Avid NewsCutter Products ® ® Advanced 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 “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/). © DevelopMentor This product may include the JCifs library, for which the following notice applies: JCifs © Copyright 2004, The JCIFS Project, is licensed under LGPL (http://jcifs.samba.org/).
Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 How to Order Documentation . . . . . . .
Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Assigning a Workspace Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Sharing Bins and Projects in an Avid Unity Environment. . . . . . . . . . . . . . . . . . . . . 53 Understanding Avid Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Sharing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 3 Logging: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Preparing Log Files for Import. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Converting Log Files with Avid Log Exchange . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Using Drag-and-Drop Conversion for Log Files . . . . . . . . . . . . . . . . . . . . . . . . 79 Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preparing for Audio Input: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Using the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Resizing the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Monitoring Audio with the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . .
Capturing in Satellite Mode or No Device Control. . . . . . . . . . . . . . . . . . . . . . . . . . 137 Setting a Timed Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Patching When Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Remote Play, Capture, and Punch-In . . . . . . . . . . . . . . . . . . .
Importing Essence Marks as Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Editing the Proxy Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Batch Importing High-Resolution Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Editing and Finishing High-Resolution Media . . . . . . . . . . . . . . . . . . . . . . . . . 179 Importing Editcam Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sorting Clips in Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Displaying Timecodes in a 24p or 25p Project . . . . . . . . . . . . . . . . . . . . . . . . . 205 Frame Counting for Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Adding Timecode Columns to a Bin or the Media Tool . . . . . . . . . . . . . . . 205 Adding Timecode Values to the Timecode Columns. . . . . . . . . . . . . . . . . 206 Bin Column Headings. . . . . . . .
Sharing P2 Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Exporting Your Clip or Sequence to a P2 Card . . . . . . . . . . . . . . . . . . . . . . . . 228 Deleting P2 Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Cutting, Copying, and Pasting Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Removing Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Searching Through Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Using Page and Scene Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Adding a Page or Scene Number . . . . . . . . . . . . . . . . . . . . . .
Marking with ScriptSync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Loading and Playing Marked Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Moving a Script Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Deleting a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 10 Creating and Editing Sequences: Advanced. . . . . . . . . . . . . . . . . . . . . 305 Playback Performance Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Playing a Limited Duration of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Understanding Autosyncing . . . . . . . . . . . . . . . . . . . . . . .
Adding an Edit (Match Framing). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Adding Edits to Filler Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 Removing Match-Frame Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 Detecting Duplicate Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Adjusting Handle Length in Dupe Detection. . . . . . . . . . . . . .
Configuring the Digi 002 or Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356 Mapping Buttons and Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . 357 Button Layouts on the Digi 002 and Command|8 . . . . . . . . . . . . . . . . . . . 360 Using Buttons to Change Focus in the Avid Editing Application Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 Using a Foot Pedal as a Foot Switch . . . . . . . . . . . . . . . . . . . . . .
Audio EQ Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 Low Shelf Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 Small Octave Range Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 Using Audio EQ Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 Applying an EQ Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 14 Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 Understanding Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 Installing AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408 Applying an AudioSuite Plug-in to a Clip in the Timeline . . . . . . . . . . . . . .
Reverse AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 DC Offset Removal AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440 Signal Generator AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440 Time Compression Expansion AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . 440 Pitch Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting as Windows Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489 Exporting Using an Avid Supplied Template . . . . . . . . . . . . . . . . . . . . . . . . . . 489 Exporting Using an Existing Windows Media Profile . . . . . . . . . . . . . . . . . . . . 491 Exporting Using a Custom Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492 Creating a Custom Video Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Effects of Preserving Vertical Blanking Information on Compressed Video Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525 Comparison with VBI on Meridien Systems . . . . . . . . . . . . . . . . . . . . . . . . . . 526 Preserving HD Closed Captioning and Ancillary Data . . . . . . . . . . . . . . . . . . . . . . 527 Chapter 17 MultiCamera Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting Among Multiple Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553 Deleting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554 Restoring Default Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554 Copying Settings Between Settings Files . . . . . . . . . . . . . . . . . . . . . . . . . 555 Using Site Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584 Export Settings Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584 Export Settings: QuickTime Reference Options . . . . . . . . . . . . . . . . . . . . . . . 585 Export Settings: QuickTime Movie Export Options . . . . . . . . . . . . . . . . . . . . . 588 Export Settings: QuickTime Movie Settings . . . . . . . . . . . . . . . . . . . . . . . . . .
Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627 Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627 Interface Settings: Appearance Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628 Interplay Folder Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629 Interplay Server Settings. . . . . . . . . . . . . . . .
Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651 Trim Settings: Play Loop Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651 Trim Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652 Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652 Video Input Tool Settings . . . . . . . . . . . . . .
Resolution Specifications: Multicam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689 Resolution Specifications: Digital Video (DV) . . . . . . . . . . . . . . . . . . . . . . 689 Resolution Specifications: MPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690 Support for Uncompressed HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691 Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Film-to-Tape Transfer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714 Transfer Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714 Additional Film Transfer Aids. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715 Chapter 22 Working with HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717 High-Definition Television. . . . . . . . . . . . . . . .
Exporting HDV as Windows Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741 Finishing HDV on DS Nitris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 742 HDV Compatibility Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743 Chapter 23 International Character Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 745 Using a Local Language Operating System . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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.
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 32 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 editing application: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2.
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 Documenta
Chapter 1 Working with the Project Window: Advanced 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 1 Working with the Project Window: Advanced Each user profile is stored in settings files within a folder, as described in “Understanding the Avid Projects and Avid Users Folders” in the Help. User profile folders are kept in the following folder: drive:\Program Files\Avid\Avid editing application\Avid Users\UserName.
Working with User Profiles Managing User Profiles The following table describes procedures for managing user profiles. For more information on user profiles, see “Understanding User Profiles” on page 35. Task Procedure To create a user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection menu, and select Create User Profile. Project window title bar User Profile Selection menu The Create User Profile dialog box opens. 3.
Chapter 1 Working with the Project Window: Advanced Task Procedure To export user settings to another user or user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection menu, and select Export User or User Profile. 3. Select Personal or Group. 4. Navigate to the location where you want to place the user or user profile. 5. Click OK. To update user profiles: 1. Click the Settings tab in the Project window. 2.
Managing Folders and Bins Guidelines for Project Organization Although the specifics can vary depending on your production needs and habits, the basic principles of project management are as follows: • Limit the number of sequences you create in each project. For instance, consider creating one new project for each show, episode, spot, or scene.
Chapter 1 Working with the Project Window: Advanced A sample template of bins for a project is shown below. Project folder Folders containing bin files Bin files Settings file Project file This hierarchy allows you to have one set of bins available in the Project window during capture and organizing, and another set of bins available during editing to reduce clutter. Creating a Folder in a Project To create a folder in a project: 1. Click the Bins tab in the Project window. 2.
Managing Folders and Bins If your system is running low on memory and you need to free up memory, you can either close your bins or use the Clear Memory button. If you close your bins, some of your memory remains unavailable until you exit the application because the online master clips remain in memory. The Clear Memory button, however, closes and saves all of your open bins and clears out any cached data of the online master clips. To free up memory: 1. Click the Info tab of the Project window. 2.
Chapter 1 Working with the Project Window: Advanced For added security, you can save bins manually — for example, immediately after an important edit. For more information, see “Saving Bins Manually” in the Help. To adjust the frequency of automatic saves: 1. In the Project window, click the Settings tab, and then double-click Bin. The Bin Settings dialog box opens. 2. Type a number in the Auto-Save interval text box. 3. Click OK.
Using the Info Display n You can improve the performance of large projects by reducing the number of objects. To do this, close unused bins, unmount unneeded media drives, consolidate finished elements, eliminate old material from the project, or divide the project into separate projects. Then quit and restart your Avid editing application. If performance is still slow, restart your system.
Chapter 1 Working with the Project Window: Advanced Customizing the Appearance of the Avid User Interface The Appearance tab in the Interface Settings dialog box provides you with controls for customizing the colors and button style of the Avid user interface. You can also change the font and point size of the type in the various windows. For complete reference information on the Interface Settings dialog box, see “Interface Settings” on page 627.
Customizing the Appearance of the Avid User Interface The color selection grid disappears. The color you selected appears in the color box. A check mark appears in the check box to show that you want your new color attribute for this component to take effect. n If you deselect an interface component by clicking the check box, the color you specify in the color selection grid does not take effect. The color of the interface component reverts to its default value. 5.
Chapter 1 Working with the Project Window: Advanced 4. Do one of the following: t n Click Apply to apply the changes you selected. If you click Cancel after you click Apply, your editing application retains the selections you applied. t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box. The changes you selected but did not apply do not take effect.
Customizing the Appearance of the Avid User Interface Interface Component Style Controls (Continued) Control Description Options Button Style Controls the shape of buttons. Oval Octagonal Examples Oval Rounded Swoosh Octagonal Square Antique Rounded Square Swoosh Antique Changing Font and Point Size You can change the default font and point sizes of the Project, Bin, Source/Record monitor, and Timeline windows. You can vary the fonts and point sizes across these windows.
Chapter 1 Working with the Project Window: Advanced n Any font installed on the Avid system appears in the list. For information on adding fonts to your system, see the documentation for your operating system. 4. Type another point size for the font in the Size text box. 5. Click OK. The new font and point size appear in the active window. When you close the window, the last font and point size applied are saved with the window.
Customizing Your Workspace Creating a New Workspace Setting To create a new workspace setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Scroll to the bottom of the Settings list, and select Workspace. 3. Select Edit > Duplicate. A new workspace setting appears in the Settings list. n If you are duplicating a previously named workspace setting, a .1 appears at the end of the new name. 4. Click to the left of the new workspace you want to set.
Chapter 1 Working with the Project Window: Advanced 7. Select or deselect the following options, depending on your preference for the behavior of the workspace: - Activate Settings Linked By Name: This setting allows you to link other settings to the workspace. For more information, see “Linking User Settings and Workspaces” on page 50. - Continually Update This Workspace: This setting automatically preserves the workspace in its most recent arrangement.
Customizing Your Workspace 6. Give this setting the same name you gave the workspace in step 2. Linked setting Linked setting Linked workspace 7. Double-click the workspace you just created. The Workspace Settings dialog box opens. 8. Click Activate Settings Linked By Name. 9. Click OK. All the settings and the new workspace you created are activated. Switching Between Workspaces To switch from one workspace to another: 1. Click the Settings tab in the Project window. The Settings list appears. 2.
Chapter 1 Working with the Project Window: Advanced Deleting a Workspace To delete a workspace: 1. Select the workspace you want to delete from the Settings list in the Project window. The workspace is highlighted. n Make sure a check mark does not appear next to the workspace you want to delete. You cannot delete an active workspace. 2. Press the Delete key. The selected workspace is removed from the Settings list. Assigning a Workspace Button To assign a workspace button: 1.
Sharing Bins and Projects in an Avid Unity Environment The buttons are assigned to the workspaces in the Settings list in the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings list; W2 is assigned to the second workspace that appears in the Settings list; and so forth. Your Avid editing application sorts the workspaces alphabetically. The workspace button assignments might change if you add workspaces.
Chapter 1 Working with the Project Window: Advanced For information on managing workspaces, see the clients’ Quick Start cards. For details on Avid Unity, see the Avid Unity MediaNetwork Management Guide or the Avid Unity ISIS Administration Guide. Sharing Methods Before you begin copying or creating bins and projects on an Avid Unity workspace, determine the sharing method you are using for the project. You can either share bins alone or you can share bins and projects.
Sharing Bins and Projects in an Avid Unity Environment n Depending on the number of users sharing a workspace, you might want to increase the number of files that your Avid editing application stores in the Unity Attic folder (using the Bin Settings dialog box). The following illustration shows the Project window for a shared project. Bold bins are locked for editing but can be viewed.
Chapter 1 Working with the Project Window: Advanced 3. Open one of the bins by double-clicking the Bin icon. The bin appears with a Bin Lock Status button. You can click the red (locked) or green (unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications. The following illustration shows locked and unlocked bins. Unlocked bin Locked bin When a bin is unlocked, you have permission to make changes.
Sharing Bins and Projects in an Avid Unity Environment To open a bin without taking the lock: t Alt+double-click the bin in the Project window. Overriding the Default Locking Mechanism You can instruct your Avid editing application to keep a bin locked even after you close it. To permanently lock a bin: 1. Select one or more bins in the Project window. 2. Right-click the Bin icon, and select Lock Project Bin. An asterisk appears next to the user name in the Project window.
Chapter 1 Working with the Project Window: Advanced c The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin. Suggestions for Improving Performance When Working with Shared Bins The following information is provided to improve performance when working with shared bins in an Avid Unity environment. • Do not use the same name for your editing system machine name and your user name.
Sharing Bins and Projects in an Avid Unity Environment • When an Avid Interplay server is available in an Avid Unity system in the workgroup environment, Avid does not recommend sharing bins or projects. Use the Avid Interplay server and the Remote Assets feature to share media. All editing systems in a workgroup environment that includes an Avid Interplay server must have the Avid Unity client software installed.
Chapter 1 Working with the Project Window: Advanced Drive Filtering in Networked Workflows The Drive Filtering and Indexing tab of the Media Creation Settings dialog box includes three options: • Filter by Resolution • Filter by System Drive • Filter by Launch Drive For Symphony Nitris and for current versions of Avid Media Composer and Avid NewsCutter® products, these three options are selected by default.
Sharing Bins and Projects in an Avid Unity Environment The default values for Filter by Resolution, Filter by System Drive, and Filter by Launch Drive are as follows: Drive Filtering Default Values Product Filter By Resolution Filter by System Drive Filter by Launch Drive Symphony Nitris Yes Yes Yes Media Composer products Yes Yes Yes NewsCutter products Yes Yes Yes Media Station PT Yes Yes Yes Avid Xpress Pro No No No Avid Xpress DV No No No Free DV No No No 61
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Chapter 2 Using Tools The Tools menu in your Avid editing application provides quick access to essential tools that you can use in your projects. In addition to the tools available from the Tools menu, you can also add a controller to your system that you can use as an alternative to your keyboard and mouse for editing footage.
