Avid NewsCutter Products ® ® Basics 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.
Copyright 1995, Trinity College Computing Center. Written by David Chappell. Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty. Copyright 1996 Daniel Dardailler.
The following disclaimer is required by Interplay Entertainment Corp.: The “Interplay” name is used with the permission of Interplay Entertainment Corp., which bears no responsibility for Avid products. This product includes portions of the Alloy Look & Feel software from Incors GmbH. This product includes software developed by the Apache Software Foundation (http://www.apache.org/).
Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 How to Order Documentation . . . . . . .
Managing the Avid Projects and Avid Users Folders . . . . . . . . . . . . . . . . . . . . . . . . 45 Understanding the Avid Projects and Avid Users Folders. . . . . . . . . . . . . . . . . 45 Changing Project and User Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Saving Your Project Information on a Drive or on Removable Media . . . . . . . .
Preparing the Hardware for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Getting Information About Striped Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Establishing Sync for Audio-Only Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Selecting Settings for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Understanding Video Resolutions . . . . . . . . . . . . . . . . . . . . . . .
Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Understanding Audio Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Selecting the Audio Sample Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Understanding Audio Files and Formats . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Selecting the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Batch Capturing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Preparing to Batch Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Batch Capturing Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Recapturing Your Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Recapturing Master Clips and Subclips . . . . . . . . . . . . .
Using Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Adding Text in Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Playing Clips in Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Rearranging Clips in Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Basic Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Basic Media Tool Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Using the Media Tool in an Avid Interplay Environment. . . . . . . . . . . . . . . . . . 171 Opening the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Deleting Media Files with the Media Tool. . . . . . . . . . . . . . . . . . . .
Switching Between Loaded Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 Clearing Clips from Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 Controlling Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 Using Position Bars and Position Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Using Buttons to Control Playback . . . . . . . . . . . . . . . . . . . . . . .
Making a First Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Creating an Instant Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 Undoing or Redoing Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Editing Additional Clips into the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Performing an Insert or Splice-in Edit. . . . . .
Zooming In and Out in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Focusing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Controlling Movement in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Using Segment Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Selecting and Deselecting Segments . . . . . . . . . . . . . . . . . . . . . .
Entering and Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 Switching Between Quick Trim Mode and the Record Monitor . . . . . . . . . . . . 280 Exiting Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Using Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Selecting Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 Accessing the Audio Mixer and Audio Mixer Modes . . . . . . . . . . . . . . . . . . . . 303 Understanding Audio Mixer Tool Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 Resizing the Audio Mixer Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Selecting Tracks in the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Converting the Audio Sample Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Changing the Audio Sample Rate for Sequences and Audio Clips . . . . . . . . . 333 Mixing Down Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Chapter 12 Working with Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 Types of Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Playing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362 Playing an Effect in Effect Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362 Playing Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Understanding Render On-the-Fly for Effect Preview . . . . . . . . . . . . . . . . . . . 364 Using Render On-the-Fly for Effect Preview . . . . . . . . . . . . . . . . . .
Using the Selection and Text Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392 Setting Up the Drawing Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 Previewing Titles with Anti-Aliasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 Displaying Safe Title and Safe Action Guidelines in the Title Tool. . . . . . . . . . 394 Selecting a Background for Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dragging an Unmarked Title into a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . 416 Trimming the Duration of Rolling and Crawling Titles . . . . . . . . . . . . . . . . . . . 417 Removing a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 Replacing a Title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 Fading a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 16 Generating Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 Preparing for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 Selecting the Device for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448 Selecting the Sync Source for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448 Selecting Sync for HD Formats . . . . . . . . . . . . . . . .
Using the Directory Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481 Opening a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481 Creating a Shortcut to a Directory (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . 482 Removing a Shortcut to a Directory (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . 483 Deleting a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507 The Story Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508 The Text Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508 The Clip Tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510 The Videoformat Tag. . . . . . . . . . . . . . . . . . . . . . . .
Enlarging or Reducing Column Width in the Interplay Window . . . . . . . . 539 Renaming Clips in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . 539 Adding Comments in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . 539 Using the Property Merge Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . 540 Using Custom Layouts for the Interplay Window . . . . . . . . . . . . . . . . . . . 541 Opening Multiple Tabs in the Interplay Window . . . . . . . . . . .
Working with MultiRez and Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573 Using the Dynamic Relink Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . 574 Enabling Dynamic Relink. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575 Applying Working Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575 Applying Target Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide Congratulations on your purchase of an Avid editing application. You can use your application to create broadcast-quality output incorporating every possible production element from full-speed, high-resolution footage, to multimedia artwork and animation, to computer-generated effects and titling. This guide contains the task-oriented instructions and conceptual information you need to use the basic features of your Avid editing application.
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 28 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 product: 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: - If the latest information for your Avid product is provided as printed release notes, they ship with your application and are also available online.
Using This Guide To access the Online Library, do one of the following: t From your Avid editing application, select Help > Online Library. t From the Windows® desktop, select Start > All Programs > Avid > [Avid editing application] Online Library. t Browse to the Online Library folder, and then double-click the MainMenu file. The Online Library folder is in the same location as the application itself, for example: C:\Program Files\Avid\[Avid editing application]\Online Library How to Order Document
Chapter 1 Starting a Project Your work begins when you turn on your system, start your Avid editing application, and open an existing project or create a new project.
Chapter 1 Starting a Project Working with the Desktop This section describes desktop navigation features that you can use to speed your work in your Avid editing application, or customize for your convenience while editing. You can: • Control how the Windows taskbar appears on the screen. • Use shortcut menus (also sometimes known as context menus) to quickly access editing commands. • Use standard operating system keyboard shortcuts to navigate and select options in dialog boxes and menus.
Working with the Desktop To change the taskbar settings: 1. Right-click an unused part of the taskbar, and select Properties. The Taskbar and Start Menu Properties dialog box opens. 2. Select the options you want: t To keep the taskbar hidden, deselect “Keep the task bar on top of other windows” and “Auto hide the task bar.” t To set the taskbar to appear when you want, select “Keep the task bar on top of other windows” and “Auto hide the task bar.” 3. Click OK.
Chapter 1 Starting a Project Understanding Mouse Scroll Wheel Functions You can use the mouse scroll wheel for navigation in your Avid editing application, as described in the following table. You can also set the speed of scrolling with the mouse wheel, and assign functions to three additional mouse buttons, as described in “Customizing Mouse Functions” on page 34.
Starting Your Avid Editing Application To set the mouse scroll speed: 1. Double-click Mouse in the Settings list of the Project window. The Mouse Settings dialog box opens. 2. Select a speed from the Vertical Scroll Speed menu. Normal is the default setting. Normal scrolls one item at a time. Moderate scrolls two items at a time, and Fast scrolls four items at a time. To assign functions to additional mouse buttons: 1. Double-click Mouse in the Settings list of the Project window.
Chapter 1 Starting a Project c n Your Avid editing application does not start properly if the application file is moved from the Avid editing application folder. If you install your Avid editing application on a laptop computer, a dialog box might open with a message about incompatible power management schemes. Avid recommends you use the “Always On” power scheme when working with Avid applications. Other power schemes might affect performance of editing functions (for example, capture and digital cuts).
Working with Projects Understanding the Select Project Dialog Box After you start your Avid editing application, the Select Project dialog box opens. The Select Project dialog box lets you find and open a project, create a new project, or establish user profiles. You can also choose to have your last project open automatically, as described in “Opening a Project Automatically” on page 42.
Chapter 1 Starting a Project Element Description Project list Displays a list of the Avid projects in the currently selected folder. Double-click a project to open it. Folder buttons Select a button to set the path for the project folder: • Click Private to display any projects in the folder for the user logged into the system. Private projects use the security provided by your system’s user login. By default, this path is drive:\Documents and Settings\Windows login name\My Documents\Avid Projects •
Working with Projects n If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or trailing periods, when naming projects, bins, and users. Bin and project names are limited to 27 characters, not including the period and 3-character extension that the system automatically adds to a file name. 5.
Chapter 1 Starting a Project Project Type Source Footage Transfer 1080i/50 HDV For video-originated material. Can be directly captured, edited, and output as HDV. 1080i/59.94 For video-originated material. Can be directly captured, edited, and output for HD broadcast. 1080i/59.94 HDV For video-originated material. Can be directly captured, edited, and output as HDV. 6. Click OK.
Working with Projects Browsing for a Project To browse for a project in a location other than the default Shared and Private folders: 1. Start your Avid editing application. The Select Project dialog box opens. Browse button 2. Click the Browse button. The Browse for Folder dialog box opens. 3. Navigate to the folder that contains the project you want. 4. Click OK. 5. Select a Project in the Projects list. 6. Click OK.
Chapter 1 Starting a Project Opening a Project Automatically If you have already created a project, when you enter your Avid editing application you can bypass the Select Project dialog box and have your last project open automatically. To open a project automatically: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click any Interface setting. The Interface Settings dialog box opens. 3.
Ending a Work Session To delete a project: 1. Start your Avid editing application. The Select Project dialog box opens. 2. Click the project you want to delete. 3. Press the Delete key. You see a message asking if you want to delete the selected project and associated bins, 4. Click OK. The deleted project no longer appears in the Select Project dialog box. Ending a Work Session To end the work session, you must first quit your Avid editing application, and then turn off your equipment in the order.
Chapter 1 Starting a Project To view remaining storage on your media drives: 1. Click the Info tab in the Project window, and then click Hardware. The Hardware tool opens. 2. Click the appropriate drive tab. For more information, see “Using the Hardware Tool” in the Help. Turning Off Your Equipment When you finish using your system and want to turn it off completely, follow these steps to avoid damaging your system or media storage drives.
Managing the Avid Projects and Avid Users Folders Managing the Avid Projects and Avid Users Folders Managing projects, user profiles, and settings involves moving, copying, or deleting files and folders, and changing project or user names. You use the desktop to move projects and user profiles between systems. 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.
Chapter 1 Starting a Project Files and Folders Created For Projects When you create a new project, your Avid editing application creates a folder for the project and three files that are stored within the project folder: • A project file (.avp) • A project settings file (.avs) • A bin file (.avb) The project folder and the three files all use the project name you provide. The project folder is stored in the Avid Projects folder. Your settings are initially set to the default values.
Backing Up Your Project Information To change a project name or user name: 1. Navigate to the Avid Projects or Avid Users folder, and then double-click the folder to open it. 2. Click the name of the folder you want to change. The name is highlighted for text entry. 3. Type the new name of the folder. 4. Double-click the folder with the new name to open it. The folder contains profile, settings, and project files with the old name. 5. Change the old name of each file to the new name.
Chapter 1 Starting a Project Saving Your Project Information on a Drive or on Removable Media To save your work on a drive or on removable media: 1. Mount the drive or insert the storage media (USB drive, CD-ROM, or DVD-ROM) as appropriate. 2. From the Windows desktop, double-click the My Computer icon. 3. Double-click the icon for the destination storage drive or storage media to open it. Double-click any additional folders to target the appropriate storage location. 4.
Working with the Avid Attic Folder Working with the Avid Attic Folder Your Avid editing application uses a special folder on your system, the Avid Attic folder, to store backup files of each bin in a project.
Chapter 1 Starting a Project n The Avid Attic folder is usually located in the same folder as your Avid editing application. The Avid Attic folder opens and displays a folder for each project. 3. Double-click a project folder, and then double-click the Bins folder. The Bins folder opens and displays a folder for each bin in the project. 4. Double-click the folder for the bin you want to retrieve. 5. If the bin folder is not already in the Details view, Select View > Details.
Working with the Avid Attic Folder 3. Select File > Open Bin. 4. From the Files of Type list, select All Files (*.*). 5. Navigate to the desktop, select one of the backup bin files you copied, and click Open. The backup bin opens.When you open a backup bin, a link to the backup bin on the desktop is created in the Other Bins folder. n Your Avid editing application does not allow a bin and a copy of a bin to be open at the same time.
Chapter 1 Starting a Project Using Toolsets You can use predesigned work environments (toolsets) that are suited to your most common tasks: • NRCS • Capture • Edit • Effects Editing • Audio Editing • Color Correction The Toolset menu provides you with several environments, or special-purpose workspaces, 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 without overlapping
Using Toolsets Any open tools close, and the screen changes to display windows appropriate to the toolset task. 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.
Chapter 1 Starting a Project 3. Click the Links to Current Toolset menu, and select Link to Unnamed Settings. 4. Click OK. The active toolset is linked to all the unnamed settings in the Settings list.
Chapter 2 Working with the Project Window The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.
Chapter 2 Working with the Project Window Understanding the Project Window The Project window is a central location for important information and tools that you need as you work on your project. Project window information is organized in tabs.The following table describes the display tabs available in the Project window: Tab Function Bins Allows you to create and open bins. See “Using the Bins Tab in the Project Window” on page 57. Settings Allows you to view and modify settings.
Using the Bins Tab in the Project Window When you close the Project window, you return to the Select Project dialog box. To change the information display in the Project window: t Click one of the tabs. To locate and redisplay the Project window, do one of the following: t Select Tools > Project. t Click in an unobstructed area of the Project window to bring it forward. To close the Project window, do one of the following: t With the Project window active, select File > Close Project.
Chapter 2 Working with the Project Window To view a list of bins associated with the project: t Click the Bins tab in the Project window. Bins tab Fast Menu button Bin icon Bins list 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. A new (empty) bin opens and is given the name of the project as displayed in the title bar of the Project window.
Using the Bins Tab in the Project Window To change the name of a bin: 1. Click the bin name in the Bins list in the Project window. 2. Type a new name. Project name Default bin name Opening and Closing Bins You can open a single bin from the Project window, or open multiple bins at once. You can also open a bin from another project. n c If you have the SuperBin enabled, see “Opening Bins in the SuperBin” on page 161.
Chapter 2 Working with the Project Window To open a bin from another project: 1. Select File > Open Bin. The Open a Bin dialog box opens. 2. Find and select the bin you want. Bins have the file name extension .avb. 3. Click Open. The bin appears in the Bins list in the Project window in a folder called Other Bins. The name Other Bins appears in italic. You can rename this folder. This option is useful when you want to open a bin not currently displayed in the Project window.
Using the Bins Tab in the Project Window To create a folder in a project: 1. Click the Fast menu button, and select New Folder. A new untitled folder appears. 2. Click the untitled folder name in the Bins list and rename it. To show or hide the folder’s contents in the Bins list in the Project window: t Click the arrow next to a folder icon. To view a list of only the folder contents and not the folders: t Click the Fast Menu button, and select Flat View.
Chapter 2 Working with the Project Window Viewing Contents in the Trash If you need to view the contents in the Trash or decide you do not want to delete those items in the Trash, you must first move the bins and folders from the Trash. To view items in the Trash: 1. Click the arrow next to the Trash icon in the Bins list. 2. Click the bins or folders you want to keep (or view), and drag them from the Trash to the Bins list in the Project window. 3. Double-click the bin or folder to view it.
Using the Settings Tab in the Project Window n The Save Bin command appears dimmed if there were no changes since the last time the active bin was saved. To save all the bins: 1. Click the Bins tab in the Project window to activate it. 2. Select File > Save All. The system saves all the bins for the project. Using the Settings Tab in the Project Window From the Settings tab in the Project window, you can view, select, open, and alter various User, Project, and Site settings.
Chapter 2 Working with the Project Window To view the Settings list: t Click the Settings tab in the Project window. Settings tab Settings type Settings list To open a setting: t Double-click the setting in the Settings list. To view Help for a setting: t Open a setting and press the F1 key. Using the Format Tab in the Project Window The Format tab in the Project window allows you to view basic project information, such as the video format (NTSC, for example).
Using the Format Tab in the Project Window For some project formats, the Project Type list lets you change the format of the project to another format that shares the same frame rate. For example, if you are working in a 1080i/59.94 HD project, you can change the project format to 30i NTSC. For more information, see “Changing the Project Format” in the Help. n For 24p PAL projects, the Format tab shows the audio transfer rate you selected when you created the project.
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Chapter 3 Capturing Media Capturing is the process of creating digital media from video or audio input.When you capture, you convert source material into master clips that contain reference information and media files that contain the digital audio and video.
Chapter 3 Capturing Media Understanding Logging and Shot Logs Logging is the process of entering information about source material into bins at the beginning of the editing workflow. A shot log is a text file that lists information about a roll of film or a videotape, usually in chronological order. You can get information into your bins either by importing a shot log file or by entering the information directly.
Importing Shot Log Files Importing Shot Log Files You can import a shot log file into a bin to make clip information such as start and end timecode available to your Avid editing application. For more information on logging and shot logs, see “Understanding Logging and Shot Logs” on page 68. To import shot log files into a bin: 1. If you have created Import settings for importing shot log files, select the Import setting you want to use from the Settings list.
Chapter 3 Capturing Media Preparing the Hardware for Capture Your source material can originate from a videotape, a digital audiotape (DAT), a compact disc (CD), an in-house router, a tuner, or straight off-the-air, with the proper hardware configuration.
Preparing the Hardware for Capture Getting Information About Striped Drives Avid maintains a set of tables containing information about striping drives, which is available through Avid online support. For more information, see “Formatting and Striping Media Drives” in the Help. To get information about striped drives: 1. Go to www.avid.com/onlinesupport. 2. Search for “Drive Striping Tables.
Chapter 3 Capturing Media c When using the AES/EBU inputs, the lowest numbered channel that is enabled for input in either the Capture tool or the Audio tool is used as the timing reference. It is important that all AES/EBU inputs that are used simultaneously be locked to the same timing reference. Selecting Settings for Capture Several settings directly affect the capturing process. This section includes information on Media Creation and GPI settings.
Selecting Settings for Capture • For HD projects, the list shows 1:1 (not available for capture), Avid DNxHD™ resolutions, and DVCPRO HD, depending on your video input. For more information, see “Capturing DV Media Directly from a DV Device” on page 82. • For HDV projects, no video resolutions are available for capture, because your Avid editing application automatically selects the correct resolution. For 720p HDV projects, Avid DNxHD and DVCPRO HD resolutions are listed for other media creation.
Chapter 3 Capturing Media To select a video resolution and media drives: 1. Do one of the following: t Double-click Media Creation in the Settings list. t Select Tools > Media Creation. The Media Creation dialog box opens. 2. Click the Media Type tab, and select either OMF or MXF file format. n If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. 3. Click the Capture tab. Video Resolution menu 4.
Selecting Settings for Capture 5. Select a video drive and an audio drive. To select the same drive for both video and audio, click the Single/Dual Drives Mode button until only a single drive menu opens. n The drive that appears in boldface type has the most available space. 6. (Option) You can select drives and create a drive group. Click the Target Drive menu, and select Change Group. For more information on selecting a drive group, see “Targeting a Drive Group” on page 95.
Chapter 3 Capturing Media n If you are working in a network environment, see “Drive Filtering in Networked Workflows” in the Help. To set drive filtering in the Media Creation dialog box: 1. Do one of the following: t Double-click Media Creation in the Settings list. t Select Tools > Media Creation. The Media Creation dialog box opens. 2. (Option) Click the Drive Filtering & Indexing tab. n Options for indexing local drives apply only in an Avid Interplay™ environment.
Configuring Decks The drive or drives you filter out do not appear in the other Media Creation tabs as possible locations where you can store media. They also do not appear in other drive selection menus in the application except for the Import, Export, and Relink dialog boxes. n Your settings are not saved until you click OK. 4. Click OK to save your settings. For more information about options, see “Media Creation Settings” in the Help.
Chapter 3 Capturing Media Configuring a Deck or Multiple Decks c You must manually configure the appropriate hardware connections before Deck Configuration settings can take effect. To configure a deck or multiple decks: 1. Double-click Deck Configuration in the Settings list in the Project window. The Deck Configuration dialog box opens. 2. Click the Add Channel button to add a new channel box on the left side of the Deck Configuration dialog box and to automatically open a Channel dialog box.
Configuring Decks 3. Click the Channel Type menu, and select one of the following items, depending upon your system configuration: - FireWire if you are controlling a DV camera or deck through a FireWire connection. - Direct if you are controlling a deck through an RS-422 connection to the serial port. - VLAN VLX if you are controlling decks through a V-LAN/VLXi connection. 4. Click the Port menu, and select one of the following items: n - Avid DNA or OHCI if you selected FireWire for the channel.
Chapter 3 Capturing Media n Do not autoconfigure a DV camera or deck. Not all DV devices respond to the Autoconfigure command. Due to this limitation, Auto-configure selects only a generic device template. When a digital camera is attached to your system, click the Deck Type menu, and select the proper device (described later in this procedure). When a deck is attached, click the Deck Type menu, and select the applicable deck.
Configuring Decks n With a deck already connected to the system, you can click the Auto-configure button to bypass the Deck Settings dialog box and automatically configure a deck with the default settings. 9. Select the manufacturer and model number of your deck or other device. Selecting a model opens a template of settings for the device you selected. You can change these settings based on your device. For more information, see “Deck Settings” in the Help.
Chapter 3 Capturing Media The system checks the deck configuration after you click the Apply button in the Deck Configuration dialog box and when you start your Avid editing application. A message box warns you if the configuration does not match the deck. 13. Type a name in the Configuration name text box to name the deck configuration. The new deck configuration appears in the Settings list in the Project window. 14.
Capturing DV Media Directly from a DV Device Connecting a DV Device Depending on your configuration and requirements, you can connect a DV device to one of the following ports: • The 1394 (FireWire) port on your Avid DNA hardware (Adrenaline, Avid Mojo, or Avid Mojo SDI) • A 1394 port on your computer (Host 1394). To use a connected DV device for capture, play, or output, you must select it in your Avid editing application, as described in “Selecting a DV Device” on page 84.
Chapter 3 Capturing Media Selecting a DV Device When you want to use a DV device for capture, play, or output, you need to select it in your Avid editing application. You can use the Special > Device menu or the DNA/1394 button in the Timeline window to select the device without disconnecting your equipment. If your system has Avid DNA hardware attached, the system default is DNA, and when a new project is selected, the system automatically selects DNA.
Capturing DV Media Directly from a DV Device Capturing DV 25 Media For systems with Avid DNA hardware, you can capture DV 25 through either of the following connections: • The 1394 (FireWire) port on your Avid DNA hardware (Adrenaline, Avid Mojo, or Avid Mojo SDI) • A 1394 port on your computer (Host 1394). For systems with an Adrenaline or Avid Mojo, this port needs to be on an optional IEEE-1394 card installed on a bus separate from the one used by the Adrenaline or Avid Mojo.
Chapter 3 Capturing Media Capturing DV 50, DVCPRO HD, or HDV Media How you capture DV 50, DVCPRO HD, or HDV media depends on the DNA hardware connected to your system. For Adrenaline or Avid Mojo systems, you can capture DV 50, DVCPRO HD, or HDV media only through a IEEE-1394 port on your computer. This port needs to be on an optional IEEE-1394 card installed on a bus separate from the one used by the Adrenaline or Avid Mojo.
Setting Up the Capture Tool The following illustration shows the Capture tool for an HD project. Deck Selection menu When you are working in an Avid Interplay environment, the Capture tool includes a selection for Local Bins or Remote Bins. See “Selecting a Target Bin” on page 93.
Chapter 3 Capturing Media • Selecting a Target Bin • Selecting the Target Drives • Interpreting the Time-Remaining Display • Selecting a Custom Preroll For advanced information, such as capturing to the Timeline, see “Capturing Media: Advanced” in the Help. Opening the Capture Tool To open the Capture tool: 1. Make sure the deck or other playback device is properly connected to the system and is turned on. 2.
Setting Up the Capture Tool Selecting a Deck in the Capture Tool The Deck Selection menu in the Capture tool contains a list of any decks that were connected to the system, powered up, and initialized when you entered Capture mode. n Device templates from Meridien-based Avid editing applications are not compatible with current Avid editing applications.
Chapter 3 Capturing Media The Select Tape dialog box opens. 2. If you are working in an NTSC project, play the tape for a few seconds so the system can detect the timecode format of the tape (drop-frame or non-drop-frame). Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box, regardless of the format on the tape, and you might receive a message indicating a wrong tape.
Setting Up the Capture Tool Selecting Source Tracks You can select the tracks to capture from the source tape. To select only those tracks you want to capture: t Click the Channel Selection buttons in the Capture tool. Channel Selection buttons n When you use an Avid-controlled deck, the TC (timecode) track is selected by default, and the system captures the timecode from the source tape. If you deselect the TC button, the system captures with time-of-day timecode.
Chapter 3 Capturing Media Detecting a Valid or Locked Sync Signal On systems with Avid DNA hardware, the Capture tool uses one of two icons to indicate if the sync source you are using is valid and locked. These icons are displayed in the message bar of the Capture tool. Ref Lock icon/Video Lock icon n • Video Lock icon: When you select a video track in the Capture tool, the Video Lock icon is displayed.
Setting Up the Capture Tool Selecting a Target Bin You select a target bin as the destination for the master clips created when you capture and log at the same time. In an Avid Interplay environment, the Capture tool includes an option to capture to a local bin or a remote folder. To select a target bin: 1. (Option) In an Avid Interplay environment, do one of the following: t If you are capturing to a local bin, select Local Bins.
Chapter 3 Capturing Media You can filter some drives out of the available drive list. For more information, see “Setting Drive Filtering” on page 75. You can set target drives in the Media Creation dialog box. See “Selecting Video Resolutions and Media Drives” on page 73. n For tips on targeting media drives for effective storage and playback, see “Storage Requirements” in the Help.
Setting Up the Capture Tool Targeting a Drive Group Targeting a drive group (a group of media drives) is especially useful when you are capturing long clips to multiple media files. For more information, see “Capturing to Multiple Media Files” in the Help. After you create a drive group, it appears in the Target Drive menu for the project. To create and target a drive group: 1. Click the Target Drive menu, and select Change Group. The Drive Group dialog box opens. 2.
Chapter 3 Capturing Media Interpreting the Time-Remaining Display The Capture tool displays the time remaining on the selected drive after you select a resolution and target drive or drives for the captured media. The time-remaining display shows the number of hours, minutes, seconds, and frames that are available for the resolution you selected. Time remaining on the selected drives When you select another resolution, the time-remaining display adjusts accordingly.
