by your project type. You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. Aspect Ratio: Defines an image size for the video you want to export.
Export Settings Option Avid Log Exchange Description When this option is selected, your Avid editing application exports the selected bin as a shot log file that complies with Avid Log Exchange (ALE) specifications. For information about Avid Log Exchange, see “Converting Log Files with Avid Log Exchange (Windows)” on page 105. n Tab Delimited ALE and tab-delimited files include information for master clips and subclips only.
Export Settings Export Settings: OMFI, AAF, and AFE Option Description Export As: Defines the export format: • AAF: Select this option if the application to which you are exporting supports AAF • OMF 1.0: Select this option if the application to which you are exporting does not support OMFI Version 2.0 • OMF 2.0: Select this option if the application to which you are exporting supports OMFI Version 2.0. If you are not sure, select OMF 1.0.
Export Settings Option Description Export Method: Defines an export method. Other options change depending on which method you choose. This option appears in both the Video Details tab and the Audio Details tab. • Link to (Don’t Export) Media: Select this option when you want to export an AAF or an OMFI composition with links to the media in its current location. Your Avid editing application does not embed media in the file or export media.
Export Settings Option Description Add Audio Mixdown When you select this option, your Avid editing application adds an audio mixdown track. Track(s) Select the type of track you want, either Mono or Stereo. For more information about audio mixing, see “Using Live Mix Mode” on page 774. Convert Audio Sample Rate to: Defines the audio sample rate for the export. Select this option if your sequence has a mix of sample rates and you need to create a single sample rate.
Export Settings Option Description Folder Defines the destination folder for newly created or copied media. If you deselect Use Same Folder as AAF File, a path name appears. Click Select Folder to navigate to a different folder. Embedded in AAF/OMF When this option is selected, your Avid editing application embeds media files in the exported AAF or OMFI file specified in the Export dialog box.
Export Settings Option Description Display Aspect Ratio Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you control the display format without modifying the source file. This option creates metadata that is stored with the QuickTime movie. Some applications, such as the QuickTime Player, can interpret this metadata and scale the image at display time.
Export Settings Option Description Add Shares for Media Drives When this option is selected, your Avid editing application creates a new drive share for referenced media files stored on unshared network drives. The drive share is hidden, so other users do not see the shared drive when browsing your computer. You do not need to select this option when media is stored on the same drive as the QuickTime reference movie.
Export Settings Option Description Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Video Format The following options might be available, depending on your other settings: Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project.
Export Settings Option Description Create Preview When this options is selected, your Avid editing application creates a preview of the QuickTime movie. Display Aspect Ratio Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you control the display format without modifying the source file. This option creates metadata data that is stored with the QuickTime movie.
Export Settings Option Description Prepare for Internet Streaming • Fast Start: The movie can begin playing over the Internet without having to download completely first. This method of playing movies over the Internet is referred to as progressive download or HTTP streaming. It does not require a streaming video server. • Fast Start - Compressed Header: This option is a better choice for progressive downloading. It works the same as Fast Start, but compresses the header information.
Export Settings Codec Description Avid 1:1x For high quality, 8-bit, lossless resolution (in which no picture information is lost). Available for use with MXF media files. Meridien-based systems cannot use this format. Current Avid editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling. Avid DNxHD™ Codec For DNxHD encoding with 8-bit and 10-bit resolutions. Available for use with MXF media files. Meridien-based systems cannot use this format.
Export Settings Option Description Stream Type Defines the transport stream type: • Transport Stream: Use this option for both video and audio, for example, when exporting to other devices. • Elementary Streams: Use this option for either video only or audio only. Export Settings: DV Stream Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1323.
Export Settings Export Settings: AVI Through QuickTime Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1323. Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project.
Export Settings Option Description Key Frame Every n frames When this option is selected, your Avid editing application uses keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. Limit Data Rate n KB/sec Defines a limit to the data rate for the compressed file, in kilobytes per second.
Export Settings Windows Media Video Settings The following table describes options available when you select Windows Media from the Windows Media menu in the Export Settings dialog box and then select a video track. Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1323. Width, Height, FPS Set the width, height, and frame-per-second (fps) rate of the clips for export. Video Type Defines the video type, either Progressive or Interlaced.
Export Settings Option Description Codec (not available when you select Uncompressed.) Choose one of the following codecs: • Windows Media MPEG-4 Video V3: This codec creates high-quality video for streaming, download, and play. Enables playback of interlaced content on televisions. • ISO MPEG-4 Video V1: This codec delivers DVD (MPEG-2) quality video at lower data rates and smaller file sizes.
Export Settings Option Description Buffer Size Defines the number of seconds that you want content to be stored before encoding begins. A larger buffer results in better quality content, but requires more memory. When you encode content, the encoding process is delayed by the amount of time specified in the buffer. The content is also delayed by the same amount of time when streaming to a player. Quality Values for this option range from 0 to 100, with 100 being the highest quality.
Export Settings Option Description Passes (not available Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content when you select passes through the encoder once, and compression is applied as the content is Uncompressed) encountered. With 2 Pass encoding, the content is analyzed during the first pass, and then encoded in the second pass based on the data gathered in the first pass. 2 Pass encoding might result in better quality but takes longer.
Export Settings Option Description Audio Format Defines the audio format: • Project: When this option is selected, your Avid editing application exports the audio format that you selected as the project default in the Audio Project Settings: Main tab. • WAVE: Select this option to export audio tracks in the WAVE format (.wav file name extension). Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format.
Export Settings Option Description File Field Order Defines which field is the upper field during export. For 23.976p, or 25p projects, these options do not appear, and all fields are automatically exported as progressive (still) frames. • Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become the even-numbered lines.
Export Settings Format Options and Other Notes (if applicable) JPEG Quality: Controls the output file size and quality. Higher values produce better images but larger file sizes, while lower values reduce the image quality but result in smaller file sizes. Baseline: Selected by default. To see if this option is required, see the documentation for your JPEG-supported applications.
Export Settings Format Options and Other Notes (if applicable) SGI® The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image. Softimage SunRaster™ TARGA® Color Depth: The 5-bit option saves data in Targa 16 format. The 8-bit option saves data in Targa 24/32 format. Compression: Controls the size of the file on disk. Disabling compression creates larger files on disk.
Export Settings Export Settings: P2 To open the P2 Export Setting dialog box, select Clip > Export to Device > P2. For more information, see “Exporting Your Clip or Sequence to a P2 Card” on page 992. Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1323. P2 Device Defines the connected P2 device to which you want to export. Video Format Defines a video format. You can upconvert or downconvert.
Full Screen Playback Settings Full Screen Playback Settings For information on using Full Screen Play, see “Playing Video to a Full-Screen Monitor” on page 468. Option Description Scaling Determines how images are scaled for full-screen playback: • Project: Uses the actual project type and aspect ratio to determine the scaling.
Full Screen Playback Settings Option Description S3D View Mix: Displays a 50/50 blend of both the left and right eye images. Difference: Displays a blend of both left and right eyes, and highlights the difference between the two. Embossed areas show the differences, while gray pixels represent no differences. Frame Compatible: Displays both the left and right eye images as dictated by the project settings (side/side or over/under). Mono: Displays only one of the stereoscopic images.
Full Screen Playback Settings Option Description S3D Overlay Displays the disparity guides on the viewer so that you can see the depth budget limits when adjusting the separation between your stereo 3D images. The guides for Parallax are based on the project’s S3D settings (set from the Project window, Settings tab). Parallax Near: Displays green guides that show the limits for objects that will appear in front of the screen plane.
General Settings General Settings Option Description Project Format Displays the format currently selected for the project. Temporary File Directory When you use drag and drop Export or an export that creates an intermediate movie file, your Avid editing application must store the intermediate file, which can be as large as the final export. By default, the Temporary File Directory is located in the same directory as your Avid editing application.
Grid Settings Grid Settings Grid Settings: Coordinates Tab Option Description Scale Mode Lets you work with a grid that indicates boundaries for a format other than the one in which you are working. This is useful when you are creating graphics (like titles) that must remain safe in other formats. Select one of the following options depending on the current and target formats you need. When you do not specifically need a grid that represents another format, use the Normal option, which is the default.
Grid Settings Grid Settings: Display Tab Option Description Type Selects a different grid for each standard film type. For video projects, use the Square grid type. The grid for the Academy option includes a safety margin on the left that is used for adding the optical sound track. The following options are available: Square, Standard Film, Academy, Super 35, Anamorphic. Color Defines a color for the grid axes and the grid points. Show Safe Title Displays the safe title area.
Import Settings Import Settings Import Settings: Image Tab Option Description Image Size Adjustment Controls the dimensions of imported images. The following options are available: • Image sized for current format: Select this option if the image is properly sized and formatted for the current project format, or to maintain field data when you import two-field media that follows exact NTSC or PAL dimensions.
Import Settings Option Description Field Ordering in File Controls the field ordering (sometimes referred to as field dominance) of the media you are importing. For 23.976p or 25p projects, these options do not appear, and all fields are automatically imported as progressive (still) frames. When the field ordering (or spatial field position) of the imported media matches the field ordering of the project format, no special processing is required.
Import Settings Option Description Alpha Channel Controls how your Avid editing application handles the alpha channel in imported images. The following options are available: • Invert on import (white = opaque): Select this option to reverse the black and white elements of the alpha channel if they differ from the matte key requirements of your Avid editing application. Avid applications use a white background, a black foreground, and a gray transparency blend between the two.
Import Settings Import Settings: OMFI/AAF Tab Option Description Resolution Use the source file’s resolution. When this option is selected, your Avid editing application maintains the source file’s resolution. Your Avid editing application disregards the resolution setting in the Select Files to Import dialog box as well as the resolution set in the Import tab of the Media Creation dialog box. Use the current import resolution.
Import Settings Import Settings: Audio Tab Option Description Multichannel Audio Allows you to map source audio channels to multichannel or mono tracks in your imported clips. Click Edit to open the Set Multichannel Audio dialog box and specify mono or audio tracks for a maximum of 16 audio channels. For more information, see “Importing with Multichannel Audio” on page 264. Convert source sample Controls sample rate conversion during audio import.
Import Settings Option Description Autodetect Broadcast Wave Monophonic Groups When this option is selected, your Avid editing application imports multichannel, monophonic BWF files as a single master clip. This lets you import an eight-track recording, for example, as an eight-track master clip with sequential file names based on the track order (filename_1.wav is associated with track A1, filename_2.wav is associated with track A2).
Interface Settings Interface Settings Option Description Interface Brightness Controls the brightness of the user interface. Preview Displays a preview of the foreground color as you move the Interface Brightness slider. Highlight Color Lets you select the color of button highlighting from available presets. Default Timeline V Tracks Selecting this option sets the color of all Timeline video tracks to the default. If you change the track color for a video track, this option changes to deselected.
Interface Settings Option Description Windows Standard Alt Key Switches between standard Windows and Avid application Alt key behavior. Behavior (Windows only) When this option is selected, pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Windows actions (for example, opening menus). When this option is deselected, pressing and releasing the Alt key and then pressing another key works as the Windows keyboard shortcut.
Interplay Folder, Interplay Server, and Interplay User Settings Interplay Folder, Interplay Server, and Interplay User Settings You need to configure your Avid editing application before you can interact with the asset manager. For more information, see the Avid Interplay Installation Guide. Interplay Folder Settings Option Description Interplay Root Folder for Defines the default directory for your workgroup project (where the asset this Project manager checks in media assets).