Chapter 2 Using Tools To open a deck controller: t Select Tools > New Deck Controller. The Avid Deck Manager program is initialized, and a new Deck Controller window opens.
Using the Command Palette • The Deck Selection menu allows you to specify a deck with deck control parameters that you can customize in the Deck Settings dialog box. For more information, see “Deck Configuration Settings” on page 579. • The deck controller allows you to associate a tape name with the controller by clicking the Tape Name button and selecting a tape in the Select Tape dialog box. For more information, see “Selecting a Source Tape” in the Help.
Chapter 2 Using Tools You can use the Command palette to: • Map buttons to any Tool palette or the keyboard. See “Mapping User-Selectable Buttons” on page 67. • Map menu commands to various buttons and keys. See “Mapping Menu Commands” on page 68. • Directly activate a command. See “Activating Commands from the Command Palette” on page 69.
Using the Command Palette • MultiCamera editing: You can map the Quad Split, Swap Cam Bank, and Gang buttons. Quad Split Swap Cam Bank Gang When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you can open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes. For more information on multiple settings, see “Working with Multiple Settings” on page 552.
Chapter 2 Using Tools 4. Click the tab from which you want to select a user-selectable button. 5. Drag the button from the Command palette to a button location on the other palette. Using the Blank Button The Blank button in the Other tab of the Command palette allows you to replace a defined button with an undefined button. If you do not need a specific button on the Tool palette, you can replace this button with a Blank button.
Using the Command Palette To map menu commands: 1. Open a window that has user-selectable buttons by doing one of the following: t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu button, and drag to tear off the Tool palette. t Open the Keyboard palette from the Settings list in the Project window. 2. Select Tools > Command Palette. The Command palette opens. 3. Select Menu to Button Reassignment. 4. Click a target button on the Keyboard palette or the Tool palette.
Chapter 2 Using Tools Using the Avid Calculator The Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats. For example, you can: • Convert drop-frame to non-drop-frame timecode values. • Convert timecode durations between 30-fps and 25-fps projects. • Convert a duration in video to the corresponding length in footage and frames for measuring 35mm film. To use the Avid Calculator: 1. Select Tools > Calculator.
Using the Console Window c Do not use the programming features of the Console without guidance from Avid professionals. Contact your Avid Reseller with specific questions. (In North America, you can contact Avid Customer Support.) Displaying System Information To display current system information: 1. Select Tools > Console. The Console window opens. 2. Scroll in the Console window to view your system information and ID.
Chapter 2 Using Tools Using the Console Window to Access Network Drives Your Avid editing application can access network drives that you have mapped to your Avid editing system. Once your network drives are mapped, typing the appropriate console command displays the mapped drive letter in the appropriate tools in the Avid editing application. n n For information about mapping drives to your computer, see your Windows documentation.
Using the Hardware Tool Using the Hardware Tool The Hardware tool provides the following information about the system’s hardware configuration: • n The Drives tab lists each online drive. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive.
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Chapter 3 Logging: Advanced When you import shot log files or log directly into a bin, you provide your Avid editing application with frame-accurate clip information used to capture the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.
Chapter 3 Logging: Advanced The ALE utility allows you to: • Modify the text in a log file. • Convert log files of different formats to ALE files. See “Compatible Log Formats” on page 80. • Convert an ALE file to either an ATN or FLX file. Any options you set in the ALE utility are saved each time you close the ALE utility. When you are converting an ATN file that contains multiple sections to an ALE file, multiple ALE files are created.
Preparing Log Files for Import - If the file does not contain the Windows line-ending format, then the Line Endings dialog box opens. Select an option from the following table. Option Description Display & Save Opens the file in the Avid Log Exchange window and changes the file to the Windows format. Display Only Opens the file in the Avid Log Exchange window, but does not change the file. Ignore Displays the file as is without changes. The file appears in the Avid Log Exchange window.
Chapter 3 Logging: Advanced 8. Select Options > Clean if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips. By default, Clean is selected. When you select Clean, the utility changes the end timecode of a previous event to be less than that of the following event. 9. If you selected Clean, you can also select Options > Relaxed to prevent the deleting of events that come earlier in the transfer. Relaxed is not set by default.
Preparing Log Files for Import 12. Select File > Close. If you made changes in the editor, a message box opens. 13. Click Yes. The converted file is stored in the same folder as the original log file. Using Drag-and-Drop Conversion for Log Files Use this shortcut to convert files into an ALE file. n If the log file is a Final Cut Pro, Cinema Tools, or a Tabbed shot log file, you cannot use drag-and-drop conversion.
Chapter 3 Logging: Advanced - If the file type is an ALE file, the ALE Convert Type dialog box opens. Select a file type for the converted output file and click OK. A message box opens, indicating the conversion was successful. 7. Click OK to close the message box. The converted files have the same file names as the original files, except the file name extension matches the converted file format. For example, the .ale file name extension is added to the new file names for the Avid format.
Understanding Avid Log Specifications Understanding Avid Log Specifications You can prepare an Avid log on any Windows or Macintosh computer by using a word processing application or a text editor. You can use the file name extension .txt, but it is not required. To ensure accuracy, you must follow the Avid log specifications described in this section.
Chapter 3 Logging: Advanced The maximum number of combined global, standard, and custom headings in a log file is 64. Global Headings The global headings must come first in an Avid log file, and you must enter one value for each heading. The following table shows the format for the global headings and the supported values for each heading. Avid Log Global Headings GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown. Include all required headings.
Understanding Avid Log Specifications Avid Log Global Headings (Continued) FPS [Tab] <23.98> <24> <25> <29.97> [Enter] Required [Enter] Capture rate is 23.98 fps (23.978 fps) for NTSC, 24 fps for NTSC or PAL, 25 fps for PAL, or 29.97 fps for NTSC. Press Enter a second time after entering the FPS value. This marks the end of the global headings. Column Headings The standard column headings appear after the global headings in the Avid log file.
Chapter 3 Logging: Advanced Avid Log Column Headings (Continued) Audio [Tab] Heading for the audio resolution (sample rate). If omitted, the global entry for AUDIO_FORMAT applies. Auxiliary Ink [Tab] Heading for a second ink number used for the clip. Auxiliary TC1 [Tab] Heading for auxiliary timecode. Auxiliary TC2 [Tab] Heading for auxiliary timecode. Auxiliary TC3 [Tab] Heading for auxiliary timecode. Auxiliary TC4 [Tab] Heading for auxiliary timecode.
Understanding Avid Log Specifications Avid Log Column Headings (Continued) Reel # [Tab] Heading for the source reel number. Scene [Tab] Heading for the scene number of the clip. Shoot date [Tab] Heading for the date the footage was shot. Sound TC [Tab] Heading for Nagra timecode, Arri® code, and so on, at the sync point. Syncs with the Start timecode. Required if tracking the sync sound. Capture rate can be 25 or 30 fps. Soundroll [Tab] Heading for sound roll ID for clip.
Chapter 3 Logging: Advanced Data Entries The data entries come after the Custom column headings. The following table shows the format for entering data. Enter a line of data in this format for every clip. Be sure to start the data section for each clip with the word Data [Enter]. Avid Log Data Headings DATA HEADINGS: The word Data marks the start of the data for each clip. Data [Enter] Required Enter the word Data to mark the start of the logged clip entries.
Understanding Avid Log Specifications Avid Log Data Headings (Continued) [Tab] Under Auxiliary TC heading. Enter a Nagra timecode, Arri code, and so on, for the sync point. Syncs with the Start timecode. [Tab] Under Camera heading. Identify the camera, using letters or numbers. For multicamera shoots. [Tab] Under Camroll heading. Identify the camera roll, using letters and numbers. [Tab] Under Duration heading.
Chapter 3 Logging: Advanced Avid Log Data Headings (Continued) [Tab] (matchback only) Under Pullout heading. Identify the telecine pulldown of the last frame of the clip. NTSC only. [Tab] Under Reel # heading. Identify the reel, using numbers. [Tab] Under Scene heading. Identify the scene, using letters and numbers. [Tab] Under Shoot Date heading. Identify the date the footage was shot, in numbers or in letters and numbers.
Creating Avid Logs Sample Avid Log This section contains a sample Avid log for an NTSC video project. Formatting keys (such as [Tab] and [Enter]) are shown in square brackets. Heading [Enter] FIELD_DELIM [Tab] TABS [Enter] VIDEO_FORMAT [Tab] NTSC [Enter] AUDIO_FORMAT [Tab] 44kHz [Enter] TAPE [Tab] 001 [Enter] FPS [Tab] 29.
Chapter 3 Logging: Advanced When logging manually, you should do the following: • Identify the source tape for each shot. • Document each clip’s name, start timecode, and end timecode. This is the minimum information required to capture successfully. You can also add other information such as comments or auxiliary timecodes. You can make a separate log file for each videotape, or log clips from several different videotapes in one log. To create an Avid Log by using a word processor or text editor: 1.
Logging Directly into a Bin Tips for Logging Preroll, Logging Timecode, and Naming Tapes Observe the following important guidelines for preroll, timecode formats, and naming of tapes when logging prior to capturing. Logging Preroll Be sure to leave adequate preroll with continuous timecode prior to IN points when logging your tapes. The recommended minimum preroll is 2 seconds for Betacam® playback, 5 seconds for 3/4-inch U-matic® playback, and 6 seconds for DV playback.
Chapter 3 Logging: Advanced • It is important that you devise a naming scheme for your tapes. For example, tapes with similar names can be easily sorted and viewed together in a bin. However, it can be difficult to distinguish among numerous tapes with similar names when trying to locate a specific tape quickly. Name tapes based upon the amount and complexity of your source material.
Logging Directly into a Bin 3. Select Tools > Capture. The Capture tool opens. Playback from the deck is displayed in the Client monitor. Capture/Log Mode button Mark IN button Channel Selection buttons Deck Selection pop-up menu Source Tape Display button n If you forget to connect and turn on the power to the deck before opening the Capture tool, you can reinitialize deck control after turning it on by clicking the Deck Selection menu, and selecting Check Decks. 4.
Chapter 3 Logging: Advanced 6. Insert your tape into the deck. The Select Tape dialog box opens. You can select the option “Show other project’s tapes” to display the tape names and associated project names for all bins that have been opened in the current session. New tape name List of tapes Show Tapes option n Because the media file database does not open when you start your Avid editing application, tape names of all online media files do not appear automatically.
Logging Directly into a Bin 8. Set either an IN point or an OUT point for the clip you want to log using one of the following methods: t n If you want to keep the deck running while you log: Start the deck. At the point where you want to start the clip, click a Mark IN button (you can use either the Mark IN button in the upper left of the Capture tool or the Mark IN button in the lower right) or press the F4 key. The deck continues to play.
Chapter 3 Logging: Advanced t If you want to log using timecode: Type a timecode for the clip’s IN point, OUT point, or duration in the timecode text boxes next to the corresponding icon. Then enter the mark by pressing the Go to IN button or the Go to OUT button, which scans the tape forward to the mark, or by pressing Enter.To log the clip into the bin, click the Log Clip button in the upper left of the Capture tool.
Logging Directly into a Bin 5. Type a clip name and comment in the corresponding text boxes in the Capture tool. 6. Click the Log Clip button or press the F4 key. Your Avid editing application logs the clip in a bin, and the deck starts playing again. Using a Memory Mark You can add a memory mark to a particular location on a tape. You can then use the Go to Memory button to move through the tape to the marked location.
Chapter 3 Logging: Advanced To log clips directly into a bin from a non-Avid-controlled deck: 1. If there is a deck connected to the system, eject the tape from the deck. 2. Double-click Deck Preferences in the Settings list of the Project window. The Deck Preferences dialog box opens. 3. For NTSC projects, click the “When no tape in deck log as” menu, and select Non-Drop-Frame or Drop-Frame. 4. Click OK to close the dialog box. 5. Open the bin where you want to store the clips. 6. Select Tools > Capture.
Logging Directly into a Bin 8. Click the Source Tape Display button. A dialog box opens. 9. Click Yes to open the Select Tape dialog box. 10. Double-click the name of the tape in the dialog box, or click New and enter the name of the tape. 11. Click OK. 12. Select the tracks you want to log, using the Channel Selection buttons in the Capture tool. 13. Type the start timecode in the Mark IN text box. 14. (Option) Enter a clip name and comment in the corresponding text boxes. 15.
Chapter 3 Logging: Advanced Setting the Pulldown Phase If you are logging or capturing 24-fps sources (film-to-tape transfers, media downconverted from 1080p/24 footage, or both), you can set the pulldown-to-timecode relationship for a transferred tape in the 24p Setting dialog box. For information about the pulldown process, see “Transferring 24-fps Film to NTSC Video” on page 706.
Setting the Pulldown Phase The following illustration shows the relationship between film frames and video frames. Four film frames A B C D Five NTSC video frames (ten fields) A1 odd A2 even B1 odd B2 even B3 odd C1 even C2 odd D1 even D2 odd D3 even A B X C D The Set Pulldown Phase setting lets you log, batch capture, and capture-on-the-fly more easily, because the correct pulldown phase of any IN point for a particular tape is automatically determined.
Chapter 3 Logging: Advanced To set the pulldown phase: 1. Determine the correct pulldown phase for 00:00:00:00 in one of the following ways: t If you are capturing film-to-tape transfers, check the transfer log. t If you are capturing tapes that have been downconverted from 1080p/24, check what pulldown frame was set for 00:00:00:00 on the deck that performed the conversion. 2. Double-click 24p in the Settings list of the Project window. 3.
Exporting Shot Log Files 4. Select File > Export. The Export As dialog box opens with a default file name in the File name text box based on the file type. 5. Select the Export setting by doing one of the following: t If you have previously created an Export setting for exporting shot log files, click the Export menu, and select the setting. Then, go to step 10. For information on creating Export settings, see “Customizing Export Setting” in the Help.
