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.
perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibili
Corporation of America. FaderMaster Pro is a trademark of JL Cooper, a division of Sound Technology. Focusrite is a registered trademark of Focusrite Audio Engineering Ltd. Microsoft, Windows, Windows Media, and Windows NT are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. IBM and OS/2 are registered trademarks of International Business Machines Corporation.
Contents Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 2 Starting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Opening and Closing a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Changing Users. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Selecting a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Selecting a Private Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 3 Working with the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . 57 Changing, Closing, and Reopening the Project Window . . . . . . . . . . . . . . . 58 Using the Bins Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Viewing a List of Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Displaying Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Types of Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Reviewing Basic Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Bin Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Info Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 The Memory Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 The Hardware Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Customizing Your Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Creating a New Workspace Setting . . . . . . . . . . . . . . . . . . . . . . . . . . .
Effects Editing Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Audio Editing Toolset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Color Correction Toolset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Customizing Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Linking Toolsets to Other Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Using the Tools Menu . . . . . . . . .
The Bin Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Setting the Font and Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Setting the Text Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Setting the Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Selecting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . . . . . . 159 Changing a Custom Column Heading . . . . . . . . . . . . . . . . . . . . . 160 Managing Clip Information in Text View . . . . . . . . . . . . . . . . . . . . . . . 161 Moving Within Column Cells. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Modifying Data Directly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Gathering Format Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Preparing Digital Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . . . . . . . 180 Creating Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Creating Video Leader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Creating Audio Leader. . . . . .
Updating the Drive List and Media Database . . . . . . . . . . . . . . . . 206 Dragging P2 Master Clips from the Media Tool to a Bin. . . . . . . . 207 Copying P2 Files to a Local Media Drive. . . . . . . . . . . . . . . . . . . . . . . 209 Sharing P2 Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Deleting P2 Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pop-up Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Displaying a Second Row of Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Viewing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Playing Selected Clips in a Loop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Loading and Clearing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adjusting the Play Delay Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Marking IN and OUT Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Clearing a Mark and Setting a New One . . . . . . . . . . . . . . . . . . . 261 Dragging IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Marking an Entire Clip or Segment . . . . . . . . . . . .
Exporting Locators from the Locators Window . . . . . . . . . . . . . . . 275 Importing Locators from the Locators Window . . . . . . . . . . . . . . . 276 Creating a Locator Text (.txt) file . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Copying and Pasting Locators Using the Locators Window . . . . . 277 Changing the Color of the Locator Icon from the Locators Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 Accessing a Locator in a Clip or Sequence. . . . . . .
Undoing or Redoing Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Monitoring Audio While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Editing Additional Clips into the Sequence. . . . . . . . . . . . . . . . . . . . . . . . . 299 Performing a Splice-in Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Performing an Overwrite Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Performing a Replace Edit. . .
Saving a Custom Timeline View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 Replacing a Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 Restoring the Default Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . 315 Navigating in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 Using the Position Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Track Selector Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Monitoring Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Monitoring Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Monitoring Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Slipping or Sliding Clips or Segments . . . . . . . . . . . . . . . . . . . . . . . . . 352 Selecting Segments for Slip or Slide Trimming . . . . . . . . . . . . . . . 352 Slipping or Sliding Segments in a Four-Frame Display . . . . . . . . . 353 Performing the Slip or Slide Trim. . . . . . . . . . . . . . . . . . . . . . . . . . 354 Reviewing the Trim Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 Reviewing an Edit with the Edit Review Button . . . . . . . . . . . . . . .
Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline . . . 375 Using the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376 Resizing the Audio Mixer Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Audio Gain Staging and an Audio Editing Workflow . . . . . . . . . . . . . . 377 Rendering and Unrendering Order for Audio Effects . . . . . . . . . . 379 Viewing Clip Gain and Automation Gain Values. . . . . . . . . . . . . .
Understanding Automation Gain and Pan Mode . . . . . . . . . . . . . . . . . 393 Track Solo and Track Mute Buttons . . . . . . . . . . . . . . . . . . . . . . . 395 Position Indicator Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 Applying Automation Gain and Pan Adjustments . . . . . . . . . . . . . 397 Audio Mixer Tool Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 Recording Automation Gain or Automation Pan Information . . . . . . . .
Using a Plug-in Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421 AudioSuite Plug-in Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . 422 Rendering Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422 Creating New Master Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423 AudioSuite Controls for Creating New Master Clips . . . . . . . . . . . 423 Mono, Stereo, and Multichannel Processing . . . . . . . .
Fine-Tuning Audio Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 Fading and Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446 Fading Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446 Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449 Mixing Down Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Nine Split Source View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474 MultiCamera Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475 Limitations on Playback of MultiCamera Clips . . . . . . . . . . . . . . . . . . 477 MultiCamera Editing Techniques. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477 Switching Clips with the Arrow Keys . . . . . . . . . . . . . . . . . . . . . . . . . . 478 Using the Add Edit Button . . . . . . . . . .
Tables Project Types for Avid Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Settings Scroll List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Customizable Interface Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Settings Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Navigation Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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. This guide is intended for all NewsCutter products users, from beginning to advanced.
Using This Guide Symbols and Conventions Avid documentation uses the following symbols and conventions: Symbol or Convention Meaning or Action n A note provides important related information, reminders, recommendations, and strong suggestions. c A caution means that a specific action you take could cause harm to your computer or cause you to lose data. w 30 A warning describes an action that could cause you physical harm.
If You Need Help If You Need Help If you are having trouble using your Avid application: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2. Check for the latest information that might have become available after the documentation was published in one of two locations: n - If release notes are available, they ship with your application.
Using This Guide To access the [tutorial and] online library from the Online Library CD-ROM: 1. Insert the Online Library CD-ROM into the drive. 2. Double-click the Mainmenu file. To access the online library from the Help: 1. Insert the Online Library CD-ROM into the drive. 2. In your Avid application, select Help > Online Library. How to Order Documentation To order additional copies of this documentation from within the United States, call Avid Sales at 800-949-AVID (800-949-2843).
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 n For information on the Windows operating system, such as the desktop and icons, see your Microsoft Windows Help. Creating an Emergency Repair Disk You or your system administrator needs to create a Windows emergency repair disk (ERD) to rebuild your system configuration if it becomes damaged. You need to update the ERD any time you make a system change, like installing new software.
Working with the Desktop To change the taskbar settings: 1. Right-click an unused part of the taskbar, and select Properties. The Taskbar Properties dialog box opens. 2. Click the Taskbar Options tab. 3. Select the options you want: t To keep the taskbar hidden, deselect Always on top and Auto hide. t To set the taskbar to appear when you want, select Always on top and Auto hide. 4. Click OK. n The taskbar can to be dragged to the top, bottom, or either side of the monitor.
Chapter 1 Desktop Basics Setting Your Screen Resolution Avid applications work best with the following screen resolutions: • 1024 x 768 pixels • 1152 x 864 pixels • 1280 x 1024 pixels One Monitor Two Monitors 1024 x 768 pixels 2048 x 768 pixels 1152 x 864 pixels 2304 x 864 pixels 1280 x 1024 pixels 2560 x 1024 pixels A larger resolution displays more pixels and lets you view more objects in the monitors. The objects will appear smaller. To view or change the screen resolution: 1.
Managing the Avid Projects and Avid Users Folders You should not touch any of these files, except where noted in the following descriptions: • Help folder: This folder contains the Help files. You can find information about Help in “Using Help” on page 56. • Avid application folder: The application icon resides here. You can start the application by following the procedures described in “Starting the Avid Application” on page 39.
Chapter 1 Desktop Basics • When you create a new project, the system creates three items: a project file, a Project Settings file, and a project folder containing both. Each item is given the project name you provide. This new folder is stored in the Avid Projects folder on the internal hard drive. Avid Projects and Avid Users folders allow you to move entire projects or selected Project and User settings between systems by copying and moving files on your desktop.
Starting the Avid Application To delete a project or user profile: c Deleting a project also deletes any bins that are in that project. 1. Double-click the internal hard drive to open it. 2. Double-click the Avid Users or the Avid Projects folder to open it. 3. Drag the project or user folder you want to delete to the Recycle Bin. 4. (Option) Empty the Recycle Bin to remove the files from the system. 5. Close the windows, and restart the application.
Chapter 1 Desktop Basics Avid applications. Other power schemes might affect performance of editing functions (for example, capture and digital cuts). For information on changing power schemes, see the Windows documentation. n When you first install the application, a license agreement appears before the Select Project dialog box. See “Accepting Your Avid License Electronically” on page 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 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. The Project window, the Source/Record monitor, and the Timeline open with the selected User settings loaded.
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. Creating a New Project To create a new project: 1. Start the Avid application. The Select Project dialog box opens. 2.
Opening and Closing a Project 3. Click New Project. The New Project dialog box opens. n After you have created a project, the New Project dialog box uses the video format previously selected as your default project format. To change the format, click New Project while holding down the Alt key, and then select a new format from the Format menu (see step 5). 4. Type a project name. 5.
Chapter 2 Starting a Project Project Types for Avid Systems (Continued) Project Type Source Footage Transfer 25p PAL For 25-fps film footage transferred to PAL videotape 25i PAL For PAL video-originated footage (25 fps) 720p/59.94 For HD broadcast 1080p/23.976 For HD online editing. Film-originated material can be transferred to this format for editing and effects. 1080p/25 For HD online editing. Film-originated material can be transferred to this format for editing and effects.
Opening and Closing a Project To open a project automatically: 1. Double-click Interface in the Settings tab in the Project window. The Interface Settings dialog box opens. 2. Click the General tab, and then select Automatically Launch Last Project at Startup, and then click OK. The next time you start the Avid application, it opens your last project. To select another project: 1. Deselect Automatically Launch Last Project at Startup, and then click OK. 2. Quit the application and restart it.
Chapter 2 Starting a Project Using User Profiles You can establish different profiles for a single user without having to log out of your system and log back in under a different name (see “Changing Users” on page 42). You might want separate editing functions to have separate settings; for example. User 1 can have separate profiles for “Audio editor, “Assistant 1,” “Assistant 2,” and so on. These profiles have separate folders and settings that kept are in the following folder: drive:\Program Files\Avid\A
Opening and Closing a Project Importing a User Profile To import user settings from another user or user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection menu, and select Import User or User Profile. 3. Navigate to the user or user profile you want to import. Changing User Profiles To change user profiles: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection menu, and select another user profile.
Chapter 2 Starting a Project To export user settings to another user or user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection menu, and select Export User or User Profile. 3. Select Personal or Group. 4. Navigate to the location where you want to place the user or user profile. 5. Click OK. n For information on User Profiles, see “Using User Profiles” in the Help or the editing guide for your system.
Backing Up Your Project Information Backing Up Your Project Information 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 2. Click the 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. Turn off your speakers and monitors. 6. Turn off each external drive. c Never remove drives from your Avid system when it is turned on. Move your drives only when the system is completely off. 7. Turn off all other hardware.
Chapter 2 Starting a Project Ejecting Drives To eject a disk or make a drive unavailable: 1. With the Avid application active, select File > Eject. The Select a Disk or Drive to Eject dialog box opens. The scroll list displays all drives currently available. 2. Select a drive to eject. Ctrl+click to select additional drives. 3. Click Eject. The drives are no longer available. Mounting All Drives Because the system cannot interface with ejected drives individually, you cannot mount selected drives.
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 143. • 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 • 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. Script tab Displaying Bins By default, your bins display all existing media objects except source clips and rendered effects.
Using the Bins 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 141. 4. Click OK. The bin displays objects according to your specifications.
Chapter 3 Working with the Project Window Displaying Folders of Bins in the Bins List You can add folders to the Bins list in the Project window to help organize your project. You can drag bins into folders, or drag folders into folders. See “Managing Folders and Bins” on page 68. Fast Menu button Triangular opener Trash icon To display the folder’s contents in the Bins list of the Project window: t Click the triangular opener next to a folder icon.
Using the Bins Display 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. Either one of these procedures opens a new (empty) bin that is given the name of the project as displayed in the title bar of the Project window.
Chapter 3 Working with the Project Window Opening and Closing a Bin n If you have the SuperBin enabled, see “Opening Bins in the SuperBin” on page 74. To open a bin directly: 1. Click the Bins tab in the Project window. 2. Double-click the icon next to the bin name. n If you open a bin from a previous project that has a bin name more than 27 characters in length, you are prompted to rename the bin. Bin names cannot exceed 27 characters. To open a bin from the File menu: 1. Select File > Open.
Using the Bins Display Deleting a Bin or Folder To delete a bin or folder within a project: t Select the bin or the folder you want to delete in the Bins list of the Project window, and do one of the following: - If the SuperBin is not enabled, press the Delete key. - If the SuperBin is enabled, right-click the bin name and select Delete Selected Bins from the shortcut menu. For more information on using the Superbin feature, see “Conserving Screen Real Estate with the SuperBin” on page 73.
Chapter 3 Working with the Project Window Emptying the Trash To empty the Trash: 1. Click the Fast Menu button, and select Empty Trash. A message box opens. 2. Click Empty Trash to delete the bins or folders from the Trash and from your internal hard drive. Managing Folders and Bins You can use the Project window to create hierarchies of folders and bins that reflect the specific workflow of the current project. This structure should provide both simplicity and backup security.
Using the Bins Display • (Option) Create additional folders at the desktop level for better organization. For example, you can create one folder for each capture bin and show cut bin, or a folder containing all shot logs to be imported. • Save these files as a template for future productions of a similar nature.
Chapter 3 Working with the Project Window n Bins with sequences use more memory than bins with master clips. For bins that contain a large amount of sequences, you can still keep your old sequences and free up memory. Create a new archive bin and move older sequences that you don’t use anymore to the archive bin, and keep the archive bin closed. Saving Bins Automatically The application automatically saves changes to your work on a regular basis during each session.
Using the Bins Display 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. Select File > Save All.
Chapter 3 Working with the Project Window 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.
Conserving Screen Real Estate with the SuperBin 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. Open the new bin, and open the backup bin in the Other Bins folder. 13. Select the material you want to keep from the backup bin, and drag the files to the new bin.
Chapter 3 Working with the Project Window Opening Bins in the SuperBin To open bins in the SuperBin: 1. Enable the SuperBin. See “Enabling the SuperBin” on page 73. 2. Click the Bins tab in the Project window. 3. Click a bin name. The bin opens in the SuperBin. The SuperBin icon appears in the upper left corner, and the title is SuperBin: followed by the name of the bin. n When SuperBin is enabled, single-click the bin name to open it. Doubleclicking the bin name opens the bin in its own window.
Conserving Screen Real Estate with the SuperBin 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. 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.
Chapter 3 Working with the Project Window The clip or sequence moves into the bin in 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.
Using the Settings Scroll List The Settings Scroll List The following table briefly describes each item in the Settings scroll list. The table also lists where you can find additional information on a particular item and indicates whether the item has an associated dialog box (or window) that you can access from the Settings scroll list. For more information on the Settings scroll list, see “Using the Settings Scroll List” on page 76 and “Settings Options” in the Help.