Keyboard Settings Keyboard Settings The following illustration displays the default keyboard settings. To view the name of a button in the Keyboard settings window, move the mouse pointer over the button. To get help for the button, right-click and select What’s This? For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 98. When you open the Keyboard palette from the Settings list and select Map Foreign Keyboard, you can map user-selectable buttons to the keyboard.
Media Creation Settings Option Description Promote Title Tool Controls whether your Avid editing application promotes classic Title Tool titles to titles to Marquee Marquee when you open the title for editing from a bin or from within a sequence: Backup Title on Promote • Yes: Your Avid editing application always promotes a Title Tool title to a Marquee title. For more information, see “Promoting Title Tool Titles to Marquee” in the Marquee Help.
Media Creation Settings Option Description On indexing failure Determines how your Avid editing application reports indexing failure messages. For information on using the Console, see “Using The Console Window” on page 101. Media Creation Settings: Common Options in Capture, Titles, Import, Mixdown & Transcode, Motion Effects, and Render Tabs Option Description Video Resolution Select a resolution.
Media Creation Settings Media Creation Settings: Additional Options for Render Tab Option Description Same as Source When this option is selected, your Avid editing application renders the effect using the resolution of the clip or clips used to create the effect. If an effect is created from clips that use different resolutions, your Avid editing application uses the highest quality resolution. Effects Processing Controls the resolution (bit depth) used for effects processing.
Media Services Settings (Windows Only) Media Services Settings (Windows Only) The Media Services Settings dialog box lets you connect to a Media Services Broker. You use the services provided by Avid Interplay Media Services Broker in an Avid Interplay environment where dedicated computers automate time-consuming operations. For more information, see the Avid Interplay Media Services Setup and User’s Guide.
NRCS Settings NRCS Settings For more information about options in the NRCS Settings dialog box, see “Configuring the NRCS Tool” on page 1064. NRCS Settings: NRCS Tab Option Description Server Defines the name of the server. Server menu Defines the type of NRCS server (iNEWS or ENPS) you want to connect to. The second tab in the NRCS Settings dialog box changes to match the selection. Default User Name Defines a default iNEWS user name.
NRCS Settings Option Description Browser Fields When this option is selected, the Labels text boxes list the column headings available for display in the Directory panel of the NRCS tool. If you want to change the default label, type a new name in the appropriate text box. n The Page (page-number) and Name (title) fields are always available and do not need to be set in this dialog box. The Field text boxes display the default fields from the iNEWS server.
Passthrough Mix Tool Option Description Add paragraph tags (
) at the start of new lines Converts line breaks into paragraph breaks, so each line is displayed as a separate paragraph on the Web page. n Web formatting ignores line breaks that are the result of the text wrapping within the Story text box. It converts only those line breaks created when the user enters a new line.
Remote Play and Capture Settings Remote Play and Capture Settings Remote Play and Capture lets you use your Avid editing application like a videotape recorder (VTR) or edit controller, giving you access to some of the features of an external editing suite through your Avid editing application interface. Option Description Mode When Remote Capture is selected, your Avid editing application captures the media being sent to it immediately without setting up parameters like IN and OUT points.
Render Settings Render Settings Option Description Render Completion Defines a sound that your Avid editing application plays once the rendering process is Sound complete. This is useful when you are rendering multiple effects. The following options are available: Motion Effects Render Using • None: Disables the rendering completion sound. This is the default. • System Beep: Sets the rendering completion sound to match the sound set for your operating system.
Render Settings Option Description • Interpolated Field: Creates a second field for the effect by combining scan line pairs from the first field in the original media. This option calculates the motion effect at the field level rather than the frame level. Because your Avid editing application considers all fields and does not disturb the original order of fields, the smoothest effect results. Effects that render using this option take the longest amount of time to render.
S3D Settings Option Description Effects Quality Render Using Defines a global override for 3D effects that have HQ (Highest Quality) software implementations. You select the HQ implementation or the standard implementation for individual effects by clicking the HQ button in the Effect Editor. The following options are available: • Quality Set in Each Effect: Effects render at the quality determined by the HQ setting in the individual effects. This is the default.
Safe Colors Settings Safe Colors Settings Option Description Composite Defines safe color values for the composite video signal. Luminance Defines safe color values based on brightness. RGB Gamut Defines safe color values based on color range. Units buttons Define the units of measurement for the three types of safe color values. The following options are available for the Luminance and RGB Gamut menus: • 8 Bit: Measures the adjustment on a scale from 0 to 255.
Sound Card Configuration Settings (Windows Only) Option Description Left Margin (pixels) Defines the left margin size. The default is 40 pixels. Take Coloring Defines the color that your Avid editing application applies to takes. Show Frames When this option is selected, your Avid editing application shows frames in take slates. Show All Takes When this option is selected, your Avid editing application shows all takes in each slate.
Timeline Settings Timeline Settings Timeline Settings: Display Tab Option Description Show Toolbar When this option is selected, the Timeline top toolbar displays. Show Marked Region When this option is selected, the region from the IN point to the OUT point is highlighted in the Timeline. This option modifies the behavior of the Replace Edit function. When this option is selected, Replace Edit obeys IN and OUT marks in the Timeline.
Timeline Settings Timeline Settings: Edit Tab Option Description Start Filler Duration Defines a default duration for the filler added at the start of a sequence. For more information, see “Adding Filler” on page 541. Find Flash Frames Shorter Than n frames Defines the maximum number of flash frames you want your Avid editing application to detect. The default is 10, which tells your Avid editing application to detect clips with 9 frames or fewer.
Transfer Settings Transfer Settings The Transfer Settings dialog box appears only if your system is part of an Avid Interplay environment and you have configured Avid Interplay Transfer. For more information, see the Avid Interplay Transfer Setup and User’s Guide. Settings Tab Option Description Standalone/Incoming • Requests • Refuse all Requests — Select this option if you do not want to receive files from another workgroup.
Transfer Settings Option Description Send to Playback • Highlight mixed-resolution items — This option allows you to identify any mixed-resolution sequences before you try to send them to playback. Output Audio Mix • Direct channel output — Select this option if you do not want to perform a mixdown on audio tracks before sending them to playback. • Stereo Output — Select this option to mix all the tracks to a stereo pair, using pan controls to split the tracks.
Trim Settings Option Description Other Workgroups Click Add to open the Add Workgroup to List dialog box. • In a workgroup environment, type the name of the other Interplay Transfer server in the Server text box, and type the name of the your workgroup in the Workgroup text box. • In a standalone environment, in the Server text box, type the computer name of other workstation, and in the Workgroup text box, type the name you want to see in the Transfer menu.
Video Display Settings Option Description Desktop Play Delay Defines a frame offset in the Composer monitor so that the media on the desktop and the media in the DV device play simultaneously. For more information, see “Adjusting the Play Delay Offset” on page 468. Open GL® Hardware Defines the Open GL processing method. Select either the Open GL board for your Preview DVE effects with: video display, or Software OpenGL if you do not have an OpenGL video board.
Video Input Tool Settings Video Input Tool Settings For information on how to use the Video Input Tool settings, see “Preparing to Capture Video” on page 183. Option Description Input menu Defines the video input for SD projects: Composite, Component, S-Video, or SDI. For HD projects, the menu displays HD-SDI. For SD or HD projects, if you are capturing DV media through a 1394 port on your system, the menu displays Host-1394. For more information, see “Capturing Directly from a DV Device” on page 203.
Video Output Tool Settings Video Output Tool Settings Specific options apply to different projects, resolutions, and Avid input/output hardware. You might not see all of the following options in your Avid editing application. The Video Output tool is not available in software-only versions of Avid editing applications. Video Output Tool Settings: Options Tab Option Description Sync Lock Locks your output connection to the reference or an internal signal on the Avid input/output hardware.
Video Output Tool Settings Option (Continued) Description VBI (DV resolutions unsupported) Controls whether your Avid editing application preserves or blanks 5 lines above each field in NTSC and 8 lines above each field for PAL when you display a sequence or perform a digital cut. These lines store encoded information such as closed captioning, edgecodes or key numbers for film projects, or various interactive or enhanced TV codes.
Video Output Tool Settings Option (Continued) Leading eye Mono-Anaglyph Description Outputs only the image set as the leading eye on the stereoscopic clip. Outputs the image in grayscale with color highlights only where there are differences in the left and right eye. The pixels in each eye image can be mapped to the following color options: Mono Red-Cyan Uses red for the left eye and cyan for the right. Mono Green-Magenta Uses green for the left eye and magenta for the right.
Video Output Tool Settings Option (Continued) Description Settings menu Lets you save the settings for an individual tape each time you calibrate bars. Video Output Tool Settings: SD Cal Tab Option Description Output menu Lets you select either Component, Composite, S Video. On some systems, all outputs on the input/output hardware are active. Select an analog signal from the Output menu to calibrate for output. For more information, see “Calibrating for Video Output” on page 1001.
Video Output Tool Settings Option (Continued) Description Y Gain, RY Gain, BY Gain, Available for Component output only in some Avid input/output hardware Pr Gain, Pb Gain configurations. • Y Gain: Lets you adjust Y Gain, a measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Use color bars to set the white level. • RY Gain: Lets you adjust the red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard.
Video Output Tool Settings Option (Continued) Description B Gain In some Avid input/output hardware configurations, lets you adjust the blue (B) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. Available for HD Component RGB (on some systems) or HD Component YPbPr output. Pb Gain In some Avid input/output hardware configurations, lets you adjust the gain of the Pb color difference output, scaled from BY using the BT.
Video Satellite Settings Video Satellite Settings For information on the use of these settings, see the Video Satellite Guide provided by Avid. Workspace Linking Settings Option Description Link Timeline Mode Buttons to a Workspace: Lets you link the mode buttons in the Timeline palette to a workspace. Clicking a linked mode button (Source/Record mode, Effects mode, Color Correction mode) opens the linked workspace.
31 File Format Specifications This chapter contains specifications and notes that are useful when you are importing or exporting specific file formats.
Specifications for Graphics (Image) Files An alpha channel determines regions of transparency in the picture when it is keyed over a background. An alpha channel must be straight and not premultiplied. Your Avid editing application does not properly import premultiplied alphas. Format and Default File Name Extension Bit Depth Support Alpha Channel Support Notes Alias (.als) 24-bit color, 8-bit grayscale No BMP (.
Specifications for Graphics (Image) Files Format and Default File Name Extension Bit Depth Support Alpha Channel Support Notes Photo CD (Macintosh only) Not You must install QuickTime software and a applicable compatible QuickTime driver for Photo CD to import Photo CD files. Most Photo CD files are high resolution. If a photo has a portrait orientation, the image is automatically rotated upon import. Use a paint or image-processing program to crop or resize the image before importing. Photoshop (.
Specifications for Graphics (Image) Files Format and Default File Name Extension Bit Depth Support Alpha Channel Support Notes Softimage (.pic) Yes 24-bit plus 8-bit alpha Pixel aspect information saves with the image. (Windows only) Double-clicking a Softimage file starts the application associated with PICT files because they use the same file name extension. Avoid double-clicking Softimage files to view them. Sun Raster (.sun) 1-, 8-, or 24-bit No Targa (.