Chapter 3 Logging: Advanced To export an entire bin: 1. Ctrl+click selected clips to deselect them, so that nothing is selected in the bin. 2. Select File > Export. The Export Bin As dialog box opens. 3. Click the Export Bin As menu, select the appropriate option, and click OK. A shot log of only the master clips in the bin is created.
Advanced Capture Settings Chapter 4 Capturing Media: Advanced Capturing is the process of creating digital media from videotape or audio input. When you capture, you convert source material from videotape into master clips that contain reference information. You also create associated media files that contain the digital audio and video.
Chapter 4 Capturing Media: Advanced For reference information about all settings in the Capture Settings dialog box, see “Capture Settings” on page 569.
Advanced Capture Settings 4. Click OK to close the dialog box and apply the options. Preroll Method Description Best Available Your Avid editing application first checks the tape for timecode to use for preroll. • If there is no timecode, or not enough timecode, the system uses the control track for preroll. • If there is not enough control track for preroll, the system adjusts the specified preroll time to accommodate the amount of valid control track available.
Chapter 4 Capturing Media: Advanced Capturing to Multiple Media Files You can capture video and audio to multiple media files across multiple drives. MXF is automatically captured to multiple files; OMF is captured to multiple files when you set an option in the Capture Settings dialog box. Capturing to multiple media files has the following advantages: • You can create longer clips whose media files would otherwise exceed the file size limitation of 2 GB.
Advanced Capture Settings 8. Ctrl+click multiple drives to include in the capturing session, or click the All button to select all drives. n If you click Clear, all selections are removed. You must select at least one drive before you can click OK to exit the dialog box. 9. Click OK to close the dialog box and apply the changes. 10. Proceed with capturing. c For media file management purposes, any clip whose media exceeds the 2-GB limit has more than one media file associated with it.
Chapter 4 Capturing Media: Advanced Settings for Film and 24p Projects The following settings are important when you are capturing video transferred from film or capturing 24p video. You should specify these settings for film or 24p projects immediately after you create a new project and before capturing. For information about other film settings, see “24p Settings” on page 559.
Advanced Capture Settings • Advanced 2:3:3:2 pulldown: Select this option when using native DV editing with capture over Firewire. Set Pulldown Phase of Timecode allows you to set a default pulldown phase for a 24p NTSC project. See “Setting the Pulldown Phase” on page 100. Disabling Video Resolutions To simplify the options for media creation, you can restrict the resolutions available for capturing, rendering, or importing. To disable resolutions, you need to type the resolutions into a text file.
Chapter 4 Capturing Media: Advanced 4. Type each resolution you want to disable on a separate line. Do not include OMF® or MXF. n n The text of the resolution has to exactly match the text in the Media Creation dialog box. If you want to disable DV 25, for example, you need to type DV 25 411 with DV in capital letters. Do not disable all resolutions supported by the editing application. You need to keep one resolution available. 5. Name and save the file: a. Select File > Save As. b.
Understanding Drop-Frame and Non-Drop-Frame Timecode Understanding Drop-Frame and Non-Drop-Frame Timecode Timecode is an electronic indexing method that denotes hours, minutes, seconds, and frames that have elapsed on a videotape. For example, a timecode of 01:03:30:10 denotes a frame that is marked at 1 hour, 3 minutes, 30 seconds, and 10 frames. NTSC video (the video format used mainly in the United States) uses one of two formats: drop-frame timecode and non-drop-frame timecode.
Chapter 4 Capturing Media: Advanced You set the default timecode format for logging clips in the Deck Preferences dialog box. See “Deck Preferences Settings” on page 581. You set the default starting timecode in the General Settings dialog box. See “General Settings” on page 616. In both cases, you can select drop or non-drop. You can change the starting timecode of a sequence or, for NTSC projects, the type of timecode. See “Changing the Sequence Name and Timecode” in the Help.
Preparing for Audio Input: Advanced Using the Passthrough Mix Tool The Passthrough Mix tool allows you to select the mix and adjust the volume and pan values of the source audio that you monitor. You can adjust the mix, volume, and pan values of multiple monitored channels, controlling either individual channels manually or several channels simultaneously by ganging them together. n The Passthrough Mix tool adjusts monitored audio only and has no effect on the recorded audio signal.
Chapter 4 Capturing Media: Advanced To adjust audio in the Passthrough Mix tool: 1. Double-click Audio Project in the Settings list. The Audio Project Settings dialog box opens. 2. Click the Input tab. 3. Click the Passthrough Mix Tool button. The Passthrough Mix tool opens. 4. Switch the Input Mix Mode button to select a type of input: n - Select Stereo Mix to mix audio channels to a stereo pair. Use the Stereo Mix Tracks menu to specify which stereo pair to use.
Preparing for Audio Input: Advanced t Click the Volume Level display, and type a value. t Alt+click the Volume Level slider to reset the value to 0 dB. Adjusting Pan Values in the Passthrough Mix Tool To adjust the pan values in the audio panel of the Passthrough Mix tool: t Click the Pan Value display to reveal the pop-up slider, and then drag the slider to a new position.
Chapter 4 Capturing Media: Advanced 4. Click OK. 5. Change the calibration of the audio hardware, as described in the following sections. Calibrating Audio Input Channels To calibrate input channels for the Avid Adrenaline: 1. Select the desired audio hardware calibration setting, as described in “Changing the Audio Hardware Calibration Setting” on page 117. 2. Connect a sine wave generator that can produce a 1-kHz tone, +4 dB @ 0 VU to XLR channel 1 of the Avid Adrenaline. 3.
Preparing for Audio Input: Advanced To return to the default Audio tool display: t Click the Peak Hold Menu button, and select Calibrate. Calibrating Audio Output Channels If the input channels for the Avid Adrenaline are calibrated correctly, you can use the input channels to calibrate the output channels. To calibrate output channels for the Avid Adrenaline: 1. Make sure the audio I/O device is calibrated properly for input. See “Calibrating Audio Input Channels” on page 118. 2.
Chapter 4 Capturing Media: Advanced 5. In the Console command line, type: DumpMaxPeaks 6. Press Enter. A list of peak values appears in the Console window. Preparing for Video Input: Advanced Before capturing, you need to prepare the video for input. The advanced video input features include limitations when using a consumer deck, video input settings, and saving video settings.
Preparing for Video Input: Advanced n The Video Input tool is not available on all models. If your model does not have the Video Input tool, the Avid editing application sets the default input options automatically. If you continue to experience difficulty with a source that does not include an internal TBC, Avid recommends the video signal be processed through an external TBC for maximum image quality. For more information on time-base correctors, contact your Avid Reseller.
Chapter 4 Capturing Media: Advanced 3. Click OK. Whenever you batch capture or select a tape name during capturing, the system recalls the saved settings as follows: n • The system looks for a Tape setting with the same name as the tape. If the setting exists, the system recalls it. • If no matching Tape setting exists, the system looks for a setting labeled “Default” and loads that setting.
Using Function Keys When Capturing The following table describes the criteria for adjusting video levels by eye, without color bars. Video Level Adjustment Criteria Color Criteria Blacks Should not seem flat and lacking detail. Find a series of frames in the footage that include black areas. Shadows work better than black objects. Blacks should fall around 7.5 IRE for NTSC, 0 IRE for NTSC-EIAJ, or 0.3 V for PAL in the Waveform monitor. Whites Should not be washed out or lacking detail.
Chapter 4 Capturing Media: Advanced Function Keys Available When Capturing (Continued) Press To F3, F5 through F12 Add a locator to the current frame while capturing. Each Function key adds a different color locator. See “Adding Locators On-the-Fly” on page 127. F4 In Capture mode, start the capture process. During capture, end a comment for a locator. In Log mode, press once to mark an IN point. Press again to mark an OUT point to log the clip in the bin.
Special Capture Procedures n The Start Capture function is not included in the menu. F4 always starts capture. You can map an additional function to F4 to use after capture starts; End Locator Entry is the default. 3. Click OK. Special Capture Procedures This section describes several optional procedures you can use during the capture process. Logging Errors to the Console Window The Console window is useful for logging errors that occur during the capture process.
Chapter 4 Capturing Media: Advanced Creating Subclips While Capturing Subclips are marked sections of a longer master clip you can view and edit like any other object in a bin. This section describes two methods for creating subclips while capturing: by creating subclips on-the-fly and by creating timed subclips. The maximum number of subclips you can generate while capturing a clip is 100. n For information about creating subclips after capturing, see “Creating Subclips” in the Help.
Special Capture Procedures n If your Avid editing system is an asset manager client in an MXF/AAF workgroup, you cannot create subclips while capturing media using the Capture tool. However, you can use the Frame Chase editing feature when capturing media from a supported external device using Avid Interplay Transfer. For more information about using Frame Chase editing, see “Using Frame Chase Editing” in Avid Interplay Best Practices.
Chapter 4 Capturing Media: Advanced To add a locator to a frame while capturing: 1. Start capturing. 2. Watch the playback of the footage in the monitor, and press one of the locator keys (F5–F12) when you see the shot or frame with which you want to associate a locator. A default name and number for the locator appear in the Name text box in the Capture tool. 3. While you capture, you can add comments for the locator. Press the Tab key to move the cursor to the Comments text box, and type your comment.
Special Capture Procedures 3. Press Ctrl+N. A new tape name text box opens. 4. Type the new tape name. 5. Press Enter to register the tape name. 6. Press Enter or click OK to close the Select Tape dialog box. Controlling Decks from the Keyboard You can use the J-K-L keys to control a deck from the Capture tool, Digital Cut tool, and Deck Controller window. The J-K-L keys work the same as they do in the Source/Record monitor.
Chapter 4 Capturing Media: Advanced Working in Quick Record Mode Quick Record mode allows the deck to control the capturing of media into Avid editing systems. When Quick Record mode is enabled, the Avid editing application starts capturing automatically whenever the servo-lock signal is detected from the deck. When Servo Lock mode is detected (the deck is playing), capturing begins and continues until play is stopped, at which point it will wait for the next servo-lock signal.
Special Capture Procedures The following table lists messages that might appear in the message area if the appropriate conditions for the Quick Record mode are not present. The second column recommends what you can do to be ready for the Quick Record mode. Quick Record Condition Messages Message Cause or Action Required No deck A deck is not selected in the Capture tool or the system does not detect a deck. Make sure the deck is connected, turned on, and selected in the Capture tool.
Chapter 4 Capturing Media: Advanced To add text fields: 1. Select Tools > Capture. The Capture tool opens. 2. Click the Extra Field Selection button. The Field Selection dialog box opens. 3. Click the New Field button The New Field Name dialog box opens. 4. In the Field Name text box, type the name you want to appear as a text field in the Capture tool. This is also the name that appears in the bin column heading. 5. Click OK in the New Field Name dialog box.
Special Capture Procedures The Field Selection dialog box opens. 3. Do one of the following: t Select the text fields that you want to display in the Capture tool. t Click Select None to hide the extra text fields in the Capture tool. 4. Click OK. Only the selected fields appear in the Capture tool. To delete extra text fields: 1. Click the column heading in the bin. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key.
Chapter 4 Capturing Media: Advanced Ejecting Tapes with a Button or Key By clicking the Eject button and ejecting a tape, the fact that the tape must be changed can be brought to the attention of any tape operator in a remote machine room. To eject tapes by using a button: 1. Select Tools > Command Palette. 2. Click the Play tab. 3. Select Active palette. 4. Click the Eject button. n You can map the Eject button to any button on the Tool palette or any key on the Keyboard palette.
Understanding DV Capture Offset RS-422 Controls a DV Device Configuration The DV capture offset can also be used in a configuration where the DV stream is captured over a FireWire cable, but the timecode of the master clip is not received through an RS-422 controller. When you adjust the DV capture offset in this configuration, results could vary, depending on the number of devices involved. See the following figure.
Chapter 4 Capturing Media: Advanced Capture with No Offset To adjust for this device behavior, set the DV capture offset to –6 frames. The result should be a frame-accurate capture. However, the results are dependent on device behavior. If the device behavior for sending streams across a FireWire cable is inconsistent, frame-accurate results on capture will also be inconsistent. See the following figure.
Delaying Audio Delaying Audio Sometimes the source from which you are capturing provides an audio signal that is one or more frames ahead of the video. For example, the Panasonic AG-DVX100 DV camcorder always records audio one frame ahead of the video. Also, the use of a timebase corrector (TBC) or other video processing devices on your input signal might introduce fixed frame delays of video.
Chapter 4 Capturing Media: Advanced A 23.976p video only capture is supported only with the Advanced Pulldown cadence of 2:3:3:2 as created by the Panasonic cameras AG-DVX100 and the AG-SDX900 NTSC versions. When creating a 23.976 project in these products, capture always assumes the pulldown cadence to be “advanced.” If you are taking a feed from a source based on a time-of-day timecode generator, setting IN and OUT points is especially useful.
Capturing in Satellite Mode or No Device Control 4. Click the Timecode Source menu, and select one of the following: n n The devices that appear in the Timecode Source menu originate from the current Deck Configuration settings. - Internal: Uses internal system timecode. - LTC Input: Detects LTC input. LTC Input is only available with Avid Adrenaline. If you don't have an Avid Adrenaline attached to your system, the LTC Input option is dimmed. - Auto Detect: Detects LTC input by default.
Chapter 4 Capturing Media: Advanced n If the tape name for which you are searching does not appear in the Select Tape dialog box, click the Scan for Tapes button. Tape and project names are listed. New Tape Name button List of tapes Show other projects option 6. Provide a tape name in one of the following ways: t Select a tape name from the list. Tape names and associated projects are listed in two columns.
Setting a Timed Capture Setting a Timed Capture When Satellite mode is enabled, the Timed Capture option allows you to schedule a capturing session for upcoming live satellite feeds. The Scheduled Capture button opens the Scheduled Capture dialog box for creating a capture schedule. The following table lists the settings for the scheduled capture. Scheduled Capture Settings Setting Description Scheduled Capture mode Enables and disables the scheduled capturing session.