Preparing for Audio Input Understanding Audio Project Settings You can use the Audio Project Settings dialog box to choose various input and output options and check the current configuration of your audio hardware. The Audio Project Settings dialog box has five tabs: Main, Input, Output, Hardware, and Effects. n Some options depend on the audio configuration of your system, so your system might not contain certain features and hardware that are covered in the documentation.
Chapter 3 Capturing Media • Import files by using the Import dialog box. • Apply an AudioSuite plug-in that creates new source audio. You select the file format that your Avid editing application uses when creating audio files by selecting from the Audio File Format menu in the Audio Project Settings dialog box. AIFF-C and WAVE audio media files can be mixed within a project. The system default is AIFF-C (OMF) audio.
Preparing for Audio Input Selecting the Audio Input Source You can connect one or more audio devices to your Avid hardware or to your computer. Use the Audio Project settings to select the device you want to use as the source for capture. The choices available depend on your system configuration. For more information, see “Audio Project Settings: Input Tab” in the Help. n If you select IEEE 1394 as your input device, the input source is automatically set to Host-1394.
Chapter 3 Capturing Media To customize the sound card configuration: 1. In the Project window, click the Settings tab. The Settings scroll list appears. 2. Double-click Sound Card Configuration. The Sound Card Configuration dialog box opens. Record/Input list Playback/Output list Input sources Output Source pop-up menus Default button Audio device name 3.
Preparing for Audio Input Sound Card Configuration with Surround Sound Capabilities (Software-Only Systems) If your system has a surround sound audio chip installed, your Avid application might not be able to configure the Windows Mixer properly for audio output. By default, the Avid application mutes all output sources except the primary audio, which typically is a WAVE source. Some surround sound devices require that other audio output sources, such as Front Speakers, not be muted.
Chapter 3 Capturing Media The following table describes the components in the Audio tool. Audio Tool Components Component Description Reset Peak button Resets the current maximum peak measurements. It also stops the playback of the internal calibration tone. In/Out toggle buttons Switch the meter displays for each channel between input levels from a source device and output levels to the speakers and record devices. I indicates Input, and O indicates Output.
Preparing for Audio Input The Audio tool opens and displays meters for two to eight channels, depending on the configuration of your system. Reset Peak button Peak Hold Menu button In/Out toggle buttons Digital scale (fixed) Volume unit scale (adjustable) To resize the Audio tool: t Click the lower right corner, and drag it to resize. Adjusting Audio Input Levels You can use the Audio tool and the Audio Project Settings dialog box to check the audio input levels.
Chapter 3 Capturing Media 3. Adjust the output on the playback device so that the device’s volume meter shows the appropriate level for the reference signal in the Audio tool (0 VU for videotape playback, for example). You can adjust the output by using a deck that supports output gain or by sending the signal through a mixing console. Preparing for Video Input The Video Input tool lets you select the format of the video input signal and calibrate composite video, component video, and S-Video.
Preparing for Video Input For information about settings in the Video Input tool, see “Video Tool Input Settings” in the Help. You can also view this information by clicking the window and pressing the F1 key.
Chapter 3 Capturing Media Calibrating Video Input This topic provides essential information for input calibration. You should calibrate the input levels for each videotape when you capture to ensure the continuity of picture quality between tapes. Before calibration, check the items listed in “Preparing to Calibrate Video Input” on page 105. n c For information on calibrating for video output, see “Calibrating for Video Output” on page 451.
Preparing for Video Input The Client monitor displays one of the following types of bars (or a variation of them). Full-field color bars (NTSC or PAL) Color bars can be either 75% or 100% of peak levels. 100% white SMPTE standard split bars (NTSC only) Color bars (top 67% of frame) 75% white 7.5 black level (NTSC with setup) 100% white (lower 25% of frame) 5.
Chapter 3 Capturing Media 7. Open the Waveform monitor by clicking the Waveform Monitor button. NTSC waveform values (IRE) White level at 100 IRE (digital 235) (100% bars) White level at 77 IRE (digital 180) (75% bars) Black level at 7.5 IRE (digital 16) (Black level falls at 0 IRE for NTSC-EIAJ) Line slider PAL waveform values (volts) White level at 1 V (digital 235) (100% bars) Black level at 0.3 V (digital 16) Line slider 8.
Preparing for Video Input Luminance Settings for Video Input (Continued) Parameter/ Video Standard SMPTE Bars Full-Field Bars at 75% or 100% Signal Level Video Standard: NTSC NTSC-EIAJ PAL 7.5 IRE 0.0 IRE Not applicable 7.5 IRE 0.0 IRE 0.3 V Adjust Line slider to approximately 220 Adjust Line slider to approximately 150 Adjust Gain/Y Gain slider to place white level at: Adjust Gain/Y Gain slider to place white level at: 100 IRE 100 IRE Not applicable 100 IRE 100 IRE 1.
Chapter 3 Capturing Media Capture Preparations Check List Use this check list to help you prepare for the capture process. Check your hardware configurations, particularly connections between your deck and the Avid system. See “Preparing the Hardware for Capture” on page 70. If you are working on a complex project with multiple streams of video and high-resolution images, make sure your drives are striped properly. See “Getting Information About Striped Drives” on page 71.
Capturing and Logging at the Same Time Capturing and Logging at the Same Time When you capture without entering log information in a bin ahead of time, your Avid editing application creates clips and associated media files while you capture. Capturing in this manner involves manually cueing source footage with an Avid-controlled deck, using the deck controls in the Capture tool. If you entered log information in a bin, see “Batch Capturing from Logged Clips” on page 123.
Chapter 3 Capturing Media n To carry your comments over to the sequence so that they appear in the Timeline, in cut lists, or in EDLs, you must add the comments again when creating the sequence by using the Add Comments command in the Clip Name menu. For more information, see “Adding Comments to Sequence Clips” in the Help. To name a clip and add a comment before capturing: 1. Click the arrow in the Capture tool to display the Name and Cmnt text boxes. Arrow (Click to display comments.) 2.
Capturing and Logging at the Same Time • If the IN and OUT points are rough and need to be double-checked for accuracy • If you are familiar enough with the source material to estimate the timecode for the mark IN, the mark OUT, or both, quickly and accurately Capturing by Setting Both Marks To capture by specifying a mark IN and a mark OUT: 1. Select the proper Capture settings and set up the capture tools, as described in this chapter. 2.
Chapter 3 Capturing Media 6. If you did not type a clip name while capturing, type it now while the clip name is highlighted in the bin. If you return to the Capture tool and begin another clip, the default clip name remains in the bin until you change it. Capturing by Setting Only One Mark To set only one mark and enter the other mark on-the-fly: t Mark an IN point and click the Record button to begin capturing. Then, click the Record button again to stop capturing on-the-fly and mark an OUT point.
Capturing and Logging at the Same Time To capture on-the-fly: 1. Select the proper Capture settings and set up the capture tools, as described in this chapter. 2. (Option) Click the arrow in the Capture tool to display the Name and Cmnt text boxes if you plan to enter clip names or comments. You can enter this information before you capture a clip or while you are capturing a clip. See “Naming Clips and Adding Comments in the Capture Tool” on page 111. 3.
Chapter 3 Capturing Media 6. To stop capturing and enter the OUT point of the clip, click the Record button, or press the Escape key on the keyboard. The system creates a new clip in the bin. It also enters basic log information for each clip, consisting of the mark IN, the mark OUT, the duration, and any other information typed in during the capture procedure. 7. If you did not type a clip name while capturing, type it now while the clip name is highlighted in the bin.
Capturing and Logging at the Same Time Autocapturing Autocapturing an entire tape can save you time by allowing you to bypass both the logging process and the time it takes to cue each shot. However, this process requires the most storage space, and it takes time to capture an entire tape. When you autocapture, you mount and cue your tape to a starting point and start the capturing process through the Capture tool.
Chapter 3 Capturing Media Capturing with Time-of-Day Timecode When you capture with an Avid-controlled deck, you can capture your footage with time-of-day timecode rather than source timecode. To capture with time-of-day timecode: 1. Select the proper Capture settings and set up the capture tools, as described in this chapter. 2. When selecting tracks, deselect the TC button. 3. Capture by using any of the techniques described in “Capturing and Logging at the Same Time” on page 111.
Capturing Audio from a Music CD 4. Select Tools > Capture. The Capture tool opens. Record button Toggle Source button set to Satellite mode Selected audio track Audio menu Selected Bin menu Source Tape Display button 5. Click the Toggle Source button until the Satellite Mode icon appears. 6. Select an audio track. 7. Click the Audio menu, and select CD Player. 8. Click the Source Tape Display button. The Select Tape dialog box opens. 9. Click New in the Select Tape dialog box. 10.
Chapter 3 Capturing Media Frame Chase Capture If your Avid editing application is part of a workgroup environment managed by Avid Interplay™, you can use the Capture tool to capture media to shared storage on the workgroup using your application’s Frame Chase™ capture capabilities. When you capture in this way, the media becomes available for viewing and editing from any applications in the workgroup while the capture is still in progress.
Frame Chase Capture Frame Chase Capture A Frame Chase capture creates media files directly in Avid MediaFiles\MXF\1 and creates a special type of clip known as an in-progress clip. In-progress clips are represented by the following icons: In-progress master clip In-progress audio clip An initial check-in to Interplay takes place 10 seconds after the capture begins. Subsequent updates to Interplay occur at intervals that you define in the Capture Settings dialog box.
Chapter 3 Capturing Media Enabling Frame Chase Capture You use options in the Capture Settings dialog box to enable Frame Chase capture and to set both the default clip length and the interval for updates to Interplay. To enable and set options for Frame Chase capture: 1. In the Settings tab of the Project window, double-click Capture. The Capture Settings dialog box opens. 2. Click the MXF Media Files tab. 3. Select options as described in the following table, and then click OK.
Batch Capturing from Logged Clips n • Frame Chase capture is only possible if media files are captured to shared storage in the workgroup. If you select a local storage volume in the Capture tool, you override the “During capture, clip is updated in Interplay” setting in the Capture Settings dialog box and your Avid editing application performs a conventional capture. • Frame Chase capture is not available for JFIF video resolutions.
Chapter 3 Capturing Media Preparing to Batch Capture Preparing for batch capturing involves an option of resizing the Capture tool and establishing settings that allow you to batch capture with minimal supervision. Because your clips are already logged in a bin, you can simplify the interface during batch capture by hiding the deck controller and logging controls in the Capture tool. You can hide any other panels in the Capture tool in a similar way.
Batch Capturing from Logged Clips For additional options, see “Capture Settings: Batch Tab” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key. 3. Click the General tab and select the “Capture across timecode breaks” option. For more information, see “Capturing Across Timecode Breaks” in the Help. 4. Click OK to close the dialog box and apply the options. c You cannot batch capture clips that contain timecode breaks between the logged IN and OUT points.
Chapter 3 Capturing Media 5. Select options in the dialog box: - n If the bin contains some clips that are already captured and you do not want to recapture those clips, select “Offline media only.” If this option is not selected and some of the selected clips have media files, the system deletes the media files and recaptures new media files. In an Avid Interplay environment, you have the option of preserving local media files and capturing a clip in more than one resolution.
Recapturing Your Material n t Select the “Skip this tape” option to bypass all the clips from the mounted tape. The system then prompts you for the next tape. t Click Abort to end the batch-capturing process. You can also stop capturing at any time by clicking the Trash button in the Capture tool. To bypass specific clips in the process of batch capturing a particular tape, you must abort each clip manually by clicking the Trash button. Then click the Skip Clip button in the Abort window to continue.
Chapter 3 Capturing Media Recapturing Master Clips and Subclips The procedure for recapturing master clips and subclips is identical to the process for batch capturing logged clips. See “Batch Capturing from Logged Clips” on page 123. Although the procedure is the same, the result is slightly different, as follows: • Master clips are linked to entire media files and serve as sources for subclips and sequences.
Recapturing Your Material Using Decompose When Recapturing Decompose allows you to create new, shorter master clips based only on the material you have edited and included in your sequence, which saves system disk space. You can specify the handle length of the new master clips. Decompose breaks any links to the original source clips, and only the sequence and its new master clips are linked to the newly captured media files.
Chapter 3 Capturing Media c If you attempt to trim or add effects with no handles, you receive an error message notifying you that there is insufficient media. 6. (Option) Select the “Extend handles beyond master clip edges” option to allow the handles to extend before the beginning and after the end of the original master clip. When you batch capture, deselecting this option prevents capturing across a discontinuous timecode error.
Recapturing Your Material c If you attempt to trim or add effects with no handles, you will receive an error message notifying you that there is insufficient media. 8. (Option) Select the “Extend handles beyond master clip edges” option to allow the handles to extend before the beginning and after the end of the original master clip. When you batch capture, deselecting this option prevents capturing across a discontinuous timecode error.
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Chapter 4 Importing Files When you import files, your Avid editing application converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. Any corresponding media files are stored on a target drive that you specify.
Chapter 4 Importing Files Creating and Using Import Settings You can create one or more sets of import parameters and save them as an Import setting. For example, you can create one setting for importing animations and another for importing still graphics. This feature is especially useful when you use the drag-and-drop method to import multiple files. See “Using the Drag-and-Drop Method to Import Files” on page 139.
Creating and Using Import Settings 6. Select the appropriate options. For more information about Import settings, see “Import Settings” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key. 7. Click OK. Once you create a new Import setting, you can select the setting whenever you import a frame, clip, or sequence. For more information, see “Importing Files” on page 136 and “Using the Drag-and-Drop Method to Import Files” on page 139.
Chapter 4 Importing Files 3. Select the appropriate options, as described in “Import Settings” in the Help. 4. Click OK. Importing Files You can access files for import from any folder, disk, or drive source mounted on the desktop, such as a CD or DVD, fixed drive, removable drive, or network server. You can import more than one file at a time, including files of multiple types. Consider copying all graphics files to a single folder before you import the files.
Importing Files 9. Select File > Import. The Select Files to Import dialog box opens. Look In menu Details button File browser File to import Files of Type menu Video Resolution menu Options button Media Drive menus Single/Dual Drive button Disk Label (for XDCAM only) 10. Click the Files of Type menu, and select an import file type to display only files of the selected file type in the source file list: t Select Shot Log to import Avid Log Exchange (.
Chapter 4 Importing Files t Select MXF to import files that have been saved in the MXF file format. or clips stored on an XDCAM device. See “Importing Media from XDCAM Devices” in the Help. t Select MetaSync™ Files to import XML files that have been created by MetaSync Manager. These files must use the .aeo file name extension. For more information, see “MetaSync Guide” in the Help.
Importing Audio Files from a Music CD 16. Select files or deselect files from the source file list by using the standard selection methods for your operating system. 17. Click Open. When the system finishes importing the files, the clips appear in the selected bin. Importing Audio Files from a Music CD To import audio files from a music CD: 1. Follow the procedure in “Importing Files” on page 136. 2. In step 10, select Files of Type > Audio. 3.
Chapter 4 Importing Files 6. (XDCAM only) The Import file(s) from XDCAM dialog box opens. Type a name in the Disk Label text box, and then click Import. n Your Avid editing application uses the disk label for operations such as Batch Import, where you are prompted to insert a specific XDCAM disc that holds the files you want to import. A disk label is required in order to import XDCAM media.
Reimporting Files Using the Batch Import Dialog Box The Batch Import dialog box allows you to select a source file for each master clip that you selected in a bin. Your Avid editing application finds the source file automatically if the source file is located in the same folder where you last imported the file. The Batch Import dialog box opens when you select a master clip or sequence and select Bin > Batch Import.
Chapter 4 Importing Files To find the source files for clips that were not found: t Click Set File Location. Browse for the source files of the clips that were not found. See “Starting the Reimport Process” on page 143. To remove a clip from the Selected Clips list: 1. Select one or more clips in the Selected Clip list. 2. Click Skip This Clip. The clips are removed from the list and are not imported.
Reimporting Files Starting the Reimport Process To reimport imported files: 1. (Option) Mount any removable media drives that held the original graphics. 2. Do one of the following: t Double-click Media Creation in the Settings list. t Select Tools > Media Creation. The Media Creation dialog box opens. 3. Click the Media Type tab. 4. Click the File Format menu, and select the format (MXF or OMF). n If your project uses an HD resolution, you cannot select OMF as a file format.
Chapter 4 Importing Files c. Navigate to the location of the source file. If you select more than one clip displayed in red, the system attempts to find the rest of the clips in the same folder as the first clip and then, if not found there, in folders that maintain the same relationship with the first clip’s folder. When the clips are found, they are displayed in black. 10. Click the Video Resolution menu, and select a video resolution for all the reimported files.
Chapter 5 Working with Bins Bins provide powerful database tools for organizing and managing your captured material.
Chapter 5 Working with Bins Setting the Bin Display By default, your bins display all existing media objects except source clips and rendered effects. To reduce crowding in the bin and to display only those objects that you need to organize your project, you can display selected media objects. You can use the Set Bin Display option to display clips referenced by a sequence, even if the clips were not previously in the bin. Place a sequence in a new bin, and follow this procedure.
Understanding Object Icons in Bins Understanding Object Icons in Bins Bins use icons to identify the clips, sequences, and other media objects that they display. The following table describes all of the object icons that you might see in a bin display.
Chapter 5 Working with Bins Bin Object Icon Descriptions (Continued) Icon Description ITV Enhancement A clip that represents Interactive TV (ITV) enhancements that conform to SMPTE standard 363M. For more information, see the Avid MetaSync Setup and User’s Guide. Opaque Enhancement A clip that represents enhancements that do not conform to SMPTE standard 363M. For more information, see the Avid MetaSync Setup and User’s Guide.
Bin Views Using Brief View In Brief view, your Avid editing application displays standard columns of information about the clips and sequences — five columns for interlaced projects, and seven columns for progressive projects. You cannot customize the column headings in Brief view. To enter Brief view: t Click the Brief tab in the bin. Brief tab Column headings Object icon Bin Fast Menu button Using Text View Text view provides the most complete view of clip information.
Chapter 5 Working with Bins To enter Text view: t Click the Text tab in the bin. Text tab Bin View menu To select column headings: 1. With a bin in Text view, select Bin > Headings. The Bin Column Selection dialog box opens. 2. Select the headings you want to add to the bin: t Click the name of a heading to select it. t Click a selected heading to deselect it. t Click All/None to select or deselect all the headings. 3. Click OK.
Bin Views To enter Frame view: t Click the Frame tab in the bin. Frame tab Clip frame Clip name Bin Fast Menu button Enlarging or Reducing Frame Sizes You can enlarge and reduce the sizes of the frames appearing on the screen to seven available sizes. You must enlarge or reduce all frames together. You cannot change the sizes of individual frames. To enlarge the frame size: t Select Edit > Enlarge Frame. The display size increases each time you select this option, up to seven times.
Chapter 5 Working with Bins To rearrange multiple frames: 1. Do one of the following: t Shift+click the frames. t Lasso the frames by clicking the mouse pointer outside the first frame and dragging to surround the frames with a white dotted line. 2. Drag the selected frames to a new position in the bin. 3. Click the background area of the bin to deselect the clips. Realigning Frames in a Bin To realign the frames in a bin after you have changed their display, use one of the following procedures.
Bin Views To change the frame identifying the clip: 1. Select the clip that you want to change. Press and hold the K key on the keyboard (Pause) and press the L key (Play Forward) to roll the footage within the frame forward at slow speed. To move backward through the footage, press and hold the K key and press the J key (Play Reverse). 2. When you see the frame that you want to use, release the keys. Your Avid editing application saves your choice as part of the bin configuration.
Chapter 5 Working with Bins Adding Text in Script View You can add text by typing directly in Script view. You can also use basic word processing procedures to highlight, delete, cut, copy, and paste text between script boxes. To type text in the script box: 1. Click the text box and begin typing. 2. (Option) If the text you type extend beyond the size of the script box, you can use the Page Up and Page Down keys on the keyboard to scroll through the text.
Basic Bin Procedures When you are working with bins, an asterisk appears before the bin name in the bin’s title bar. The asterisk indicates that the changes to the bin have not been saved. Once you save the bin, the asterisk is removed. Asterisk n For information about managing the bins in your project, see “Using the Bins Tab in the Project Window” on page 57. Using 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.
Chapter 5 Working with Bins 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 clips or sequences: 1. Select the clip or sequence that you want to duplicate, or select multiple clips or sequences. 2. Select Edit > Duplicate.
Basic Bin Procedures 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 or sequences from one bin to another bin: 1. Position or resize the bins so that you can see both of them at the same time. 2. In the original bin, click the clip or sequence that you want to copy, or select multiple clips. 3.
Chapter 5 Working with Bins To delete clips, subclips, and sequences with their media files from a bin: 1. Select the clips, subclips, or sequences that you want to delete. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The Delete dialog box opens, displaying the items that you selected. By default, media files are not selected for deletion. One master clip selected Multiple items selected 3.
Basic Bin Procedures The Resolutions to Delete section of the dialog box lists all video resolutions for the clips you selected. It also lists a single entry for all audio sample rates and compressed audio. You can select all resolutions for deletion by clicking the All button. However, you still need to select the individual media files that you want to delete. If you don’t want to delete any media files, click None, and all media files are deselected.
Chapter 5 Working with Bins Changing the Bin Background Color You can customize the background color of the bin. Changes affect only the currently active bin. To change the bin background color: 1. Activate the bin you want to change. In Brief view and Text view, make sure no clips are selected. 2. Select Edit > Set Bin Background and click on a color. The bin color changes, based on your selection. The change is applied to all four bin views.
Conserving Screen Real Estate with the SuperBin Opening Bins in the SuperBin To open bins in the SuperBin: 1. Enable the SuperBin. 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: bin name. n When SuperBin is enabled, remember to single-click a bin name to open it within the SuperBin. Double-clicking the bin name opens the bin in its own window.
Chapter 5 Working with 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. Double-click the open bin’s icon in the Project window. The individual bin window closes, and the bin appears in the SuperBin. To move a bin out of the SuperBin and into its own window: 1.
Creating a Storyboard 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 bin displayed in the SuperBin. The clip or sequence is copied into the Superbin. n Any change you make to the copy affects the original as well. You can copy a clip or sequence from the SuperBin directly to a bin in the Project window. To copy a clip or sequence out of the SuperBin: 1. Click the Bins tab in the Project window. 2.
Chapter 5 Working with Bins 7. Rearrange the clips in sequential order by selecting and dragging one or several clips at a time to a new location. 8. Enlarge or reduce the size of the frames as necessary. 9. Align the rearranged frames along invisible grid lines when using Frame view. 10. (Option) Change the font and background color for the storyboard. 11. When the storyboard is complete, select File > Save Bin. 12. To print the storyboard in its final form, select File > Print Bin.
Chapter 6 Managing Media Files When you capture footage, the system creates digital media files on the media drives connected to your system. In addition to the bins that allow you to organize the clips that reference these media files, your Avid editing application provides tools and features for directly managing these media files.
Chapter 6 Managing Media Files Working with Media Files in an Avid Interplay Environment If you are using your Avid editing system in an Avid Interplay environment, you can use Avid’s media asset manager, the Avid Interplay Engine, to share media files between systems.
Working with Media Files in an Avid Interplay Environment The Interplay Server setting is a Project Setting that applies to all users of a particular Avid editing system. If you want to access another asset manager, you must modify the Interplay Server settings to reflect the server. The directory defined in your Interplay Project settings identifies the asset manager location to which you check in media objects.
Chapter 6 Managing Media Files When you use your Avid editing application with the LANserver system, you need to set up the client so LANshare workspaces are recognized when you start the Avid editing application. To enable the client to recognize LANshare workspaces: 1. Open a bin. 2. Double-click PortServer in the Settings list of the Project window The Port Server Settings dialog box opens. 3. Select Auto-connect to LANshare at Launch. 4. Click Connect, and then click OK.
Mounting and Unmounting Drives This is useful in several circumstances: n c • If you work with optical drives for backup and retrieval of low-resolution material, you can unmount drives and mount them as needed to avoid cluttering the desktop during normal use. • If you work with an extensive array of fixed-storage drives, which might involve many partitions divided among several projects, you can selectively mount and unmount drives according to use.
Chapter 6 Managing Media Files All drives turned on and connected to the system become available to your Avid editing application. Using the Media Tool The Media tool is your window into the captured video and audio data files stored on your media drives. The Media tool provides similar database tools for manipulating digital media files to those provided by bins for manipulating clips and sequences.
Using the Media Tool n • Media Tool database and display options are saved as User settings. When you close the Media tool, the view you are in (Brief, Frame, Script, or Text) is saved and any customizations of columns are saved. • You have the option of saving a custom view of the Media tool. Any view created in the Media tool is available from all bins and all custom bin views are available in the Media tool from the Views menu.
Chapter 6 Managing Media Files Opening the Media Tool To open the Media tool: 1. Select Tools > Media Tool. The Media Tool Display dialog box opens. 2. Select the display options as follows: - n The Media tool loads the media database only for the drives you select. The more drives you select, the more memory is required for the Media tool to open. - n In the Projects list, select individual projects, click the Current Project button, or click the All Projects button.
Using the Media Tool 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. c If you use the Media tool to delete selected media files, you no longer have access to visuals of the deleted material. If you load a clip for which a media file has been deleted, a black screen appears with the words “Media Offline.
Chapter 6 Managing Media Files Depending on your needs, you can do the following: t Delete selected audio or video tracks and retain other tracks from a clip. t Delete entire sets of media files and related clips from within the Media tool. t Delete all unrelated media upon completion of a project, and retain only the media required for playback of a finished sequence as described in “Consolidating Media” on page 175. To delete selected media files: 1. Select Tools > Media Tool. 2.
Consolidating Media - Precompute media file (V, A). After deletion, the section of the sequence with the effect is black, and the message “Media Offline” is displayed. - Audio mixdown file (A). After deletion, the section of the sequence with the mixdown is silent. 5. Click OK. A dialog box opens, asking you to confirm the deletion. 6. Click Delete. The selected media files are deleted.
