Avid® NewsCutter® User’s Guide Supplement
Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software.
The following disclaimer is required by Ray Sauers Associates, Inc.: “Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc.
SP, Betamax, DVCAM, Hi8, I-LINK, and Sony are trademarks and/or service marks of Sony Corporation. Chyron is a registered trademark of Chyron Corporation. Cineon, Keykode, and Photo CD are trademarks of Eastman Kodak Company. Cinepak is a trademark of Digital Origin, Inc. V-LAN and VLXi are registered trademark of Videomedia, Inc. FaderMaster Pro is a trademark of JL Cooper, a division of Sound Technology. Focusrite is a registered trademark of Focusrite Audio Engineering Ltd.
Contents Using This Supplement About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Related Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 If You Have Documentation Comments . . . . . . . . . . . . . .
Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Time Compression Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Pitch Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Additional Supported Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Digidesign Intelligent Noise Reduction— Broadband Noise Reduction. . . . . . . . . . . . . . . . . . . . . . . . . . .
Appendix D Configuring an External Fader Controller or Mixer Supported Fader Controllers and Mixers . . . . . . . . . . . . . . . . . . . . . . . 77 Using the FaderMaster Pro and MCS-3000X . . . . . . . . . . . . . . . . . . . . . 79 MCS-3000X Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Using the Snap Mode Feature on the MCS-3000X Fader Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Appendix F Using SDTI Recording via SDTI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Digital Cut via SDTI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Limitations of SDTI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Using the 4X Transfer Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tables Table B-1 Graphics File Import Specifications . . . . . . . . . . . . . . . . 52 Table B-2 Animation File Import Specifications . . . . . . . . . . . . . . 56 Table B-3 QuickTime File Import and Export Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Table B-4 AVI File Import and Export Specifications. . . . . . . . . . 59 Table B-5 OMFI File Import Specifications . . . . . . . . . . . . . . . . . .
Using This Supplement The appendixes in this document contain reference material that supplements the information provided in the Avid NewsCutter User’s Guide. You should consult the Avid NewsCutter Release Notes for any late-breaking information that might apply to your system. About This Guide The Contents lists all topics included in the book.
• Appendix F, “Using SDTI,” provides an overview of SDTI and lists all known models of SDTI videotape recorders. • A detailed Index helps you quickly locate specific topics. Symbols and Conventions Unless noted otherwise, the material in this document applies to the Windows® 2000 operating system. The NewsCutter documentation uses the following special symbols and conventions: 1. Numbered lists, when the order of the items is important. a.
w A warning describes an action that could cause you physical harm. Follow the guidelines in this guide or on the unit itself when handling electrical equipment. If You Need Help If you are having trouble using NewsCutter, you should: 1. Retry the action, carefully following the instructions given for that task. 2. Check the documentation that came with your hardware for maintenance or hardware-related issues. 3.
• Avid NewsCutter User’s Guide This guide provides complete information on all editing tasks, such as recording footage, viewing and marking footage, editing, trimming, importing, exporting, and generating final output. This guide also provides a glossary that defines and explains many industry terms. • Avid NewsCutter Setup Guide This guide provides installation and configuration instructions as well as suggestions for troubleshooting problems that might arise with system hardware.
• Avid NewsCutter Online Publications CD-ROM This online collection provides electronic versions of this guide and other guides listed in this section. You can view these documents with Adobe® Acrobat® Reader®, which you can install from the CD-ROM. • Avid NewsCutter Help The NewsCutter application includes a Help system that can be viewed using your default Web browser. Help can be run as a standalone application from the Avid NewsCutter Online Publications CD-ROM.
APPENDIX A Using AudioSuite Plug-Ins This appendix describes how to access and use the AudioSuite plug-ins, including the set of core plug-ins that comes with your NewsCutter system. It also provides a list of other plug-ins that are supported by this release.
Accessing the AudioSuite Plug-Ins To access the plug-ins: t Choose AudioSuite from the Tools menu. The AudioSuite window opens. Plug-in Selection pop-up menu Drive Selection pop-up menu Status display Core AudioSuite Plug-Ins The following basic plug-ins are installed automatically as part of the NewsCutter system software installation: Using AudioSuite Plug-Ins • DeEsser — Reduces sibilants (“s,” “sh,” and “t” sounds) and other high-frequency noises that can cause distortion in audio signals.
• Gate — Reduces noise by decreasing the gain of signals that fall below a user-selectable threshold. • EQ — Allows you to adjust frequency equalization on individual audio clips. • Invert — Inverts the polarity (phase of the audio file). • Duplicate — Creates a new master clip from a selected audio clip. The plug-in uses the IN and OUT points on the selected clip to define the boundaries of the new clip. • Mod Delay — Provides time-delay-based effects.
Description of Core AudioSuite Plug-Ins The following sections give a brief overview of each plug-in and, where appropriate, describe how to use the plug-in. DeEsser The DeEsser plug-in isolates and attenuates sibilants (“ess” sounds: “s,” “sh,” and “t”) and other high-frequency distortions.
• Automate the Threshold control so that it is lower on soft sections when the audio material has both very loud and very soft passages. DeEsser Parameters The DeEsser plug-in has the following parameters. Input Meter Indicates the level of the unprocessed input signal to the DeEsser. Output Meter Indicates the output level of the DeEsser. Reduction Indicates the amount of gain reduction in decibels. It remains at the 0-dB level when the input signal is below the threshold.