Chapter 4 Capturing Media: Advanced n You can still use the Capture tool with Scheduled Capture mode enabled as long as you stop using the Capture tool before the next scheduled capturing session. You cannot do a scheduled live feed capture if the Capture tool is in use. The Capture tool must be the active window for a scheduled capturing to occur. To set a timed capture session: 1. Select Tools > Capture. The Capture tool opens. 2. Click the Toggle Source button until the Satellite Mode icon appears. 3.
Capturing to the Timeline 7. Click OK. The Setup Capture Schedule button changes to green and the Toggle Source button displays the Satellite Mode icon with a clock. The timecode fields contain the information for the upcoming capture session. To clear the scheduled capture: 1. Select Tools > Capture. The Capture tool opens. 2. Click the Toggle Source button until the Satellite Mode icon appears. 3. Click the Setup Capture Schedule button. The Scheduled Capture dialog box opens. 4. Click Clear. 5.
Chapter 4 Capturing Media: Advanced 4. (Option) Patch tracks you are capturing (source tracks) to the tracks in your sequence (record tracks). See “Patching When Capturing to the Timeline” on page 144. 5. Mark an IN point in the sequence or move the position indicator to where you want the edit to take place. 6. Mark the source material you want to capture by using the Capture tool logging controls. For a description of the controls, see “Logging with Avid-Controlled Decks” on page 92. 7.
Remote Play, Capture, and Punch-In For example, if you want to capture video footage to track V2, click and hold the red V button in the Capture tool and select V2 from the menu. The Track Selector panel in the Timeline displays the resulting patch. Select the track to patch. The result is displayed in the Timeline. n You can also patch tracks in the Timeline in the same way you patch tracks when editing from the Source monitor. See “Patching Tracks” in the Help.
Chapter 4 Capturing Media: Advanced n You must be in Satellite mode to use Remote Capture. For information on Satellite mode, see “Capturing in Satellite Mode or No Device Control” on page 137. To use Remote Play and Capture, you must connect a supported controller (any controller that uses Sony® serial control protocol) to the system by using a special Avid 9-pin VTR emulation cable and a serial adapter.
Remote Play, Capture, and Punch-In Enabling Remote Capture Before you enable Remote Play and Capture, be sure the controller is properly connected. To enable Remote Capture: 1. Double-click Communication (Serial) Ports in the Settings list of the Project window. The Communication (Serial) Ports tool opens. 2. Select Remote Play and Capture > port. 3. Close the Communication (Serial) Ports tool. The system saves the setting as a Site setting, effective for all projects. 4.
Chapter 4 Capturing Media: Advanced 12. Click the Toggle Source button until the Satellite Mode icon appears. 13. Control capturing from the controller. Enabling Remote Play Remote Play allows you to control sequences through an edit controller. You can play, cue, and stop your sequence from the edit controller. To enable Remote Play: 1. Double-click Remote Play and Capture in the Settings list of the Project window. The Remote Play and Capture Settings dialog box opens. 2. Select Mode > Remote Play. 3.
Remote Play, Capture, and Punch-In Setting up Your System for Remote Punch-In Before you enable Remote Punch-In, you need to make sure the controller is properly connected.
Chapter 4 Capturing Media: Advanced 5. Select Mode > Remote Punch-In. 6. Click the Device Code menu, and select the appropriate device. 7. (Option) Specify other settings as described in “Remote Play and Capture Settings” on page 642. 8. Click OK. 9. Select Clip > Remote Play and Capture when you are ready to use the system for capturing. A check mark appears next to the command to indicate that the system is ready.
Remote Play, Capture, and Punch-In n n Setting an OUT point is optional. If you set the IN point at the first frame of the sequence, you must add filler to the start of the sequence equal to the amount of preroll. This allows the system to sync lock the Avid editing application to the external controller. 14. Control recording from the controller. n Remote Punch-In does not use preroll or postroll settings, and it does not initiate a loop playback or audition playback prior to recording.
Chapter 4 Capturing Media: Advanced 11. Click Next, and then click Finish. 12. Restart your system. Modifying the Pulldown Phase After Capturing If you have captured film-originated clips (NTSC transfer only) that seem to stutter, the problem could be an incorrectly logged pulldown phase. The pulldown phase is the video frame at which the master clip starts: A, B, X, C, or D. You log this pulldown phase in the “Pullin” column of a bin.
Modifying the Pulldown Phase After Capturing Step backward (either one frame from the B frame or two frames from the X frame) to locate the correct A frame. Note the last digit of its timecode. Timecode for all A frames in the clip will start either with this digit or this digit plus 5. For example, if the A frame has the timecode 1:00:10:20, timecode for all A frames in the clip ends in either 0 or 5. c.
Chapter 4 Capturing Media: Advanced DV and HDV Scene Extraction While you are capturing DV or HDV footage, the DV and HDV Scene Extraction feature allows you to generate subclips and locators automatically, based on time-of-day (TOD) information contained in the DV or HDV format. Discontinuities in the DV or HDV TOD metadata indicate each place in a master clip or subclip where a new take was initiated on a DV or HDV camera.
DV and HDV Scene Extraction 5. Select one of the following options: - Add Locators: Creates locator marks where the TOD information breaks occur while capturing. - Create Subclips: Creates subclips where the TOD information breaks occur while capturing. - Both: Creates subclips and locator marks where the TOD information breaks occur while capturing. 6. Click OK. 7. Select Tools > Capture and then click the Record button.
Chapter 4 Capturing Media: Advanced 8. Click OK. In the bin, subclips are created with the same source clip name and the file name extension .sub.01 where TOD information breaks occurred. Locator marks appear in the master clip where TOD information breaks occurred. If you select a DVCPRO, a non-DV, or an audio-only clip, an error message appears, informing you that an incompatible clip was selected. These clips are bypassed during the DV Scene Extraction process.
Chapter 5 Importing Files: Advanced When you import files, the system 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 5 Importing Files: Advanced Importing Single-Layer Photoshop Graphics A single-layer graphic is a graphic file that was created on a single layer or a layered graphic that was flattened in Photoshop. Avid editing applications import this kind of graphic as a matte key or master clip, depending on the format of the Photoshop file. • If the graphic uses a transparent background or an alpha channel, the Avid editing application creates a matte key.
Importing Photoshop Graphics Example of Multilayered Photoshop Graphics Import A typical multilayered Photoshop graphic might consist of a collage of still images over a background image, with a layer of text. Each image is on its own layer in the Photoshop file (with the background image on the lowest layer), and the text is also on its own layer. The goal is to edit the collage into a sequence, building it up one image at a time, and then add the text.
Chapter 5 Importing Files: Advanced The following illustration shows the layers as they appear in a bin. During the import, your Avid editing application creates a sequence with each layer on a separate video track; this makes it easy to edit all layers into the final sequence. This sequence preserves the names and order of the layers as created in the original Photoshop file, as shown in the following illustration. You can then edit the tracks to build up to the full collage.
Importing Photoshop Graphics Support for Multilayered Photoshop Graphics Import You should be aware of the following requirements for multilayered graphics import and details of how your Avid editing application handles the import: • Graphics must be RGB 8 or 16 bits, or grayscale. • Layer order and layer names are preserved during import. • Hidden layers are imported as matte keys. • Opacity is converted to Foreground level in the Matte Key effect.
Chapter 5 Importing Files: Advanced Support for Photoshop Special Layer Types Layer Option Supported Notes Type Layer Yes — Solid Layer Yes Solid layers are imported as a graphic with a full-screen opaque alpha channel. Gradient Layer Yes Gradient transparency is preserved. Pattern Layer Yes — Adjustment Layer No Adjustment layers include Levels, Curves, Color Balance, Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient Map, Invert, Threshold, and Posterize.
Importing Photoshop Graphics Importing Multilayered Photoshop Files To import a multilayered Photoshop file: 1. Prepare the Photoshop graphic for import. For more information, see “Support for Multilayered Photoshop Graphics Import” on page 161 and “Preserving Layer Effects in Multilayered Photoshop Graphics” on page 162. 2. Follow the standard instructions for importing a graphic, as described in “Importing Files” in the Help.
Chapter 5 Importing Files: Advanced 4. In the message box, do one of the following: n t Click Sequence of Layers if you want to preserve all layers. If the number of layers exceeds the number of tracks supported, your Avid editing application creates a sequence that contains the number of tracks supported. Additional layers are imported into the bin, but not as tracks in a sequence. This selection applies to all files you selected for import.
Importing Media from XDCAM Devices The following table lists the formats and resolutions available when you work with XDCAM media: XDCAM Resolutions Format/Resolution XDCAM HD (1080i/59.94, 1080i/50, 1080p/23.976): Number of Audio Channels (maximum) 8 XDCAM HD 17.
Chapter 5 Importing Files: Advanced Connecting the XDCAM Device You use an IEEE-compliant 1394 (i.LINK) port on your computer to connect the XDCAM device to your system. The XDCAM interface is configured to use the SBP2 protocol so you can access the XDCAM device as a disk volume on your system. n The 1394 port on your computer must be on a bus separate from the one used by the Avid DNA hardware. You can have multiple XDCAM devices connected to your system at any one time.
Importing Media from XDCAM Devices Playing XDCAM Media on an Avid Symphony Due to the design of the Nitris hardware, playback of XDCAM media on an Avid Symphony Nitris editor causes dropped frames. To allow for full performance playback, you should transcode the XDCAM media into DNxHD media to play the video on your Avid Symphony system. Use the following workflow to play XDCAM media on your Symphony editor. To play XDCAM media on an Avid Symphony system: 1.
Chapter 5 Importing Files: Advanced You can use these settings to override the selections made in the Select Files to Import dialog box or to set default behavior for importing XDCAM media. For more information on Import Settings, see “Import Settings: XDCAM Tab” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key. Importing XDCAM Media XDCAM devices store media as MXF OP1a interleaved files.
Importing Media from XDCAM Devices Audio for high-resolution XDCAM media is imported at a sample rate of 48 kHz. If the sample rate for your project is different (for example, 44.1 kHz), you need to change the sample rate for the XDCAM audio before you can monitor it in the Timeline or export the media as a sequence. For information on changing the sample rate, see “Changing the Sample Rate” in the Help. XDCAM cameras record proxy audio at a sample rate of 8 kHz.
Chapter 5 Importing Files: Advanced 5. Open the bin in which you want to store the imported files. n If you do not select a bin, or if you have more than one bin open, a dialog box opens and directs you to select from a list of open bins or to create a new bin. 6. Insert a disc into your XDCAM device. The Import XDCAM Proxy from drive: dialog box opens. Single/Dual Drives button 7. Type a name in the Disk Label text box.
Importing Media from XDCAM Devices To import all proxy media from a disc: 1. Open the bin in which you want to store the imported files, and select it to make it the active bin. 2. Insert a disc into your XDCAM device. 3. Select File > Import XDCAM Proxy. The Import XDCAM Proxy from drive: dialog box opens. Single/Dual Drives button 4. Type a name in the Disk Label text box.
Chapter 5 Importing Files: Advanced When you copy the XDCAM media files from the XDCAM device to another system or to a removable disc, you must keep the files in the same folder structure as used on the XDCAM disc. You also must copy the XML data files that the XDCAM camera creates in the root directory of the XDCAM disc. A common workflow for importing XDCAM proxy media from a non-XDCAM drive uses the following steps: 1. Copy the necessary files and the proxy folder from an XDCAM device to an FTP server.
Importing Media from XDCAM Devices You can import files by doing one of the following: • Using the Import function • Using the drag and drop method of importing files For more information, see “Importing Files” in the Help and “Using the Drag-and-Drop Method to Import Files” in the Help) n Your Avid editing application imports XDCAM media at the native resolution of the media on the XDCAM disc. Your application ignores other resolution settings — for example, in the Select Files to Import dialog box.
Chapter 5 Importing Files: Advanced To import Essence Marks as locators: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Import Essence Marks as locators. 4. Click OK. Editing the Proxy Media When you import the proxy media files to a bin, new master clips are created that you can edit in the Timeline just like any other clip.
Importing Media from XDCAM Devices To set the playback options for XDCAM media: 1. Right-click the Video Quality menu button, and select Draft Quality (yellow/green) or Best Performance (yellow/yellow). 2. Right-click the Video Quality menu button, and select Video Display Settings. The Video Display Settings dialog box opens. 10-bit Playback 3. Deselect 10-bit Playback. 4. Click OK.
Chapter 5 Importing Files: Advanced You can also perform emergency play-to-air operations of the proxy media as a normal export, as a Send to Playback operation, or as a digital cut. Batch Importing High-Resolution Media Once you finish editing your sequence using proxy media, you can replace the low-resolution media in the sequence with the corresponding high-resolution media by using the Batch Import command.
Importing Media from XDCAM Devices To batch import high-resolution XDCAM media: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Batch Import High-resolution Video. 4. Click the Handle Length text box and type the number of additional frames you want to import at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. The default is 30 frames. 5. Click OK. 6.
Chapter 5 Importing Files: Advanced 9. Click the All Clips button. The Batch Import dialog box opens. Single/Dual Drives button Video Drive and Audio Drive menus n Your Avid editing application imports XDCAM media using the native resolution of the XDCAM files. 10. Click the Video Drive and Audio Drive menus, and select a destination drive or drives for all the media files. You can separate video and audio onto different drives. 11. Click Import. The high-resolution files are imported.
Importing Editcam Files Editing and Finishing High-Resolution Media Once you have imported the high-resolution media, you can play back and edit your sequence with full resolution and in real time using the standard Avid editing functions. You can also send the sequence to a broadcast playback server using Avid Interplay Transfer. As you edit your sequence, you can move between the proxy media and the high-resolution media by relinking your clips with the corresponding media files.
Chapter 5 Importing Files: Advanced 5. Ignore the field specifying video resolution to be imported. 6. Ignore the field regarding video and audio drive selection. 7. Proceed with the import operation. A dialog box opens, asking you to identify the drives that contain the media files. 8. Select the FieldPak drive letters as appropriate. n If the drive or volume is not listed, go back to step 1 and follow the procedure again. 9. Complete the import process.