Chapter 6 Managing Media Files Understanding the Consolidate Feature The Consolidate feature operates differently depending upon whether you are consolidating master clips, subclips, or sequences. There are also different advantages in each case, as follows: • Master clips: When you consolidate a master clip, your Avid editing application creates exact copies of the media files.
Consolidating Media • Subclips: When you consolidate a subclip or group of subclips, your Avid editing application 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 n Because a consolidated sequence is linked to the new files by default, consider duplicating the sequence each time you consolidate if you need to maintain links to the original files. Consolidating a Sequence Edited copies of media files Original media files Clip A Clip B Clip C Clip A.new.01 Clip B.new.01 Clip C.new.01 New links are established. Original links are broken.
Consolidating Media 3. Select Clip > Consolidate/Transcode. n If you have any compressed audio (MP2 audio) in the clip or sequence you selected to consolidate or transcode, a message appears informing you that selected items contain MP2 audio and cannot be consolidated or transcoded. You should relink this MP2 audio to an uncompressed audio format. If you do not relink to an uncompressed audio format, the selected clip or sequence with the MP2 audio is skipped. The Consolidate/Transcode dialog box opens.
Chapter 6 Managing Media Files 6. Select the appropriate options, as described in “Consolidate Options” on page 181. You can also view this information by clicking the dialog box and pressing the F1 key. 7. Click the Consolidate button in the lower right corner. The Copying Media Files dialog box opens. 8. Select an option for how you want your clips to link to the new media. For more information, see “Understanding the Consolidate Feature” on page 176. 9. Click OK.
Consolidating Media Consolidate Options The following table describes the options for consolidating in the Consolidate/Transcode dialog box. Consolidate Options Option Suboption 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 Consolidate Options (Continued) Option Suboption Convert Audio Sample Rate Description Select this option to convert any sample rates not set in the Sample Rate menu in the Main tab in the Audio Project Settings window. For information on setting the sample rate, see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 333. Target Audio Sample Rate Select a sample rate for the sequence.
Using the Transcode Command n If you have any compressed audio (MP2 audio) in the clip or sequence you selected to consolidate or transcode, a message appears informing you that selected items contain MP2 audio and cannot be consolidated or transcoded. You should relink this MP2 audio to an uncompressed audio format. If you do not relink to an uncompressed audio format, the selected clip or sequence with the MP2 audio is skipped. The Consolidate/Transcode dialog box opens. 3.
Chapter 6 Managing Media Files Create new clips option 6. Click the Target Video Resolution menu, and select a video resolution. n If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. 7. Select the appropriate options, as described in “Transcode Options” on page 184. You can display Help for the dialog box by pressing F1. 8. Click the Transcode button in the lower right corner.
Loading the Media Database Transcode Options (Continued) Option Suboption Description Create new clips In an Interplay environment, with Dynamic Relink enabled, select this option to create new master clips for the transcoded media. If you do not select this option, the existing master clip is associated with both the original media file and the transcoded media file. For more information, see “Understanding How Clips and Media Are Associated” on page 565.
Chapter 6 Managing Media Files Bins contain references to media files based on the contents of the bin. Your Avid editing application does not maintain the entire database in memory at all times. Instead, it builds up a partial database for the bins that have been opened in the current session to preserve as much memory as possible for editing.
Deleting Unreferenced Clips and Media n Refreshing media directories can take a long time to execute on systems that have large amounts of media online. To refresh media directories: t Select File > Refresh Media Directories. Deleting Unreferenced Clips and Media Unlike the bin files stored in project folders, media files require considerable storage space.
Chapter 6 Managing Media Files Backing Up Media Files The OMFI MediaFiles folders and the Avid MediaFiles folders on your 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 7 Viewing and Marking Footage Before you begin editing, you can review your footage, add locators and comments to clips, mark IN to OUT points, and create subclips. By viewing and marking your material in advance, you can concentrate on editing and refining your sequence at a later time without having to pause and set marks each time you load a new clip.
Chapter 7 Viewing and Marking Footage Viewing Methods You can work with clips and sequences in several ways, depending on your needs and preferences. Each method has its own uses and advantages, as follows: • Viewing in bins: You see pictorial images of the clips in your bins by using Frame or Script view and can play the clips in the bin. For more information, see “Using Frame View” on page 150 and “Using Script View” on page 153.
Customizing the Source/Record Monitor You can customize the Source/Record monitor in a variety of ways, for example, to accommodate footage of different aspect ratio or to display different buttons and information. Resizing Monitors You can resize the Source/Record monitor to provide more area for displaying the Timeline or other windows. You can either hide the video completely or resize the monitor.
Chapter 7 Viewing and Marking Footage Using the 16:9 Display Format Your Avid editing application supports the 16:9 aspect ratio for the display of wide-screen images used in high-definition television (HDTV) as well as in some feature film formats. The 16:9 display allows you to offline edit wide-screen footage that was squeezed during shooting or transferred anamorphically to NTSC or PAL tapes. Selecting the 16:9 option returns the squeezed image to its normal aspect ratio.
Customizing the Source/Record Monitor Displaying Tracking Information Tracking information consists of various formats used to identify clips, audio and video tracks, individual frames, or footage durations while you work. Your Avid editing application displays this information above the Source/Record monitor and in the Timeline window. This information is updated continuously to reflect your current position in the footage.
Chapter 7 Viewing and Marking Footage To display tracking information: 1. Load a clip or sequence into the monitor. 2. Click in the information display area in either the first or second row of information above the monitor. The Tracking Information menu is displayed. 3. Select the type of tracking information you want to display. If you display two information rows in the expanded Source/Record monitor, you can display two different types of tracking information for the footage in each monitor.
Customizing the Source/Record Monitor • Pane 1 allows you to select a format for the Sequence tracking information (Record monitor only) or the Source clip tracking information. - The sequence submenu allows you to select Timecode, Footage (feet and frames for 24p and 25p projects), or Frames (a sum total of frames for either film or video). When you are working with a 24p or 25p project, the Timecode submenu allows you to select an output timecode format.
Chapter 7 Viewing and Marking Footage • Pane 2 lists Source or Sequence timecode options, such as master timecode (Master), duration of the entire clip (Duration), IN to OUT duration (In/Out), absolute timecode (Absolute), and time remaining (Remain). The format type that you select from pane 1 determines the tracking format that is displayed. Pane 2 • Pane 3 displays the timecode for the source track of a specific track (V1, A1, A2, and so on).
Playing Video to the Client Monitor Playing Video to the Client Monitor You might want to see your sequences and effects as they appear on an external display monitor. To do this, connect a Client monitor to your Avid system. There are several ways to connect a Client monitor to the Avid system: n • Through the Avid Adrenaline. • Through the Avid Mojo or Avid Mojo SDI. • For software only-systems, through an IEEE 1394 connection, analog connection, or dual-head display board.
Chapter 7 Viewing and Marking Footage To select Video Display settings: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click Video Display. The Video Display Settings dialog box opens. 3. Select or modify the options for video display and click OK. n The options available vary depending on the model of your Avid editing application. For information about all options in the dialog, see “Video Display Settings” in the Help.
Loading and Clearing Footage Loading and Clearing Footage You can 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 menus to display or clear clips and sequences from the monitors. Loading Clips or Sequences into Monitors To load clips or sequences into a monitor: 1. Open a bin and do one of the following: t Locate a single clip or sequence. t Select multiple clips or sequences.
Chapter 7 Viewing and Marking Footage Switching Between Loaded Clips When you have loaded multiple clips or multiple sequences into the monitor, you will see only one clip displayed at a time. You can view an alphabetical list of the loaded clips and select an alternate clip for viewing in the Clip Name menu located above the monitor. To switch between clips: 1. Click the name of the current clip or sequence displayed above the monitor to reveal the Clip Name menu.
Controlling Playback Clearing Clips from Monitors You can use the Clip Name menu located above each monitor to clear clips from a monitor. There are two options for clearing clips: • Remove the displayed clip and leave the monitor black but keep the clip loaded. • Remove all the clip names from the Clip Name menu, and leave only the displayed clip loaded. To clear the monitor or the clip or sequence names from the menu: 1.
Chapter 7 Viewing and Marking Footage Using Position Bars and Position Indicators You can quickly access frames or move within loaded footage by using the position indicators that appear in the position bars under the monitors (and in the Timeline when you are viewing a sequence). The position bars represent the length of the clip or sequence, and the position indicator marks your current position in the clip or sequence.
Controlling Playback Using Buttons to Control Playback You can use the buttons that appear below the Source/Record monitor and in the pop-up monitors to play and step through your footage. You can also use additional buttons available in the Command palette to control playback. You can remap Command palette buttons onto some existing button locations (for example, in the Tool palette) or to the keyboard.
Chapter 7 Viewing and Marking Footage Playback Control Buttons Button Primary Default Location Play Standby button Play tab in Command palette Function Places play in standby mode to prepare for playback. This is especially useful for long sequences. To play in standby mode: 1. Click the Play Standby button. The Play button under the Source/Record monitor blinks yellow. 2. Click anywhere to play the sequence. Step Backward button Monitors Moves the footage one frame backward.
Controlling Playback Stepping Forward and Backward by Field You can locate defects on individual fields of a frame with the single-field step feature. n The single-field step feature is not available when you work with progressive formats. By default, your Avid editing application displays the first field of every frame when you step through material.
Chapter 7 Viewing and Marking Footage n Keyboard settings vary, depending on the type of keyboard attached to your Avid system. The following illustration shows the default keyboard settings for a keyboard used in the United States. If an Avid-supported international keyboard is attached to your Avid system, the keyboard settings match that keyboard. For additional information, see “Using Foreign Keyboard Mapping” in the Help.
Controlling Playback 2. Use the following keys to shuttle at varying speeds: t Press the L key to move forward through the footage at normal speed. t Press the L key multiple times to move forward through the footage at faster speeds, as described in the following table.
Chapter 7 Viewing and Marking Footage To pause shuttling: t Press the K key. To stop shuttling: t Press the space bar. Navigating with Home, End, and Arrow Keys You can use the Home, End, and arrow keys (located to the left of the numeric keypad) to move through footage when a clip or sequence is loaded in a monitor. To navigate with the Home, End, and arrow keys, do one or more of the following: t Press the Home key to go to the beginning of a clip or sequence.
Playing Back to a DV Device To play back to a DV device connected through a 1394 port: 1. Do one of the following: - Click the DNA/1394 button in the Timeline so that the button label is 1394. - Select Special > Device > IEEE 1394. 2. Right-click the Video Quality menu button and select Output to DV Device. Playback to the DV device and playback to the desktop occur simultaneously. n If you do not have a device connected to a 1394 port, these options are grayed out. 3.
Chapter 7 Viewing and Marking Footage Optimizing Your Playback Performance The following topics describe how to get the best performance from your Avid editing application when playing back to the application monitors, the full-screen playback monitor, and the Client monitor.
Optimizing Your Playback Performance n For information about video quality and effects processing, see “Playing Effects Back at Different Video Qualities” on page 372. Video Qualities for Playback Icon Video Quality Name Playback to Avid DNA Full Quality Highest quality resolution, two fields. Full-frame real-time effects playback of SD. Full-frame native playback of Avid DNxHD. Also, render effects in full quality when in Color Correction or Effect mode (Adrenaline only).
Chapter 7 Viewing and Marking Footage • In an HD project, with Full Screen Playback enabled, playback performance relies heavily on CPU performance. You might notice missing frames during playback. Draft Quality (Yellow/Green) • In a 1080i/59.94 HD project, media plays back as YUV 4:2:0 (Adrenaline with HD board only). Multicam • When you enter MultiCam or Group Clip mode, the Avid editing application automatically adjusts the video quality.
Marking and Subcataloging Footage You can mark IN and OUT points for your clips while in the bin, which provides several advantages: • You can quickly build a sequence by splicing the marked clips into place one after another. • You can use the process of rough-cut or storyboard editing, which allows you to instantly splice several prepared clips into a sequence, as described in “Creating an Instant Rough Cut” on page 232.
Chapter 7 Viewing and Marking Footage In the monitor, a Sawtooth icon appears on the left to indicate the mark IN frame. Sawtooth icon Mark IN button Mark OUT button Clear Mark IN button Clear Mark OUT button 4. Continue moving 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 and stop playback. t Press the Mark OUT key when marking a clip in a bin.
Marking and Subcataloging Footage To clear the OUT point, do one of the following: t Click the Clear OUT Mark button. t Press the Clear OUT Mark key. To clear both the IN and OUT points: t Click the Clear Both Marks button. t Press the Clear Both Marks key. To set a new IN point: t Click the Mark IN button or press the Mark IN key when you reach a different frame. To set a new OUT point: t Click the Mark OUT button or press the Mark OUT key when you reach a different frame.
Chapter 7 Viewing and Marking Footage Creating Subclips When you mark footage with IN and OUT points, either you can save the entire clip along with the new marks, or you can create subclips based on the marks you set to break up longer master clips into smaller segments of selected footage. This procedure is similar to creating a pull reel of the selects or circle takes of your best footage before editing. Subclips do not directly reference the original media.
Marking and Subcataloging Footage t Press the Alt key while you click the Make Subclip button. Your Avid editing application creates the subclip and opens a dialog box that allows you to select the destination bin for the subclip.
Chapter 7 Viewing and Marking Footage To remove audio IN and OUT points: t Shift+click the Clear IN Mark, Clear OUT Mark, or Clear Both Marks button. Finding Frames, Clips, and Bins Once you have captured, viewed, marked, and subcataloged numerous clips for a project, you might have difficulty relocating specific clips or frames among several bins.
Finding Frames, Clips, and Bins 3. Enter the timecode for the frame by using the numeric keypad on the right side of the keyboard. Master track Type a master timecode to find a frame in the sequence. In this example, the interface displays master timecode. Use one of the following formats: t SMPTE timecode — Use two digits each for the hours, minutes, seconds, and frames. For example, type 01230200 to enter 01:23:02:00.
Chapter 7 Viewing and Marking Footage displayed in the top row of the tracking information above the monitor, you move forward 1 second and zero frames. If you select frames to display above the monitor and type +100, you move forward 100 frames. - Frames only — To move by frames (regardless of the display in the Tracking Information menu) add an f to the end of the number you type.
Finding Frames, Clips, and Bins Understanding Match Frame The Match Frame feature allows you to locate the source clip for the frame currently displayed in the Record monitor. This feature is useful when you want to relocate and reedit source material, such as subclips and master clips. Match framing loads the source clip into the Source monitor, cues to the matching frame in the source clip, and marks an IN point. Any original IN and OUT points are removed from the source clip.
Chapter 7 Viewing and Marking Footage 4. Do one of the following: t Click the Match Frame button. 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. The source clip is loaded into the Source monitor, and any previous IN or OUT points are maintained. t Press and hold Alt+Ctrl, and click the Match Frame button.
Finding Frames, Clips, and Bins To matchframe 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 a Bin With a clip or sequence loaded into a monitor, you can quickly find the original bin in which it is stored by using the Find Bin button. Clicking this button finds the bin, opens it, and highlights the clip or sequence within the bin.
Chapter 7 Viewing and Marking Footage To locate a master clip from a subclip: 1. Cue to the subclip in the sequence. 2. Click the Match Frame button in the Record monitor to load the subclip into the Source monitor. 3. Click the Match Frame button in the Source monitor to load the original master clip into the Source monitor. 4. Click the Find Bin button in the Source monitor to open the bin and highlight the master clip.
Chapter 8 Creating and Editing Sequences After you have viewed and marked your clips or created subclips, you are ready to create a sequence.
Chapter 8 Creating and Editing Sequences To create a sequence with the New Sequence command: 1. Do one of the following: t Select Clip > New Sequence. t Right-click in either the Timeline or the Source/Record monitor, and select New Sequence. One of the following occurs: - If just one bin is open, or you select one of several bins and have clicked a specific bin to activate it, the new sequence appears in that bin.
Creating a New Sequence Changing the Name and Timecode for a Sequence You can rename a sequence and set a customized start timecode by using the Get Sequence Info command. You can change a sequence’s start timecode by selecting the sequence in the bin and then typing a new timecode in the Start column. You can change the default start timecodes for all new sequences by using General settings. For more information on the General settings, see “General Settings” in the Help.
Chapter 8 Creating and Editing Sequences Understanding Track Display for a 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 displays a default set of tracks — the master timecode track (TC1), at least one video track (V1), and at least two audio tracks (A1 and A2). You can change the initial set of tracks displayed in the Timeline for a new sequence in the Edit tab of the Timeline Settings dialog box.
Creating a New Sequence To add filler at the start of a sequence, do one of the following: t Select Clip > Add Filler at Start. t Right-click in the Timeline, and select Add Filler at Start. Filler appears at the beginning of the sequence in the Timeline. You can set a default duration for the filler in the Edit tab of the Timeline Settings dialog box. For more information, see “Timeline Settings: Edit Tab” in the Help. To add filler anywhere in a sequence: 1. Select Clip > Load Filler.
Chapter 8 Creating and Editing Sequences Making a First Edit This topic describes a basic method for adding a first clip to a sequence. You can use this method after creating a new sequence, as described in “Creating a New Sequence” on page 225. You can also use this method without creating a new sequence in advance, in which case the sequence is created as soon as you make the edit. To begin editing: 1. Load the first clip into a monitor.
Making a First Edit 4. Click the Splice-in button to add the edit to the sequence in the Source/Record monitor. The Source/Record monitor displays the end of the last frame of the new edit. (You can drag the position indicator in the Timeline or the position bar beneath the Source/Record monitor to review the clip.) The edit also generates a graphical display of the cut in the Timeline.
Chapter 8 Creating and Editing Sequences Creating an Instant Rough Cut As an alternative to creating a new sequence by editing clips one at a time, you can quickly create an instant rough cut. You do this by placing clips in order in a bin to create a storyboard, and then loading these clips directly. For additional information on editing directly from the bin into the Timeline, see “Bin Editing into the Timeline” in the Help.
Undoing or Redoing Edits Undoing or Redoing Edits You can undo or redo up to 32 previous actions listed in the Edit menu. You can quickly undo or redo a just completed command, or you can search through a submenu to undo or redo all commands leading back to a particular command. Undo/Redo commands for previous edit Prior Redo commands appear in the upper portion of the Undo/Redo List submenu. Prior Undo commands appear in the lower portion of the submenu.
Chapter 8 Creating and Editing Sequences In most cases, you perform three-point edits in which you set three marks — two in the source material and one in the sequence, or the reverse. The fourth mark is determined automatically. The way you set marks depends on the type of edit you perform. Performing an Insert or Splice-in Edit An insert or splice-in edit inserts marked source material into the sequence without replacing material already in the sequence.
Editing Additional Clips into the Sequence Performing an Overwrite Edit An overwrite edit replaces a section of the sequence with the selected source material. 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.
Chapter 8 Creating and Editing Sequences n By default, the Replace Edit button is located on the Edit tab of the Command Palette. You can use it from the Command Palette or map it to a monitor palette. For information about mapping buttons, see “Understanding Button Mapping” in the Help. 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 monitor.
Lifting, Extracting, and Copying Material Lifting Material The Lift function removes selected material from a track in the sequence and leaves black filler or silence to fill the gap. You can later move or fill this gap with other footage. When you lift material, the overall duration of the track (or sequence) remains the same. Lifted Clip X Black Filler Clip W Material is placed in the Clipboard. Clip Z Clip Y To lift material: 1.
Chapter 8 Creating and Editing Sequences To extract material: 1. Mark IN and OUT points at the start and end of the material in the sequence that you want to extract. 2. Select the tracks containing the material. The system performs the function on selected tracks only. If sync locks are on, all material on all tracks is extracted. For more information, see “Understanding the Track Selector Panel” on page 263 and “Locking and Sync Locking Tracks” on page 269. 3.
Lifting, Extracting, and Copying Material To place a marked section of the sequence into the Clipboard at any time: t Click the Lift, Extract, or Copy to Clipboard buttons. Preserving Clipboard Contents The Clipboard stores only one clip at a time. Each time you copy, lift, or extract additional material, you delete and replace the previous contents. To keep the Clipboard contents throughout a session, do one of the following: t Press the Alt key when you copy, lift, or extract the material.
Chapter 8 Creating and Editing Sequences 3. (Option) View the sequence segment as a source Timeline by clicking the Toggle Source/Record in Timeline button in the Timeline toolbar to mark and select specific tracks. 4. Locate the IN point in the sequence from which the segment was removed. Move the position indicator here, or mark an IN point. 5. Splice or overwrite the material into the sequence. Playing Back a Sequence You can play a sequence at any time to see the results of your editing.
Managing Sync Breaks To start a playback loop: 1. Mark IN and OUT points in the sequence. To play back the entire sequence, mark the IN point at the beginning and the OUT point at the end. 2. Press and hold the Alt key while pressing the Play IN to OUT key, or click the Play IN to OUT button in the Play tab of the Command palette. The playback loop begins and continues until you press the space bar or click anywhere with the mouse.
Chapter 8 Creating and Editing Sequences • When performing Segment mode edits, use the Lift/Overwrite function instead of Extract/Splice-in whenever possible. (Lift/Overwrite leaves filler behind and overwrites material at the new destination, maintaining sync in both cases.) For more information, see “Using Segment Mode” on page 256.
Managing Sync Breaks n The Sync Breaks feature applies only to master clips in which audio and video tracks were captured simultaneously, to autosynced subclips, or to any other subclip with video and audio tracks. Fixing Sync Breaks Sync breaks are displayed only when the out-of-sync tracks overlap. If an overlapping portion of one of the tracks is deleted, replaced, moved, or trimmed, the sync break disappears.
Chapter 8 Creating and Editing Sequences 244 • Use the Add Edit function to isolate a portion of the clip for moving or deleting. • Move the out-of-sync track, if possible, beyond the overlapping range with the synced material to eliminate the sync break.
Chapter 9 Using the Timeline Your Avid editing application represents each edit and effect in a graphical timeline structure to help you track and manipulate the elements of your sequence. The Timeline continuously updates as you work, displaying an extensive array of icons and information that you can customize in various ways. 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.
Chapter 9 Using the Timeline The following are a few examples: • Effects editing: If you are editing complex visuals with multiple tracks and effects, you can display Effect contents, Effect and Dissolve icons, Clip Frames, and Clip Transition Durations within enlarged video tracks in the Timeline. • Complex audio work: If you are doing advanced audio work with multiple tracks or fine-tuning difficult audio edits, you can hide video tracks and enlarge audio tracks while displaying waveform plots.
Customizing Timeline Views Using the Timeline Fast Menu You can customize the appearance of the Timeline by using various options from the Timeline Fast Menu. To use the Timeline Fast menu: t Click the Fast Menu button, and select or deselect an option from the menu. Selected options have check marks next to them. You can select some options only from submenus. You can learn about the various Timeline view options as follows: • For an overview of all Timeline Fast menu options, see the following table.
Chapter 9 Using the Timeline Timeline Fast Menu Options (Continued) Option Description Dupe Detection Enables color-coded dupe material display for V1 track; used in 24p projects and matchback projects. See “Detecting Duplicate Frames” in the Help. Color Correction Displays indicator lines to show which segments have Source or Program color correction.
Customizing Timeline Views Timeline Fast Menu Options (Continued) Option Description Zoom Back Restores the Timeline to the previous view before zoom; see “Zooming In and Out in the Timeline” on page 254. Zoom In Zooms the Timeline into a detailed view for a selected area; see “Zooming In and Out in the Timeline” on page 254. Enlarging and Reducing Timeline Tracks You can enlarge or reduce the height of one or more tracks to improve visibility and display more information within the tracks.
Chapter 9 Using the Timeline Highlighting Clips in a Mixed-Format Timeline If you are working in a timeline that mixes SD and HD resolutions, you can select an option to highlight clips that do not match the project format. For example, if you are working in an HD project, and you edit SD clips into the Timeline, the SD clips are colored yellow. Conversely, if you are working in an SD project, and you edit HD clips into the Timeline, the HD clips are colored yellow.
Navigating in the Timeline To name a Timeline view or to change a view’s name: 1. Click the View Menu button, and select Save As. View menu View Menu button The View Name dialog box opens. 2. Type a name for the view, and click OK. Replacing a Timeline View You can replace a Timeline view with a different view, while keeping the same name. n You can also change the name of a Timeline view or delete a view from the Settings list in the Project window.
Chapter 9 Using the Timeline You can also use the Video Quality Menu button in the Timeline bottom toolbar to control the quality level at which media plays back. For more information about the Video Quality Menu button, see “Real-Time Playback of Video Effects” on page 365. The following figure shows the Timeline window.
Navigating in the Timeline Using the Timeline Scroll Bar By default, the Timeline scroll bar appears on the right side of the Timeline bottom toolbar. The Timeline scroll bar functions like any standard scroll bar. You can drag the scroll slider to reposition yourself within the Timeline, or click the arrows to scroll left or right. Scroll slider Timeline scroll bar Setting the Scroll Option for the Timeline You can have the Timeline scroll over the position indicator while you play a sequence.
Chapter 9 Using the Timeline Displaying Detail in the Timeline The scale bar stretches and contracts the Timeline area centered around the position indicator. This allows you to either zoom in to focus on a specific area of your sequence or zoom out to display your whole sequence. This feature is especially useful when you have a lengthy sequence with many edits.
Navigating in the Timeline • The Zoom In and Zoom Back commands are not dependent on the position indicator. You can select any portion of the Timeline to expand and contract. To zoom in on a section of the Timeline and then zoom back to your original display: 1. Click the Timeline Fast Menu button, and select Zoom In. The pointer arrow changes to a selection bar. 2. Position the pointer at either the start or end of the place you want to zoom in on, and drag to select the section.
Chapter 9 Using the Timeline The following table describes how to use modifier keys to control Timeline movement. To snap to the head of transitions: t Press the Ctrl key as you drag either the position indicator or any segments selected in Segment mode. t Press Ctrl+Alt as you drag either the position indicator or any segments selected in Segment mode.