Compressor The Compressor plug-in reduces the dynamic range of signals that exceed a selected threshold by a specific amount. The increase of input signal needed to cause a 1-dB increase in the output signal of the compressor is called the compression ratio. With a ratio of 4:1, for example, an 8-dB increase of input produces a 2-dB increase in the output. Audio material often varies in loudness and can be above the threshold at one moment and below it the next.
Compressor Parameters The Compressor plug-in has the following parameters. Input Meter Indicates the level of the unprocessed input signal to the Compressor. Output Meter Indicates the output level of the Compressor, including any gain compensation added via the Gain parameter. Reduction Indicates the amount of gain reduction in dB.
Ratio Allows you to set the compression ratio. The range is based on decibels above the threshold. If this parameter is set to 2:1, for example, it will compress changes in signals above the threshold by one half. Attack Allows you to set the Compressor’s attack time. The smaller the value, the faster the attack. The faster the attack, the faster the Compressor applies attenuation to the signal.
to see how the shape of this curve changes. It allows you to see the effect of your settings. External Key This parameter has no effect on the AudioSuite plug-ins. Key Listen This parameter has no effect on the AudioSuite plug-ins. Limiter The Limiter plug-in is used to prevent signal peaks from exceeding a chosen level so that they do not overload amplifiers or recording devices. Most limiters have ratios of 10:1 or 20:1, although some provide ratios of up to 100:1.
Limiter Parameters The Limiter plug-in has the following parameters. Input Meter Indicates the level of the unprocessed input signal to the Limiter. Output Meter Indicates the output level of the Limiter, including any gain compensation added via the Gain parameter. Reduction Indicates the amount by which the signal is being attenuated.
Release Allows you to control how long it takes for the Limiter to be fully deactivated after the input signal drops below the threshold level. If you use heavy limiting, you should use proportionally longer release times. This prevents pumping, which can occur when the Limiter is forced to jump back and forth between limited and unlimited signal levels. Lengthening the release time helps smooth these changes in level by introducing a lag in the ramp-up and ramp-down times of attenuation.
as a Gate by setting the Ratio to its maximum value and using short Attack, Decay, and Hold settings. Expander/Gate Parameters The Expander/Gate plug-in has the following parameters. Phase Invert Allows you to invert the phase (polarity) of the input signal in order to change frequency response between “multi-miked” sources or to correct for miswired microphone cables. Reduction Meter Indicates the amount of signal reduction in dB. Threshold Allows you to set the threshold level.
the threshold. This setting, along with the Ratio setting, allows you to control the softness of the Expander’s gain reduction. Hold Allows you to specify a duration (in seconds or milliseconds) that the Expander/Gate will stay open after the initial attack cycle. This parameter can be used as a one-time function to keep the Expander/Gate open for longer periods of time with a single crossing of the threshold.
graph to see how the shape of this curve changes. It allows you to see the effect of your settings. External Key This parameter has no effect on the AudioSuite plug-ins. Key Listen This parameter has no effect on the AudioSuite plug-ins. Gate The Gate plug-in reduces noise by decreasing the gain of signals that fall below a user-selectable threshold. Gate Parameters The Gate plug-in has the following parameters.
Attack Allows you to set the attack time of the Gate. Hold Allows you to specify a duration (in seconds or milliseconds) that the Gate will stay open after the initial attack cycle. This parameter can be used as a one-time function to keep the Gate open for longer periods of time with a single crossing of the threshold. It can also be used to prevent gate chatter, which may occur if varying input levels near the threshold cause the Gate to open and close very rapidly.
Key Listen This parameter has no effect on the AudioSuite plug-ins. EQ There are two EQ plug-ins: • 1-Band EQ II • 4-Band EQ II The EQ II plug-ins provide an enhanced “British EQ” sound that is favored by some audio engineers and producers. EQ II Parameters The EQ II plug-ins have the following parameters. Input Allows you to control the input gain of the EQ to prevent the possibility of clipping.
Gain Allows you to control the amount that the selected frequencies are cut or boosted (for Peak, High-Shelf, and Low-Shelf only). Freq Allows you to designate the center of the frequency region to be cut or boosted. Q (Peak only) Allows you to set the bandwidth of the Peak filter. Higher values represent narrower bandwidths. Lower values represent wider bandwidths. Bypass Bypasses the EQ. The 4-Band EQ II has individual Bypass buttons for each band (black buttons with EQ curve icons).
“bell” shape to a narrow notch. Broad curves tend to be most useful for musical applications. Narrow curves are useful for special-purpose processing such as hum removal. Higher values represent narrower bandwidths. Lower values represent wider bandwidths. High-Shelf Produces a lift or a cut at the specified frequency and above it. Low-Pass Attenuates all frequencies above the selected cutoff frequency setting at a rate of 12 dB per octave while allowing all others below the frequency to pass through.
Mod Delay The Mod Delay plug-ins provide time-delay-based effects. Effects obtained through the use of Mod Delay include slap echo, doubling, chorusing, and flanging. There are four Mod Delays, each of which is capable of a different maximum delay time: • Short Delay provides 1024 samples of delay (23.2 ms at 44.1 kHz or 21.3 ms at 48 kHz). • Slap Delay provides 7186 samples of delay (162 ms at 44.1 kHz or 149 ms at 48 kHz). • Medium Delay provides 16384 samples of delay (371 ms at 44.