Chapter 3 Working with the Project Window Settings Scroll List (Continued) Setting Name Description For More Information Deck Preferences Sets preferences that affect all decks configured into the system. See “Setting Deck Preferences” in the Help. Desktop Play Delay Lets you adjust the offset between audio and video playback. See “Adjusting the Play Delay Offset” on page 258. Effect Editor Changes effect parameters by adjusting the appearance and operation of effects.
Using the Settings Scroll List Settings Scroll List (Continued) Setting Name Description Media Creation Sets parameters for video resolution and selects the drives See “Setting Media for capture, creating titles, importing, and performing Creation Resolutions and audio and video mixdown. Selecting Drives” in the Help. NRCS Defines the name of the Newsroom Computer System server and the default user name. Also sets Message of the Day and Mail options for the NRCS tool.
Chapter 3 Working with the Project Window Settings Scroll List (Continued) Setting Name Description For More Information Trim Customizes the Trim mode environment. See “Customizing Trim Mode” on page 345. 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 desktop video; sets parameters for desktop video display; page 255. enables the Client monitor.
Using the Settings Scroll List Defining Settings You can use the Settings scroll list to establish a hierarchy of settings that address the specific needs of each production phase.
Chapter 3 Working with the Project Window Bin Settings Bin settings define general system functions related to bins. Select these functions in the Bin Settings dialog box. For more information about options in the Bin Settings dialog box, see “Bin Settings” in the Help. General Settings General settings define fundamental system defaults.
Using the Settings Scroll List For more information about options in the General Settings dialog box, see “General Settings” in the Help. 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.
Chapter 3 Working with the Project Window 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.
Using the Settings Scroll List Changing Interface Component Colors You change the color of interface components by using a color grid. The following table describes the interface components that you can customize. 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.
Chapter 3 Working with the Project Window To set the color of an interface component: 1. Click the Appearance tab of the Interface dialog box.
Using the Settings Scroll List 2. Click in the color box next to the interface component you want to customize. 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.
Chapter 3 Working with the Project Window 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 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.
Using the Settings Scroll List 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 menu appears. 2. Select a depth. 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 Depth retains the selection you applied.
Chapter 3 Working with the Project Window 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 menu appears. 2.
Using the Settings Scroll List 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. To change the button style: 1.
Chapter 3 Working with the Project Window 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.
Using the Settings Scroll List Displaying Project Settings You can display the Settings scroll list of the Project window in different groups, depending on what you need to view. The following table describes the different Settings menu options.
Chapter 3 Working with the Project Window 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.
Using the Settings Scroll List Modifying Settings You cannot modify two types of settings: • Settings that require the presence of standalone peripherals • Settings that can be modified only from within the tools in which they are used, such as Bin view and Timeline view To modify available settings: 1. Double-click the name of a setting in the Settings tab in the Project window. The applicable Settings dialog box opens. 2. Type new values or select new options for the settings. 3.
Chapter 3 Working with the Project Window 4. Name your settings to indicate their functions. For more information about naming settings, see “Naming Settings” on page 96. n If the original setting had a second column entry, a version number in the second column appears with each duplicate’s custom setting name. 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.
Using the Settings Scroll List 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.
Chapter 3 Working with the Project Window 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.
Using the Settings Scroll List 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 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, the Avid editor
Chapter 3 Working with the Project Window 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.
Viewing the Effect Palette Viewing the Effect Palette To view the Effect Palette: t Click the Effects tab (which displays the Effect icon) in the Project window.
Chapter 3 Working with the Project Window Using the Format Display The Format display in the Project window allows you to view basic project information, such as the video format (NTSC, for example). The displayed information lists the options you selected in the New Project dialog box when you created the project. For some project formats, the Project Type menu lets you change the format of the project to another format that shares the same frame rate. For example, if you are working in a 1080i/59.
Using the Info Display Using the Info Display The Info display in the Project window allows you to view system memory information and access the Hardware tool. To open the Info display: t n Click the Info tab in the Project window. The items listed in this view are for information only and cannot be changed.
Chapter 3 Working with the Project Window • Available Physical Memory: The amount of RAM available for allocation by Windows. • 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.
Customizing Your Workspace While in a workspace, you can move tool windows or open and close tool windows. The next time you select that workspace, the tool windows appear with either: n • The arrangement from the last time you left the workspace • The arrangement you set for the workspace, regardless of any changes you made You cannot assign some tools to a workspace, including the Hardware tool, the Communication (Serial) Ports tool, the Title tool, and the Media tool.
Chapter 3 Working with the Project Window 5. Open the windows and tools with which you want to associate the workspace. Resize and move the windows to the location where you want them to appear in the monitors. 6. Double-click the custom workspace setting. The Workspace Settings dialog box opens. 7. Select or deselect the following options: - Activate Settings Linked By Name: This setting allows you to link other settings to the workspace. See “Linking User Settings and Workspaces” on page 107.
Customizing Your Workspace 4. Click a workspace button (W1–W8), and drag it to a location on another palette (for example, to the Tool palette). The buttons are assigned to the workspaces in the Settings scroll list of the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings scroll list, W2 is assigned to the second workspace that appears in the Settings scroll list, and so forth.
Chapter 3 Working with the Project Window 5. Double-click another setting (for example, Interface). Select the new options (for example, Show ToolTips), and click OK. 6. Give this setting the same name you gave the workspace previously. 7. Double-click the workspace you just created. The Workspace Settings dialog box opens. 8. Click Activate Settings Linked By Name. 9. Click OK. All the settings and the new workspace you created will be activated when you activate this workspace.
Navigating in Dialog Boxes and Menus Navigating in Dialog Boxes and Menus You can use the keys listed in the following table to navigate in many dialog boxes and menus and to select and deselect options.
Chapter 3 Working with the Project Window 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. c The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.
Sharing Bins and Projects on Avid Unity MediaNetwork Shared Bins and Projects If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). The Avid system uses the following methods to identify information from each computer using the shared workspace: • Creates a project folder for each computer that accesses the project.
Chapter 3 Working with the Project Window The following illustration shows the contents of a shared workspace at the desktop level. Shared projects Shared media files Unity Attic Suggestions for Improving Performance The following information is provided to improve performance when working with shared bins in an Avid Unity environment. • Do not use the same name for your editing system machine name and your user name.
Sharing Bins and Projects on Avid Unity MediaNetwork • Avoid using Windows Explorer to examine, copy, or manipulate shared bin files or shared project folders or their contents when editors are using those files or folders. If you do, editors attempting to access those shared bins or projects may experience delays accompanied by a progress dialog that says, “Filesystem busy, retrying (MESSAGE),” where MESSAGE is replaced by a specific message identifying the action that is being retried.
Chapter 3 Working with the Project Window However, if a user working in an editing application other than that used by the creating editor deletes a media file, the PMR file that contains the deleted file is not updated immediately. Once the creating editor encounters an event that causes its PMR to be updated, then all editing systems will know that the deleted media file has gone offline. There are several ways to force an editing application to update its PMR.
Sharing Bins and Projects on Avid Unity MediaNetwork The following illustration shows locked and unlocked bins. Unlocked bin Locked bin When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 116. n The Bin Lock Status button does not appear if the bin is not on Avid Unity MediaNetwork.
Chapter 3 Working with the Project Window To open a bin without taking the lock: t Alt+double-click the bin in the Project window. Overriding the Default Locking Mechanism You can instruct the Avid system to keep a bin locked even after you close it. To permanently lock a bin: 1. Select one or more bins in the Project window. 2. Right-click the Bin icon, and select Lock Project Bin. An asterisk appears next to the user name in the Project window.
Sharing Bins and Projects on Avid Unity MediaNetwork • 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. The original item is not removed from the locked bin. This operation is the equivalent of duplicating a selection and then dragging the duplicate to another bin. • You cannot move a bin that is locked by another user.
Chapter 3 Working with the Project Window 118
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 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 toolset workspace, restore it to the default arrangement, or link it to other settings. For example, you might want each toolset to appear with a different color scheme.
Using Toolsets Any open tools close and the screen changes to display windows appropriate to the toolset task. 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. n For more information on bin views, see “Using Bin Display Views” on page 143.
Chapter 4 Using Basic Tools 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. 122 n For more information on bin views, see “Using Bin Display Views” on page 143. n For more information on the Capture tool, see “Setting Up the Capture Tool” in the Help.
Using Toolsets Edit Toolset The Edit toolset displays the Bins tab of the Project window, the SuperBin in Brief view, the Source/Record monitor, the Audio Mixer tool, and the Timeline. n For more information on bin views, see “Using Bin Display Views” on page 143. n For more information on the Audio Mixer tool, see “Using the Audio Mixer Tool” on page 376.
Chapter 4 Using Basic Tools 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. 124 n For more information on bin views, see “Using Bin Display Views” on page 143. 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.
Using Toolsets 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 Audio Mixer tool, and the Timeline. n For more information on bin views, see “Using Bin Display Views” on page 143. n For more information on the Audio Mixer tool, see “Using the Audio Mixer Tool” on page 376.
Chapter 4 Using Basic Tools 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. 126 n For more information on bin views, see “Using Bin Display Views” on page 143. n For more information on the Color Correction tool, see “The Color Correction Tool” in the Help.
Using Toolsets 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.
Chapter 4 Using Basic Tools 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 94. 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.
Using the Deck Controller 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.
Chapter 4 Using Basic Tools • The Deck Selection 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. • The deck controller allows you to associate a tape name with the controller by clicking the Source Tape Display button and selecting a tape in the Select Tape dialog box. For more information, see “Selecting a Tape” in the Help.
Using the Command Palette 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 132. • Map menu commands to various buttons and keys. See “Mapping Menu Commands” on page 133. • Directly activate a command. See “Activating Commands from the Command Palette” on page 135.
Chapter 4 Using Basic Tools When you remap buttons or commands, the application immediately saves your new configuration in one of the default settings that you can open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes. n For more information on multiple settings, see “Working with Multiple Settings” on page 95.
Using the Command Palette 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. If you do not need or use a specific button on a Tool palette, you can replace the button with a Blank button. For information on mapping the Blank button to a new location, see “Mapping User-Selectable Buttons” on page 132. Mapping the Modifier Key You can add modifier keys to functions already associated with keys and buttons.
Chapter 4 Using Basic Tools To map menu commands: 1. Open a window that has a user-selectable button palette by doing one of the following: t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu button, and drag to tear off the Tool palette. t Double-click Keyboard in the Settings scroll list in the Project window to open the Keyboard palette. 2. Select Tools > Command Palette. The Command palette opens. 3. Select Menu to Button Reassignment. 4.
Using the Avid Calculator 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. Select Active Palette. 3. Click the tab from which you want to select a command function. 4.
Chapter 4 Using Basic Tools n If you select non-drop-frame timecode in the format menu, and then enter a drop-frame timecode value into the calculator, the calculator converts the entered timecode to a non-drop-frame timecode equivalent. The reverse is true if you enter a non-drop-frame timecode value when drop-frame timecode is selected in the format menu. To convert your totals at any time to another format: t Click the Format menu, and select a different frame code or key number format.
Using the Console Window Displaying System Information To display current system information: 1. Select Tools > Console. The Console window opens. 2. Scroll to the top of the Console window to view your system information and ID. This feature is especially useful for finding the system ID when you need to contact your Avid Reseller or Avid Customer Support. Reviewing a Log of Errors To review errors logged to the Console: 1.
Chapter 4 Using Basic Tools To get information with the Console window: 1. Select Tools > Console. The Console window opens. 2. Select the item about which you want information: t In the Timeline, move the position indicator to the selected clip or segment. t In the bin, select an object or Ctrl+click multiple objects. 3. Do one of the following: t Select File > Get Bin Info. t Select File > Get Position Info. Information about the clip appears in the Console window.
Using the Hardware Tool 3. Press Enter. Network drives are available to the Avid editing application. To show only media drives: 1. Select Tools > Console. 2. In the Console command line, type: alldrives 2 3. Press Enter. Only media drives are available to the Avid editing application. n Typing alldrives in the console window turns this feature on and off.
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.
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 The following table briefly describes the icons listed in the Set Bin Display dialog box.
Basic Bin Procedures Basic Bin Procedures There are some basic procedures that you can use in either Text view or Frame view for manipulating clips in the bin. They include selecting, deleting, duplicating, moving, copying, and sifting clips and sequences. When you are working with bins, an asterisk (*) appears before the bin name in the bin’s title bar. This asterisk indicates that the changes to the bin have not been saved. Once you save the bin, the asterisk is removed.
Chapter 5 Organizing with Bins Customizing Bin Views in Text View You can create and save customized Bin views that you can easily access from the Bin View menu. You can customize the Bin view by adding, hiding, or rearranging Bin columns. The only required column heading is the clip name, which is displayed by default. 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.
Basic Bin Procedures 3. Click the Bin View menu, and select Save As. The View Name dialog box opens. 4. Type a name for the custom view, and click OK. 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.
Chapter 5 Organizing with Bins 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 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.
Basic Bin Procedures 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. Select the clip or sequence that you want to duplicate, or Ctrl+click to select multiple clips or sequences. 2. Select Edit > Duplicate.
Chapter 5 Organizing with Bins When you press and hold the Alt key and drag a clip to make a copy, the system does not add the file name extension .Copy.n to the clip or sequence as it does when duplicating. When you copy clips from one bin to another, the custom columns that you created in the first bin are also copied to the second bin. The custom columns appear in the order in which you created them. To copy clips from one bin to another bin: 1.
Basic Bin Procedures Assigning Colors to Bin Objects You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects. Colors assigned to bin objects are referred to as source colors. Adding a Color Column to a Bin To add a Color column to a bin: 1. With a bin in Text view, select Bin > Headings. The Bin Column Selection dialog box opens. 2. Click Color. 3. Click OK. The Color column appears in the bin.
Chapter 5 Organizing with Bins 3. Select a color and click OK. The custom color appears in the Color column and on the clip icon. n After you assign a custom color, the color appears as Other in the Set Clip Color submenu. 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.
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 menu Criterion menu 2. Click the Criterion menu, and select one of the sifting options. 3. Click the first Text to Find text box, and type the text that you want to use as a sift criterion. 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 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. For more information on archiving locked files, see your archiving software’s documentation.
Chapter 5 Organizing with Bins The system highlights all related objects in all open bins. Highlighted media relatives 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 189. 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.
Using Brief View 4. Click OK. All unreferenced clips are highlighted in the open bins. n The Select Unreferenced Clips command is effectively the reverse of the Select Media Relatives command. Using 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.
Chapter 5 Organizing with Bins 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 To see Text view: t n Click the Text tab.
Using Text View 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.
Chapter 5 Organizing with Bins 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.