Specifications for Graphics (Image) Files Preparing Graphics Files for Import Your Avid editing application can import graphics files that have a wide range of specifications. If necessary, you can make adjustments during the import process. However, graphics files that conform to basic specifications make the import process easier and more efficient. The following table summarizes the requirements for graphics files that you import into your Avid editing application.
Specifications for Graphics (Image) Files Aspect Requirement Notes File field order Odd (Upper field first) For interlaced media, your Avid editing application uses the Even (Lower field following order: first) • NTSC (601 and DV): lower field first • PAL 601: upper field first • PAL DV: lower field first • HD Interlaced: upper field first If the field order of the graphic is not correct, select the field order of the graphic during import and your Avid editing application will reverse the fields
Specifications for Animation Files each has a different number of scan lines (486 for NTSC, 576 for PAL), digital video pixels are stretched vertically for NTSC and horizontally for PAL. These stretched pixels are referred to as non-square pixels. Your Avid editing application stores SD video and DVCPRO HD video as non-square pixels and stores other HD video as square pixels. Some graphics programs can render a graphic or animation in either square or non-square pixels.
Specifications for Animation Files n Your Avid editing application imports the file at the frame rate that is set in the project. Set the appropriate frame rate for the project when you export from a third-party application. Format Description ERIMovie ERIMovie files use the .mov or .eri file name extensions. QuickTime for Windows also uses the .mov file name extension. However, QuickTime does not support ERIMovie, and double-clicking an ERIMovie file causes an error.
Specifications for Importing OMFI Files Specifications for Importing OMFI Files OMFI was developed by Avid Technology, Inc. and many industry and standards partners for the interchange of digital media data between platforms and applications. For information about creating an OMFI file on a non-Avid application, see the documentation for the application. The information in the following table applies to importing OMFI files.
Working with BWF Files Working with BWF Files Avid editing applications support any BWF files that adhere to the BWF specification. The following information from BWF information always appears in bin columns. Bin Column BWF Source Clip name Imported file name. If scene and take information is provided, the clip name is created as scene/take. Tape ID Imported file name. Start The start timecode specified in the file. Shoot date The origination date specified in the file.
Working with BWF Files Preparing Custom BWF Information Additional BWF information that can display in bin columns must be coded in a particular format. The recording device must provide this information in the BWF Description field, using keyword/value pairs with the following format: uKEYWORD=data[CR/LF] Syntax Definition u Letter code of the manufacturer. Use the letter u unless otherwise instructed by Avid. KEYWORD Designation of the bin column. = Terminates the keyword.
Working with BWF Files To bypass the frame rate dialog box during import, you can specify the frame rate using either of the following syntaxes: • uFRAMERATE=nnDF • uFRAMERATE=nnND In these examples, nn is the frame rate (25, 29.97, or 30), DF is drop-frame, and ND is non-drop-frame. Importing, Syncing, and Reimporting BWF Files You can import BWF files into an Avid editing application approximately 10 to 12 times faster than capturing in real time.
Working with BWF Files e. Display the Auxiliary TC1 column. f. Highlight the Aux TC 24 column, and copy it to the Auxiliary TC1 column. Use Auxiliary TC 1 only as a sync point reference for AutoSync. Do not use it for data tracking or EDL generation. Use the Aux TC24 column to generate a 24-frame EDL for audio only. Use the Film TC column to generate a 24-frame EDL for video only. This timecode field represents the video timecode of a HD downconvert to standard definition video. 5.
Working with BWF Files 5. Select File > Import. The Select files to Import dialog box opens. 6. Locate the files and select only one .wav file in the group. You do not need to select multiple files. As long as you select just one of the .wav files in the group, all the files import. 7. Click Open. The file imports and a new master clip appears in the bin with all audio tracks associated with the new master clip.
Field Ordering in Graphic Imports and Exports Field Ordering in Graphic Imports and Exports Graphic images consist of one or more image files, each of which contains a full frame. These frames contain fields (formed from the odd-numbered and even-numbered lines of the image frame) that have three basic arrangements: • Progressive or still frame: The upper and lower fields in the frame originated at the same instant of time, or are coherent with each other, as shown in the following illustration.
Field Ordering in Graphic Imports and Exports Preventing a Spatial Field Mismatch on Import The following table shows the proper spatial field position for each of the common interlaced video formats in Avid editing applications. n In the following table, Odd Field or Even Field specifies whether the temporally first field in the frame has the odd or even numbered lines, starting from 1.
Field Ordering in Graphic Imports and Exports 24p and 25p Import and Export The spatial field selection options do not apply for 24p and 25p projects because the frames in these projects are already in progressive or still-image form. Field Dominance Editing in Avid applications is frame based. All timecode is expressed in frame numbers, and all cuts are at frame boundaries. A raw video stream has no concept of frames (ignoring color framing) until the frame unit is defined.
32 Resolutions and Storage Requirements This chapter describes the different resolutions available in your Avid editing application and lists their specifications.
Monitor Display Resolutions 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. You can also mix different resolutions within the same project as long as those resolutions are compatible with one another. (see “Mixing Resolutions” on page 1421).
Resolution Specifications Resolution Specifications Avid editing applications provide you with a range of resolutions, both compressed and uncompressed, that you can use at various stages of your project. You can also mix certain resolutions within a sequence. The tables in the following topics list specifications for the various resolutions. For information on resolutions to use when importing graphics or sequences from a third-party application, see “Frame Size for Imported Graphics” on page 1394.
Resolution Specifications The following table provides information about HD resolutions for interlaced and progressive media. HD resolutions are available only in MXF format. Unless otherwise specified in the resolution name, all resolutions are in the YCbCr color space. Avid DNxHD444 resolutions only appear when the HD project’s Color Space is set to RGB 709 (1080p/1080i projects only). Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 8 10 8 8 8 8 10 10 10 10 10 10 10 720p/23.
Resolution Specifications Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 8 10 8 8 8 8 10 10 10 10 10 10 10 720p/59.94 1280 x 720 59.94 1105 884 220 220 145 100 50 100 147 220 101 45 330 50 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DNxHD 36 DNxHD444 350 X AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 10 8 10 8 8 8 10 10 10 10 10 10 10 10 1080p/23.
Resolution Specifications Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 10 8 10 8 8 8 10 10 10 10 10 10 10 1080p/25 1920 x 1080 25.00 1659 1037 829 185 185 125 36 365 100 122 184 85 38 275 10 10 8 10 8 8 8 8 8 10 10 10 10 10 10 10 1080i/50 1920 x 1080 25.
Resolution Specifications Resolution Bits 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DNxHD TR-145 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 10 8 10 8 8 8 8 8 10 10 10 10 10 10 10 Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 1080i/59.94 1920 x 1080 29.
Resolution Specifications This module allows for real-time baseband capture with the Nitris DX and allows real-time performance for most rendering and mixdown operations. When you start your Avid editing application, it detects the presence of the AVC-I codec module. It will use the module for capture, render and mixdown. If the module is not present, the editing application uses the software codec to perform these operations.
Resolution Specifications The following table provides information about the Avid resolutions for interlaced media (30i NTSC and 25i PAL projects). Field size does not include blanking or VITC lines. Resolution Field Size (Visible Pixels) Fields Per Frame Quality 15:1s 352 x 243 (NTSC) 352 x 288 (PAL) 1 Offline — provides maximum storage with enough image detail to make basic editing decisions (you can check lip sync on a medium shot).
Resolution Specifications Resolution Specifications: JFIF Progressive The following table provides information about the Avid resolutions for progressive media (24p NTSC and 24p PAL projects). Frame size does not include blanking or VITC lines. Frame Size (Pixels) Quality 35:1 720 x 486 (NTSC) 720 x 576 (PAL) Offline — provides maximum storage with enough image detail to make basic editing decisions.
Resolution Specifications n M resolutions were recommended for Multicam in Meridien-based Avid editing applications. They remain available in current Avid editing applications for compatibility reasons, but are not recommended for use.
Resolution Specifications Resolution Frame Size Color Sampling Megabits per second (Mb/sec) DV 50 interlaced 720 x 480 (NTSC) 720 x 576 (PAL) 4:2:2 50 DV 50p progressive 720 x 480 (NTSC) 720 x 576 (PAL) 4:2:2 50 DVCPRO HD (720p) 1280 x 720 4:2:2 100 DVCPRO HD (1080i) 1920 x 1080 4:2:2 100 Resolution Specifications: MPEG MPEG resolutions are specifically intended to support the SMPTE Type D-10 bit stream produced and recorded by devices such as Sony MPEG IMX VTRs.
Resolution Specifications Depending on the project type and edit rate, you can fast copy import, play back, transcode, and render VC1 resolutions. You must first export your sequence or clip as a Windows media file in order to perform a fast copy import to your Avid editing application. The following limitations apply to VC1: • The VC1 codec is only available for Windows media. If you export to QuickTime, you must export to a QuickTime-supported codec or transcode your sequence or clip prior to exporting.
Resolution Specifications Edit Project Rate Stored Resolution Max Bit Raster Size Name Rate (WxHxFields) Playback Fast Copy Transcode Import Render 1080p VC1-APL3 45Mbit 1920x1080x1 Yes Yes Yes Yes VC1-APL3 6Mbit 1920x1080x1 No No No No No No No No 23.976 29.97 24 VC1-APL3 45Mbit 1920x1080x1 Yes Yes Yes Yes VC1-APL3 6Mbit 1920x1080x1 No No No No VC1-APL3 45Mbit 1920x1080x1 Yes Yes Yes Yes VC1-APL3 6Mbit 1920x1080x1 No No No No 23.
Support for Uncompressed HD Media The following table provides Apple ProRes MXF specifications by project type. Resolution Bits Project Format Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 10 23.976pNTSC 720 x 486 23.
Mixing Resolutions The following guidelines and limitations apply to handling uncompressed HD media on systems that do not support capture of uncompressed HD media: • You can play uncompressed HD media using the Best Performance (yellow) and Draft Quality (yellow/green) video quality settings. Playback of uncompressed HD media through the Avid input/output hardware as Full Quality (green) is not supported.
Estimating Drive Space Requirements Single-field resolutions work with smaller amounts of original image data than two-field or progressive resolutions. They use only half the image width of two-field resolutions, and they use only one of the two fields in the standard video signal. For example, there is a 2:1 resolution for both single-field and two-field resolutions. In both cases, the image data is compressed to one-half of its original size.
Storage Requirements Storage Requirements The following topics provide estimated drive space requirements for the various resolutions. They show figures for estimated minutes per gigabyte and also figures for the drive space required for certain amounts of material. “Estimating Drive Space Requirements” on page 1422 contains recommendations for achieving efficient storage for your digital media.
Storage Requirements Drive Space Needed for 1 Hour of Media (GB) Resolution Bits Project Format 1:1 10-bit HD 1:1 HD DNxHD 90 X DNxHD 90 DNxHD 60 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 8 10 8 8 8 8 10 10 10 10 10 10 10 720p/25 198 158 41 41 27 25 22 24 28 41 19 9 62 12 1:1 10-bit HD 1:1 HD DNxHD 110 X DNxHD 110 DNxHD 70 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 M
Storage Requirements Drive Space Needed for 1 Hour of Media (GB) Resolution Bits Project Format 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 8 10 8 8 8 8 10 10 10 10 10 10 10 720p/50 396 317 79 79 52 50 22 48 55 83 38 17 124 24 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes
Storage Requirements Drive Space Needed for 1 Hour of Media (GB) Resolution Bits Project Format 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DNxHD 36 DNxHD444 440 X AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 10 8 10 8 8 8 10 10 10 10 10 10 10 10 1080p/23.