LPF (Low-Pass Filter) Controls the cutoff frequency of the low-pass filter. This parameter allows you to attenuate the high-frequency content of the feedback signal. The lower the setting, the more high frequencies are attenuated. Delay Allows you to set the delay time between the original signal and the delayed signal. Depth Allows you to control the depth of the modulation applied to the delayed signal. Rate Allows you to control the rate of modulation of the delayed signal.
threshold) the peak level of your selection or file will be boosted. You can enter this information in one of three ways: t Enter a numeric decibel value below the clipping threshold. t Enter a percentage of the threshold. t Adjust the on-screen slider. Editing any of these controls automatically calculates the equivalent value in the others. To configure the Normalize parameters: 1. Type the amount of boost you want applied during the Normalize process. 2.
Reverse Reversed sounds are useful effects in many music and film and video projects. The Reverse plug-in lets you perform this type of processing very easily. DC Offset Removal The DC Offset Removal plug-in removes DC offset from your audio files. The term “DC offset” describes a specific type of audio artifact that might appear in digital audio signals.
Time Compression Expansion The Time Compression Expansion plug-in allows you to adjust the duration of any selected regions by increasing or decreasing the selection’s length without changing pitch. This function is particularly important in audio postproduction applications because it allows you to adjust sounds to specific time lengths or timecode durations for synchronization. n To change duration (length) and pitch simultaneously, use the Pitch Shift plug-in.
Master Clip Mode Parallel Processing The Time Compression Expansion plug-in allows two tracks to be time-compressed or expanded as a “stereo pair,” so that the two sides of the stereo signal are processed relative to each other. The Time Compression Expansion plug-in has special parameters that let you enter time compression or expansion values in different formats, as explained in the following sections. They are located in the Source and Destination columns and include the Ratio slider.
You can also enter a new tempo, bars:beats:ticks length, or time signature for regions that have tempo or Bars & Beats settings. This can be any region associated with a MIDI Metronome value (such as an overdub recorded to a MIDI click) or regions that have been processed with the Pro Tools® Identify Beat command. The Ratio slider lets you set the destination length in relation to the source length.
slider to manually adjust and optimize crossfade times, if necessary. For audio material with sharper attack transients, use shorter crossfade times. For audio material with softer attack transients, use longer crossfade times with a range in values of 1 to 200 ms. Min Pitch The Min Pitch slider lets you select the minimum (lowest) pitch that will be 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.
Pitch Shift The Pitch Shift plug-in allows you to adjust the pitch of any source audio file with or without a change in its duration. This powerful function allows sounds to be transposed a maximum of a full octave up or down in pitch with or without altering playback speed. Edit the Pitch Shift parameters by double-clicking and typing in any text box or by dragging the sliders. All Pitch Shift plug-in controls are linked, so that changing one changes the others.
Pitch Shift Parameters The Pitch Shift plug-in has the following parameters. Gain The Gain controls set the input level, in tenths of a decibel. The input level should be set so that the plug-in can adequately handle amplitude peaks in the selection. Dragging the slider to the right increases gain, and dragging the slider to the left decreases gain. Coarse and Fine Adjust the pitch by dragging either of the two faders or by typing values in the Coarse and Fine text boxes.
Consider that altering a file in this way has little detrimental effect on the fidelity of audio files, whereas time correction can affect fidelity in a pronounced way. Ratio The Ratio slider lets you set the amount of transposition (pitch change). Moving the slider to the right raises the pitch of the processed file, and moving the slider to the left decreases its pitch. Press and hold the Ctrl key before dragging the slider to fine-adjust.
Additional Supported Plug-Ins The following AudioSuite plug-ins can be purchased separately and have been qualified for this release: • Digidesign Intelligent Noise Reduction—Broadband Noise Reduction • Focusrite d3 • Maxim • Digidesign D-Fi • Digidesign D-fx These plug-ins come with their own documentation. For more information, see the Digidesign® Web site at: www.digidesign.com.
The d3 limiter operates as a fast-attack compressor with a high compression ratio. Like the compressor, the limiter is activated when the signal exceeds a user-selectable threshold. The limiter then compresses any signal above the selected threshold to the lower threshold limit that you have set. There are two versions of the plug-in: • ff d3 Mono, which operates on channels (tracks) separately. • ff d3 Stereo, which operates on a composite of the two channels of the stereo signal.
Digidesign D-fx The set of D-fx™ plug-ins contains a selected group of basic effects: • Chorus • D-Verb™ • Flanger • Multi-Tap Delay • Ping-Pong Delay The D-Fi and D-fx plug-ins come with their own documentation. For more information, see the Digidesign Web site at: www.digidesign.com.
APPENDIX B File Format Specifications To be compatible with a variety of imaging standards, your NewsCutter system accommodates many file types and formats. For import and export procedures, see “Importing Files” and “Exporting and Exchanging Material” in the Avid NewsCutter User’s Guide. This appendix contains descriptions, specifications, and notes for importing and exporting specific file formats.
Graphics (Image) Files NewsCutter uses Image Independence® to produce usable files from a large number of graphics formats. Once you have imported a format, you can export it. n You cannot export a file to Photo CD™. The following list briefly describes the supported graphics (image) file formats: File Format Specifications • Alias™: Alias PIX image format, developed by Alias Research, Inc.
• OMFI (import only): Developed by Avid Technology, Inc. and many industry and standards partners for the interchange of digital media data between platforms and applications. • PCX: Developed by Zsoft Corporation for use with its PC PaintBrush™ paint software. • Photoshop®: Developed by Adobe Systems Incorporated for use with its Adobe Photoshop image-editing software. • PICT: Developed by Apple Computer, Inc. as the format for Macintosh QuickDraw® images.