Importing Sequences from Pro Tools through Interplay Importing Sequences from Pro Tools through Interplay You can import a sequence you have worked on in Pro Tools back into your Avid editing application. You need to have checked the sequence into Interplay from Pro Tools. To import a sequence from Pro Tools: 1. Open the Interplay Window and navigate to the location of the checked-in sequence. 2. Click the sequence and drag it into your bin.
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Chapter 6 Working with Bins: Advanced Your Avid editing application provides powerful database tools for organizing and managing your captured material. You can view bins in four different display views. You can rename, sort, sift, duplicate, and delete clips and sequences. You can also print single-clip frames or whole bins.
Chapter 6 Working with Bins: Advanced Advanced Bin Procedures You can use several advanced procedures in any of the bin display views for manipulating clips in the bin. They include using audio timecode, setting the bin display, displaying custom bin views, assigning colors, and sifting clips and sequences. Displaying Custom Bin Views When a bin is in Text view, the Bin View menu appears to the right of the Fast Menu button. Use the Bin View menu (Text view only) to select different bin views.
Advanced Bin Procedures • Add or hide columns of information to create customized Statistics views. They are saved as additional view settings in numerical order: for example, Statistics.1, Statistics.2, and so on, unless you select another name. To customize views of the bin, you can add, hide, copy, or rearrange standard or customized columns in any combination to create your own custom views. You can name and save them to suit your needs. See “Saving a Custom Bin View” on page 185.
Chapter 6 Working with Bins: Advanced Assigning Colors to Bin Objects You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects. Colors assigned to bin objects are referred to as source colors. You can display source colors in bins and in the Timeline. For information on displaying source colors in the Timeline, see “Displaying Local and Source Colors in the Timeline” on page 317.
Advanced Bin Procedures Sifting Clips and Sequences When you sift clips and sequences, the bin displays only those clips and sequences that meet a specific set of criteria. For example, you can do a custom sift to display only those clips containing the word “close-up” in the heading column. The Custom Sift dialog box provides six levels of criteria. You can also sift on a timecode (or keycode) number within a specific range. For more information, see “Sifting Timecodes” on page 188.
Chapter 6 Working with Bins: Advanced 6. Click OK. Only the clips or sequences that meet your criteria remain in the bin, with the word “sifted” added to the bin name. After you have sifted the clips in a bin, you can display the bin in a sifted or an unsifted state. To view the entire bin: t Select Bin > Show Unsifted. To view the sifted bin: t Select Bin > Show Sifted. The word “sifted” appears in parentheses after the bin name when you view the bin in its sifted state.
Advanced Bin Procedures For example, type 01:08:32:00 in the Text to Find text box in the Custom Sift dialog box, click the Column or Range to Search menu, and select Start to End Range. After custom sift The clips that encompass the timecode number 01:08:32:00 Some column pairs explicitly define a range, for example, Start and End or Mark IN and Mark OUT. Other columns define the beginning of a range, and the end of the range is determined by the Duration column.
Chapter 6 Working with Bins: Advanced The following table lists all columns associated with implicit ranges and their corresponding menu choices. The Duration column determines the end of these ranges. To sift for a timecode number within a specific range: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. 2. Type the timecode number for the range in which you want to sift. 3. Click the Column or Range to Search menu, and select a range; for example, Start to End Range or Mark In to Out Range.
Advanced Bin Procedures n If the Lock column is not displayed, you might have hidden that column. For information on hiding and restoring bin columns, see “Manipulating Bin Columns” on page 193. To unlock previously locked items: 1. Select the items in the bin. 2. Select Clip > Unlock Bin Selection. n You can use the clip-locking feature along with archiving software to automatically archive all locked media files.
Chapter 6 Working with Bins: Advanced 4. Select the clip or sequence, and select Bin > Select Media Relatives. The system highlights all related objects in all open bins. Highlighted media relatives n You can also use the Media tool to look at the captured video and audio data files stored on your media drives. For more information on the Media tool, see “Using the Media Tool” in the Help.
Using Text View: Advanced 4. Click OK. All unreferenced clips are highlighted in the open bins. n The Select Unreferenced Clips command is effectively the reverse of the Select Media Relatives command. Using Text View: Advanced Text view provides the most complete view of clip information. It uses database columns that you can rearrange and customize to suit your needs. Manipulating Bin Columns Use the following procedures to move, align, and delete columns in a bin.
Chapter 6 Working with Bins: Advanced To delete a column: 1. Click the column heading in a bin. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The column disappears from the view, and surrounding columns close to fill the space. Duplicating Bin Columns You can duplicate existing columns containing timecode information into other compatible columns that you target in a dialog box. To duplicate a timecode column: 1.
Using Text View: Advanced 3. Type the column heading you want, and press Enter. Column headings must contain a maximum of 14 characters, including spaces. This places the pointer in the data box, beside the first clip in the bin. 4. Select Bin > Align to Columns after you have entered the new column heading. 5. Type the information, and press Enter to move to the next line. Changing a Custom Bin Column Heading You can change the heading name of custom columns only.
Chapter 6 Working with Bins: Advanced Shortcut Description Enter (on main keyboard) Enters any new information typed in the cell and moves the pointer down to the cell in the next row. You can continue to press Enter to scroll down the column until the last cell in the column is highlighted. The next time you press Enter, the first cell in the column is highlighted. Shift+Enter (on main keyboard) Move the pointer up to the cell in the previous row.
Using Text View: Advanced Modifying Data Directly When you modify information in a bin directly, you click a cell and type the new information. For example, you can type a new name for a clip or correct the start and end timecodes. You can directly modify any data in the bin while logging and prior to capture. After the footage is captured, however, you can directly modify information only in selected headings, with restrictions, as shown in the following table.
Chapter 6 Working with Bins: Advanced To modify the clip data directly in a bin: 1. Click the Text tab in the bin to enter Text view. 2. Click the cell that you want to modify. Select only one item at a time. In the following example, the timecode data is highlighted. 3. Click the cell again to enter text. If the pointer does not change to an I-beam, you might be attempting to modify a column that cannot be directly modified. 4. Type the new information, and press Enter.
Using Text View: Advanced You can apply changes with the Modify command to master clips only; subclips and sequences are not altered in this way. In addition, you can perform modifications that only alter the end timecodes or the tracks before capture, as described in the following table. Modify Command Options Type of Modification Options Description Set Timecode Drop/ Non-drop Drop, Non-drop Changes the timecode format between drop-frame and non-drop-frame.
Chapter 6 Working with Bins: Advanced Modify Command Options (Continued) Type of Modification Options Description Set Disk Label Set label Allows you to change the name assigned to an XDCAM disk. For more information, see “Importing Media from XDCAM Devices” on page 164. Set Format Compatible formats Allows you to change the format of a sequence. The choice of formats is limited to the compatible frame rate of the current sequence.
Using Text View: Advanced 5. Select an option or type information into the text boxes (timecode values, for example) when they appear. 6. Click OK. The modification takes effect. Copying Information Between Columns To copy column information to another column: 1. Select the column that you want to copy. 2. Select Edit > Duplicate. The Select dialog box opens, prompting you to target a column for the data. 3. Select the target column for the data, and click OK.
Chapter 6 Working with Bins: Advanced To specify the gauge of the film: t Ctrl+click the cell, and then select one of the following film sizes and perf count or frame count: - 35mm, 4 perf - 35mm, 2 perf - 35mm, 3 perf - 35mm, 8 perf - 16mm, 40 perf - 16mm, 20 perf - 65mm, 15 perf (used in IMAX® films) - 65mm, 10 perf - 65mm, 8 perf - 65mm, 5 perf - VistaVision® Tracking 3-Perf Counts You can track 3-perf counts in film projects.
Using Text View: Advanced Selecting an Edgecode Type There is one edgecode per foot of film. You enter an edgecode type for a particular place on the film in any of the edgecode-type bin columns (Aux Ink Edge, Ink Edge, Master Edge). Select the appropriate edgecode type for a clip so you can track frames in the Timecode window, above the Source/Record monitor, or in FilmScribe. To select an edgecode type: t Ctrl+click the cell, and then select the edgecode type that matches the edgecodes on the film.
Chapter 6 Working with Bins: Advanced To sort clips in ascending or descending order: 1. With a bin in Text view, click the heading of the column that you want to use as the criterion. The column is highlighted. 2. Do one of the following: n t To sort in ascending order, select Bin > Sort. t To sort in descending order, press and hold the Alt key while you select Bin > Sort Reversed. If the Sort command appears dimmed in the menu, you have not selected a column.
Using Text View: Advanced Displaying Timecodes in a 24p or 25p Project When you are working with 24p and 25p projects (PAL with pulldown), you can add timecode columns to bins or the Media tool to enter and display starting timecodes in several timecode formats for master clips, subclips, and sequences.
Chapter 6 Working with Bins: Advanced Adding Timecode Values to the Timecode Columns To add timecode values to the timecode columns: 1. Open a bin or the Media tool. 2. Add the Start column and the timecode column with the format you want to use. 3. Select the Start column. 4. Select Edit > Duplicate. The Select dialog box opens. 5. Select the timecode heading from the list. 6. Click OK.
Using Text View: Advanced Bin Column Headings Heading Description Name Heading does not appear as a column selection, but it always appears in the bin. The column contains the name of the clip or sequence (you can rename a clip or sequence after it has been captured). Audio Bit Depth Audio bit depth used when you work with audio files: 16 bit or 24 bit. Audio Format Audio format of master clips (AIFF-C or WAVE). Audio SR Audio resolution (sample rate).
Chapter 6 Working with Bins: Advanced Bin Column Headings (Continued) Heading Description Frame Displays the same frame that is displayed when you select Frame view for the bin. See ”Using Frame View” in the Help. n It can take longer for the screen to display frames than text. Therefore, working with frames can slow down the work that you do with bins. IN-OUT Length of the marked segment, if any. Journalist First and last name of a person associated with the clip.
Working with Restricted Material Working with Restricted Material Broadcast facilities sometimes need to manage digital rights by restricting the use of footage. You can mark restrictions on clips in Avid Interplay Assist. When you bring marked footage into your Avid editing application, you can see the restriction marker on the clip icons in the bin, and you are warned about the restriction before you display or output that footage.
Chapter 6 Working with Bins: Advanced The same warning appears when you try to do any of the following: • Perform a digital cut • Send the sequence to playback • Export If you are sending more than one clip to export, the message box lists all the clip names that contain restricted material. If you know that you are allowed to use all restricted material in the current project and can safely ignore the warning for this particular operation, you can continue with your editing or output task.
Working with Restricted Material Viewing Restriction Comments You can view the reason particular material is restricted. To view Restriction comments, do one of the following: t Click the View Restrictions button in the warning message box when it opens. t Select Tools > Restrictions. The Restriction window opens. It displays the name of each restricted clip, its head frame, and a description.
Chapter 6 Working with Bins: Advanced The following table lists the Avid Interplay restriction attribute name, its description, and the values you can enter for it when specifying an extended search. Attribute Name Description Values DRM Digital Rights Management, the cover title for the • use of restrictions. • Has DRM Does not have DRM Printing Bins You can print entire bins or individual frames. To print entire bins: 1. Make sure your printer is correctly set up.
Preparing Digital Bars and Tone Preparing Digital Bars and Tone If you expect to output your final sequence as a digital cut that requires calibration before playback (a digital cut that will be broadcast, for example), in most cases you will need a clip of color bars. You can add the clip to the front of the sequence, or you can output the clip separately as an assemble or insert edit onto tape during recording of a digital cut.
Chapter 6 Working with Bins: Advanced 6. Select a test pattern from the File browser. - 8-bit PICT files are located at the top level of the Test_Patterns folder. - 16-bit TIFF files are located in the HD_720p, HD_1080i, SD_NTSC, and SD_PAL folders. The file name appears in the File Name text box. 7. Click Options to adjust the Import settings. The Import Settings dialog box opens. 8. Click the Image tab, and select the following options: a.
Creating Leader Creating Leader Film editors traditionally use standard head and tail leaders for cueing and syncing material. You can use digital leaders in your Avid editing application to mark the beginning and ending of tracks and to help you maintain sync, as described in “Managing Sync with Multiple Tracks” on page 308. You can create your own leader for video or film. Whatever you choose for specifications, make all your leader clips the same length, with common sync points.
Chapter 6 Working with Bins: Advanced 6. Prepare the sound levels for leader that include a sync point (audio pop) by doing the following: a. Find the appropriate sync point. Step one frame backward and place an add edit before the sync frame; then step two frames forward and place an add edit after the sync frame. For information on placing add edits, see “Adding an Edit (Match Framing)” on page 325. b. Move the position indicator before the first add edit, and open the Audio Mixer tool. c.
Chapter 7 Managing Media Files: Advanced When you capture footage, the system creates digital media files for the video and audio tracks on the media drives attached to your system. Bin tools allow you to organize the clips that reference the media files. In addition, your Avid editing application provides tools and features for directly managing media files for storage and playback efficiency, for backup, and for transfer between systems.
Chapter 7 Managing Media Files: Advanced Panasonic P2 Formats Avid editing applications support the following resolutions, captured by Panasonic P2 equipment at frame rates of 30i NTSC and 25i PAL: Panasonic Format Avid Format Number of Audio Channels DV DV 25 411 (NTSC) DV 25 420 (PAL) 2 DVCPRO DV 25 411 (NTSC and PAL) 2 DVCPRO HD 720p 1080i 4 DVCPRO 50 DV 50 (NTSC and PAL) 4 Avid editing applications support one video track and up to four tracks of 48 kHz, 16-bit audio, the maximum you can r
Using Panasonic DVCPRO P2 Equipment The following illustration shows examples of the MXF audio and video files contained in the Audio and Video folders. Audio folder Four audio tracks for a single clip Video folder Corresponding video track Panasonic P2 devices write individual MXF audio and video media files for each track of each clip. For example, a P2 clip that includes one track of video and four tracks of audio is stored on the P2 card as five individual media files.
