Avid NewsCutter Products ® ® Editing Guide m a k e m a n a g e m ove | m e d i a ™ Avid ®
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.
even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages. The following disclaimer is required by Videomedia, Inc.: “Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect to its merchantability or its fitness for any particular purpose.” “This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc.
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Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 2 Starting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Opening and Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Changing Users . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Selecting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Selecting a Private Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Opening and Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Opening Selected Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Deleting a Bin or Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Emptying the Trash . . . . . . . . . . . . . . . . .
The Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Selecting Another User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Modifying Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Working with Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Duplicating Settings . . . . . . . . . . . . . . .
Working with Locks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Default Locking Mechanism . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Overriding the Default Locking Mechanism. . . . . . . . . . . . . . . 117 Restrictions and Limitations for Locked Bins. . . . . . . . . . . . . . 118 Chapter 4 Using Basic Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Using Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 5 Organizing with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Basic Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Using Bin Display Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Changing the Bin Display View Size. . . . . . . . . . . . . . . . . . . . . . . . 146 Custom Bin Views . . . . . .
Deleting Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Duplicating Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . . . . 164 Changing a Custom Column Heading . . . . . . . . . . . . . . . . . . . 165 Managing Clip Information in Text View . . . . . . . . . . . . . . . . . . . . 166 Moving Within Column Cells . . . . . . . . . . . . . . . . . . . . . . . . . .
Gathering Format Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Preparing Digital Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . . . . 187 Creating Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Creating Video Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Creating Audio Leader . . . . . . . . . . . . . . . . . . . .
Chapter 7 Viewing and Marking Footage . . . . . . . . . . . . . . . . . . . . . . . . 223 Customizing the Source/Record Monitor . . . . . . . . . . . . . . . . . . . . . . . 224 Expanding the Source/Record Monitor . . . . . . . . . . . . . . . . . . . . . 224 Changing the Pop-up Monitor Size . . . . . . . . . . . . . . . . . . . . . . . . 225 Using the 16:9 Display Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Using 16:9 for 24p and 25p Editing . . . . . . . . . . . . . . . . . . . . .
Playing Video to the Client Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Selecting the Client Monitor Setting . . . . . . . . . . . . . . . . . . . . . . . . 244 Supporting a Camera Without Video Input . . . . . . . . . . . . . . . . . . . 246 Play Length “In Use” Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Adjusting the Play Delay Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 Marking and Subcataloging Footage . . . . . . . . . . . . . . .
Finding Frames and Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 Using Frame Offset Timecode to Cue a Frame . . . . . . . . . . . . . . . 266 Using Timecode to Find a Frame. . . . . . . . . . . . . . . . . . . . . . . . . . 266 Searching for a Clip or Sequence . . . . . . . . . . . . . . . . . . . . . . . . . 267 Using Match Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 Performing a Reverse Match Frame . . . . . . . . . . . . . . . . . . .
Using the Clipboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 Placing a Sequence into the Clipboard . . . . . . . . . . . . . . . . . . 289 Recovering Material from the Clipboard. . . . . . . . . . . . . . . . . . 289 Playing the New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 Playing a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 Starting a Playback Loop . . . . . . . . . . . . . . . . . . . . . .
Selecting and Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . 305 Selecting Segments with the Segment Mode Pointer . . . . . . . 305 Selecting One or More Segments by Lassoing . . . . . . . . . . . . 306 Deselecting Segments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Finding Black Holes and Flash Frames . . . . . . . . . . . . . . . . . . . . . 307 Editing in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 10 Working in Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Customizing Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Using Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Entering Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Exiting Trim Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 Selecting Trim Sides. . . .
Using Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 Adjusting Digital Scrub Parameters. . . . . . . . . . . . . . . . . . . . . 357 Performing the Digital Scrub Procedure . . . . . . . . . . . . . . . . . 358 Adjusting Default Pan Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 Dealing with Low Latency Audio in Your Sequence . . . . . . . . . . . 360 Adjusting for Audio Latency. . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording Automation Gain Information. . . . . . . . . . . . . . . . . . . . . 388 Using the Automation Gain Tool Sliders . . . . . . . . . . . . . . . . . 389 Using a Keyboard Shortcut . . . . . . . . . . . . . . . . . . . . . . . . . . . 390 Using an External Fader Controller or Mixer . . . . . . . . . . . . . . 391 Using the Audio EQ Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392 Audio EQ Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 Creating the Voice-Over with the Capture Tool . . . . . . . . . . . . . . . 421 Creating the Voice-Over with the Audio Punch-In Tool . . . . . . . . . 423 Scenarios for Using the Audio Punch-In Tool . . . . . . . . . . . . . 426 Using the MCS3 with the Audio Punch-In Tool . . . . . . . . . . . . . . . 426 Using a GPI Device with the Audio Punch-In Tool. . . . . . . . . . . . . 427 Understanding GPI Trigger Signals .
Managing Sync with Multiple Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . 448 Using Sync Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448 Syncing with Tail Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449 Syncing with Locators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450 Using Add Edit When Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 Chapter 13 MultiCamera Editing . . . . . . .
Tables Table 1 Project Types for Avid Systems. . . . . . . . . . . . . . . . . . . . .48 Table 2 Customizable Interface Components. . . . . . . . . . . . . . . . .84 Table 3 Settings Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . . .92 Table 4 Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 Table 5 Navigation Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112 Table 6 Object Icon Descriptions . . . . . . . . . . . . . . . . .
Using This Guide Avid® NewsCutter® systems help editors, journalists, Web authors, and other professionals create broadcast-quality output. Users can incorporate production elements from full-speed, high-resolution footage, to multimedia artwork and animation, to computer-generated effects and titling. n The documentation describes the features and hardware of all NewsCutter models. Therefore, your system might not contain certain features and hardware that are covered in the documentation.
Using This Guide • The main body of this guide follows the natural flow of your work, with clear and comprehensive step-by-step procedures. • Finally, a detailed Index helps you quickly locate specific topics. Symbols and Conventions Unless noted otherwise, the material in this document applies to the Windows XP operating system.
If You Need Help Symbol or Convention Meaning or Action Margin tips In the margin, you will find tips that help you perform tasks more easily and efficiently. Italic font Italic font is used to emphasize certain words and to indicate variables. Courier Bold font Courier Bold font identifies text that you type. Click Quickly click and release the left mouse button (Windows) or the mouse button (Macintosh).
Using This Guide n Release notes and ReadMe files are also available on the Avid Knowledge Center. 3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues. 4. Visit the online Knowledge Center at www.avid.com/support. Online services are available 24 hours per day, 7 days per week.
If You Have Documentation Comments n For the latest product information, see the Avid Knowledge Center: www.avid.com/support If You Have Documentation Comments We’d appreciate any comments or suggestions you may have about this document or any other piece of documentation. Please restrict your comments to documentation issues. Please e-mail your documentation comments to: TechPubs@avid.
Using This Guide 30
Chapter 1 Desktop Basics Although most of your work is performed within the Avid application, you need to use a few basic desktop procedures.
Chapter 1 Desktop Basics Working with the Desktop For information on the Windows operating system, such as the desktop and icons, see your Microsoft Windows Help.
Working with the Desktop Using the Windows Taskbar By default, the Microsoft Windows taskbar always appears on the bottom of your screen, on top of your application. You have two other choices: n • Keeping the taskbar hidden behind the application • Setting the taskbar to appear only when you drag the mouse pointer to it If you keep the taskbar hidden while running your Avid application and you minimize an additional application such as Help, you will not see the minimized icon.
Chapter 1 Desktop Basics To deselect the option “Show window contents while dragging”: 1. Click the Start button, point to Settings, and then select Control Panel. 2. Double-click Display. 3. In the Display Properties dialog box, click the Effects tab. 4. Deselect “Show window contents while dragging.” 5. Click OK. n For a shortcut to the Display Properties dialog box, right-click an empty part of the desktop, and select Properties.
Using the Avid Application Folder 4. Under Screen area, drag the slider to the resolution you want. 5. Click OK. n Also in the Settings tab, make sure the Color Palette is set to True Color. n For a shortcut to the Display Properties dialog box, right-click an empty part of the desktop, and select Properties. Using the Avid Application Folder The Avid application folder contains essential operational files and supporting files. You can find it in one of the following locations: drive:\Program Files\Av
Chapter 1 Desktop Basics Managing the Avid Projects and Avid Users Folders Managing projects, user profiles, and settings involves moving, copying, or deleting files and folders, and changing project or user names. You use the desktop to move projects and user profiles between systems.
Managing the Avid Projects and Avid Users Folders 4. Type the new name of the folder. n When you change a user name or project name, make sure you change the name of the folder and all the files in the folder that have the old name. The system does not automatically change the names of corresponding files in the folder. 5. Close the windows, and restart the application. Deleting Projects and User Profiles You cannot delete projects and user profiles from within the Avid application.
Chapter 1 Desktop Basics Starting the Avid Application The NewsCutter application is located in one of the following locations: drive:\Program Files\Avid\Avid NewsCutter XP drive:\Program Files\Avid\NewsCutter Adrenaline FX For most users, the desktop is a more convenient location for starting the application. To create a shortcut on the desktop: t See the Windows documentation. To start the NewsCutter application: 1. Click the Start button. 2. Point to Programs. 3. Point to the Avid folder. 4.
Accepting Your Avid License Electronically Accepting Your Avid License Electronically The Avid license agreement appears the first few times you start the application. To accept your Avid license electronically: 1. Read the License Agreement, and then click Accept or Decline at the bottom of the screen. After the agreement appears a few times, a new button appears at the bottom of the screen. 2. If you do not want to see the license agreement again, click Accept and Don’t Show Again. A dialog box opens.
Chapter 1 Desktop Basics 40
Chapter 2 Starting a Project Your work begins when you turn on the system, start the application, and open an existing project or create a new project. This chapter describes these and other procedures for starting a project. You can use several techniques to safeguard and restore your work if necessary.
Chapter 2 Starting a Project Opening and Closing a Project When you start your Avid application, the Select Project dialog box opens. The name you used to log in is selected as the user. Login name You can change users. You can select projects from the Select Project dialog box, or you can choose to have your last project open automatically. You can also establish user profiles. Changing Users To change users: 1. Quit the Avid application. 2. Select Start > Log Off, and then log in as a different user.
Opening and Closing a Project Selecting a Project You can select a project from a private folder accessible only to you, from a public, shared folder, or from a folder external to the Avid Projects folder. You can also create a new project in these areas.The location of the private, shared, or external folder is displayed in the Folder text box in the Select Project dialog box. Selecting a Private Project To select a private project: 1. Start the Avid application. The Select Project dialog box opens.
Chapter 2 Starting a Project 3. Select a project, and then click OK. The Project window, the Source/Record monitor, and the Timeline open with the selected User settings loaded. Selecting a Shared Project To select a shared project: 1. Start the Avid application. The Select Project dialog box opens. Shared folder Location Shared option selected 2. Select Shared in the Select a Project area. n You cannot type into the User or Folder text boxes. 3. Select a project, and then click OK.
Opening and Closing a Project Selecting an External Project You can select a project that is external to the Avid Projects folder. To select an external project: 1. Start the Avid application. The Select Project dialog box opens. External option selected 2. In the Select Project dialog box, select External. 3. Click the Browse button. The Browse for Folder dialog box opens. 4. Navigate to the folder that contains the project you want. 5. Click OK.
Chapter 2 Starting a Project Browsing for a Project To browse for a project in a location other than the default Shared and Private folders: 1. Start the Avid application. The Select Project dialog box opens. Browse button 2. Click the Browse button. The Browse for Folder opens. 3. Navigate to the folder that contains the project you want. 4. Click OK.
Opening and Closing a Project Creating a New Project To create a new project: 1. Start the Avid application. The Select Project dialog box opens. 2. Select the Private, the Shared, or the External option in the Select a Project area. 3. Click New Project. The New Project dialog box opens. 4. Type a project name. 5.
Chapter 2 Starting a Project Table 1 Project Types for Avid Systems Project Type Source Footage Transfer 23.976p NTSC For film-originated or video-originated footage that has been shot at 23.
Opening and Closing a Project Setting Film Preferences Set film preferences in the Film Settings dialog box immediately after you create a project to provide the system with important information about the type of film and audio transfer you used for your job. For information about the settings for capturing in a film project, and for information on setting the play rate for Timeline play and setting the format and display of ink numbers, see “Film and 24p Settings” in the Help.
Chapter 2 Starting a Project 3. Select a project and click OK. The Project window, the Source/Record monitor, and the Timeline open with the selected User settings loaded. Opening a Project To open a project, do one of the following: t Select a project in the Select Project dialog box, and then click OK. t Double-click a project name in the Projects scroll list. The Project window, the Source/Record monitor, and the Timeline open with the selected User settings loaded.
Opening and Closing a Project Creating a User Profile To create a user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection pop-up menu, and select Create User Profile. User Profile Selection pop-up menu 3. Type a name in the Profile Name text box, and then click OK. The new user profile appears selected in the pop-up menu, and the user profile name appears in the Project window title bar.
Chapter 2 Starting a Project To return to the default user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection pop-up menu, and select Default User Profile. n n When you select Default User Profile, your login name appears in the Project window title bar. When you select another user profile, the user profile name appears in the Project window title bar.
Backing Up Your Project Information Backing Up Your Project Information For information on using the Auto-save feature, see “Saving Bins Automatically” on page 71. Although the Avid editing application automatically saves your bins, projects, and settings, you should back up these items frequently to avoid losing any of your work in case your hard drive fails.
Chapter 2 Starting a Project Ending an Edit Session To end the session, you must first quit the application, and then turn off your equipment in the order described in this section. Quitting the Application There are two ways to quit the Avid editing application, depending upon whether you are between projects or you have a project open. To quit the application if you are between projects: 1. Click Quit in the Select Project dialog box. A message box opens. 2.
Mounting and Ejecting Drives Turning Off Your Equipment To turn off your equipment without damaging your computer or media storage drives: c Quit the application before turning off your equipment. See “Quitting the Application” on page 54. 1. Select Start > Shut Down. The Shut Down Windows dialog box opens. 2. Click the pop-up menu, and select “Shut down the computer.” 3. Click OK. 4. If you have an Avid digital linear accelerator (DNA) attached to your system, turn it off. 5.
Chapter 2 Starting a Project c n Before you physically remove or add drives, shut down the Windows system completely. For information on removing and adding drives, see the Avid MediaDrive Utilities User's Guide. On systems with multiple media drives, ejecting unused drives can improve the performance of the Media tool. You need to eject the drives before you can open the Media tool. See “Using the Media Tool” on page 198. Ejecting Drives To eject a disk or make a drive unavailable: 1.
Using Help Using Help You can get help and background information for tasks, windows, dialog boxes, and screen objects through your Avid Help system. Your Help system is HTML-based and operates in the Web browser Microsoft Internet Explorer. Avid recommends using Version 5 or later. To open Help from within Avid application, do one of the following: t Select Help > NewsCutter XP Help. t Select Help > NewsCutter Adrenaline FX Help. Help opens in Microsoft Internet Explorer.
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Chapter 3 Working with the Project Window The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.
Chapter 3 Working with the Project Window Changing, Closing, and Reopening the Project Window The Project window provides four different displays (Bins, Settings, Effects, and Info) for structuring and viewing information about your current project. The Project window provides access to the Settings scroll list for altering various User, Project, and Site settings, as well as access to the Effect Palette. Settings tab Effects tab Bins tab Info tab Use the Project window to: • Create and open bins.
Using the Bins Display To change the Project window view: t Click one of the tabs. To close the project, 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. To reopen the Project window from within a project, do one of the following: t Select Tools > Project. t Click in the Project window. The Project window becomes active.
Chapter 3 Working with the Project Window The display views for working with clips in a bin are Brief view, Text view, Frame view, and Script view. For more information about working with different bin display views, see “Using Bin Display Views” on page 146. • In Brief view, clips are displayed in five standard columns. This can help you manage your screen real estate, as it efficiently provides basic information.
Using the Bins Display • In Frame view, each clip is represented by a single picture frame, with the name of the clip. You can play back the footage in each frame and change the size of frames. You can also rearrange the frames in any order within the bin.
Chapter 3 Working with the Project Window • Script tab 64 In Script view, the features of Text view are combined with those of Frame view, with an added script box next to each frame. The frames are displayed vertically on the left side of your screen with the script box next to each. Use the script boxes for notes or a script.
Using the Bins Display Displaying Bins By default, your bins display all existing media objects except source clips and rendered effects. You can display only those media objects that you need to organize your project. To set the bin display: 1. Click in a bin. 2. Select Bin > Set Bin Display. The Set Bin Display dialog box opens. 3. Select the object types and options that you want to see. For more information about setting the bin display, see “Setting the Bin Display” on page 144. 4. Click OK.
Chapter 3 Working with the Project Window Creating a Folder in a Project To create a folder in a project: 1. Click the Bins tab in the Project window. Bins tab Fast Menu button 2. Click the Fast Menu button, and select New Folder. A new, untitled folder appears. 3. Type a name in the name text box. Creating a New Bin To create a new bin from the Project window: 1. Do one of the following: t Select File > New Bin. t Click the New Bin button in the Project window.
Using the Bins Display Renaming a Bin Each new bin that you create takes the name of the project that appears in the Project window, numbered incrementally. To change the name of a bin: t n Click the bin name in the Project window, and type a new name. Bin names cannot exceed 27 characters. Opening and Closing a Bin n If you have the SuperBin enabled, see “Opening Bins in the SuperBin” on page 75. To open a bin directly: 1. Click the Bins tab in the Project window. 2.
Chapter 3 Working with the Project Window Opening Selected Bins To open several bins at once from the Project window: 1. Click the name of one of the bins in the Bins list. 2. Ctrl+click each additional bin you want to open. 3. Select File > Open Selected Bins. Closing a Bin To close a bin, do one of the following: t Select File > Close Bin. t Click the Close button. Deleting a Bin or Folder To delete a bin or folder within a project: 1.
Using the Bins Display Viewing Contents in the Trash If you need to view the contents in the Trash or decide you do not want to delete those items in the Trash, you must first move the bins and folders out of the Trash. To view items in the Trash: 1. Click the triangular opener next to the Trash icon in the Bins list. 2. Click the bins or folders you want to remove (or view) from the Trash, and drag them from the Trash to the Bins list in the Project window. 3. Double-click the bin or folder to view it.
Chapter 3 Working with the Project Window • Limit the number and complexity of clips in each bin by creating and organizing bins in three groups, as follows: - Create a set of bins for the capture stage. For example, you can create one bin for each source tape or each day’s worth of dailies transfers to be captured to avoid slowing the system with large bins and causing confusion between tapes. - Create a second set of bins for organizing your project.
Using the Bins Display Saving Bins Automatically The application automatically saves changes to your work on a regular basis during each session. Two things happen when an auto-save occurs: • Any open bins are updated with changes made since the last auto-save. Updated bins have an asterisk in the title bar. • Copies of these bins are placed in the following location as backup: drive:\Program Files\Avid\Avid application\Avid Attic folder To adjust the frequency of automatic saves: 1.
Chapter 3 Working with the Project Window Saving Bins Manually For added security, you can save a bin manually. You might want to do this immediately after performing an important edit. There are three ways to save bins manually. To save a specific bin: 1. Click the bin to activate it. 2. Select File > Save Bin. To save selected bins: 1. Activate the Project window by selecting Tools > Project or by clicking anywhere in the window. 2. Click a Bin icon to select it. Ctrl+click any additional bins. 3.
Using the Bins Display The Avid Attic folder contains a folder for each project. When a bin is saved, a copy of the bin file is stored in the project folder in the Avid Attic folder. The system adds the file name extension .bak plus a version number to the bin name. The bin file with the highest version number represents the latest copy of the bin file.
Chapter 3 Working with the Project Window 10. Select one of the backup bin files you copied to the desktop, and click Open. When you open the backup bin, a link to the backup bin on the desktop is created in the Other Bins folder. n The Avid application does not allow a bin and a copy of a bin to be opened at the same time. You must keep all other bins closed and open the backup bins one at a time. 11. Create a new bin if you do not plan to overwrite existing files. 12.
Conserving Screen Real Estate with the SuperBin Enabling the SuperBin To enable the SuperBin: 1. Double-click Bin in the Settings tab in the Project window. The Bin Settings dialog box opens. 2. Select Enable SuperBin, and then click OK. The next time you click a bin in the Project window, it opens in the SuperBin. n When SuperBin is enabled, you open and move between bins by singleclicking the bin names in the Project window, not by double-clicking them.