• XWindows: Developed by the MIT X Consortium and supported by many X Window System™ applications on workstations and some personal computers. • YUV: Defined by Abekas Video Systems (now Accom, Inc.), the YUV format is the raw data sent to the Abekas® machines.
Graphics File Import Specifications Table B-1 contains graphics file import specifications. The table uses the following terms: • Full-screen image size: These numbers describe the recommended width and height, in pixels, to create a source image that will be displayed full-screen after import. Using these dimensions helps minimize distortion after conversion to the Avid application native resolution of 720 x 480 non-square pixels for NTSC or 720 x 576 for PAL.
Table B-1 Graphics File Import Specifications Format Default File Name Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) Alpha Channel Support Notes Alias .als 720 x 480 NTSC 24-bit color, 720 x 576 PAL 8-bit grayscale No BMP .bmp 720 x 480 NTSC 1-, 4-, 8-, and 24-bit 720 x 576 PAL No Dots-per-inch (dpi) information is preserved. Four-bit BMP files saved with run-length-encoded compression are not supported. Photoshop does not support four-channel BMP files. Chyron .
Table B-1 Graphics File Import Specifications (Continued) Format Default File Name Recommended Bit Depth Exten- Full-Screen Size (Pixels) Support sion IFF .iff Alpha Channel Support Notes 720 x 480 NTSC 1-bit through 24-bit 1-bit 720 x 576 PAL color; alpha 1-bit through 8-bit only grayscale; 64-color EHB; 4096-color HAM; 262,144-color HAM8; SHAM; A-HAM; A-RES JPEG .jpg 720 x 480 NTSC 24-bit color, 720 x 576 PAL 8-bit grayscale OMFI .omf 720 x 480 NTSC 720 x 576 PAL PCX .
Table B-1 Graphics File Import Specifications (Continued) Format Default File Name Recommended Bit Depth Exten- Full-Screen Size (Pixels) Support sion Alpha Channel Support Notes Pixar .pxr 720 x 480 NTSC 24-bit, 36-bit 720 x 576 PAL Yes PNG .png 720 x 480 NTSC 1-bit through 32-bit 720 x 576 PAL Yes QRT .dbw 720 x 480 NTSC 24-bit 720 x 576 PAL No Rendition .6rn 720 x 480 NTSC 32-bit 720 x 576 PAL Yes SGI .
Table B-1 Graphics File Import Specifications (Continued) Format Default File Name Recommended Bit Depth Exten- Full-Screen Size (Pixels) Support sion Alpha Channel Support Notes Sun Raster .sun 720 x 480 NTSC 1-, 8-, or 24-bit 720 x 576 PAL No TARGA .tga 720 x 480 NTSC 8-, 15-, 16-, or 24-bit; 720 x 576 PAL 32-bit Yes TIFF .
Animation Files NewsCutter supports the following animation file formats: • AVI (Audio Video Interleave): Developed by Microsoft for storing video and audio information as part of its Video for Windows standard. • ERIMovie: Developed by Elastic Reality, Inc. (a division of Avid Technology, Inc.) for quick playback of rendered movies on Silicon Graphics, Inc. platforms. Table B-2 lists animation file import specifications.
Table B-2 Format Animation File Import Specifications (Continued) Default File Alpha Name Exten- Bit Depth Channel Support Support Notes sion Sequenced image Various files Yes Name each file in the sequence NameN.ext, with Name identifying the animation, N indicating the file order, and .ext indicating the file type (for example, Image1.PIC, Image2.PIC, Image3.PIC). The numbering can start at any number except 0 or use any numbering format (for example, Image010.PIC, Image012.PIC, or Imagef28.
Table B-3 QuickTime File Import and Export Specifications (Continued) QuickTime File Import Specifications Notes Resolution Use Export settings to specify the compression ratio of a QuickTime file for export. For more information, see “Export Settings Dialog Box Options” in the Avid NewsCutter User’s Guide or the Help. The resolution of a QuickTime file is set at export time from a third-party application equipped with the Avid Codec for QuickTime. NewsCutter imports the file at this resolution.
Table B-4 AVI File Import and Export Specifications Avid Codec for AVI AVI File Import and Export Specifications Notes You can export Avid AVI files by using standard AVI conversion or by using the Avid Codec for AVI. Importing AVI is done by the Avid codec for QuickTime. Use the Avid Codec for AVI for importing AVI files into an Avid system when you export from NewsCutter or a third-party application. Files created by the codec are readable within applications also equipped with the codec.
• n WAVE Format (WAV): Format for audio files developed jointly by Microsoft and IBM®. WAV files are playable by nearly all Windows applications that support sound. You can record, render, and edit audio in AIFF-C or WAV file formats. OMFI Files OMF Interchange (OMFI) was developed by Avid Technology, Inc. and many industry and standards partners for the interchange of digital media data between platforms and applications.
Table B-5 OMFI File Import Specifications (Continued) OMFI File Import Specifications Notes Frame or Edit rate You must import sequences and clips to projects that have the same edit rate (29.97 fps for NTSC, 25 fps for PAL). If the edit rates do not match, you will receive an error message. n OMFI version NewsCutter cannot import an OMFI audio file that was produced with an edit rate equal to the audio sample rate. Trying to import such a file results in the error message Unrecognized file type.
Table B-5 OMFI File Import Specifications (Continued) OMFI File Import Specifications Notes Reimporting Avid media files If you import OMFI files containing media that you exported from the same NewsCutter system, you need to delete the original media. Otherwise, the new media will not overwrite the original media. To learn how to locate the original media for a sequence, see “Managing Media Files” in the Avid NewsCutter User’s Guide or the Help.