Using Text View 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. Select Edit > Duplicate. The Select dialog box opens. The dialog box contains column names compatible with the column you selected in step 1.
Chapter 5 Organizing with Bins 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.
Using Text View 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.
Chapter 5 Organizing with Bins 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.
Using Text View Direct Modification Headings (Continued) Heading 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. KN (Key Number) End Only for 24p projects, 25p projects, and matchback projects. Altering the KN End also alters the KN Start to maintain the duration.
Chapter 5 Organizing with Bins Modify Command Options Type of Modification Options Description Set Format Format menu Allows you to change the format of a sequence. This option is useful if you are working with downconverted HD material in an offline/online workflow.For more information, see “Modifying the Format of a Sequence” in the Help. Set Timecode Drop/ Non-drop Drop, Non-drop Changes the timecode format between dropframe and non-drop-frame. Setting must match the timecode format of the tape.
Using Text View Modify Command Options (Continued) Type of Modification Options Description Set Pullin A, B, C, or D Selects the pulldown phase to match to the timecode entry (24p and matchback projects only). For more information, see “Transferring 24-fps Film to NTSC Video” in the Help. Set Tracks V, A1, A2, A3, A4, A5, A6, A7, and A8 track selector buttons Changes the clip’s configuration of tracks (film projects only). The clip must be unlinked. See “Unlinking Media Files” on page 218.
Chapter 5 Organizing with Bins 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. A dialog box prompts you to target a column for the data. 3. Select the target column for the data, and click OK. Sorting Clips Sorting clips arranges them in either numerical or alphabetical order, based on the data in the column you select as the sorting criteria.
Using Text View To reapply the last sort: t With no column selected, select Bin > Sort Again. This step is especially useful after you have added new clips to a sorted bin. Sorting Clips in Descending Order To sort clips in descending order: 1. 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.
Chapter 5 Organizing with Bins Sorting Clips by Color You can sort the clips by color if you assigned colors to the clips. See “Assigning Colors to Bin Objects” on page 149. To sort clips by color: 1. Click the Color column heading in the bin. 2. Select Bin > Sort. The objects in the bin are sorted by color. n Colors are sorted by hue, saturation, and value.
Using Text View Timecode Columns n Bin Column Timecode TC 25P 01:00:00:16 TC 30 01:00:00:19 The TC1 track in the Timeline represents the timecode of the project in which you are working. For example, when you are working in a 24p NTSC project, the TC1 track displays the same timecode as the TC 30 track. Frame Counting for Timecodes The following table shows the frame count for each timecode.
Chapter 5 Organizing with Bins Adding Timecode Values to the Timecode Columns To add timecode values to the timecode columns: 1. Open a bin or the Media tool. 2. Add the Start column and the timecode column with the format you want to use. 3. Select the Start column. 4. Select Edit > Duplicate. The Select dialog box opens. 5. Select the timecode heading from the list. 6. Click OK.
Using Text View Bin Column Headings (Continued) Heading Description Auxiliary TC1 through You can enter an auxiliary timecode, such as Aaton® or Arri®, or another timecode for TC5 editing film or audio timecode for film. (Not restricted to film projects.) Aux TC 24 The original HDTV sources (1080p/24) or audio DATs created for PAL feature film productions that use in-camera timecode. CFPS The captured frames per second. Cadence The type of pulldown present on the source NTSC tapes when in a 23.
Chapter 5 Organizing with Bins Bin Column Headings (Continued) Heading Description Offline The track names for any media files that are offline. Project The project under which the media was originally captured. 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.
Using Frame View Each frame appears on your screen with its assigned name directly beneath it. Frame tab Clip frame Clip name To see Frame view: t Click the Frame tab. 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.
Chapter 5 Organizing with Bins The bin color changes, based on your selection. Enlarging or Reducing Frame Size You must enlarge or reduce all frames in the bin together. You cannot change the size of an individual frame. To enlarge the frame size: t 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 Rearranging Frames Frame view allows you to rearrange the display of the frames in the bin by moving them. To rearrange frames: 1. Click a single frame, and drag it to its new position. To rearrange more than one frame at a time, Shift+click or lasso multiple frames and drag them to a new position in the bin. n To lasso, click above the top frame and drag to surround the frames. 2. Click the background area of the bin to deselect the clips.
Chapter 5 Organizing with Bins To spread out the frames evenly to fill available space in the bin window: t Select Bin > Fill Window. To make frames appear in Frame view in the order in which they are sorted in Text view: t Select Bin > Fill Sorted. 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.
Using Script View Entering Script View To see Script view: t Click the Script tab. 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.
Chapter 5 Organizing with Bins Rearranging Clips in Script View To rearrange the order of clips in Script view, do one of the following: t Drag each clip up or down to a new location in the bin. t Sort and sift clips in Text view, and then return to Script view to display selected clips in the sort order you want. Printing Bins You can print entire bins or individual frames in hardcopy form. To print entire bins: 1. Make sure your printer is correctly configured.
Gathering Format Elements 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 Importing Color Bars and Other Test Patterns Avid editing applications supply files for color bars and other test patterns. You can import 8-bit PICT files or 16-bit TIFF files. To import a test pattern from a file: 1. Open an existing bin, or create a new one for the test pattern. 2. Select the destination bin. 3. Select File > Import. The Select Files to Import dialog box opens. Look In menu File browser File to import Options 4.
Gathering Format Elements 5. Use the Look in menu to locate the folder containing the test pattern file. Test pattern files are located in one of the following folders: drive:\Program Files\Avid\NewsCutter Adrenaline\ SupportingFiles\Test_Patterns drive:\Program Files\Avid\Avid NewsCutter XP\SupportingFiles\Test_Patterns 6. Select a test pattern from the File browser. - 8-bit PICT files are located at the top level of the Test_Patterns folder.
Chapter 5 Organizing with Bins 11. Load the new color bars clip into the Source monitor, and create a subclip of appropriate length for use in sequences (1 minute is a common standard). 12. Select the new subclip, Ctrl+click the audio clip containing the tone, and select Bin > AutoSync. A new subclip containing bars and tone appears in the bin. 13. Rename the clip as necessary. Creating Leader You can use digital leader to mark the beginning and ending of tracks and to help you maintain sync.
Gathering Format Elements Once the leader is prepared, you can splice the leader during editing onto the tracks that you want to keep in sync. You can use the sync points for visually aligning tracks. Creating Audio Leader To create tail leader for audio tracks: 1. Load a clip that includes a section of recorded tone into the Source/Record monitor. 2. Create a subclip from an appropriate section of the clip, according to your chosen specifications. 3. Name this new subclip Head Leader or Tail Leader. 4.
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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 You must specify the MediaManager location to let your Avid editing system know where to look for MediaManager on the network. After you specify the network settings, you can check in clips to and check out clips from MediaManager. For more information about MediaManager settings, see the Avid Unity MediaManager Administrator’s and User’s Guide and the Avid Unity MediaManager Installation and Setup Guide.
Chapter 6 Managing Media Files Setting up the LANshare Client When you use the Avid application with the LANserver, set up the client so that it recognizes LANshare workspaces when you start the application. To enable the client to recognize LANshare workspaces: 1. Open a bin. 2. Double-click PortServer in the Settings tab in the Project window. The Port Server Settings dialog box opens. 3. Click Auto-connect to LANshare at Launch. 4. Click Connect, and then click OK.
Using the Media Tool 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.
Chapter 6 Managing Media Files • 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 143. • Media tool database and display options are saved as User settings.
Using the Media Tool Opening the Media Tool To open the Media tool: 1. Select Tools > Media Tool. The Media Tool Display dialog box opens. 2. Select the display options as follows: - n The Media tool loads the media database only for the drives you select. The more drives you select, the more memory is required for the Media tool to open. - n You can select individual media drives or all drives. You can display files for the current project, for selected projects, or for all projects.
Chapter 6 Managing Media Files - 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.
Using the Media Tool 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 and Transcoding Media” on page 194. To delete selected media files: 1. Select Tools > Media Tool. 2.
Chapter 6 Managing Media Files Consolidating and Transcoding 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. You can consolidate master clips, subclips, and sequences in the bin.
Consolidating and Transcoding Media 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.01 Subclips: When you consolidate a subclip, the system copies only the portion of the media files represented in the subclip, and creates a new master clip that is the duration of the subclip and a new subclip. The file name extension .new is attached, along with incremental numbering beginning with .01.
Chapter 6 Managing Media Files 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 Edited copy of media files Clip C Clip A.new.01 Clip B.new.01 Clip C.new.01 New links are established. Original links are broken.
Consolidating and Transcoding Media The Consolidate/Transcode dialog box opens. 4. Select the Consolidate option in the upper left corner. 5. In the Target Drive(s) area, select a drive or drives.
Chapter 6 Managing Media Files 6. Select options as described in the following table. 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.
Consolidating and Transcoding Media Consolidate/Transcode Options (Continued) Option Description Do Audio Format Conversion Select this option to convert the audio to the target audio format. Target Audio Format Select either OMF (WAVE), OMF (AIFF-C), or MXF (PCM) audio format. See Audio File Formats in the Help. 7. Click the Consolidate button in the lower right corner. Another way to back up media files is to copy them directly onto another hard drive by using the Windows desktop.
Chapter 6 Managing Media Files 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 menu, and select a video resolution. n 200 If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default.
Consolidating and Transcoding Media 6. Select other options as described in the following table. 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 Loading the Media Database The media database is a catalog of master clips and precomputes stored on the external media drives. One use of the media database is to display master clips and precomputes in the Media tool. Bins also contain references to some of the media files based on the contents of the bin. The Avid editing application does not maintain the entire database in memory at all times.
Refreshing Media Databases Refreshing Media Databases Refresh the media directories after you remove media from the media drives (for example, after you have physically moved drives). The Refresh Media Directories command reexamines all the media databases on the system. This command can take a long time to execute on systems that have large amounts of media online.
Chapter 6 Managing Media Files Avid editing applications support one video track and up to four tracks of 48 kHz, 16-bit audio, the maximum you can record on Panasonic P2 equipment. P2 Files and Folders Panasonic P2 video and audio media is recorded in MXF format, one of the two media file formats you can use in Avid editing applications. Each P2 card stores MXF files in two folders: • drive: Contents\Audio • drive: Contents\Video The following illustration shows the folder structure of a P2 card and
Using Panasonic DVCPRO P2 Media Panasonic P2 devices write individual MXF audio and video media files for each track of each clip. For example, a P2 clip that includes one track of video and four tracks of audio is stored on the P2 card as five individual media files. Within the Avid editing application the five media files are represented as a single clip with audio and video.
Chapter 6 Managing Media Files After installing the appropriate Panasonic driver, you can mount the cards as drives from any of these devices: • P2 drive: Panasonic offers P2 card-reading peripherals such as the AJ-PCD10 memory card drive. You can connect this drive, or card reader, to a PC through a USB port, or you can install it as an internal drive on a desktop PC. This card reader provides access to five P2 cards at one time.
Using Panasonic DVCPRO P2 Media n After opening a project, do not move the mounted P2 cards from one slot to another or insert new ones. If you need to move cards or work with new cards, close the Avid application and then open it again. Dragging P2 Master Clips from the Media Tool to a Bin Media files on the P2 system include information (metadata) that lets them appear as master clips in an Avid editing application.
Chapter 6 Managing Media Files 4. Select the following options: a. In the Media Drives list, select one or more P2 drives. b. Click the Current Project button. c. Select Master Clips, deselect Precompute Clips, and deselect Media Files. 5. Click OK. The Media tool displays the clips contained on the drives you selected. n If you do not see any media clips, update the mounted drives and media database again by selecting File > Mount All and File > Refresh Media Directories.
Using Panasonic DVCPRO P2 Media Copying P2 Files to a Local Media Drive After you mount the drives, you have the option of copying the media to a local media drive and then ejecting the card. n You can work with media on a P2 card or work with media on local storage, but you cannot work with media that is stored in both places simultaneously. To avoid the problem, eject the P2 card. To copy media to a local media drive: 1. Mount the P2 cards as drives (see “Mounting P2 Cards as Drives” on page 205). 2.
Chapter 6 Managing Media Files • In an OMF workgroup, you must transcode P2 clips to a workspace. You must transcode P2 MXF files to OMF files. Consolidating or transcoding clips to an Avid Unity workspace automatically checks all related metadata into MediaManager, making the clips readily accessible to other users. For more information on workgroup support, see the MediaManager documentation or the MediaManager Help.
Backing Up Media Files 3. Press the Delete key. The Delete dialog box opens. 4. Select Delete master clips and Delete associated media files. 5. Click OK. Backing Up Media Files The OMFI MediaFiles folders and the Avid MediaFiles folders on your external media drives contain the individual media files created when you captured source material. The OMFI MediaFiles folders contain the OMF media files; the Avid MediaFiles folders contain the MXF media files.
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 Relinking Media Files Sometimes, after you consolidate or move material between systems, the clips or sequences lose their links to the original media files. When a clip becomes unlinked, it displays the message “Media Offline.” If appropriate media exists online, you can use the Relink command to reestablish the link. 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.
Chapter 6 Managing Media Files Relink Dialog Box Options Option Description Relink offline master clips to online media files Relinks master clips to media files that share similar database information. Relink to Media on Volume • All Available Drives: Searches across all media drives that are online • A specific drive volume: Relinks to media on a specific media drive Relink only to media from the current project Restricts relinking to the current project.
Relinking Media Files Relinking by Resolution You can relink to clips of a specific resolution. To relink a clip by resolution: 1. Select the unlinked object or objects in the bin. 2. Select Bin > Relink. The Relink dialog box opens. 3. Select Relink Method > Specific Resolution. 4. Select an option from the “Relink if quality” menu, as described in the following table. When you select an option from the “Relink if quality” menu, the text of the Unlink button changes, as shown in the following table.
Chapter 6 Managing Media Files 7. Select other Relink options as described in “Relinking Media Files” on page 213. 8. Click OK. The system searches the selected media drives, and relinks clips and sequences if possible. Relinking to Selected Clips You can also use the Relink command for connecting subclips or sequences to selected master clips and subclips. To relink to selected master clips and subclips: 1. Move the subclips or sequences that you want to relink into the bin containing the clips. 2.
Relinking Media Files Relinking Consolidated Clips If the appropriate media exists online, you can reconnect consolidated clips, subclips, or sequences to the new or old media files. For example, if you consolidated a sequence and forgot to create a duplicate, and later decide to use the original media files instead of the consolidated media files, you can break the new link and reestablish the old link to the original files.
Chapter 6 Managing Media Files drives back and forth. The project folder can be exchanged on removable disks or other storage devices or instantly across a network. Because the media files maintain slightly different parameters at each site, you must relink the material each time. 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.