Chapter 3 Working with the Project Window SuperBin icon To view a bin previously opened in the SuperBin: 1. Click the Bins tab in the Project window. 2. Click the bin name. The bin reappears in the SuperBin. Closing the SuperBin To close the SuperBin: t Click the Close button. All bins opened in the SuperBin close. Deleting the SuperBin To delete the SuperBin: 1. Click the Bins tab in the Project window. 2. Right-click the bin name, and select Delete Selected Bins.
Conserving Screen Real Estate with the SuperBin Moving Bins into and out of the SuperBin You can move bins currently displayed in their own windows into the SuperBin. You can also move a bin displayed in the SuperBin into its own window. To move an opened bin into the SuperBin: 1. Click the Bins tab in the Project window. 2. Double-click the open bin’s icon in the Project window. The individual bin window closes and the bin appears in the SuperBin.
Chapter 3 Working with the Project Window Copying Clips and Sequences into and out of the SuperBin To copy a clip or sequence into the SuperBin: t Press and hold the Alt key, and then drag a clip or sequence from another open bin window into the SuperBin. The clip or sequence moves into the SuperBin. n You can copy a clip or sequence from the SuperBin directly to a bin in the Project window. To copy a clip or sequence out of the SuperBin: 1. Click the Bins tab in the Project window. 2.
Using the Settings Scroll List Types of Settings Three types of settings appear in the Settings scroll list, as indicated in the third column of information: User, Project, and Site settings. • User settings are specific to a particular editor. User settings reflect individual preferences for adjusting the user interface in the system. Individual User settings are stored in each user folder, which is stored in the following location: drive:\Program Files\Avid\Avid application\Avid Users • Project settin
Chapter 3 Working with the Project Window By establishing these settings once, and by selecting the appropriate setting or bin view in context, you can save time and effort that would be spent searching for information or adjusting bin headings on-the-fly. You can also save these settings along with your template for use on similar projects, as described in “Managing Folders and Bins” on page 69.
Using the Settings Scroll List Film Settings Film settings determine essential parameters for accurately capturing, tracking, and editing source material for 24p and 25p projects, including: • Audio transfer rate and pulldown parameters for film-to-tape transfers • Play rate for Timeline play • Format and display of ink numbers For information about the Film Settings options, see “Film and 24p Settings” in the Help.
Chapter 3 Working with the Project Window Interface Settings You can set general options and appearance options in the Interface dialog box. General Interface settings determine the level of basic information displayed in the interface. Interface Appearance settings give you controls for customizing the colors and button style of the user interface. General Interface Settings The following illustration shows the General tab of the Interface dialog box.
Using the Settings Scroll List Appearance Interface Settings The following illustration shows the Appearance tab of the Interface dialog box. For more information about options in the Appearance tab in the Interface Settings dialog box, see “Interface Settings: Appearance Tab” in the Help.
Chapter 3 Working with the Project Window Changing Interface Component Colors You change the color of interface components by using a color grid. Table 2 describes the interface components that you can customize. Table 2 Customizable Interface Components Component Description Background The color of toolbars and dialog boxes behind the text. The default is gray. n If you select a background color but no button color, buttons take on the background color.
Using the Settings Scroll List To set the color of an interface component: 1. Click the Appearance tab of the Interface dialog box. Check box Color boxes Interface component list 2. Click in the color box next to the interface component you want to customize.
Chapter 3 Working with the Project Window A color selection grid appears. Color selection grid 3. Move the mouse pointer over the color selection grid, and release the mouse over the color to which you want to set your interface component. The color selection grid disappears. The color you selected appears in the color box. A check mark appears in the check box to show that you want your new color attribute for this selection to take effect.
Using the Settings Scroll List Changing Shading Style Shading style controls the shading of the buttons and toolbars. To set the shading style: 1. Click the Shading Style button in the Appearance tab of the Interface dialog box. The Shading Style pop-up menu appears. 2. Select a shading style. 3. Do one of the following: t n Click Apply to apply the change you selected. If you click Cancel after you click Apply, Shading Style retains the selection you applied.
Chapter 3 Working with the Project Window Changing Shading Depth Shading depth controls the three-dimensional “rounding” of the buttons and toolbars. To set the shading depth: 1. Click the Shading Depth button in the Appearance tab of the Interface dialog box. The Shading Depth pop-up menu appears. 2. Select a depth. 3. Do one of the following: t n 88 Click Apply to apply the change you selected. If you click Cancel after you click Apply, Shading Depth retains the selection you applied.
Using the Settings Scroll List The following examples show Shading Depth selections of 5% and 50%. Shading Depth 5% Shading Depth 50% Changing Button Separation Button separation controls whether certain buttons appear as single or grouped buttons. To change the separation of Monitor or Timeline buttons: 1. Click the Monitor Button Separation button or the Timeline Button Separation button in the Appearance tab of the Interface dialog box. The Button Separation pop-up menu appears. 2.
Chapter 3 Working with the Project Window t Click OK to close the dialog box and to put the new setting into effect. t Click Cancel to close the dialog box. The change you selected but did not apply does not take effect. The following examples show several Timeline buttons with each button separation selection applied. Maximum button separation Moderate button separation No button separation Changing Button Style Button style controls the shape of buttons in the interface.
Using the Settings Scroll List 3. Do one of the following: t n Click Apply to apply the change you selected. If you click Cancel after you click Apply, Button Style retains the selection you applied. t Click OK to close the dialog box and to put the new setting into effect. t Click Cancel to close the dialog box. The change you selected but did not apply does not take effect. The following examples show the different button styles available.
Chapter 3 Working with the Project Window Displaying Project Settings You can display the Settings scroll list of the Project window in different groups, depending on what you need to view. Table 3 describes the different Settings menu options.
Using the Settings Scroll List Changing the Settings Scroll List Display To change the Settings scroll list display of the Project window: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click the Fast Menu button, and select the settings display group. Settings Display groups The Settings menu displays the settings group selected and the Settings scroll list displays only the settings in that group.
Chapter 3 Working with the Project Window Table 4 Settings Scroll List Setting Name Description For More Information Audio Sets the default audio pan; contains audio scrub options and audio setup parameters. See “Adjusting Default Pan Settings” on page 359 and “Adjusting Digital Scrub Parameters” on page 357. Audio Project Sets parameters for audio setup. See “Preparing for Audio Input” in the Help. Bin Sets the Auto-Save preferences for bins. See “Bin Settings” on page 80.
Using the Settings Scroll List Table 4 Settings Scroll List (Continued) Setting Name Description For More Information Export Sets parameters for file export. See “Creating a New Export Setting” in the Help. General Defines default values such as the default starting timecode and the audio file format for your project. See “General Settings” on page 81. Grid Defines the grid to use when you create effects. See “Setting the Effect Grid Options” in the Help.
Chapter 3 Working with the Project Window Table 4 Settings Scroll List (Continued) Setting Name Description NRCS Defines the name of the Newsroom Computer System See “Configuring the server and the default user name. Also sets Message of NRCS Tool” in the Help. the Day and Mail options for the NRCS tool. PortServer Sets up the client so that it recognizes workspaces. See “Setting up the LANshare Client” on page 196.
Using the Settings Scroll List Table 4 Settings Scroll List (Continued) Setting Name Description For More Information Video Display Enables digital camera video input; enables support of See “Playing Video to the cameras with video input; sets the mode and source for Client Monitor” on page 243. desktop video; sets parameters for desktop video display; enables the Client monitor. Workspace Enables you to associate settings and windows with a See “Linking User workspace.
Chapter 3 Working with the Project Window 3. Click OK, Save, Cancel, Apply, or the Close button. Working with Multiple Settings You can have multiple versions of settings in your Settings scroll list in the Project window that apply to several users at various stages of production.
Using the Settings Scroll List Naming Settings You can give settings custom names to differentiate among copies or to indicate a specific use. To rename settings: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click the Custom setting name column in the Settings scroll list (the column to the right of the setting’s name). Custom setting name column 3. Type a new name and press Enter. 4. Type a new name and press Enter.
Chapter 3 Working with the Project Window Selecting Among Multiple Settings With multiple settings, only one setting at a time is active. Settings that are currently active have a check mark to the left of the setting name. To change the active setting: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click in the space to the left of the setting you want to select as the active setting. A check mark indicates that the setting is active.
Using the Settings Scroll List Copying Settings Between Settings Files To copy settings between files: 1. With the Settings scroll list active, open the target settings file in one of three ways: t Create and open a new settings file by selecting File > New Setting File. t Open an existing settings file by selecting File > Open Setting File. t Locate and select the settings file you want in the Avid Projects or Avid Users folder, and click Open. 2.
Chapter 3 Working with the Project Window Using Site Settings The Avid default preference files and the Site_Settings file are located in the following folder: drive:\Avid\Avid application\Settings folder The default preference and the Site settings files include the following settings template: • AvidDefaultPrefsNC — NewsCutter Adrenaline FX and NewsCutter XP template settings for new users • Site_Settings — Template for new User and new Project settings for all products When a new user is created, th
Using the Settings Scroll List To load settings into the Site_Settings file: 1. Open a project with the settings you want to establish as Site settings. If a project does not already exist with the settings you want, create a project and make adjustments to the default settings as needed. 2. Click the Settings tab. The Settings scroll list appears. 3. Do one of the following to open the Site_Settings window: t In the Project window, click the Fast Menu button and select Site Settings.
Chapter 3 Working with the Project Window Viewing the Effect Palette To view the Effect Palette: t Click the Effects tab (which displays the Effect icon) in the Project window. Effect icon Using the Info Display The Info tab displays basic project information, system memory information, and hardware information. The displayed information lists the options you selected in the New Project dialog box when you created the project.
Using the Info Display n The items listed in this view are for information only and cannot be changed. To view system memory information for an open project: t Click the Memory button. The Memory window opens. To view hardware information for an open project: t Click the Hardware button. The Hardware tool opens.
Chapter 3 Working with the Project Window • Total Page File: The total number of bytes that can be stored in the paging file. The paging file is used as virtual memory by Windows. • Available Page File: The total number of bytes available in the paging files. • Working Set (min and max): The set of memory pages currently available to the application in RAM. You can view additional memory information through the Windows tools, Task Manager and Performance Monitor.
Customizing Your Workspace For example, during capture you might want to display the Capture tool in specific locations. During effects editing, you might want to display the Effect Palette and Effect Editor in a particular location and size. For information on switching between workspaces, see “Switching Between Workspaces” on page 111. While in a workspace, you can move tool windows or open and close tool windows.
Chapter 3 Working with the Project Window 4. Assign a custom name to the new workspace: a. In the column between Workspace and User, click until you see a text pointer and box. Make sure you click the Custom setting name column and not the Setting name. Custom setting name column b. Type a name for the new custom workspace, for example, audio. c. Press Enter. 5. Open the windows and tools with which you want to associate the workspace.
Customizing Your Workspace - Manually Update This Workspace: This setting saves the workspace in its current arrangement when you click Save Workspace Now (which appears only after you select Manually Update This Workspace). Future changes to the arrangement of the tool windows are disregarded. 8. Click OK. Assigning a Workspace Button To assign a workspace button: 1. Select Tools > Command Palette. 2. Click the More tab. 3. Select Button to Button Reassignment. 4.
Chapter 3 Working with the Project Window Linking User Settings and Workspaces User settings can be linked to a workspace. You can create a customized workspace and set up specific options in any Settings dialog box, and link them by name. For example, you can create an Audio workspace that opens the Audio Mix tool and the Audio tool. This workspace can also open a customized Timeline (with enlarged audio tracks and Automation Gain displays).
Customizing Your Workspace Switching Between Workspaces To switch from one workspace to another: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click to the left of the workspace setting you want to use. A check mark appears next to the workspace. Deleting a Workspace To delete a workspace: 1. Select the workspace you want to delete from the Settings scroll list of the Project window. The workspace is highlighted.
Chapter 3 Working with the Project Window Navigating in Dialog Boxes and Menus You can use the keys listed in Table 5 to navigate in many dialog boxes and menus and to select and deselect options.
Sharing Bins and Projects on Avid Unity MediaNetwork For example, an editor can create sequences in one bin while an assistant recaptures media in another bin. At the same time, other users can add audio effects or titles to other bins in the project. Users can perform tasks from their own computers. The Avid system provides a simple locking mechanism to help keep track of who is currently working in a bin. The method allows one writer and multiple readers of a bin.
Chapter 3 Working with the Project Window Shared Bins When you use the shared bins, you store the project on your local computer 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 uses the following methods to identify the shared bins: • Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder.
Sharing Bins and Projects on Avid Unity MediaNetwork The following illustration shows the Project window for a shared project. Bold bins are locked for editing but can be viewed. Computer that currently has the bin locked Project folders for each user The following illustration shows the contents of a shared workspace at the desktop level. Shared projects Shared media files Unity Attic Opening a Shared Project To open an existing project on the shared volume: 1. Start your Avid application. 2.
Chapter 3 Working with the Project Window 3. Open one of the bins by double-clicking the Bin icon. 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 following illustration shows locked and unlocked bins. Unlocked bin Locked bin When a bin is unlocked, you have permission to make changes.
Sharing Bins and Projects on Avid Unity MediaNetwork If one user has the lock and another user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to get the lock. 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 taking the lock: t Alt+double-click (Windows) or Option+double-click (Macintosh) the bin in the Project window.
Chapter 3 Working with the Project Window Restrictions and Limitations for Locked Bins The following restrictions apply to bins that are locked by another user: • You cannot select a locked bin for operations such as capture, title creation, and importing. This helps to minimize the problems of modifying a locked bin. • You cannot drag to a locked bin. • If you drag from a locked bin to a writable bin, the Avid system creates a duplicate (not a copy) of the selection in the writable bin.
Chapter 4 Using Basic Tools The Tools menu on the menu bar provides quick access to a collection of essential tools for use in your projects. This chapter provides information about several basic tools that you can use at any time during your project.
Chapter 4 Using Basic Tools Using Toolsets You can use predesigned work environments (toolsets) that are suited to your most common tasks: • NRCS • Capture • Edit • Effects Editing • Audio Editing • Color Correction The Toolset menu provides you with six environments that include the following: • Tools appropriate for the task • A screen optimized for the task, screen resolution, and number of monitors • A neatly organized workspace with nonoverlapping windows You can customize the toolse
Using Toolsets Opening Toolsets To open a toolset: t Select Toolset > toolset. t Press one of the following key combinations: Press To view Shift+F8 NRCS toolset Shift+F9 Capture toolset Shift+F10 Edit toolset Shift+F11 Effects Editing toolset Shift+F12 Audio Editing toolset Any open tools close and the screen changes to display windows appropriate to the toolset task.
Chapter 4 Using Basic Tools NRCS Toolset The NRCS toolset displays the SuperBin in Brief view, the Source/Record monitor, the Settings tab of the Project window, and the Timeline. An area in the center of the toolset is left blank to accommodate the NRCS tool when a user connects to a server. 122 n For more information on bin views, see “Using Bin Display Views” on page 146. n For more information on the NRCS tool, see “Understanding the NRCS Tool” in the Help.
Using Toolsets Capture Toolset The Capture toolset displays the Bins tab of the Project window, the SuperBin in Frame view, the Capture tool, the Source/Record monitor in minimized form, and the Timeline. n For more information on bin views, see “Using Bin Display Views” on page 146. n For more information on the Capture tool, see “Setting Up the Capture Tool” in the Help.
Chapter 4 Using Basic Tools Edit Toolset The Edit toolset displays the Bins tab of the Project window, the SuperBin in Brief view, the Source/Record monitor, the Audio Mix tool, and the Timeline. 124 n For more information on bin views, see “Using Bin Display Views” on page 146. n For more information on the Audio Mix tool, see “Using the Audio Mix Tool” on page 365.
Using Toolsets Effects Editing Toolset The Effects Editing toolset displays the Effect Palette in the Project window (Effects tab), the SuperBin in Brief view, the Effect Editor, the Source/Record monitor, and the Timeline. n For more information on bin views, see “Using Bin Display Views” on page 146. n For more information on the Effect Editor and the Effect Palette, see “Using the Effect Editor” and “Using the Effect Palette” in the Help.
Chapter 4 Using Basic Tools Audio Editing Toolset The Audio Editing toolset displays the Bins tab of the Project window, the SuperBin in Brief view, the Source/Record monitor, the Automation Gain tool, and the Timeline. 126 n For more information on bin views, see “Using Bin Display Views” on page 146. n For more information on the Automation Gain tool, see “The Automation Gain Tool” on page 382.
Using Toolsets Color Correction Toolset The Color Correction toolset displays the SuperBin in Brief view, the Source/Record monitor configured to a three-monitor view, the Color Correction tool, the Bins tab of the Project window, and the Timeline. n For more information on bin views, see “Using Bin Display Views” on page 146. n For more information on the Color Correction tool, see “The Color Correction Tool” in the Help.
Chapter 4 Using Basic Tools Customizing Toolsets To customize the toolset workspace: 1. For the toolset you want to customize, select Toolset > toolset. 2. Open other tools with which you want to work and position them where you want them. 3. Select Toolset > Save Current. The next time you select the customized toolset, it appears with your changes. To restore the default toolset: t Select Toolset > Restore Current to Default.
Using the Tools Menu 3. Type the name of the other setting to which you want to link the toolset. For more information about creating and naming custom settings, see “Working with Settings” on page 97. n You can link toolsets only to User settings. 4. Click OK. The active toolset is linked to the custom setting you specified. You might want to link several toolsets to named settings but leave the other toolsets linked to a default, unnamed setting. To link a toolset to an unnamed setting: 1.
Chapter 4 Using Basic Tools Using the Deck Controller The deck controller provides direct serial or V-LAN® VLXi® control of an Avid-compatible video deck at any time during editing. This feature allows you to cue and screen footage from source tapes in various edit modes or when recording a digital cut.
Using the Command Palette • The deck controls and the J-K-L keys provide a standard range of playback capabilities, including fast forward and rewind, stop and play, step back and step forward, pause, and eject. • The Deck Selection pop-up menu allows you to specify a deck with deck control parameters that you can customize in the Deck Settings dialog box. For more information, see “Deck Settings Options” in the Help.
Chapter 4 Using Basic Tools The Command palette organizes buttons by editing function. Tabs are displayed for each editing function and the buttons that perform those functions are displayed within each tab. n When you are working with a 24p project, the Command palette displays the Step Forward 8 Frames button and Step Backward 8 Frames button. You can use the Command palette to: n • Map buttons to the Tool palette or the keyboard. See “Mapping UserSelectable Buttons” on page 133.
Using the Command Palette The following are a few examples: • Subcataloging clips: You can map the Make Subclip button and other clip management buttons. Make Subclip • Add Locator Complex layering and effects editing: You can map buttons such as Motion Effect, Remove Effect, and Fade Effect. Motion Effect For more information on multiple settings, see “Working with Multiple Settings” on page 98.
Chapter 4 Using Basic Tools 2. Select Tools > Command Palette. The Command palette opens. 3. Select Button to Button Reassignment. 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 Tool palette or the Keyboard palette (whichever one you opened previously). Using the Blank Button The Blank button in the Other tab of the Command palette allows you to replace a defined button with an undefined button.
Using the Command Palette Mapping Menu Commands You can map menu commands displayed in the menus on the Avid editing application menu bar directly to buttons on the Tool palette or to the Keyboard palette. This is especially useful if you frequently use the keyboard or the Tool palette during editing. In some cases, you can avoid using the menus altogether. n Before you can map some commands, you must first establish the condition that enables the command.
Chapter 4 Using Basic Tools The initials for the menu command appear on the target button. Effect Editor menu command mapped to a new key Activating Commands from the Command Palette You can perform a command function directly from the Command palette. For example, in the Move tab, you can click the Go to Next Locator button to move the position indicator to the next locator. To activate a command from the Command palette: 1. Select Tools > Command Palette. The Command palette opens. 2.
Using the Avid Calculator Using the Avid Calculator The Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats. For example, you can: • Convert drop-frame to non-drop-frame timecode values. • Convert timecode durations between 30-frames-per-second (fps) and 25-fps projects. • Convert durations to total frame count. To use the Avid Calculator: 1. Select Tools > Calculator. The Avid Calculator opens. 2. Click the Format pop-up menu.