Storage Requirements Drive Space Needed for 1 Hour of Media (GB) Resolution Bits Project Format 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 185 X DNxHD 185 DNxHD 120 DNxHD 36 DNxHD444 440 X AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 10 8 10 8 8 8 10 10 10 10 10 10 10 10 1080p/25 746 435 348 77 77 51 15 155 48 55 83 38 17 124 24 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 185 X DNxHD 185 DNxHD 120
Storage Requirements Resolution Bits Project Format 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 10 8 10 8 8 8 8 10 10 10 10 10 10 10 1080i/59.
Storage Requirements Resolution 2:1s 20:1 10:1 3:1 Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 4 9.4 106 MB 1.06 GB 3.18 GB 8 7.9 127 MB 1.27 GB 3.81 GB 0 5.8 172 MB 1.72 GB 5.16 GB 1 5.7 177 MB 1.77 GB 5.28 GB 2 5.5 182 MB 1.82 GB 5.46 GB 3 5.4 187 MB 1.87 GB 5.61 GB 4 5.2 193 MB 1.93 GB 5.79 GB 8 4.7 214 MB 2.14 GB 6.42 GB 0 16.6 60.
Storage Requirements Resolution 2:1 1:1 SD (Uncompressed) 1:1 10b SD (10-bit Uncompressed) Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 8 2.6 386 MB 3.86 GB 11.58 GB 0 1.9 516 MB 5.16 GB 15.48 GB 1 1.9 521 MB 5.21 GB 15.63 GB 2 1.9 526 MB 5.26 GB 15.78 GB 3 1.9 531 MB 5.31 GB 15.94 GB 4 1.9 537 MB 5.37 GB 16.11 GB 8 1.8 558 MB 5.58 GB 16.74 GB 0 0.
Storage Requirements Estimated Storage Requirements: JFIF Progressive Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 35:1 0 36.4 (NTSC) 30.3 (PAL) 27.5 MB 33.0 MB 275 MB 330 MB 824 MB 990 MB 1 30.5 (NTSC) 26.1 (PAL) 32.8 MB 38.3 MB 328 MB 383 MB 983 MB 1.14 GB 2 26.3 (NTSC) 22.9 (PAL) 38.1 MB 43.6 MB 381 MB 436 MB 1.14 GB 1.30 GB 3 23.1 (NTSC) 20.4 (PAL) 43.4 MB 48.9 MB 434 MB 489 MB 1.30 GB 1.47 GB 4 20.5 (NTSC) 18.4 (PAL) 48.7 MB 54.
Storage Requirements Resolution 3:1 2:1 Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 2 12.6 (NTSC) 10.7 (PAL) 79.1 MB 93.2 MB 791 MB 932 MB 2.37 GB 2.80 GB 3 11.8 (NTSC) 10.1 (PAL) 84.4 MB 98.5 MB 844 MB 985 MB 2.53 GB 2.96 GB 4 11.1 (NTSC) 9.6 (PAL) 89.7 MB 103 MB 897 MB 1.04 GB 2.69 GB 3.12 GB 8 9.0 (NTSC) 8.0 (PAL) 111 MB 125 MB 1.11 GB 1.25 GB 3.33 GB 3.75 GB 0 3.6 (NTSC) 3.0 (PAL) 278 MB 333 MB 2.78 GB 3.33 GB 8.33 GB 10.0 GB 1 3.
Storage Requirements Resolution 1:1 SD (Uncompressed) 1:1 10b SD (10-bit Uncompressed) Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 8 2.2 (NTSC) 1.8 (PAL) 459 MB 542 MB 4.59 GB 5.42 GB 13.8 GB 16.3 GB 0 1.0 (NTSC) 0.9 (PAL) 1.00 GB 1.15 GB 10.0 GB 11.5 GB 30.0 GB 34.5 GB 1 1.0 (NTSC) 0.9 (PAL) 1.01 GB 1.15 GB 10.1 GB 11.5 GB 30.3 GB 34.6 GB 2 1.0 (NTSC) 0.9 (PAL) 1.01 GB 1.16 GB 10.1 GB 11.6 GB 30.3 GB 34.8 GB 3 1.0 (NTSC) 0.9 (PAL) 1.02 GB 1.
Considerations for Managing Storage Estimated Storage Requirements: DV This table does not include estimated storage requirements for audio. Drive Space Needed for Resolution Minutes Per 1 Minute of (NTSC and PAL) Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media DV 25 5.0 200 MB 2.0 GB 6.0 GB DV 50 2.5 400 MB 4.0 GB 12.0 GB DVCPRO HD 1.2 800 MB 8.0 GB 24.
Considerations for Managing Storage Managing Storage to Improve Playback Performance The way you set up the media drives and target them when you capture can affect playback performance. Here are some suggestions for working with complex video images at high resolution, multiple video layers, or multicamera material: • For more effective playback of multiple streams of video at higher resolutions, stripe the media drives.
33 Working in High-Resolution Projects Avid editing applications include support for high-resolution media (HD, 2K and above). A full list of the video formats supported for capture, linking, editing, rendering and output is available on the Avid web site. n Depending on the model of your Avid editing application and on your Avid input/output hardware, some of these resolutions might not be available for capture in their uncompressed form.
Workflow: Film Reel Editing Based on delivery format requirements, you need to determine the best format for acquisition of the media. It’s best to begin with the highest resolution and quality source, and then “down-rez” to the required output format. Theatrical release (Film projector) Feature film or documentary release to theaters demands high-resolution, high-quality source material and output to film.
Workflow: Film Reel Editing The scenario below describes how to edit footage that is transferred to tape for offline editing. The sequences are edited in Media Composer at HD or lower resolution, and finished with 2K or higher scanned files in Avid DS at film resolution.
Checklist: Editing Film Reel Footage in Media Composer If you are linking to DPX files, necessary information such as KeyKode (key number) and timecode is inserted as metadata into each DPX file during the scanning process. If the DPX files do not contain the timecode information, an ALE is required in order to make the necessary correspondence to the associated DPX files. The ALE is usually supplied by the film-scanning facility or output by Media Composer.
Checklist: Editing Film Reel Footage in Media Composer This section outlines the workflows for 24/25-fps film source. Certain steps will have differences based on the project format and source footage you are using. Follow these steps in the order that they are listed, and return to this checklist each time you complete a step. Step Refer to this section The telecine process syncs picture and sound to create “Transferring Film to Tape” on the videotape.
Transferring Film to Tape Step Refer to this section If you will be finishing on an Avid DS system, then export an AFE of your final project or sequence from Media Composer. (You should first make a copy of the sequence, decompose it, and then export the bin.) “Exporting the AFE File to Avid DS” on page 982. For complete details on finishing in Avid DS, refer to the Avid High-Resolution Workflow and Color Management Guide.
Transferring Film to Tape system that includes audiotape recorders, a controller, and other equipment. The steps in the process will differ, depending on whether you include audio and whether the transfer produces NTSC or PAL videotapes. This section provides some guidelines to ensure that the film shoot and transfer process is well-planned for the Avid editing session. Film Shoot Specifications Use the guidelines in the following table to help you plan for film shoots that will be edited on an Avid.
Transferring Film to Tape Film-to-Tape Transfer Guidelines Observe the following general guidelines when transferring film to tape: n • Instruct the telecine facility to record timecode on the address track. • Instruct the facility to use only a telecine transfer process when transferring to NTSC videotape. Do not use a film chain or any other transfer device. • PAL transfers do not require pulldown, so you can use either a telecine or a film chain. However, quality is much better on a telecine.
Transferring Film to Tape Project Format Source footage During the telecine process HD 24 fps The telecine process transfers 24-fps film footage at 1:1 (no pulldown). It can also transfer the footage at HD 1080p/23.976 video at 1:1. This lets you create the project at 24p and later change it to 1080p without having to create a new project and sequence. In addition, you can keep both offline SD material and online HD material available in the same project. 23.
Transferring Film to Tape The transfer facility might have available one or more of the production aids described in the following table, which you can include in your film-to-tape transfer: Aid Description Automatic logging Whenever possible, you should instruct the facility to log tracking information directly into a computer database program.
Transferring Film to Tape Transferring Film to Video Film runs at 24 fps, and NTSC video runs at 30 fps. The difference in frame rates between film and video prevents a direct frame-to-frame transfer. To compensate, the telecine process creates an extra six frames every second (the difference between 24 and 30). This method of creating extra frames is known as pulldown. At the same time, the telecine slightly reduces the film’s running speed to 23.976 fps.
Transferring Film to Tape Transfer of 24-fps Film to PAL Video If you use a PAL transfer, the film-to-video process takes place in two stages: • Transfer the film to videotape by speeding up the film rate during the telecine process. • Capture the transferred videotape into the Avid system at the sped-up rate. There are two approaches to synchronizing sound, which are often referred to as PAL Method 1 and PAL Method 2.
Transferring Film to Tape You have the option of playing back the footage at 24 fps or 25 fps. If you select 24 fps, the system slows both the picture and the sound by 4.1 percent for playback. This approach lets you edit at the original film rate, but the slowdown creates a limitation for audio. Because you capture the audio at a rate faster than playback, some audio samples are duplicated during playback, and sound quality is compromised. If you select 25 fps, there is a different limitation with audio.
Transferring Film to Tape The following table describes the Audio Transfer options: Option Description Film Rate (100%) Select this option when your 24-fps film footage has been transferred MOS (roughly translated as “without sound”) to 25 fps by speeding up the film, and the audio comes in separately at 100 percent of the actual speed (PAL Method 2).
Workflow: File-based Editing with MetaFuze The illustration below describes the video dailies method: 5 BWF 2 1 HD 4:2:2 4 HD RGB 4:4:4 ALE/FLEx EDL/ALE/OMFI/AAF 33 PULL LIST 6 Avid Media Composer VIDEO DELIVERABLES (HD, SD, DVD, BLU-RAY) Description 1 Transfer reels of negative via telecine to HD 4:2:2 for the offline editing. 2 Import the film transfer files (FLEx, Evertz, Aaton, AFE) into Media Composer project bins and batch capture the footage from the dailies.
Workflow: File-based Editing with MetaFuze Use MetaFuze to transcode the high-resolution media to lower-resolution MXF media for the offline edit in Avid Media Composer. If you need to output at higher-than-HD resolution, or add special effects, you can conform the sequence in Avid DS and relink to the original high-resolution files to do the finishing.
Checklist: Film to File Editing in Media Composer (via MetaFuze) In the case of DPX files, necessary information such as KeyKode™ (key number) and timecode is inserted as metadata into the DPX file during the scanning process. If the DPX files do not contain the timecode information, an ALE is required to make the necessary correspondence to the associated DPX files. The ALE is usually supplied by the film-scanning facility or output by Avid MetaFuze.
Workflow: File-based Editing with AMA Step Refer to this section If you have multiple MXF files, export an edit “Exporting an ALE from MetaFuze” in list of all these clips via an ALE. the Supporting Applications Guide. Import the MXF file(s) into Avid Media Composer. “Importing MXF Files into Avid Media Composer” in the Supporting Applications Guide. Edit the sequence.