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 To archive a video project’s media files: 1. Set up the Digital Cut tool as follows: a. Select Clip > Digital Cut. The Digital Cut tool opens. Deck Selection menu b. Click the Deck Selection menu, and select a deck. 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 menu to indicate how many seconds the tape rolls before the archiving process starts.
Using Videotapes for Archiving and Restoring Media Files 5. Select the clips and sequences to archive from the Archive bin by doing one of the following: t Select Edit > Select All to select all the clips and sequences in the bin. t Ctrl+click to select specific clips or sequences. 6. Select Clip > Archive to Videotape. The Archive to Videotape dialog box opens. 7.
Chapter 6 Managing Media Files 8. Click OK. The Tape Lengths dialog box opens. Archive Length displays the calculated length of time required for archiving the media files. The archive might require more time than indicated because individual clips are not divided between tapes. 9. In the “Enter the quantity of tapes available for the archive” area, do one of the following: t Type the number of blank videotapes needed for the archive, next to the length of time of your blank tapes.
Using Videotapes for Archiving and Restoring Media Files 12. Copy the project files (bins, project, and settings) to a Zip® disk or equivalent storage device. For more information, see “Backing Up Your Project Information” on page 53. After you archive your project, you can delete the media files from your NewsCutter system to provide more space on your media drives.
Chapter 6 Managing Media Files Restoring an Archive from Videotape Restoring an archive from videotape is similar to batch capture. The archiving process creates new master clips for sequences. During the restoration, each archived master clip is stamped with the archive tape name and archive timecodes. The original source information on the master clips remains unchanged.
Using Videotapes for Archiving and Restoring Media Files 7. (Option) Select “Restore only those items for which media is currently unavailable” if you are repeating the restoration. Otherwise, deselect this option. 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.
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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 Expanding the Source/Record Monitor You can stretch your Source/Record monitor into two monitors. This lets you open a source clip in the left monitor, or Source monitor; the right monitor, or Record monitor, displays your sequence and provides the usual Source/Record monitor functions. To expand the Source/Record monitor: t Click either edge of the Source/Record monitor and drag it to the outside. To switch between the monitors: t Press Esc.
Customizing the Source/Record Monitor 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. When you shoot this “wide” format with a camera, it stores it anamorphically (into a standard 4:3 frame) as opposed to letterboxed. When you select the 16:9 option, the anamorphic 16:9 media is displayed (not letterboxed) in the Source/Record monitor, pop-up monitor, and the Title tool.
Chapter 7 Viewing and Marking Footage window. This information is updated continuously to reflect your current position in the footage. You can select alternative tracking formats from Tracking Information menu. Tracking Information menu By default, the tracking information area displays no information until you select a tracking format. In addition, tracking data are not displayed when you do not have material loaded in the monitor.
Customizing the Source/Record Monitor If you display two information rows in the expanded Source/Record monitor, you can display different types of tracking information for the footage in each monitor. For example, you can display both running timecode and IN to OUT durations for clips loaded in the Source monitor, and you can display similar information for the sequence shown in the Record monitor.
Chapter 7 Viewing and Marking Footage 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: Tracking Information menu Pane 1 Pane 2 Pane 3 • Pane 1 allows you to choose the Sequence tracking information or the Source clip tracking information. - The sequence submenu allows you to choose from (Timecode), feet and frames for 24p and 25p projects (Footage), or a sum total of frames for either film or video (Frames).
Customizing the Source/Record Monitor Pane 1 example when you select Sequence > TC1. - The source submenu displays the information for the tracks existing in the currently loaded clip or sequence. For example, a clip with only one audio track does not show an option for A2. The item you select is displayed above the monitor. Pane 1 example when you select Source > V2.
Chapter 7 Viewing and Marking Footage • Pane 3 displays the timecode for the source track of all tracks that exist at the current point of a specific track (V1, A1, A2, and so forth). The timecode options available from pane 3 depend on the columns displayed in the bin. The information is continuously updated based on the location of the position indicator. Pane 3 Displaying Clip Information The Info window displays statistical information about the clip.
Customizing the Source/Record Monitor To display clip information from a bin: 1. Press Ctrl+Alt and click the clip for which you want to display information. The Info window opens. 2. Drag the Info window to a new location to leave it open. 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.
Chapter 7 Viewing and Marking Footage 2. Click anywhere in the Timecode window, and select an option. Timecode menu The window displays the timecode you have selected. The Timecode menu contains the same options as the Tracking Information menu. For a description of the Timecode options, see “Displaying Tracking Information” on page 229. 3. To add an additional line of timecode, click Add Line. 4. To change the size of the font displayed in the Timecode window, select Size > font size. 5.
Customizing the Source/Record Monitor 3. Click the new line to display the Timecode menu, and select an option. For a description of these options, see “Displaying the Timecode Window” on page 235. 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.
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 155 and “Organizing Bin Information in Text View” on page 156.
Loading and Clearing Footage Loading and Clearing Footage You load individual or multiple clips or sequences into the Source/Record monitor or into a pop-up monitor by using different methods. You can also use the Clip Name menu to display clips and sequences. Loading Clips or Sequences into the Source/Record Monitor To load a clip or sequence into the Source/Record monitor: 1. Open a bin and select the clip or sequence. 2.
Chapter 7 Viewing and Marking Footage Using the Clip Name Menu When you have clips loaded in a monitor, you use the Clip Name menu located above each monitor to switch between various loaded clips or to clear clips from the monitors. Switching Between Loaded Clips or Sequences If you loaded multiple clips or sequences into the Source/Record monitor, you see only one clip or sequence displayed at a time.
Playing Back Footage 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.
Chapter 7 Viewing and Marking Footage DNA button 1394 button The DNA and 1394 button allows you to switch between these two options when playing back, capturing or outputting. In addition, you can maximize your playback performance depending on the desired video quality and the amount of real-time effects by choosing a particular video quality.
Playing Back Footage This option switches all play, capture, and digital cut operations to the selected device. For example, if DNA is selected, then all play, capture, and digital cut operations use the Avid DNA hardware. If 1394 is selected, then all play, capture, and digital cut operations use the DV camera or deck attached to the separate 1394 card. n When a new project is selected, the system selects DNA by default.
Chapter 7 Viewing and Marking Footage Playing Through a Separate 1394 Connection Use the procedure in this section to play back to a DV device if you have one of the following configurations: • A software-only system • An Avid DNA system with a separate 1394 (OHCI) connection on your computer. This configuration is used for systems that capture and output DV 50 and DVCPRO HD media. To play back directly to a DV device connected to the 1394 card: 1.
Playing Back Footage n The play rate, raster format, and progressive/interlaced modes are dictated by the current project type. 4. If you are in an SD project, right-click the Video Quality button, and then select Realtime Encoding. n - When you select Realtime Encoding, your Avid system functions in real-time effects mode. The stream is encoded to the format selected in the Video Quality menu.
Chapter 7 Viewing and Marking Footage 3. Right-click the Video Quality menu button, and select Video Display Settings. This opens the Video Display Settings window and allows you to select additional video display settings. For information about the Video Display settings, see “Video Display Settings” in the Help. The following tables describe how the Video Quality menu and the Video Display settings function with different hardware configurations.
Playing Back Footage Playback on an Avid system with no DV device connected Icon Video Quality Menu Device Menu Playback Best Performance IEEE 1394 SD or HD playback is to the desktop only. 1/16-frame real-time effects play back to the desktop. n n n If “Output to DV Device” in the Video Display Settings is selected, then output to the DV device is uncompressed (Full Quality). If “Realtime Encoding” in the Video Display Settings is enabled, then mixed media and all effects play on the DV device.
Chapter 7 Viewing and Marking Footage Playback on an Avid DNA system (HD project) Icon Video Quality Menu Device Menu Playback Full Quality Adrenaline Full-frame native playback of Avid DNxHD to an Avid Adrenaline system and the desktop. Also, effects render in full quality when in Color Correction mode or Effect mode. Draft Quality Mojo or Adrenaline 1/4-frame real-time effects play back to an Avid DNA system and the desktop.
Controlling Playback Resizing the Source/Record Monitor You can resize the Source/Record monitor. To resize the monitor: 1. Click in the Source/Record monitor to make it active. 2. Click the lower right corner of the window, and drag to adjust the size of the monitor. The monitor is displayed with the new size; the aspect ratio is maintained.
Chapter 7 Viewing and Marking Footage Position indicator Position bar 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.
Controlling Playback t On the keyboard, press the 1 key to play backward or the 2 key to play forward. 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.
Chapter 7 Viewing and Marking Footage 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. The following shows the keyboard settings for a keyboard used in the United States. If an Avid-supported European keyboard is attached to your Avid system, then the keyboard settings will match that keyboard.
Controlling Playback 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.
Chapter 7 Viewing and Marking Footage For example, you are shuttling backward with the J key at 2x normal speed. Press and hold Alt and tap the L key once. Play slows to backward at normal speed (1x speed). Hold Alt and tap L once again. Play stops. Continue to hold Alt and tap L once again. Play goes forward at normal speed. Continue to hold Alt and tap L once again. Play goes forward at 2x normal speed. Continue to hold Alt and tap L once again; play goes forward at 3x normal speed.
Playing Video to the Client Monitor Playing Video to the Client Monitor If you want to see sequences and effects as they will appear on an external display monitor, you need to connect a Client monitor to your Avid editor. The Avid application uses the hardware inside a camera or digital deck to create the video signal that the Client monitor displays. c To use a Client monitor, you must have a camera or digital deck connected to your system.
Chapter 7 Viewing and Marking Footage n Not all options listed in this procedure are available on all NewsCutter models. 2. 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.
Playing Video to the Client Monitor frames. By accepting a delay at the beginning of playback, you increase the likelihood that the system will play the material successfully. The maximum delay you can specify is 10 seconds. 3. Select the OpenGL® mode for your video display in the OpenGL Hardware section. Select one of the following: You will get better performance selecting a hardware OpenGL. t All video boards installed in your Avid editing application will be listed in the menu.
Chapter 7 Viewing and Marking Footage Adjusting the Play Delay Offset The Avid application uses a combination of hardware to provide for full audio and video playback capabilities. The use of an IEEE 1394 card or an OHCI (Open Host Controller Interface) to input and output DV signals along with the output to a computer’s desktop monitor and consumer audio chip could present playback sync issues.
Marking and Subcataloging Footage Marking and Subcataloging Footage You can speed the editing process by marking clips with IN and OUT points in advance, by using locators to subcatalog footage, and by creating subclips. Marking IN and OUT Points You can mark IN and OUT points for your clips in advance, which provides several advantages: • You can quickly build a sequence by splicing the marked clips into place one after another.
Chapter 7 Viewing and Marking 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.
Marking and Subcataloging 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.
Chapter 7 Viewing and Marking Footage 3. In the Track Selector panel in the Timeline, select the tracks corresponding to the cuts you want to mark. Track Selector panel 4. Click the Mark Clip button under the monitor or in the Timeline top toolbar. n n To ignore the current track selection and to mark the smallest clip at the current position in the sequence, press and hold the Alt key while you click the Mark Clip button.
Marking and Subcataloging Footage You can also create an overlap edit for an audio track by using the Audio Mark buttons. See “Creating Overlap Edits” on page 356. To remove audio IN and OUT points: 1. Shift+click the Clear IN Mark button and the Clear OUT Mark button. 2. Shift+click the Clear Both Marks button in the Timeline top toolbar. Using the Tool Palette The Tool palette provides additional buttons for editing and navigating. You can have the Tool palette buttons appear with or without labels.
Chapter 7 Viewing and Marking Footage To have labels appear on the Tool palette buttons: 1. Double-click Interface in the Settings tab in the Project window. The Interface dialog box opens. 2. Select “Show Labels in Tool palette.” 3. Click OK. The names of the buttons appear on the buttons under the icons. To tear off the Tool palette and move it to another location: 1. Click the Fast Menu button under the Source or the pop-up monitor. 2. Move the mouse until an outline appears. 3.
Marking and Subcataloging Footage To show the Timeline top toolbar: 1. Double-click Timeline in the Settings tab in the Project window. The Timeline Settings dialog box opens. 2. Click the Display tab. 3. Select or deselect Show Toolbar, and then click OK. 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.
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 • Viewing reviewer comments: Use the Locators window to view reviewer comments and the specific frame. See “Using the Locators Window” on page 272. • 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. See “Using the Locators Window” on page 272. • Import and export locators: Import or export locators from one sequence or clip into another sequence or clip.
Marking and Subcataloging Footage Locator displayed in the monitor and in the Timeline 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 331. 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. The Locator edit pane opens.
Chapter 7 Viewing and Marking Footage The following illustration shows the Locator edit pane. Comment area Click to open the Locators window. n By default, the locator name is the user name logged onto your system. You can change this by typing a new name in the Name text box. 4. Type your comments in the comment area of the Locator edit pane. 5. Change the color from the Color menu or change the locator name. 6. To save your information, click OK, or press the Enter key.
Marking and Subcataloging Footage To open the locator edit pane, do one of the following: t Click the oval Locator icon in the Source or Record monitor. t Double-click the locator in the position indicator bar. t Click the Locator icon in the Locators window. The Locator edit pane opens.
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 • Export locators to send out as a review and approval file. • Print the Locators window. This is especially useful for identifying and listing specific frames to be used in an effect, for example. You can also make a list of IN and OUT points for adding music. • Go to the locator in the sequence or clip. • Copy and paste locators from one clip or sequence to another. • Delete a single locator or multiple locators.
Chapter 7 Viewing and Marking Footage To explore the Locators window, do one of the following: t Press the Up Arrow and Down Arrow keys to select locators, or click the locator. t Click the Locator icon to display the information specific to that locator. Displaying the Timecode, Footage, or Frame Number in the Locators Window To display a timecode, footage, or a frame number column in the Locators window: t Right-click, and select Display > Frame Number, Timecode, or Footage.
Marking and Subcataloging Footage Enlarging and Reducing Columns in the Locators Window You can enlarge or reduce the size of the columns in the Locators window. To enlarge the column size in the Locator Window: 1. Select the column heading that you want to enlarge. The column is highlighted. 2. Right-click, and select Enlarge Column. The column is enlarged. To reduce the column size in the Locator Window: 1. Select the column heading that you want to reduce. The column is highlighted. 2.
Chapter 7 Viewing and Marking Footage To export locators: 1. From the Locators window, right-click and select Export Locators. A dialog box opens, asking if you want to export only the selected locators or export all locators. 2. Click All or Selected. The Choose location for Exported Locators dialog box opens. 3. Type a file name and click Save. The locator is saved as a text file (.txt).
Marking and Subcataloging Footage To add comments or information into the Locator text file: n The following fields are required and must be in the order specified. 1. Type the first line of the file exactly: NameTCColorCommentTracks The next two lines are sample lines: John203redCorrect tintV1 Mary354blueAdd voice-overA1 2. Enter the color names as follows: red, green, blue, cyan, magenta, yellow, black, white 3.