Chapter 4 Using Basic Tools Using the Console Window The Console window provides a number of features, including: c • Current system information, including your system ID number • A log of error messages • Detailed information about sequences in the Timeline or about objects in a bin • Information after you capture or import Do not use the programming features of the Console without guidance from Avid professionals. Contact your Avid Reseller.
Using the Hardware Tool Getting Information with the Console Window The Console window provides quick access to bin information such as total duration of selected clips or total items in a bin, including hidden items. You can also use the Console window to display information about a shot, segment, or sequence in the Timeline. To get information with the Console window: 1. Select Tools > Console. The Console window opens. 2.
Chapter 4 Using Basic Tools Checking the Hardware Configuration To check the hardware configuration of your Avid editing system, do one of the following: t Select Tools > Hardware. t Click the Info tab in the Project window, and then click Hardware. The Hardware tool opens. The Hardware tool contains the following information: 140 • Each online drive is listed on the left side of the Drives tab. The name of each drive and its total size are listed below each Drive icon.
Using the Communication (Serial) Ports Tool Using the Communication (Serial) Ports Tool The Communication (Serial) Ports tool allows you to view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without closing the Avid application or shutting down the computer. n Although you can use the Communication (Serial) Ports tool to reassign ports, you still need to reconnect the appropriate cables to the newly assigned ports.
Chapter 4 Using Basic Tools 142
Chapter 5 Organizing with Bins The Avid editing application provides powerful database tools for organizing and managing your captured material. You can work with bins using three different views. You can rename, sort, sift, duplicate, and delete clips and sequences. You can also print single-clip frames or whole bins.
Chapter 5 Organizing with Bins Setting the Bin Display You can use the Set Bin Display dialog box to display clips referenced by a sequence, even if the clips were not previously in the bin. Place a sequence in a new bin, and follow this procedure. To set the bin display: 1. Click in a bin. 2. Select Bin > Set Bin Display. The Set Bin Display dialog box opens. Table 6 briefly describes the icons listed in the Set Bin Display dialog box. 3.
Basic Bin Procedures Table 6 Object Icon Object Icon Descriptions (Continued) Object Description Sources A clip that references the original videotape source footage for master clips Effects A clip that references an unrendered effect that you create Motion Effects A file in the bin that references effect media files generated when you create motion effects Rendered Effects A clip that references an effect media file generated when you render an effect Groups (For MultiCamera editing) Clips con
Chapter 5 Organizing with Bins Using Bin Display Views There are four display views for viewing and working with clips in a bin: Brief view, Text view, Frame view, and Script view. For information about bin views, see “Using Brief View” on page 160, “Using Text View” on page 161, “Using Frame View” on page 180, and “Using Script View” on page 184. n You can resize each display view by dragging the lower right corner of the Bin window. The size of the display view is saved as a User setting for the bin.
Basic Bin Procedures There are several ways to customize views of the bin: • Alter the arrangement of existing columns in the standard Statistics view to suit your needs, without adding or hiding columns. These arrangements will be recalled each time you select Statistics view. • Add or hide columns of information to create customized Statistics views. These are saved as additional view settings in numerical order, for example Statistics.1, Statistics.2, unless you choose another name.
Chapter 5 Organizing with Bins The Bin Fast Menu All Bin menu commands are also available in the Bin Fast Menu, located in the lower left corner of every bin. The Fast Menu is convenient when you are working with several open bins and need to access Bin Menu commands quickly. To open the Bin Fast Menu: t Click the Fast Menu button in the lower left corner of the bin. Setting the Font and Point Size You can set the default font and point size of a Project, Bin, Source/Record, or Timeline window.
Basic Bin Procedures Setting the Text Font To set a font for a Project, Bin, Source/Record, or Timeline window: 1. Select (activate) a Project, Bin, Source/Record, or Timeline window. 2. Select Edit > Set Font. The Set Font dialog box opens. 3. Click the Font pop-up menu, and select one of the available fonts. n Any font loaded in the Fonts folder appears in the list. For information on adding fonts to your system, see your Windows documentation. 4. Click OK.
Chapter 5 Organizing with Bins To reverse your selection: t Select Bin > Reverse Selection. The items that you previously selected are deselected, and those that were previously deselected are selected. Duplicating Clips and Sequences When you duplicate a clip or sequence, the system creates a separate clip linked to the same media files. You can move, rename, and manipulate this clip without affecting the original clip. To duplicate a clip or sequence: 1.
Basic Bin Procedures 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. Copying Clips and Sequences When you copy clips, you essentially create a reference clip in another bin, and any change you make to the copy will affect the original as well. You cannot copy clips to the same bin, and you cannot return a clip copy to the same bin where the original resides.
Chapter 5 Organizing with Bins 3. Select the items for deletion. 4. (Option) Delete the associated media files for master clips and effect clips. You can select both clips and media files for deletion, or you can select only the media files if you want to retain the clips for recapture later. 5. Click OK. If you choose to delete media files, a message box opens. 6. Click Delete.
Basic Bin Procedures Assigning a Source Color To assign a color to a clip, subclip, sequence, or effect clip in a bin: 1. With a bin in Text view, select the bin objects to which you want to assign a color. 2. Select Edit > Set Clip Color > color. The color appears in the Color column. n You can also assign a color by clicking in the Color column and selecting a color. Assigning a Custom Source Color To assign a custom color to a clip, subclip, sequence, or effect clip in a bin: 1.
Chapter 5 Organizing with Bins Limiting Color Choices When assigning colors to bin objects, you can limit the color choices to only the colors currently used in the bin. To limit the colors available when assigning colors to bin objects: 1. With a bin in Text view, select the bin objects to which you want to assign a color. 2. Alt+click in the Color column in the bin. A menu of all the colors you are using in the bin appears. Any custom colors you assigned are labeled Other. 3. Select one of the colors.
Basic Bin Procedures To sift clips and sequences: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. Text to Find text box Column or Range to Search pop-up menu Criterion pop-up menu 2. Click the Criterion pop-up 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. When sifting by color, type the exact name of the color by using uppercase and lowercase letters, in the text box. 4.
Chapter 5 Organizing with Bins After you have sifted the clips in a bin, you can display the bin in a sifted or an unsifted state as follows: To view the entire bin: t Select Bin > Show Unsifted. To view the sifted bin: t Select Bin > Show Sifted. The word “sifted” appears in parentheses after the bin name when you are viewing a sifted state. Locking and Unlocking Items in the Bin You can lock any item in the bin — including source clips, master clips, subclips, and sequences — to prevent deletion.
Basic Bin Procedures A Lock icon appears for each locked clip in the Lock column of the bin in Text view. Lock icons To unlock previously locked items: 1. Click a clip, subclip, or sequence to select it. Ctrl+click additional clips or sequences, if necessary. 2. Select Clip > Unlock Bin Selection. n You can use the clip-locking feature along with archiving software to automatically archive all locked media files.
Chapter 5 Organizing with Bins Selecting Media Relatives for an Object When you identify the media relatives of a selected clip or sequence, the system highlights all other clips linked to the selected clip, such as subclips or other sequences. To identify media relatives: 1. Open the bin that contains the selected clip or sequence. 2. Open any other bins that might contain the media relatives that you want to find. 3. Resize and position the bins so that you can see their contents.
Basic Bin Procedures n You can also use the Media tool to look at the captured video and audio data files stored on your media drives. For more information on the Media tool, see “Using the Media Tool” on page 198. Selecting Unreferenced Clips When you select unreferenced clips, the system highlights all clips that are not currently referenced by clips or sequences present in the open bins. Any master clips, subclips, or effect clips you have edited into a sequence in the bin are not highlighted.
Chapter 5 Organizing with Bins Using Brief View In Brief view, the Avid application displays five standard columns of information about the clips and sequences in your bins: • Name • Start • Duration • Tracks • Offline This view helps you manage your screen real estate. Brief tab Column heading Object icons Fast Menu button To see Brief view: t n 160 Click the Brief tab. You cannot customize the column headings in Brief view.
Using Text View Using Text View In Text view, clips are displayed in a database text format, using columns and rows, with icons representing the various objects. Text view provides the most complete view of clip information. You can rearrange and customize columns in Text view to suit your needs. Text tab Column heading Object icons Fast Menu button For information on specific Text view features, see “Organizing Bin Information in Text View” on page 161. To see Text view: t Click the Text tab.
Chapter 5 Organizing with Bins Arranging Bin Columns This section provides procedures for adding, hiding, moving, duplicating, and deleting columns from a bin. Moving and Rearranging Columns To move a text column in a bin: 1. Click the heading of the column that you want to move. The entire column is highlighted. 2. Drag the column to the position you want, and release the mouse button. The column appears in the new position, and columns to the right are moved to make room.
Using Text View Aligning Bin Columns When you align bin columns, the system maintains the same order of columns from left to right but spaces them according to the length of their contents. This is especially useful for removing spaces left after you move or rearrange columns. To align bin columns: t Select Bin > Align Columns. Showing and Hiding Columns You can select individual or multiple headings to be displayed or hidden in Text view. To select column headings: 1. Select Bin > Headings.
Chapter 5 Organizing with Bins To delete a column: 1. Click the column heading. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The column disappears from the view, and surrounding columns close to fill the space. Duplicating Columns You can duplicate existing columns containing timecode information in other compatible columns that you target in a dialog box. To duplicate a timecode column: 1. Select the column you want to duplicate by clicking its heading. 2.
Using Text View 3. Type the column heading you want, and press Enter. Column headings must contain fewer than 30 characters, including spaces. Custom heading This places the pointer in the data box, beside the first clip in the bin. 4. Select Bin > Align Columns after you have entered the new column heading. 5. Type the information, and press Enter to move to the next line. Changing a Custom Column Heading You can change the heading name of custom columns only.
Chapter 5 Organizing with Bins Managing Clip Information in Text View There are several ways to manage clip information in Bin columns. These methods include moving information with columns, modifying clip data, moving information between whole columns, copying information between cells, and sorting clip information, as described in this section.
Using Text View The following conditions apply to modifying clip information: • When you modify a clip’s information, related objects are automatically updated to reflect the new data. For example, if you change the name of a clip, the updated name appears in the sequences that use the clip. • Some data cannot be modified after capture because changes would prevent you from playing back and editing the material successfully. • Sequence data cannot be changed, even though it appears in your bin.
Chapter 5 Organizing with Bins Table 8 Direct Modification Headings Heading Restrictions (Clip) Name No restrictions. Auxiliary timecodes, 1–5 No restrictions. Color No restrictions. KN (Key Number) Start Only for 24p projects, 25p projects, and matchback projects. Altering the starting key number also alters the KN End to maintain the duration. This can cause discrepancies with any auxiliary timecode information that you entered manually.
Using Text View Modifying Data by Using the Modify Command The Modify command gives you specialized control over information in specific headings. For example, you can use the Modify command to change the name of source tapes or to increment or decrement the start and end timecodes by a specified length of time for one or several master clips at once. You can apply changes with the Modify command to master clips only; subclips and sequences cannot be altered in this way.
Chapter 5 Organizing with Bins Table 9 Modify Command Options (Continued) Type of Modification Options Description Decrement Timecode Start or End Changes either the start or end timecode. Decrementing the start timecode automatically modifies the end timecode by the same amount. Only start timecode can be decremented after capture. Timecode text box Allows you to enter custom decremental timecode.
Using Text View The Modify dialog box opens. Modify Options pop-up menu 4. Click the Modify Options pop-up menu, and select an option (for example, Set Timecode Drop-Nondrop). 5. Select an option or type information in the text boxes (timecode values, for example) when they appear. 6. Click OK. The modification takes effect. Copying Information Between Columns To copy information between columns: 1. Click the column that you want to copy. 2. Select Edit > Duplicate.
Chapter 5 Organizing with Bins Sorting Clips Sorting clips arranges them in either numerical or alphabetical order, based on the data in the column you select as the sorting criteria. You can sort clips in several different ways, including an ascending sort, a descending sort, and a multilevel sort. n You can sort clips and sequences in Text view only. If you need to view sorted clips in Frame or Script view, sort them in Text view first and then return to Frame view or Script view.
Using Text View Sorting Clips in Descending Order To sort clips in descending order: 1. Click the Text tab. 2. Click the heading of the column that you want to use as the criterion. The column is highlighted. 3. Do one of the following: t Right-click the column heading, and then select Sort on Column, Descending. t Press and hold the Alt key while you select Bin > Sort Reversed. The objects in the bin are sorted in descending order.
Chapter 5 Organizing with Bins Displaying Timecodes in a 24p or 25p Project When you are working with 24p and 25p projects (PAL with pulldown), you can add timecode columns to bins or the Media tool to enter and display starting timecodes in several timecode formats for master clips, subclips, and sequences.
Using Text View Frame Counting for Timecodes Table 11 shows the frame count for each timecode. The timecodes are listed as 24 for 24 fps, 25 for 25 fps, 25P for 25 (PAL with pulldown), and 30 for 30 fps (the count skips six frames to fit 30 frames into 24 fps).
Chapter 5 Organizing with Bins 4. Select Edit > Duplicate. The Select dialog box opens. 5. Select the timecode heading from the list. 6. Click OK. The values for master clips, subclips, and sequences in the Start column are converted to the appropriate timecode format and entered into the column you selected. Bin Column Headings You can select individual or multiple headings to be displayed or hidden in a bin. Table 12 describes the Bin Column Selection headings.
Using Text View Table 12 Bin Column Selection (Continued) Heading Description Aux TC 24 The original HDTV sources (1080p/24) or audio DATs created for PAL feature film productions that use in-camera timecode. Cadence The type of pulldown present on the source NTSC tapes when in a 23.976 or 24p project. CFPS The captured frames per second. Camera The camera used to film this clip. This feature is used in multicamera shoots. Camroll The camera roll containing this clip.
Chapter 5 Organizing with Bins Table 12 178 Bin Column Selection (Continued) Heading Description Ink Number The ink number for the clip. Used for 24p projects, 25p projects, and matchback projects only. KN Duration The length of the clip, expressed in feet and frames. Used for 24p projects, 25p projects, and matchback projects only. KN End The ending key number for the clip. Used for 24p projects, 25p projects, and matchback projects only.
Using Text View Table 12 Bin Column Selection (Continued) Heading Description Pullin The telecine pulldown of the first frame of the clip (pulldown phase). Pullin can have the values A, B, X (matchback only), C, or D. Used for 24p projects and matchback projects only. (NTSC only) Pullout The telecine pulldown of the last frame of the clip. Pullout can have the values A, B, X (matchback only), C, or D. Used for 24p projects and matchback projects only. (NTSC only) Reel # The source reel number.
Chapter 5 Organizing with Bins 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, but you can play back the footage within any clip and select any frame to represent the footage. You can make the pictures larger to see more detail or smaller to see more clips in the window. You can also rearrange the frames in any order.
Using Frame View Changing the Bin Background Color You can customize the background color of the bin behind the frames. Changes affect one bin at a time. However, changes you make in Frame view appear in Script view as well. Text view remains black and white. To change the bin background color: 1. Activate the bin you want to change, and make sure you are in Frame view. 2. Select Edit > Set Bin Background > color. The bin color changes, based on your selection.
Chapter 5 Organizing with Bins Enlarging or Reducing Frame Size You must enlarge or reduce all frames in the bin together. You cannot change the size of an individual frame. To enlarge the frame size: t 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.
Using Frame View Changing the Frame Identifying the Clip By default, Frame view displays the first frame of each clip in the bin. You can, however, change the displayed frame. To change the frame identifying the clip: 1. Select the clip that you want to change. 2. Press and hold the K key (Pause) on the keyboard, and press the L key (Play Forward) to roll the footage within the frame forward at slow speed. To move backward through the footage, press and hold the K key and press the J key (Play Reverse).
Chapter 5 Organizing with Bins Using Script View Script view combines the features of Text view with Frame view and adds space for typing notes or script. The frames are displayed vertically on the left side of your screen with a text box to the right of each clip. Clip data matching the column headings in Text view appears above each text box. Script tab To see Script view: t Click the Script tab. Entering Script View To see Script view: t 184 Click the Script tab.
Using Script View Adding Text in Script View To type text in the script box: t Click the script text box, and begin typing. This text does not appear in sequences edited from the clips; text appears only in printouts of the bin in Script view. You can use basic word processing procedures to highlight, delete, cut, copy, and paste text between script text boxes. If the notes or text you type extends beyond the size of the text box, use the Page Up or the Page Down key to scroll through the text.
Chapter 5 Organizing with Bins Printing Bins You can print entire bins or individual frames in hardcopy form. To print entire bins: 1. Make sure your printer is correctly configured. See your printer or Windows documentation, or contact your system administrator. 2. Select Text view, Frame view, or Script view. n To print a frame in Frame view or Script view, you must use a printer capable of printing graphics files. 3. Select File > Page Setup.
Gathering Format Elements Gathering Format Elements While organizing your project, you can gather various format elements into a single bin that you can open and use later during editing. Some useful format elements might be: • Bars and tone • Head and tail leader • Repeated titles • Countdowns • Graphic elements (repeated animations and so forth) For information on importing graphic elements and titles, see “Importing Files” in the Help.
Chapter 5 Organizing with Bins 3. Select File > Import. The Select Files to Import dialog box opens. Look In pop-up menu File browser section 4. Use the Look In pop-up menu to navigate to the folder containing the test pattern file: drive:\Program Files\Avid\Avid application\ SupportingFiles\Test_Patterns 5. Select a test pattern from the file browser section. The file name appears in the File Name text box. 6. Click Open. The clip for the imported file appears in the selected bin.
Gathering Format Elements If you import SMPTE_Bars.pct, it does not exactly match the SMPTE bars generated by the Video Output tool. The I and Q blocks in the bottom portion of the pattern cannot be exactly represented in the RGB color space used when importing files. If you must have I and Q blocks correct in a sequence, do one of the following: t Capture SMPTE bars from a signal generator. t Use the Video Output tool to generate SMPTE bars and record them to tape by using the controls on the deck.
Chapter 5 Organizing with Bins 2. Name this clip Head Leader or Tail Leader when you save the title. 3. Create a subclip from an appropriate length of the clip, according to your chosen specifications. 4. (Option) Mark a sync frame in the subclip as follows: a. Load the clip into the Source/Record monitor. b. Find an appropriate sync point and add a locator. For information on adding locators, see “Using Locators” on page 257. c.
Gathering Format Elements c. Move the position indicator before the first add edit, and open the Audio Mix tool. d. Bring the audio level all the way down. e. Move the position indicator after the second add edit, and use the Audio Mix tool to bring the level all the way down. For information on adding an edit, see “Adding an Edit” on page 328. Once the leader is prepared, you can splice the leader during editing onto the audio tracks that you want to keep in sync.
Chapter 5 Organizing with Bins 192
Chapter 6 Managing Media Files When you capture footage, the system creates digital media files for the video and audio tracks on the media drives attached to your system. In addition to the bin tools that allow you to organize the clips that reference these media files, your Avid editing system provides useful tools and features for directly managing media files for storage and playback efficiency, for backup, and for transfer between systems.
Chapter 6 Managing Media Files Working with Media Files in an Avid Unity Environment If you are using your Avid editing system in an Avid Unity workgroup environment, you can use Avid Unity MediaManager to share media files between systems. Avid Unity MediaManager is a media database that allows you to search the large number of media objects (master clips, sequences, effects, and any other type of object that references digital media) in the Avid Unity MediaNetwork shared storage environment.
Working with Media Files in an Avid Unity Environment Configuring Avid Editing Systems to Work with MediaManager and TransferManager Before you can interact with MediaManager and TransferManager, you need to configure your Avid editing system. You do this using the following settings from the Settings scroll list: • MM Host • MM User • Transfer You must specify the MediaManager location to let your Avid editing system know where to look for MediaManager on the network.
Chapter 6 Managing Media Files Support for Avid Unity LANshare Your Avid editing application can be used as a client in an Avid Unity LANshare workgroup system. LANshare allows you to share media with other clients connected to a high-performance server through an Ethernet network. To use LANshare, you need to set up the client in the Avid editing application. For more information, see “Setting up the LANshare Client” on page 196.
Working with Media Files in an Avid Unity Environment PortServer Pro Support Your Avid editing application is supported as a client on a PortServer Pro. The PortServer Pro system allows the system to access MediaNetwork workspaces by using an Ethernet 100BASE-T connection. The system connects to a gigabit uplink Ethernet switch, which in turn connects to the PortServer Pro system. The PortServer Pro is connected as a client to an Avid Unity MediaNetwork system using a Fibre Channel connection.