Workflow: File-based Editing with AMA The following workflow shows you how to link to digital file formats via AMA to edit your projects in Media Composer, and link to the same media in Avid DS to do the conform and finishing.
Checklist: File-based Editing in Media Composer via AMA Step 3: Output to tape or file In Media Composer or Avid DS, you can output any SD or HD formats as required. For a film out, use Avid DS to output the final sequence to master as a series of DPX or Cineon™ images (with an appropriate LUT) for recording to film. Checklist: File-based Editing in Media Composer via AMA The following checklist explains how to link and edit high-resolution RED media in Media Composer.
Checklist: File-based Editing in Media Composer via AMA Step Refer to this section Link to the source files. Linking to RED files via AMA is both “Editing with Low-Res RED Media” on processor and storage intensive. If you require page 1468. better performance, you may want to transcode your RED media and work with low-res proxies. You may need to change the color values (color balance, exposure, and contrast) on your RED media. “Linking Media with AMA” on page 391.
HD Workflow: Video-Based Television HD Workflow: Video-Based Television You can use this workflow for video footage shot at 720p/23.976, 720p/59.94 or 1080p/29.97. In these cases, however, you cannot simply change the project format (step 6). Instead, you need to create a new project that matches the source footage, open the bin or bins from the NTSC 30i project, change the sequence format, decompose, and batch capture.
Producing Graphics for Broadcast 3. Capture your material. Edit, apply effects, and create a final sequence. Avid HD editing applications support direct device control at 24 fps, enabling you to capture true 24-fps timecode from HD decks. When you are capturing 23.976-fps or 24-fps material in HD, the Capture tool displays 24-fps timecode for the Mark IN and Mark OUT points. After you capture a clip, the Start and End timecodes are also shown as 24-fps timecode. 4.
Creating a Film-Based Project Creating a Film-Based Project When you create a project that uses footage coming either from film reel or high-resolution digital files (2K+), the options that you choose for your project should be determined by: • The acquisition format (high-res digital files, 16mm or 35 mm film, HD video) • The audio rate (film speed of 48 kHz, or video speed of 48.048 kHz) • The finishing and output requirements of the project To create a new film-based project: 1.
Creating a Film-Based Project Format Source Output 1080p/23.976 High-resolution files coming from digital film cameras such Film, as RED, film transferred to HD videotape at 23.976 fps, or HD Broadcast, HD-originated 23.976-fps footage. This is the most NTSC Broadcast commonly used HD project in NTSC-based countries. 1080p/24 High-resolution files coming from digital film cameras such Film, as RED, or HD-video originated production (shot at 24 fps).
Creating a Film-Based Project Option SD (NTSC/PAL) HD and Film Film Gauge Available for 23.976p, 24p, 25p, 720p, and 1080p film projects. If you are using source material originating on film reel, click the Film button and select a format for film gauge tracking from the Default Film Type menu. Audio Transfer Rate Available for 24p PAL projects where material originated from tape. Matchback Available for 25i PAL, 30i NTSC, 720p, and 1080i Matchback projects only.
Creating a Film-Based Project Project Format Source footage 23.976 fps HD During the capture process Use a 24p deck if you need to downconvert HDTV to ITU-R 601 SD video. The deck adds 2:3 pulldown for video but maintains audio at 48 kHz. The Avid system removes both normal (2:3:2:3) and advanced (2:3:3:2) pulldown types. It maintains audio at 48 kHz, and creates 23.976p media. All HD footage is captured in its native format.
Editing with High-Resolution Media Editing with High-Resolution Media Your Avid editing system can work directly with film footage that is already in digital file format, such as files from digital video cameras or film scanning processes. In fact, media from the RED camera can be linked through your Avid editing application to avoid capturing these high-resolution files. Audio is included in the RED files, and will display as .wav files in the bin—see “Working with RED Media” on page 1468.
Editing with High-Resolution Media Displaying Media While Editing When you click the Play button while editing a clip or a sequence (sometimes referred to as Edit Play), the system separates (interlaces) the progressive frames into fields and does the following: • n On the Source, Record, Playback, or pop-up monitor, your Avid editing application displays the footage at 23.976 fps, 24 fps, or 25 fps, depending on your project and editing preference.
Editing with High-Resolution Media The Format tab in the Project window lets you change the format of the project to another format that shares the same frame rate. On systems with supported Avid input/output hardware, you can also change the raster dimension to improve performance as you edit HD projects. When you change the project format, the following changes take place: • The hardware changes to support input and output for the new project.
Editing with High-Resolution Media Changing the Sequence Format When your Avid editing application creates a sequence, it uses the format of the current project. You may not always need to change the edit rate of the sequence. For example, you can change an NTSC 30i sequence to 1080i/59.94 or to 720p/59.94. In other cases, you do change the edit rate, and the modified sequence uses motion adapter effects and contains other adjustments necessary to allow the sequence to play at the new edit rate.
Editing with High-Resolution Media Converting a 23.976p NTSC Sequence to 720p/23.976 Because the source edit rates are different for these formats, you cannot simply change the project and sequence format. The following sequence is based on source material shot or transferred to 720p/23.976 and edited offline in a 23.976p NTSC project. To convert a 23.976p NTSC sequence to 720p/23.976: 1. In the 23.976p NTSC project, duplicate the final sequence and move it to a new bin. 2. Decompose the sequence. 3.
Working with RED Media Working with RED Media Avid Media Access (AMA) is a plug-in architecture that allows you to link directly to clips on a storage device without importing the media directly on your system. AMA allows you to be more productive by browsing and editing directly from the storage device or volume. To link to RED media, you need the RED AMA plug-in installed on your system. You must also configure the necessary AMA settings as outlined in “The Avid Media Access (AMA) Workflow” on page 384.
Editing with Low-Res RED Media 3. Select the Mixdown & Transcode tab of the Media Creation setting. 4. Set the video playback quality from the R3D Source Quality (Debayer) menu to Quarter or Eighth. For many offline workflows this is an acceptable quality when transcoding to DNxHD 36. 5. Click OK. 6. Select the clip or sequence in the bin, and transcode your clip or sequence as required. For more details, see “Using the Transcode Command” in the Help. 7.
Color Management with RED Media 5. If you would like to change the any Source Settings to achieve the look or quality to you want, you can do so at the clip level, and refresh the sequence to apply the changes at the sequence level. 6. When you are ready for final output, right-click the sequence and transcode to the online resolution including handles. This will transcode only the required media.
Understanding HDV • 720p/59.95 • 1080i/50 • 1080i/59.94 Avid editing applications capture and process DVCPRO HD media and HDV media in its native format, through a 1394 port on your computer. You can capture from an HDV device, edit in native HDV, and export to an HDV device using these project types. You can also use HDV in other project types, but Avid editing applications are more efficient and perform better with the dedicated HDV project types.
HDV Workflow HDV uses MPEG-2 video encoding and MPEG-1 audio encoding. 1080i records at about 25Mbps and 720p records at about 19Mbps. Sony provides HDV cameras that record at 1080i/59.94 and 1080i/50. JVC® cameras record at 720p/29.97 and 720p/23.976. In some 1080i formats on qualified systems, you can reduce the data rate of the video before compression by setting the video display (raster) to resize horizontally from 1920 x 1080 pixels to 1440 x 1080 pixels or to 1280 x 1080 pixels.
Capturing and Importing HDV Capturing and Importing HDV You can import an HDV transport stream file (.m2t). Transport streams combine video and audio for transmission through an IEEE-1394 port. Your Avid editing application separates the transport stream after import or capture into the video and audio for editing. After import or capture, the master clips in your Avid editing application contain HDV long-GOP MPEG-2 video in MXF format and 2 channels of uncompressed 48 kHz 16-bit audio.
Playing Back HDV Media Playing Back HDV Media Depending on your input/output hardware, there might be some limitations when you play back HDV media. With a DV device connected in IEEE-1394 mode, you can play back to the DV device in Draft Quality and Best Performance quality only. With no device connected, you can play back as Full Quality and use the full-screen playback monitor. You can play back to the DV device as Full Quality only if you first transcode the material to DNxHD or DNxHD-TR.
Outputting HDV HDV Project Type Renders or Transcodes to 720p/29.97 DNxHD 75, DNxHD 110, DVCPro HD 720p/50 DNxHD 120, DNxHD 185, DNxHD 185x, DVCPro HD 1080i/50 DNxHD–TR 120 1080i/59.94 DNxHD–TR 145 For more complete information on rendering and transcoding, see “Basics of Effects Rendering” in the Help and “Using the Transcode Command” on page 428.
Outputting HDV To export the HDV material to an HDV device: 1. Select the sequence or marked section. 2. Select Clip > Export to Device > HDV. The Export to HDV Device dialog box opens. 3. Select options as described in the following table: Option/Suboption Description Use Existing Transport Stream Select this option if you previously exported or output a transport stream and saved it. Create New Transport Stream/ Not available if you use an existing transport stream.
Outputting HDV Outputting HDV through Avid Input/Output Hardware You can use Avid input/output hardware to output a sequence created with HDV media, but you must transcode the sequence and then use the standard Digital Cut tool. To perform a digital cut on a system using Avid input/output hardware: 1. Select the sequence or marked section. 2. Transcode the sequence as described in “Outputting HDV” on page 1474. 3. Select Clip > Digital Cut 4. Proceed as with any digital cut.
Outputting HDV Exporting HDV as Windows Media Use the following samples as a guide when exporting an HDV sequence as Windows Media for use on the Web or for use in DVD authoring: To export HDV as Windows Media for use on the Web: 1. Select the sequence or clips you want to export. 2. Select File > Export. The Export As dialog box opens. 3. Click the Options button. The Export Settings dialog box opens. 4. Select Export As > Windows Media. 5.
Outputting HDV 3. Click the Options button. The Export Settings dialog box opens. 4. Select Export As > Windows Media. 5. Set the following: Setting Value Width 1440 Height 1080 FPS 60 Video Type Progressive Pixel Aspect Ratio 16:9 Codec Windows Media 9 VBR Enabled and set to Quality Audio Settings Leave set at defaults 6. Click Save to export the sequence. 7. In the Export As dialog box, select the destination folder for the file. 8. Click Save.
Raster Dimensions Raster Dimensions Some earlier versions of Avid editing applications allowed you to create projects based on some device-specific HD compression formats, including 1080i 59.94 HDV and 1080i 50 HDV. Some versions allowed you to set specific raster types for your HD projects — for example, DVCPro HD.
Raster Sizes You can open an existing HD project (for example, a 1080i 50 HDV project) created either with an earlier version of an Avid editing application or with a version that does not support Raster Dimension selection. You can also create a new project using Raster Dimension selection that has the same size used in an existing project. Use the following guidelines when switching between existing and new project types.
Raster Sizes Availability of Raster Dimensions for Full Quality Playback (Continued) Project type 1280 x 720 960 x 720 1920 x 1080 1440 x 1080 1280 x 1080 1080p 23.976 No No Yes (standard) Yes No 1080p 24 No No Yes (standard) No No 1080p 25 No No Yes (standard) No No 1080p 29.97 No No Yes (standard) No No 1080i 50 No No Yes (standard) Yes No 1080i 59.