Chapter 7 Viewing and Marking Footage To copy locators from a clip and paste them into a sequence using the Locators window: 1. Select the locators in the Locators window by doing one of the following: t Click a single locator. t Ctrl+click multiple locators. 2. Do one of the following: t Select Edit > Copy. t Right-click the Locator window, and select Copy. t Press Ctrl+C. 3. Load a sequence into the Source/Record monitor or into the Timeline. 4.
Marking and Subcataloging Footage Timecode, clip data, color, locator identification, and comments are all associated with a locator entry. You can edit the entries before pasting them into a new clip or sequence using the Locators window, or you can save the locator information as a text file and distribute it as needed. Changing the Color of the Locator Icon from the Locators Window You can change the color of the Locator icon from Locators window.
Chapter 7 Viewing and Marking Footage To print the current view of the Locators window: 1. Make sure your printer is correctly set up. 2. Expand the view of the Locators window to display the information you want to print. 3. Select File > Page Setup. The Page Setup dialog box opens, reflecting the specific options for your printer. 4. Select the Page Setup options. 5. Click OK. 6. Select File > Print. The Print dialog box opens, reflecting the specific options for your printer. 7.
Finding Frames and Clips Deleting Locators Using the Locators Window You can use the Locators window to delete a single locator or multiple locators. To delete locators using the Locators window: 1. Select the locators in the Locators window by doing one of the following: t Click a single locator. t Ctrl+click multiple locators. 2. Press the Delete key. The selected locators are removed.
Chapter 7 Viewing and Marking Footage - Three digits: Type 100 or a greater number to move forward or backward a specified number of seconds and frames. For example, if you type +100 and the master track timecode is selected on the Tracking Information menu, you move forward 1 second and 0 frames. - Frames only: To move forward or backward 500 frames, for example (not 5 seconds), type + or -, press the F key, and then type 500.
Finding Frames and Clips Searching for a Clip or Sequence You can use the Find feature to search for a clip or sequence loaded in the Source/Record monitor by using: • Clip names • Locator text • Text displayed in the Timeline • Comment text To do a text search of a loaded clip or sequence by using the Find feature: 1. Load the clip or sequence into the monitor. 2. Select Edit > Find. The Find Text dialog box opens. 3. Type part or all of the text for which you are searching.
Chapter 7 Viewing and Marking Footage Using Match Frame The Match Frame feature locates the source footage for the frame currently displayed in the Record monitor, loads it into the Source monitor, cues to the matching frame, and marks an IN point. It removes the source clip’s original IN and OUT points. In addition to relocating and reediting master clips during a session, you can use Match Frame to locate clips quickly, based on media relatives, when you have forgotten their location.
Finding Frames and Clips 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. t Alt+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 maintained.
Chapter 7 Viewing and Marking Footage You can match frame a single track without having to turn off all other tracks. With audio, you can select the audio track that you want to match a frame on instead of the system match framing the top audio track. To match frame a selected frame on a single track: t Right-click the track number that you want to match frame, and select Match Frame Track.
Finding Frames and Clips To find the bin in which a specific sequence is located: 1. Load a sequence into the Record monitor. 2. Click the Record monitor to activate it. 3. Click the Find Bin button. The system highlights the sequence in the bin. To find the bin in which a specific clip in a sequence is located: 1. Move the position indicator to the clip within the sequence. 2. Press and hold the Alt key, and click the Find Bin button. The system opens the bin and highlights the clip.
Chapter 7 Viewing and Marking Footage 288
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 Select the bin in which to store the new sequence, or click New Bin to create and open a new bin, and click OK. An untitled sequence appears in the bin, in the Source/Record monitor, and in the Timeline. To rename the new sequence: t n 290 Immediately type a new name while the name is highlighted in the bin. If you click anywhere in the interface after creating the new sequence, you deactivate the sequence name field.
Starting a New 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. With your sequence loaded and the Source/Record monitor active, select File > Get Sequence Info. The Sequence Info dialog box opens. 2. Type a new name in the Name text box. 3.
Chapter 8 First Edits 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. For information about MetaSync, see the Avid MetaSync Setup and User’s Guide. To add a new track to a sequence loaded in the Source/Record monitor: t Select Clip > New Audio Track or Clip > New Video Track. The new track appears in the Timeline.
Starting a New Sequence Deleting Tracks To delete a track: 1. Select the track you want to delete in the Track Selector panel. 2. Press the Delete key on the keyboard. A dialog box opens. 3. Click OK. The track is deleted. Adding Filler You can add a small amount of black filler at the start of your sequence. A brief moment of black before the start of your sequence is sometimes useful during playback or when recording a digital cut.
Chapter 8 First Edits 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.
Making the First Edit Synchronizing Metadata Using 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.
Chapter 8 First Edits Beginning to Edit To begin editing: 1. Load the first clip into a pop-up monitor. If you have not already marked IN and OUT points for the clip in advance or created a subclip, view and mark the clip as necessary. Source Track buttons Source Track Monitor buttons 2. 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.
Making the First Edit 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 To create a more accurate rough cut, view and mark clips in the bin in advance.
Chapter 8 First Edits 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.
Editing Additional Clips into the Sequence 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.
Chapter 8 First Edits 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. Unlike a splice-in edit, an overwrite edit replaces existing material and therefore does not lengthen the overall duration of the sequence unless the material used to overwrite goes beyond the end of the sequence.
Lifting, Extracting, and Copying Material 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.
Chapter 8 First Edits 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.
Lifting, Extracting, and Copying Material 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 331 and “Sync Locking Tracks” on page 339. 3.
Chapter 8 First Edits 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.
Lifting, Extracting, and Copying Material Repeat these procedures each time you want to preserve copied, lifted, or extracted material during a session. All the clips remain available in the Clip Name menu until you select Clear Menu or close the project. n Material placed in the Clipboard does not appear as a clip in the bin and is deleted when you close the project. To save a portion of a sequence for future use, mark the section and create a subclip.
Chapter 8 First Edits 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. Make sure the Audio Track Monitor button for each audio track is selected to ensure proper playback of all audio tracks. 3.
Proceeding with Editing Improving Playback Performance As you continue to edit, you might find the playback performance of the system diminishing as the sequence grows in length and layers. This can happen when you are using a great deal of RAM for playback of large and complex sequences. The following are a few tips for improving playback performance: • Check the number of media objects in use for your project in the Memory window, as described in “Using the Info Display” on page 103.
Chapter 8 First Edits To edit with synced tracks: t See Chapter 12. To add effects to your sequence: t See the Avid Effects Guide. To output the finished sequence: t 308 See “Generating Output” in the Help.
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 “Displaying the Timeline Top Toolbar” on page 264. Accessing the Timeline Settings The Timeline Settings options allow you to customize the Timeline.
Customizing Timeline Views The following table lists the Timeline Fast menu options.
Chapter 9 Using the Timeline Timeline Fast Menu Options (Continued) Option Description Less Detail Shrinks the Timeline horizontally around the position indicator Show Every Frame Displays every frame in the Timeline if you select Show Track > Film Show Entire Sequence Shows the entire sequence within the Timeline Zoom Back Restores the Timeline to the previous view before zoom Zoom In Zooms the Timeline into a detailed view for a selected area Additional Procedures for Customizing the Timeline
Customizing Timeline Views t Move the pointer over the Track Selector panel until it changes to a bar intersected by a double-headed arrow. Drag the edge up or down to make the track narrower or wider. This method applies to only one track selection at a time. Changing the Timeline Track Color To change the background color of the tracks in the Timeline: t Click the Timeline Fast Menu button, and select Track Color > color.
Chapter 9 Using the Timeline Displaying Source Colors To display source colors in the Timeline: t Click the Timeline Fast Menu button, and select Clip Color > Source. The source colors assigned to clips in the bin appear in the Timeline. n Clip colors assigned to sequences, groups, motion effects, and title clips do not appear as source colors in the Timeline. Displaying Local Colors To display local colors in the Timeline: t Click the Timeline Fast Menu button, and select Clip Color > Local.
Navigating in the Timeline Replacing a Timeline View If your saved views become extensive and there are views you no longer use, you can replace them. To replace saved views: 1. Press and hold the Alt key while you click the View Menu button to display the list of saved view names, each appended with the Replace command. 2. Select a saved view name that you want to replace from the list.
Chapter 9 Using the Timeline Using the Position Indicator The position indicator in the Timeline marks your place in the sequence. It also determines how some of your commands are interpreted. When you drag the position indicator in the Timeline, the smaller position indicator within the Source/Record monitor’s position bar also moves. Using the Timeline Scroll Bar The Timeline scroll bar appears on the right side of the Timeline bottom toolbar.
Navigating in 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.
Chapter 9 Using 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.
Navigating in the Timeline n Heads and Tails view is disabled when you are displaying material from the Source monitor. Controlling Movement in the Timeline While working in the Timeline, you can use the Ctrl and Alt keys to control the movement of both the position indicator and any segments that you move in Segment mode. To snap to the head of transitions as you move through the Timeline sequence: t Press and hold the Ctrl key as you drag the position indicator in Segment mode.
Chapter 9 Using the Timeline For more information about the Video Quality Menu button, see “Playing Back at Different Video Qualities” in the Help. Selecting and Deselecting Segments Segment editing is a unique feature of digital, nonlinear editing. Unlike traditional tape editing, segment editing allows you to instantly reposition entire segments as though you were physically “dragging” portions of your sequence across a tape.
Navigating in the Timeline Selecting One or More Segments by Lassoing To select segments by lassoing: 1. Do one of the following: t Click one of the Segment Mode buttons located in the Timeline bottom toolbar. t Press and hold the Alt key. 2. Draw a lasso beginning in the area above the tracks in the Timeline. Drag to select more than one segment. Begin Lasso box Segment End The segments are selected and Extract/Splice-in mode is activated.
Chapter 9 Using the Timeline Finding Black Holes and Flash Frames The following two commands help you quickly find parts of your sequence that you might want to delete from the final sequence: • Find Black Hole • Find Flash Frame Black holes are segments of the sequence that consist of one or more frames of filler. Flash frames are clips that have an extremely short duration — for example, fewer than 30 frames. To find a black hole: 1. Click the Timeline to make it active. 2.
Editing in the Timeline 4. Move the position indicator to the beginning of the sequence or before the part of the sequence you want to search. 5. Select Clip > Find Flash Frame. The position indicator moves to the first flash frame. To find the next flash frame: t Select Clip > Find Flash Frame again.
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 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. Click an audio or video segment, and drag it to the new location.
Chapter 9 Using the Timeline 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. The system extracts the selected segment from its old position, closes the gap left by its removal, and then splices the material back into the sequence at the newly selected location. 5. Click the Extract/Splice-in button again if you want to leave Segment mode.
Editing in the Timeline 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. The system lifts the segment from its old position, leaving black filler, and then overwrites the material into the sequence at the new location. 5. Click the Lift/Overwrite button again if you want to leave Segment mode, or continue to lift and overwrite segments.
Chapter 9 Using the Timeline To perform a direct edit from a bin into your Timeline: 1. For a more accurate edit, mark IN and OUT points for each clip or create subclips, as described in “Marking and Subcataloging Footage” on page 259. Otherwise, the entire clip is edited into the sequence. 2.
Editing in the Timeline 4. Press the V key to perform a splice edit, which inserts the clip into the sequence and moves existing material down, thereby lengthening the total duration. Press the B key to perform an overwrite edit, which causes the clip to overwrite material of the same length in the sequence, while maintaining the same duration of the sequence. The Timeline reflects the new edit.
Chapter 9 Using the Timeline Setting the Duration for Filler at the Start of a Sequence To set the duration of filler used at the start of a sequence: 1. Double-click Timeline in the Settings tab in the Project window. The Timeline Settings dialog box opens. 2. Click the Edit tab. 3. In the option Start Filler Duration, type the amount of filler you want to appear by default when you select Clip > Add Filler at Start. 4. Click OK. n For instructions on how to use filler, see “Adding Filler” on page 293.
Editing in 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 Effects Guide.
Chapter 9 Using 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.
Editing in the Timeline When you edit with multiple tracks, you can activate the monitor on a lower track to monitor only the video on that track. This feature is especially useful when you have multiple layers of video effects and need to see one track without additional layers. You can also monitor a solo track, as described in “Monitoring a Solo Track” on page 334.
Chapter 9 Using the Timeline Speaker icon. For more information about setting an audio track to ensure it is not dropped during scrubbing, see “Selecting Tracks for Scrubbing” on page 366. • The Audio Track Monitor button changes to green with a black Speaker icon when selected for soloing. For more information, see “Monitoring a Solo Track” on page 334. • You can customize the output of audio tracks, as described in “Using the Audio Mixer Tool” on page 376.
Editing in the Timeline Cycling Through a Selection of Tracks To cycle through the selection of tracks in the Track Selector panel: 1. Click the Cycle Picture/Sound button in the Edit tab of the Command palette. Each time you click the Cycle Picture/Sound button, the system cycles through the selection as follows: a. Video tracks b. All tracks c. Audio tracks d. No tracks 2. Continue to click the button to repeat the cycle.
Chapter 9 Using the Timeline 3. Place clips or subclips in the Alternate Edits bin you are considering for the sequence. n Check the duration of the clip in the sequence. The clips or subclips in the Alternate Edits bin must be as long or longer than the clip in the sequence you are replacing. The clips swapped into the sequence start at the beginning of the clip or subclip unless you mark an IN or an OUT point.
Editing in the Timeline n The replacement clip prerolls in the sequence, using the preroll time specified in the Trim Settings dialog box. Each time you click the Alternate Edit button, a clip from the Alternate Edits bin overwrites the selected clip. 8. (Option) Perform successive alternate edits as follows: a. Stop playing the sequence when the position indicator is on the clip being replaced, or move the position indicator to the clip being replaced. b. Click the Alternate Edit button.
Chapter 9 Using the Timeline To lock tracks: 1. Select the tracks you want to lock (source, record, or both). 2. Do one of the following: t Right-click in the Timeline, and select Lock Tracks. t Select Clip > Lock Tracks. The Lock icon indicates that the selected tracks are locked, and no further editing can occur on the locked tracks until you select Clip > Unlock Tracks. To unlock tracks: 1. Select the tracks you want to unlock. 2.
Editing in the Timeline To perform a patch: t Drag from a source track (audio or video) to the targeted record track (a white arrow appears during the patch). During patch After patch An audio patch from a source track to a record track New source track order identifies the patch To undo a patch: t Manually repatch to the previous track. The selected source track moves beside the record track to which it is patched as soon as you draw the arrow and release the mouse.
Chapter 9 Using the Timeline • You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. • Sync locking affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you trim anywhere in the sequence. Sync locking affects Trim mode.