Using Segment Mode Selecting and Deselecting Segments You can select segments for moving or editing either by using the Segment Mode pointer or by lassoing one or more segments. Once you enter Segment mode by using either of these methods, you can continue to select or deselect additional segments. The selected segment or group of segments becomes highlighted, and remains in its original position during the move until you select its new position. To select segments with the pointer: 1.
Chapter 9 Using the Timeline Guidelines for Selecting and Lassoing Segments Observe the following guidelines when selecting segments: • You cannot simultaneously move segments that are separated along a track. You can, however, move segments separated on different tracks. • You cannot overlap the source and destination tracks. For example, you can move audio segments from A3 and A4 to A1 and A2, but you cannot move them from A3 and A4 to A2 and A3 (A3 overlaps).
Using Segment Mode Maintaining Sync in Segment Mode When you use Lift/Overwrite in Segment mode, filler is added to the sequence to maintain sync. When you move segments in the Timeline using Extract/Splice-in, the sync is broken. To maintain sync when you use Extract/Splice-in, select the Segment Drag Sync Locks option in the Edit tab of the Timeline Settings dialog box.
Chapter 9 Using the Timeline n For information on maintaining sync in the sequence when using Extract/Splice-in, see “Maintaining Sync in Segment Mode” on page 259. To perform an Extract/Splice-in edit: 1. Click the Extract/Splice-in button in the Timeline toolbar. 2. Select the segment you want to move. 3. Click the segment, and drag it to its new position. n For more control, Ctrl+click the segment and drag it to its new position.
Using Segment Mode 3. Click the segment, and drag it to its new position. n For more control, Ctrl+click the segment and drag it to its new position. This allows you to place segments anywhere within sequences, not just at the heads or tails of transitions. 4. Release the mouse button. The system lifts the selected segment from its old position, leaving black filler, and then overwrites the material onto the sequence at the newly selected location. 5.
Chapter 9 Using the Timeline To mark segments in the Timeline: 1. Click one of the Segment Mode buttons. In this case, it does not matter which Segment Mode button you click. 2. Click one or more segments to highlight a section of the sequence. 3. Click the Mark Clip button. The system marks an IN point at the start and an OUT point at the end of the selected segments. If you selected more than one track, the IN and OUT points mark where the edit points across tracks line up.
Working with Multiple Tracks Occasionally, effects editing involves a procedure known as nesting. Nesting involves stepping into existing tracks to reveal added layers for combining multiple images and digital video effects. When the effect is applied, you can step out to view and render the effect as one segment on the track. You can nest up to 24 additional tracks within each track. n For more information on nesting techniques, see “Nesting Effects” in the Help.
Chapter 9 Using the Timeline Selecting Tracks You can select tracks on the source side or the record side of the Track Selector panel to control your options for editing. For example, you might select the source and record tracks for V1, A1, and A2 to edit picture and audio from the source clip into the sequence. To edit the picture without sound, select only V1 source and record tracks. To edit the sound without the picture, select only A1 and A2 source and record tracks.
Working with Multiple Tracks To activate or deactivate monitoring for a track: t Click the Track Monitor button for the track on either the source-side or the record-side. Video Track Monitor button for V1 track Audio Track Monitor button for A1 track Audio Track Monitor button for A2 track To select a track for solo monitoring: t Ctrl+click the Track Monitor button for the selected track.
Chapter 9 Using the Timeline n If you monitor a video track that is lower than the topmost track, return monitoring to the topmost track to view, export, mix down, or record all the tracks together. Unmonitored tracks are not included in playback. Monitoring Audio Your Avid editing application allows you to monitor up to 16 audio tracks at a time.
Working with Multiple Tracks Advantages of Solo Monitoring When editing, you can isolate individual video or audio tracks for monitoring without having to deselect monitoring of all other tracks. Solo monitoring provides several advantages: • You can eliminate slow cueing and playback when working with a complex sequence by monitoring a specific track. • You can view any individual layer of a composited effect.
Chapter 9 Using the Timeline 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. When OUT points are used, the sequence backfills the duration on the clip being replaced, starting from the OUT point. 4.
Working with Multiple Tracks You can perform only one patch per edit, but there is no limit on the number of times you can patch from the same source track. Audio can patch only to audio, and video only to video. n You can also patch tracks by using the Auto-Patching option in the Edit tab of the Timeline Settings dialog box. For more information, see “Timeline Settings” in the Help.
Chapter 9 Using the Timeline The Sync Lock and Lock buttons of the Track Selector panel display a Sync Lock icon for sync-locked tracks, and a Lock icon for locked tracks. The procedure for applying the locks is different in each case.
Working with Multiple Tracks Sync Locking Tracks Sync locking affects trimming and splice-in edits. This feature is especially useful when you are working with multiple tracks and want to maintain sync between two or more tracks. n For more information on using the sync lock feature in Trim mode, see “Using Sync Lock” in the Help. To sync lock the tracks, do one of the following: t Click a Sync Lock button to activate the Sync Lock icon for each synchronized track.
Chapter 9 Using the Timeline To manage the numbering scheme of new tracks rather than use the consecutive numbering default: 1. Press and hold the Alt key and select Clip > New Video Track, New Audio Track, or New Meta Track. The Add Track dialog box opens. Track Type menu Track Number menu 2. (Option) Select the type of track you want to add (for example, a video or an audio track) by clicking the Track Type menu, and selecting that option. 3.
Working with Multiple Tracks Deleting Tracks You can remove one or more tracks from a sequence if you no longer need the tracks. To delete one or more tracks from the sequence: 1. Click one or more Track Selector buttons to select the tracks you want to delete. 2. Press the Delete key. The Delete Track(s) dialog box opens. 3. Click OK. The tracks are deleted. When you delete a track, it is permanently removed.
Chapter 9 Using the Timeline Backtiming Edits You can backtime an edit by marking your footage according to the OUT points. For more information, see “Understanding Backtiming” on page 273. To backtime an edit: 1. Mark IN and OUT points in the sequence where you want the edit to start and end. 2. Select the appropriate tracks. 3. Load the source clip in a pop-up monitor. 4. Mark an OUT point for the source clip to synchronize to the OUT point in the sequence. 5.
Chapter 10 Working in Trim Mode Basic editing of a sequence initially produces a rough cut, which is loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can 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 n You can render transition effects while in Trim mode but you cannot render segment effects. If the position indicator is on a segment effect or if the marked portion of your sequence includes a segment effect, Render menu commands and buttons are not available. The Trim Settings dialog box provides options to configure basic displays and functions when you use Trim mode.
Understanding Trim Mode Quick Trim Mode If only the Record monitor is displayed (for example, if you are reviewing the final version of a sequence), you can enter Quick Trim mode for making quick adjustments to transitions in your sequence. Like Small Trim mode, Quick Trim mode replaces the Record monitor with smaller displays of outgoing and incoming frames.
Chapter 10 Working in Trim Mode Big Trim Mode Big Trim mode replaces the Source and Record monitors with displays of outgoing and incoming frames. Big Trim mode also shows transition playback loop parameters. Big Trim mode Outgoing frames Incoming frames Playback loop parameters Trim buttons Play Loop button Frame offset counters Trim Settings Options You can customize how Trim mode works from the Trim Settings dialog box. The Trim Settings dialog box has two tabs, Features and Play Loop.
Entering and Exiting Trim Mode Entering and Exiting Trim Mode To enter Trim mode, do one of the following: t Click the Trim Mode button in the Other tab of the Command palette or on the Timeline top toolbar. By default, your Avid editing application enters Trim mode and selects the transition nearest the position indicator for dual-roller trimming. This method is useful for selecting straight-cut transitions on one track or across video and audio tracks.
Chapter 10 Working in Trim Mode t n Click the Play Loop button on a palette twice, or press the Play Loop key on the keyboard twice. When you click the Play Loop button once, the system plays the transition in a playback loop. Clicking the Play Loop button a second time stops the playback and enters Trim mode. This method is useful if you like to trim quickly as you edit, going back and forth between Trim mode and other edit modes. It takes you to the last trimmed transition.
Using Basic Trim Procedures Using Basic Trim Procedures The following topics provide basic trim procedures you can use when working in Trim mode: • Selecting Trim Sides • Selecting Video Tracks in Trim Mode • Audio Solo in Trim Mode • Selecting Additional Transitions • Performing a Basic Trim • Reviewing Trim Edits • Trimming with the J-K-L Keys • Trimming On-the-Fly • Trimming During a Playback Loop Selecting Trim Sides You can trim a transition on either the outgoing side (A-side or tai
Chapter 10 Working in Trim Mode t Use the Trim buttons or Trim keys on the keyboard to select side A, side B, or both. Trim buttons appear in the Trim tab in the Command palette. You can map these buttons to other locations, as described in “Mapping User-Selectable Buttons” in the Help. A-side B-side A- and B-side t Use the Cycle Trim Sides button to cycle between selection of the A-side, B-side, or both. t Use the Trim Counter frame indicators located below the monitors.
Using Basic Trim Procedures Audio Solo in Trim Mode Audio solo in Trim mode allows you to listen to a single audio track while trimming multiple tracks. To solo an audio track in Trim mode: 1. Click the Trim Mode button. 2. Ctrl+click the Audio Track Monitor button next to the audio track. The Audio Track Monitor button changes to green with a black Speaker icon to indicate solo monitoring.
Chapter 10 Working in Trim Mode As you move the pointer back and forth across a transition, notice that the roller icon changes from an A-side roller (facing left) to a B-side roller (facing right) to indicate the type of selection. A-side roller B-side roller You do not see the dual-roller icon within the Timeline. To select both sides, you must first select one side, and then Shift+click to select the other side.
Using Basic Trim Procedures For greater control while performing a basic trim do one of the following: t Press Ctrl+Alt as you drag one frame at a time. t Press the Ctrl key to snap to other transition points. As you trim, all selected transitions in the Timeline move in unison. The Trim counter displays the frame count backward or forward for one or both trim sides, and the monitors display the new incoming or outgoing frames.
Chapter 10 Working in Trim Mode To review footage starting from the previous transition: 1. Move the position indicator to the transition you want to review. 2. Click the Edit Review button. The position indicator moves before the previous transition and begins to play. n If you have a sequence with multiple selected tracks, the Edit Review command moves the position indicator before the first set of edits that line up on all the selected tracks. 3. To stop play, press the space bar.
Using Basic Trim Procedures 3. Use the J-K-L keys to step (jog), play, or shuttle through the footage at varying speeds: t Press and hold the K key while pressing the J or L key to step slowly backward or forward through the footage. When you find the frame where you want to relocate the transition, release the K key to complete the trim. t Press the J or L key once to play at normal speed, or more than once to shuttle at higher speeds.
Chapter 10 Working in Trim Mode 288
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. Your Avid editing application also provides several unique features that facilitate audio editing, such as audio scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between speakers.
Chapter 11 Working with Audio Overview of Audio Tools Your Avid editing application 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 capture from analog sources or output to tape.
Audio Editing Aids To switch to another tool when one of the audio tools is already open: 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 name, or click the Effect Mode Selector menu and Alt+click a new tool. To prevent confusion, your Avid editing application allows only one copy of an audio effect tool to be open at a time.
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 You have two options for scrubbing audio in either the sequence or the source material: • Smooth audio scrub: Mimics the variable pitch playback of traditional analog tape • Digital audio scrub: Takes advantage of the digital environment by sampling incoming frames, outgoing frames, or both at a normal pitch and playback rate Each type of scrub has its advantages: • Smooth scrub makes it easier to examine sound at varying speeds.
Chapter 11 Working with Audio To ensure an audio track is monitored during scrubbing: t Click the Audio Track Monitor button in the Track Selector panel for the selected track. Audio Track Monitor buttons with gold Speaker icons The Audio Track Monitor button is purple with a gold Speaker icon to indicate which tracks can be played if the system has to drop tracks during audio scrubbing. By default, the two top Audio Track Monitor buttons display the gold Speaker icon.
Audio Editing Aids • The audio is always sampled in a forward playback direction; whether you step backward or forward through the material, you hear the same audio sampling at each destination frame. Digital scrub example This entire section is sampled.
Chapter 11 Working with Audio 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 take effect. Performing Digital Audio Scrub To locate an audio edit point by using digital scrub: 1.
Audio Editing Aids To solo an audio track: t Ctrl+click the Audio Track Monitor button for the track you want to solo. Audio track selected for soloing The Audio Track Monitor button changes to green. To turn off soloing for the track: t Click the Audio Track Monitor button again. To turn off the solo feature for all audio tracks: t n Ctrl+Alt+click an Audio Track Monitor button for a solo track. You can also use the Track Solo buttons in the Audio Mixer tool to solo selected tracks.
Chapter 11 Working with Audio Your choice of plot type is a matter of visual preference: - Energy plot: Displays only the peaks of the audio amplitude in the waveform from the baseline. It is a graphical representation of the mathematical Energy Function for audio waveforms. Waveform energy plot - 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.
Audio Editing Aids t To enlarge the size of the sample plot image without enlarging its track, press Ctrl+Alt+L. This procedure is useful when you view detail in loud passages. t To reduce the size of the sample plot image without reducing its track, press Ctrl+Alt+K. This procedure is useful when you view detail in quiet passages. n You can select Show Marked Waveforms in the Timeline Settings dialog box to narrow the view of the tracks in the Timeline.
Chapter 11 Working with Audio When a sequence is in the Timeline and you press the Play button, the Audio meter displays the audio levels of the audio tracks in your sequence. n When the Audio meter is hidden, extra mappable buttons are available. For more information on mapping buttons, see “Mapping User-Selectable Buttons” in the Help. Adjusting Volume Control You can adjust your speaker or headphone volume without leaving the application. To adjust the volume control (software-only models): 1.
Audio Editing Aids To mute volume t From the Timeline, click the Master Volume button. A line appears through the button, and no audio is heard through your speakers or headphone. Adjusting Buffer Size (Software-only Models) You can use third-party host audio devices, such as a Sound Blaster® audio card, in software-only configurations of Avid editing applications. Although most host audio devices work properly within Avid applications, some exhibit problems during output (for example, audio clicking).
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 Audio Data > Sample Plot. 3. In the Project window, double-click Audio Project. The Audio Project Settings dialog box opens. 4. Click the Main tab. 5.
Using the Audio Mixer Tool Using the Audio Mixer Tool The Audio Mixer tool has three modes that allow you to perform the following tasks: • Clip Gain and Pan mode allows you to adjust the overall volume and pan values for a clip, in a bin or in the Timeline. • Automation Gain and Pan mode allows you to adjust and record volume and pan changes within a clip in the Timeline. • Live Mix mode allows you to temporarily override any existing Automation Gain and Pan settings.
Chapter 11 Working with Audio Understanding Audio Mixer Tool Controls The following illustration identifies the controls of the Audio mixer tool in Clip Gain and Pan mode, including controls that are common to all three modes. For specific information on Automation Gain and Pan mode, see “Using Automation Gain and Pan” on page 315. For specific information on Live Mix mode, see “Using Live Mix Mode” on page 323.
Using the Audio Mixer Tool The elements described in the following table appear in all Audio Mixer modes unless otherwise noted: Element Description Effect Mode Selector menu Lets you select an audio effect tool. See “Accessing Audio Effect Tools” on page 290. Audio Loop Play button Lets you adjust audio effects while looping over a portion of audio. This button is also available in the Play tab of the Command palette.
Chapter 11 Working with Audio Element Description Audio Mixer mode button Lets you select the mode for the Audio Mixer tool: • Auto (Automation Gain and Pan) • Clip (Clip Gain and Pan) • Live (Live Mix) The default mode is Clip Gain and Pan. The mode that you select is saved as a project setting. If you want to change the default mode, select the mode you want in the Audio Mixer tool, then save the Audio Project settings as a site setting. See “Using Site Settings” in the Help.
Using the Audio Mixer Tool Selecting Tracks in the Audio Mixer Tool When you select a track in the Audio Mixer tool, your Avid editing application selects the corresponding track in the Timeline. Likewise, when you select an audio track in the Timeline, your Avid editing application selects the corresponding track in the Audio Mixer tool. n A track needs to be monitored in the Timeline before you can work with it in the Audio Mixer tool.
Chapter 11 Working with Audio The following table describes how to interpret the position indicator lights. Colors Description Both lights are blue. The fader matches the current Timeline volume. Only top light is blue. The fader is higher than the Timeline volume. Only bottom light is blue. The fader is lower than the Timeline volume. Both lights are gray. Either there is no fader controller or mixer attached to the system or the Avid system does not recognize the fader controller or mixer.
Using Clip Gain and Pan Mode • Adjust the volume, pan, or both for multiple tracks simultaneously by ganging them together. The system uses these adjustments for all playback, including output to a digital cut. n For additional information on audio levels for digital cut output, see “Preparing for Audio Output” on page 455. When the Audio Mixer tool is in Clip Gain and Pan mode, you can adjust the volume and pan values for entire clips only.
Chapter 11 Working with Audio 4. Select Clip Gain and Pan mode by doing one of the following: t Click and hold the Audio Mixer mode button, and select Clip Mode from the menu. t Click the Audio Mixer mode button and cycle through the Audio Mixer mode settings to Clip. 5. In the Audio Mixer tool, select the audio track to be adjusted by doing one of the following: t Click the Track Selection Menu button for the appropriate audio track.
Using Clip Gain and Pan Mode t Click the Level slider, and then drag the slider to a new position. t Alt+click the Level slider to reset the value to 0 dB. Volume Level display Click Gang buttons to gang multiple tracks. Audio Level slider Pan Value display 8. Decide if you want to adjust pan values. To adjust the pan values in a mix pane, do one of the following: t Click the Pan Value display to reveal the pop-up slider, and then drag the slider to a new position.
Chapter 11 Working with Audio Using the Audio Mixer Fast Menu in Clip Gain and Pan Mode The commands that are displayed in the Fast menu of the Audio Mixer tool vary, depending on the types of points you set within the clip or sequence, as follows: n n • With IN and OUT points: Commands apply adjustments to selected tracks between the points. • With an IN point (no OUT point): Commands apply adjustments to full clips from the IN point to the end of selected tracks.
Using Clip Gain and Pan Mode Command Description Remove Clip Gain on Removes clip gain or pan values from the marked regions of selected Track, Remove Pan on tracks. Track Remove Pan/Vols on Track n Deletes all audio mix adjustments that have been applied to segments in the marked regions of selected tracks. Each audio clip is restored to its default pan and volume settings.
Chapter 11 Working with Audio To modify the way the system interprets pan during playback: t Set the default pan values in the Audio Settings dialog box, which you access from the Settings list in the Project window. By default, the audio tracks for clips alternate with track 1 on the left speaker and track 2 on the right speaker for monitoring and output. The All Tracks Centered option instructs the system to center the pan of all tracks between the two speakers for monitoring and output.
Using Automation Gain and Pan Using Automation Gain and Pan Automation gain and pan 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. If you expand the audio tracks enough, volume data is displayed. The following illustration shows the expanded audio track with volume data. 4.
Using Automation Gain and Pan 5. Adjust the automation gain or automation pan keyframes by doing one of the following: t Click a keyframe and drag it up or down to increase or decrease the gain or pan at that point. If there is a point at the same position on another enabled track, it moves also. When you move the keyframe up or down, the corresponding Volume Level slider or Pan Value slider in the Audio Mixer tool also moves.
Chapter 11 Working with Audio Understanding Automation Gain and Pan Mode This topic describes controls in the Audio Mixer tool that are active only in Automation Gain and Pan mode. The following illustration shows the Audio Mixer tool controls that are active only in Automation Gain and Pan Mode. Cancel button Record Status light Preroll and Postroll text boxes Record button Audio Mixer mode button External fader controller or mixer position indicators Volume slider areas are blue in Auto mode.
Using Automation Gain and Pan • Preroll text box: Allows you to provide a visual cue before the recording begins. The Avid system backs up the blue position indicator for the prescribed number of seconds. • Postroll text box: Allows you to provide the same kind of visual cue at the end of the recording.
Chapter 11 Working with Audio 4. Click the Timeline Fast Menu button and select Audio Data > Auto Gain or Audio Data > Auto Pan. n If there is automation gain or automation pan data on a clip and Auto Gain or Auto Pan is not chosen from the Timeline Fast menu, the system displays a pink triangle on the clip to indicate that automation data is present but not displayed. 5. (Option) Expand the audio track by pressing Ctrl+L. 6.
Using Automation Gain and Pan Using the Audio Mixer Fast Menu in Automation Gain and Pan Mode The commands that are displayed in the Fast menu of the Audio Mixer tool vary, depending on the types of points you set within the clip or sequence, as follows: n • With IN and OUT points: Commands apply adjustments to selected tracks between the points. • With an IN point (no OUT point): Commands apply adjustments to full clips from the IN point to the end of selected tracks.
Chapter 11 Working with Audio Command Description Adjust Auto Gain/Pan on Track Opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks. For example, if you type –1 in the Gain Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks are lowered by exactly 1 dB when you click OK.
Using Live Mix Mode Using Live Mix Mode Live Mix mode allows you to temporarily override existing Automation Gain and Pan settings that are currently applied to a sequence. The most common way to use Live Mix mode is with a Digi 002 or Command|8 attached as a control surface. When you use an external controller you can play the audio and override existing automation gain and pan settings in real time.
Chapter 11 Working with Audio Using an External Controller in Live Mix Mode You can use a Digi 002 or Command|8 as an external controller in Live Mix mode. To use the Digi 002 or Command|8 as a control surface in Live Mix mode: 1. Connect and configure the control surface. For more information, see “Using the Digi 002 and Command|8”. 2. Double-click Controller Settings in the Settings list and make sure that the Controller, Port, and Gain Controller Port options identify the controller you are using.
Using Live Mix Mode The following illustration shows the layout of the Command|8 and identifies the controls discussed in this section. Command|8 Control Surface Console/channel view section (contains a pan knob for each track) Transport and Navigational controls Fader Section Mix button 4. Do one of the following to enter Live Mix mode in the Audio Mixer tool: t Click and hold the Audio Mixer Mode button and select Live Mix Mode from the menu.
Chapter 11 Working with Audio For information on using controllers in Automation Gain and Pan mode, see “Working with Audio:Advanced” in the Help. Using Live Mix Mode Without an External Controller You can use Live Mix mode without an external controller but you cannot change the volume or pan sliders in real time. To use the controls in the Audio Mixer tool: t Move the volume sliders or change the pan settings, and then play the audio.
Using Live Mix Mode The Audio Mixer tool Fast menu provides the following options in Live Mix mode: n • Set Live Mix to Default: Sets the active tracks to 0 dB and does not modify any existing automation gain keyframes. • Set Live Mix to Automation: Sets the Live Mix mode settings to match the gain and pan settings where each track crosses the Position bar in the Timeline.
Chapter 11 Working with Audio The following illustration shows a sequence in the Timeline with Automation Gain applied. The following illustration shows the result after choosing Set Live Mix to Automation In/Out from the Audio Mixer Fast menu. The portion of the Timeline between the IN and OUT on Track A1 is changed to 0 dB and the same portion of Track A2 is changed by -45 dB to match the Live Mix settings.
Fine-Tuning Audio Transitions To isolate clip portions for adjustment: 1. Find the start of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker. 2. Select the appropriate track in the Track Selector panel. 3. Click the Add Edit button. This places an edit where the position indicator is parked. 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.
Chapter 11 Working with Audio To apply a fade or crossfade: 1. Move the position indicator to a transition. 2. Click the Fast Menu button under the Source/Record monitor. The Tool palette opens. 3. Click the Quick Transition button. The Quick Transition dialog box opens. 4. Make sure Dissolve is selected in the Add menu at the top of the Quick Transition dialog box Only dissolves work with audio tracks. 5. Click the Position menu, and select the location for the dissolve.
Fine-Tuning Audio Transitions 6. Select a duration for the dissolve by doing one of the following: t Type a duration, measured in frames (30 frames equals 1 second of NTSC footage; 25 frames equals 1 second of PAL footage), in the Duration text box. t Click either the left or right edge of the Dissolve Effect icon, and drag it to change the duration.
Chapter 11 Working with Audio Dipping Audio For an overview of when to use clip gain and when to use automation gain, see “Adjusting Clip Gain and Pan Values: Advanced” in the Help. To dip audio from a higher level to a lower one — for example, when bringing music down and under a voice-over track, use the procedures described in “Using Automation Gain and Pan” on page 315 or use the following procedure. To apply a dip in audio: 1.
Mixing Down Audio Tracks Changing the Audio Sample Rate for Sequences and Audio Clips You can change the sample rate for sequences and audio clips from within the Change Sample Rate dialog box. Because you can combine clips with 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.
Chapter 11 Working with Audio 3. Mark an IN point and an OUT point at the start and end of the material you want to mix down. If you do not mark the section of audio you want to mix down, the system mixes down all of the selected audio tracks. 4. Select Clip > Audio Mixdown. The Audio Mixdown dialog box opens. The top area of the dialog box displays the source audio tracks and the start and end timecodes for the section of audio you have selected to mix down.
Chapter 12 Working with Effects Your Avid editing application offers many effects that you can apply to your sequences.
Chapter 12 Working with Effects Types of Effects The effects available in Avid editing applications can be divided into a number of categories, which are described in the remainder of this section. It is important to understand that there is considerable overlap within these categories. For example, Timewarp effects are one of the main types of motion effects available in Avid editing applications, but they are also examples of segment effects.
Types of Effects Title Effects Title effects contain text and graphic objects that you create with one of the title tools available in your Avid editing application. Title effects are saved into bins as a special clip type, and are edited onto their own layers in a sequence, usually above all other video layers. For information on title effects, start with the chapter “Working with Titles” on page 387. 2D Effects and 3D Effects Effects in Avid editing applications can be either 2D or 3D.
Chapter 12 Working with Effects Motion Tracking and Stabilization Effects Motion tracking allows you to track the motion of an area in an image and then use the tracking data to control the motion of another effect. You can also use tracking to stabilize an image to compensate for camera motion. For more information, see “Motion Tracking and Stabilization” in the Help.