Chapter 7 Managing Media Files: Advanced A typical workflow is as follows: 1. Import the P2 clips from a P2 card or any device where the P2 contents are stored by selecting File > Import P2 > Clips to Bin. The P2 master clip information loads into a bin. This is useful because it is only the clip metadata and it effectively allows you to browse the card contents directly without having to copy the media itself. 2. (Option) Rename the clips to help with organizing your material. 3.
Using Panasonic DVCPRO P2 Equipment • P2 camera or deck: Panasonic cameras and decks, such as the AJ-SPD850, provide access to P2 cards through a USB port. Before using a P2 card reader, you need to set Autoplay options. To set up a P2 card reader for the first time: 1. Make sure your Avid editing application is not running. 2. Make sure the appropriate driver is installed. See “Installing the Panasonic P2 Drivers” on page 220. 3. Connect the card reader to a USB port. 4.
Chapter 7 Managing Media Files: Advanced n Some card slots of the P2 drive might require drive letters that have already been assigned to existing network drives. If your computer does not display all five card slots as drives, reassign the network drives or restart your system. Copying P2 Files to a FireWire or Network Drive After you mount the P2 drives, you have the option of copying the P2 media to a FireWire drive or a network drive and then ejecting the card.
Using Panasonic DVCPRO P2 Equipment 4. Copy the files to the following folder on the local media drive: drive:\Avid MediaFiles\MXF\1 n Avid recommends that you use the Copy function to copy files from the P2 drive. Do not use the Move function. On some systems you might have a problem deleting the files that you have moved. 5. Repeat the process for files in the Audio folder. Use the same folder for both video and audio media. 6. When you are finished transferring the files, eject the P2 card.
Chapter 7 Managing Media Files: Advanced 3. Navigate to the P2 volume: c n t Navigate to the actual P2 card. t If you copied the card to another drive, navigate to that drive and then to the folder that contains the Contents folder. Do not navigate into the Contents folder or into other folders in the volume. The editing application navigates into the folders for you. The Import P2 option imports all the clips on the card.
Using Panasonic DVCPRO P2 Equipment 3. Select Tools > Media Tool. The Media Tool Display dialog box opens. 4. Select the following options: a. In the Media Drives list, select one or more P2 drives. b. Click the Current Project button. c. Select Master Clips, deselect Precompute Clips, and deselect Media Files.
Chapter 7 Managing Media Files: Advanced 5. Click OK. The Media tool displays the clips contained on the drives you selected. n If you do not see any media clips, update the mounted drives and media database again by selecting File > Mount All and File > Refresh Media Directories. You might also need to restart the application. 6. Select the clips you want to use. 7. Drag them into an appropriate bin. You can now use the master clips in your project.
Using Panasonic DVCPRO P2 Equipment Working with Spanned Clips Spanned clips are clips that extend from one P2 card to another. You can work with spanned clips in your Avid editing application. The following illustration shows how clips can span multiple P2 cards.
Chapter 7 Managing Media Files: Advanced • P2-spanned media covers multiple drives, but the bin displays only one drive letter. The drive letter in the bin might be any of the drives, but is usually the highest lettered drive where the media exists. • If necessary, copy all spanned clips to another drive to ensure a clip’s integrity before swapping out the P2 cards.
Using Panasonic DVCPRO P2 Equipment 3. Select Output > Export to Device > P2. The P2 Export Settings dialog box opens. 4. Select options as described in “P2 Export Settings” on page 613. n If you are not connected to a P2 device or camera, the options are not available. 5. (Option) If you are connected to a P2 device and it does not appear in the P2 Device list, select File > Mount All to update the list of mounted drives. 6. Click Save.
Chapter 7 Managing Media Files: Advanced In your Avid editing application, you can delete P2 master clips and media files the same way you delete other master clips and media files. However, you might not be able to delete P2 files that you moved rather than copied. If you cannot delete P2 master clips and media files, first unlock the clips, as described in the following procedure, and then delete them. To delete P2 files on a local drive when working in the Avid editing application: 1.
Relinking Media Files The system searches all available drives, opens Windows Explorer, and highlights related media files. Related media file If more than one file is related to the clip, a message box asks if you want to see the next file. If you click OK, you need to bring the Explorer window forward by pressing and holding the Alt key while pressing the Tab key until you select the OMFI MediaFiles folder or the Avid MediaFiles folder.
Chapter 7 Managing Media Files: Advanced When you select subclips or sequences and select the Relink command, the system searches for master clips that contain the same material included in the selection. You can also relink master clips to appropriate media files or to source tapes with compatible rates, and you can relink based on resolution. The system compares information such as source tape name, timecode information, and channels captured.
Relinking Media Files 3. Select options as described in “Relink Options” on page 233. You can display Help for the dialog box by pressing F1. 4. Click OK. The system searches the selected media drives, and relinks clips and sequences if possible. The system disregards audio sample rate when matching media files. n To maintain the original capture settings for a subclip or sequence, use the Batch Capture command; do not use the Relink command.
Chapter 7 Managing Media Files: Advanced Relink Dialog Box Options (Continued) Option Suboption Description Video Relink Parameters Relink Method Relink if quality Relink to Media on Volume • Most Recent: Relinks to the most recently created clip. This option is selected by default. • Highest Quality: Relinks to the highest quality clip; for online work. • Most Compressed: Relinks to the most compressed clip; for offline work.
Relinking Media Files Relinking Clips to a New Project Format You can use the Relink command to connect clips or sequences created in one project format to clips created in a new project format. This is helpful when you are offline editing in a standard-definition (SD) project and conforming the project in a high-definition (HD) project. For example, you are editing a sequence in an NTSC 24p sequence.
Chapter 7 Managing Media Files: Advanced To relink selected master clips and subclips to a new project format: 1. Select the clips and sequence targeted for relinking. 2. Select Clip > Relink. The Relink dialog box opens. 3. Select “Relink all non-master clips to selected online items” to relink related subclips or sequences to the highlighted clip in the bin. 4. Select “Allow relinking to source tapes with compatible rates.” 5. Click OK.
Relinking Media Files 5. Select the Unlink option. If you are working in an offline resolution and want to capture in a higher resolution, select Unlink to ensure that you recapture all the media at the higher resolution. You can check for offline media in the Timeline by selecting Timeline Fast menu > Clip Color > Offline, which displays offline clips in red. 6. Select a resolution from the Resolution menu. The default resolution is determined by the current Media Creation setting for Capture.
Chapter 7 Managing Media Files: Advanced Relinking Consolidated Clips If the appropriate media exists online, you can reconnect consolidated clips, subclips, or sequences to the new or old media files. For example, if you consolidated a sequence and forgot to create a duplicate, and later decide to use the original media files instead of the consolidated media files, you can break the new link and reestablish the old link to the original files.
Unlinking Media Files Unlinking Media Files You can use the Ctrl and Shift keys to modify the Relink command for unlinking clips from their media files. To unlink master clips from their current links: 1. Select the master clips to unlink. 2. Ctrl+Shift+right-click the clips. 3. Select Unlink. The clips are unlinked and display the message Media Offline. n Because subclips and sequences do not point directly to the media files, you can perform this procedure only by using the source master clips.
Chapter 7 Managing Media Files: Advanced • Create backups of your project files. • Move a project to another workstation. When you archive a project, the source media files are archived to videotape, and then you save the project files. For information about saving the project files, see “Backing Up Your Project Information” in the Help. You can reconstruct your project with the archived files and your source tapes.
Using Videotapes for Archiving and Restoring Media Files 2. Create a new bin for the archive, and name the bin. For example, you can name the bin Archive. 3. Duplicate the sequences and clips you want to archive. 4. Drag the appropriate duplicate sequences and clips to the Archive bin. 5. Select the clips and sequences to archive from the Archive bin by doing one of the following: t Select Edit > Select All to select all the clips and sequences in the bin.
Chapter 7 Managing Media Files: Advanced 8. Click OK. The Tape Lengths dialog box opens. The Archive Length area displays the calculated length of time required for archiving the media files. The archiving process might require more time than indicated because individual clips are not divided between tapes. 9.
Using Videotapes for Archiving and Restoring Media Files 11. Follow the instructions displayed in the message boxes to complete the archiving process. A set of archive sequences is created in the Archive bin, and the source media is output to the videotape. One archive sequence is created for each tape. When needed, the system prompts you for another blank tape. The tapes are requested in the order that they appear in the Tape Lengths dialog box.
Chapter 7 Managing Media Files: Advanced Archive to Videotape Options (Continued) Option Description For Sequences: Archive all clips in a group edit Select this option if you selected a sequence that contains group clips and you want to archive the media for all the clips in the group. Restoring an Archive from Videotape Restoring an archive from videotape is similar to performing a batch capture. The archiving process creates new master clips for sequences.
Using Videotapes for Archiving and Restoring Media Files n If you select only the archived sequences, the media is restored during the restore process, but the new media is not relinked to your original clips. To relink the new media to the original clips, select the original clips and repeat the restore process. Repeating the restore process relinks only the selected items to the new media files. 6. Select Clip > Restore from Videotape. The Restore from Videotape dialog box opens. 7.
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Chapter 8 Script-Based Editing The lined script is traditionally used as a tool for managing scene and take information during postproduction on a dramatic feature film or television production. The script-based editing feature in your Avid editing application allows you to adapt the lined script to the digital realm for use in any type of production, from drama to documentary to spot advertising.
Chapter 8 Script-Based Editing Lined Script Basics The conventional lined script — which evolved during decades of trial and error in Hollywood — provides assistant editors and chief editors with a road map that helps them find the coverage they need to edit scenes in a film or television show. Traditionally, the continuity person creates the lined script on the set at the time of shooting. All notes are handwritten.
Lined Script Basics Explanation of Symbols Each vertical line drawn through the scene represents a single take from the moment the director says “Action” to the moment the director says “Cut.” Each scene might require several camera angles and positions, with one or more takes, all of which are lined and identified alphanumerically.
Chapter 8 Script-Based Editing Lining in the Digital Realm Script integration in your Avid editing application provides a number of enhancements to this traditional system. These enhancements allow you to shorten dramatically the distance between the concepts captured on the page and the source materials used to assemble a finished program.
Lined Script Basics • Indicators: You can apply off-screen dialog indicators or colors to indicate such things as preferred takes, takes used in the current active sequence, or line changes in dialog. • Script marks: The double arrows marking the takes at various points represent marked lines of dialog in the script that are synchronized to matching dialog in the source clip.
Chapter 8 Script-Based Editing The following is an example of an audiovisual script for a news magazine piece imported into the Script window, with the basic features of script integration applied. Narration track is synced to the script. All possible B-roll shots are ready to be loaded and cued. Color indicates preferred shots. Music cuts are linked to appropriate sections of the script.
Script Window Basics Script Settings Options Before you open a script in the Script window, you can select default preferences using the Script Settings dialog box. After the Script window is open, any changes you make in the Script Settings dialog box are ignored by the Script window. You must close the Script window and then reopen it for the new settings to take effect. However, the Script menu provides several commands that allow you to override the Script settings.
Chapter 8 Script-Based Editing 4. Locate the file and double-click it, or select the file and click Open. - A script bin appears in the Bins list in the Project window. - The script, with its original layout, appears in the Script window. 5. Change the name of the script bin by clicking the title in the Bins list in the Project window, and typing a new name. Selecting Text Encoding for Scripts You can specify the text encoding of the script.
Script Window Basics Text Encoding Options (Continued) n Option Description PC (Latin-1) Select this option when the script was created on a Window-based system using the Latin-1 character set. This is the default encoding on Windows-based systems for plain text using the Latin character set. UTF-8 Select this option when the script was created using the Unicode UTF-8 character set. Non-native characters might not display correctly even if they are encoded in UTF-8.
Chapter 8 Script-Based Editing Displaying Clip and Sequence Information in a Script Window The Info window displays statistical information about a clip or sequence. The window updates the information automatically. To open the Info window from a Script window: 1. Press the Alt key, and click the Takes tab. 2. Drag the window to a new location to leave the Info window open.
Manipulating Script Text Manipulating Script Text After importing a script, you can customize its appearance by changing the font and font size. You can also cut, copy, paste, or remove lines of script to reflect changes that might occur during the course of a project. Changing the Font of the Script The default font and font size used in the script are established on import, based on the current Script settings. You can override the settings and change the font and size after importing the script.
Chapter 8 Script-Based Editing Selected lines are highlighted To select several lines of script, use one of the following methods: t Lasso the first line of the selection, and drag through the text. As you drag, a box outlines your selection. Lasso a portion of script to select it. Release the mouse button when you finish lassoing the selected lines. The text is highlighted.
Manipulating Script Text n t Click the first line of the selection, and then Shift+click the last line. The entire block of text is highlighted. t Press Ctrl+A (Windows) or Command+A (Macintosh) to select all the text and takes. You can also extend a selection by pressing the Shift key and clicking a line of text preceding or following the current selection. Cutting, Copying, and Pasting Script You can cut, copy, and paste text in the script as you would in a normal word processor.
Chapter 8 Script-Based Editing Removing Script Text You cannot delete lines of text from the Script window by using the Delete key as you would in a normal word processor. Use the Cut command to remove the text. To remove lines of script: 1. Select the lines of script you want to delete. 2. Select Edit > Cut. Unlike a normal deletion, the text remains in the Windows Clipboard until the next time you copy or cut a selection.
Searching Through Script 3. Type the number for the scene or page, and click OK. The scene number appears in the left margin and the page number appears in the right margin next to the first line of the selected region. New page number New scene number Scene/page status bar Scene and page numbers both appear in the status bar at the bottom of the Script window and reflect your current position within the script.
Chapter 8 Script-Based Editing Deleting a Page or Scene Number To delete a page or scene number: 1. Select the first line of the scene or page. n You can also delete all page or scene numbering throughout a range of the script by selecting the range of lines or the entire script. 2. Press the Delete key. The Delete dialog box opens. 3. Select the options for Delete scene(s) or Delete page break(s) as appropriate, and click OK. The numbering is deleted from the Script window.