• Upper field is first: The upper field in the frame (odd-numbered lines, when the frame lines are numbered starting from 1) occurs temporally before the lower field, as shown in the following illustration. This arrangement can be termed “upper field first” (or “lower field second”).
Preventing a Spatial Field Mismatch on Import Table B-6 shows the proper spatial field position for each of the common video formats in NewsCutter systems. Table B-6 Recommended Field Settings for Two-Field Import and Export Avid Video Format Import/Export Frame Size Upper/Lower Field Spatial Setting Field Setting for Import and Export a AVR NTSC 720 x 243 x 2 Upper field is first. Odd Field AVR PAL 720 x 288 x 2 Upper field is first. Odd Field NTSC 720 x 243 x 2 Lower field is first.
Spatial Field Relationship on Export The default export operation is automatically carried out as shown in Table B-6. The fields will be properly interleaved in the export frames (one frame per file). If an import comes in mismatched and the dropping of the top line and repeating of the bottom line is performed, you might choose to have the export operation performed to prevent a shift up or down by a line.
Fields in Video In the video signal, fields have a temporal position that is unambiguously and uniquely tied to the details of the video signal, regardless of whether the signal is analog or digital (SDI). This means that working around a field spatial mismatch should be done by correcting the spatial relation between the two fields rather than the temporal position.
APPENDIX C Avid Log Specifications This section explains the Avid log file format. The NewsCutter application can import logs that meet Avid log specifications. These logs must follow the formatting requirements described here. • Log Formats • Understanding Avid Log Specifications • Describing an Avid Log File • Sample Avid Log Log Formats Log formats with the file name extension .ale can be imported directly into the NewsCutter application.
Understanding Avid Log Specifications Table C-1 shows how to enter headings and data to create an Avid log. The table uses the following conventions: • is surrounded by angle brackets. appear underneath, also in angle brackets. You must enter exactly one of these values. For example, <29.97> is one of the supported values for the FPS heading; to specify that value, type 29.97. • is also surrounded by angle brackets.
Describing an Avid Log File An Avid log is composed of three or four sections, in this order: • Global headings • Standard column headings • Custom column headings (optional) • Data headings The tables in this section adhere to this order. When you create an Avid log, you must follow the order precisely. You might choose not to display a defined heading (including a required heading), except for Name. Name must always be displayed.
Global Headings The global headings must come first in an Avid log file, and you must enter one value for each heading. Table C-1 shows the format for the global headings and the supported values for each heading. Table C-1 Avid Log Global Headings GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown. Include all required headings. Other headings are optional but might be necessary for your project.
Table C-1 FPS [Tab] Avid Log Global Headings (Continued) <25> <29.97> [Enter] [Enter] Required Capture rate is 25 fps for PAL and 29.97 fps for NTSC video. Press Enter a second time after entering the FPS value. This marks the end of the global headings. Column Headings The standard column headings come after the global headings in the Avid log file. n You do not enter the data for a column heading along with the heading. You will enter the data later, in a separate data section.
You can create your own custom column headings. Enter them after the standard headings (see the last heading in Table C-2). To create a custom heading, substitute the custom heading name for . You can create several custom headings, as long as the total number of global, standard, and custom headings does not exceed 64. Table C-2 Avid Log Column Headings COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown.
Table C-2 Avid Log Column Headings (Continued) IN-OUT [Tab] Heading for duration between clip’s IN point and OUT point (if present). Mark IN [Tab] Heading for timecode of clip’s IN point (if present). Mark OUT [Tab] Heading for timecode of clip’s OUT point (if present). Offline [Tab] Heading for tracks currently without recorded media files online. Tape [Tab] Heading for source tape ID for the individual clip. If omitted, the global entry applies.
Be sure to enter data for all the required values. To leave a data position unfilled, press the Tab key instead of typing data. Press Enter at the end of each line. Table C-3 Avid Log Data Headings DATA HEADINGS: The word “Data” marks the start of the data for each clip. Data [Enter] Required Enter the word “Data” to mark the start of the logged clip entries. DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so that it aligns with its column heading.
Table C-3 Avid Log Data Headings (Continued) <48 kHz> [Tab] Under AUDIO_FORMAT heading. Enter the audio sample rate for this clip only. If omitted, global entry applies. [Tab] Under Tape heading. Enter the source videotape ID for this clip only.
Sample Avid Log This section contains a sample Avid log for an NTSC video project. Formatting keys, such as [Tab] and [Enter], are shown in brackets. Heading [Enter] FIELD_DELIM [Tab] TABS [Enter] VIDEO_FORMAT [Tab] NTSC [Enter] AUDIO_FORMAT [Tab] 44.
APPENDIX D Configuring an External Fader Controller or Mixer For information on external fader controllers and mixers and how to connect them to your NewsCutter system, see the following sections: • Supported Fader Controllers and Mixers • Using the FaderMaster Pro and MCS-3000X • Using the Yamaha 01V Digital Mixing Console Supported Fader Controllers and Mixers Your NewsCutter system supports the following external fader controllers for Automation Gain recording: • JL Cooper FaderMaster Pro™ MIDI Au
move it during an automation gain recording to quickly punch in a small change in volume. • n Yamaha® 01V Digital Mixing Console. This unit is a full-feature digital mixer that also supports audio gain automation with flying faders. The faders are not touch sensitive (see Table D-1). An external fader is optional. It is not required to perform Audio Gain Automation recording. Table D-1 compares the three units.