Types of Effects Effects Creation Tools The following illustration provides a visual overview of the basic tools used to create effects. Sources of effects: Effect Palette Motion Effect dialog box Title tool Apply transition and segment effects directly to tracks. Effects editing: Edit effect clips into the Timeline. Title and some motion effects appear first as clips in the bin. Effects adjustment in Effect mode: Effect Editor: Allows you to adjust effect parameters.
Chapter 12 Working with Effects Real-Time Effects and Non-Real-Time Effects Effects in Avid editing applications can be either real-time or non-real-time. A real-time effect is an effect that you can apply to a sequence and play without having to render it first. Rendering is a processing operation that your Avid editing application performs to merge effect layers, creating one stream of digital video for playback in real time.
Types of Effects If you attempt to play or output a sequence that your Avid editing application cannot play in real-time, you can display information in the Timeline that shows where the demands of the sequence are preventing successful real-time play. For more information, see “Understanding Real-Time Playback Information in the Timeline” on page 366.
Chapter 12 Working with Effects Understanding the Effect Palette The Effect Palette is a window that lists all transition and segment effects, and some motion effects, that are available for your editing application. The Effect Palette is the primary tool that you use to apply effects to your sequences. For information on accessing the Effect Palette, see “Displaying and Adjusting the Effect Palette” on page 342. The left side of the Effect Palette displays a list of effect categories.
Applying Effects To display effect templates saved to a bin in the Effect Palette: 1. Open the bin containing the effect templates. 2. If the Effect Palette is not already open, in the Project window, click the Effects tab. Effect templates Effect category list Bin name containing effect templates 3. Click the bin name below the effect category list to view the effect templates in the bin.
Chapter 12 Working with Effects You can apply effects either to transitions (the cut points between two video segments) or to segments. Most effects are only suitable for one of these applications, so, for example, you cannot apply every effect in the Effect Palette to a transition. For more information on the use of an individual effect, see the reference information for the effect in “2D Effects Reference” and 3D Effects Reference” in the Help.
Applying Effects 4. Release the mouse button when you have lassoed all the transitions you want. Your Avid editing application highlights the transitions that you selected, and the position indicator moves to the first transition. 5. If the transitions where you want to apply the effect are not contiguous, Shift+click any transition to deselect it. 6. In the Effect Palette, double-click the icon for the effect that you want to apply to the transitions.
Chapter 12 Working with Effects 4. Release the mouse button. The segments that you selected are highlighted. 5. If the segments where you want to apply the effect are not contiguous, Shift+click a segment to deselect it. 6. In the Effect Palette, double-click the effect’s icon that you want to apply to the segments. The effect is applied to the highlighted segments in the Timeline. Using the Fade Effect Button You can use the Fade Effect button to fade segment effects quickly and easily.
Applying Effects n The Fade Effect button appears in the FX tab of the Command palette. You can map the Fade Effect button to another location. For more information, see “Mapping User-Selectable Buttons” in the Help. The Fade Effect dialog box opens. 3. In the Fade Effect dialog box, type the number of frames to fade up and fade down, and click OK. You can immediately view the Fade effect by playing the segment or segments.
Chapter 12 Working with Effects n The Quick Transition button appears on the Tool palette, in the Timeline top toolbar, and in the FX tab of the Command palette. For more information, see “Using the Tool Palette” in the Help, “Displaying the Timeline Top Toolbar” on page 334, and “Using the Command Palette” in the Help. The Quick Transition dialog box opens.
Applying Effects 4. Set the transition duration by doing one of the following: t Type the duration in frames in the Duration text box. t Click either the left edge or right edge of the Dissolve Effect icon and drag it to change the duration. For more information, see “Understanding the Graphical Display in the Quick Transition Dialog Box” in the Help.
Chapter 12 Working with Effects 6. If you click the Dissolve Effect icon and drag it, the Position menu changes to Custom. Indicate where the effect is to start — that is, how many frames before the cut you want to include in the Dissolve. Do one of the following: t Click near the middle of the Dissolve Effect icon and drag it to dynamically change the number of frames.
Deleting Effects in a Sequence Deleting Effects in a Sequence You can delete transition effects from a sequence in editing mode, Trim mode, or Effect mode. You can delete segment effects in editing mode or Effect mode. Use the following procedures to either delete a single effect from a sequence or delete effects in multiple segments. To delete a single effect: 1. Move the position indicator to the Timeline segment containing the effect’s icon. 2.
Chapter 12 Working with Effects To delete multiple transition effects: 1. In Effect mode, Shift+click each transition effect you want to delete. 2. Do one of the following: t Click the Remove Effect button. t Press the Delete key. To delete multiple segment effects: 1. If you are not in Effect mode, click one of the Segment Mode buttons (the Extract/Splice-in button or the Lift/Overwrite button) below the Timeline. 2. Shift+click each segment that contains a segment effect to be deleted. 3.
Adjusting Effects To automatically size an effect to fit the media: t Click Size To Fit in the Insufficient Source dialog box. The application sets the duration of the effect to fit the available media. If you have selected an alignment, the application attempts to preserve it. To change the alignment or duration of the transition effect, see “Applying a Dissolve Effect Using the Transition Parameters” in the Help.
Chapter 12 Working with Effects Understanding Effect Mode The following illustration shows the main components of Effect mode, the Effect Editor and the Effect Preview monitor. Effect Editor Effect Preview monitor Each property of an effect that you can control is known as an effect parameter. For example, a Picture-in-Picture effect has a Position parameter that controls where the picture-in-picture is located on the screen.
Adjusting Effects For more detailed information on the Effect Preview monitor, see “Understanding the Effect Preview Monitor” in the Help. Making Basic Effect Adjustments This topic describes a general procedure for selecting and adjusting effects, including some simple examples of types of adjustments. When you need more detailed information than this procedure provides, you can use the Help.
Chapter 12 Working with Effects t Select an alignment option for a transition effect by clicking the Transition Effect Alignment button in the Effect Editor and selecting an option from the menu. t Define a custom duration for a transition effect by clicking in the Transition Effect Duration box in the Effect Editor, typing a duration, and pressing Enter. Moving Through an Effect The position bar in the Effect Preview monitor represents only the length of the currently selected effect.
Working with Effect Templates n n You can save a segment effect with its source media, which is useful when you want to save an imported PICT file or Matte Key clip for future editing into a sequence. Press and hold the Alt key while you drag the effect icon from the Effect Editor to a bin. Title effects are saved with the source media by default. If you press and hold the Alt key while dragging the icon, you create a keyframe-only template.
Chapter 12 Working with Effects 4. Click the effect template icon in the bin or in the Effect Palette, and drag it to the specific parameter group in the Effect Editor. c Do not drag the effect template through the Timeline because this deselects the effect. The application applies the effect template only to the effect parameter group you selected. New position parameters Working with Keyframes You use keyframes to change the appearance and behavior of an effect over time.
Working with Keyframes Standard keyframe indicators appear as triangles in the position bar of the Effect Preview monitor when you select an effect and the Effect Editor is active. Before you make any keyframe changes to an effect, you see the default starting and ending keyframes at the ends of the position bar (both are pink, indicating that they are both selected).
Chapter 12 Working with Effects To select all keyframes in the effect’s position bar, do one of the following: n t Press Ctrl+A. t Press and hold Ctrl+Alt, and click one keyframe indicator. For a quick way to jump to the next or previous keyframe indicator, use the Fast Forward and Rewind buttons on the Effect Preview Monitor toolbar. Moving a Standard Keyframe After you have created a standard keyframe, you can move it to another position in the position bar below the Effect Preview monitor.
Working with Keyframes Copying and Pasting Standard Keyframe Parameters You can copy and paste parameters from one standard keyframe and apply them to another standard keyframe. You can also copy keyframe parameters from one effect to another effect. To copy and paste standard keyframe parameters: 1. Click one keyframe indicator in the position bar below the Effect Preview monitor whose parameters you want to copy. 2. Select Edit > Copy. 3.
Chapter 12 Working with Effects Playing Effects There are several situations where you need to play effects: • While you are adjusting effects in Effect mode, you might want to play an individual effect to check its look. Depending on your needs, you might want to see the effect playing in real time and at high quality, or you might be able to accept playback at lower quality or in less than real time. Alternatively, you might only need to play an outline preview of the effect’s movement.
Playing Effects To play an effect in a continuous loop in Effect mode: 1. Move the position indicator in the Timeline to the effect you want to play. 2. Click the Play Loop button. Play begins at the start of the effect and continues until you press the space bar. To play an outline preview of an effect in Effect mode: 1. In the Timeline, select the effect. 2. In the position bar of the Effect Preview monitor, move the position indicator to the location where you want play to begin. 3.
Chapter 12 Working with Effects Understanding Render On-the-Fly for Effect Preview When you want to preview effects in a sequence, you can use the Render On-the-Fly feature to control how your Avid editing application displays a monitored frame to which one or more effects have been applied. When Render On-the-Fly is selected, you can step through your sequence and preview any frame to check the look of the effects applied to it, regardless of the type or number of those effects.
Real-Time Playback of Video Effects To interrupt Render On-the-Fly, do one of the following: t Drag the position indicator in the Timeline. While you are dragging, the sequence appears in the Composer monitor as it would if Render On-the-Fly were not selected from the Special menu. t If you click in the Timeline and rendering begins, quickly move to another location in the Timeline. This interrupts the rendering process until you release the mouse button.
Chapter 12 Working with Effects still be able to get a useful sense of how your effects will look once they are rendered. If the application is having more difficulty, it is less likely that you will be able to judge the look of the effects. You have a number of options for controlling how real-time effects playback operates. These are described in “Controlling Real-Time Effects Playback” on page 368.
Real-Time Playback of Video Effects If you find that your playback information often includes blue bars, it is likely that replacing your media disks with faster drives will improve your Avid editing application’s ability to play back effects in real time. Turning Playback Performance Indicators On or Off You can control whether playback performance indicators appear in the Timeline from the Timeline Settings dialog box. To turn playback performance indicators on or off: 1.
Chapter 12 Working with Effects Controlling Real-Time Effects Playback When your Avid editing application is unable to maintain real-time playback of an effects sequence, there are a number of ways you can attempt to ensure that the sequence plays back successfully in real time. • If possible, start playback earlier in the sequence, before the effects that are causing difficulties begin.
Real-Time Playback of Video Effects • Reduce the number of real-time streams. In some circumstances, reducing the number of real-time streams that the application uses for playback can improve performance. For more information, see “Limiting the Number of Real-Time Streams” on page 371. • Optimize your drive striping. Proper drive striping increases the speed at which the application retrieves media.
Chapter 12 Working with Effects n You can also set the 10-bit Playback option in the Video Display Settings dialog box, which you access from the Settings tab of the Project window. Prefilling the Video Display Buffer In the Video Display Settings dialog box, you can specify the number of seconds that the Avid editing application delays before it begins playback. During this time, the application processes frames in advance and stores them in the video display buffer.
Real-Time Playback of Video Effects If you select OpenGL software, these effects are displayed at high quality, but they are not displayed in real-time, and thus need to be rendered. If you select OpenGL hardware, the effects are displayed in real-time, but at a slightly lower quality. The software implementation is selected by default, to provide higher quality for finished output. For better performance, select the OpenGL card. To select the OpenGL mode: 1. In the Project window, click the Settings tab.
Chapter 12 Working with Effects 3. In the Stream Limit text box, type the number of real-time streams you want the application to use for playback. By default, this dialog box displays the maximum number of streams supported by your Avid editing application. 4. Click OK. Playing Effects Back at Different Video Qualities The Video Quality Menu button in the Timeline bottom toolbar allows you to switch the quality (display resolution) of the video playback.
Basics of Effects Rendering To prepare a sequence for output to a digital cut, switch to Full Quality mode and use ExpertRender, see “ExpertRender” on page 378. n For existing software-only customers, the blue-dot mode feature to turn off and on real-time effects has been replaced with the Realtime Encoding feature. For more information, see “Playing Back to a DV Device” on page 208.
Chapter 12 Working with Effects The key to rendering quickly is to render only those effects that require it. With vertical and nested effects, for example, you do not have to render every layer to play the effect in real time. If the top track covers the entire duration of the tracks below, the Avid editing application renders the composite result of all tracks into the top track.
Basics of Effects Rendering 4. Click OK. If there is not enough room on the drive, your Avid editing application displays a message box that gives you the following choices: - Stop: Stop the rendering process and return to the Render Effect dialog box, and then select another drive before continuing. - Continue: Attempt to render the effect anyway, in case there might be enough room on the drive. The effect is rendered, and a precompute master clip is stored on the drive you selected.
Chapter 12 Working with Effects 5. Click OK. If there is not enough room on the drive, your Avid editing application displays a message box that gives you the following choices: - Stop — Stop the rendering process and return to the Render Effects dialog box, and then select another drive before continuing. - Continue — Attempt to render the effects anyway, in case there might be enough room on the drive. Your Avid editing application renders all effects at the position in the Timeline.
Basics of Effects Rendering 4. Click the Drive button, and select a drive on which to store the rendered effect. The Effect Source Drive is the drive where the media on the outgoing shot of a transition resides. 5. Click OK. Your Avid editing application renders all effects between the IN and OUT points. n If the drive is near capacity, a message box opens and warns you that there might not be enough space to store the rendered effect.
Chapter 12 Working with Effects For more information, see “Rendering Effects at Position” on page 375 To rerender multiple effects using IN and OUT points: 1. Select all tracks that contain effects you want to render. 2. Mark an IN point before the start of the first effect to be rendered in your sequence; mark an OUT point after the last effect to be rendered. 3. Hold down the Shift key and select Clip > Render In/Out. n You can also rerender effects using the shortcut menu Render commands.
Basics of Effects Rendering For example, the following sequence includes seven effects on two tracks. If you use the Render In/Out command on this material, you render all seven effects. If you use the ExpertRender In/Out command on the material, the ExpertRender analysis recommends rendering only the three effects on the top track. Sequence with seven effects. Results of an ExpertRender analysis of this sequence.
Chapter 12 Working with Effects playback attempt. These are the regions marked by red indicators in the timecode track of the Timeline. For more information, see “Understanding Real-Time Playback Information in the Timeline” on page 366. • n If you are ready to output your sequence, for example, by performing a digital cut to tape, you can use the ExpertRender In/Out command and select the Prepare for Digital Cut option to determine which effects need to be rendered for successful output.
Basics of Effects Rendering 4. Click the Drive button, and select a drive on which to store the rendered effects. The Effect Source Drive is the drive where the media for the outgoing shot of the first transition resides. 5. Do one of the following: t Click Cancel. Your Avid editing application removes all ExpertRender highlighting and cancels the ExpertRender process without rendering any effects. t Click Modify Selection.
Chapter 12 Working with Effects To render effects using ExpertRender after a real-time playback attempt: 1. Select all tracks in the Timeline that contain effects you want ExpertRender to analyze. 2. Mark IN and OUT points around the material you want ExpertRender to analyze. If your sequence contains complicated effects and multiple layers, the IN and OUT points you mark might include parts of the Timeline marked by red indicators in the timecode track.
Basics of Effects Rendering The message in the Expert Render dialog box changes to indicate the number of effects that ExpertRender has identified for rendering across the entire selection. Using this option renders all the effects necessary for successful real-time playback of the marked region of the Timeline. t If you are preparing for a digital cut, select Prepare effects for Digital Cut.
Chapter 12 Working with Effects t Click OK. Your Avid editing application renders the highlighted effects. n n If the drive is near capacity, a message box opens and warns you that there might not be enough space to store the rendered effect. You can click Stop to stop the rendering process and return to the Expert Render dialog box, and then select another drive before continuing.
Basics of Effects Rendering 4. When you are satisfied with your selections, click the Render Effect button in the Effect Editor or in the Tool palette. The Render Effect dialog box opens. n To prevent the Render Effects dialog box from opening, press and hold the Alt key when you click the Render Effect button. Your Avid editing application will use the last drive selected and you will not need to follow the remaining steps in this procedure. 5.
Chapter 12 Working with Effects Considerations When Using ExpertRender When you work with ExpertRender, you should be aware of the following aspects of its operation: 386 • ExpertRender operates on all selected tracks in the Timeline, including any enabled tracks that might be above the currently monitored track. To view the material that you are submitting to ExpertRender accurately in the Source/Record monitor, make sure that you are monitoring the topmost selected track in the sequence.
Chapter 13 Working with Titles You can create titles in your Avid editing application using either of two title tools, the classic Avid Title tool or the Marquee® Title tool. Titles can incorporate text, graphic objects, imported graphics, and video. The following sections provide basic information on using the Title tool to create titles, and on editing titles (whether created in the Title tool or in Marquee) into sequences.
Chapter 13 Working with Titles • Removing a Title • Replacing a Title • Fading a Title For advanced information about working with titles, see “Creating and Editing Titles” in the Help or in the Avid Advanced Effects Guide. Throughout this chapter, the term “title” refers to both text and graphics, the classic Avid Title tool is referred to as the Title tool, and the Marquee Title tool is referred to as Marquee.
Using Marquee 3. Do one of the following: t To use Marquee, click Marquee. Marquee opens. For information on Marquee, see “Using Marquee” on page 389. t To use the Title tool, click Title Tool. The Title tool opens. The Text tool is automatically selected, and the pointer becomes an I-beam, ready for entering text. n For the current session, if you know you want to create only Marquee titles or only standard titles, select Persist before you click Marquee or Title Tool.
Chapter 13 Working with Titles Workflow for Creating Titles The following is an overview of the tasks you perform to create a title: • Set up the drawing environment. After you open the Title tool, you can choose whether to display a color background or a frame of video from your sequence. You can also use safe colors or safe title and action guidelines or apply a grid for the placement of objects. • Create a new title with the Title tool.
Understanding the Title Tool Understanding the Title Tool The following illustration shows a title over a video background. Safe action area Safe title area Video background Title object Toolbar The Title tool has several major components: • A video background based on a sequence or a color background that you create. For more information, see “Selecting a Background for Titles” on page 394. • The title or graphic in the foreground that you create.
Chapter 13 Working with Titles Using the Selection and Text Tools The Selection tool and the Text tool are the two most frequently used tools in the Title tool. You use the Selection tool when selecting and adjusting whole objects in a title (whole pieces or text or graphic objects). You use the Text tool when you create or edit text content. Text tool Selection tool To select a single object: t Click the Selection tool, and then click an object. Selection handles appear around the object.
Setting Up the Drawing Environment To use the Selection tool temporarily when another tool is active: t n Press and hold the Ctrl and Alt keys. After you use a tool in the toolbar, the Title tool reverts to the Selection tool, and the pointer becomes an arrow. To prevent a tool from automatically reverting to the Selection tool, double-click the tool’s icon.
Chapter 13 Working with Titles • When you click a text object for editing, the Title tool displays the text without antialiasing. When you finish editing the text and click outside the object to deselect it, the Title tool restores the anti-aliased preview. Displaying Safe Title and Safe Action Guidelines in the Title Tool By default, the Title tool displays two outlined boxes to use as guidelines. The inner box is the safe title area.
Creating Text To update the video background: 1. Click the Video Background button in the toolbar to activate video background if you have not already done so. 2. Load the sequence into the Source/Record monitor. For information about editing a sequence, see “Creating and Editing Sequences” on page 225. 3. Move the position bar in the Timeline or in the monitor to display the new frame. 4. Click again in the Title tool to activate its window.
Chapter 13 Working with Titles c Your Avid editing application limits the size of text objects you can create in the Title tool. Avoid pasting large blocks of text (numerous pages in a word processor) into the Title tool. Instead, consider pasting smaller blocks of text into separate text objects. Also, see “Page Count Limits for Rolling Titles” in the Help. To create text: 1. Click the Text tool in the toolbar. The pointer becomes an I-beam. 2. Click the position in the frame where you want to add text.
Sizing and Positioning Text Objects Sizing and Positioning Text Objects You can resize and reposition text objects by dragging directly in the Title tool. When you resize a text object, the text remains the same size but rewraps to fill the reshaped area. When you create text that is aligned on the left side using left justification (the default), you can eliminate the unused space on the right side of the newly created text object, especially if you want to use the Alignment menu commands.
Chapter 13 Working with Titles - Use the Cut, Copy, and Paste commands from the Edit menu. - Use the Delete key. - Change the formatting of the selected text, as described in “Formatting Text” on page 398. Formatting Text The text formatting tools control the appearance of text. You can click a text object with the Selection tool to format all the text within it, or you can use the Text tool to select a string of text within a text object to format individual characters or words.
Formatting Text Selecting a Font The Font Selection button displays the name of the current font for a text selection and allows you to change the font. When you first open the Title tool, the font listed is the preferred system font. Font Selection button To display all the fonts currently installed on the system: t Click the Font Selection button. To change the font: t Click the Font Selection button, and select a font.
Chapter 13 Working with Titles To change the point size, do one of the following: t Click the Point Size button, and select a standard point size from the menu. t Double-click in the text box, type a point size between 5 and 999, and then press Enter. t Click in the text box, and use the Up Arrow and Down Arrow keys to change the value incrementally. Making Text Bold or Italic The Bold button and the Italic button are located under the Point Size text box.
Formatting Text To justify the text, do one of the following: t Click the left text justification button to align text with the left side of the text object. t Click the center button to center the text. t Click the right button to align text with the right side of the text object. Understanding Kerning Kerning improves the appearance of titles by controlling the amount of space between characters.
Chapter 13 Working with Titles For information on how kerning affects text, see “Understanding Kerning” on page 401. n For individual characters or selected groups of characters, you can use only the arrow keys to adjust kerning. n You can select the kerning value before you type text. To adjust kerning manually with the arrow keys: 1. Click the Text tool in the toolbar. 2. Click between a character pair, or select a group of characters to be kerned. 3.
Creating Graphic Objects Adjusting Leading Use leading to adjust the line spacing between lines in a title. Leading is measured in points, from baseline to baseline of the lines of text. The Title tool uses the leading that is built into the font as the default. Positive leading values add space; negative values decrease space. You might want to add leading for sans serif, tall, or boldface fonts, and for fonts with a strong vertical emphasis.
Chapter 13 Working with Titles To draw a square or a rectangle: 1. Click the Square and Rectangle tool in the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create an object. n Pressing the Shift key while you drag constrains the Square or Rectangle tool to create a square. Rectangle drawn over video background To draw a circle or an oval: 1. Click the Oval tool in the toolbar. The pointer becomes a crosshair pointer. 2.
Adding Shadows to Title Objects • You can add and adjust drop or depth shadows for any title object. For more information, see “Adding Shadows to Title Objects” on page 405. • You can modify the transparency level of any title object or of its shadow. For more information, see “Adjusting the Transparency” in the Help.
Chapter 13 Working with Titles To apply shadows to text or objects: 1. Select text or an object. 2. Click the Drop and Depth Shadow button to switch between a drop or depth shadow. Shadow Depth and Direction button Shadow Depth text box Drop and Depth Shadow button 3. Adjust the depth or direction of the shadow as follows: t Click the Shadow Depth and Direction button, and drag the shadow displayed to any position.
Saving Titles You can also save the attributes of a particular title as a title style or as a title template that you can apply repeatedly to other titles or title objects, in much the same way that you can save effect templates. For more information, see “Saving and Recalling Title Styles” in the Help and “Creating and Using Title Templates” in the Help.
Chapter 13 Working with Titles Saving Multiple Titles in a Session To save multiple titles: 1. Select File > Save Title. The Save Title dialog box opens. 2. Type a name to identify the title in the bin; then select a bin, drive, and resolution from the menus. n n You must select a resolution that is compatible with the sequence. Titles do not play with incompatible media.For detailed information on mixing media resolutions in a project, see “Resolutions and Storage Requirements” in the Help.
Saving Titles Using the Fast Save Option You can use the Fast Save option to work more quickly when creating and saving multiple titles in a Title tool session. Fast Save skips the steps that create anti-aliased images from title objects. Instead, just the raw title objects (text and graphics) are saved in the bin, with the prefix “unrendered.” You can edit with the titles and then batch render them at a more convenient time.
Chapter 13 Working with Titles To revise a title in a bin: 1. Press the Ctrl key, and double-click the Title Effect icon in the bin. The title opens in the Title tool. n If the Title tool is already open, you can drag a Title Effect clip from the bin directly into the Title tool. 2. Edit the title, using the techniques described in “Editing with Titles” on page 410. 3. Save the title with the same name and media parameters (bin, drive, and resolution) by choosing File > Save Title.
Title Effect Clips in the Bin You can adjust a title that has been edited into a sequence in several ways. You can: • Adjust the effect parameters for the Title Effect, for example to alter or animate the position of the title on the screen. For more information, see “Adjusting Title Effect Parameters” in the Help. Promote a 2D title to 3D in the same way that you promote other effects from 2D to 3D. For more information, see “Promoting 2D Effects to 3D Effects” in the Help.
Chapter 13 Working with Titles Bin — Text view Title Effect clip Rendered effect (precompute) For more information, see “Managing Effect Media Files” in the Help. When you have a bin in Frame view, you can display a frame from the title itself rather than display the Title Effect Clip icon for the clip. This is especially useful if you have many titles in the bin and want a quick visual reference. To display a frame from the title: 1. Select one or more Title Effect clips. 2.
Editing a Title into a Sequence • Drag a marked title clip directly into the sequence from a bin: Mark IN and OUT points in the title clip, and then drag the title directly into the sequence. For more information, see “Dragging a Marked Title into a Sequence” on page 415. • Drag an unmarked title clip directly into the sequence from a bin: Drag the title clip directly from the bin to the location of the position indicator.
Chapter 13 Working with Titles 3. Double-click the Title Effect Clip icon in the bin to load the title clip in the Source/Record monitor. Title Effect Clip icon 4. Patch the title source to the video track in the sequence by clicking the Source Track button for track V1 in the Track Selector panel and dragging it to the Record Track button for track V2. Source Track button Record Track button n You can use any three-point editing method to edit a title into a sequence.