Linking Clips to the Script 4. Click OK. The first occurrence of the text is highlighted in the Script window. 5. Select Edit > Find Again to search for the next occurrence of the text. Linking Clips to the Script You can link clips to the script by hand, or you can use the ScriptSync feature to automatically link clips to the script. For more information about ScriptSync, see “Marking with ScriptSync” on page 277. To link clips to the script: 1.
Chapter 8 Script-Based Editing 5. Select the clip or clips in the source bin, and drag them to the highlighted text. n Make sure the pointer is over the highlighted text before releasing the mouse button. Drag a clip or several clips to the highlighted text. A slate frame appears above the text, with one or more of the takes covering the scene as lines. The slate appears. 6. Continue to apply clips to additional portions of the script until you have finished creating all your slates.
Interpolating Position for Script Integration Interpolating Position for Script Integration Interpolate Position matches a clip to a take and allows you to see where a particular line in the script would appear in the clip footage. When you set Interpolate Position, the length of the take in the script is matched to the length of the clip in the Source monitor. The position indicator in the Source monitor corresponds to wherever you double-click in the take.
Chapter 8 Script-Based Editing Resizing Slates You can resize the slates the same way you resize frames in the bin in Frame view. To enlarge the slates: t Select Edit > Enlarge Frame. To reduce the slates: t n Select Edit > Reduce Frame. You can enlarge the font size of the script to increase the size of the slate frames. This can be useful for presentation or screening purposes when you need a large display for an audience.
Manipulating Slates The Script window shows only the clip names for the takes. To restore the frames: t Select Script > Show Frames again. Showing One Take Per Slate You can minimize clutter on the screen by showing only one take per nonactive slate. To show one take per nonactive slate: t Select Script > Show All Takes. The check mark to left of the command is removed, indicating Show All Takes is disabled. The Script window shows only the first take in each nonactive slate. A single take is shown.
Chapter 8 Script-Based Editing To display all the takes: t Select Script > Show All Takes again. Moving a Slate You can adjust the position of slates to make room for more slates, to avoid blocking words, or to display takes over specific lines. To move a slate, use one of the following methods: n t To move a slate horizontally, click the slate and drag it to the left or the right. (If necessary, resize the Script window by dragging the size box.
Manipulating Takes Manipulating Takes Script integration provides a number of tools and techniques for manipulating the relationship between lined takes in the Script window and their source clips, as described in this section. Selecting Takes To select takes, use one of the following methods: n t Click any take tab to select it. The outline of the take changes to red, indicating that the take is active. t Double-click any line in the take to select the take and load it into a monitor.
Chapter 8 Script-Based Editing To delete one or more takes: 1. Select the takes in the Script window. 2. Press the Delete key. The Delete dialog box opens. 3. Select Delete Takes, and click OK. The takes are deleted. Displaying Take Numbers To display the take numbers in the tab of each take: t Type the numbers in the Take column of the source bin for the clips. Numbers in the Take column appear in the tabs for each take.
Manipulating Takes Loading Takes To load individual takes into the Source monitor: t Double-click any Takes tab. To load multiple takes into the Source monitor: t Select multiple takes, and then double-click any take you selected. Playing Takes To play back a take, do one of the following: t Double-click a take to load it into the Source monitor, and then click the Play button or press the Play key. The clip plays back and stops when it reaches the end.
Chapter 8 Script-Based Editing Indicating Off-Screen Dialog In the traditional lined script, you indicate off-screen dialog by drawing a jagged line next to the dialog. You can apply a similar effect to lines in the Script window. To indicate off-screen dialog: 1. Select the range of script containing the off-screen dialog. 2. Select one or more takes that you want to mark with the off-screen indicator. 3. Click the Set Offscreen button in the Script window toolbar.
Using Script Marks To apply color to takes: 1. Select Script > Color > color. 2. Select the region of the script that covers the range within the take or takes that you want to highlight with color. 3. Select one or more takes. 4. Click the Set Color button in the Script window toolbar. The color appears only in the highlighted script region of the selected takes. You can switch the indicators on or off by clicking the button repeatedly.
Chapter 8 Script-Based Editing Placing Script Marks Manually To place script marks manually: 1. Map the Add Script Mark button from the Other tab in the Command palette to a user-customizable palette or to the Keyboard palette. 2. Double-click in the Script window at the intersection of a take and the line of dialog that you want to mark. Intersection of take and line of dialog The take is selected in the slate, the selected line of the dialog is highlighted, and the clip loads into the Source monitor.
Using Script Marks 4. When the playback reaches the selected line of dialog, click the Add Script Mark button or press the Add Script Mark key. The line is marked in the Script window with a small horizontal bar, and play stops. The script mark appears. 5. Repeat these steps to add more script marks. Using Real-Time Screening and Marking The Script window provides controls for automating the process of screening and placing script marks for a single take or across multiple takes.
Chapter 8 Script-Based Editing The first selected take changes to green in the Script window, the system automatically loads the clip into the Source monitor, and the clip begins to play. Several takes are selected for automated playback. Current playback is highlighted in green. 3. As you hear a line of dialog (or see a particular clip) that you want to mark, click the matching line in the Script window. A script mark appears at that location in the take, and the clip continues to play.
Using Script Marks Marking with ScriptSync ScriptSync uses phonetic-indexing technology from Nexidia™ to analyze the audio portion of a clip and match it to lines of the script text. To add script marks with ScriptSync: 1. Select one or more takes that include audio. 2. Double-click any line in the take to select the take and load it into a monitor.
Chapter 8 Script-Based Editing 3. Select Script > ScriptSync. The ScriptSync dialog box opens. 4. Select options as described in the following table. ScriptSync Options Option Description Language Select the language of your script (this setting is for both the audio and the text). n Depending on the language you select, the Acoustic model used by Nexidia changes; the models are Broadcast and Telephony. Only one model applies per language.
Using Script Marks ScriptSync Options (Continued) Option Description Skip text in parentheses ‘()’ or Select this option if parenthetical expressions in your script are not spoken. brackets ‘[]’ Skip text before colon ‘:’ Select this option to skip all text before the first colon in a line of text. For example, select this option if your script uses the convention of placing a character’s name before a colon when the character begins to speak.
Chapter 8 Script-Based Editing When ScriptSync finishes, your take includes a script mark for every line of text the application found in the audio. 7. Check through the marks. If ScriptSync missed any, add them manually as described in “Placing Script Marks Manually” on page 274. Loading and Playing Marked Segments Once you have placed marks syncing lines in your script to points in the source clips, you can quickly load and cue takes for selected lines of dialog.
Using Script Marks Moving a Script Mark When you move a script mark up or down, the mark in the source clip remains at the same frame but is resynced to a new line in the script. To move a script mark: 1. Press the Ctrl key. Notice the movement indicator that appears when you move the pointer to a mark in the script. 2. Click the mark, and drag it to the new position.
Chapter 8 Script-Based Editing Finding Clips and Script After you have placed script marks, which synchronize lines in the Script window to frames in the source clips, you can use the Find Bin or Find Script buttons to search back and forth between the two items. Finding Script The Find Script button allows you to quickly match back from currently loaded clips to portions of script in the Script window to which the clip has been linked. To find the script linked to a loaded clip: 1.
Editing with the Script Window Editing with the Script Window Using the Script window in combination with the Single Mark Editing feature, you can edit in a highly streamlined manner. For information about the Single Mark Editing feature, see the Help. To use the Script window most effectively during a session, make sure: • The Script window is fully prepared, including preferred takes, alternative takes (indicated with colors), and script marks for matching lines of text to sync points in the clips.
Chapter 8 Script-Based Editing Splicing a Script Range During editing, you can use the Ctrl and Alt keys to instantly splice clips linked to ranges of script directly from the Script window into the sequence. To use this feature with accuracy, you should carefully mark with script marks the ranges of script during the screening and marking phase. To splice a range: 1. Mark an IN point or place the position indicator at the location in the sequence where you want to splice in the segment. 2.
Editing with the Script Window Sequences cannot be loaded into the Script window. Alternatively, you can perform a video mixdown and load the resulting master clips instead. For more information, see “Performing a Video Mixdown” in the Help. All alternative takes are available for viewing and comparing. Matching colors indicate takes used in the preferred cut as well as alternative cuts. You can mix down alternative cuts to form master clips and place them next to the script.
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Chapter 9 Viewing and Marking Footage: Advanced Before making your first edit, 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 9 Viewing and Marking Footage: Advanced To display information from the Source/Record monitor: 1. Place the mouse pointer in the gray area to the right of the Clip icon. 2. Press and hold the mouse button. The Info window opens. Only fields with data are displayed. 3. Drag the window to a new location to leave the window open. To display information from a pop-up monitor: 1. Move the pointer to the left part of the top gray area. 2. Press and hold the mouse button. The Info window opens.
Displaying Timecode in the Timecode Window Displaying Timecode in the Timecode Window Each monitor has two lines available to display timecode as described in “Displaying Tracking Information” in the Help. The Timeline also displays one line of timecode. In addition, the Timecode window allows you to display up to 48 lines of timecode in a separate window. When you are working with a 24p or 25p project, you can display additional timecode information in the Timecode window.
Chapter 9 Viewing and Marking Footage: Advanced The window displays the timecode you have chosen. The Timecode menu contains the same options as the Tracking Information menu. For a description of the Timecode options, see “Displaying Tracking Information” in the Help. 3. To add an additional line of timecode, click Add Line, then click the new line and select an option. 4. To change the size of the font displayed in the Timecode window, select Size > font size. 5.
Using the Tool Palette Using the Tool Palette The Tool palette provides additional buttons for editing and navigating with your Avid editing application. The Tool palette buttons can appear with or without labels, and you can “tear off” the Tool palette to display it in another screen location. You can also map other functions and buttons to the Tool palette for easy access. See “Using the Command Palette” on page 65. To use the Tool palette with the Source monitor or a pop-up monitor: 1.
Chapter 9 Viewing and Marking Footage: Advanced To display labels on the Tool palette buttons: 1. In the Project window, double-click the Interface Setting. The Interface Setting dialog box appears. 2. Select Show Labels in Tool Palette. 3. Click OK. Labels appear on the buttons under the icons. Playing Selected Clips in a Loop You can view several clips one after another in a continuous loop by selecting Bin > Loop Selected Clips.
Using Locators Ways to Use Locators The following table describes some possible uses for locators and the Locators window: Use Description Color correction notations Use locators to mark clips or specify frames that require color correction, noting the specific correction to perform if someone else does the job.
Chapter 9 Viewing and Marking Footage: Advanced When you insert a locator, it appears as an oval in the Timeline, in the position bar, and at the bottom of the frame in the monitor. The color of the oval corresponds to the color of the locator button you used. Locator displayed in the monitor and in the Timeline You can add locators to your source material while you are in an editing session, as described in “Adding Locators While Editing” on page 294.
Using Locators The following illustration shows the Locator edit entry window. Comment area Click to open the Locators window. n By default, the locator name is the user name logged onto your system. You can change this by typing a new name in the Name text box. 4. Type your comments in the comment area of the Locator edit entry window. 5. Change the color from the Color menu or change the locator name. 6. To save your information, click OK, or press the Enter key.
Chapter 9 Viewing and Marking Footage: Advanced To edit Locator information in the Locator edit entry window: 1. Do one of the following: t Click the oval Locator icon in the Source/Record monitor. t Double-click the locator in the position indicator bar. t In the Locators window, right-click a locator item, and then select Edit Locator. The Locator edit entry window opens. 2. Do one or more of the following: t Select from the Color menu to change the color of the Locator icon.
Using Locators Deleting Locators You can delete locators using the Delete key, or the Locators window. To delete a single locator: 1. Select a locator in the Timeline or in the position bar. 2. Press the Delete key. The selected locator is removed. n To delete locators using the Locators window, see “Working in the Locators Window” on page 298.
Chapter 9 Viewing and Marking Footage: Advanced The following illustration shows a Locators window with three locators. Viewing Locators in the Locators Window To view locators in the Locators window: 1. Load the sequence containing the locators. 2. Do one of the following: n t Right-click the Source/Record monitor and select Locators. t Select Tools > Locators. The Locators window is monitor specific.
Using Locators Using the Locators window, you can also: • Export and import locators. For more information, see “Exporting and Importing Locators” on page 300. • Copy and paste locators. For more information, see “Copying and Pasting Locators Using the Locators Window” on page 301. • Print the contents of the Locators window. For more information, see “Printing the Contents of the Locators Window” on page 302.
Chapter 9 Viewing and Marking Footage: Advanced Exporting and Importing Locators You can export locators from a sequence or a clip. A text (.txt) file is created when you export the locator and a tab-delimited file displays all the information about the locator. You can then send the text file to those who need to review and give feedback about the sequence or clip. They can place additional comments in the text file and send it back for you to reimport the locator comments back into your sequence.
Using Locators parameters. This file can be edited in a text editor application or in a spreadsheet program. The Locator text file can be exported from or imported into the Locators window. See “Exporting and Importing Locators” on page 300. To add comments or information into the Locator text file: t Type each line of the file using the following syntax: NameFrameTrackColorComment - These fields are required and must be in the order specified.
Chapter 9 Viewing and Marking Footage: Advanced To copy locators from a clip and paste them into a sequence using the Locators window: 1. Select the locators in the Locators window by doing one of the following: t Click a single locator. t Ctrl+click multiple locators. 2. Do one of the following: t Select Edit > Copy. t Press Ctrl+C. 3. Load a sequence into the Source/Record monitor or into the Timeline. 4. Click the Locator window and do one of the following: t Select Edit > Paste.
Using Locators n If you select Show Images to display the frame associated with each locator and you want to print the frames, you must use the procedure for printing the current view of the Locators window. Printing the complete contents does not print the frames. To print the current view of the Locators window: 1. Make sure your printer is correctly set up. 2. Expand the view of the Locators window to display the information you want to print. 3. Select File > Page Setup.
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Chapter 10 Creating and Editing Sequences: Advanced After you have viewed and marked your clips or created subclips, you are ready to create a sequence.