On the Yamaha 01V, you must press the fader’s On button to gain control of a moving fader. For a description of how to control the faders on the Yamaha 01V, see “Using the Yamaha 01V Digital Mixing Console” on page 83. • Snap mode: In Snap mode, the fader automatically stops recording as soon as you release the fader. In addition, the fader continues to display the volume information in the Timeline. See “Using the Snap Mode Feature on the MCS-3000X Fader Controller” on page 81.
MCS-3000X Buttons There are four rows of unlabeled buttons at the top of the MCS-3000X fader controller. The following illustration labels each row of buttons: Select Snap Mode Solo Mute • Select buttons: The green light next to the Select button for a track is on when you are recording audio gain automation on the track. The green light is off when you are listening to the volume level in the Timeline.
• Solo buttons: These buttons solo the selected tracks. • Mute buttons: These buttons mute the selected tracks. Using the Snap Mode Feature on the MCS-3000X Fader Controller For each track, the MCS-3000X has a Snap Mode button that allows you to easily punch in and punch out small sections of automation gain information. The second row from the top contains the Snap Mode buttons.
button (top row) to stop recording and snap the button back to its current Timeline position. The green light next to the Select button for a track is on when you are recording audio gain automation on the track. The green light is off when you are listening to the volume level in the Timeline. Ganging Faders on the FaderMaster Pro Fader Controller You can use the features available on the FaderMaster Pro to gang faders.
n You cannot gang faders on the MCS-3000X or Yamaha 01V fader boxes. Using the Yamaha 01V Digital Mixing Console NewsCutter supports the Yamaha 01V digital mixing console. The Yamaha 01V is a fully functional digital audio mixer that also supports automation gain recording. The following illustration shows 01V controls. The exploded view shows the buttons that you use to operate the unit for automation gain recording.
Setting Up the Yamaha 01V Digital Mixer This section describes how to set up the Yamaha 01V digital mixer. For instructions on connecting the Yamaha 01V to your NewsCutter system, see the Avid NewsCutter Setup Guide. Initializing the Yamaha 01V This section describes how to initialize the Yamaha 01V digital mixer. These steps should have to be done only once and repeated only if the mixer’s operational parameters have been manually changed to something that is incompatible with NewsCutter.
Configuring the Mixer After you initialize the mixer, you must configure it to receive and transmit MIDI messages. To configure the mixer to recognize MIDI control messages: 1. Press the MIDI button. The system displays the first panel of the MIDI Options window. 2. Set the following controls on the MIDI Options window: - Set Control Change TX to ON. - Set Control Change RX to ON.
6 6 0 6 0 6 0 6 0 6 0 6 0 6 0 6 0 6 0 6 0 6 0 6 0 0 6 0 6 0 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 CURSOR ENTER 1 17 2 18 3 19 4 20 5 21 6 22 7 23 8 24 9 10 11 12 13/14 15/16 STEREO MASTER Channels 1–12 (mono) Channels 17–24 Channels 13–16 (two stereo inputs) When you start NewsCutter, it automatically configures the Yamaha 01V to us
To record automation gain: 1. Press the Option I/O button. The faders move into the correct position for recording automation gain. 2. When recording automation gain, use the On button on each channel to switch from Timeline control of audio gain to user control of audio gain. You can punch in and out of gain recording as many times as you want. The Yamaha 01V faders are not touch sensitive in the same way as the JL Cooper MCS-3000X MIDI Automation controller.
2. Set the following controls on the MIDI Options window: - Set Param Change TX to ON. - Set Param Change RX to ON. However, if this mode is on when you are mixing audio, it interferes with the normal operation of the mixing board functions. If the NewsCutter system audio outputs are connected to the 01V, it is best to leave Param Change TX and Param Change RX set to OFF.
APPENDIX E Using the JL Cooper Media Control Station3 The JL Cooper Media Control Station3 (MCS3) provides an alternative to using the keyboard and mouse to edit footage. While you need to use the keyboard and mouse for naming and recording functions, you can program and use the MCS3 controller for navigation and frequently used editing functions. Your NewsCutter documentation explains the editing process in detail. For hardware installation instructions, see the Avid NewsCutter Setup Guide.
• Creating Multiple Controller Settings • Troubleshooting Overview of the MCS3 Controls The MCS3 controls are as follows: • Function buttons — Map the NewsCutter Command palette functions to buttons on the MCS3. • Jog/Shuttle wheel — Press this wheel to switch between Jog and Shuttle modes. In Jog mode, turn this wheel to the right to increase viewing speed. In Shuttle mode, turn this wheel to the right to fast forward and to the left to rewind.
Opening the MCS3 Controller Settings Dialog Box Before you can map MCS3 buttons to the Command palette, you must open the Controller Settings dialog box. To open the Controller Settings dialog box: 1. Click the Settings tab in the Project window. The Settings scroll list appears.
2. Double-click Controller Settings. The Controller Settings dialog box appears. Make sure the appropriate port and controller are selected. 3. Choose COM1 or COM2 from the Port pop-up menu. 4. Choose JL Cooper MCS3 Controller from the Controller pop-up menu. 5. Click Edit Settings. The MCS3 Controller Settings dialog box appears.