Editing a Title into a Sequence 6. In the sequence, mark IN and OUT points. 7. Make sure all other Record Track buttons are deselected in the Track Selector panel. 8. Click either the Extract/Splice-in button or the Lift/Overwrite button to edit the title into the sequence. The Title Effect segment appears in the top video track. Dragging a Marked Title into a Sequence To mark a portion of a title clip and then drag the marked clip directly into the Timeline: 1.
Chapter 13 Working with Titles For rolling and crawling titles, set no marks and move the position indicator to the beginning of the clip if you want to use the full roll. The application uses the position indicator to determine the IN point on rolling titles. 5. Clear the title clip from the Source/Record monitor by choosing Clip Name > Clear Monitor. 6. Click either the Extract/Splice-in button or the Lift/Overwrite button, depending upon how you want to insert the Title effect. 7.
Editing a Title into a Sequence 2. (Option) Select Clip > New Video Track. The application adds the next video track for the sequence to the Timeline. For example, if the sequence includes only V1, the application adds V2. 3. Move the position indicator to the location where you want the Title effect to begin. 4. Click either the Extract/Splice-in button or the Lift/Overwrite button, depending upon how you want to insert the Title effect. 5.
Chapter 13 Working with Titles 3. Select either the head or the tail of the title segment for trimming. 4. Trim the title segment to the duration you want by using standard trim procedures. The entire roll or crawl plays back within the new duration. c If you trim your rolling title very short, it scrolls very fast and cannot display in real time; it must be rendered. The maximum speed for an unrendered rolling title is one screen per second. Removing a Title To remove a title segment: 1.
Fading a Title Fading a Title You can use the Fade Effect button to fade a title. A dialog box opens that allows you to enter the number of frames to fade up and fade down without opening the Effect Editor. Rather than adding Dissolve effects that require rendering, you can use the Fade Effect button to quickly create keyframes in the title with the proper level settings for playback in real time. You can access the keyframes in the Effect Editor.
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Chapter 14 Color Correction Your Avid editing application includes a comprehensive set of tools for correcting and adjusting colors.
Chapter 14 Color Correction Effect Editor. Some color correction controls look very similar to effect parameter controls, while others have a more specialized appearance suitable for precise color adjustment. For more information, see “Understanding Color Correction Mode” in the Help. You can also perform some kinds of color corrections by applying the Color Correction effect from the Image category in the Effect Palette.
Color Correction Mode Basics Avid Color Correction’s automatic correction controls are designed specifically to correct these two problems. Apart from correcting for these two problems, the two other main reasons to alter color values in your video material are: • To make the color characteristics of adjacent segments in a sequence match.
Chapter 14 Color Correction Understanding Color Correction Monitors In Color Correction mode, the monitor window contains three monitors. By default, the center monitor shows the frame at the current location of the position indicator, while the left and right monitors show the last frame of the segment preceding the current segment, and the first frame of the segment following the current segment, as shown in the following illustration.
Color Correction Mode Basics To move to the previous or next segment on the active track that does not already have a color correction applied: t Click the Go to Previous Uncorrected Shot or Go to Next Uncorrected Shot button. To remove the color correction on the current segment: t Click the Remove Effect button. To split the monitor display and show the image both with and without the correction applied: t Click the Dual Split button.
Chapter 14 Color Correction The other two available tabs (the Controls tab within the HSL tab, and the Curves tab) provide additional sets of controls. For complete information on all color correction controls and other features in the Color Correction tool, see “The Color Correction Tool,” “The HSL (Hue, Saturation, Luminance) Group,” and “The Curves Group” in the Help.
Making Basic Color Corrections To set basic AutoCorrect options: 1. Do one of the following: t In the Settings tab of the Project window, double-click Correction. t In the Color Correction window, click the Correction Mode Settings button. The Correction Mode Settings dialog box appears. First Correction menu Second Correction menu Third Correction menu 2. Click the AutoCorrect tab. 3. Click the First Correction menu and select HSL Auto Contrast 4.
Chapter 14 Color Correction 3. In the Effect Palette, click the Image category. 4. Double-click the Color Correction Effect icon. Color Match Corrections in the Curves Tab Correcting Color Automatically in the Hue Offsets Tab You can use the Automatic Color Correction buttons in the Hue Offsets tab to correct contrast and balance problems across the whole luminance range of an image.
Making Basic Color Corrections Color Match Corrections in the Curves Tab The Color Match control, which is available in every tab of the Color Correction tool, lets you match colors between one shot and another by choosing colors with an eyedropper. This section describes how to make a specific type of color match correction for adjacent shots in the Curves tab of the Color Correction tool.
Chapter 14 Color Correction 7. Select the input color (the color to be changed): a. Move the pointer over the input (left) color swatch. b. Press and hold the mouse button, and then drag the eyedropper to the area of the image in the monitor from which you want to select an input value. For example, you might select a poor skin tone that you want to change to match a better one in the adjacent image. c. Release the mouse button to complete the selection. 8.
Safe Color Basics To open the Safe Color Settings dialog box, do one of the following: t In the Settings list of the Project window, double-click Safe Colors. t In the Color Correction tool, click the Safe Color Settings button. The following illustration shows the Safe Color Setting dialog box.
Chapter 14 Color Correction The following illustration shows a typical warning indicator display. Composite (yellow) Red Luminance (white) Too high Within limits Too low Blue Green In this example, the Red and Green levels exceed limits at both the high and low end, the Composite levels exceed limits at the high end, and the Luminance and Blue levels are within limits.
Chapter 15 Exporting and Transferring Material You can export and exchange material with another system, another application, or another platform. Your Avid editing application provides tools for exporting clips and sequences in various formats or for transferring projects and media between systems.
Chapter 15 Exporting and Transferring Material Understanding Export You can export material directly from your Avid editing application to many supported file types. You can export an individual frame, a selected region of footage, or an entire clip or sequence. You can export video, audio, or both for any of the following reasons: • You can export video files for touching up or creating special effects in third-party applications or other Avid applications.
Preparing to Export a Sequence • If your sequence contains numerous video tracks, consider mixing down the tracks in advance for faster export, unless you need to preserve the multiple-track information. For more information about mixing down video tracks, see “Performing a Video Mixdown” in the Help.
Chapter 15 Exporting and Transferring Material Exporting Frames, Clips, or Sequences This topic provides the basic steps for exporting frames, clips, or sequences.
Exporting Frames, Clips, or Sequences n When you export as an OMFI or an AAF file, you do not need to select both the sequence and its source clips. Select only the sequence to export all the necessary information, including reference clips or source media. 2. Select the clip or sequence in one of two ways: t Click the monitor that displays the clip or sequence you want to export. t Click the clip or sequence in a bin. Ctrl+click to select multiple clips or sequences. 3.
Chapter 15 Exporting and Transferring Material 5. (Option) If you want to view or modify the current Export setting, or create a new one, do the following: a. Click Options to open the Export Settings dialog box. For a description of your selections, see “Export Settings” in the Help. b. To save your settings in the existing settings file, click Save. c. To create a new settings file, click Save As. The Save Export Setting dialog box opens.
Using the Drag-and-Drop Method for Export Using the Drag-and-Drop Method for Export To export a frame, clip, or sequence by using the drag-and-drop method: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 434. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 436. n You cannot use the drag-and-drop method to export ALE, tab-delimited, or sequential files. 3.
Chapter 15 Exporting and Transferring Material n • Avid Interplay Transcode service lets you transcode Avid assets from one Avid-supported resolution to another. For example, you can use the Avid Interplay Transcode service to create a low resolution version of a sequence or master clip. You can also use the Avid Interplay Auto Transcode service to automatically transcode media. • Avid Interplay Archive service provides access to archive and restore features.
Transferring Project and Media Files 6. Select the appropriate file type and options based on the descriptions in “Export Settings Dialog Box Options” in the Help. 7. Click OK. You can select this new setting whenever you export. n You can also create a new setting during the export process. See “Exporting Frames, Clips, or Sequences” on page 436. Transferring Project and Media Files This section describes how to move projects and media files between Avid editing applications.
Chapter 15 Exporting and Transferring Material The following table lists all recommended options for transferring files between systems. Options for Transferring Files Method Requirements Restrictions All Files (can be used as media drives) External SCSI drive None For compatibility information, see the Avid Drive Striping Tables, which are available by searching for “drive striping” on the Avid Customer Support Knowledge Base.
Transferring Project and Media Files n If you are using your Avid editing system in an Avid Interplay environment, you can share media files between systems. You can also use Avid Interplay Transfer to share files between workgroups. For more information, see your Avid Interplay documentation, as well as the Avid Interplay Transfer Setup and User’s Guide.
Chapter 15 Exporting and Transferring Material c Do not rename the folders named OMFI MediaFiles or Avid MediaFiles located on the media drive. The target system uses the folder names to locate the media files. 2. Select the project folder, user folder, or Site Settings file you want to transfer (the folder uses the project name or user name you provide). You do not need to copy the Statistics folder, which is located in the project folder.
Transferring Project and Media Files 7. Copy the folders or files to the appropriate folder. The folder locations might be slightly different, depending on the product and how it was installed. Ignore any Resource folders or files that appear. 8. Start the Avid application. The new project appears in the Project window. New user settings appear in the Users list. Site settings are active for all projects at the new location. c Do not open a project directly from the transfer device.
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Chapter 16 Generating Output Your Avid editing application provides tools that let you generate output for individual tracks or entire sequences to various videotape or audiotape formats.Procedures for generating output are described in the following sections: • Preparing for Output • Using the Digital Cut Tool • Understanding Passthrough For advanced information about generating output, see “Generating Output: Advanced” in the Help or in the Advanced Guide for your Avid editing application.
Chapter 16 Generating Output • (Option) Prepare for assemble editing, as described in “Enabling Assemble-Edit Recording” on page 460. • For 24p projects and 25p projects, determine your output formats, as described in “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” in the Help. • Render all non-real-time effects in the sequence, as described in “Using ExpertRender to Prepare Effects for a Digital Cut” on page 461.
Preparing for Output c Avid recommends that you use an external sync source whenever you record a digital cut to tape, or whenever the external equipment requires the Avid system to follow an external master clock. Connect the sync source to the appropriate input on the Avid DNA hardware and on the external equipment. For more information, see “Synchronizing Audio and Video Equipment” for your DNA hardware in the Help. Sync is not required for DV output. To select the sync source: 1.
Chapter 16 Generating Output Using LTC Timecode for Output You can use LTC (longitudinal or linear timecode) for output from your Avid editing application if you are using an Avid Adrenaline. The LTC OUT connector on the Avid Adrenaline provides SMPTE or EBU timecode you can use as a sync source for decks with built-in synchronizers or to stripe a destination tape. You can also use LTC to record nondrop-frame timecode for downstream encoding.
Preparing for Output Calibrating for Video Output You can calibrate for video output by using any of the following methods: c c n • Calibrating for video output by using the factory presets: You should use the factory presets if you do not have an external Waveform monitor, or if your site engineers calibrate the system as a general maintenance procedure. See “Using the Factory Preset Buttons in the Video Output Tool” on page 451.
Chapter 16 Generating Output • When you click an unlit preset button, it becomes lit (green), and the slider moves to the factory preset level for that parameter. As you adjust levels in the tool, you can switch the preset buttons between the levels you set manually and the factory preset levels. These adjustments are described in the following topic and in “Advanced Video Output Calibration” in the Help.
Preparing for Output To calibrate for video output: 1. Select Tools > Video Output Tool. The Video Output tool opens. 2. Click the SD or HD tab, depending on the project format. 3. From the Output menu, select the video signal for your output device: n - For SD, select either Component, Composite, or SVideo. - For HD, select HD Component YPbPr or HD Component RGB, depending on the connection to your output device.
Chapter 16 Generating Output The Video Output tool displays the appropriate parameters for the selected video format, as described in “Video Output Tool Settings” in the Help. 4. Display color bars for calibrating: - If you edited digital bars and tone into the sequence, go to the head of the bars and tone and click Play.
Preparing for Output 8. Select Internal, Reference, or Tri-Level from the Sync Lock menu to lock your output connection to the appropriate signal. n n Sync for output comes from the reference input (REF) or HD Tri-Level Sync input on the or from internal timing. For more information, see “Selecting the Sync Source for Output” on page 448. If you do not have separate Vectorscope and Waveform monitors, you can use the Client monitor’s “blue only” feature, if available, to adjust SC phase output.
Chapter 16 Generating Output Setting the Calibration Tone The Audio tool provides an internal calibration tone you can customize and play as a reference signal on a digital cut. You can use the recorded reference signal for calibrating the digital cut audio at another site. The default tone playback is –20 dB (digital scale) or –14 dB (Avid Mojo, Avid Mojo SDI, and software-only systems) with a 1000-Hz signal. In some cases, you might need to customize the signal.
Preparing for Output c You should leave this output level at the factory preset of 0 dB. Adjust the level only when necessary to raise or lower the overall volume, based on the headroom parameters of the record format, or for consistently overmodulated or undermodulated source material. To calibrate global output levels: 1. Double-click Audio Project in the Settings list in the Project window. The Audio Project Settings dialog box opens. 2. Click the Output tab. 3. Select Tools > Audio Tool.
Chapter 16 Generating Output - Select Direct Out to map monitored tracks directly to up to eight channels of output (depending on your hardware configuration). By default, Direct Out maps all audio tracks in numerical sequence to existing output channels. You can remap a track to any channel by clicking a Channel Assignment menu and by selecting another channel. 4.
Preparing for Output Preparing Record Tapes There are two basic methods of recording to tape: • Frame-accurate recording by using the Digital Cut tool • Manual recording by using controls on the record deck Each of these methods requires different treatment of the record tapes. Frame-Accurate Recording Frame-accurate recording involves using the Digital Cut tool to record your sequence onto either a prestriped tape (a tape with prerecorded control track and timecode) or a partially striped tape.
Chapter 16 Generating Output Recording Bars and Tone You can record a portion of bars and tone onto the tape before recording a digital cut. There are two methods of recording bars and tone to tape: • If your recording must be frame accurate, consider adding a segment of digital bars and tone to the front of your sequence, or prepare it as a separate sequence you can record by using the Digital Cut tool. For more information, see “Importing Color Bars and Other Test Patterns” in the Help.
Preparing for Output To enable assemble editing: 1. Double-click Deck Preferences in the Settings list in the Project window. The Deck Preferences dialog box opens. 2. Select the “Allow assemble edit & crash record for digital cut” option. 3. Click OK. 4. Make sure the record deck has the following settings: - The free run/rec (record) run switch should be set to record run. - The Ext (external)/Int (internal) sync switch should be set to internal.
Chapter 16 Generating Output 3. Open the ExpertRender dialog box by doing one of the following: t Select Clip > ExpertRender In/Out. t Right-click in the Timeline, and select ExpertRender In/Out. The ExpertRender dialog box opens. 4. Select “Prepare effects for Digital Cut,” and then click OK. Using the Digital Cut Tool The Digital Cut tool provides controls when you record a sequence to tape.
Using the Digital Cut Tool n n Sync for output comes from the reference input (REF) or HD Tri-Level Sync input on the Avid DNA hardware or from internal timing. For more information, see “Selecting the Sync Source for Output” on page 448. If you install your Avid editing application on a laptop computer, an Incompatible Power Scheme warning button might appear in the top right corner of the Digital Cut tool.
Chapter 16 Generating Output n Depending on the system configuration, you might need to use the deck controls in the Capture tool to review a digital cut.
Using the Digital Cut Tool • Check Decks helps to reestablish deck control if the power to your decks was off or the decks were disconnected when you opened the Digital Cut tool. If the words “No Deck” appear in the menu, you need to configure a deck in the Deck Configuration dialog box. See “Configuring Decks” on page 77. If a deck name appears in italics on the menu, the deck has lost power or has been disconnected. Click the menu, and select Check Decks to reestablish deck control.
Chapter 16 Generating Output Recording a Digital Cut to Tape (Remote Mode) Recording in Remote mode allows you to control your record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. To record a digital cut to tape: 1. Make sure you selected the appropriate device for the material you are recording. See “Selecting the Device for Output” on page 448. 2. Load a sequence into the Source/Record monitor.
Using the Digital Cut Tool 9. Click the Deck Selection menu, and select a deck. See “Selecting a Deck in the Digital Cut Tool” on page 464. 10. Select Remote in the Deck Control options area. 11. Click the menu, and select either Insert Edit or Assemble Edit. This menu appears only if you enabled assemble editing in the Deck Preferences dialog box. For more information about this option, see “Enabling Assemble-Edit Recording” on page 460.
Chapter 16 Generating Output 16. For 23.976p, 24p, and 25p projects, select an output format as described in “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” in the Help. c Make sure you connect the correct deck and black burst generator for the output format you selected (NTSC or PAL). 17. Click the Play Digital Cut button. Your Avid editing application cues the record deck, then plays and records the sequence.
Using the Digital Cut Tool 4. Do one of the following: t To ignore the starting timecode and start recording at the current location, select Ignore Time from the left menu. t To begin recording at a starting timecode, select a timecode option from the left menu. If you select one of the timecode options for which your device is not equipped, a message box appears. 5. Select other options and perform the digital cut, as described in “Recording a Digital Cut to Tape (Remote Mode)” on page 466.
Chapter 16 Generating Output 7. (Option) Select Stop on Dropped Frames.When you select this option, if the system detects a dropped frame during output, the digital cut stops. You can fix the frame with ExpertRender and then continue. For more information, see “ExpertRender” on page 378. 8. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of the digital cut. 9. Select Local in the Deck Control options area. 10.
Chapter 17 Using the NRCS Tool The Newsroom Computer System (NRCS) tool lets you use one computer to view stories and rundowns located on an Avid iNEWS™ server or on an Electronic News Production System (ENPS®) server, and to edit sequences in the Avid editing application. You use the NRCS tool to connect to an iNEWS server to access story scripts, and to edit stories on your Avid editing system.
Chapter 17 Using the NRCS Tool n • Sending and Receiving NRCS Mail (iNEWS Only) • Disconnecting from Your NRCS Server Your iNEWS or ENPS user permissions define how many of these procedures you can perform. If you are unsure of your permissions, consult your system administrator. Configuring the NRCS Tool You must configure the NRCS settings before you can connect to an iNEWS or an ENPS server.
Configuring the NRCS Tool 5. Fill in the following columns in the MOS Configuration window. - Description: Type the description of the new client; for example, Avid editor. - IP Address: Type the IP address for the Avid editing system client. - Repeater ID: Select the Repeater ID (ENPS MOS Repeater Name). To configure the running order: 1. Click the news group folder. The group folder will list the running orders. n Typically, this should be the third folder. Do not click the Rover. 2.
Chapter 17 Using the NRCS Tool The options that appear depend on the server selection. n The NRCS Settings dialog box also appears when you connect to a server if the active NRCS setting is missing a name in the Server text box. 3. Type the name of the server. 4. (iNEWS only option) If you selected the iNEWS server, type a default user name. 5. (Option) Select “Logout when NRCS Tool is closed” if you want to terminate the connection to the server every time you close the NRCS tool. 6.
Configuring the NRCS Tool 7. Click the iNEWS or the ENPS tab to make additional changes to the NRCS settings. 8. (iNEWS) Configure the Message-of-the-Day (MOTD) settings, Mail Directory, and Story Field Assignment values in the iNEWS tab as follows: n a. Decide if you want to view the MOTD or not. If so, then select if you want to view the message on every connection to the iNEWS server, or on only the first connection to the iNEWS server. b.
Chapter 17 Using the NRCS Tool e. If the heading in the Story Form is empty or is zero, you can set a default value for the duration of the new sequence. Enter the default time you want for new sequences in the Default Value text box. 9. (ENPS) Configure the Media Object Server identification (MOS ID) settings and Network Computer System identification (NCS ID) in the ENPS tab: a. n ENPS uses the MOS ID to recognize the client on the ENPS server. (This is most often the system name.
Starting the NRCS Tool Select the appropriate options for your script. For more information about options, see “NRCS Settings” in the Help. 11. Click OK to accept the NRCS settings. Starting the NRCS Tool To start the NRCS tool after it has been configured: 1. Select Tools > NRCS Tool. The NRCS tool opens. 2. Click the Connect button. The NRCS Login dialog box opens for the iNEWS server or the NRCS tool connects to the ENPS server. n A login dialog box does not appear for the ENPS server. 3.
Chapter 17 Using the NRCS Tool Understanding the NRCS Tool The following illustration shows the components of the NRCS tool that appear when the Avid editing system is connected to an iNEWS server.
Understanding the NRCS Tool The following illustration shows the components of the NRCS tool that appear when the Avid editing system is connected to an ENPS server. Connect/ Disconnect button Directory panel Story Name Mark text box IN/OUT button MOS media Production panel item Build Find Sequence Sequence button button Post To Web button Read Time display Story panel The following table describes the components of the NRCS tool.
Chapter 17 Using the NRCS Tool NRCS Tool Components (Continued) Component Server Support Description Story Name text box iNEWS and ENPS Shows the directory path and name of the story. Post To Web button iNEWS and ENPS Opens a dialog box for creating Web content from an iNEWS or an ENPS story. Directory panel iNEWS and ENPS Lists the contents of the news database you are accessing. Story form iNEWS Contains summary information about the story in predefined headings.
Using the Directory Panel NRCS Tool Components (Continued) Component Server Support Description Production panela iNEWS and ENPS Displays production information: Story panela iNEWS and ENPS • (iNEWS) Displays production cues and timing markers that have been scripted into a story. • (ENPS) Displays MOS media items and anchors read-rate markers. Displays the text of a story.
Chapter 17 Using the NRCS Tool n (ENPS only) A small green light flashes on the Disconnect button as stories are received from the server. Directory stories first display gray in the list, then display black when they are available. (iNEWS only) Send Mail button (ENPS only) Green flashes as stories display Closed directory Open directory Story 2. Do one of the following: t Double-click the story name. t Click the story name and press Enter. The story’s text appears in the Story panel.
Changing the Text Display The NRCS tool creates the shortcut, which appears in italic above the server name in the Directory panel. Shortcut Server name Removing a Shortcut to a Directory (iNEWS Only) To remove a shortcut to a directory: t Right-click the directory name, and select Remove Shortcut. The shortcut is removed.
Chapter 17 Using the NRCS Tool To alter the appearance of the text in your story: t n Select the text in the Story panel, right-click, and select a font and point size. The font and point size are saved with the current NRCS settings. They are not sent to the iNEWS or the ENPS server and apply only to the local client.
Editing Story Text (iNEWS Only) To paste cut or copied text: 1. Position the cursor in the story where you want to paste the text. 2. Right-click, and select Paste. Marking Text As Presenter Instructions (iNEWS Only) Presenter Instructions appear in red, allowing the presenter who reads the story on camera to differentiate the instructions from the actual script. Using this formatting option, you might tell the presenter that the following lines are a voice-over to accompany footage.
Chapter 17 Using the NRCS Tool Adding a Production Cue (iNEWS Only) Production cues are playback instructions for devices such as video machines, still stores, and character generators. When you insert production cues, they appear in the Production panel. In addition, a Production Cue marker appears in the story text to indicate where each production cue belongs in the story. Production Cue marker Production Cue text box To insert a production cue into your scripted story: 1.
Editing Story Text (iNEWS Only) Deleting a Production Cue (iNEWS Only) If you want to delete a production cue, you must delete the Production Cue marker, not just the text within the Production Cue text box. To delete a production cue: 1. Select the Production Cue marker in the Story panel. 2. Do one of the following: t Press the Delete key. t Right-click the marker, and select Delete. Marking Text As Machine Control (iNEWS Only) You can mark text in the Production Cue text box as Machine Control.
Chapter 17 Using the NRCS Tool To remove text formatting: 1. Select the formatted text. 2. Do one of the following: t Click the Text Underlining, the Italic, or the Bold button to deselect it. t Right-click the text, and reselect Underline, Italic, or Bold. Marking Text As Normal (iNEWS Only) If you have applied formatting to text, you can remove the formatting by marking the text as Normal. To mark text as Normal: 1. Select the text from which you want to remove the formatting. 2.
Editing Story Text (iNEWS Only) To create a loaded cue: 1. Select the clip or sequence you want to use as a loaded cue. 2. Click the file and drag it to the Story panel. Position it in the script at the point where you want the cue. A Production Cue marker appears within the Story panel, and a Clip icon and clip name appear in the Production Cue text box.
Chapter 17 Using the NRCS Tool Using a Loaded Cue (iNEWS Only) You can load clips or sequences from the loaded cues in your story. To use a loaded cue: t Click the Production Cue text box and drag it to a bin or to the Source/Record monitor. The clip or sequence appears in the bin or in the Source/Record monitor. You can then use and edit it like any other clip or sequence. n If the NRCS tool cannot find the clip or sequence, you receive an error message and the clip or sequence will not be loaded.
Building a Sequence from a Story To calculate the read time of a story: 1. Move the pointer to the Story panel. 2. Do one of the following: t Right-click, and select Select All. t Select a portion of the text with the mouse. The read time appears in the upper right corner of the NRCS tool. n If you have ToolTips enabled, the current wpm rate appears in the label for the Read Time display. For more information on ToolTips, see “General Interface Settings” in the Help.
Chapter 17 Using the NRCS Tool n (ENPS) The sequence duration is taken from the first MOS media item in the story. To build a sequence from a story: 1. Open the bin in which you want to place your sequence. 2. Do one of the following: n t Select the story in the Directory panel, and drag the story to the open bin. t Select the story in the Directory panel, right-click, and then select Build Sequence from Story. t Click the Build Sequence button.
Building a Sequence from a Story 3. (Option) If you Shift+click the Build Sequence button, a new bin will be created to hold the new sequence (named after the sequence). (iNEWS only) If there are loaded cues in the story, they will be automatically edited into the sequence.
Chapter 17 Using the NRCS Tool Consider the following when you place clips in the new sequence: • Loaded cues are processed in the order they appear in the story text. Only those that appear before the end of the text (and before the end of the sequence) will be edited into the sequence. • The placement of the Timeline position bar for each edit is determined by the read time of the text up to the anchor point for the loaded cue. The edit length is determined by the clip’s IN to OUT points.