Chapter 6 Managing Media Files ProEncode Support on the PortServer Pro When you have a ProEncode™ server in your workgroup environment and ProEncode client software on your Avid system, a Send to ProEncode option appears in the File menu. ProEncode takes your sequences or clips and distributes them to multiple encoding stations simultaneously, creating different output formats for distribution, such as MPEG-2, RealSystem™, and QuickTime.
Using the Media Tool • You can use the same Script view options described in “Using Script View” on page 184. • The Media Tool Fast Menu gives you quick access to the same commands available in the Bin Fast Menu. • You can highlight, move, copy, duplicate, delete, sort, and sift clips in the Media tool. You can also select media relatives, sources, and unreferenced clips, as described in “Basic Bin Procedures” on page 145. • Media tool database and display options are saved as User settings.
Chapter 6 Managing Media Files Opening the Media Tool To open the Media tool: 1. Select Tools > Media Tool. The Media Tool Display dialog box opens. 2. Select the display options as follows: - n The Media tool loads the media database only for the drives you select. The more drives you select, the more memory is required for the Media tool to open. - n 200 You can select individual media drives or all drives. You can display files for the current project, for selected projects, or for all projects.
Using the Media Tool - You can display master clips, precompute (rendered effect) clips, or media files, or any combination of the three. 3. Click OK. The Media tool opens. Text tab Precompute clip Media file Master clip 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.
Chapter 6 Managing Media Files Depending on your needs, you can do one of the following: t Delete selected audio or video tracks, and retain other tracks from a clip. t Delete entire sets of media files and related clips from within the Media tool. t Delete all unrelated media upon completion of a project, and retain only the media required for playback of a finished sequence as described in “Consolidating Media” on page 203. To delete selected media files: 1. Select Tools > Media Tool. 2.
Consolidating Media 7. Click OK. A dialog box opens. 8. Click Delete. The selected media files are deleted. Consolidating Media When you consolidate media files, the system 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. n Because the Media tool displays only master clips, you cannot consolidate subclips or sequences with the Media tool.
Chapter 6 Managing Media Files incrementally beginning with .01. Consolidating master clips does not save storage space because the system copies the same amount of media for each clip. Consolidating a Master Clip Link the master clip to new or old files. Original media files Copy of media files Master Clip.old.01 • Master Clip Master Clip.new.
Consolidating Media • Sequences: When you consolidate a sequence, the system copies only the portions of media files edited into the sequence, and creates new master clips for each clip in the sequence. The file name extension .new is attached to the master clips, along with incremental numbering beginning with .01. The sequence is not renamed but is automatically relinked to the new media files. Consolidating a Sequence Original media files Clip A Clip B Clip C Edited copy of media files Clip A.
Chapter 6 Managing Media Files Using the Consolidate/Transcode Command To consolidate master clips, subclips, or sequences: For more information on rendering effects, see the Avid Products Effects Guide. 1. If you are consolidating a sequence, duplicate the sequence to maintain links to the original files, if necessary, and render any unrendered effects. 2. Select a clip or sequence. 3. Select Bin > Consolidate/Transcode. The Consolidate/Transcode dialog box opens. 4.
Consolidating Media 6. Select options as described in Table 13. 7. Select other options as described in Table 14. 8. Click the Consolidate button in the lower right corner. Table 13 Consolidate/Transcode Options Option Description Video and audio on same drive(s) Select to store the consolidated media files on the same target drive. Deselecting this option allows you to select separate drives for the audio and video media files.
Chapter 6 Managing Media Files Table 14 Consolidate-Only Options (Continued) Option Description Relink selected clips to target drive before skipping Select to ensure that all selected clips are linked to media on the target drive. This option appears when you select “Skip media files already on the target drive.” Consolidate all clips in a group edit Select to copy media for all clips in a group edit, for consolidating a group clip or a sequence that contains group clips.
Consolidating Media The Consolidate/Transcode dialog box opens. 3. Select the Transcode option in the upper left corner. 4. In the Target Drive(s) area, select a drive or drives. 5. Click the Target Video Resolution pop-up menu, and select a video resolution. See Table 15. 6. Select a file format: OMF or MXF. 7. Select other options as described in Table 13. 8. Click the Transcode button in the lower right corner.
Chapter 6 Managing Media Files • Recapture: When you recapture the master clips while the sequences bin is closed, quit and then restart the application, and open the sequences bin only. • Consolidating: When you consolidate the master clips and relink them to the consolidated media while the sequences bin is closed, quit and restart the application, and open the sequences bin only. To update offline sequences with the new media files: t Select File > Load Media Database.
Backing Up Media Files To refresh media databases: t Select File > Refresh Media Directories. Backing Up Media Files The OMFI MediaFiles folders on your external media drives contain the individual media files created when you captured source material. Unlike the smaller Avid Projects and Avid User folders, these folders are too large to back up onto floppy disks.
Chapter 6 Managing Media Files The system searches all available drives and highlights a related media file. Related media file If more than one file is related to the clip, a message asks if you want to see the next file. If you click OK, you need to bring the Explorer window forward by pressing and holding the Alt key and pressing the Tab key until you select the OMFI MediaFiles folder.
Relinking Media Files When you select subclips or sequences and select the Relink command, the system searches for master clips that contain the same material included in the selection. You can also relink master clips to appropriate media files. The system compares information such as source tape name, timecode information, and channels captured. If the search is successful, the system establishes new links to the available media files.
Chapter 6 Managing Media Files 6. (Option) Select “Match case when comparing tape names.” 7. Click OK. The system searches the selected media drives, and relinks clips and sequences if possible. The system disregards capture rate, video resolution, and audio resolution when matching media files. n To maintain the original Capture settings for a subclip or sequence, use the Batch Capture command; do not use the Relink command.
Relinking Media Files 6. (Option) Select “Relink only to media from the current project.” 7. (Option) Select “Match case when comparing tape names.” 8. Click OK. The subclips or sequences are linked to the selected clips or subclips. Relinking Consolidated Clips If the appropriate media exists online, you can reconnect consolidated clips, subclips, or sequences to the new or old media files.
Chapter 6 Managing Media Files Unlinking Media Files You can use the Ctrl and Shift keys to modify the Relink command for unlinking clips from their media files. To unlink master clips from their current links: 1. Select the master clips to unlink. 2. Press Ctrl+Shift, and select Bin > Unlink. The clips are unlinked and display the message Media Offline. n Because subclips and sequences do not point directly to the media files, you can perform this procedure only by using the source master clips.
Using Videotapes for Archiving and Restoring Media Files When you archive a project, the source media files are archived to videotape and you save the project files. For information about saving the project files, see “Backing Up Your Project Information” on page 53. You can reconstruct everything in your project with the archived files and your source tapes. n The quality of media degrades when you archive and restore media files one or more times.
Chapter 6 Managing Media Files The Select Tape dialog box opens. c. Click Cancel to leave Tape Name unspecified. d. (Option) Select the Custom Preroll option, and select the number of seconds from the pop-up menu to indicate how many seconds the tape rolls before the archiving process starts. This option overrides the Preroll setting in the Deck Settings dialog box. 2. Create a new bin for the archive, and name the bin. For example, you can name the bin Archive. 3.
Using Videotapes for Archiving and Restoring Media Files For example, if the archive length is 2 hours and 15 minutes, and you have 30-minute videotapes, you would type 5 in the 30 Minutes text box. t Type a custom tape length in the Custom text box, and type the number of available blank videotapes. 10. Click OK. The Digital Cut tool opens and becomes the active window. 11. Follow the instructions displayed in the message boxes to complete the archiving process.
Chapter 6 Managing Media Files Table 16 describes the Archive to Videotape options. Table 16 Archive to Videotape Options Option Description Archive Name Type a name for the archive. ProjectArchive is the default name. The archive name is numbered incrementally beginning with 001 to indicate the order of the tapes. Start Timecode Type a value in the Start Timecode text box to set the starting timecode of the archive on the videotape. By default, the start Timecode is set to 01:00:00:00.
Using Videotapes for Archiving and Restoring Media Files After you restore an archive, any links to the original source clips are broken, and only the sequence and its new master clips are linked to the newly captured media files. To restore an archive from videotape: 1. Copy the project files to the Avid Project folder located at: drive:\Program Files\Avid\Avid application\Avid Projects 2. Open the project. 3. Open the archived bin. 4. Select Tools > Capture, and set the following options: a.
Chapter 6 Managing Media Files 8. Click OK. The Capture tool opens and becomes the active window. 9. Follow the instructions in the message boxes to complete the restoration. The application recaptures the archived sequences and clips. 10. Batch import any graphics and render all non-real-time effects. For information about batch import, see “Reimporting Files” on page 618.
Chapter 7 Viewing and Marking Footage Before making your first edit, you can review your footage, add locators to clips, mark IN and OUT points, and create subclips. By viewing and marking your material in advance, you can concentrate on editing and refining your sequence at a later time without having to pause and set marks each time you load a new clip.
Chapter 7 Viewing and Marking Footage Customizing the Source/Record Monitor You can customize the Source/Record monitor by displaying or hiding labels on buttons. You can also customize the appearance of the Timeline by displaying a variety of information about your sequence. You can customize Trim mode by changing the Transition Play Loop settings for Preroll, Postroll, and Intermission. Expanding the Source/Record Monitor You can stretch your Source/Record monitor into two monitors.
Customizing the Source/Record Monitor Changing the Pop-up Monitor Size You can resize the pop-up monitor for better viewing. To resize the pop-up monitor: t Click the lower right corner of the monitor and drag it to the size you want. Using the 16:9 Display Format The Avid editing application supports the display of some forms of native 16:9 media with the correct aspect ratio.
Chapter 7 Viewing and Marking Footage Using 16:9 for 24p and 25p Editing For 24p and 25p projects, you can use the 16:9 Monitors option to correctly display the 16:9 aspect ratio from the film transfer. To display a larger film image: 1. During either shooting or the telecine process, use a 16:9 lens to squeeze the film images anamorphically to the 4:3 aspect ratio. 2. After capturing the footage, select the 16:9 Monitors option to return the squeezed image to its normal aspect ratio.
Customizing the Source/Record Monitor To select a tracking information format: 1. Load a clip or sequence into the monitor. 2. Click in the information display area in either the first or second row of information above the monitor, and select a format.
Chapter 7 Viewing and Marking Footage Tracking Format Options The Tracking Information menu contains options for information to be displayed above the monitors. Table 17 describes the tracking format options. Table 17 Tracking Format Options Option Description Mas Displays master timecode at present location. Dur Displays total duration of the sequence. I/O Displays duration between IN and OUT points. Abs Displays absolute time duration at present position.
Customizing the Source/Record Monitor The option you select from pane 1, pane 2, or pane 3 is displayed above the monitor. The following is a summary of the contents of the menu: Pane 1 Pane 2 Pane 3 The following is a summary of the contents of the menu: • Pane 1 lists options for summary information, such as master timecode (Mas), duration of the entire clip (Dur), IN to OUT duration (I/O), absolute timecode (Abs), and time remaining (Rem).
Chapter 7 Viewing and Marking Footage Displaying Clip Information The Info window displays statistical information about the clip. You open the Info window from the Source/Record monitor or a bin. This window updates information automatically. n If no clip is loaded in a monitor, you cannot open the Info window. To display clip information from the Source/Record monitor: 1. Place the mouse pointer in the gray area to the right of the Clip icon. 2. Press and hold the mouse button. The Info window opens.
Customizing the Source/Record Monitor Copying Text from the Info Window You can cut, copy, and paste information from the Info window anytime, but you cannot edit or change any information within the window. To copy text from the Info window: 1. Select the information you want to copy. 2. Press Ctrl+C to copy the information. 3. Place and click the mouse pointer where you want to paste the information, and then press Ctrl+V.
Chapter 7 Viewing and Marking Footage Table 18 Timecode Display Options (Continued) Option Description I/O Displays duration between IN and OUT points Abs Displays absolute time duration at the present position Rem Displays time remaining at the present position TC Displays timecode for the selected track V1–V24 Displays the source timecode of the video on tracks 1 to 24 A1–A24 Displays the source timecode of the audio on tracks 1 to 24 Timecode Displays tracking information as timecode (2
Customizing the Source/Record Monitor n You might need to resize the timecode display to see all the options. To do so, drag the lower right corner of the window. 4. Click the Close button to close the Timecode window. Setting the Font and Point Size for Monitor Displays You can apply a font and point size to a sequence or clip name. To set the font and point size: 1. With the Source/Record monitor active, select Edit > Set Font. The Set Font dialog box opens. 2.
Chapter 7 Viewing and Marking Footage Viewing Methods You can work with clips and sequences in several different ways, depending on your needs and preferences. Each method has its own uses and advantages, as follows: • Viewing in bins: You see pictorial images of the clips in your bins by using Frame view or Script view. You can also list the clips by name by using Brief view or Text view. See “Using Brief View” on page 160 and “Organizing Bin Information in Text View” on page 161.
Loading and Clearing Footage n You can change a Bin setting so that double-clicking an object in a bin opens it in a pop-up monitor instead of in the Source/Record monitor. See “Bin Settings” on page 80. To load multiple clips or sequences into the Source/Record monitor: 1. Open a bin, and Ctrl+click to select multiple clips or sequences. 2. Drag the clips or sequences into the Source/Record monitor.
Chapter 7 Viewing and Marking Footage The selected clip or sequence replaces the current clip or sequence in the monitor. Clip Name menu n To see the list of clips or sequences sorted in the order in which they were loaded into the monitor, press the Alt key while opening the Clip Name menu.
Resizing Monitors Resizing Monitors You can resize the Source/Record monitor to provide more area for displaying the Timeline or other windows. You can either hide the video completely or resize the monitor. Hiding the Video in the Source/Record Monitor You can resize the Source/Record monitor, displaying only the position bars, the editing buttons, and the information portion above the monitors. No video is displayed. To hide the video in a monitor: 1.
Chapter 7 Viewing and Marking Footage Controlling Playback There are several ways to play, view, and cue clips: n • Instantly access frames or move through footage by using the position indicator within the position bar under the monitors. • Play, step (jog), or shuttle through the footage by using user-selectable buttons. • Play, step, or shuttle by using keyboard equivalents. If you try to play a sequence and the outline of the monitor flashes, another window is covering the monitor.
Controlling Playback t Click anywhere in the Timeline to relocate the position indicator, or drag the position indicator through footage at varying speeds. In the Timeline, the position indicator shows your position within the sequence. It is always in the same position as the position indicator in the Source/Record monitor’s position bar. t Click to the far left or far right of the position bar or the Timeline to go directly to the beginning or end of a clip or sequence.
Chapter 7 Viewing and Marking Footage Stepping Forward and Backward by Field You can locate defects on individual fields of a frame with the single-field step feature. By default, the first field of every frame is displayed when you step through material frame by frame. n The single-field step feature is not available when you work with 24p or 25p projects.
Controlling Playback Using the Avid Keyboard The Keyboard palette varies, depending on the type of keyboard attached to your Avid system. If an Avid-supported international keyboard is attached, then the Keyboard palette matches that keyboard. n The keyboard settings vary, depending on the type of keyboard attached to your Avid system. The following shows the keyboard settings for a keyboard used in the United States.
Chapter 7 Viewing and Marking Footage Shuttling with the J-K-L Keys To shuttle through the footage by using the J-K-L keys on the keyboard: 1. Load a clip or sequence into the Source/Record monitor. 2. Use the J-K-L keys to shuttle at varying speeds: t Press the L key to move forward through the footage at normal speed. You can increase the speed according to the following table.
Playing Video to the Client Monitor Navigating with Home, End, and Arrow Keys In addition to using the buttons in the application, you can use the Home, End, and arrow keys to navigate through clips and sequences. • The Home key takes you to the beginning of a clip or sequence. • The End key takes you to the end of a clip or sequence. • The Left Arrow key moves the footage one frame backward. Pressing and holding the Alt key while pressing the Left Arrow key moves onehalf frame backward.
Chapter 7 Viewing and Marking Footage Selecting the Client Monitor Setting After you connect the camera or digital deck and Client monitor to your Avid editing system, you must configure your system to play video to the Client monitor. Use the Video Display setting in the Settings scroll list to configure your system. To configure Video Display settings: 1. Double-click Video Display in the Settings scroll list. The Video Display Settings dialog box opens.
Playing Video to the Client Monitor 2. If it is not already selected, select the “DV device supports digital video input” option. 3. Select the “Send video to DV device (client monitor enabled)” option. 4. Specify a number of seconds of video to prefill in the Seconds of Video to Pre-Fill text box. This setting instructs the system to delay the beginning of playback by the number of seconds you specify. During this time, the system processes frames in advance and stores them in memory.
Chapter 7 Viewing and Marking Footage Supporting a Camera Without Video Input If you connect a camera that does not have video input, your Avid system must use internal video signal processing for video display in the Source/Record monitor and pop-up monitors. You cannot use the Digital Cut tool. To support a camera without video input: 1. Click the Settings button in the Project window. The Settings scroll list appears. 2. Double-click Video Display. The Video Display Settings dialog box opens. 3.
Marking and Subcataloging Footage Adjusting the Play Delay Offset The Desktop Play Delay dialog box allows you to adjust the offset between audio and video playback. With a camera or deck connected to your system, play a sequence in the Timeline. If the Source/Record monitor plays back video and audio ahead of the camera or deck, you can adjust this offset.
Chapter 7 Viewing and Marking Footage Marking IN and OUT Points You can mark IN and OUT points for your clips in advance, which provides several advantages: • You can quickly build a sequence by splicing the marked clips into place one after another. • You can use the process of rough cut (or storyboard) editing, which allows you to instantly splice several prepared clips into a sequence. See “Creating an Instant Rough Cut” on page 282.
Marking and Subcataloging Footage The Sawtooth icon appears on the left side of the monitor to indicate the mark IN frame. Sawtooth icon Mark IN button Mark OUT button Clear Mark IN button Clear Mark OUT button 4. Continue playing, stepping (jogging), or shuttling through the material. 5. Mark an OUT point by doing one of the following: t Click the Mark OUT button under the monitor to mark an OUT point. t Press the Mark OUT key (the O key) to mark a clip in a bin.
Chapter 7 Viewing and Marking Footage Clearing a Mark and Setting a New One You can clear marks and set new ones. To clear the IN point: t Click the Clear IN Mark button (or press the D key). To clear the OUT point: t Click the Clear OUT Mark button (or press the F key). To clear both the IN and OUT points: t Click the Clear Both Marks button in the Timeline top toolbar (or press the G key). To set a new IN point: t Click the Mark IN button (or press the I key) when you reach a different frame.
Marking and Subcataloging Footage Marking an Entire Clip or Segment To mark an entire clip or segment: n A segment in a sequence consists of the material between any two edit points. 1. Load a clip or sequence into the Source/Record monitor. 2. In a sequence, move the position indicator to the segment that you want to mark. 3. In the Track Selector panel in the Timeline, select the tracks corresponding to the cuts you want to mark. Track Selector panel 4.
Chapter 7 Viewing and Marking Footage Marking Audio Clips You can mark audio and video separately for an edit by using the Audio Mark buttons. This feature is useful for creating an overlap edit (split edit or L-cut). To mark IN and OUT points on audio tracks: 1. Load a clip or sequence into the Source/Record monitor. 2. In the Track Selector panel, select the tracks corresponding to the cuts you want to mark. 3. Move the position indicator to the location where you want to mark the audio clip.
Marking and Subcataloging Footage Opening the Tool Palette To open the Tool palette: t Click the Fast Menu button under the Source or the pop-up monitor. The Tool palette opens. n If a subset of the buttons appears on the Tool palette, click the lower right corner and drag to the right and down to reveal the full Tool palette and blank, mappable buttons. Using the Tool Palette Options To see the names of the buttons on the Tool palette: t Hold the mouse pointer over a button.
Chapter 7 Viewing and Marking Footage Using the Tool Palette from the Record Monitor The Fast Menu button does not appear under the Record monitor. If your Source/Record monitor appears as a single monitor, use the following procedure to use the Tool palette. To use the Tool palette with the Record monitor: 1. Click the Toggle Source/Record button until the word “Source” appears next to the title in the monitor and the button changes to green. 2. Click the Fast Menu button under the Source monitor. 3.