Mapping the MCS3 Buttons When the MCS3 controller is first installed, there is a set of default button mappings (see “Using the Default Button Mappings” on page 93). Not all the buttons on the MCS3 are mapped to functions in the Command palette. To add new functions or change the default button assignments, see “Custom Mapping MCS3 Buttons” on page 95. Using the Default Button Mappings When you first open the MCS3 Controller Settings dialog box, a set of default functions is mapped to the MCS3 buttons.
n You cannot change the navigation button definitions. The rightmost navigation button (the one without a symbol) is not mapped to a Command palette function. You can map this button. For instructions, see “Custom Mapping MCS3 Buttons” on page 95. Unused Rewind Fast Forward Stop Play Default Function Buttons Each function button is labeled with an F or W followed by a number. In NewsCutter, there is no difference between an F and a W function button. Avid provides default button mappings.
Custom Mapping MCS3 Buttons You can map the Command palette editing functions or menu choices to the MCS3 buttons. Each button has an additional function activated by the Shift key. To see the shifted function: t Press and hold the Shift key on your keyboard. The alternative function appears on the button in the MCS3 Controller Settings dialog box. To map Command palette functions to MCS3 buttons: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2.
6. If the Command palette is not already open, choose Command Palette from the Tools menu. The Command palette opens. Make sure one of these options is selected. 7. Select Button to Button Reassignment or Menu to Button Reassignment. 8. To map a function, do one of the following: t Map an unshifted function — Click the function in the Command palette, and drag it to the button in the MCS3 Controller Settings dialog box whose function you want to program.
To map a menu choice to one of the MCS3 buttons: 1. Select Menu to Button Reassignment in the Command palette. 2. Click a target button in the MCS3 Controller Settings dialog box. The pointer changes to a small white menu. 3. Choose the menu command you want to map to the target button. For example, choose Audio Tool from the Tools menu. The initials for the menu command appear on the target button. To change a button assignment: t Repeat the procedure you used to assign the function or menu choice.
Customizing Jog and Shuttle Speeds You can customize the maximum jog and shuttle speeds by using the Maximum Jog Speed and Maximum Shuttle Speed pop-up menus in the MCS3 Controller Settings dialog box. As you turn the jog/shuttle wheel, the current frames per second (fps) are shown in the Current Controller Speed display. Customizing the Maximum Jog Speed To customize the maximum jog speed: t Choose an option from the Maximum Jog Speed pop-up menu in the MCS3 Controller Settings dialog box.
Customizing the Maximum Shuttle Speed You can customize the maximum shuttle speed. You view footage at the maximum speed when the jog/shuttle wheel is turned to the farthest right or farthest left position. To customize the maximum shuttle speed: t Choose an option from the Maximum Shuttle Speed pop-up menu in the MCS3 Controller Settings dialog box. The default is 8x, which is eight times the recorded speed of the film.
Operating the Jog/Shuttle Wheel The jog/shuttle wheel controls how you move through footage. You switch between Jog and Shuttle modes by pressing the wheel. When the two red arrow lights above the wheel are lit, you are in Shuttle mode. • Jog mode allows for frame-by-frame positioning, depending on how fast you turn the wheel right (clockwise) or left (counterclockwise). Use Jog mode when you want to locate a specific frame by slowly viewing footage.
Moving Through Footage in Shuttle Mode The red arrow lights above the jog/shuttle wheel are on when you are in Shuttle mode. If they are off, press the wheel to enter Shuttle mode. • When the jog/shuttle wheel is at the midpoint position, both red arrow lights are on and the footage is paused. • Turn the jog/shuttle wheel until it stops. Keep the jog/shuttle wheel in this position to view footage at the maximum shuttle speed set in the MCS3 Controller Settings dialog box.
3. Open one of the following windows: • Record Tool • Digital Cut Tool • Deck Controller • Timeline The MCS3 controls the active window. 4. Use the jog/shuttle wheel and the navigation buttons to move back and forth between clips and sequences. 5. Use the MCS3 function buttons to perform edits. To view your button mappings, check the mappings in the MCS3 Controller Settings window. See “Opening the MCS3 Controller Settings Dialog Box” on page 91.
5. To rename the duplicate Controller settings, click the space to the right of “Controller Settings,” type a descriptive name in the text box, and press Enter. 6. Select the Controller Settings that you want to make active. A check mark indicates the active Controller Settings. Active Controller Settings Troubleshooting When you select Controller Settings from the Settings scroll list, you might see the message “No Controller found.
To identify the problem: 1. Click OK to close the message box. 2. Make sure you chose the appropriate serial port in the Controller Settings dialog box. 3. Make sure you chose JL Cooper MCS3 Controller in the Controller Settings dialog box. 4. Check the cable connections. 5. Press the jog/shuttle wheel. When the controller is in Shuttle mode, the red arrow lights above the wheel are on. 6. Contact Avid Customer Support if you continue to see the message. 7.
APPENDIX F Using SDTI Serial Data Transport Interface (SDTI) was developed to provide interchange of digital audio, video, and data between cameras, VTRs, servers, and nonlinear editing (NLE) systems. SDTI uses standard SDI cabling and support mechanisms. Connections between devices are established point-to-point, as they are with standard video and audio signals. The benefits of SDTI include: • A single cable carries compressed video and up to four channels of uncompressed 48-kHz audio.