Building a Sequence from a Story The read time of the selected text appears in the upper right corner of the NRCS tool. Story panel Mark IN/OUT button Read time 3. Click the Mark IN/OUT button. The NRCS tool places IN and OUT points in the Timeline, based on the computed read time of the selected text. IN and OUT points n You can use the Timecode pop-up menu to compare the IN and OUT points.
Chapter 17 Using the NRCS Tool Associating a Sequence with a Story In addition to using the NRCS tool to create a new sequence, you can associate an existing sequence with an iNEWS or an ENPS story. This allows you to create a video sequence in NewsCutter, and then later associate it with a story in the iNEWS or ENPS database.
Adjusting the Story Timing (iNEWS Only) Adjusting the Story Timing (iNEWS Only) You might want to adjust the story timing in cases where you will be using the Mark IN/OUT button to set IN and OUT points in the Timeline based on the story text timing. For example, if there is introductory text in a story that is not part of the sequence you will be building, when you set IN/OUT points in the sequence, then the computed times will be offset by the extra text.
Chapter 17 Using the NRCS Tool Adjusting the Story Timing with a Time Marker (iNEWS Only) Because the calculated story timing might not exactly match the required sequence or clip duration, the NRCS tool allows you to add cues that can assign a specific time to a point in the text. To add a cue that assigns a specific story time to a point in the text: 1. In the Story panel, right-click a point in the text where you want to add a Time Marker cue, and select Insert Time Marker.
Adjusting the Story Timing (iNEWS Only) For example, if part of the story has a video clip but no corresponding text, the timing of any following text will be offset. This can be fixed by adding a Time Pad cue at the point in the story where the video clip occurs (using the clip duration as the value). Time Pad cue n You must be in Edit mode to insert timing cues in a story (see “Editing Story Text (iNEWS Only)” on page 484). To add a cue that inserts a Time Pad cue at a point in the text: 1.
Chapter 17 Using the NRCS Tool 4. Click OK. A Time Pad cue appears in the story text, and a corresponding production cue appears with a plus sign (+) and the specified time value. Any read-time calculations now take the assigned time into account. Time Pad cue Read Time display Using Associated Sequences The NRCS tool allows you to locate sequences associated with NRCS stories or, conversely, to locate stories from their associated sequences.
Using Associated Sequences The NRCS tool loads the sequence into the Timeline. n If the sequence is located in an unopened bin, the NRCS tool opens the bin before loading the sequence. To locate a story associated with a sequence: 1. Select a sequence in an open bin. 2. Click the sequence and drag it to the NRCS tool. Place it in the Story Name text box. The story is loaded into the Story panel.
Chapter 17 Using the NRCS Tool Saving Changes to a Story (iNEWS Only) After you edit a story, you can save the changes by modifying the original story or by creating a new story. It is important to remember, however, that when you save a story in the NRCS tool, the story is actually saved on the iNEWS server. Therefore, use caution when saving a story because your changes might affect others using the same story. Changes cannot be saved to the ENPS server.
Using the Post to Web Feature Processing the Script Traditionally, broadcast scripts have been written entirely in uppercase letters to be displayed in a prompter. Post to Web can automatically change a story’s script to lowercase letters, with the exception of the first letter of each sentence. Additionally, Post to Web deletes text elements, such as Presenter Instructions and Closed Caption, that are designed specifically for broadcast stories.
Chapter 17 Using the NRCS Tool n Loaded cues in the script are highlighted in blue within the text box. See “Adding a Loaded Cue (iNEWS Only)” on page 488. 3. Edit the script in the Story text box. 4. (Option) Click the Lowercase button to convert the story if Post to Web does not automatically reformat the script (for example, if you did not select the Always option in the Post To Web tab in the NRCS Settings dialog box).
Using the Post to Web Feature 3. Do one of the following: t Select the text in the Story text box that you want to associate with a clip, click the Linked Clip pop-up menu, and select a clip. The selected text is highlighted in blue and becomes a link to the clip. Selected text Linked Clip pop-up menu t Select the text in the Story text box that you want to associate with a clip, right-click in the story text, and select Link > clip.
Chapter 17 Using the NRCS Tool n The Link submenu lists loaded cues and any sequences associated with your story. The menu is updated whenever you add clips to the Story text box. The selected text is highlighted in blue and becomes a link to the clip. Link submenu t Click a clip and drag it from an open bin to the Story text box. Link The link is created within the text wherever the selection cursor was located.
Using the Post to Web Feature n If you hold the Shift key down while dragging a clip from a bin, you can place the clip anywhere in the story and Post to Web ignores any selected text. Using Templates The Template tab of the Post To Web dialog box allows you to format your story with a Web-formatted template. This permits aclient or a Web designer to customize templates in response to the needs of broadcasters and viewers. Templates help in presenting a consistent look for all stories posted to the Web.
Chapter 17 Using the NRCS Tool Avid provides generic HTML templates in the following location: drive:\Program Files\Avid\Utilities\PostToWeb_Sample_Templates The Story Tag You use the Story tag and the $TEXT$ placeholder to put the text of your formatted story in a Web page. When Post to Web creates your Web page, it inserts the story where the placeholder is located in the source template. The Story tag takes the following form: < ! - - STORY format elements $TEXT$ - - > Format elements are optional.
Using the Post to Web Feature The following examples show a Text tag as it appears in a template, in template fields in the Post To Web dialog box, and in the HTML code generated by the template when Post to Web creates a Web page.
Chapter 17 Using the NRCS Tool The Clip Tag You use the Clip tag to create links to media files stored on a server. When you link a video clip to your story (see “Linking Clips” on page 504), Post to Web automatically creates a Uniform Resource Locator (URL) for the clip. The Clip tag inserts the URL into the Web page. You can also include text, such as captions, to accompany the media.
Using the Post to Web Feature Template fields in the Post To Web dialog box Label Movie clip replacing $URL$ placeholder User-supplied text replacing $TEXT$ placeholder HTML code showing the Post to Web output
Chapter 17 Using the NRCS Tool In this tag, n is an integer (1 to 9) which identifies the video format that displays in the left column of the Export Settings field in the Post tab. This number is used by a placeholder ($URLn$) inside the Clip tag to associate a video format with a specific clip. “Label” is a field name specified in the template, and it appears in the left column of the Export Settings field in the Post tab. The Videoformat tag applies to the whole template.
Using the Post to Web Feature HTML code showing the Post to Web output
For Dial-up Connection
For DSL/Cable Connection
Movie clips that replace the $URL1$ and URL2$ placeholders The Hyperclip Tag You use the Hyperclip tag to include information and formatting for any linked clips in your story.Chapter 17 Using the NRCS Tool HTML code showing the Post to Web output Format elements Movie clip that replaces the $URL$ placeholder Using a Template with Post to Web To format a story with a Web template: 1. Load a story into the Story panel. 2. Click the Post To Web button. The Post To Web dialog box opens. 3. Click the Template tab. Pop-up menu Template text box Template fields 4.
Using the Post to Web Feature t Use Windows Explorer to locate a template file. Click the template file and drag it to the Template text box. 5. Click the Text Fields tab. 6. For any display fields, click in the text the column to the right of the field name and type any text you want displayed on the Web page. Text column n The specific template you use defines which fields are displayed in the Text Fields and Video Fields tabs. 7. Repeat step 6 for each field you want to customize. 8.
Chapter 17 Using the NRCS Tool 9. Select an item in the field and do one of the following: t Click a clip and drag it from an open bin. Place it in the appropriate row. t Right-click in the Clip column, and select a clip. Clip column Shortcut menu 10. (Option) If the field has a Text column, click the column to the right of the field, and type any text you want displayed with the clip on the Web page (for example, a caption).
Using the Post to Web Feature You can also export clips through Avid editing systems with the Direct Export option. In this case, you set export options through the Export Settings dialog box. For more information on export settings, see “Exporting Frames, Clips, or Sequences” on page 436 and “Customizing Export Settings” on page 440. To post a story to the Web: 1. Load a story into the Story panel. 2. Click the Post To Web button. The Post To Web dialog box opens. 3. Click the Post tab.
Chapter 17 Using the NRCS Tool n For ProEncode formats, the Options button applies only to the QuickTime reference movie sent to ProEncode. To edit the video format settings for ProEncode output, see the Avid Interplay Media Services Setup and User’s Guide. 6. In the Image area, click the Format pop-up menu, and select a graphics format for the images associated with the video clips. 7.
Sending and Receiving NRCS Mail (iNEWS Only) Sending NRCS Tool Mail (iNEWS only) To send mail from within the NRCS tool: 1. Click the Send Mail button. The Send NRCS Mail dialog box opens. 2. Type an address in the To text box. 3. (Option) Type an address in the CC text box. 4. (Option) Type a subject in the Subject text box. 5. Type your message in the message area. 6. Do one of the following: t Click OK to send the message. t Click Cancel to close the dialog box without sending the message.
Chapter 17 Using the NRCS Tool 5. Select the mail message from the list (if there is more than one message). The mail message is displayed in the Story panel of the NRCS tool. Disconnecting from Your NRCS Server When you have finished using the NRCS tool, you should disconnect from the iNEWS or the ENPS server. To disconnect from the iNEWS or the ENPS server: t n 520 Click the Disconnect button.
Chapter 18 Working with the Avid Interplay Window The Avid Interplay Window allows you to work with clips and sequences in a shared storage environment without first checking out assets from a workgroup. When you are working in an Avid Interplay environment and you open a bin with assets stored in the Interplay database, the Avid application gets the bin contents from the database and displays the contents of the bin locally, but the application does not copy the assets to your local system.
Chapter 18 Working with the Avid Interplay Window The following topics describe how to access and to use remote assets in your Avid editing application: • Using Remote Assets • Managing Remote Assets • Editing with Remote Assets • Finding Remote Assets • Capturing Media to Interplay Folders Using Remote Assets When users collaborate, they usually do so in a project.
Using Remote Assets Mounting Workspaces on an Avid Unity MediaNetwork System If your system is connected to an Avid Unity MediaNetwork, you can mount an Avid Unity MediaNetwork workspace before you begin your editing session by using Avid Unity Connection Manager. To mount Avid Unity MediaNetwork workspaces on your system: 1. Make sure your Avid editing application is not running. 2. Click the Connection Manager icon in the Windows taskbar, and select Manage Connections.
Chapter 18 Working with the Avid Interplay Window Mounting Workspaces on an Avid Unity ISIS System If your system is connected to an Avid Unity ISIS™ media network, you can mount an Avid Unity ISIS workspace before you begin your editing session by using Avid Unity Client Manager. If you connect to an Avid Unity ISIS media network with a 100Base-T connection in a Zone 3 configuration, you can access MPEG-2 low-resolution video and MPEG-1 Layer II (or MP2) compressed audio.
Using Remote Assets Menu panel Fast menu Workspaces list Auto Mount button Mount button Mounted drive 3. In the Workspaces list, select the workspace you want to mount. 4. Do one of the following: t Click the Mount button. t Click the Fast menu, and select Mount. The Client Manager mounts the selected workspace on your client and the Mount button changes to green. The Workspaces list displays the drive or volume the workspace is mounted to.
Chapter 18 Working with the Avid Interplay Window Configuring Interplay Settings You need to specify your Interplay workgroup settings and the Interplay Server location before you can use your remote assets. For procedures on using remote assets, see “Managing Remote Assets” on page 529. Interplay Server is a Project setting, which is a setting that applies to all users working on a particular project.
Using Remote Assets 6. Click the Set button, select a folder to use as the default Interplay Root Folder for your project, and click OK. The Interplay Window uses a subdirectory within the default directory and named after the bin for checking in media to the asset manager, unless you manually drag media from a bin and drop it in a remote directory. For more information on checking in media using the drag-and-drop method, see “Checking Avid Assets In to the Interplay Database” on page 546. 7.
Chapter 18 Working with the Avid Interplay Window n You must be logged in to the Interplay database and have at least one workspace mounted to access remote assets. For information on configuring your workgroup settings and logging in to the database, see “Configuring Interplay Settings” on page 526. To open the Interplay Window: 1. If your Interplay User settings are not configured to log in when you start a project, do the following: a. In the Settings list, double-click Interplay User.
Managing Remote Assets 3. Select Tools > Interplay Window. The Interplay Window opens. Managing Remote Assets You access remote assets through the Interplay Window. This allows you to see all of the Avid assets available to your project, manage your assets, and access the Avid assets stored in Interplay folders so you can edit the clips in your sequence.
Chapter 18 Working with the Avid Interplay Window The Interplay Window lists your active content, which includes sequences, master clips, and all the media files and metadata files that are associated with them. The Media Directory panel allows you to browse and navigate to all of the shared Interplay folders on the asset manager that contain those Avid assets available for your project. The Research panel shows you the contents of the selected folders and the results of media searches.
Managing Remote Assets When you reserve a folder, the system adds a Reservation icon to the folder and sets the reservation on all of the Avid assets in the folder. The reservation protects the assets — which include sequences, master clips, and all the media files and metadata files that are associated with them — from deletion and moving. Reservation icon Only the owner of a reservation or the Administrator can remove the reservation or delete or move the contents of a reserved folder.
Chapter 18 Working with the Avid Interplay Window Understanding Restrictions Restrictions are placed on Avid assets by adding the restrictions to locators in Avid Interplay Assist. A restriction can represent material that should not be used. It might contain material that needs to be used only after rights are available on a certain date, that the organization must pay for upon use, or that has copyright requirements or other legal restrictions limiting its use.
Managing Remote Assets Reviewing Remote Assets Before making your first edit, you can review your footage and mark In and Out points. To view Avid assets in the Source monitor: 1. Open the Interplay Window and select the clip or sequence you want to view. 2. Do one of the following: t Drag the clip or sequence from the Interplay Window into the Source monitor. t Double-click the clip or sequence in the Interplay Window.
Chapter 18 Working with the Avid Interplay Window To copy clips from one folder to another: 1. In the Research panel, select the clip or sequence that you want to copy. 2. Press and hold the Ctrl key, drag the clip or sequence to the destination folder in the Media Directory panel, and release the mouse button. When you press and hold the Ctrl 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.
Managing Remote Assets n You might need to press F5 to refresh the Interplay Window display to see the updated contents of the folder or bin. Creating Folders and Shortcuts in the Interplay Window You can create folders in the Avid Interplay database to help organize your projects. You can also save time accessing remote assets you use often by creating shortcuts to Interplay folders and catalogs in the Media Directory panel.
Chapter 18 Working with the Avid Interplay Window Modifying the Display of the Interplay Window You can modify the appearance of the Interplay Window to hide the Media Directory panel or to split the tool horizontally (so the Media Directory panel and the Research panel display on the left and right sides of the tool) or vertically (so they display at the top and bottom of the tool). You can also specify which media objects you want to display in the Interplay Window.
Managing Remote Assets To sort information in columns: t Click the column heading. To reverse the sort order, click the column heading again.
Chapter 18 Working with the Avid Interplay Window Added columns appear only for the selected folder and for the current work session. If you want to use the same columns the next time you log in to your Avid editing application, you must save a custom layout, see “Using Custom Layouts for the Interplay Window” on page 541. To add columns to the Research panel: 1. Right-click a column heading and select Select Working Set of Columns. The Select Working Set of Columns dialog box opens. 2.
Managing Remote Assets Enlarging or Reducing Column Width in the Interplay Window You can enlarge or reduce the width of any column in the Research panel. When you change the size of the Frame column, the headframes increase or decrease in size. n You must enlarge or reduce all frames in the Research panel together. You cannot change the size of an individual frame.
Chapter 18 Working with the Avid Interplay Window Using the Property Merge Dialog Box If you have Write privileges in your Interplay environment, you can change several of the properties associated with assets, for example, Comments or Name. These are called writable properties. If you try to change a writable property that another user modified after you accessed the asset, the Property Merge dialog box opens.
Managing Remote Assets n You can select any combination of the versions. The versions appear in the Merged Value text box in the order in which you select them. 2. (Option) Edit the text in the Merged Value text box to create the change you want. 3. Select Submit to Server. The asset is updated with the text in the Merged Value text box.
Chapter 18 Working with the Avid Interplay Window n If you want to save changes to an existing layout, click Save Layout. The Enter Column Layout Name dialog box opens. 4. Type a name for the custom view, and click OK. The layout is saved and added to the list of layouts in the Layout menu. You can select any of the saved layouts from the Layout menu. To change to another saved layout: t n Click the Layout menu, and select a saved menu from the menu list.
Managing Remote Assets Setting the Interplay Window Display By default, the Interplay Window display all existing media objects except source clips and rendered effects. To reduce crowding in the Research panel and to display only those objects that you need to organize your project, you can display selected media objects. When you set the display for the Interplay Window, your changes affect only the media objects in the active media tab.
Chapter 18 Working with the Avid Interplay Window Media Objects Displayed in the Interplay Window (Continued) Media Object Description Motion Effects A file in the bin that references effect media files generated when you create motion effects Rendered Effects A clip that references an effect media file generated when you render an effect Groups (For MultiCamera editing) Clips containing two or more grouped clips, strung together sequentially according to common timecodes Editing with Remote Assets
Editing with Remote Assets 4. Navigate to the project containing the master clips and sequences you want to use, and click the project folder. The Interplay Window displays the Avid assets in the Interplay folder. 5. Click the asset you want to edit, and drag it to the Source monitor. The Source monitor displays the remote asset. Checking Avid Assets Out of the Interplay Database You can also move your assets from the Interplay database to a bin.
Chapter 18 Working with the Avid Interplay Window 4. Navigate to the project containing the master clips and sequences you want to use, and click the project folder. The Interplay Window displays the Avid assets in the Interplay folder. 5. Click the assets you want to check out, and drag them to your bin. The bin displays the clips and sequences.
Editing with Remote Assets When you use a menu command to check in assets, a subfolder, named after the bin, is created within the Interplay Root Folder. (For information on setting the Interplay Root Folder directory, see “Configuring Interplay Settings” on page 526.) When you use the dragand-drop method for checking in assets, you can select any appropriate Interplay folder to store your assets.
Chapter 18 Working with the Avid Interplay Window 3. Select Tools > Interplay Window. The Interplay Window opens. 4. (Option) Right-click the Projects folder in the Interplay Window, select Create a New Folder, and then type a name for the folder. 5. Do one of the following: t To check in an Avid asset, click a master clip or sequence and drop it in the folder in the Interplay Window. t To check in an Avid asset, right-click a master clip or sequence and select Check In To Interplay.
Editing with Remote Assets Automatically Checking In Avid Assets You can automatically check in media assets by setting the appropriate option in the Avid Interplay Administrator.
Chapter 18 Working with the Avid Interplay Window Working with In-Progress Clips If your Avid editing application is part of a workgroup environment managed by Avid Interplay, you can edit using in-progress clips. In-progress clips are created using Frame Chase capture capabilities, either on another Avid editing application or with a line feed or ingest device such as an Avid AirSpeed®. In-progress clips are available for viewing and for use in editing while the capture is still in progress.
Editing with Remote Assets 3. Load the clip into the Source monitor and play the clip. The clip plays in the Source monitor at the same time the media is being captured. n Portions of a clip that are not currently available display a “Capture in Progress” slide until those portions are captured. 4. Create a sequence in a bin. 5. Use standard editing techniques to build a sequence incorporating any parts of the in-progress clip that you can view in the Source monitor. 6.
Chapter 18 Working with the Avid Interplay Window • Trimming — The right-side trim limit of an in-progress clip is determined by the currently available media. When you trim an in-progress clip to the end of available media, the trim functions as if it had reached the end of the clip. As more media is captured, the trim limit increases. Performing the trim at a later time might allow more trimming as more media might become available.
Finding Remote Assets The database returns the results of any search in the Research panel, which allows you to access more detailed information about displayed assets. n You can have multiple searches running at the same time. Typically, you conduct database searches for Avid assets based on their associated attributes.
Chapter 18 Working with the Avid Interplay Window Interplay Window — Search Attributes (Continued) Attribute Options Description Category Weather Sports Local News Politics International Allows you to specify which category to search. The specific categories listed for this attribute are defined by the system administrator.
Finding Remote Assets 2. In the Text field, type a search term. You can specify words or characters for your search. Search terms are not case-sensitive and apply to all searchable text attributes of the Avid assets in your search. 3. Expand the Search In field and navigate to the folder you want to search. If you do not specify a location, the Interplay Window searches the entire Interplay database.
Chapter 18 Working with the Avid Interplay Window Capturing Media to Interplay Folders By using the Interplay Window to connect to the Interplay database, you can capture media directly to an Interplay folder. You can capture to any folder currently open in the Interplay Window. n You can open multiple Interplay folders by using multiple tabs in the Research panel of the Interplay Window. For more information, see “Opening Multiple Tabs in the Interplay Window” on page 542.
Capturing Media to Interplay Folders 3. Select Tools > Capture. The Capture tool opens. Bin menu Interplay Folders selection button 4. Set up the Capture tool as described in “Capturing Media” on page 67. 5. Click the Interplay Folders selection button. 6. Click the Bin menu, and select an open Interplay folder. 7. Start capturing as usual. For information on different methods and procedures for capturing media, see “Capturing Media” on page 67 and “Capturing Media: Advanced” in the Help.
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Chapter 19 Using MultiRez and Dynamic Relink MultiRez (a term derived from “multiple resolutions”) is a feature that lets you create a master clip that is associated with multiple media files of different resolutions. For example, you can use the Avid Interplay Low-Res Encoder to simultaneously capture a single master clip that is associated with both low-resolution and high-resolution media files. MultiRez also works with audio files: you can capture an audio clip with more than one sample rate.
Chapter 19 Using MultiRez and Dynamic Relink Understanding MultiRez and Proxy Editing Proxy editing is editing a low-resolution version of media and then conforming the edits into a composition that refers to an equivalent high-resolution version of the same content. In this sense, proxy editing is similar to the offline/online model that is common in a post-production workflow. Typically, post-production editors capture material at a low resolution and perform what is referred to as offline editing.
Creating Multiple Resolutions of a Master Clip Creating Multiple Resolutions of a Master Clip There are several ways that you can create multiple resolutions of a master clip: • In a newsroom environment, you can use CaptureManager™, one or more AirSpeed® systems, and the Avid Interplay Low-Res Encoder to simultaneously capture high-resolution and low-resolution versions of the same master clip.
Chapter 19 Using MultiRez and Dynamic Relink 3. Select Clip > Batch Capture. The Batch Capture dialog box opens. Deselect “Offline media only” Deselect “Discard original local media” 4. Deselect “Offline media only.” After you deselect this option, the option “Discard original local media” is displayed. 5. Deselect “Discard original local media.” 6. (Option) Select “Extend handles beyond master clip edges” to allow the handles to extend before the beginning and after the end of the original master clip.
Creating Multiple Resolutions of a Master Clip No new master clips are created by this batch capturing process. As new media files are created, the Media Indexer adds them to its database, and the original master clip is associated with additional media files. Media files in multiple resolutions are indicated by black dots in the appropriate bin columns. The following illustration shows a clip originally captured at 15:1s and batch captured at 1:1 (uncompressed).
Chapter 19 Using MultiRez and Dynamic Relink 4. Click All Clips. The message box closes and the Batch Import dialog box opens. Select “Keep existing local media.” 5. In the Import Target section, select the desired resolution and storage location. 6. In the Import Options section, select “Keep existing local media” and any other options. 7. Click Import. The application imports the files and creates media in the resolution you specified.
Understanding How Clips and Media Are Associated Understanding How Clips and Media Are Associated When you are working in a MultiRez environment, relinking is source based. That is, the Avid editing application relinks a clip to its media according to the source of the clip rather than the name of the clip. In an Avid editing application, whenever you create a new tape or import a file, the application creates a unique source ID. This source ID is used by the application and is not visible to users.
Chapter 19 Using MultiRez and Dynamic Relink Later, if you recapture a clip at a different resolution, make sure to select the tape name originally associated with that clip. If you select the existing name and use the original tape, the application associates the new media with the original master clip. In an Avid Interplay environment, this source-based association is the basis for dynamic relink. c n Be careful not to use the same name for two different tapes or different names for the same tape.
Understanding How Clips and Media Are Associated This information also appears in the Interplay Window. For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on page 595. n You can batch capture the clip in additional resolutions; there is no limitation to the number of media files associated with a clip.
Chapter 19 Using MultiRez and Dynamic Relink The following illustration shows a clip captured in 1:1 and transcoded to 15:1s. The application associates each clip with both resolutions because they share a source ID and a timecode span. DV 01;00;00;00 Tape A SourceID: 12345 Clip 1 Source ID: 12345 01;00;10;00 Media: 1:1 Source ID: 12345 Transcode Clip 1.
Understanding How Clips and Media Are Associated Partial Clips, Multiple Resolutions The MultiRez feature also supports association of clips that share only part of a timecode span. For example, after capturing a clip at 15:1s, you might need to recapture only part of the clip at 1:1. Because both clips share a source ID and a timecode span, the application associates both clips with the same resolutions and lets you dynamically relink the shared section.
Chapter 19 Using MultiRez and Dynamic Relink MultiRez Tape Management When working in a MultiRez workflow, it is important to name tapes properly. Follow these guidelines: • Any time you create a new tape, the application generates a new source ID, even if the name you type for the new tape exactly matches that of an existing tape. You cannot dynamically relink media that does not share a source ID. • Be careful not to use the same name for two different tapes or different names for the same tape.
Understanding Dynamic Relink You specify these settings in the Dynamic Relink Settings dialog box, which is available in the Settings list of the Project window. For complete information on the options in this dialog box, see “Using the Dynamic Relink Settings Dialog Box” on page 574.
Chapter 19 Using MultiRez and Dynamic Relink The following illustration shows a bin and a sequence. The first version of the sequence shows the clip in the working resolution (15:1s) and the second version shows the same clip in the target resolution (1:1). Notice that the clip name is the same, but the resolution of the clip (as shown in the text on the clip) is different.