Marking and Subcataloging Footage Creating Subclips When you mark footage with IN and OUT points, you can either save the entire clip along with the new marks or create subclips based on the marks you set to break up longer master clips into smaller segments of selected footage. This is similar to creating circle takes of your best footage before editing. Subclips do not directly reference the original media.
Chapter 7 Viewing and Marking Footage The new subclip is listed in the bin, preceded by a subclip icon and identified with a numbered .Sub.n file name extension, as shown in the following illustration. A new subclip as referenced in Text view Subclips do not limit your access to the original, captured master clip material when trimming.
Marking and Subcataloging Footage Using Locators Locators are a type of electronic bookmark. They allow you to find and identify specific frames during editing. Key words that you enter into the comments attached to a locator allow you to use standard Find procedures to call up the clips quickly. You can display information about the locators by using the Locators window. There are eight Add Locators buttons in the More tab of the Command palette.
Chapter 7 Viewing and Marking Footage • Add comments for EDLs: Use locators to add comments to sequence clips to appear in lists that you create, such as an EDL or cut list. • Viewing reviewer comments: Use the Locators window to view reviewer comments and the specific frame. • Print a list of reviewer comments: Use the Locators window to print a list of changes or comments that you can distribute to other people in the production.
Marking and Subcataloging Footage Adding Locators While Editing To add locators and comments during an editing session: 1. Load a clip or sequence into the Source/Record monitor. 2. (Option) Select a specific track by using the Track Selector panel. See “Using the Track Selector Panel” on page 318. 3. Cue to the frame and click the Add Locator button. The Add Locator button is found in the More tab of the Command palette.
Chapter 7 Viewing and Marking Footage Moving to the Previous or Next Locator You can move to a frame marked by a locator by using the Go to Previous Locator button or the Go to Next Locator button. To move to the previous or next locator: t Click the Go to Previous Locator button or the Go to Next Locator button in the Move tab of the Command palette. The position indicator moves in the direction you have indicated and the monitor displays the frame containing the locator.
Marking and Subcataloging Footage Using the Locators Window The Locators window allows you to quickly add comments, go to locator marks, delete locators, and print a list of locators in the currently loaded clip or sequence. Many features of the Locators window are similar to those of the Bin window. You can use the Locators window to: • Find information about each locator. • Access the Locators Fast Menu, which allows you to: • - Modify and sort the display.
Chapter 7 Viewing and Marking Footage The following illustration shows a Locators window with three locators. Locator information area Comment area Viewing and Navigating in the Locators Window To view locators in the Locators window: 1. Load a sequence containing locators into the Source/Record monitor. 2. Do one of the following: t Select Tools > Locators. t Find a video frame with a locator on it, and click the locator.
Marking and Subcataloging Footage To sort the locators in descending order: 1. Select the column that you want to sort. The column is highlighted. 2. Press and hold the Alt key while you click the Locators Fast Menu, and select Sort Reversed. Displaying Frames in the Locators Window You can display the frame associated with each locator in the Locators window. To display the frame associated with a locator: t Click the Locators Fast Menu, and select Images.
Chapter 7 Viewing and Marking Footage Printing the Contents of the Locators Window To print the Locators window: 1. Make sure your printer is set up correctly. 2. Select File > Page Setup. A Page Setup dialog box opens, reflecting specific options for your printer. 3. Select the appropriate options. 4. Click OK. 5. Select File > Print. The Print dialog box opens, reflecting specific options for your printer. 6. Select the print options. 7. Click OK. The system prints the Locators window.
Finding Frames and Clips Displaying Information in the Locators Window You can display creation information for each locator displayed in the Locators window. Displaying the creation information is useful when you are using the Review & Approval process.
Chapter 7 Viewing and Marking Footage Using Frame Offset Timecode to Cue a Frame To cue a frame by using frame offset timecode: 1. Using the numeric keypad, type a plus (+) sign to move forward or a minus sign (–) to move backward from the current position. n If you are using a laptop that does not have a numeric keypad, you cannot type in a number for the frame offset. 2. Type a number for the frame offset, and press Enter on the numeric keypad.
Finding Frames and Clips n If you are using a laptop that does not have a numeric keypad, you cannot type in a number for the timecode value. To cue to a frame based on a known timecode: 1. Type the timecode for the frame by using the numeric keypad on the right side of the keyboard. 2. Use one of these formats: - SMPTE timecode: Use two digits each for the hours, minutes, seconds, and frames with no leading zeros. For example, type 1230200 to enter 01:23:02:00.
Chapter 7 Viewing and Marking Footage 4. Select one or more options: - Locators causes the system to search for matching text entered into the Locator information area only. - Clip Names causes the system to search for matching text in clip names only. - Timeline Text causes the system to search for matching text in any clip text displayed in the Timeline. 5. Click OK. If the system finds matching text, it cues to the head of the clip if you selected Clip Names or Timeline Text.
Finding Frames and Clips To use the Match Frame feature: 1. Load a sequence into the Source/Record monitor. 2. Move to the frame that you want to match. 3. Make sure you select the correct track for the frame that you want to match in the Track Selector panel. 4. Do one of the following: t Click the Match Frame button in the Other tab of the Command palette. The source clip is loaded into the Source monitor, and any previous IN or OUT points are removed. A new IN point is marked at the matching frame.
Chapter 7 Viewing and Marking Footage The system cues the sequence to the matching frame on the record side. If the clip exists in more than one place, the sequence cues to the first location of the matching 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 matching frame. If you select a video track, the system matches a frame from the video.
Finding Frames and Clips Finding a Bin With a clip or sequence loaded into a monitor, you can quickly find the original bin in which it is stored by using the Find Bin button. Clicking this button finds the bin, opens it, and highlights the clip or sequence within the bin. This works for sequences, subclips or clips within sequences, or clips in the Source monitor. To find the bin in which a specific clip is located: 1. Load a clip into the Source monitor. 2. Click the Source monitor to activate it. 3.
Chapter 7 Viewing and Marking Footage Locating a Master Clip from a Subclip in a Sequence To find the original clip in the bin for a subclip that has been edited into a sequence, you can use the Match Frame and Find Bin buttons together. n For this operation, you must have the Match Frame button mapped below both the Source and Record monitors. To locate a master clip from a subclip: 1. Cue to the subclip in the sequence. 2. Click the Match Frame button to load the subclip into the Source monitor. 3.
Chapter 8 First Edits After you have viewed and marked your clips or have created subclips, you are ready to create a sequence.
Chapter 8 First Edits One of the following actions occurs: - If just one bin is open, or if several bins are open and you have clicked a specific bin to activate it, the new sequence appears in the bin. It also appears in the Source/Record monitor and in the Timeline, with the generic title “Untitled Sequence n.” Each new sequence is numbered incrementally until you rename it. - If several bins are open but none is activated, the Select dialog box opens.
Starting a New Sequence n If you click anywhere in the interface after creating the new sequence, you deactivate the sequence name field. You must click the sequence name again to rename the sequence. Changing the Sequence Info The following optional procedure allows you to rename the new sequence and to set a customized start timecode by using the Get Sequence Info command. To rename a sequence and to set a customized timecode: 1.
Chapter 8 First Edits Changing the Start Timecode for Sequences To change the start time of a sequence that has already been created: 1. Click the sequence start time in the bin. 2. Type a new timecode. Setting Up Tracks for the New Sequence When you create a new sequence by using the New Sequence command, and no material is loaded in the Source/Record monitor, the Timeline is empty. n You can add a Meta track for MetaSync editing.
Starting a New Sequence 2. If you want to switch from the type of new track you selected (for example, from a new video to a new audio track), click the Track Type pop-up menu and select the other option. 3. If you want to select a track number other than the default consecutive numbering offered by the dialog box, click the Track Number pop-up menu and select another number. You cannot select the number of an existing track. n You can have a maximum of 24 video tracks and 24 audio tracks. 4. Click OK.
Chapter 8 First Edits Adding Filler You can add a small amount of black filler at the start of your sequence. A brief moment of black before the start of your sequence is sometimes useful during playback or when recording a digital cut. You can also add filler at any time during editing to another part of the sequence. n You cannot add filler to the end of a sequence except during a digital cut, and you cannot add filler to an empty sequence. To add filler by using the Load Filler command: 1.
Starting a New Sequence To add filler anywhere in a sequence: 1. Select Clip > Load Filler. The system loads a 2-minute clip of filler into the Source/Record monitor. Fast Menu button Mark IN button Mark OUT button 2. Select the length of filler, as needed, by using the Mark IN and Mark OUT buttons. 3. Click the Fast Menu button. The Tool palette opens. 4. Click the Splice-in or the Overwrite button on the Tool palette to edit the black into the sequence.
Chapter 8 First Edits MetaSync Avid MetaSync gives editors the tools to synchronize metadata with traditional video and audio content. With MetaSync, you can insert pointers to metadata directly into the Timeline and easily modify the timing and duration of the enhanced material. The metadata, in turn, point to additional content, such as files from a scriptwriting program, closed captioning, HTML files, database records, machine controls, or remote commands.
Making the First Edit Beginning to Edit To begin editing: 1. Load the first clip into a pop-up monitor. If you have not already marked IN and OUT points for the clip in advance or created a subclip, view and mark the clip as necessary. Source Track buttons Source Track Monitor buttons 2. Click buttons in the Timeline Track Selector panel to select the tracks you want to include in the edit. Only the tracks that have been recorded for the clip appear as source tracks in the Timeline.
Chapter 8 First Edits Screen display of the first edit in a sequence The end of the last frame of the new edit Timeline generated by the edit Creating an Instant Rough Cut As an alternative to creating a new sequence by editing clips one at a time, you can quickly create a rough cut by selecting and loading multiple clips directly from the bin and then dragging them into the Timeline. n 282 To create a more accurate rough cut, view and mark clips in the bin in advance.
Making the First Edit 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. 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 or lasso the clips. t Select Edit > Select All if there are no other clips in the bin. 4. Drag the highlighted clips to the Timeline to splice the clips into place.
Chapter 8 First Edits Editing Additional Clips into the Sequence The primary edit functions are splice-in and overwrite. In most cases, you perform three-point edits in which you set three marks — two in the source material and one in the sequence, or the reverse. The fourth mark is determined automatically. The way you set marks depends upon the type of edit you perform.
Editing Additional Clips into the Sequence n If you do not mark an IN point, the system splices the new clip into the sequence at the current location of the position indicator. 4. To complete the edit, click the yellow Splice-in button under the Source monitor or press the V key. Performing an Overwrite Edit An overwrite edit replaces a section of the sequence with the material you select from the monitor.
Chapter 8 First Edits Performing a Replace Edit To perform a replace edit: 1. Select a sync frame in the source clip by moving the position indicator to display that frame in the Source monitor or a pop-up monitor. The sync frame can be an IN point, an OUT point, or any frame inbetween that you want to sync to a frame in the existing shot in the sequence. 2.
Lifting, Extracting, and Copying Material Lifting Material The Lift function removes selected material from a track in the sequence and leaves black filler or silence to fill the gap. You can later move or fill this gap with other footage. When you lift material, the overall duration of the track (or sequence) remains the same. Lifted Clip X Clip W Black Filler Material is placed in the Clipboard. Clip Y Clip Z To lift material: 1.
Chapter 8 First Edits To extract material: 1. Mark IN and OUT points in the sequence at the start and end of the material that you want to extract. 2. Select the tracks containing the material. The system performs the function only on selected tracks if sync locks are not on. If sync locks are on, all material on all tracks is extracted. See “Using the Track Selector Panel” on page 318 and “Sync Locking Tracks” on page 327. 3. To complete the edit, click the Extract button or press the X key.
Lifting, Extracting, and Copying Material Using the Clipboard The Avid Clipboard is a cut, copy, and paste tool adapted to the special needs of the editing environment. Placing a Sequence into the Clipboard To place a marked section of the sequence into the Clipboard at any time: t n Click the Lift, the Extract, or the Copy to Clipboard button. These buttons are located in the Edit tab of the Command palette; you can map them to buttons on the Tool palette or keys on the Keyboard palette.
Chapter 8 First Edits 3. Locate the IN point in the sequence from which the segment was removed. Move the position indicator here, or mark an IN point. 4. Splice or overwrite the material into the sequence. Playing the New Sequence You can play a sequence at any time and view it in the Source/Record monitor. Playing a Sequence To play a sequence: 1. Make sure that the Video Track Monitor icon is located on the topmost video track to display all video tracks and effects during playback. 2.
Playing the New Sequence To start a playback loop: 1. Mark IN and OUT points in the sequence. To play back the entire sequence, mark the IN point at the beginning and the OUT point at the end. 2. Press and hold the Alt key, and press the Play IN to OUT key (6 on the keyboard). The playback loop begins and continues until you press the space bar or click anywhere with the mouse.
Chapter 8 First Edits Proceeding with Editing When you have finished a rough cut, you are ready to fine-tune the sequence. To learn about the Timeline and Segment mode editing techniques: t See Chapter 9. To make frame-accurate adjustments to your edits using Trim mode: t See Chapter 10. To edit with audio or to mix audio tracks in preparation for playback or output: t See Chapter 11. To edit with synced tracks: t See Chapter 12.
Chapter 9 Using the Timeline The Avid editing application represents each edit and effect in a graphical Timeline structure to help you track and manipulate the elements of your sequence. In addition, the Timeline has its own set of editing tools that you can use to create and revise edits and transitions across multiple tracks. The audio and video tracks in the Timeline play in the Source/Record monitor.
Chapter 9 Using the Timeline • Audio detail: If you are doing advanced audio work with multiple tracks or are fine-tuning difficult audio edits, you can enlarge audio tracks to display waveform plots and audio levels. • Mapping buttons: You can map buttons to the Timeline top toolbar. For more information, see “Using the Timeline Top Toolbar” on page 254. Accessing the Timeline Settings The Timeline Settings options allow you to customize the Timeline.
Customizing Timeline Views Table 19 lists the Timeline Fast Menu options. Table 19 Option Timeline Fast Menu Options Suboption Description Default Setup Sets the Timeline display back to the default. Clip Frames Switches on and off the display of clip head frames in the Timeline. Clip Names Switches on and off the display of clip names in the Timeline. Clip Durations Switches on and off the display of clip durations in the Timeline.
Chapter 9 Using the Timeline Table 19 Option Timeline Fast Menu Options (Continued) Suboption Description Sample Plot Switches on and off the display of sample plots for each audio track in the Timeline. It is easier to see this display if you expand the audio track in the Timeline. Clip Color Displays local and source colors assigned to clips. Offline When this option is selected, any clips in the Timeline with media offline are highlighted in red.
Customizing Timeline Views Enlarging and Reducing Tracks You can enlarge or reduce the height of one or more tracks to improve visibility and to display more information within the tracks. Use this feature to: • Reduce and view all the tracks in a multilayer sequence, and enlarge them when finished. • Enlarge all tracks to view waveform plots or other displays in multiple tracks. To enlarge or reduce the height of selected tracks: 1. Select the tracks in the Timeline that you want to resize.
Chapter 9 Using the Timeline Assigning Local Colors to Clips in the Timeline You can assign local colors to clips in the Timeline to indicate clips that should be grouped together. To assign a local clip color: 1. Click one of the Segment Mode buttons, and select a clip. 2. Click the Timeline Fast Menu button, and select Clip Color > Local. A check mark indicates that Local is active. 3. Select Edit > Set Local Clip Color > color. 4. Click the Segment button.
Customizing Timeline Views Displaying Local Colors To display local colors in the Timeline: t Click the Timeline Fast Menu button, and select Clip Color > Local. The local colors assigned to clips appear in the Timeline. n If both Source and Local are selected in the Clip Color submenu, the local color overrides the source color. Saving a Custom Timeline View After you customize the Timeline, you can save it and access the view as you switch between projects and workspaces.
Chapter 9 Using the Timeline The current Timeline view is applied to the selected name, and that name is displayed in the Settings scroll list in the Project window. You can change the View Name in the Settings scroll list if you want. Restoring the Default Timeline View To restore the default view in the Timeline: t Click the Timeline Fast Menu button, and select Default Setup.
Navigating in the Timeline Using the Timeline Scroll Bar The Timeline scroll bar appears on the right side of the Timeline bottom toolbar. The Timeline scroll bar functions like any standard scroll bar. You can drag the scroll box to reposition yourself within the Timeline, or click the arrows to scroll left or right. Displaying Detail in the Timeline The scale bar stretches and contracts the Timeline area centered around the position indicator.
Chapter 9 Using the Timeline Zooming In and Out The Zoom In and Zoom Back commands in the Timeline Fast menu stretch out the Timeline like an accordion to allow you to focus on detail, but with the following differences: • The Zoom In command does not expand the Timeline incrementally, but allows you to select a portion of the Timeline of any size to instantly expand to fill the window. • The Zoom Back command does not shrink the Timeline incrementally, but instantly restores it to its former size.
Navigating in the Timeline The Focus button allows you to center the position indicator quickly and expand the Timeline. The Focus button always expands the Timeline to a scale of 90 pixels per second. The position indicator is centered in the window. When you click the Focus button again, the Timeline returns to its previous size. To focus the Timeline: 1. Move the position indicator to the frame or transition you want to expand. 2. Click the Focus button.
Chapter 9 Using the Timeline This feature is particularly useful when you are editing with a sequence or subclip created from a sequence; you can also use it to look at the contents of any source clip in a Timeline display. n Heads and Tails view is disabled when you are displaying material from the Source monitor.
Navigating in the Timeline n • Draft Quality mode lets you view greater effect complexity in real time with a lower quality image • Best Performance plays effects the fastest with the lowest resolution. If your system is not connected to an Avid DNA device, the Video Quality Menu button shows only two choices, Best Quality and Best Performance. For more information about the Video Quality Menu button, see “Playing Back at Different Video Qualities” in the Help.
Chapter 9 Using the Timeline To select segments with the pointer: 1. Click one of the Segment Mode buttons located in the Timeline bottom toolbar. The arrow changes to a hand. 2. Click a segment in any track to select it. Shift+click additional segments to select a group. Selecting One or More Segments by Lassoing To select segments by lassoing: 1. Do one of the following: t Click one of the Segment Mode buttons located in the Timeline bottom toolbar. t Press and hold the Alt key. 2.
Navigating in the Timeline Deselecting Segments You can deselect one or more selected segments. To deselect an entire track: t Click the Track button in the Track Selector panel. For example, if you lasso segments on V1, V2, and A1, you can click the V2 and A1 track buttons to leave only the segment on the middle track, V1, selected. To deselect one or more segments: t Use the Segment Mode pointer to Shift+click specific segments on any track, leaving the remaining tracks selected.
Chapter 9 Using the Timeline To find the next segment that contains filler: t Select Clip > Find Black Hole again. To find flash frames: 1. Check or set the maximum frame length that you want the system to detect by doing the following: a. Double-click Timeline in the Settings tab in the Project window. The Timeline Settings dialog box opens. b. Click the Edit tab. c. In the option Find Flash Frames Shorter Than, indicate the maximum number of frames you want the system to detect.
Editing in the Timeline Editing in the Timeline The following sections provide details on the editing functions you can perform in the Timeline: • Segment Mode Editing • Bin Editing into the Timeline • Bin Editing Directly into a Sequence • Using the Top and Tail Commands • Setting the Duration for Filler at the Start of a Sequence • Cutting, Copying, and Pasting in the Timeline • Effects Editing • Nesting • Using the Track Selector Panel • Selecting Tracks • Monitoring Tracks • Cycl
Chapter 9 Using the Timeline Segment Mode Editing There are two methods for editing segments or adding clips: • Extract/Splice-in, indicated by a yellow arrow • Lift/Overwrite, indicated by a red arrow Consider the following when editing segments: • Transition effects on either side of a moved selection are deleted. Transition effects inside the selection are preserved.
Editing in the Timeline You can move either an audio segment or a video segment. To move a segment and keep sync: 1. Double-click Timeline in the Settings scroll list of the Project window. The Timeline Settings dialog box opens. 2. Select the Segment Drag Sync Locks option in the Edit tab. 3. Click OK. 4. In the Track Selector panel, click the Sync Lock button for the video and audio tracks that you want to keep in sync. 5. Click the Extract/Splice-in button. 6.
Chapter 9 Using the Timeline To perform an Extract/Splice-in edit: 1. Click the Extract/Splice-in button in the Timeline bottom toolbar. 2. Select the segment you want to move. 3. Click the segment, and drag it to its new position. n For more control, Ctrl+click the segment and drag it to its new position. This allows you to place segments anywhere within sequences, not just at the heads or tails of transitions. 4. Release the mouse button.