Recording via SDTI When the SDTI PCI board and driver have been installed, the SDTI option will appear as a selection in the audio and video input device menus in the Audio Project Settings dialog box, the Video Input tool, and the Record tool. When SDTI is selected on either video or audio, it will change both video and audio to SDTI. If the Record tool is active with SDTI selected as the input, the SDTI signal will be passed through from the SDTI input to the desktop and the Playback monitor.
immediately press the Record button on the VTR. This will ensure that the first frame of your program is recorded to tape. You must use the VTR in Local mode; remote deck control is not supported when using SDTI. The Sony® DSR-85 deck with an SDTI input will not record until it starts receiving data. Avid recommends you add filler to the beginning of the sequence and then start the digital cut while pressing and holding the Record and Play buttons on the VTR.
n While the digital cut is playing, the video will appear on the desktop display, audio and video will play through the Meridien™ I/O box, and audio and video will be output via SDTI. While SDTI is being output, the Meridien I/O box signal is not guaranteed to be frame accurate, so you should not be recording these signals during SDTI digital cut. For digital cut of analog or SDI signals, make sure that the digital cut Target Device is set to Meridien.
Avid has found that the Panasonic AJ-D780 does not return valid sequential timecodes when running at 4X (which is the only mode recommended by Panasonic). In Record mode, this means that there will be preroll failures and timecode discontinuity errors once recording has commenced. For this reason, record only with the timecode track turned off. Similar problems occur when performing a digital cut; therefore, make digital cuts only in local mode (no device control) with this VTR.
accordingly. If you want to perform a digital cut at 4X speed, set the Transfer Rate to 4X by selecting SDTI in the Video Output tool. Audio The following are SDTI audio behaviors: • When you are recording or preparing to record from SDTI, the audio meters in the Audio tool respond to the audio levels on the SDTI input signal. These audio meters are about 1 second ahead of the audio and video signal monitored through the Meridien I/O box. This visual discontinuity is normal.
box appears when you open a project that indicates that the current project’s video standard does not match the configuration of the SDTI driver. The remedy is to quit the NewsCutter application, configure the SDTI driver for the proper video standard, restart the NewsCutter system, and reopen the project.
Notes on SDTI VTRs Table F-1 contains a comprehensive list of all known SDTI VTRs, along with comments. The VTR models Avid has tested are indicated with an asterisk (*). Table F-1 Manufacturer Model Sony n List of VTR Models Comments On Sony VTRs, SDTI is referred to as QSDI. All VTRs support only the 1X transfer rate unless otherwise specified.
Table F-1 Manufacturer Panasonic List of VTR Models (Continued) Model Comments DSR-1600 DVCAM editing player; requires DSBK-1602 option for SDTI DSR-1800 DVCAM editing recorder; requires DSBK-1802 option for SDTI DSR-2000 DVCAM editing recorder; SDTI standard n The interface on Panasonic VTRs might be labeled as CSDI or SDTI. All VTRs support only the 1X transfer rate unless otherwise specified.
Index ABCDEFGIJLMNOPQRSTUVWXY A AIFF-C file format described 59 Alias file format brief description of 48 import specifications for 52 Alpha channel adding to a graphic image 50 defined 51 in imported animation 56 support in graphic formats 52 Anti-aliased images 50 Audio AudioSuite plug-ins D-fx and D-Fi plug-ins 45 format heading in Avid logs 72 Audio file types, described 59 Audio tool SDTI 110 AudioSuite plug-ins Compressor 20 Compressor parameters 21 core plug-ins 16 DC Offset Removal 36 D-fx and D-Fi
AVI file format description 56 import and export specifications for 59 AVI (Avid Codec for AVI) export specifications 59 import specifications 59 Avid Codec for QuickTime import and export specifications 57 Avid logs audio format heading in 72 clip data in 73 creating 69 custom headings in 72 data headings in 73 global headings in 70 importing 67 sample created with text editor 76 standard headings in 71 Avid MCXpress for Windows importing files from 61 Avid QuickTime files 57 B Bit depth, defined 51
Field ordering 62 Files specifications for importing animation 56 specifications for importing graphics 51 specifications for importing OMFI 60 Focusrite d3 plug-in 44 Framestore file format described 48 import specifications for 52 Full-screen image size defined 51 G Gain AudioSuite plug-in 35 Ganging multiple tracks on an external fader 82 Gate AudioSuite plug-in described 28 parameters 28 Global headings in Avid logs 70 Graphics (image) files field ordering in 62 recommended field settings 64 I IF
M O Mapping shifted function 96 unshifted function 96 Maxim plug-in 45 Maximum jog speed MCS3 controls 98 Maximum shuttle speed MCS3 controls 99 MCS3 Controller accessing 101 multiple settings 102 MCS3 controls default Function buttons 94 Jog mode 100 jog/shuttle wheel 90 maximum jog speed 98 maximum shuttle speed 99 navigation buttons 90, 93 settings window 91, 95 supported 89 MCS-3000X fader 79 buttons 80 snap mode feature 81 Message “No MCS3 found” 103 Mod Delay AudioSuite plug-ins described 33 pa
Q QRT file format described 49 import specifications for 54 QuickTime file format import and export specifications for 57 R Rendition file format described 49 import specifications for 54 Resolutions SDTI 107 Reverse AudioSuite plug-in 36 S SDTI audio 110 confidence monitoring 111 consumer DV format 111 limitations 107 mixed resolutions 107 NTSC format 110 PAL format 110 performance 111 performing a digital cut with 106 pipeline delay 111 recording with 106 timecodes 108, 109 transfer rate 108 using
Tracks ganging on an external fader 82 Transparency adding to a graphic image 50 U Unshifted function, mapping 96 V Video mixdown 107 W WAVE file format described 60 Wavefront file format described 49 import specifications for 55 X XWindows file format described 50 import specifications for 55 Y Yamaha 01v digital mixer configuring 85 described 77 ganging 82 illustration 83 initializing 84 operational notes 86 starting NewsCutter with 85 using 79 YUV file format described 50 import specifications