Editing in the Timeline Adding an Edit The Add Edit function places an artificial edit point between the frames of a clip. The edit appears in the Timeline as a transition between two clips; when you play the clip, the footage appears unchanged because the frames are continuous. Add edit placed between frames 1 2 3 4 5 6 7 Footage plays back continuously This form of edit is also known as a match frame.
Chapter 9 Using the Timeline Removing Match Frame Edits To remove match frame edits, do one of the following: t Select Edit > Undo. If you made other edits since you performed the Add Edit function, when you use the Undo command, you will lose those additional edits. t n Enter Trim mode at the match frame edit point, and then press the Delete key.
Printing the Timeline To backtime an edit: 1. Mark an OUT point in the Timeline where you want the edit to end. Also, mark an IN point where the edit is to start. 2. Select the appropriate tracks. 3. Open a clip in a pop-up monitor. 4. Mark an OUT point in the pop-up monitor to synchronize to the OUT point in the sequence. 5. Click the Overwrite button, or press the Alt key and drag the clip from the pop-up monitor to the Timeline.
Chapter 9 Using the Timeline 344
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 fine-tune the transitions between each clip or between whole segments. You can also trim edits as you build a sequence, rather than create a rough cut first.
Chapter 10 Working in Trim Mode Using Basic Trim Procedures You can enter Trim mode in several different ways, depending on the type of trim you expect to perform. Once in Trim mode, you can: • Select trim sides. • Perform and review the trim. Entering Trim Mode To enter Trim mode: t Click the Trim Mode button in the Other tab of the Command palette or on the Timeline top toolbar.
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 L-edits), 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 Selecting Additional Transitions Select tracks on the record side to add transitions While in Trim mode, you can select additional transitions for trimming in different contexts. To select additional transitions on contiguous tracks for trimming on the same side: t Click the corresponding Record Track buttons in the Track Selector panel. Likewise, you can deselect tracks in the Track Selector panel to remove transitions on those tracks from the trim procedure.
Using Basic Trim Procedures Performing a Basic Trim After you select your transitions and trim sides, you can perform a basic trim. To perform a trim, use one of the following procedures: 1 frame t Use the Trim buttons to trim forward or backward by 1-frame or 10-frame increments, or by 1-frame or 8-frame increments (24p projects). t Use the J-K-L keys to trim forward or backward in the sequence.
Chapter 10 Working in Trim Mode To trim with the J-K-L keys: 1. Double-click Trim in the Settings scroll list in the Project window, and then click the Features tab. 2. Select J-K-L Trim. n To use the J-K-L keys in Trim mode to only play, step, and shuttle, without trimming, deselect the J-K-L Trim option in the Trim Settings dialog box. 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.
Using Basic Trim Procedures Trimming During a Playback Loop An alternative method for trimming is to view the transition continuously in a playback loop and use the keyboard to adjust the transition in 1-frame or 10frame (8-frame for 24p) increments until you achieve the trim you want. You can perform this procedure in any of the Trim modes, using single-roller or dual-roller trims. To trim during a playback loop: 1. Click the Trim Mode button to enter Trim mode, and select transitions for trimming. 2.
Chapter 10 Working in Trim Mode To save the position of the trim rollers: t Press the Alt key when you return to Trim mode using the Trim Mode button. 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.
Using Basic Trim Procedures 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. Slip 1 frame to the right.
Chapter 10 Working in Trim Mode 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 352, 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.
Using Basic Trim Procedures 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 345). The Edit Review button appears in the Play tab of the Command palette.
Chapter 10 Working in Trim Mode 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 To create an overlap edit: 1.
Maintaining Sync While Trimming You can extend edits backward or forward in the Timeline. In either case, like a dual-roller trim, the Extend Edit function always maintains sync relationships. To perform an extend edit: 1. Select the tracks you want to extend. 2. Find the point in the sequence to which you want to trim. If the trim point is before the edit, mark an IN point. If it is after the edit, mark an OUT point. 3. Select Tools > Command Palette. 4. Click the Trim tab. 5. Select Active Palette. 6.
Chapter 10 Working in Trim Mode 3. Deselect Sync Lock for the tracks to which you want to add black filler. 4. Press and hold the Alt key while dragging the A-side or B-side trim roller. A black segment is added without changing the duration of the sequence. No black is added, and sync breaks appear in the Timeline. Trimming without adding black Black fills the trim duration, and sync is maintained.
Maintaining Sync While Trimming 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. The Sync Lock icon appears, and the location of the position indicator determines the sync point across tracks.
Chapter 10 Working in Trim Mode - 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.
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 system provides a collection of tools for managing and fine-tuning audio volume, pan, equalization, and transitions. The general purpose of each tool is as follows: • Audio tool: Use this tool primarily for adjusting and calibrating global input and output levels when you record from analog sources or from output to tape. For more information, see “Using the Audio Tool” in the Help and “Basic Video Output Calibration” in the Help.
Audio Editing Aids To switch to another tool: t Click the Effect Mode Selector menu, and select the new tool. Effect Mode Selector menu To keep more than one tool open at the same time: t n Select Tools > tool, or press and hold the Alt key while selecting a new tool from the Effect Mode Selector menu. To prevent confusion, the Avid system allows only one copy of an audio effect tool to be open at a time. For example, you can open only one copy of the Audio EQ tool.
Chapter 11 Working with Audio To use timecode on an audio track: 1. In the bin, select the appropriate clips. 2. Select Special > Read Audio Timecode. The Read Audio Timecode dialog box opens. 3. Select User Bit Timecode to read timecode stored in the user bits of the LTC. If this option is not selected, the system reads the LTC timecode. c Information contained in the user bits of the LTC must be timecode only. Other data stored in the user bits does not appear in the Avid application. 4.
Audio Editing Aids Soloing Audio Tracks in the Timeline You can solo multiple tracks in the Timeline. This feature allows you to: • Listen to several tracks at once without turning other audio tracks off or down. • Isolate audio tracks for audio scrubbing without having to deselect monitoring of all other audio tracks. To solo an audio track: t Ctrl+click the Audio Track Monitor button for the track that you want to solo. The Audio Track Monitor icon changes to green.
Chapter 11 Working with Audio Each type of scrub has its advantages: • Smooth scrub makes it easier to examine sound at varying speeds. • Digital scrub allows you to focus quickly on individual bits of incoming or outgoing audio for frame-accurate edits and adjustments. Try both types of scrub and see which one works better in different situations. Selecting Tracks for Scrubbing By default, all monitored audio tracks are selected for scrubbing.
Audio Editing Aids 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. You can isolate specific audio tracks for scrubbing, without having to deselect monitoring of all other audio tracks, by soloing the audio tracks. See “Soloing Audio Tracks in the Timeline” on page 365.
Chapter 11 Working with Audio Digital scrub example This entire section is sampled. Step 10 frames Selected track Outgoing frames (behind position indicator Incoming frames (ahead of position indicator Adjusting Digital Scrub Parameters The default parameters for the number of frames you hear as you scrub are zero frames of outgoing audio (behind the position indicator) and one frame of incoming audio (ahead of the position indicator).
Audio Editing Aids n The Play Buffer Size in Samples option and the Tool Buffer Size in Samples option appear only if your Avid application is a software-only model. 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.
Chapter 11 Working with Audio For information on using the Audio Mixer tool to adjust pan for individual clips in a sequence, see “Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline” on page 375. You can set global pan settings before or during editing by using the Audio Settings dialog box and by selecting All Tracks Centered.
Audio Editing Aids 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. The sample plot displays the entire amplitude of the audio waveform. This is the same as the sample voltage values you would see on an analog oscilloscope waveform.
Chapter 11 Working with Audio n You can select Show Marked Waveforms in the Timeline Settings dialog box to narrow the view of the tracks in the Timeline. This option provides faster displaying of the Timeline because the waveform is displayed only between the IN point and the OUT point. 4. Move through the audio shown in the waveform by using any of the playback methods. You hear sound as you track the audio visually.
Audio Editing Aids The Volume Control slider appears. 2. Continue to click and hold, and drag the volume control to the audio level you prefer. 3. Release the mouse button. To adjust the volume control (Avid DNA models): t n Adjust the volume control on your Avid DNA hardware to the audio level you prefer. Adjusting the volume control affects the volume only while you are in the NewsCutter application. Once you exit the application, the volume control defaults to how it was set on your desktop.
Chapter 11 Working with Audio The Play Buffer Size in Sample slider allows you to change the size of the host audio play buffer during playback and digital cut. Use this option if you experience performance problems with playback to the host audio device. Avid recommends that this setting be left in its default position. Changing this parameter might cause audio or video underruns, dropped frames, or increased noise in the audio output.
Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline The Audio Mixer tool has two modes that allow you to perform the following tasks: • Clip Gain mode allows you to adjust the overall volume and pan values for a clip in the Timeline. • Automation Gain and Pan mode allows you to adjust volume and pan changes within a clip in the Timeline.
Chapter 11 Working with Audio Using the Audio Mixer Tool To open the Audio Mixer tool, do one of the following: t If one of the Audio tools is already open, click the Effect Mode Selector menu, and select Audio Mixer. t Select Tools > Audio Mixer. The Audio Mixer tool opens in Clip Gain mode. To select Clip Gain mode or Automation Gain and Pan mode: t Click the Auto button to change modes.
Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline Resizing the Audio Mixer Tool You can use the Number of Mix Panes button to change the display from 8 tracks to 4. You can further simplify the Audio Mixer Tool display by clicking the Display/Hide Sliders button to switch between hiding and displaying the Volume Level sliders. When you hide the sliders, the tool takes up less space.
Chapter 11 Working with Audio This workflow allows you to apply effects to an audio clip in a way that is similar to the signal flow in a mixing console. In this workflow, clip gain is like a trim level, where you can lower (attenuate) or increase (amplify) the levels of a clip before applying any other effects. For example, when importing a sound file from an audio CD, you notice when the level of the clip is very high and close to clipping (distortion).
Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline Rendering and Unrendering Order for Audio Effects The following illustration shows the order that the system uses to process audio effects. You can also think of this as the audio gain staging.
Chapter 11 Working with Audio Viewing Clip Gain and Automation Gain Values You can view the clip gain and the automation gain values in the Timeline at the same time. To turn on the display of clip gain values and automation gain values: t n Click the Timeline Fast Menu button, select Audio Data, and then select Auto Gain, Clip Gain, or both. You can also view automation pan values by selecting Auto Pan from the Timeline Fast menu.
Adjusting Clip Gain and Pan Values n When the Audio Mixer tool is in Clip Gain mode, you can adjust the volume and pan values for entire clips only. You can use Automation Gain and Pan mode to adjust volume and pan levels within a clip in the Timeline. For more information, see “Understanding Automation Gain and Pan” on page 389. Adjusting One Audio Track at a Time To adjust one audio track at a time in the Audio Mixer tool: 1.
Chapter 11 Working with Audio n To verify or change the output channels, use the Audio tool (select Tools > Audio Tool). 6. With the Audio Mixer tool active, use any playback method (such as the JK-L keys on the keyboard) to play, shuttle, or step through the audio to check for necessary volume or pan adjustments. The keyboard can control either the Source pop-up or Composer monitor, depending on which monitor was active when you opened the Audio Mixer tool.
Adjusting Clip Gain and Pan Values Changing an Audio Level To change an audio level value in the audio track panel, do one of the following: t Click a number along the vertical edge of the Level slider. t Click the Level slider, type a value, and press Enter. Values are cumulative until you press Enter. For example, if you want to enter the value 12, type it. However, if you enter 1 and then want to change the value to 2, press Enter before typing the 2.
Chapter 11 Working with Audio Applying Pan Value Adjustments To apply the pan value adjustments: t n Click the Fast Menu button, and select a command as shown in the following table. Levels set in master clips carry across to the sequence after you edit the clips. Audio Mixer Fast Menu Commands Command Description Set Level on Track, Set Pan on Track Applies the same pan or volume levels currently set in the Audio Mixer tool to all segments in the marked regions of the tracks.
Adjusting Clip Gain and Pan Values n Clip gain values are the values for the entire segment; for example, you cannot set gain for a portion of a segment without affecting the entire segment. To set gain for a portion of a segment, use Automation Gain and Pan mode. For more information, see “Understanding Automation Gain and Pan” on page 389.
Chapter 11 Working with Audio 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 stored with the sequence. • Modify the way that the system interprets pan values during playback. Creating or Modifying an Audio Pan/Vol Effect To create or modify an audio pan/vol effect, do one of the following: n t Use the Pan pop-up sliders at the bottom of the Audio Mixer tool.
Adjusting Clip Gain and Pan Values To restore the previous settings: t Click the Bypass or the Clip Gain button again. Adjusting Volume While Playing an Audio Mix Effect You can use the Audio Loop Play button to change the volume on an existing Audio Mix effect while you play the clip. The Audio Loop Play button appears in several of the audio effect tools and is also a mappable button in the Play tab of the Command palette.
Chapter 11 Working with Audio - If you have only an IN point or only an OUT point, the system uses the location of the position indicator as the second point. For example, if there is an IN point and no OUT point, the system loops from the IN point to the end of the (smallest selected) audio segment under the position indicator. 3. Adjust the volume as necessary. 4. Click the Audio Loop Play button to stop. The Avid system automatically saves your changes as part of an Audio Mix effect.
Understanding Automation Gain and Pan Understanding Automation Gain and Pan Automation gain and p22an allows you to change the volume or pan values of a segment by adding and manipulating automation gain or automation pan keyframes in the Timeline. The following illustration shows an expanded audio track containing gain keyframe information.
Chapter 11 Working with Audio 3. (Option) Expand the audio track by doing one of the following: t Press and hold Ctrl+L. t Press and hold the Ctrl key while dragging in the Track Selector panel. When the pointer changes to a cross, drag the cross to expand or shrink the track. The following illustration shows the expanded audio track with volume data. 4. Click the Add Keyframe key on the keyboard (N) or the Add Keyframe button on the Tool palette to add keyframes along the Timeline.
Understanding Automation Gain and Pan If there are identical keyframes in other active tracks, the system deletes them also. To delete groups of automation gain or automation pan keyframes: 1. Mark an IN point and an OUT point or mark the entire segment. 2. Delete any keyframes in the marked area.
Chapter 11 Working with Audio Using an External Fader or Mixer to Adjust Volume and Pan Values n An external fader controller or mixer is optional. It is not required to perform Automation Gain and Pan recording.
Understanding Automation Gain and Pan n On the Command|8, MCS-3000X, Yamaha 01V, and Yamaha 01V/96, the faders automatically adjust to the volume setting. 4. Move the corresponding fader to adjust the volume for the keyframe. For information on connecting a fader controller or mixer, see “Using an External Fader Controller or Mixer” in the Help. Adjusting the Pan of Individual Keyframes To edit the pan values for individual keyframes using a Command|8: 1. Click an audio gain keyframe. 2.