Editing in the Timeline To perform a Lift/Overwrite edit: 1. Click the Lift/Overwrite button in the Timeline bottom toolbar. 2. Select the segment you want to move. 3. Click the segment, and drag it to its new position. n For more control, Ctrl+click the segment and drag it to its new position. This allows you to place segments anywhere within sequences, not just at the heads or tails of transitions. 4. Release the mouse button.
Chapter 9 Using the Timeline n If the segment has an effect, the system deletes the effect first. Bin Editing into the Timeline Bin editing allows you to bypass the process of loading clips into a Source/Record monitor, setting marks, and clicking the Splice-in or the Overwrite button. You can use Segment mode to edit clips directly from a bin into the sequence in the Timeline. To perform a direct edit from a bin into your Timeline: 1.
Editing in the Timeline Bin Editing Directly into a Sequence You can use keyboard shortcut keys to edit clips directly from a bin into the sequence in the Timeline. To perform a direct edit from a bin into a sequence: 1. Activate bin editing: a. Double-click Bin in the Settings tab in the Project window. b. Select “Enable edit from bin (Splice, Overwrite).” c. Click OK. 2. Mark an IN point or OUT point in the Timeline, or move the position indicator to the place where you want the clip to appear. 3.
Chapter 9 Using the Timeline Use the Tail button in the Edit tab of the Command palette to extract footage from the position indicator to the end of the clip or segment. This action is the equivalent of the T-E-X keyboard command sequence: Mark Clip, Mark IN, Extract. The Tail button appears in the Edit tab of the Command palette. For information about how Mark Clip works, see “Marking an Entire Clip or Segment” on page 251. To edit using Top and Tail commands: 1.
Editing in the Timeline Cutting, Copying, and Pasting in the Timeline You can use the traditional shortcut keys for cutting, copying, and pasting segments selected in the Timeline. To cut or copy and paste: 1. Select the segment by using one of the Segment Mode buttons. 2. Do one of the following: t To copy, select Edit > Copy or press Ctrl+C. t To cut, select Edit > Cut or press Ctrl+X. 3. Move the position indicator to the new IN point. 4.
Chapter 9 Using the Timeline Nesting When editing effects, you can use a procedure known as nesting. This involves stepping into existing tracks to reveal added layers for combining multiple images and digital video effects. When the effect is applied, you can step out to view and render the effect as one segment on the track. n For more information on nesting techniques and effects editing, see the Avid Products Effects Guide.
Editing in the Timeline The source side on the right side of the panel displays only those tracks available for the clip currently loaded. For example, a clip that has audio recorded only for track A1 does not display an A2 track in the Track Selector panel. The record side on the left side of the panel displays only those tracks currently in use for the sequence.
Chapter 9 Using the Timeline Monitoring Video The Video Track Monitor button determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing. When there are multiple video tracks, all tracks below the monitored track are active during playback. When you edit with multiple tracks, you can activate the monitor on a lower track to monitor only the video on that track.
Editing in the Timeline • To hear more than eight tracks at once, you must mix down some of them to a maximum of eight. For more information, see “Mixing Down Audio Tracks” on page 438. • By default, all monitored audio tracks are selected for scrubbing. To isolate specific audio tracks for scrubbing, see “Soloing Audio Tracks in the Timeline” on page 354.
Chapter 9 Using the Timeline Monitoring a Solo Track You can monitor a single video or audio track during editing. Solo monitoring has several advantages: • You can view any individual layer of a composited effect. • You can isolate an individual audio track with a single mouse click (without manually deselecting the other audio tracks). • You can eliminate slow cueing and playback when working with a complex sequence by monitoring a specific track.
Editing in the Timeline Performing an Alternate Edit Using Alternate Edit mode allows you to overwrite a selected clip in a sequence with several clips located in a special bin called Alternate Edits. This is done by placing the position indicator on a clip in the Timeline and clicking the Alternate Edit button. Each time you click the button, the clip where the position indicator is located is replaced with a clip from the Alternate Edits bin.
Chapter 9 Using the Timeline 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 an Edit with the Edit Review Button” on page 344.) n The replacement clip prerolls in the sequence, using the preroll time specified in the Trim Settings dialog box.
Editing in the Timeline Locking Tracks You can lock selected tracks to prevent further editing from being performed on them. The Track Selector panel displays the Sync Lock icon (slash mark) for sync-locked tracks, and the lock icon (padlock) for locked tracks.
Chapter 9 Using the Timeline To unlock tracks: 1. Select the tracks you want to unlock. 2. Do one of the following: t Right-click in the Timeline, and select Unlock Tracks. t Select Clip > Unlock Tracks. The Lock icon disappears and the tracks are unlocked. Patching Tracks When working with multiple tracks, you might encounter a circumstance where you must edit source audio or video onto a track other than the parallel track displayed in the Track Selector panel.
Editing in the Timeline 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. c When you are patching from one video track to another, the Video Track Monitor icon moves to where you patch the track.
Chapter 9 Using the Timeline To resume editing on individual tracks: t Click again to remove the Sync Lock icon. Deleting Tracks To delete one or more tracks from the sequence: 1. Click the Record Track buttons for the tracks, and press the Delete key. The Delete Track dialog box opens. 2. Click OK. The tracks are deleted. To restore a deleted track: t Select Edit > Undo. Adding an Edit The Add Edit function places an artificial edit point between the frames of a clip.
Editing in the Timeline modify that portion without affecting the rest of the footage. Once you make the adjustment (for example, adding an effect), playback of the clip is no longer seamless because the two portions of the clip are different. You can add an edit to a single audio or video track, or you can place the add edit across several tracks at once. To add a match-frame edit: 1. Move the position indicator to the selected frame. 2. Select the tracks where you want to add the edit. 3.
Chapter 9 Using the Timeline Backtiming Edits Backtiming an edit is effectively the reverse of the process you normally use for marking footage. Instead of marking from the IN points forward, you mark according to the OUT points. For example, you might have a track of audio (music or voice) that ends at a specific point, and you want to synchronize a video clip to end on a particular clip. You can backtime the edit to match the end points of the tracks.
Printing the Timeline Printing the Timeline To print the Timeline: 1. Click the Timeline to make it active. 2. Select File > Print Timeline. The Print dialog box opens. 3. Select the printing options. 4. Click OK. The system prints the current view of the Timeline.
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Chapter 10 Working in Trim Mode Basic editing in the Timeline initially produces a rough cut, which can be loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can enter Trim mode and finetune 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.
Chapter 10 Working in Trim Mode Customizing Trim Mode You can customize Trim mode by changing the Transition Play Loop settings for preroll, postroll, and intermission. To customize the Transition Play Loop settings: 1. Double-click Trim in the Settings tab in the Project window. The Trim Settings dialog box opens. 2. Configure the Trim settings you want. You set and alter the lengths of the preroll, postroll, and intermission intervals by clicking the appropriate text box and typing a new value.
Using Basic Trim Procedures This method is useful for selecting straight-cut transitions on one track or across video and audio tracks. By default, only the transitions in the tracks highlighted in the Track Selector panel are selected for trimming. If the transitions are not straight cuts (overlap cuts or Ledits), the system highlights the topmost track, nearest the position indicator. n You can map the Trim Mode button to any button on the Tool palette or any key on the Keyboard palette.
Chapter 10 Working in Trim Mode t Click a specific location in the Timecode (TC1) track at the bottom of the Track Selector panel. The position indicator moves to that location. 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).
Using Basic Trim Procedures 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 are working with staggered transitions across multiple tracks. It also allows you to select both A-side and Bside transitions for simultaneous trimming in opposite directions (asymmetrical trim). This is not possible with dual-roller trims.
Chapter 10 Working in Trim Mode t Use the numeric keypad on 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) you want to move forward or backward. Then press Enter. If the number of frames is larger than 99, type an f after the number to indicate frame count. For example, to enter 200 frames, type 200f, and press Enter.
Using Basic Trim Procedures Trimming On-the-Fly In Trim mode, you can use the J-K-L keys on the keyboard to play through outgoing or incoming material and to mark trim points. For convenience, this method isolates the trim controls to just three keys. To trim on-the-fly: 1. Select one or more transitions for single-roller or dual-roller trimming. See “Performing a Basic Trim” on page 337. 2.
Chapter 10 Working in Trim Mode To trim during a playback loop: 1. Click the Trim Mode button to enter Trim mode, and select transitions for trimming. 2. Click the Play Loop button to repeatedly play the selected transitions. n 1 frame To make adjustments to the playback loop for preroll, postroll, or intermission intervals, see “Reviewing the Trim Edit” on page 344. 3. Press a keyboard equivalent to perform a Trim function.
Using Basic Trim Procedures Slipping or Sliding Clips or Segments Slip and slide procedures are two unique Trim mode techniques that allow you to make frame-accurate adjustments to a selected clip. They occur without affecting the overall duration of the sequence or the sync relationships between multiple tracks. Procedures for performing slip and slide trimming are described in this section. Slip and slide trimming is especially useful during the later stages of the edit.
Chapter 10 Working in Trim Mode The type of trim you perform (slip or slide) determines which frames are updated, as follows: • In slip trimming, the two inner monitors for the head and tail frames of the clip change because only the contents of the clip are adjusted. The frames that precede and follow the clip are not affected. Surrounding material remains fixed. Before slip 1 Slip 1 frame to the right.
Using Basic Trim Procedures Performing the Slip or Slide Trim To slip or slide a clip or segment: 1. After selecting the segments, as described in “Selecting Segments for Slip or Slide Trimming” on page 341, do one of the following: t Click any roller in the Timeline, drag the selected material to the left or right, and release. t Use the numeric keypad to enter specific frame-count or timecode values, and press Enter.
Chapter 10 Working in Trim Mode Reviewing the Trim Edit You can review an edit by using the Edit Review button or the Play Loop button. Reviewing an Edit with the Edit Review Button The Edit Review command allows you to review an edit or other change that you have just made to a transition.You can set how far the position indicator backs up in the Preroll option in the Trim Settings dialog box (see “Customizing Trim Mode” on page 334). The Edit Review button appears in the Play tab of the Command palette.
Creating Overlap Edits 3. To exit Trim mode, click the timecode track in the Timeline or click the Toggle Source/Record button. Creating Overlap Edits You can use an overlap edit (or L-edit) to smooth a transition by giving the viewer the illusion that the audio or video is shared between two separate but adjacent clips. Audio overlap example V1 A1 A2 Clip A Clip B Clip C Before trimming V1 A1 A2 Clip A Clip B Clip C After trimming Clip B audio is extended. Clip C audio is trimmed in.
Chapter 10 Working in Trim Mode Extending an Edit Use the Extend Edit function to perform dual-sided (A-side and B-side) trims on selected tracks. By using Extend Edit, you can quickly create a split or overlap edit without entering Trim mode. You can also specify the exact frame to trim by using the position indicator. (If you enter Trim mode, the position indicator moves to the nearest transition by default.) You can extend edits backward or forward in the Timeline.
Maintaining Sync While Trimming Adding Black While Trimming You can add black filler on either the A-side or the B-side of a transition while maintaining the overall duration of the track and the sync relationships. The system adds a black segment to fill the duration of trimmed frames. To add black while trimming: 1. Enter Trim mode. 2. Select the transition. 3. Press and hold the Alt key while dragging the A-side or B-side trim roller.
Chapter 10 Working in Trim Mode After you have added black filler to a video track, you can replace the filler with footage by performing a replace edit. For more information, see “Performing a Replace Edit” on page 286. Trimming with Sync-Locked Tracks Sync-locked tracks aid only single-roller trim functions in Trim mode because dual-roller trims do not cause sync breaks. To trim with sync-locked tracks: 1. While in Trim mode, click next to the tracks you want to keep in sync.
Maintaining Sync While Trimming - When you trim back the A-side of a transition, additional segments locked in sync move back as well. If the segments are staggered and one of the additional sync-locked segments encounters another segment on the same track, you can trim no further and the system emits a warning sound. If you trim the B-side of the transition in the same direction, all other segments locked in sync move forward to stay in sync.
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Chapter 11 Working with Audio You edit audio by using many of the same techniques and tools you use to edit video, including editing, Segment mode, and Trim mode functions. The Avid 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. In addition, you can adjust the high, low, and midrange frequency ranges of segments by using the Audio Equalization (EQ) tool.
Chapter 11 Working with Audio Audio Tools The Avid application provides a collection of tools for managing and finetuning audio volume, pan, equalization, and transitions. The general purpose of each tool is as follows: 352 • Audio tool: Use this tool primarily for adjusting and calibrating global input and output levels when you record from analog sources or from output to tape. For more information, see “Using the Audio Tool” in the Help and “Calibrating for Audio Output” in the Help.
Accessing Audio Effect Tools Accessing Audio Effect Tools You can access the following tools from any of the audio effect tools: • Audio Mix (for adjusting pan and volume) • Automation Gain • AudioSuite • Audio EQ To access one of the audio effect tools: t Select Tools > tool. To switch to another tool: t Click the Effect Mode Selector pop-up menu, and select the new tool.
Chapter 11 Working with Audio Audio Editing Aids The Avid application provides audio track soloing, audio scrub features, and waveform plots specifically designed for frame-accurate cueing, marking, and editing of audio. You can use these features any time during editing or while making adjustments with the audio tools. Soloing Audio Tracks in the Timeline You can solo multiple tracks in the Timeline.
Audio Editing Aids Smooth Scrub Versus Digital Scrub You have two options for scrubbing audio in either the sequence or the source material: • Smooth audio scrub: This feature mimics the variable-pitch playback of traditional analog tape. • Digital audio scrub: This feature takes advantage of the digital environment by sampling incoming frames, outgoing frames, or both at normal pitch and playback rate.
Chapter 11 Working with Audio To ensure an audio track is monitored during scrubbing: t Alt+click the Audio Track Monitor button in the Track Selector panel for the selected track. Audio Track Monitor buttons with gold Speaker icons The Audio Track Monitor button is purple with a gold Speaker icon to indicate which tracks will be played if the system has to drop tracks during scrubbing. By default, the two topmost Audio Track Monitor buttons display the gold Speaker icon.
Audio Editing Aids Using Digital Audio Scrub Digital audio scrub enables you to sample selected frames of incoming or outgoing audio as you move through the footage, without a change in pitch or speed. The following are unique characteristics of digital scrub: • The frames of audio you hear are always at your point of destination.
Chapter 11 Working with Audio To adjust the parameters for digital scrub: 1. Double-click Audio in the Settings tab in the Project window. The Audio Settings window appears. 2. Click in a text box, and type a new number of outgoing or incoming frames in the Source Scrub area, the Timeline Scrub area, or both. The new parameters are now in effect. Performing the Digital Scrub Procedure To locate an audio edit point in audio by using digital scrub: 1.
Audio Editing Aids When you have found the correct frame, mark the location, trim the transition, or perform any other function you choose. If you are sampling incoming frames (with the default scrub parameters, for example), the system places the position indicator at the head of the last sampled audio point. If you are sampling outgoing frames, the system places the position indicator at the tail of the last sampled audio point.
Chapter 11 Working with Audio By default, the audio tracks for clips alternate with track 1 on the left speaker and track 2 on the right speaker for monitoring and output. The option All Tracks Centered instructs the system to center the pan of all tracks between the two speakers for monitoring and output.
Audio Editing Aids 4. Double-click Audio In the Settings tab in the Project window. The Audio Settings window appears. 5. Click Audio Tools Response, and select a response speed from the pop-up menu that corresponds to the speed of your system. Faster systems might be able to handle faster response speeds. n Be cautious when you adjust the audio response. Changing from the default might lead to audio underruns, crackling, or other effects. 6. Press the Audio Play Loop button again.
Chapter 11 Working with Audio Displaying Waveform Plots You can use sample waveform plots to help you visually locate points in an audio track for editing or trimming. To display audio waveforms: 1. If you are searching for a point in a known section of the tracks, zoom in and show more detail in the sequence to isolate a section of the audio. With less audio to display, the system draws the waveform plot faster. 2. Click the Timeline Fast Menu button, and select Sample Plot.
Audio Editing Aids t To enlarge the size of the sample plot image without enlarging its track, press Ctrl+Alt+L. This procedure is useful when you view detail in quiet passages. t To reduce the size of the sample plot image without reducing its track, press Ctrl+Alt+K. This procedure is useful when you view detail in loud passages. n You can select Show Marked Waveforms in the Timeline Settings dialog box to narrow the view of the tracks in the Timeline.
Chapter 11 Working with Audio Adjusting Volume Control You can adjust your speaker or headphone volume without leaving the application To adjust the volume control: 1. From the Timeline, click and hold the Master Volume button. Master Volume button Audio Meter menu button If you do not see the Master Volume button, click the Audio Meter menu button, and then select Show Audio Meters. The Master Volume button is displayed with the Audio Meters. The Volume Control slider appears. 2.
Using the Audio Mix Tool Using the Audio Mix Tool For additional information on audio levels for digital cut output, see “Output Options” in the Help. The default volume for master clips is set to zero (that is, with no attenuation) when you first capture the media. The pan option in the Audio Settings window determines how the system plays back the default pan. If you set the Default Pan to “Alternating Left - Right,” odd tracks are sent to the left channel and even tracks are sent to the right channel.
Chapter 11 Working with Audio Render Effect button Audio Loop Play button Fast Menu button Display/Hide Sliders button Effect Mode Selector pop-up menu Number of Mix Panes button Bypass Clip Gain button Which Set of Tracks to Display in Mix Panes button Volume Level display Track Selection menu button Gang button Level slider Pan level and slider Resizing the Audio Mix Tool You can use the Number of Mix Panes button to change the display from 8 tracks to 4.
Using the Audio Mix Tool Adjusting One Audio Track at a Time To adjust one audio track at a time in the Audio Mix tool: 1. Load a clip or sequence, and activate the appropriate monitor. If the Source/Record monitor displays as a single monitor, do one of the following: t To adjust a track in a source clip, make sure the Source monitor is active by clicking the Toggle Source/Record button until “Source” appears next to the title in the monitor and the button changes to green.
Chapter 11 Working with Audio 4. Select the audio track to be adjusted by doing one of the following: n t (Option) Click the Which Set of Tracks to Display in Mix Panes button to display tracks A5–A8, or click the Number of Mix Panes button to display all eight tracks. t Click the Track Selection Menu button for the appropriate audio track. t Alt+click the Track Selection Menu button, and then select a track. To verify or change the output channels, use the Audio tool (select Tools > Audio Tool).
Using the Audio Mix Tool 8. Apply the adjustments to a selected region of the track by using the Audio Mix Fast menu located in the top bar of the tool. See “Applying Pan Value Adjustments” on page 370. 9. Play through the audio again, using the J-K-L keys. 10. Repeat steps 6 through 9 until you are satisfied with the pan and volume levels. The system uses the new settings whenever you play back or record the sequence.
Chapter 11 Working with Audio Applying Pan Value Adjustments To apply the Pan Value adjustments: t Click the Audio Mix Fast Menu button, and select one of the commands: - The Set commands (Set Pan on Track, Set Level on Track) apply the same pan or volume levels currently set in the Audio Mix tool to all segments in the marked regions of the tracks.
Using the Audio Mix Tool n The Clip Gain values set by the Audio Mix tool are the values for the entire segment; for example, you cannot set a subsection of a segment without affecting the entire segment. To set gain for a portion of a segment, use Audio Gain Automation. For more information, see “Using Audio Gain Automation” on page 375.
Chapter 11 Working with Audio directly from the Audio Mix tool. Then, you can play it back immediately to hear the effect of the level change with the dissolve in place. For more information about rendering, see the Avid Products Effects Guide. Modifying Pan Values There are two basic ways to work with pan values: • Create or modify an audio pan/vol effect. This method creates an effect that is stored with the sequence. • Modify the way that the system interprets pan values during playback.
Using the Audio Mix Tool Bypassing Existing Volume Settings You can have the system ignore the volume settings established with the Audio Mix tool when playing back or recording a sequence. To turn off current volume adjustments, do one of the following: t Click the Bypass button in the Audio Mix tool. t Click the Clip Gain button in the Bypass panel in the Output tab in the Audio Project Settings window (see “Adjusting Output on TwoChannel Audio Systems” in the Help). The volume controls disappear.