34 International Character Support (ICS) in Avid Editing Applications This chapter provides information on international character support (ICS) in your Avid editing application.
Using a Local Language Operating System (Windows Only) Using a Local Language Operating System (Windows Only) On Windows systems only, you can display and input characters in languages other than English by installing the local language version of the operating system and working within that operating system. n Interplay applications are not qualified on systems running local language operating systems.
Non-English Character Support (Macintosh) To set the language in the Language & Text window: 1. Select Apple menu > System Preferences > Language & Text. The Language & Text window opens to the Language tab. 2. In the Languages list, click the language you want, and drag it to the top of the list. If you do not see the language you want in the list, click Edit List, select the language, and click OK. 3. (Option) Click the Text tab and select other options.
Non-English Character Support (Macintosh) 4. Click the Formats tab, and then click the Region menu and select your region. If you do not see your region, select “Show all regions” and then click the Region menu again. 5. Click the Close button. n For more information about the Language & Text window, see Mac Help by clicking the question mark icon in the window.
Non-English Character Support (Macintosh) To add your language’s keyboard layout, input method, and character set palette to the operating system’s Input menu (Flag icon): 1. Select Apple menu > System Preferences > Language & Text. The Language & Text window opens to the Language tab. 2. Click the Input Sources tab. 3. Select the language or languages in which you want to type. 4. Select “Show input menu in menu bar.” 5. Click the Close button. 6.
Non-English Character Support (Windows) Non-English Character Support (Windows) On Windows systems only, you can specify a non-English keyboard layout and text entry format for the language in which you want to type. The operating system itself does not need to be in the same language as that in which you are typing. For more information, see “Using Foreign Keyboard Mapping (Windows)” on page 1491 and your Windows documentation. To specify a language in which to type (Windows 7): 1.
Non-English Character Support (Windows) 4. Click the Formats tab, and then click the Format menu and select a language. 5. Click the Location tab, and then click the Current location menu and select your location. 6. Click the Keyboards and Languages tab. 7. If necessary, click “Install/uninstall languages” and follow the prompts to install supplemental languages.
Non-English Character Support (Windows) 8. Click “Change keyboards.” The Text Services and Input Languages dialog box opens. 9. In the “Installed services” area in the General tab, select a language and a keyboard layout for that language. 10. If the language you want is not in the list, click Add, select an input language and a keyboard layout for the language, and then click OK. 11. In the “Default input language” area, select an input language.
Using Foreign Keyboard Mapping (Windows) Using Foreign Keyboard Mapping (Windows) On Windows systems, when you start your Avid editing application under a new locale, your Avid editing application automatically creates a Keyboard setting for your language. You can view the keyboard layout by clicking the appropriate Keyboard setting in the Settings list. The default Avid keyboard layouts for English, French, or German map correctly to the characters on the physical keyboard.
Considerations for International Character Support Considerations for International Character Support This topic provides recommendations, tips, and information on limitations for using international character support in your Avid editing application. Use One Locale When Sharing Files Make sure that your projects do not contain characters from more than one locale. File sharing might not work correctly.
Considerations for International Character Support Character Limitations for EDL Manager You can display diacritical marks and Chinese characters in EDL Manager but those characters are not preserved when you save and reopen an EDL. If you plan to create and save an EDL from your sequences, you must use ASCII names for tape names. The RT-11 format that is sometimes used for disks that store EDLs has a very limited character set: A-Z (capital letters only), 0-9, space, and $.
Considerations for International Character Support 3. In the Transform pane, rotate the box by setting rotate Z to -90. 4. Enter Text mode, and type in your text. The text appears moving down vertically. Additional Tips and Limitations for Working with International Characters • You must install your Avid editing application after you set up your system for international character support.
35 Open I/O Support With the Media Composer family of products, Avid has implemented a Hardware SDK allowing 3rd party vendors to develop plug-ins for their hardware I/O devices. The plug-ins will enable 3rd party I/O hardware to interact with the Avid editing applications (Media Composer, Symphony, and NewsCutter). Currently, the 3rd party vendors who have access to develop plug-ins for their hardware in order to work with Avid editing software are AJA, Matrox, Blackmagic Design, Motu and Bluefish444.
Open I/O Limitations With this release, the 3rd party hardware plug-ins will not be able to support the entire feature set of the editing application and therefore will not support the following in the Avid editing application: • Ancillary Data • LTC Input and Output • Stereoscopic Full Frame Capture and Output • Audio Punch-In • Utilize any Hardware Codec Modules • Universal Mastering (Frame & Signal Convert to a Different Format) 1496
Index Numerics 1 Pass encoding 1336 1:1 video defined 1406 1394 capturing HDV through 1473 capturing through 203, 204 connecting devices 156 1394 button playback to DV device with 481 selecting DV device with 204 selecting output device with 997 setting video quality with 484 15-day trial PhraseFind 519 ScriptSync 615 16:9 format 138, 1441 16-channel audio enabling 1015 2 Pass encoding 1336 2:3 pulldown transferring film to video with 1446 23.976p projects converting NTSC sequence to 720p/23.
Index Add Channel button (Deck Configuration dialog box) 151 Add Comments command (Clip Name menu) 566 Add Control Key button (Command palette, Other tab) 97 Add Deck button (Deck Configuration dialog box) 151 Add Dissolve button See Quick Transition button Add Edit button 765 for maintaining sync 575 for MultiCamera editing 1245 Add Edit function for maintaining sync 575 using 681 Add Filler at Start command (Clip menu) 541 Add Keyframe button commands 1317 Add Marker button 489 Add New Column dialog box
Index AIR Fuzz-Wah RTAS plug-in 906 AIR Kill EQ RTAS plug-in 907 AIR Lo Fi RTAS plug-in 908 AIR Multi-Chorus RTAS plug-in 910 AIR Multi-Delay RTAS plug-in 911 AIR Non-Linear Reverb RTAS plug-in 912 AIR Phaser RTAS plug-in 913 AIR Reverb RTAS plug-in 915 AIR Spring Reverb RTAS plug-in 917 AIR Stereo Width RTAS plug-in 919 AIR Talkbox RTAS plug-in 920 AIR Vintage Filter RTAS plug-in 922 ALE (Avid Log Exchange) converting shot log files with (Macintosh) 109 converting shot log files with (Windows) 105 Alias f
Index connecting to 1116 logging in 1116 remote assets 1107 settings for 413 using 413 using drag-and-drop method to check in assets 1137 using menu command to check in assets 1137 Asset types, selecting 1158 Associated sequences described 1091 linking a sequence to a story 1088 locating sequences 1091 locating stories 1091 Attic folder described 63 See Avid Attic folder Attributes searching remote assets for 1168 Audio 16-channel output 1015 5.1 732 7.
Index sync, on output 997 time compression 885 timecode for shoots 1441 tools, accessing 713 tracks, adjusting in Audio Mixer tool 750 tracks, soloing 719 transfer options 1447 using leader to maintain sync 573 voice-over 800, 800 volume, adjusting in Audio Mixer tool 750 volume, adjusting in Timeline 767 waveform plots 725 Audio Data commands (Timeline Fast menu) 725, 767, 771 Audio effects rendering order 747 Audio EQ 766 Audio EQ (Equalization) adjusting while playing 799 removing 794 saving 792 templat
Index audio sample clock 1296 Audio sample rate options 1296 Audio settings described 1295 Audio Settings dialog box adjusting digital scrub parameters 723 Audio Source Tape TC Rate (Film and 24p Settings dialog box) 150 Audio timecode 714 Audio tone media creating 176 Audio tool Calibrate mode 178, 178, 178 checking input levels 175 described 173 digital scale 174 input levels, adjusting 175 opening 173 volume unit scale 174 Audio Tool command (Tools menu) 750, 1011, 1012, 1017 Audio Track Monitor button
Index Automounting workspaces ISIS v2.
Index Avid License Control tool 522, 617 Avid logs See also Shot log files See Shot log files clip data in 117 creating 113 custom Titles in 115 data entries in 117 formatting guidelines 113 global Titles in 114 importing ASCII file format 121 sample created with text editor 120 specifications 113 standard Titles in 115 Avid MCXpress for Windows NT importing files from 1397 Avid Media Access Workflow 384 Avid Media Access (AMA) workflow 387 Avid Media Store 1251 login 1254 searching 1256 Avid MediaFiles fo
Index Bin columns copying information 323 Field Motion 553 Bin display 334 Bin editing in Segment mode 662 using the keyboard 662 Bin Fast menu described 309 Loop Selected Clips command 470 opening 309 Bin headings modifying data in 325 setting audio format in 716, 731 Bin settings Auto-Save options 1302 Avid Attic files setting 1302 backup options 1302 described 1302 Bin views customizing 302 saving 302 types of 302 Bins adding columns 320 adding text in Script view 306 aligning columns 319 aligning frame
Index Blue bar See Position indicator Blue-only feature 1002 BMP file format additional export options 1342 import specifications for 1390 Bomb Factory BF76 AudioSuite plug-in 924 Browse button (Select Project dialog box) 45 Browsing for projects 45 B-side (incoming frames) in trims 695, 703 Buffer size audio, adjusting 740 Build Sequence button (NRCS tool) 1071, 1084 Burn-in code 1441 Buttons Add Alt Key (Command palette, Other tab) 97 Add Control Key (Command palette, Other tab) 97 Add Marker 489, 491 Ad
Index Calibration tone audio output 1011 creating media for 176 CamCutter files importing 276 Camera roll keypunch 1441 Camera setups in the lined script 584 Canon AMA plug-in 357, 359 Canon media 357, 359 Capture command (Tools menu, Toolset menus) 157, 1169 Capture command (Tools menu) 124 Capture in Progress slide in monitors 208 Capture mode entering 157 Capture Settings DV Options tab 1303 Capture settings Batch tab 1303 described 1303 DV Options 253 Edit options 244 Edit tab 1303 General tab 1303 Key
Index video transferred without pulldown 246 while logging 195 with external timecode 239 CCIR See ITU-R 601 CCIR video levels, Import settings 1352 Center Pan command (Clip menu) 764 Change Sample Rate command (Clip menu) 782 Change Scene/Page dialog box 595 Changing background color in bins 314 default pulldown frame 1037 font in the Script window 593 fonts in user interface 77 frame identifying a clip 304 frame sizes in bins 304 interface components color 75 page and scene numbers in the Script window 5