Chapter 11 Working with Audio Render Effect Button Cancel button Audio Loop Play button Fast Menu button Record Status light Preroll and Postroll text boxes Which Set of Tracks to Display in Mix Panes button Record button Auto button Bypass Auto Gain button External fader controller or mixer position indicators Number of Mix Panes button Track Solo and Track Mute buttons Gang button Track Selection Menu button Level sliders Click the Pan Value Display to display the Pan Value slider.
Understanding Automation Gain and Pan • Render Effect Button: This button is particularly useful for rendering audio effects. For example, if you change the level of a clip that contains a rendered audio dissolve, the effect becomes unrendered. You can use the Render Effect button to rerender the audio dissolve directly from the Audio Mixer tool. Then you can play back the clip immediately to hear the effect of the level change with the dissolve in place.
Chapter 11 Working with Audio t Press the button above the fader twice quickly to switch between mute and on. • MCS-3000X and Command|8: Has separate buttons for solo and mute. Mute buttons are on the bottom row and Solo buttons are above the Mute buttons. • Yamaha 01V and Yamaha 01V/96: Supports solo only if you are not using the unit for audio mixing as well as automation gain recording. For more information, see “Operational Notes for the Yamaha 01V/96 and Yamaha 01V” in the Help.
Understanding Automation Gain and Pan n The Avid system does not record values from a fader on the FaderMaster Pro until you move the fader. Then it reads the current position of the fader and adjusts the volume accordingly. In many cases, it is not possible to exactly match the Timeline value. You do not have to reposition the faders on the MCS 3000X, Command|8, Yamaha 01V, and Yamaha 01V/96 because the units automatically reset the faders to match the volume data in the Timeline.
Chapter 11 Working with Audio • With an IN point (no OUT point): Commands apply adjustments to full clips from the IN point to the end of selected tracks. • With an OUT point (no IN point): Commands apply adjustments to full clips from the beginning of selected tracks to the OUT point. • With no points: Commands apply globally (across entire tracks).
Understanding Automation Gain and Pan faders control the sliders in the Audio Mixer tool. This is a test mode. You cannot edit volume data when the Record Status light is gold. Select the Fast menu option again to disable the test mode. Recording Automation Gain or Automation Pan Information You can instruct the Avid system to record your actions while playing the clip as you move sliders to adjust volume or turn pan knobs to adjust pan values.
Chapter 11 Working with Audio 3. (Option) Expand the audio track by pressing Ctrl+L. 4. Move the blue position indicator to the section of audio that you want to adjust and mark IN to OUT points. 5. Click the Record button or press the B key to start recording your actions. 6. Listen to the audio and do one of the following: t Adjust the Audio Level sliders in the Audio Mixer tool as necessary t Click the Pan Value display in the Audio Mixer tool and adjust the slider 7.
Understanding Automation Gain and Pan 3. Map the Fast Forward and Rewind buttons to the Keyboard palette. See “Mapping User-Selectable Buttons” on page 132. 4. Click the Audio Mixer tool to make it active. 5. Make sure the Auto button is enabled. 6. Click the Track Selection Menu button, and select the appropriate tracks. 7. Press the Fast Forward key or the Rewind key. The position indicator moves to the next or previous audio keyframe.
Chapter 11 Working with Audio t n n Yamaha 01V and Yamaha 01V/96: When you want to start recording volume information, click the fader’s On button and move the fader. If the Yamaha 01V fader or the Yamaha 01V/96 fader is not moving, you can move it without first clicking the On button. For more information, see “Operational Notes for the Yamaha 01V/96 and Yamaha 01V” in the Help.
Using the Audio EQ Tool 6. Listen to the audio and turn the pan knob for the track. The system displays the values in the Pan Value display for the corresponding track in the Audio Mixer tool. 7. Click the Record button again to stop recording. 8. Click the Audio Loop Play button to play the clip and test your results. 9. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and select Filter Automation Pan on Track — In/Out.
Chapter 11 Working with Audio The Audio EQ tool opens.
Using the Audio EQ Tool Basic EQ Tool Features The following components appear along the top portion of the Audio EQ tool: • Effect Mode Selector menu: Allows you to choose among the Audio EQ, Audio Mixer, and AudioSuite Plug-in tools. • Audio Loop Play button: Allows you to make adjustments to an EQ effect while you play the effect. This button is also a mappable button on the Command palette.
Chapter 11 Working with Audio EQ-Specific Features The Audio EQ tool provides three bands of control: • The first band, the low shelf, has four turnover points (50 Hz, 80 Hz, 120 Hz, and 240 Hz). A turnover point is the point at which the curve starts to return to 0. A shelf affects all frequency values within the range of the shelf. The low shelf affects all frequencies from 20 Hz to the low shelf turnover point. • The second band is the parametric midrange.
Using the Audio EQ Tool The following illustration shows the Audio EQ tool with the frequency response curve displayed, and identifies the related areas of the tool.
Chapter 11 Working with Audio 5. Click and hold the Track Selection Menu button in the Audio EQ tool, and select a track to be adjusted. Track Selection Menu button The Track Selector panel in the Timeline is updated to reflect your selection. n If multiple tracks are enabled in the Timeline, then plus signs (+) appear next to the enabled tracks in the Audio EQ tool. 6. Click the Audio Loop Play button to play the currently selected audio clip within the current IN to OUT range.
Using the Audio EQ Tool - With no points: Apply the EQ effect globally (across entire tracks). The Fast Menu also allows you to remove EQ effects from one track or all enabled tracks and provides access to a number of predefined EQ templates. For a description of predefined audio templates, see “Using Audio EQ Templates” on page 414. For example, the following illustration shows a segment with one EQ effect applied to the third audio clip in tracks A1 and A2.
Chapter 11 Working with Audio 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.
Using the Audio EQ Tool 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.
Chapter 11 Working with Audio 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 263. t From Trim or Effect mode, press the Delete key. You can also use the commands from the Audio EQ Tool Fast Menu.
Using the Audio EQ Tool 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 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.
Chapter 11 Working with Audio 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.
Using the Audio EQ Tool The following illustration shows the contents of the Audio EQ tool when you select the Female Voice with Presence template in the Timeline. As explained in the tool, you cannot change the parameters of a predefined EQ template. n To see the parameter values of one of the EQ templates that cannot be edited, view the Console window after you apply the effect. To open the Console window, select Tools > Console.
Chapter 11 Working with Audio 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\ SupportingFiles\Site_Effects drive:\Program Files\Avid\Avid NewsCutter XP\ SupportingFiles\Site_Effects To add an EQ
Digidesign AudioSuite Plug-Ins 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 387. If there is no existing EQ effect on the clip before you start, you will not hear any changes until you click the Audio Loop Play button to stop and replay the effect.
Chapter 11 Working with Audio For information on plug-ins that are not supported by your system, see “Plugin Limitations” on page 429. Installing AudioSuite Plug-Ins The Avid application installation software automatically creates a DAE™ (Digidesign Audio Engine™) folder in the following location: drive:\Program Files\Digidesign\DAE The DAE folder contains the following: • A DAE Prefs folder The plug-in vendor might install settings in this folder.
Digidesign AudioSuite Plug-Ins 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 423.
Chapter 11 Working with Audio Applying an AudioSuite Plug-in to a Clip in the Timeline The following illustration shows the default layout of the AudioSuite window. Render Effect button Fast Menu button Audio Loop Play button Effect icon Display/Hide Master Clip Controls button Effect Mode Selector menu Plug-in Selection menu Target Drive menu Track Selection Menu button Activate Current Plug-in button Status display To apply an AudioSuite plug-in to a clip in the Timeline: 1.
Digidesign AudioSuite Plug-Ins 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. n If you want to use plug-ins that operate on stereo pairs or that change the length of the audio clip, use the methods described in “Creating New Master Clips” on page 423. Using a Plug-in Dialog Box The contents of the plug-in dialog boxes vary, but the top six buttons are always visible.
Chapter 11 Working with Audio 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. Other plug-ins do not require a first pass but can achieve more accurate results if you allow them to perform a first pass. If the plug-in supports the optional pass, this button will be available. Otherwise, it appears dimmed.
Digidesign AudioSuite Plug-Ins 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.
Chapter 11 Working with Audio The following illustration identifies the controls that appear when you expand the AudioSuite window.
Digidesign AudioSuite Plug-Ins n • Target Bin for New Master Clip 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. • Plug-in Selection menu: This menu lists the available AudioSuite plugins. Selecting a plug-in automatically applies the audio effect to the track or tracks in the Timeline.
Chapter 11 Working with Audio Mono, Stereo, and Multichannel Processing AudioSuite plug-ins allow you to select the following types of processing: n • Mono processing only: This option is available for plug-ins that operate on only one audio track at a time. The other option (Stereo) appears dimmed. The plug-in applies the effect to each source track individually, in a serial manner. • Mono and stereo processing: These options are available for plug-ins that can treat two tracks as a stereo pair.
Digidesign AudioSuite Plug-Ins Most AudioSuite plug-ins automatically select the appropriate processing mode and label the values in the Processing Mode Selection menu. For example, the Normalize plug-in offers two choices: Peak On Each Track and Peaks From All Tracks. The default is Peaks From All Tracks. You select the processing mode from a menu in the AudioSuite window as described in “Creating New Master Clips by Using Plug-Ins” on page 427.
Chapter 11 Working with Audio 9. Either render the plug-in from the Plug-in dialog box or return to the AudioSuite window. For more information on rendering, see “Rendering Plug-in Effects” on page 422. When you click the Render Effect button, the system creates a new master clip in the target bin. The system names the new master clip by combining the original clip name with the effect name, for example, Test Audio clip_Normalize.
Digidesign AudioSuite Plug-Ins 3. Open the bin named Site_AudioSuite_Bin.avb as follows: a. Open one of the following folders: drive:\Program Files\Avid\NewsCutter Adrenaline\ SupportingFiles\Site_Effects. drive:\Program Files\Avid\Avid NewsCutter XP\ SupportingFiles\Site_Effects. b. Click the Files of Type menu at the bottom of the dialog box, and select All Files. The Site_AudioSuite_Bin.avb file appears. c. Double-click the Site_AudioSuite_Bin.avb file. 4.
Chapter 11 Working with Audio Troubleshooting AudioSuite Plug-Ins The following sections describe problems you might encounter when using the AudioSuite plug-ins: • Canceling a Render Operation • Addressing Errors When Rendering a Plug-in Effect Canceling a Render Operation To cancel a render operation: t n Press Ctrl+period. Be careful not to press these keys multiple times.
Recording Voice-Over Narration Recording Voice-Over Narration The NewsCutter application provides you with two ways to record voice-over narration: by using the Capture tool and by using the Audio Punch-In tool. The Capture tool allows you to record up to two channels of audio directly into the Timeline for voice-over narration. Audio punch-in allows you to record audio directly into the Timeline for voice-over narration.
Chapter 11 Working with Audio The Capture tool opens. Voice-over button Audio Input menu 3. Click the Voice-over button in the Capture tool. 4. Click the Audio Input menu, and select the appropriate input. 5. In the Timeline, patch the source track to the record track you want. For more information on patching, see “Patching Tracks” on page 338. 6. Click the Record button. 7.
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 Using the Audio Punch-In Tool Audio punch-in allows you to record audio directly into the Timeline for voice-over narration. You can “rehearse” the voice-over while listening to the sequence.
Chapter 11 Working with Audio The following illustration identifies the various elements of the tool.
Recording Voice-Over Narration When starting a punch-in with the Record button, a preroll allows you to provide the duration, in seconds, of the audiovisual cue before the recording begins. n The Record button takes precedence over preroll. During preroll, if you press the Record button, the system starts recording immediately. • Postroll text box: Allows you to provide the same kind of audiovisual cue after the recording ends.
Chapter 11 Working with Audio Connecting the Hardware Before you can use the Audio Punch-In tool, you need to connect a microphone or other input device to your system — for example: • Connect a microphone to a mixer, and connect the mixer to the audio interface I/O device on your Avid system. • Connect a microphone to a microphone preamplifier, and connect the preamplifier to the audio interface I/O device on your Avid system.
Recording Voice-Over Narration 3. Select the input source and input channels that correspond to your hardware setup, and set other values in the window as appropriate. To select the input channels you want, click and hold the appropriate Input Channels button. 4. Click the Timeline Track menus, and select an output track. Select either New Track or an existing track. This allows you to specify where the Avid system places the audio voice-over in the Timeline.
Chapter 11 Working with Audio 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.
Recording Voice-Over Narration 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.
Chapter 11 Working with Audio • Configure the V-LAN VLXi deck controller and the GPI, and then create GPI settings for your specific needs. For more information, see “Configuring Decks” in the Help. Understanding GPI Trigger Signals Your Avid system sends three different GPI trigger signals under the following circumstances: Trigger Signal Sent When Play Out Playback begins.
Recording Voice-Over Narration 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. Play Out is sent when preroll begins (the position indicator begins moving in the Timeline, and the Play In/Out button in the Audio Punch-In tool blinks green). 2. Record Out is sent when recording begins (the Record button in the Audio Punch-In tool blinks red). 3.
Chapter 11 Working with Audio 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. Voice-over clip Monitoring the Recording The channel used for audio input cannot be used for audio output. It is best to use Mono Mix mode while performing an audio punch-in. This allows tracks normally panned to the input channel to be monitored during the recording. Only the material being recorded over is silenced.
Using Automatic Voice-Over 5. As you record, monitor the previously recorded audio tracks along with your current recording from the meters in the Audio tool and from the sound on the speakers. Using Automatic Voice-Over The Automatic Voice-Over feature (Auto VO) allows you to automatically remove certain segments from a sequence based upon their relationship to a selected audio track. You can do either of the following: t Extract all the segments whose audio appears on the selected track.
Chapter 11 Working with Audio You can use Auto VO to quickly create a new sequence that consists only of the background material or only of the interview material. You can then use the new sequence as a starting point for a revised version of the story, for example, in a follow-up newscast. To create an edited sequence by using Auto VO: 1. Open the bin that contains the sequence you want to edit. 2. Select the sequence in the bin. 3. Select Bin > Auto VO. The Auto VO dialog box opens. 4.
Fine-Tuning Audio Transitions 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. Sequence with segments extracted with Auto VO Sequence with segments kept with Auto VO Fine-Tuning Audio Transitions When you are making audio level and pan adjustments, the Avid application looks at either an individual clip in the Source/Record monitor, a segment in the sequence, or entire tracks.
Chapter 11 Working with Audio 3. Click the Add Edit button under the Source/Record monitor. This places an edit where the position indicator is located. 4. Find the end of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker. 5. Select the appropriate track. 6. Click the Add Edit button. 7. Use the process described in “Using the Audio Mixer Tool” on page 376 to change the level or pan within this new segment.