Chapter 11 Working with Audio To adjust volume while playing an Audio Mix effect: 1. Do one of the following: t Select an existing Audio Mix effect. t Identify an area of the clip with IN and OUT points. t Move the position indicator to an audio clip. 2. Click the Audio Loop Play button in the Audio Mix tool. The system repeatedly loops through the selected area as follows: - If you have IN and OUT points in your sequence, the command loops over the selected area.
Using Audio Gain Automation Improving Response Time To improve the response time, do any of the following: n t Monitor as few audio tracks as possible. t Deselect the video track, if practical. t Use IN and OUT points to select a narrow interval to adjust. For additional ways to change the volume while playing an Audio Mix effect, see “Recording Automation Gain Information” on page 388.
Chapter 11 Working with Audio Automation Gain Values and System Clip Gain Values When you add a keyframe to a clip with Clip Gain already on, the keyframe is placed at 0 dB. Values set by the volume Level sliders in the Audio Mix tool are referred to as system clip gain values. Audio gain keyframes are additive to the system clip gain values. This allows you to adjust the values separately. You typically adjust clip gain values first, as shown in the following workflow. Clip Gain Adjust overall volume.
Using Audio Gain Automation n NewsCutter XP versions earlier than Version 2.0 do not support additive clip gain and automation gain. If you transfer a sequence containing additive clip gain and automation gain to a system running a version earlier than Version 2.0, you cannot hear the additive clip gain. Also, if you save the transferred sequence on the system running the earlier version, the system does not save the additive clip gain. If you need to transfer sequences from Version 2.
Chapter 11 Working with Audio The following illustration shows the expanded audio track with volume data. 4. Click the Add Keyframe button in the FX tab of the Command palette to add keyframes along the Timeline. A keyframe is added to each enabled track. A straight line appears in the selected audio track. The line shows the current gain level for that track in the Audio Mix tool.
Using Audio Gain Automation Deleting Audio Gain Keyframes in the Timeline To delete a single audio keyframe in the Timeline: 1. Move the pointer over the keyframe. 2. When the pointer changes to the hand pointer, press the Delete key. If there are identical keyframes in other active tracks, the system deletes them also. To delete groups of keyframes: 1. Mark an IN point and an OUT point, or mark the entire segment. 2. Delete any keyframe in the marked area.
Chapter 11 Working with Audio t Move a keyframe horizontally to move the start or end of a ramp. Move the pointer to a keyframe. When the pointer changes to the hand pointer, press and hold the Alt key, click the keyframe, and drag it. t Move several keyframes vertically on a track at the same time by marking IN and OUT points to select the area you want. When you move one keyframe up or down within the marked area, all keyframes within the marked area move in relation to each other.
Using Audio Gain Automation Adjusting the Volume of Individual Keyframes To edit the volume for individual keyframes by using an external fader controller or mixer: Position indicator lights 1. Check the color of the position indicator lights. If the external fader controller or mixer is on and is correctly attached to the system, at least one of the position indicator lights on each enabled track is blue. 2. Click an audio gain keyframe.
Chapter 11 Working with Audio The Automation Gain Tool Before this section discusses recording volume in the Timeline, it describes the Automation Gain tool in detail. The following illustration shows the Automation Gain tool.
Using Audio Gain Automation • Number of Mix Panes and Which Set of Tracks to Display in Mix Panes buttons: These buttons allow you to display four or eight panes and to select which enabled tracks are displayed. They are similar to the display options in the Audio Mix tool. For more information, see “Resizing the Audio Mix Tool” on page 366. • Render Effect button: This button is particularly useful for rendering audio effects.
Chapter 11 Working with Audio Track Solo Button The Track Solo button (Speaker icon) lets you mute and solo individual audio tracks during Audio Gain Automation recording. Button Color Description Purple (default) The audio track is on. Gray The audio track is muted. Green The track is soloed. You can solo more than one track at a time. To switch between solo and on: t Click the Track Solo button. To switch between on and mute: t Alt+click the Track Solo button.
Using Audio Gain Automation You can also use the buttons above each fader on the external fader controller or mixer to solo or mute an individual audio track as follows: • FaderMaster Pro: Has one button that you can use to solo or mute an individual audio track during Audio Gain Automation recording: t Press the button above the fader once to switch between solo and on. t Press the button above the fader twice quickly to switch between mute and on.
Chapter 11 Working with Audio Colors Description Only bottom light is blue. The fader is lower than the Timeline volume. Both lights are gray. Either there is no fader controller or mixer attached to the system or the system does not recognize the fader controller or mixer. If the system does not recognize the fader controller or mixer, check the connection as described in your controller or mixer documentation.
Using Audio Gain Automation To access the Track Selection Menu button options and select either a track or None: t Press and hold the Alt key while clicking the Track Selection Menu button. Automation Gain Tool Fast Menu To make the Automation Gain Tool Fast Menu active for a given track: t Click the Track Selection Menu button for that track in the Automation Gain tool. The options in the Fast Menu appear dimmed until you select a track by clicking the Track Selection Menu button.
Chapter 11 Working with Audio - Adjust Pan/Vols on Track: Opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks. For example, if you type –1 in the Gain Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks will be lowered by exactly 1 dB when you click OK. - Remove Automation Gain on Track: Removes all the audio keyframes within the marked region.
Using Audio Gain Automation Using the Automation Gain Tool Sliders This procedure describes how to record audio gain information without using an external fader controller or mixer. To record audio gain information by using the Automation Gain Tool sliders: 1. Select an audio track in the Timeline for adjusting volume. n Automation gain is applied only to Timeline tracks that are selected. 2. Click the Timeline Fast Menu button, and select Audio Auto Gain.
Chapter 11 Working with Audio 8. Click the Record button again to stop recording. The Avid system adds volume keyframes to the audio in the Timeline. Because it records every movement of the sliders, there are usually more keyframes than you need. 9. Decrease the number of keyframes: a. Click the Track Selection menu button for the track to enable the Fast Menu. b. Click the Automation Gain Tool Fast Menu, and select Filter Automation Gain on Track — In/Out. 10.
Using Audio Gain Automation Using an External Fader Controller or Mixer To record audio gain information by using an external fader controller or mixer: 1. Attach the fader controller or mixer to your system. The position indicator lights change to blue when the fader controller or mixer is on and correctly attached to the system. 2. Move the position indicator to the section of audio that you want to adjust, and mark IN to OUT points. Position indicator lights 3.
Chapter 11 Working with Audio 8. Click the Audio Loop Play button to play the clip and test your results. 9. To decrease the number of keyframes, click the Automation Gain Tool Fast Menu, and select Filter Automation Gain on Track — In/Out. (Click the Track Selection menu button for a track to enable Filter Automation.) n If you delete too many keyframes, use the Undo command to restore them. 10. Repeat step 9 until you have decreased the number of keyframes to an acceptable level.
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 pop-up menu, and select EQ. The Audio EQ tool opens.
Chapter 11 Working with Audio Audio EQ Tool Features This section describes the basic buttons and menus in the Audio EQ tool as well as the EQ-specific items in the tool. Basic EQ Tool Features The following components appear along the top portion of the Audio EQ tool: • Effect Mode Selector pop-up menu: Allows you to choose among the Audio EQ, Audio Gain Automation, Audio Mix, and AudioSuite Plug-in tools.
Using the Audio EQ Tool • Bypass RT EQ button: Allows you to instruct the system to ignore all the EQ effects. This button is also available in the Audio Mix and Automation Gain tools. If you select this feature in one tool, it is selected in the other tools as well. • Enable/Disable EQ Effect button: Allows you to temporarily turn off the Automation Gain effect. This button is the same as the Bypass Clip Gain button in the Output tab in the Audio Project Settings window.
Chapter 11 Working with Audio When you apply Audio EQ effects, consider the following: • Audio EQ can be applied only to entire segments. You cannot isolate portions of a segment for an Audio EQ effect by using IN to OUT points. You must use add edits (match frames) to mark off a smaller segment. • You can use IN to OUT points to select a range of complete segments for applying an Audio EQ effect. Segments that fall within the marks, either in part or whole, will have the effect applied to them.
Using the Audio EQ Tool Applying Audio EQ Effects To adjust audio EQ for a track: 1. Load the sequence containing the audio track. 2. (Option) Isolate a portion of an audio segment by placing add edits. 3. (Option) Mark a range of audio segments by adding IN to OUT points in the track. 4. Open the Audio EQ tool. 5. Select the audio track to be adjusted from the Track Selection pop-up menu in the Audio EQ tool. The Track Selector panel in the Timeline is updated to reflect your selection.
Chapter 11 Working with Audio 8. Apply the adjustments to the track by using the Set EQ command from the Audio EQ Tool Fast Menu. The command works as follows on the selected tracks: - With IN and OUT points: Apply the EQ effect to selected tracks between the points. - With an IN point (no OUT point): Apply the EQ effect to full clips from the IN point to the end of selected tracks. - With no points: Apply the EQ effect globally (across entire tracks).
Using the Audio EQ Tool 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. For example, because there is no EQ setting on the last audio clip in the following example, Set EQ In/Out deletes the EQ effect from all the other audio clips. Before Set EQ In/Out After Set EQ In/Out – EQ effect is deleted from all other audio clips.
Chapter 11 Working with Audio Saving Audio EQ Effects The 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. EQ Effect icon in a bin EQ Effect icon in the Timeline To save EQ settings in a bin: t Drag the effect icon in the Audio EQ tool to a bin.
Using the Audio EQ Tool Removing Audio EQ Effects To remove an Audio EQ effect: 1. Move the position indicator to the effect in an active track. 2. Do one of the following: t Click the Remove Effect button on the Tool palette. See “Using the Tool Palette” on page 252. t From Trim or Effect mode, press the Delete key. You can also use the commands from the Audio EQ Tool Fast Menu.
Chapter 11 Working with Audio Small Octave Range Example This example isolates the particular frequency that we want to deemphasize. In this example, we do not use the low shelf, we use the parametric midrange instead of the low shelf to isolate the frequency. To isolate the frequency: 1. Use the 1/4-octave influence range and a large negative decibel value. 2. Set the midrange EQ parameter to –15 dB, and keep both the high shelf and low shelf set to zero. 3.
Using the Audio EQ Tool Using Audio EQ Templates Your Avid application provides a set of predefined audio EQ templates. These templates address a number of common audio problems such as removing tape hiss or boosting the low frequency on a music track. The templates are accessible from the Fast Menu in the Audio EQ tool. You can also add your own custom EQ templates to the Fast Menu.
Chapter 11 Working with Audio 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. To open the Console window, select Tools > Console.
Using the Audio EQ Tool Adding an EQ Template to the Fast Menu You can add your own EQ templates to the Audio EQ Tool Fast Menu. You do this by storing your EQ template in the same bin as the predefined templates. The Avid application stores the predefined EQ templates in a bin named Site_EQs_Bin, located in one of the following folders: drive:\Program Files\Avid\NewsCutter Adrenaline FX\ SupportingFiles\Site_Effects drive:\Program Files\Avid\Avid NewsCutter XP\ SupportingFiles\Site_Effects To add an EQ te
Chapter 11 Working with Audio 6. Close the bin. n The system does not save the effect to the bin until you close the bin. 7. Click the Audio EQ Tool Fast Menu button, and look for your new template. Adjusting EQ While Playing an Audio Effect You can use the Audio Loop Play button to create or change an EQ effect while a clip is playing. Audio Loop Play button Use the same procedure as described in “Adjusting Volume While Playing an Audio Mix Effect” on page 373.
Digidesign AudioSuite Plug-Ins Digidesign AudioSuite Plug-Ins The Avid application supports AudioSuite, the Digidesign® host-based, file-based plug-in specification. Users have access to audio-processing plug-ins developed by Digidesign and by Digidesign third-party developers. These plug-ins perform pitch processing, artifact removal, audio reversal, and many other processes. For information on plug-ins that are not supported by your system, see “Plug-in Limitations” on page 419.
Chapter 11 Working with Audio Using Digidesign AudioSuite Plug-Ins To use AudioSuite plug-ins, do one of the following: t Apply a plug-in to a clip in the Timeline. The end result is a rendered effect. t Use the controls in the AudioSuite window to create a new master clip. This method allows you to process more than one channel at a time and to create new media that is longer or shorter in duration than the source media. For more information, see “Creating New Master Clips” on page 412.
Digidesign 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.
Chapter 11 Working with Audio 5. Make any necessary adjustments, and click the Preview button to preview the effect. For more information, see “Using a Plug-in Dialog Box” on page 410. 6. To save the effect, click OK. To close the dialog box without saving the effect, click Cancel. 7. (Option) To save the effect as a template, drag the effect icon to a bin.
Digidesign AudioSuite Plug-Ins • Bypass: Plays the selected audio without processing. This is useful for comparing the audio with and without processing applied. • Find Peak: Performs an analysis pass on the audio. Depending on the plug-in, the text and function of this button might change. Some plug-ins require an analysis pass on the audio data before they can process the information. If so, they perform the first pass automatically.
Chapter 11 Working with Audio Creating New Master Clips You can use AudioSuite plug-ins to create new master clips. This allows you to use multiple input and output channels and to change the length of the media. You can perform the following operations on the media you create: • Apply AudioSuite plug-ins to more than one track (also referred to as a channel or stream) at the same time. For example, a plug-in might allow you to process two separate tracks as a stereo pair.
Digidesign AudioSuite Plug-Ins The following illustration identifies the controls that appear when you expand the AudioSuite window.
Chapter 11 Working with Audio n 414 • Processing Mode Selection pop-up menu: This menu displays the current processing mode of the AudioSuite effect on a given clip. For more information, see “Mono, Stereo, and Multichannel Processing” on page 415. • Target Bin for New Master Clip pop-up menu: This menu allows you to select the target bin. The system will place the new media and a corresponding AudioSuite effect template in the bin. The template allows you to modify the effect at a later time.
Digidesign AudioSuite Plug-Ins filler at the end of a master clip when you use a reverb effect to add a reverb trail to the end of the clip. Select the value before you run the plug-in. • Status display: This display provides information about the current state of the DAE application and the currently applied effect. For stereo and multichannel processing plug-ins, the Status display identifies the maximum number of tracks that can be processed.
Chapter 11 Working with Audio For stereo and multichannel processing, the plug-in creates a master clip with the number of tracks equal to the number of output streams from the plug-in. For example, a plug-in that operates on stereo pairs creates a twochannel master clip. A plug-in such as Normalize, which operates on multiple channels, creates a master clip with as many tracks as were selected in the AudioSuite window.
Digidesign AudioSuite Plug-Ins 5. (Option) Type a value in the Handle Length for End of Master Clip text box to lengthen the clip by a specific amount. For example, type 2 if you plan to add a 2-second reverb trail. n If you are using Time Compression Expansion plug-ins, the plug-ins will automatically lengthen or shorten the clip. 6. Click the Plug-in Selection pop-up menu, and select a plug-in. 7. Click the Activate Current Plug-in button to open the plug-in’s dialog box.
Chapter 11 Working with Audio 2. Click the Find Source From Effect button to load the master clip into the AudioSuite window. If a corresponding master clip exists, the system loads the master clip with its associated plug-in values. 3. Modify the effect as described in “AudioSuite Controls for Creating New Master Clips” on page 412. To add a template to the AudioSuite Fast Menu: 1. Open the bin containing your AudioSuite templates. 2. Select File > Open Bin. A dialog box opens. 3.
Digidesign AudioSuite Plug-Ins Plug-in Limitations The following limitations apply to the AudioSuite plug-ins: • Some plug-ins that perform analysis passes on the audio data are not supported. This includes plug-ins that use playlist information to cache analysis data. • If you want to use plug-ins that change the length of an audio clip or that operate on multiple inputs at the same time, use the method described in “Creating New Master Clips” on page 412.
Chapter 11 Working with Audio • Bypass continues the rendering process but doesn’t render the plug-in effect. In most cases, you should click Cancel and open the AudioSuite window. If the plug-in is not installed when you go to render a plug-in effect, the system displays an error message and tells you which plug-in is not installed. At that time, you can cancel or bypass the rendering process.
Recording Voice-Over Narration Creating the Voice-Over with the Capture Tool To capture the voice-over: 1. Mark the IN and OUT points in the Timeline. 2. Select Tools > Capture. The Capture tool opens. Voice-over button Audio Input pop-up menu 3. Click the Voice-over button in the Capture tool. 4. Click the Audio Input pop-up menu, and select the appropriate input. 5. In the Timeline, patch the source track to the record track you want.
Chapter 11 Working with Audio 7. Stop the recording as follows: t If you started with both IN and OUT points in the Timeline, the system automatically stops recording when it reaches the OUT point (or after it adds the appropriate audio handle after the OUT point). t If you added only an IN point, click the Record button a second time to stop the recording. The following illustrations show the results of adding a voice-over. The system automatically names the voice-over.
Recording Voice-Over Narration Creating the Voice-Over with the Audio Punch-In Tool The steps below are general guidelines for recording audio punch-ins, regardless of your scenario. You should determine when to add the IN and OUT points, when to use the Play In/Out button, and when to use the Record button, based on your needs. To use the Audio Punch-In tool: 1. Load a sequence into the Timeline. 2. Select Tools > Audio Punch-In. The Audio Punch-In tool opens.
Chapter 11 Working with Audio 5. Click the Play In/Out button or press the V key. Loop play begins over the entire sequence. If you set an IN point and an OUT point, loop play begins from the IN point to the OUT point. The Play In/Out button blinks bright green while playing. 6. When you are ready to start the voice-over, click the Record button or press the B key. The Record button blinks bright red while recording, and the Play In/Out button is a steady green.
Recording Voice-Over Narration The following illustrations show the results of adding a voice-over. The system automatically names the voice-over. You can change the name as you would for any clip (for example, change the name in the bin). Voice-over adding a new track Voice-over replacing a portion of a track n There are three Undo functions that can be performed during one session.
Chapter 11 Working with Audio Scenarios for Using the Audio Punch-In Tool There are several ways to punch-in audio as outlined by the following scenarios: Scenario 1 – Set only an OUT point. The position indicator is used as the IN point. Set a preroll time. Click the Play In/Out button to loop continuously through the sequence. Click the Record button when you find what you want to punch-in, and then click the Record button again to end recording.
Recording Voice-Over Narration Go to Mark IN button Record button For more information on mapping buttons and for information on the MCS3, see “Understanding Button Mapping” on page 150 and “Mapping MCS3 Buttons” in the Help. Using a GPI Device with the Audio Punch-In Tool Your Avid system can send signals to a V-LAN® VLXi® deck controller and a general-purpose interface (GPI) device that trigger GPI actions.
Chapter 11 Working with Audio To make use of this feature, you must: • Understand when the Avid system sends GPI trigger signals. For more information, see “Understanding GPI Trigger Signals” on page 428. • Connect a V-LAN VLXi deck controller and a VLXi-GT GPI to your Avid system. For more information, see your V-LAN VLXi documentation. • Configure the V-LAN VLXi deck controller and the GPI, and then create GPI settings for your specific needs.
Recording Voice-Over Narration GPI Signal Sequence When Using the Audio Punch-In Tool Without Preroll or Postroll When you use the Audio Punch-In tool without any preroll or postroll, the sequence of signals is as follows: 1. Record Out is sent when recording begins. 2. Stop Out is sent when recording (and playback) ends. GPI Signal Sequence When Using the Audio Punch-In Tool with Preroll and Postroll When you use the Audio Punch-In tool with preroll and postroll, the sequence of signals is as follows: 1.
Chapter 11 Working with Audio does not switch between on and off very rapidly, your preroll and postroll durations might need to be quite long to allow for the light to flash enough times to be meaningful.) For more information on configuring the GPI, see “Creating a GPI Trigger” in the Help. Voice-Over Media Files The Avid application automatically names the voice-over and stores it as an audio clip, as shown in the following illustration.
Using Automatic Voice-Over Monitoring Previously Recorded Tracks While Recording a VoiceOver Narration You can monitor previously recorded audio tracks while you record a voice-over narration with the Capture tool. To monitor other audio tracks: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the Mixed Mode Selection pop-up menu, and select Direct Out. 3. Select Tools > Capture. The Capture tool opens. 4. Follow the procedure for “Creating the Voice-Over with the Capture Tool” on page 421. 5.