Index Clip tag (Post to Web) 1098 Clip Text command (Timeline Fast menu) 629 Clipboard copying to 564 described 565 preserving contents 565 recovering material from 565 Clipboard Contents command (Clip Name menu) 565 Clipboard Monitor command (Tools menu) 565 Clips See also Master clips See also Subclips assigning local colors in the Timeline 636 assigning source colors in bins 314 audio, marking 488 autosyncing 576 batch capturing 212 changing identifying frame 304 changing resolution by transcoding 428,
Index Color correction settings 1309 Color indicators (script integration) adding to takes 606 described 586 Color Match control 3 x 3 averaging of pixels, setting 1309 Color Match eyedropper 1309 Color submenu (Script menu) 606 Colors local and source, displaying in Timeline 632 Column headings for MultiRez 1223 setting audio format in 716, 731 Column Titles in Avid log file 115 Columns adding (Interplay Window) 1153 bins 232 changing size in Research panel (Interplay Window) 1153 creating (Interplay Wind
Index procedure 424 sequences 422 subclips 422 Consumer level audio selecting an XLR adaptor 1016 Consumer-grade video deck capturing from 185 limitations when capturing 189 Context menus 29 Control track using for preroll 147 Control track breaks capturing across 211 Controller settings 775 Avid Artist Series controller 846 described 1308 Controller Settings dialog box 775, 818 Controllers Command|8 103 configuring 103 Digi 002 103 Converting audio sample rates 782 Converting shot log files using Avid Log
Index Cutting segments from Timeline 661 text in the Script window 593 Cycle Picture/Sound button 665 Cycle Trim Sides button 695 Cycling tracks 665 D D1 VTR calibrating input from 183 recording to 1002 DAT See Digital audiotape (DAT) Data entries in Avid log file 117 Data Track adding 1047 ancillary data 1046 capturing 1054 Data track Data mixdown 1055 exporting 1055 Databases checking out Avid assets 1136 DC Offset Removal AudioSuite plug-in 931 Deck pausing while logging 128 Deck Configuration settings
Index Deleting add edits (match frames) 681 bin columns 319 bins 62 clips and sequences 312 columns 319 deck configurations 155 markers 495, 497, 499 media files in bins 312 media files with Media tool 420 MultiRez clips 1226 page and scene numbers in the Script window 595 Production cues (NRCS tool) 1080 projects 49 remote assets 1149 script marks 623 segments, in Segment mode 659 settings 1287 slates in the Script window 600 stories (NRCS tool) 1076 takes in the Script window 603 text in the Script windo
Index selecting decks from 1022 using 1020 Digital cuts audio-only 1037 custom preroll for 1023 previewing 1022 record options 1023 recording 1020 recording using Local mode 1027 recording using Remote mode 1023 rendering effects for 1019 Digital scale (Audio tool) 174 Dipping audio 779 Directory panel changing fonts 1164 deleting folders in 1159 deleting stories 1076 making shortcuts 1076 opening a story 1074 removing shortcuts 1076 saving stories 1091 using 1074 Directory panel (Interplay Window) See Med
Index selecting for capturing 165 striped for capturing 138 striping 139 Drop-frame timecode described 155 output 1034 simultaneous output with non-drop-frame 1035, 1035 Dropped frames avoiding during output 1019 during digital cut 1023, 1027 Dual monitor display 456 Dupe checking 1376 Dupe Detection 682 Dupe Detection Handles option (Timeline settings) 1376 Duplicate AudioSuite plug-in 934 Duplicate command (Edit menu) creating new import settings with 257 duplicating clips and sequences with 310 duplicat
Index proxy media (XDCAM) 286 Segment Mode, guidelines 653 stories (NRCS tool) 1077 sync breaks, avoiding 569 types of selective camera cutting (MultiCamera) 1249 with film track 685 with the Script window 624 Editor Database Settings 1140 Edits adding (match-framing) 681 backtiming 678 copying to Clipboard 564 extending 706 Extract 564 Insert 546 Lift 564 Overwrite 547 Replace 547 replace clips 671 reviewing 702 rough cut 543 Splice-in 546 undoing or redoing 545 Effect Editor Settings described 1317 Effec
Index Export settings Audio 1340 AVI 1335 AVI Video Compression 1335 DV Stream 1334 Graphic 1341, 1345 Graphic Format 1342 OMFI, AAF, and AFE 1324 QuickTime Compression settings 1332 QuickTime Movie Export options 1329 QuickTime Movie settings 1331 QuickTime Reference options 1327 Video Compression options 1058 video compression options 1335 Windows Media Export options 1336 XDCAM 1345 Export Settings dialog box 976 Export Settings dialog box options 1321 Export settings, video compression options 1335 Exp
Index F F5 button, refreshing with 1159 Factory preset buttons in Video Input tool 185 in Video Output tool 1002 Fader controller external, adjusting pan with 816 external, adjusting volume with 816 external, using 815, 823 recording audio volume 815 Fader controllers described 810 external, adjusting pan with 770 external, adjusting volume with 770 Live Mix mode 775 Fading audio 779 Fading audio 1296 Fast command (Vertical Scroll Speed menu in Mouse Settings dialog box) 30 Fast Cue option (Deck settings)
Index Final Cut Pro importing shot logs from 105 Find 530 Find Bin button 511, 512 in the Script window 624 Find Black Holes command (Clip menu) 686 Find command (Edit menu) 506, 595 Find Flash Frames command (Clip menu) 686 Find Next Mismatched or Unavailable Clip command (MultiRez menu in Timeline) 1222 Find Script button 624 Find window 506, 535 Finding bins from a monitor 511 black holes 686 clip names 506 clips 506 flash frames 686 frames, with the Find command 506 frames, with timecode offset 503 mar
Index changing size in Research panel (Interplay Window) 1153 enlarging or reducing in Research panel (Interplay Window) 1153 exporting 973 finding with Match Frame 509 finding with timecode offset 503 rearranging in bin Frame view 304 rearranging in bin Script view 306 Framestore file format import specifications for 1390 Frequencies (audio), adjusting 786 Full Quality 10-bit command (Video Quality menu) 482 Full Quality command (Video Quality menu) 482 Full Screen Playback enabling 468 settings 1346 Full
Index H Halt Digital Cut button (Digital Cut tool) stopping Digital Cut preview with 1022 stopping Digital Cut with 1023, 1027 Hard subclips 228 Hardware check list for capturing 138 turning off 49 turning on 27 Hardware command (Tools menu) 103 Hardware tool displaying information 70 using 103 HD Component signal, adjusting output 1008 crossconverting and downconverting 1008 Raster Type selection for projects 41 sync options 998 HD media offline formats for 1464 HD SDI embedded audio and sample rate conve
Index IFF file format import specifications for 1390 Image files sequenced, naming for import 1395 Image quality for interlaced resolutions 1414 Import command (File menu) 135, 259 Import Options section (Batch Import dialog box) 295 Import Settings XDCAM tab 1357 Import settings alpha channel options 1352 aspect ratio options 1352 Audio tab 1356 CCIR video levels 1352 described 1352 dominance options 1352 Image tab 1352 modifying 257 OMFI tab 1355 overview 257 RGB graphics levels 1352 Shot Log tab 1355 XD
Index Interface settings described 1358 General tab 1358 Interface settings (Appearance tab) changing color of 75 changing text font and size 77 described 75 Interlaced clips mixing with progressive 548 Interlaced resolutions specifications for 1414 storage requirements for 1428 Internal command (Sync Lock menu in Video Output tool) 997 International character support (ICS) taking advantage of 1483 International operating system 1484 Interplay Media tool with 418 Interplay Asset Manager 1058 Interplay Assi
Index trimming 703 trimming on-the-fly with 703 J-K-L keys (Three-Button Play) 703 Jog mode Avid Artist Series controller 859 JPEG file format additional Export options for 1342 import specifications for 1390 K Keyboard controlling decks from 231 mapping buttons to 98 mapping foreign 1491 mappings for playback control 478 Keyboard shortcuts audio keyframing 773 Volume Automation and Pan 773 Keyframes adjusting pan for individual 816 adjusting volume for individual 816 audio, keyboard shortcuts 773 Keypunc
Index Local colors assigning in the Timeline 636 displaying in Timeline 632 Local language operating system, using 1484 Locales, using characters from only one 1492 Lock Bin Selection command (Clip menu) 315 Lock icon (Track Selector panel) 672 Lock Tracks command (Clip menu) 673 Locking and unlocking bin items 315 shared bins 88 tracks 672, 673 Lo-Fi AudioSuite plug-in 945 Log files importing from film-to-tape transfer systems 302 See Shot log files Logging 104, 135 automatic, during film transfer 1441 au
Index Markers window deleting markers from 497 displaying frames in 497 displaying MetaSync information 497 displaying timecode or footage column in 497 exporting 498 importing 498 printing 501 sorting markers in 497, 497 Marking audio clips 488 clips 486 footage 484 IN and OUT points 484 segments 486 segments in Segment mode 660, 661, 662 text as Closed Caption (NRCS tool) 1078 text as machine control (NRCS tool) 1078 text as normal (NRCS tool) 1079 text as Presenter Instructions (NRCS tool) 1078 with mar
Index Media drives, unmounting 416 Media files archiving 444 backing up 434 capturing to multiple 148 consolidating, described 422 consolidating, options for 424 consolidating, procedure 424 deleting in bins 312 deleting unreferenced clips 433 deleting using Media tool 420 finding related 435 managing in a workgroup environment 413 managing, overview 412 manipulating with the Media tool 417 restoring from videotape 448 unlinking 443 Media Files Capture settings 148 Media Indexer auto-indexing local drives
Index Unmount (File menu) 416 Video Input Tool (Tools menu) 183, 185 View Type (Timeline Fast menu) 679 Message-of-the-Day options (NRCS tool) configuring 1065 MetaSync described 583 MetaSync information in Markers window 497 MII component video standard unsupported 1381, 1381 Millivolts (mVolts) 1373 Mix Mode Selection 1296 Mixed rate clips defined 548 field-stepping in draft qualities 555 identifying in Timeline 551 limitations with XDCAM AMA media 555 summary of user interface 549 transcoding 555 using
Index frames in the bin 304 IN and OUT points 484 remote assets 1149, 1159 script marks 623 settings between systems 1060 slates in the Script window 600 through clips 476 Moving settings between settings files 1288 MPEG resolutions described 1417 specifications storage requirements for 1434 Multi-angle View menus 1247 MultiCamera editing 1235 Full-Monitor Display 1238 Nine Split Source view 1238 Quad Split Source view 1238 MultiCamera mode committing edits 1249 described 1238 Group menu 1246 grouping 1236
Index Network drives accessing from Console window 101 Network drives command 101 New Audio Track command (Clip menu) 540, 674 New Bin button (Project window) 59 New Bin command (File menu) 59 New Deck Controller command (Tools menu) 94 New Folder command (Bin display Fast menu) 61 New Meta Track command (Clip menu) 674 New Project button (Select Project dialog box) 42, 1459 New Script command (File menu) 590 New sequence setting up 538 New Sequence command (Clip menu) 538 New Video Track command (Clip men
Index NTSC-EIAJ format setting 150 video output calibration 1001 waveform values 185 Numeric keypad support for multicamera editing 1245 O Offline editing detecting duplicate frames during 682 Offline items selecting in bins 317 Off-screen dialog in the lined script 584 indicating in the Script window 605 Off-screen indicators (script integration) adding to takes 605 described 586 Offset between audio and video playback, adjusting 468 Offset, DV Capture 204 OMF capturing media files 148 Media Files tab 14