Working with MultiRez and Dynamic Relink Working with MultiRez and Dynamic Relink A typical MultiRez workflow consists of the following steps: 1. Specify the working settings and the target settings in the Dynamic Relink Settings dialog box. 2. Edit your sequence. By default, whenever you load clips into a monitor or the Timeline, they are linked to media that matches the working settings. 3. Use the MultiRez button to check whether the clips you are using are available in the target resolution.
Chapter 19 Using MultiRez and Dynamic Relink Keep the following in mind when you are working with dynamic relink: • All resolutions that are eligible for dynamic relink must use the same frame rate. For example, you cannot dynamically relink a 30i master clip in the Timeline to 24p media. You can, however, dynamically relink a 30i master clip to a 1080i/59.94 master clip.
Working with MultiRez and Dynamic Relink Enabling Dynamic Relink To enable dynamic relink: 1. Do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink. t Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink Settings. 2. Select Enable Dynamic Relink.
Chapter 19 Using MultiRez and Dynamic Relink The working settings in the following illustration specify that the application should use the specific video resolution of 15:1s MXF, and if it cannot find this resolution for a particular clip, it should display a “Media Offline” slide. Specific parameters are also set for audio: 44.1 kHz and 16-bit. Relink to offline media if no match is found.
Working with MultiRez and Dynamic Relink Similarly, for audio, the application should use media with a sample rate less than or equal to 44.1 kHz/16 bit, and if no match is found, use the closest media that is available. Use closest media if no match is found. Less than or equal to specific video resolution Less than or equal to specific audio sample rate and bit depth To apply the working settings: 1. Do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink.
Chapter 19 Using MultiRez and Dynamic Relink 5. To apply the working settings and perform the dynamic relink, do one of the following: n t Click Apply. The dialog box remains open. t Click OK. The dialog box closes. You can use the MultiRez button in the Timeline to instruct the application to color any clips for which media is not available. See “Displaying Whether Media Is Available” on page 586.
Working with MultiRez and Dynamic Relink For the target settings, you might want to select Relink to Offline if no match is found, because this setting provides a clearer warning if the desired resolution is not available. To apply the target settings: 1. Do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink. t Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink Settings. 2. Select Enable Dynamic Relink. 3.
Chapter 19 Using MultiRez and Dynamic Relink To dynamically relink clips to media that matches the target settings, do one of the following: t Right-click the MultiRez button at the bottom of the Timeline and select “Override Working Settings with Target Settings.” t Use the Dynamic Relink dialog box: a. Select Enable Dynamic Relink. b. In the Settings list in the Project window, double-click Dynamic Relink. c. Select “Override Working Settings with Target Settings.” d.
Working with MultiRez and Dynamic Relink Dynamic Relink Settings Options (Continued) Dialog Box Area Option Description Working settings tab and Target settings tab If no match is found Allows you to specify the action to take if no media is available that matches the working or target settings. You can select one option as a working setting and a different option as a target setting.
Chapter 19 Using MultiRez and Dynamic Relink Dynamic Relink Settings Options (Continued) Dialog Box Area Option Description Relink if quality When you select Specific Resolution as the Relink method, the Relink quality menus allow you to specify a relational operator and a resolution to compare against.
Working with MultiRez and Dynamic Relink Dynamic Relink Settings Options (Continued) Dialog Box Area Option Description Relink if sample rate and bit depth The relational operators on the left for sample rate and bit depth are similar to the relational operators for the Video parameter “Relink if quality” menu. However, the two menus have an additional entry, “Any,” which allows you to use one criteria and ignore the other. For example, you could select sample rate equal to 44.
Chapter 19 Using MultiRez and Dynamic Relink Using the Relink Dialog Box in an Avid Interplay Environment Relinking through the Relink dialog box is different from dynamic relink. In an Avid Interplay environment, relinking through the Relink dialog box is limited to non-master clips (subclips and sequences). These can be relinked only through source timecode and tape. Other options are unavailable.
Working with MultiRez and Dynamic Relink Displaying Whether Media Is Available You have the option of displaying whether media is available in the resolution or sample rate specified in the Dynamic Relink settings. To provide this information, your Avid editing application communicates with the Media Indexer to determine the availability of working and target media for each clip in the Timeline.
Chapter 19 Using MultiRez and Dynamic Relink To show whether media in a sequence is available, do one of the following: t Click the MultiRez button to select one of the displays described in the following table. Gray - inactive Bottom half of diamond black - Show Mismatches display. If the background is blue, some media does not match or is not available in the current settings. These can be the working settings or the target settings, depending on which settings the clips are linked to.
Working with MultiRez and Dynamic Relink How the application colors clips in the Timeline depends on your settings: • If you click the MultiRez button to show mismatches (bottom half of diamond black), clips are colored as follows: - No color change: The clip matches the working or target settings, depending on which settings you are linked to. - Blue or red: The clip does not match the working or target settings.
Chapter 19 Using MultiRez and Dynamic Relink If you enable clip coloring for MultiRez and then click the MultiRez button to display mismatches or target availability, this setting overrides any other Timeline clip coloring that might be set. n Clip coloring for the Show Mismatches display is not used when you select Highest Quality or Most Compressed as the relink method.
Working with MultiRez and Dynamic Relink If you selected Keep Existing Media or Use Closest Media (in the Working Settings tab of the Dynamic Relink Settings dialog box) and enabled clip coloring, the clips that are not in the working resolution are colored blue. The application is warning you that the DV 25 clips do not match the working resolution but are linked to a different resolution (a mismatch).
Chapter 19 Using MultiRez and Dynamic Relink n The “Relink to Offline” option does not delete the existing media. To relink to the media, select a different option in the Dynamic Relink dialog box.
Working with MultiRez and Dynamic Relink The next example shows the Timeline after you click the MultiRez button to view the target resolution availability. The MultiRez button is yellow, indicating that there are clips that are not available in the target resolution, and the clip that is not available in DV 25 (the target resolution) is also colored yellow. Clip color is yellow MultiRez button is yellow.
Chapter 19 Using MultiRez and Dynamic Relink MultiRez Button Menu The following table describes the options in the MultiRez button menu. MultiRez Button Menu Options Option Description Enable Clip Coloring When selected, this option colors clips that are linked to media that does not match the specified Dynamic Relink settings.
Working with MultiRez and Dynamic Relink MultiRez Button Menu Options (Continued) Option Description Show Target Availability Indicates whether media is available that matches the target settings (Show Target Availability display). If media is not available, the MultiRez button turns yellow. If Enable Clip Coloring is selected, clips for which media is not available in the target settings are yellow.
Chapter 19 Using MultiRez and Dynamic Relink MultiRez Bin Headings There are bin columns that are specifically associated with MultiRez. These bin headings are available in Avid editing applications when they are part of an Avid Interplay environment.
Working with MultiRez and Dynamic Relink There might be more resolutions available on an Avid Interplay workspace than appear in your bin headings. For example, there might be an uncompressed version of the clips you are working with, but if your Avid editing application doesn’t support uncompressed video, the resolution does not appear in your bin settings. Some resolutions might show up as partially online. For more information, see “Working with Partially Online Files” on page 599.
Chapter 19 Using MultiRez and Dynamic Relink Deleting MultiRez Clips and Media from a Bin When working with MultiRez in an Avid Interplay environment, your options for deleting clips and media depend on several factors: • Whether the clip is associated with media on local or shared storage. You can delete any clip from your bin, and you can delete any media on local storage. However, your ability to delete media on shared storage depends on your permissions as set on Avid Interplay.
Working with MultiRez and Dynamic Relink For clips that were batch captured, captured in a dual-ingest configuration, or transcoded without a new clip, you see both resolutions listed in the Delete dialog box. n Multiple audio sample rates are not listed in the Delete dialog box.
Chapter 19 Using MultiRez and Dynamic Relink 4. Click OK. If you choose to delete media files, a dialog box opens. 5. Click Delete. The selected clips, sequences, and media file are deleted. n If you try to delete media for a clip that you have checked out from Avid Interplay, and do not have sufficient permissions to delete, a message informs you that media associated with checked-in assets cannot be deleted from a bin.
Working with MultiRez and Dynamic Relink Consolidating and Transcoding a Portion of a Clip Partial clips can be created if you consolidate and transcode a portion of a clip in a sequence. For example, if you use a portion of a DV 25 clip in a sequence and consolidate and transcode the sequence to a low resolution, the application creates a new master clip in the low resolution. The new master clip is associated with both resolutions.
Chapter 19 Using MultiRez and Dynamic Relink If you trim the original sequence to expose more of the DV 25 clip, the Timeline displays as offline frames in the portions that are not available in 15:1s. Viewing a Source Clip in the Timeline You can view an entire source clip in the Timeline. This is useful if you want to check how much of a partial clip is offline and how much is online. To examine the source clip for a partially online master clip: 1.
Working with MultiRez and Dynamic Relink In the following example, the MultiRez button is blue, indicating that the application is in the Show Mismatches display. The original master clip is displayed in the Timeline, with a working resolution set to 15:1s. Two portions of the clip are colored red, indicating that these portions of the clip are offline and thus are not available in the working resolution.
Chapter 19 Using MultiRez and Dynamic Relink Partially Restoring from an Archive A clip might be displayed as partially online when you perform a partial restore from an archive. To perform a partial restore from an archive: 1. Assume you have a 10-minute master clip and you have both 15:1s and DV 25 versions of the media. 2. Archive the DV 25 version of the media. 3. Delete the online DV 25 media and keep the low-resolution, 15:1 media online. 4.
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Numerics 10-bit effects processing 369 10-bit Playback command (Video Quality menu) 369 1394 capturing through 85, 86 connecting devices 83 1394 button playback to DV device with 208 selecting DV device with 84 selecting output device with 448 setting video quality with 212 16:9 display for 24p and 25p editing 192 option 192 16:9 format 70 16:9 Video command (Composer window contextsensitive menu) 192 24p and 25p projects creating 38 30i NTSC projects creating 38 8-bit eff
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Alternate Edit button 267 Alternate edits creating 267 Annotate feature 111 Anti-aliased elements in title 393 Applying Effect Palette Color Correction effect 426 effect templates 357 effects from Effect Palette 343 target settings for dynamic relink 578 working settings for dynamic relink 575 Archiving with MultiRez 560 Arrow keys navigating with 33 stepping with 208 A-side (outgoing frames) in trims 281, 286 Assemble-edit recording 459 enabling in Deck Preferences 460 As
ABCDEFGHIJKLMNOPQRSTUVWXYZ settings, Default Pan options 313 settings, Digital Scrub options 295 solo feature, in Trim mode 283 solo feature, monitoring one track 264 sound card configuration 99 sync, on output 448 tools, accessing 290 tracks, adjusting in Audio Mixertool 309 tracks, soloing 296 volume, adjusting in Audio Mixer tool 309 volume, adjusting in Timeline 315 waveform plots 297 Audio Data commands (Timeline Fast menu) 297, 315, 319 Audio EQ 315 Audio EQ command (Tools menu) 290 Audio IN and OUT p
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ checking out from asset manager 545 defined 521 local bins 522 permissions 533 reservations 530 restrictions 532 Avid Attic folder retrieving files from 49 Avid Clipboard See Clipboard Avid color correction See Color correction Avid DNA command (Device submenu of Special menu) 212, 448 Avid DNA hardware sync sources 448 Avid editing application location on system (Windows) 35 quitting 43 starting (Windows) 35 Avid educational services accessing 30 Avid Interplay See Interp
ABCDEFGHIJKLMNOPQRSTUVWXYZ Best Performance command (Video Quality menu) 210, 372 Best Performance video and effects 372 Big Trim mode described 278 Bin display 146 Bin Fast menu described 155 opening 155 Bins adding text in Script view 154 aligning frames in 152 Brief view 149 changing background color 160 closing 59 colors for clips and sequences 148 creating 58 creating a storyboard 163 creating rough cuts in 232 defined 57 deleting 61 deleting items 157 deleting with SuperBin enabled 163 display views 1
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ BY Gain slider adjusting for video input 106 adjusting for video output 452 Bypassing pan settings 313 C Calibrate Hardware Sliders command (Audio Mixer Tool Fast menu) 321 Calibrating global output levels for audio 456 phase controls 455 video input 106 video output, basic procedures 452 video output, methods described 451 Calibration tone audio output 456 Camera effects brief description 336 Capture command (Tools menu, Toolset menus) 86, 556 Capture in Progress slide i
ABCDEFGHIJKLMNOPQRSTUVWXYZ Clear Monitor command (Clip Name menu in Source monitor) 201, 415 Clear OUT Mark button 212 Clearing clips from monitors 201 marks 212 Client Manager 524 Client monitor color correction with 425 connecting 197 playing video to 197 selecting setting 197 viewing 16:9 format 70 Clip colors for MultiRez 587 in a workgroup environment 148 Clip Frames command (Timeline Fast menu) 247 Clip Gain and Pan mode (Audio Mixer tool) 308 Clip Name menu clearing clips with 201 switching between c
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Color correction automatic, applying from Effect Palette 426 automatic, from Effect Palette 426 automatic, with buttons in Hue Offsets tab 428 automatic, with Color Correction effect 426 Client monitor, using for 425 introduction to concepts 421 overview 421 reasons for using 422 Safe Colors, basic overview 430 with Color Match control 429 Color Correction command (Toolset menu) 423, 428, 429 Color Correction effect (Effect Palette) applying 426 Color Correction mode Compo
ABCDEFGHIJKLMNOPQRSTUVWXYZ Creating bins 58 folders in projects 60 projects 38 rough cuts 232 subclips 216 Web page 502 Crossfading audio 329 Custom preroll selecting 96 Customizing timecode 227 Timeline 245 toolsets 53 Trim mode 275 Cutting segments from Timeline 262 Cycle Picture/Sound button 264 Cycle Trim Sides button 281 Cycling tracks 264 D D1 VTR calibrating input from 104 recording to 452 DAT See Digital audiotape (DAT) Deck Configuration settings Add Channel options 78 adjusting 77 deleting elemen
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Digital audiotape (DAT) capturing from 70 Digital Betacam VTR calibrating input from 104 recording to 452 Digital cut passthrough pausing during 470 Digital Cut command (Output menu) 465, 466, 469 Digital Cut tool deck controller in 464 selecting decks from 464 using 462 Digital cuts custom preroll for 466 previewing 465 real-time effects with 340 record options 466 recording 462 recording using Local mode 469 reecording using Remote mode 466 rendering effects for 461 Digi
ABCDEFGHIJKLMNOPQRSTUVWXYZ Dual monitor display 191 Dual Split button (Color Correction Composer window) 424 Duplicate command (Edit menu) creating new import settings with 134 duplicating clips and sequences with 156 duplicating sequences with 128 Duplicating clips and sequences 156 Duration tracking 194 DV capturing 86 capturing, overview 82 devices, connecting 83 devices, selecting 84 devices, selecting for output 448 DV 25 software codec 85 DV 25, capturing 85 playing back 208 Dynamic relink applying ta
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ differences by project type 341 nesting described 262 parameters, changing for individual keyframes 360 playback capabilities, general description 363 playback of complex combinations 363 playing individual 362 playing individual, in a loop 362 playing individual, using Play button 362 playing, overview 362 preview with Render On-the-Fly 364 processing in real time 365 real-time preview, delaying start 370 real-time preview, described 365 real-time preview, information in
ABCDEFGHIJKLMNOPQRSTUVWXYZ Extract/Splice-in button editing with 259 Extracting material 237 F Factory preset buttons in Video Input tool 105 in Video Output tool 451 Fade Effect button fading segment effects with 346 fading titles with 419 Fade from Color Blend effect creating with Quick Transition button 347 Fade to Color Blend effect creating with Quick Transition button 347 Fader controllers external, adjusting pan with 319 external, adjusting volume with 319 Live Mix mode 324 Fading audio 329 effects
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Frame Chase capture settings 122 capture, aborting 122 capture, overview 120 capture, requirements and guidelines 122 capture, update interval 122 clip duration 121 editing workflow 550 editing, limitations 551 editing, overview 550 sending sequences to playback 550 unavailable resolutions 122 Frame Chase editing 584 Frame offset 218 Frame view (bin display) arranging 152 idescribed 150 in the Media tool 170 Frame-accurate recording 459 Frame-by-frame movement in Timeline
ABCDEFGHIJKLMNOPQRSTUVWXYZ I IEEE 1394 command (Device submenu of Special menu) 208, 212, 448 IEEE-1394 capturing through 85, 86 connecting devices 83 Import command (File menu) 68, 136 Import Options section (Batch Import dialog box) 142 Import settings modifying 135 overview 134 Import Settings dialog box 134, 135 Import Target section (Batch Import dialog box) 142 Importing files, basic procedure 136 files, batch import 141 files, batch importing multiple resolutions 563 files, drag-and-drop method 139
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Interplay window Property Merge dialog box 540 Interplay Window command (Tools menu) 527, 544, 545, 546, 556 Interrupting Render On-the-Fly 364 Intraframe effects brief description 336 Italic button (Title tool) 400 Italic command (Object menu) 400 Italic text in titles 400 J J-K-L keys audio scrub with 294 changing representative frame in bin 152 playing and shuttling footage with 206 trimming 286 trimming on-the-fly with 286 J-K-L keys (Three-Button Play) 286 Justifying
ABCDEFGHIJKLMNOPQRSTUVWXYZ Load Filler command (Clip Name menu) 228 Load Media Database command (File menu) 185 Loaded cues adding 488 displaying head frames 489 using 490 Loading filler 228 footage 199 media databases 185 Locators finding text of 220 Lock icon (Track Selector panel) 269 Lock Tracks command (Clip menu) 270 Locking and unlocking tracks 270 Log files See Shot log files Logging 68 bypassing by autocapturing 117 while capturing 111 Logs See Shot log files LTC (longitudinal timecode) establishin
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Media databases loading 185 refreshing directories 186 Media Directory panel creating shortcuts 535 described 529 removing shortcuts 535 Media drives See also Drives selecting 73 speed limitations with real-time effects preview 366 targeting 93 Media drives, unmounting 169 Media files backing up 188 consolidating, described 175 consolidating, options for 181 consolidating, procedure 178 deleting in bins 157 deleting unreferenced clips 187 deleting using Media tool 173 insu
ABCDEFGHIJKLMNOPQRSTUVWXYZ projects between systems 443 remote assets 533 settings between systems 443 through clips 203 Multilayer effects defined 336 deleting 351 Multiple tracks 262 MultiRez bin and column headings for 595 clip coloring for 587 deleting clips 597 described 559 examples 587 partially online clips 599 partially online clips, consolidating and deleting original media 602 partially online clips, restoring from an archive 603 partially online clips, viewing source in Timeline 601 Send to Play
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ using loaded cues 490 using the Directory panel 481 WPM rate 490 NTSC (National Television System Committee) video frame size and safe title/action guidelines 394 logging and capturing 111 luminance values 452 waveform values 106 NTSC Has Setup option (General Settings dialog box) 451 NTSC-EIAJ format video output calibration 451 waveform values 106 O Offline command (Clip Color submenu in Timeline Fast menu) 249 Offline media indicator (Timeline) 249 OMF file format 74 p
ABCDEFGHIJKLMNOPQRSTUVWXYZ centering 314 default settings 313 modifying values 313 Pan automation 315 Partially online clips 599 consolidating and deleting original media 602 restoring from an archive 603 viewing source in Timeline 601 Passthrough described 470 Pasting See Copying Patching tracks 268 Pause button 203 Peak Hold menu (Audio tool) 102 Performing digital audio scrub 296 Phase controls adjusting for output 455 Picture quality ensuring by calibrating input levels 106 Pin button (Interplay Window)
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Preroll custom for capturing 96 custom for digital cut 466 in Trim mode playback loop 285 Presenter Instructions (NRCS tool) marking text 485 Preserving clipboard contents 239 Preset buttons in Video Input tool 105 Preset buttons (Video tools) 451 Prestriped tapes 459 Preview command (Object menu) 393 Preview Digital Cut button (Digital Cut tool) 465 Previewing a digital cut 465 anti-aliased titles 393 video effects, real-time 365 Processing effects in real time 365 Produc
ABCDEFGHIJKLMNOPQRSTUVWXYZ Recapturing See also Autocapturing See also Batch capturing See also Capturing master clips and subclips 128 sequences 128 using Decompose during 129 Receiving mail (NRCS tool) 519 Record Deck Time option (Digital Cut tool) 466 Record monitor described 190 Recording assemble-edit 460 automation gain information 319 digital cuts 462 digital cuts, using Local mode 469 digital cuts, using Remote mode 466 preparing tapes 459 Recovering material from clipboard 239 Red indicator bars in
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Render On-the-Fly described 364 interrupting 364 using 364 Render On-the-Fly command (Special menu) 364 Rendered effects viewing in bins 411 Rendering after real-time playback attempt 381 defined 340 displaying estimated time 374 effects at position 375 effects between IN and OUT points 376 effects, overview 373 multiple effects 376 single effects 374 using ExpertRender 380 Replace Edit button 235 Replace edits 235 Replacing deck configuration elements 82 Timeline views 25
ABCDEFGHIJKLMNOPQRSTUVWXYZ RY Gain slider adjusting for video input 106 adjusting for video output 452 S Safe Color Settings button 430 Safe Color Settings dialog box 430 Safe Colors basic overview 430 setting options for 430 warnings in monitors 431 Safe Title Area/Global Grid command (Object menu) 394 Safe title/action area Title tool 394 Sample Plot command (Timeline Fast menu) 302 Sample plot display (Timeline) 297 Sample rates audio, changing 333 audio, conversion overview 332 identifying by color 302
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Segments copying and pasting in Timeline 262 cutting from Timeline 262 deleting in Segment mode 261 lassoing 257 marking 215 marking in Segment mode 261 moving in sync 259 selecting 257 Select All command (Edit menu) 125 Select All Tracks command (Edit menu) 264 Select Project dialog box 37 Select Sources command (Bin menu) 187 Select Unrendered Title command (Bin menu) 409 Selected Clips section (Batch Import dialog box) 141 Selecting audio file format 97 audio sample rat
ABCDEFGHIJKLMNOPQRSTUVWXYZ Set Calibration Tone command (Peak Hold menu in Audio tool) 456 Set Interplay Window Display command (Bin menu) 543 Set Interplay Window Display dialog box 543 Set Level commands (Audio Mixer Tool Fast menu) 312 Set Live Mix as Automation command (Audio Mixer Tool Fast menu) 326 Set Live Mix to Automation command (Audio Mixer Tool Fast menu) 326 Set Live Mix to Default command (Audio Mixer Tool Fast menu) 326 Set Pan commands (Audio Mixer Tool Fast menu) 312 Setting the bin displa
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Soloing audio tracks 296 tracks 264 tracks, advantages of 265 Sorting columns (Interplay Window) 536 Sound Card Configuration settings configuring sound cards 99 Source material loading into monitors 199 Source monitor described 190 Source tapes selecting for capturing 89 Source tracks selecting for capturing 91 Source/Record monitor customizing 190 expanding 191 Space bar navigating dialog boxes with 33 Speed of an effect and video underruns 368 Splice-in button insert ed
ABCDEFGHIJKLMNOPQRSTUVWXYZ S-Video deck capturing from 106 Sync breaks, avoiding when editing 241 breaks, displaying 242 breaks, fixing 243 breaks,defined 241 detecting locked signal when capturing 92 establishing for audio-only input 71 establishing for output 448 for capturing video 70 issues with Client monitor 197 maintaining during segment move 259 options for HD formats 449 Sync Breaks command (Timeline Fast menu) 242 Sync Lock icon (Track Selector panel) 269 Sync Lock menu (Video Output tool) 448 Syn
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ automation gain keyframes in 317 clip coloring for MultiRez 587 controlling movement in 255 copying and pasting in 262 creating views 250 customizing 245, 247 cutting in 262 deleting effects 351 deleting tracks in 273 displaying detail 254 dragging titles into 415, 416 examples of custom views 245 finding clip text in 220 focusing 255 highlighting clips when mixing formats 250 identifying audio sample rate 302 locking tracks in 270 monitoring tracks 264 motion mode indicat
ABCDEFGHIJKLMNOPQRSTUVWXYZ saving, overview 406 setting marks in rolling or crawling 413 splicing into a sequence 413 unrendered 409 viewing Fast saved in bin 409 Toggle Source/Record in Timeline button (Timeline) 239 Tone media recording to tape 460 Tools Audio Mixer 305 Capture 86 Media 172 Video Input 104 Video Output 452 Toolsets customizing 53 described 52 linking to a workspace 53 Track Panel command (Timeline Fast menu) 247 Track Selector panel Lock icon 269 Sync Lock icon 269 using 263 Track Solo an
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ selecting trim sides 281 selecting video tracks 282 Small, described 276 trimming on-the-fly 286 Trim Right 1 Frame button 360 Trim Right 10 Frames button 360 Trimming basic procedure 284 crawling titles 417 during a playback loop 287 J-K-L keys 286 on-the-fly 286 reviewing 285 rolling titles 417 selecting sides 281, 286 two heads or tails 283 video tracks 282 Turning off equipment 44 Two-field mode indicators 203 Update from Interplay command (Bin menu, Bin Fast menu) 54
ABCDEFGHIJKLMNOPQRSTUVWXYZ Video Compression options (Export settings) 441 Video Display settings real-time streams option 371 selecting 197 video prefill option 370 Video Display Settings command (Video Quality menu) 212 Video Display Settings dialog box 198 controlling OpenGL mode 370 controlling real-time streams 371 controlling video pre-fill 370 Video Effect Safe Mode button (Digital Cut tool) 466, 469 Video Input menu (Video Input tool) 106 Video Input tool Line slider 106 Vectorscope monitor 106 Wave
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Working settings for dynamic relink applying 575 described 570 Workspaces automounting 524 linking to a toolset 53 mounting 523, 524 WPM rate (NRCS tool) finding 490 Wrap Around command (Timeline Fast menu) 247 Writable Interplay properties 540 Y Yellow indicator bars in Timecode track of Timeline 366 Z Zoom Back command (Timeline Fast menu) 254 Zoom In command (Timeliine Fast menu) 254 638