Chapter 11 Working with Audio create a sequence that intersperses interview material with B-roll (background or location) footage. The audio from the interview is edited onto one audio track while the audio from the B-roll footage is edited onto another audio track, as in the following illustration. B-roll footage Interview footage You can use Auto VO to quickly create a new sequence that consists only of the background material or only of the interview material.
Fine-Tuning Audio Transitions 5. Select one of the following: - Extract segments, to remove all segments with audio on the track selected in step 4 - Keep segments, to retain all segments with audio on the track selected in step 4 and remove all other segments 6. Click OK. The system creates a new sequence in the bin and names it by adding a .vo file name extension to the original sequence name.
Chapter 11 Working with Audio To isolate clip portions for adjustment: 1. Find the start of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker. 2. Select the appropriate track in the Track Selector panel. 3. Click the Add Edit button under the Source/Record monitor. This places an edit where the position indicator is located. 4.
Fine-Tuning Audio Transitions channels and fade one down, and then fade up the second on an overlapping section. With the Avid application, you simply apply the same dissolve effect used for video tracks. The effect created, therefore, is more accurately termed an audio dissolve. 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.
Chapter 11 Working with Audio 6. Adjust the dissolve relative to the cut point by clicking the Position pop-up menu, and selecting the location for the dissolve: n - Select Ending at Cut to fade the audio on the A-side to 0, ending at the cut point. - Select Centered on Cut to create a crossfade. - Select Custom to create a crossfade. Custom allows you to begin the dissolve off-center — that is, closer to the transition and ending later into the B-side, or the reverse.
Fine-Tuning Audio Transitions n n In most cases, you can click Add and Render for immediate real-time playback of the audio effect (rendering of audio dissolves is usually instantaneous). For more information about the Quick Transition dialog box, see the Avid Products Effects Guide.
Chapter 11 Working with Audio Mixing Down Audio Tracks When you work with multiple audio tracks while editing your material, you might need to mix down the final audio to two tracks. To mix down several edited audio tracks to one or two audio tracks: 1. Load a sequence into the Source/Record monitor. 2. Click the Track buttons in the Track Selector panel to select the audio tracks you want to mix down. 3. Mark an IN point and an OUT point at the start and end of the material you want to mix down.
Changing the Sample Rate 5. Do one of the following: t Select Mono, and select the target track to which you want to mix down the audio. t Select Stereo, and select two target tracks for the mixed-down audio. 6. Select a bin and a drive. The drive is the media drive where the system stores the media files for the mixed-down audio. 7. Click OK. The audio is mixed down, and the new master clip appears in the bin.
Chapter 11 Working with Audio 3. Click the Sample Rate pop-up menu, and select 32 kHz, 44.1 kHz, or 48 kHz. The broadcast standard for most high-end video postproduction houses is 48 kHz. Select the rate based on the requirements of your facility. For information on setting the sample rate for a project, see “Adjusting Audio Project Settings” in the Help. 4. Click the Quality pop-up menu, and select High, Medium, or Low conversion quality. 5.
Identifying the Sample Rate by Color 6. Click the Show Mismatched Sample Rates as Different Color pop-up menu, and select Yes. 7. Click the Show Mismatched Sample Rates as Different Color pop-up menu, and select Yes. Depending on what sample rate you chose for your project, the color black will be displayed on those clips.
Chapter 11 Working with Audio 442
Chapter 12 Syncing Methods The Avid application provides special tools that help you establish and maintain sync relationships between various clips. This includes managing sync between unrelated clips or clips with the same timecode, matchframing footage, and ganging footage.
Chapter 12 Syncing Methods Autosyncing is often used for 24p and 25p 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.
Managing Sync Breaks - Inpoints, if you are syncing according to IN points set in both clips. - Outpoints, if you are syncing according to OUT points set in both clips. - Source Timecode, if the two clips have matching timecode. - Auxiliary TC1–TC5, if the two clips have matching timecode in the same Auxiliary Timecode column. Select an Auxiliary TC, 1 through 5, from the pop-up menu. 4. Click OK. The subclip is created and named by default after the video clip with the file name extension .sync.
Chapter 12 Syncing Methods Editing to Avoid Sync Breaks One way to avoid breaking sync is to maintain the duration of the track when you add or remove material, as follows: • When adding material to a track, use the Overwrite function instead of Splice-in, whenever possible. For details on overwrite edits, see “Performing an Overwrite Edit” on page 285. • When removing material from a track, use Lift instead of Extract. (The Lift function leaves filler of the same duration when you remove footage.
Managing Sync Breaks Fixing Sync in Trim Mode To restore frames to sync in Trim mode: t Perform one or more single-roller trims on the out-of-sync tracks. Trim the exact number of sync-break frames displayed in the Timeline to reverse the break. Consider the following: • Sync lock any additional tracks that are synced to the track you are trimming. Otherwise, you might restore sync in one track and break it in the others. See “Using Sync Lock” on page 448.
Chapter 12 Syncing Methods Managing Sync with Multiple Tracks The sync breaks display in the Timeline makes it easy to manage sync between video and one or two audio tracks. You can use additional techniques to manage sync when you work with four or more tracks. The techniques include using the Sync Lock feature, syncing with tail leader, syncing with locators, and using add edits.
Managing Sync with Multiple Tracks • In Trim mode, sync locking applies only to single-roller trims because dual-roller trims do not break sync. For more information on sync locking tracks in Trim mode, see “Maintaining Sync While Trimming” on page 346. • You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. • Sync locking affects entire tracks.
Chapter 12 Syncing Methods 3. Find the point at which the sync was lost. 4. Add or remove frames by using the appropriate edit function, as described in “Fixing Sync Breaks” on page 446. As a quick fix, click the Extract/Splice-in button. Drag the black segment at the end of the out-of-sync tail leader to the location where the sync was lost. This segment of black, created when the track went out of sync, is the exact length of the sync break. Move the black segment by using Extract/Splice-in.
Managing Sync with Multiple Tracks To repeat the procedure for subsequent synchronized tracks: 1. Disable the video track where you placed the locator. 2. Enable the top audio track. Make sure you keep the position indicator in the same location in order to line up the locators. n The Avid application shows the comment only for the locator on the top track. To determine if sync is broken after an edit: t Return to the segment that contains the locators.
Chapter 12 Syncing Methods Using Add Edit When Trimming When you are trimming with several audio tracks in sync, the Add Edit button allows you to create an edit in the silent or black areas of the synced tracks. They occur in line with the track you are trimming, and they trim all the tracks at once to maintain sync. To use the Add Edit button while trimming: 1. Move the position indicator to the edit that you want to trim. 2.
Chapter 13 MultiCamera Editing The Avid MultiCamera editing features allow you to incorporate multiple camera angle sources into the nonlinear editing process. Techniques for using these features are described in the following sections: • Understanding Grouping and Multigrouping Clips • MultiCamera Displays • MultiCamera Workflow and Selective Camera Cutting Understanding Grouping and Multigrouping Clips The grouping and multigrouping procedures gather selected clips into a single unique clip.
Chapter 13 MultiCamera Editing • 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.
Understanding Grouping and Multigrouping Clips To create a group clip: 1. If you are using a sync point, load the clips and mark an IN point at the sync point at the start of each clip, or mark an OUT point at the sync point at the end of each clip. n For multicamera video or film shoots, you typically use a slate for marking IN and OUT points; however, you can use any visual or aural event that is recorded by all cameras simultaneously. 2. In the bin, select all the clips you want to group. 3.
Chapter 13 MultiCamera Editing Creating Multigroup Clips Multigrouping is strictly for use in large multicamera productions, such as situation comedies, in which all synchronous camera shots are recorded with the same timecode. The MultiGroup function is a single Bin menu command that eliminates the time-consuming steps of collecting, sorting, grouping, and assembling large volumes of multicamera clips. To multigroup your material: 1. Sort the clips by name in the bin. 2. Select Edit > Select All. 3.
MultiCamera Displays MultiCamera Displays There are several displays that allow you to view and edit with multiple camera angles. You can edit with either group clips or multigroup clips in all of the displays. n You can access these displays only when you expand the Source/Record monitor to two monitors. For more information on expanding the Source/Record monitor, see “Expanding the Source/Record Monitor” on page 224.
Chapter 13 MultiCamera Editing 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 FullMonitor 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 are as follows: 458 • Provides source-oriented control of multicamera material.
MultiCamera Displays Quad Split Source View Quad Split button 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 in the second row of information above the Source and Record monitors.
Chapter 13 MultiCamera Editing Swap Cam Bank button • Allows you to use the Quad Split button to switch the Source monitor between Full-Monitor display and Quad Split Source viewing and editing modes (editing functions are the same in both displays). • Allows you to use the Swap Cam Bank button to switch the Quad Split Source view from one bank of four camera angles to another bank of four camera angles. The Multi-angle View menus allow you to change the camera angles of the split displays.
MultiCamera Displays The basic features of Nine Split Source view are as follows: Swap Cam Bank button • Provides source-oriented control of multicamera material. You can switch camera angles, play back (one camera angle at a time), cue, and mark material without affecting the sequence. • Provides the same Source monitor controls that are available when you edit other clips.
Chapter 13 MultiCamera Editing When you play back multicamera material, you can cut by using the MultiCam keys to select different camera angles when stopped. The camera angles you selected with the MultiCam keys are recorded as cuts in the Timeline and are displayed in the Record monitor. Source monitor controls are disabled. Group Menu icon Gang icon changes to green.
MultiCamera Displays • Allows you to cut between clips as you would during live switching of a show. • Provides a list of all group clip video and audio tracks in the Group menu for custom selection and patching. • Lets you deselect MultiCamera Mode in the Special menu at any time to switch between source-oriented and sequence-oriented MultiCamera editing. • Lets you switch between singular and multi-angle playback without exiting MultiCamera mode.
Chapter 13 MultiCamera Editing Switching Clips with the Arrow Keys Previous In Group button Next In Group button You can switch the display of camera angles by using the Previous In Group button and the Next In Group button. These buttons are mapped by default to the Up Arrow and Down Arrow keys. The angle selection switches in either the Source monitor (source material) or in the Record monitor (sequence material), whichever is active.
MultiCamera Displays 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. The edits appear in the Timeline. Play the sequence repeatedly to add more edits, or remove edits in Trim mode by lassoing them in the Timeline and pressing the Delete key. 3.
Chapter 13 MultiCamera Editing n The Second Row of Info option must be selected in the Composer Settings dialog box for the Group Menu icon to be displayed above the Source monitor. In addition, you can choose 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.
MultiCamera Displays 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. The new clip appears in the multi-split display. Using Match Frame in MultiCamera Editing You can use the Match Frame button to display the matching clip within the group when match framing from the sequence, or you can display the original clip when match framing from the source group.
Chapter 13 MultiCamera Editing MultiCamera Workflow and Selective Camera Cutting The Avid MultiCamera editing feature allows you to do selective camera cutting. Selective camera cutting involves marking and editing source material into the sequence, much as you build a sequence by using nongrouped clips in a normal session. You can play, cue, and mark clips on the source side, and then splice, overwrite, and trim clips in the sequence.
Index ABCDEFGHIJKLMNOPQRSTUVWYZ Numerics 16:9 display for 24p editing 226 for 25p editing 226 24p editing projects creating 47 displaying timecodes in 174 25i PAL editing projects creating 48 25p editing projects creating 47 displaying timecode in 174 30i NTSC editing projects creating 48 A A2 timecode option described 228 Absolute timecode 232 described 228 Active Settings displaying 92 Add Edit when trimming 452 Add Edit button for MultiCamera editing 464 Adding filler to a sequence 278 locators while
Index Attic folder defined 72 retrieving bin files 73 Audio applying EQ templates 403 Auto VO 431 creating EQ templates 404 crossfading 434 dipping 437 dissolves 434 EQ templates 403 fading 434 identifying sample rates 440 levels, fine-tuning with add edit 433 mixdown 438 monitoring while editing 283 pan, adjusting in Audio Mix tool 365, 369 pitch shift 412 resyncing subclips 256 scrub 354, 359 setting pan defaults 359 soloing tracks 354 time compression 412 tracks, mixing down 438 voice-over 420 volume, a
Index Audio settings access and description 94 Digital Scrub options 357 Audio Settings dialog box 358 Audio volume adjusting in Audio Mix tool 369 adjusting in the Timeline 377 adjusting individual keyframes 381 adjusting while playing 374 improving response time 375 limitations on adjusting 373, 374 Audio volume rubberbanding 375 AudioSuite plug-ins applying 407, 409 controls 412 creating new master clips 412, 416 described 407 effect templates 417 installing 407 limitations 419 mono processing 415 multi
Index deleting columns in 163 display view for 143 display views for 146 displaying in Project window 65 duplicating clips and sequences in 150 duplicating columns in 164 editing to sequences 315 editing to Timeline 314 finding 271 hiding columns in 163 identifying media relatives 158 limiting colors 154 listing timecodes in 174 modifying clip information 166 opening 67, 68 organizing a project with 143 printing 186 renaming 67 retrieving from Attic folder 73 saving automatically 71 saving manually 72 sele
Index C Calculator using 137 Capture settings access and description 94 Change Sample Rate dialog box 439 Changing interface component button separation 89 interface component button style 90 interface component color 84 interface component shading depth 88 interface component shading style 87, 87 user profiles 51 Choosing film format options 47 Clear Menu command (Monitor menus) 236 Clear Monitor command (Monitor menus) 236 Clearing clips from monitors 236 Client monitor configuring Video Display settings
Index Command palette activating commands from 136 for quick edits in Timeline 315 mapping 135 mapping buttons from 133 using 131 Commands See Menu commands Communication (Serial) Ports command (Tools menu) 141 Communication (Serial) Ports tool specifying a controller in 141 Console window getting information with 139 using 138 Consolidate/Transcode dialog box 208 Consolidating media files defined 203 procedure 206 Copy to Clipboard button 288 Copying clips 151 locators from source clips 259 to Clipboard 2
Index Tape Lengths 218 View Name (bin) 147 Digital audio scrub adjusting parameters for 357, 357 compared to smooth audio scrub 355 performing 358 using 357, 357 Digital Audio Scrub options (Audio settings) 357 Dipping audio 437 Displaying bin column headings 176 frames in Locators window 263 locator comments 261 Dissolves audio 434 Drives mounting and ejecting 55 striping 217 Dual monitor display 224 Duplicating clips and sequences 150 E Editing multicamera material 453 types of selective camera cutting
Index Filler adding during a trim 347 adding to a sequence 278 setting duration of 316 Film options selecting 47 preferences setting 49 Film settings in the Project window 81 Filter Automation Gain command (Automation Gain Fast menu) 387 Find Bin button from the Source monitor 271 Find command (Edit menu) 267 Find dialog box 267 Find procedures 267 Finding black holes in Timeline 307 flash frames in Timeline 308 frames 267 related media files 211, 211 text of clip names 268 text of locators 268 Finding bin
Index H Hardware command (Tools menu) 140 Hardware tool displaying 105 using 140 Head leader creating audio 190 creating video 189 Headings command (Bin menu) 152 Hiding bin column headings 176 bin columns 147 video in Source/Record monitor 237 High shelf in Audio EQ tool 395 Home key 243 Interface settings (General tab) access and description 95 defined 82 J J-K-L keys 242 trimming 338 JL Cooper fader controllers 380 JL Cooper FaderMaster Pro MIDI automation controller 380 JL Cooper MCS-3000X MIDI autom
Index Locators accessing in sequence or clip 263 adding while editing 259 copying from source clips 259 deleting 260, 264 displaying comments 261 finding text of 268 icon, changing color of 263 marking an area with 260 moving to next or previous 260 moving to previous or next 260 using 257 Locators window displaying frames in 263 Fast menu 261 printing 264 sorting locators 262 using 261 Locking and unlocking bins on the Avid Unity Network 116 Locking tracks 325 Low shelf in Audio EQ Tool 395 M Maintaining
Index MediaManager settings for 195 specifying settings 195 using 194 MediaNetwork Avid Unity 112 Menu commands Adjust Pan/Vols (Audio Mix Fast menu) 370 Adjust Pan/Vols (Audio Mix tool) 370 Adjust Pan/Vols (Automation Gain Fast menu) 388 Audio EQ (Tools menu) 393 Audio Mix (Tools menu) 365 Audio Mixdown (Special menu) 438 AutoSync (Bin menu) 444 Communication (Serial) Ports (Tools menu) 141 Custom Sift (Bin menu) 155 Filter Automation Gain (Automation Gain Fast menu) 387 Find (Edit menu) 267 Group Clips (
Index switching camera angles in 464 techniques 463 workflow options 468 Multigroup clips creating 456 N Narration, recording voice-over 420 National Television Standards Committee (NTSC) video editing format 47 Navigating in dialog boxes 112 Next In Group button 464 Nine Split button 457, 460 Nine Split Source view 457, 460 NTSC (National Television Standards Committee) video editing format 47 O Offline media selecting in bins 157 OpenGL Hardware section 245 Opening the application 42 Opening projects a
Index Plug-ins AudioSuite 407 dialog box 410 Fast menu 411 Point size setting for bins and windows 149 Port Server Settings dialog box 196 PortServer Pro 196 Position bar using in the Timeline 238 Position indicator using in the Timeline 238 Prefilling for real-time effect preview 245 Previous In Group button 464 Printing bins 186 locators 264 the Timeline 331 Private project, selecting 43 Profiles, user adding 51 changing 51 described 50 Project window bins display 61 closing 60 opening 60 settings displa
Index Renaming bins 67 sequences 275 settings 99 Render settings 96 Repair disk creating 32 Replacing edits 286, 323 Resizing monitors 237 Source/Record monitor 237 Restore from Videotape dialog box 221 Restoring media files from videotape 220 Reveal File command (File menu) 211 Reverse Match Frame 269 Right Arrow key 243 Rollers See Trim mode Rough cut creating 282 Rounding buttons and toolbars 87, 88 Rubberbanding in Audio Gain Automation 375 S Sample rate identifying by color 440 Sample rate, changing
Index Settings audio pan default 359 Audio project 94 basic 80 bin 80, 80 bin display 144 button 78 copying 101 defined 78 defining 79 deleting 100 displaying 92 duplicating 98 film 81 for configuring MediaManager 195 for film preferences 49 general 81 in Settings scroll list 93 interface 82, 82 keyboard 241 MediaManager 195 modifying 97 moving between systems 101 naming 99 selecting 97 Settings folder 35 site 102 trim 334 types of 79 working with multiple 98 workspace 110 Settings scroll list Bin view 94
Index Stepping backward by field 240, 240 forward by field 240, 240 Striped drives 217 Subclips creating with Make Subclip button 255 locating a master clip from 272 SuperBin closing 76 copying clips 78 described 74 enabling 75 moving bins 77 moving clips 77 opening 75 SupportingFiles folder defined 35 Swap Cam Bank button 457 Switching multicamera angles 464 Sync autosyncing 443 maintaining during segment move 310 maintaining during trim 346 sync-locked tracks, trimming with 348 Sync breaks avoiding 446 f
Index moving position indicator 304 printing 331 reducing tracks 297 saving a custom view 299 scroll bar 301 settings 294 source material, displaying 303 Top and Tail commands 315 top toolbar 254 zooming in and out of 302 Timeline top toolbar 254 Timeline View settings access and brief description 96 Title Style settings, access and description 96 Toggle Source/Record in Timeline button (Timeline) 303 Tool palette opening 253 showing labels 253 tearing off 253 using 252 Tools Audio EQ 375, 392 Audio Mix 36
Index Trim during a playback loop 339 maintaining sync during 346 sides, selecting 336, 341 slip and slide procedures 341, 343 with sync-locked tracks 348 Trim edit on-the-fly 339 reviewing with Edit Review button 344 reviewing with Play Loop button 344 Trim mode basic procedures in 337 defined 333 entering 334 exiting 335 selecting transitions 336 using the four-frame display 342 Trim settings access and description 96 Trimming with the J-K-L keys 338 Trimming edit, for video tracks 340 Turnover points in
Index W Waveform plots (audio) 362 Windows taskbar, using 33 Work environment (Toolset) 121 Workgroup environment working with media files 194 Workspace access and description 97 assigning buttons to 106, 109 assigning windows to 106 customizing 106 deleting 106, 111 linking to a toolset 128 linking to user setting 110, 110 settings 107 switching between workspaces 111 Workspaces on the Avid Unity MediaNetwork 112 Y Yamaha 01v digital mixer recording audio gain 391 supported 380 Z Zoom Back command (Time
Index 488