Index Output to DV Device command (Video Quality menu) 481 Overlap edits audio 488 creating 705 using extend edits 706 Override Working Settings with Target Settings command (MultiRez menu in Timeline) 1214 Overriding Field Motion clip attribute 553 Overwrite button overwrite edits with 547 Overwrite edits 547 P P2 AMA plug-in 350 spanned clips 348, 356, 359, 360 P2 card importing clips from 290, 290 writing sequences to 992 Page and scene numbers (Script window) adding 595 changing 595 deleting 595 searc
Index Photoshop files importing multilayered 269 importing single-layer 273 PhraseFind 517, 530 15-day trial 519 activating 517 purchasing 517 selecting a language 529 PICS file format brief description 1395 PICT file format additional export options for 1342 import specifications for 1391 PICT files of bars, importing 275 Picture quality ensuring by calibrating input levels 185 Pin button (Interplay Window) 1164, 1169 Ping-Pong Delay AudioSuite plug-in 950 Pitch Shift AudioSuite plug-in 950 Pixar file for
Index export options 1102 Hyperclip tag 1101 linked clips 1093 processing scripts 1092 ProEncode 1102 Story tag 1096, 1096 Text tag 1097 Videoformat tag 1099 Web templates 1095 Postroll in Trim mode playback loop 702 Power schemes (Windows) 157 Preferences fonts 1164 Premultiplied alpha 1389 Preparing for batch capturing 211 for importing files 257 for output 996 for video input 183 hardware before capturing 138 record tapes 1016 sequences for export 965 shot log files with text editors 121 Preroll custom
Index Projects 24p and 25p 1437 browsing for 45 changing formats 1464 changing name 50 closing 45 creating folders within 62 creating new 42, 1459 creating shortcuts in Interplay Window 1151 deleting 49 exporting as AFE files 981 files, restoring from backup 51 opening 45 opening automatically 45 Raster Type selection 42 relinking media files for 443 remote assets 1112 removing shortcuts in Interplay Window 1151 restricted characters in names 42 saving 51 shared, opening 87 sharing on Avid Unity 85 startup
Index QuickTime movies exporting 982 methods for exporting 982 QuickTime Reference Movie files exporting with Avid DV Codec 1327 QuickTime reference movies exporting 982 Quitting Avid editing application 49 R Raster sizes 1481 Raster types described 1480 DVCPro HD 1480 HDV 1480 raster sizes 1481 Standard 1480 XDCAM HD 1480 Ratcheting play speed 479 Read Audio Timecode command (Special menu) 714 Read Audio Timecode dialog box 714 Read time, finding (NRCS tool) 1083 Real Time Update option 1317 Realtime Enc
Index Reimporting files, overview 292 files, procedure 292 Reimporting imported files 287 Relationships for color correction defining with IN and OUT points 1309 Relink dialog box in an Interplay environment 1216 Relinking by resolution 440 consolidated clips 442 dynamic relink 1200 in an Interplay environment 1216 moved projects 443 selected clips 441 Remote assets See also Interplay Window accessing assets 1141 automatically checking in to asset manager 1140 Avid assets 1107 capturing to asset manager 11
Index reports stock footage 1271 Res (Resolution) menu (Capture tool) 164 Research panel changing fonts 1164 refreshing 1159 Research panel (Interplay Window) adding columns 1153 changing the custom layout 1162 closing tabs 1164 comments 1159 creating new columns 1153 deleting a saved layout 1162 described 1146 displaying multiple tabs 1164 hiding columns 1153 Media Search tab 1166 modifying the display 1152 moving columns 1153 sorting columns 1153 Research Panel tabs 1164 Reservations 1146, 1147 Reset Pea
Index AIR Frequency Shifter 905 AIR Fuzz-Wah 906 AIR Kill EQ 907 AIR Lo Fi 908 AIR Multi-Chorus 910 AIR Multi-Delay 911 AIR Non-Linear Reverb 912 AIR Phaser 913 AIR Reverb 915 AIR Spring Reverb 917 AIR Stereo Width 919 AIR Talkbox 920 AIR Vintage Filter 922 Rundowns working with 1183 Runup option (Remote Play and Capture settings) 1369 RY Gain slider adjusting for video input 185 adjusting for video output 1002 S Safe Action option (Grid settings) 1350 Safe Colors defining units of measurement for 1373 Sa
Index in takes 605 interpolating position for 599 lining conventions in 584 using color indicators 606 using off-screen indicators 605 using script marks 606 workflow 586, 624 Script Mark button 607 Script marks adding 607 adding during automatic screening 608 deleting 623 described 586 manually placing 607 moving 623 using 606 using for playback 622 using to find script 624 Script range, splicing 626 Script settings described 1373 using 590 Script Settings dialog box 590 Script text changing font of 593 c
Index keeping open 1169 performing 1166 remote assets attributes 1168 saving 1169 Text attribute 1168 Time attribute 1168 Types attribute 1168 Searching 532 audio 530 for page and scene numbers in the Script window 595 in the Script window 595, 595 searching for stock footage clips 1256 searching through the Avid Media Store 1256 Second row of buttons 457 Segment Drag Sync Locks option (Timeline settings) 657 Segment Mode editing guidelines 653 Segment mode adding comments 566 deleting segments 659 editing
Index Sequence information displaying, in a Script window 590 summary 449, 512 sequence information effect summary 449, 512 Sequence Time option (Digital Cut tool) 1023 Sequence Track buttons (Digital Cut tool) 1020 Sequenced image files 1395 Sequences adding comments to 566 adding tracks to 540 associating with NRCS stories (NRCS tool) 1088 building from a story (NRCS tool) 1084 changing audio sample rate for 782 changing resolution by transcoding 428, 428 changing start timecode for 539 consolidating 422
Index Controller 775, 1308 copying between files 1288 Correction 1309 Deck 1311 Deck Configuration 1310 deck configuration 151 Deck Preferences 1313 default 1287 deleting 1287 described 1281 displaying project 1285 duplicating 1286 DV Stream export 1321 dynamic relinking 1314 Effect Editor 1317 Export 1321 for configuring asset manager 413 Frame Chase capture 209 Full Screen Playback 1346 General 1349 GPI 839 Grid 1350 import 257, 1352 in Video Input tool 190 Interface 1358 interface (Appearance tab) 75 In
Index Shot logs See Shot log files Shot marks GFCAM 364 Show Add Keyframe Mode Menu command 1317 Show All Takes command (Script menu) 600 Show Entire Sequence command (Timeline Fast menu) 629 Show Every Frame command (Timeline Fast menu) 629, 685 Show Frames command (Script menu) 600 Show Markers command (Timeline Fast menu) 638 Show Mismatched Render Ranges command (MultiRez menu in Timeline) 1222 Show Mismatches command (MultiRez menu in Timeline) 1217 Show Target Availability command (MultiRez menu in T
Index Sorenson Squeeze exporting to 966 Sorting clips 300 columns (Interplay Window) 1153 columns, multilevel 300 Sorting transfers 1186 Sound Card Configuration settings 1374 configuring sound cards 172 Sound roll cues for shoots 1441 Source and Record monitors resizing 456 Source colors assigning in bins 314 displaying in Timeline 632 Source material displaying in the Timeline 645 loading into monitors 471 Source monitor described 455 Source settings QuickTime 377 RED 367, 371 Source Settings Histogram 3
Index building a sequence (NRCS tool) 1084 deleting (NRCS tool) 1076 editing (NRCS tool) 1077 finding read time (NRCS tool) 1083 saving (NRCS tool) 1091 saving changes to (NRCS tool) 1091 Storing 24p and 25p media 1463 Story body changing fonts 1164 Story lock (NRCS tool) 1077 Story panel (NRCS tool) adding production cues 1080 Story tag (Post to Web) 1096 Story timing adjusting (NRCS tool) 1089 adjusting with time markers (NRCS tool) 1089 adjusting with time pad (NRCS tool) 1089 Storyboard creating from a
Index T Tabs bins 308 Tail button 680 Tail command performing a quick edit with 680 Takes (script integration) adding 603 adjusting lines in 603 applying color indicators 606 applying off-screen indicators to 605 changing representative frame for 603 deleting 603 described 586 displaying numbers for 603 loading 603 loading from script marks 622 playing 603 removing color indicators 606 removing off-screen indicators 605 selecting 603 showing one per slate 600 Tape deck See Decks Tape Lengths dialog box 445
Index Three-point editing with phantom marks 580 Thumbwheels option 1317 TIFF file format additional Export options 1342 import specifications for 1392 Time Compression Expansion AudioSuite plug-in 956 using to change media length 885 Time markers adjusting story timing (NRCS tool) 1089 Time pad adjusting story timing (NRCS tool) 1089 Time Shift AudioSuite plug-in 958 Timecode breaks, capturing across 147 changing 539 default starting 1349 display options for 24p and 25p projects 323 drop-frame and non-dro
Index zooming in and out of 650 Timeline palette trimming 690, 694 Timeline settings described 1375 Display tab 1375 Edit tab 1376 Play Loop tab 1379 Time-of-Day Information, using to log 253 Time-of-day timecode capturing with 203 external source 239 Time-remaining display (Capture tool) 165 Timewarp effect field-stepping in draft qualities 555 Tips logging 122 playback performance 568 Title tool backing up titles when promoting to Marquee 1361 Toggle Source/Record in Timeline button (Timeline) 565, 645 t
Index selecting for audio scrub (soloing) 719 selecting for capturing 161 setting up for a new sequence 540 soloing 668 soloing, advantages of 667 sync locking 672, 673 trimming with sync-locked 707 Training services 26 Transcode RED clip 375 Transcoding mixed-rate clips 555 options for 428 procedure for 428 Transcoding HDV 1474 Transfer settings in an Avid editing application 1173 Transferring files, reference of devices and methods 1058 projects between systems 1060 settings between systems 1060 through
Index two heads or tails 697 video tracks 697 with sync-locked tracks 707 Troubleshooting 25 vertical blanking interval information problems 1043 Turning off equipment 49 Turnover points in the Audio EQ tool 787 Two-field media and field dominance 1405 and field ordering 1403 Two-field mode indicators 476 U U-matic deck capturing from 185 limitations when capturing 189 Unattended batch capturing 211 Uncompressed video defined 1406 Undo command (Edit menu) 545 Undo Only Record Events option (Composer setti
Index VC1 (Windows Media option) 993, 1417 Vectorscope monitor using 185 Vertical Blanking Interval and effects 1043 and video quality 1043 line ranges in 1040 preserving information 1040, 1382 VHS decks capturing from 185 limitations when capturing 189 Video creating leader 581 display settings, selecting 466 hiding in monitors 456 input, adjusting chrominance settings for 185 input, adjusting luminance settings 185 input, calibrating 185 input, preparing for 183 input, sync for 185 leader, using to maint
Index View Name dialog box (bin) 302 View Type command (Timeline Fast menu) 679 View, bin customizing 302 saving 302 types of 302 View, Timeline Heads and Heads Tails 679 Viewing bins, list of 59 footage, in monitors 455 footage, in Timeline 455 footage, overview 455 Virtual volumes AMA 398, 399 VITC (Vertical Interval Timecode) for downstream encoding 1035, 1035 in a bin 325 V-LAN VLXi 151 V-LAN VLXi controller configuring with general-purpose interface (GPI) device 839 using with general-purpose interfac
Index Word processor creating Avid logs with 113 workflow AMA 384 Workflows AMA 387 ancillary data and AMA 410 audio editing 748 AVCHD 404 film scene 332 film source 1437, 1437 GFCAM 406, 406 graphics for HDTV 1458 MXF 409 Panasonic P2 403, 405 QuickTime 407 script integration 586 Segment mode 640, 652 Sony XDCAM 279 Sony XDCAM and XDCAM EX 400 Sony XDCAM low-resolution 401 video-based HDTV 1457 Workgroup environment working with Avid Interplay 413 working with media files 413 Workgroup settings 1116 Workg
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