Fine-Tuning Audio Transitions 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. The Quick Transition dialog box opens. 4. Click the Add menu, and select Dissolve. n Do not select another effect from the Add menu; dissolve is the only effort that works with audio tracks. 5.
Chapter 11 Working with Audio n - Select Starting at Cut to fade the audio up from the B-side, starting at the cut point. - (Option) Click inside the effect in the graphic display, and drag it to position the effect relative to the cut point. The system automatically selects the Custom option in the Position menu when you click in the graphical display. 7.
Mixing Down Audio Tracks Dipping Audio For an overview of when to use clip gain and when to use automation gain, see “Audio Gain Staging and an Audio Editing Workflow” on page 377. To dip audio from a higher level to a lower one — for example, when bringing music down and under a voice-over track — you can use the procedures described in “Understanding Automation Gain and Pan” on page 389, or use the procedure described in this section. To apply a dip in audio: 1.
Chapter 11 Working with Audio If you do not mark the section of audio you want to mix down, the system mixes down all the selected audio tracks. 4. Select Clip > Audio Mixdown. The Audio Mixdown dialog box opens. The top of the dialog box displays the source audio tracks and the start and end timecodes for the section of audio you selected to mix down. Selected section of audio Destination tracks 5.
Changing the Sample Rate Changing the Sample Rate You can change the sample rate for sequences and audio clips from within the Change Sample Rate dialog box. Since you can combine clips of different sample rates in the same sequence, this feature is useful when you need to ensure that the entire sequence has the same sample rate for a digital cut or export. To change the sample rate for a sequence or an audio clip: 1. Select one or more sequences or audio clips in the bin. 2.
Chapter 11 Working with Audio Identifying the Sample Rate by Color If you have a sequence with several different sample rates, you can identify a specific sample rate by color. To apply a color coding to a sample rate: 1. Load a sequence with multiple sample rates into the Timeline. 2. Click the Timeline Fast Menu button, and select Sample Plot. 3. In the Project window, click the Settings tab. The Settings scroll list appears. 4. Double-click Audio Project. The Audio Project Settings window opens. 5.
Displaying Audio Formats in Bins Settings window, the sample plot of these clips (48 kHz) will be displayed as black, and the sample plot of all other clips with different sample rates (32 kHz and 44.1 kHz) will be displayed as white. 44.1 kHz 32 kHz 48 kHz 48 kHz Displaying Audio Formats in Bins You can select a bin heading to display the audio formats in the bin. The applicable audio format, AIFF-C or WAVE, appears in the Audio Format column for master clips.
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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, match-framing footage, and ganging footage.
Chapter 12 Syncing Methods n For more information on tracking sync breaks, see “Managing Sync Breaks” on page 457. 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.
Managing Sync Breaks - 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 menu. 4. Click OK. The subclip is created and named by default after the video clip with the file name extension .sync.n, where n is the incremental number of subclips created with the same name.
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 300. • 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 with Multiple Tracks 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 460. • Do not perform a dual-roller trim; this does not remove the sync break. • Do not perform the trim on the OUT point (A-side transition) of the outof-sync segment. This does not remove the sync break.
Chapter 12 Syncing Methods Using Sync Lock The Sync Lock feature allows you to maintain sync among several tracks while you adding, moving, trimming, or removing material in a sequence. For example, if you insert an edit into one track that is sync locked to a second track, the system automatically inserts filler in the second track to maintain sync between the two.
Managing Sync with Multiple Tracks Syncing with Tail Leader You can add tail leader to the audio or video material to provide a useful visual reference in the Timeline for tracking and fixing sync breaks across any number of tracks. Tail leaders lined up for multiple video (vid) and audio (aud) tracks Film editors traditionally use standard head and tail leaders for this purpose. You can create your own leader according to any specification, as described in “Creating Leader” on page 182.
Chapter 12 Syncing Methods 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. Syncing with Locators You can add locators to material in the Timeline to track and adjust breaks in sync between any number of tracks.
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 To use the Add Edit button while trimming: 1. Move the position indicator to the edit that you want to trim. 2. Select only the additional tracks that are in sync, and click the Add Edit button on the Tool palette or in the Timeline top toolbar. The system adds a transition at the location of your position indicator in the Timeline. 3. Select the transition and trim (be sure to select all the synced tracks).
Match Framing Footage 4. View the footage in any of the monitors using standard playback methods. As you move through footage in one monitor, the footage in all other monitors freezes. The footage is updated when the play stops. Simultaneous full-motion playback is not possible, although sync is maintained at all times. Match Framing Footage The Match Frame feature displays footage in the Source monitor that matches the frame selected in the sequence.
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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 2. In the bin, select all the clips you want to group. 3. Select Bin > Group Clips. The Group Clips dialog box appears. 4. Select an option, based on the following: - Film TC/Sound TC, if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. - Inpoints, if you are syncing according to IN points set in each clip.
Chapter 13 MultiCamera Editing To multigroup your material: 1. Sort the clips by name in the bin. 2. Select Edit > Select All. 3. Select Bin > MultiGroup. The Sync Selection dialog box appears. 4. Select an option, based on the following: - Film TC/Sound TC, if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. - Inpoints, if you are syncing according to IN points set in each clip.
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 228.
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 Full-Monitor display when working with group clips because you can view each angle in full-monitor size as you edit. The basic features of Full-Monitor display are as follows: 472 • 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 Swap Cam Bank button • Provides the same Source monitor controls that are available when you edit other clips. • Provides the special MultiCamera editing features that are available in Full-Monitor display, Quad Split Source view, and MultiCamera mode. These features are described in “MultiCamera Editing Techniques” on page 477. • Provides a list of all group clip video and audio tracks in the Group menu for custom selection and patching.
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 Using various keys and functions, you can switch and edit the displayed group clip at any point in the sequence, as described in the following sections. These techniques apply to both group and multigroup clips. 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.
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 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. Audio Follow Video overrides the track selection beside the Timeline and switches audio in track A1 only.
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.
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Numerics 1394 capturing directly through 242 16:9 display for 24p editing 229 for 25p editing 229 24p editing projects creating 47 displaying timecodes in 168 25i PAL editing projects creating 47 25p editing projects creating 47 displaying timecode in 168 30i NTSC editing projects creating 47 A A2 timecode option described 231 Absolute timecode described 231 Active Settings displaying 93 Add Edit when trimming 463 Add Edit button for MultiCamera editing 478 Adding filler
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Audio applying EQ templates 414 Auto VO 443 creating EQ templates 415 crossfading 446 dipping 449 dissolves 446 editing workflow 378 EQ templates 414 fading 446 identifying sample rates 452 levels, fine-tuning with add edit 445 mixdown 450 monitoring while editing 298 pan, adjusting in Audio Mixer tool 380 pitch shift 423 resyncing subclips 266 scrub 365, 369 setting pan defaults 369 soloing tracks 365 time compression 423 tracks, mixing down 449 voice-over 431, 433 volume
ABCDEFGHIJKLMNOPQRSTUVWXYZ Audio volume adjusting in Audio Mixer tool 383 adjusting in the Timeline 389 adjusting while playing 387 AudioSuite plug-ins applying 417, 420 controls 423 creating new master clips 423, 427 described 417 effect templates 428 installing 418 limitations 429 mono processing 426 multichannel processing 426 options 424 stereo processing 426 templates 428 troubleshooting 430 Auto VO 443 Automatically opening a project 48 Automation Gain and Pan 389 adjusting gain with sliders 390 dele
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ display view for 141 display views for 143 displaying audio formats in 453 displaying in Project window 62 duplicating clips and sequences in 147 duplicating columns in 159 editing to sequences 328 editing to Timeline 328 finding 286 hiding columns in 158 identifying media relatives 153 Info display 103 limiting colors 150 listing timecodes in 168 modifying clip information 161 opening 66 organizing a project with 141 printing 178 renaming 65 retrieving from Attic folder 7
ABCDEFGHIJKLMNOPQRSTUVWXYZ Capturing bars and tone 179 Change Sample Rate dialog box 451 Changing interface component button separation 90 interface component button style 91 interface component color 85 interface component shading depth 89 interface component shading style 88 user profiles 51 Choosing film format options 47 Clear Menu command (Monitor menus) 241 Clear Monitor command (Monitor menus) 241 Clearing clips from monitors 241 Client monitor configuring Video Display settings 255 connecting to 25
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Console window getting information with 137 printing locator information from 280 using 136 Consolidate/Transcode dialog box 199 Consolidating media files defined 194 procedure 196 Copy to Clipboard button 303 Copying clips 148 to Clipboard 303 copying Panasonic P2 files 209 Creating a new project 46 an Audio Pan/Vol effect 386 audio leader 183 group clips 469 instant rough cut 297 multigroup clips 469 playable sequence from clips with different target resolutions 199 vide
ABCDEFGHIJKLMNOPQRSTUVWXYZ DV 50 playing back 242 DVCPRO HD playing back 242 E Editing multicamera material 467 selective camera cutting (MultiCamera) 482 Edits adding (match framing) 341 backtiming 342 beginning 296 copying to Clipboard 303 extending 356, 357 Extract 302 from bins 328 instant rough cut procedure 297 Lift 302 nesting, defined 331 overwrite 300 performing replace 301 removing (match framing) 342 replace clips 335 Segment mode 320, 324 splice-in 299 Effects Audio EQ 403 Audio Pan/Vol effect
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ related media files 211 text of clip names 283 text of locators 283 Finding bins from a monitor 286 Finding frames with the Find command 283 FireWire capturing directly through 242 Flat 64 Flat View 64 Focusing the Timeline 317 Font setting for bins and windows 146 setting for clip name 237 Footage clearing marks from 261 displaying current position 229 marking and subcataloging 259 viewing and playing 227 Format display in the Project window described 102 Four-frame displ
ABCDEFGHIJKLMNOPQRSTUVWXYZ Info display in the Project window described 103 Interface components changing shading style 88 Interface settings (Appearance tab) changing button and toolbar shading depth 89 changing button and toolbar shading style 88 changing button separation 90 changing button style 91 changing component color 85 defined 84 Interface settings (General tab) access and description 78 defined 83 J J-K-L keys 253 trimming 349 JL Cooper fader controllers 392 JL Cooper FaderMaster Pro MIDI auto
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ M Maintaining sync with Add Edit 463 Managing bins 68 folders 68 media files 185 Mapping menu commands 133 modifier keys 133 user-selectable buttons 132 Mark Locators button 271 Marking audio clips 262 entire clips or segments 259 IN and OUT points 259 with locators 267, 271 Marquee Title tool 78 Master clips locating from subclips 287 master clips creating for P2 media 207 Match Frame locating clips with 284 Match frame edits adding 341 removing 342 Match Frame feature fo
ABCDEFGHIJKLMNOPQRSTUVWXYZ Remove Pan (Audio Mixer Tool Fast menu) 384, 398 Remove Pan/Vols (Audio Mixer Tool Fast menu) 384, 398 Set Pan (Audio Mixer Tool Fast menu) 384 Zoom Back (Timeline Fast menu) 317 Zoom In (Timeline Fast menu) 317 MetaSync described 295 Mixer adjusting pan with 393 adjusting volume with 392 using 401 Mixing down audio 449 MM Host, specifying settings 187 MM User, specifying settings 187 Modifier keys mapping 133 Modifying pan values 386 Monitoring audio while editing 298 Monitors cl
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ P P2 See Panasonic P2 Page Down keys navigating with 109 Page Up keys navigating with 109 PAL (Phase Alternating Line) video editing format 47 Palette Command 130 Tool 263 Pan adjusting 381 adjusting for individual keyframes 393 adjusting in Audio Mixer tool 398 modifying 386 Pan adjustment bypassing 386 Panasonic P2 acquisition formats 203 creating master clips 207 deleting clips 210 files and folders 204 loading drivers 205 mounting cards 205 sharing clips and sequences
ABCDEFGHIJKLMNOPQRSTUVWXYZ Projects browsing for 46 changing formats 102 changing names 38 closing 52 creating a new 46 deleting 39 folders 37 opening 49 opening automatically 48 relinking media files for 217 restoring from backup 53 selecting a private 43 selecting a shared 44 sharing on Avid Unity MediaNetwork 109 Q Quad Split button 473 Quad Split display 473 Quad Split Source view 471 Quick Transition dialog box 447 R Ratcheting play speed 253 Read Audio Timecode command (Special menu) 364 dialog box
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Script View tab 177 Scrubbing (audio) 365, 367, 369 Second row of buttons 237 Segment Drag Sync Locks option (Timeline settings) 324 Segment mode deleting segments 327 deselecting segments 321 Extract/Splice-in edits 325 Lift/Overwrite edits 326 Segment Drag Sync Locks option 324 selecting by lassoing 321 selecting segments 320 Segments cutting, copying, and pasting in Timeline 330 moving in sync 324 Select Project dialog box 42 Selecting film format options 47 unreference
ABCDEFGHIJKLMNOPQRSTUVWXYZ Slipping and sliding clips in Trim mode 352, 354 Slipping and sliding clips or segments in Trim mode 353 Smooth audio scrub compared to digital audio scrub 365 performing 367 Soloing audio tracks 365 Sorting clips 166 Sound Card Configuration settings access and description 79 Source colors displaying in the Timeline 314 Source material displaying in the Timeline 318 Source/Record monitor 16:9 display 229 expanding 228 resizing 249 Space bar navigating with 109 Splice-in button 2
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Timecodes display options in 24p and 25p projects 168 display options summarized 231 Timeline access and description of settings 79 adjusting volume in 389 assigning local colors to 313 automation gain keyframes in 390 changing color 313 customizing 309 default view 315 displaying detail in 316 displaying local colors in 314 displaying source colors in 314 enlarging tracks 312 Fast menu 310 finding clip text in 283 first edit displayed in 296 focusing 317 identifying the s
ABCDEFGHIJKLMNOPQRSTUVWXYZ sync locked 339 sync locking 337 sync-locked, trimming with 359 Transcoding creating a playable sequence by 199 Transfer settings access and description 79 TransferManager using 186 Transitions, audio, fine-tuning 446 Trash emptying 68 viewing contents 67 Trim during a playback loop 351 maintaining sync during 357 sides, selecting 347, 352 slip and slide procedures 352, 354 with sync-locked tracks 359 Trim edit on-the-fly 350 reviewing with Edit Review button 355 reviewing with P
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ in the Timeline 389 limitations for adjusting 388 recording audio gain 399 while playing an effect 387, 389 Volume meters in the Timeline 390 W Waveform plots (audio) 370 Windows taskbar, using 34 Work environment (Toolset) 120 Workflow for audio editing 378 workflows Panasonic P2 205 Workgroup environment working with media files 186 Workspace access and description 80 assigning buttons to 104, 106 assigning windows to 104 customizing 104 deleting 104, 108 linking to a t