Chapter 10 Creating and Editing Sequences: Advanced • Check the number of media objects in use for your project in the Memory window, as described in “Viewing Memory” on page 42. If this number is large, reduce the number of media objects by doing one of the following: t Close bins that are not in use. t Reduce the number of clips in the open bins. t Unmount drives that are currently not in use. See “Mounting and Unmounting Drives” in the Help.
Autosyncing Clips Autosyncing Clips When you capture footage that includes both audio and video, your Avid editing application automatically establishes sync when it creates clips in the bin. Autosyncing applies to audio and video clips that are captured separately, usually from two separate sources. Autosyncing creates a new subclip that displays sync breaks in the Timeline as though the audio and video were captured simultaneously.
Chapter 10 Creating and Editing Sequences: Advanced Creating an Autosynced Subclip To create an autosynced subclip: 1. Highlight the two clips in the bin. 2. Select Bin > AutoSync. The Sync Selection dialog box opens. 3. Select an option, based on the following: - Film TC/Sound TC, if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working on a 24p or 25p project.
Managing Sync with Multiple Tracks Using Sync Lock The Sync Lock feature allows you to maintain sync among several tracks while adding, moving, trimming, or removing material in a sequence. For example, if you insert an edit into one track that is sync locked to a second track, the system automatically inserts filler in the second track to maintain sync between the two.
Chapter 10 Creating and Editing Sequences: Advanced With tail leader added to synchronized tracks, you can go to the end of the sequence after making a complicated edit and see whether the leaders are lined up. If they are out of line, this indicates a sync break that you can measure and eliminate. Tail leaders out of sync To eliminate a sync break when the leaders do not line up: 1. Move the position indicator to the black segment that follows the out-of-sync leader. 2.
Managing Sync with Multiple Tracks Syncing with Locators Like tail leaders, you can add locators to material in the Timeline to track and adjust breaks in sync between any number of tracks. You can place locators anywhere in the sequence and you can add specific notes. For more information on using locators, see “Using Locators” on page 292. To mark sync points with locators: 1. Move the position indicator to the point in the sequence where you want to maintain sync between two or more tracks. 2.
Chapter 10 Creating and Editing Sequences: Advanced To adjust the sync break: 1. Measure the sync break by first moving the position indicator to the leftmost locator and clicking the Mark IN button. Then move it to the other locators, and click the Mark OUT button. 2. Check the IN to OUT duration of the marked section. To restore sync: 1. Find the point at which the sync was lost. 2. Add or remove frames by using the appropriate edit function, as described in “Fixing Sync Breaks” in the Help.
Ganging Footage in Monitors Ganging Footage in Monitors The Gang function does not combine tracks into a synced relationship but locks monitors in sync so that you can move through footage in two or more monitors simultaneously. This function is convenient for viewing and marking the sequence and source material simultaneously, based on syncing of the position indicators in each monitor. You can gang the Source monitor and any number of pop-up monitors with the Record monitor.
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Chapter 11 Using the Timeline: Advanced 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 11 Using the Timeline: Advanced Timeline Views: Advanced You can customize your view of the Timeline to display a variety of information about your sequences and clips. This allows you to set up a Timeline view that works more efficiently for you. Displaying the Timeline Top Toolbar You can display a top toolbar in the Timeline for easy access to editing buttons. You can also map additional buttons to the Timeline top toolbar.
Timeline Views: Advanced Assigning Local Colors to Clips in the Timeline You can assign local colors to clips in the Timeline to indicate clips that should be grouped together. To assign a local clip color: 1. Click one of the Segment Mode buttons, and select a clip. 2. Click the Timeline Fast Menu button, and select Clip Color > Local. A check mark indicates that Local is active. 3. Select Edit > Set Local Clip Color > color. 4. Click the Segment button.
Chapter 11 Using the Timeline: Advanced n If both Source and Local are selected in the Clip Color submenu, the local color overrides the source color. Changing the Timeline Background Color To change the background color of the Timeline: 1. Deselect all the tracks in the Timeline. 2. Click the Timeline Fast Menu button, and select Background Color > color. n The Background Color command appears only when all tracks are deselected.
Navigating in the Timeline: Advanced Navigating in the Timeline: Advanced The Timeline window provides various controls for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing. Using the Full-Screen Timeline As an alternative to constantly scrolling through the Timeline window or resizing tracks to get a view of the material, you can resize the Timeline window to full-screen display.
Chapter 11 Using the Timeline: Advanced To enlarge tracks: t Select the tracks, and press Ctrl+L. To reduce tracks: t Select the tracks, and press Ctrl+K. You can also continue to work in Source/Record mode by resizing the Timeline window so that it overlaps the Composer window. You can click in either window to activate it and bring it forward at any time, or you can click in the title bar of the Timeline window and drag it to the Bin monitor to place each window in its own monitor.
Using Advanced Timeline Techniques IN to OUT Highlighting in the Timeline When you mark a sequence with IN to OUT points, the system indicates the selection by highlighting the marked region in the Timeline. Only selected tracks are highlighted. Highlighted region All tracks selected This visual guide helps you monitor track and segment selection more carefully when mixing or applying effects across multiple tracks and segments.
Chapter 11 Using the Timeline: Advanced Bin Editing into the Timeline You can use Segment mode to edit clips directly from a bin into the sequence in the Timeline. Bin editing allows you to bypass the process of loading clips into the monitor, setting marks, and clicking the Splice-in button or Overwrite button. For information on editing multiple clips directly from the bin into the Source/Record monitor, see “Creating an Instant Rough Cut” in the Help.
Using Advanced Timeline Techniques 3. Select a clip in the bin. The entire clip is edited into the sequence, unless you have marked IN and OUT points. 4. Do one of the following: t Press the V key to perform a splice-in edit, which inserts the clip into the sequence and moves existing material down, lengthening the total duration of the sequence.
Chapter 11 Using the Timeline: Advanced Editing in Heads or Heads Tails View While in the early stages of editing a project, you can rearrange clips in the sequence visually by using Heads view or Heads Tails view. These display formats are useful for rearranging simple straight-cut edits. c If you rearrange a split edit (in which the audio extends beyond the video, or the reverse), the system cuts all tracks to the same edit point.
Adding an Edit (Match Framing) Use the Tail button in the Edit tab of the Command palette to extract footage from the position indicator to the end of the clip or segment. This action is equivalent to the T-E-X keyboard command sequence: Mark Clip, Mark IN, Extract. For information about how the Mark Clip button works, see “Marking an Entire Clip or Segment” in the Help. To edit using the Top and Tail commands: 1. Load a sequence into a monitor. 2.
Chapter 11 Using the Timeline: Advanced You can add an edit to a single audio or video track, or you can place the Add Edit across several tracks at once. The Add Edit button appears in the Edit tab of the Command palette. Depending on the model of your Avid editing application and your button mappings, it might appear in other locations such as the Tool palette or the Timeline top toolbar. You can also map the Add Edit button to a custom location.
Detecting Duplicate Frames You can also remove individual match frames by using the Undo command, or by selecting them in Trim mode and pressing the Delete key. For more information on Trim mode, see “Undoing or Redoing Edits” and “Working in Trim Mode: Basics” in the Help. To remove match-frame edits: 1. Select the entire sequence or a portion of it as follows: t Select the entire sequence by removing any IN and OUT points.
Chapter 11 Using the Timeline: Advanced Orange bars mark the first set of duplicate frames, green bars mark the second set, and so on. You can use Dupe Detection while you are editing to locate duplicate frames, and remove them as the sequence evolves. To activate Dupe Detection: t Click the Timeline Fast Menu button, and select Dupe Detection. Dupe Detection is instantaneous and retroactive; if duplicate frames already exist in your sequence, the colored bars appear immediately.
Adjusting Handle Length in Dupe Detection • In 16mm film editing (using the multiple-strand method), labs sometimes use the zero-frame cutting method to avoid seeing each splice in a 35mm blowup print. In this method, the negative is conformed along with the handles so that the cuts appear as soft frame handles rather than jumps in the resulting 35mm blowup. Different labs have different standards depending on the equipment used; usually, a minimum of four frame handles is needed.
Chapter 11 Using the Timeline: Advanced When you enable Dupe Detection during editing, the handles are added to the colored dupe indicators that appear in the Timeline. Finding Black Holes and Flash Frames You can use the Find Black Holes and Find Flash Frames commands to help you quickly find parts of your sequence that you might want to delete from the final sequence: Black holes are segments of the sequence that consist of one or more frames of filler.
Printing the Timeline 5. Select Clip > Find Flash Frames. The position indicator moves to the first flash frame. To find the next flash frame: t Select Clip > Find Flash Frames again. Printing the Timeline To print the Timeline: 1. Click the Timeline to activate it. 2. Select File > Print Timeline. The Print dialog box opens. n The name of the printer and details of the dialog box will vary, depending on your facility. 3. Select the Print options. 4. Click OK.
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Chapter 12 Working in Trim Mode: Advanced After creating a rough version of a sequence, 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 12 Working in Trim Mode: Advanced 2. Perform a dual-roller trim on either the video track or the audio track, but not on both: - If the video transition occurs at the correct place but you want the audio from one clip to linger into the other (or the reverse), trim the audio tracks accordingly. - If the audio transition occurs at the correct place but you want the video to transition either before or after the audio cut, trim the video track accordingly.
Maintaining Sync While Trimming 3. Click the Extend button. The Extend button appears in the Trim tab of the Command palette. You can map the Extend button to a custom location. For information on the Command palette and button mapping, see “Understanding Button Mapping” in the Help. The adjustment appears in the Timeline. Video track is extended backward.
Chapter 12 Working in Trim Mode: Advanced A black segment is added without changing the duration of sequence. Trimming without adding black Adding black while trimming No black is added and sync breaks appear in the Timeline. Black fills the trim duration and sync is maintained. After you have added black filler to a video track, you can replace the filler with footage by performing a replace edit. For more information, see “Performing a Replace Edit” in the Help.
Slipping or Sliding Segments To trim with sync-locked tracks: 1. Sync lock the tracks as follows: t Click the Sync Lock button in the Track Selector panel for the track you want to keep in sync. The Sync Lock icon appears. t Click the Sync Lock All button to switch sync lock on and off for all tracks. Sync Lock icon Sync Lock All button 2.
Chapter 12 Working in Trim Mode: Advanced Slip or Slide trimming allows you to do the following: • Slip or slide the video and audio segments together. • Slip or slide a single segment of video or audio independently from the rest of the segment. The type of trim you perform (slip or slide) determines which frames are updated, as follows: • In slip trimming, the two inner monitors for the head and tail frames of the clip change because only the contents of the clip are adjusted.
Slipping or Sliding Segments Selecting Segments for Slip or Slide Trimming To select segments for either slip or slide trimming, do one of the following: t In Segment mode, select a segment for slip trimming. Then enter Trim mode by clicking the Trim Mode button. t In Trim mode, Alt+double-click a segment to select it for slide trimming. You can also select two or more segments on different tracks for simultaneous slip or slide trimming. To do so, Shift+click the segments.
Chapter 12 Working in Trim Mode: Advanced 3. Right-click in the Timeline, and then select Select Slip Trim or Select Slide Trim. The four-frame display appears. Outgoing and Incoming video (or A- and B-side) Tail and head frames of the selected clip Performing the Slip or Slide Trim To slip or slide a shot: 1.
Slipping or Sliding Segments 2. Monitor the progress of the trim by using the monitors, the Trim counters, and the Timeline. When you reach the end of available material while slipping a shot, the trim stops. Similarly, when you reach the next transition while sliding a shot along a track, the trim stops. A red bracket at the transition indicates the limit. After completing the initial slide, you can perform another slide in the same direction. 3.
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Chapter 13 Working with Audio: Advanced You edit audio by using many of the same techniques and tools you use to edit video, including Source/Record mode, Segment mode, and Trim mode functions. Your Avid system 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 13 Working with Audio: Advanced Audio Gain Staging and an Audio Editing Workflow You can adjust the volume or gain of an audio clip at several points during an editing session. For example, you can adjust volume using the Audio Mixer tool in Clip Gain mode and Automation Gain and Pan mode. Also, the EQ tool and many of the AudioSuite plug-in effects allow you to modify the volume of the clip.
Audio Gain Staging and an Audio Editing Workflow This workflow also applies to using AudioSuite plug-ins because some AudioSuite plug-ins affect the level of the audio. Often, if you use clip gain to raise or lower the level before you apply an audio effect, you can achieve higher quality results. In this workflow, the Audio Mixer tool in Automation Gain and Pan mode acts like the level faders on a console for final mixing of the audio material.
Chapter 13 Working with Audio: Advanced Viewing Clip Gain and Automation Gain Values You can view the clip gain and the automation gain values in the Timeline at the same time. To turn on the display of clip gain values and automation gain values: 1. Click the Timeline Fast Menu button 2. Select Audio Data. 3. Select Auto Gain, Clip Gain, or both. n You can also view automation pan values by selecting Auto Pan from the Timeline Fast menu.
Audio Gain Staging and an Audio Editing Workflow You can do the following while your Avid editing application plays the loop: • Adjust audio effects. • Use the Peak Hold menu in the Audio tool to change between Peak Hold and Infinite Hold. • Use the Reset Peak button in the Audio tool. For more information on the Audio tool, see “Understanding the Audio Tool” in the Help. For information on improving response time, see “Improving Response Time When Adjusting Volume” on page 348.
Chapter 13 Working with Audio: Advanced Improving Response Time When Adjusting Volume If there is no Clip Gain effect on the clip before you start, you do not hear any changes until you click the Audio Loop Play button to stop and replay the effect. As you adjust the volume values on an existing Clip Gain effect, you might not hear the results immediately. It takes a few seconds for your Avid editing application to apply the changes to the clip.
Using External Fader Controllers • JL Cooper FaderMaster Pro MIDI automation controller. This low-cost unit allows you to make fine adjustments to audio clips. This unit does not support flying faders, which means that the faders don’t move automatically as you record audio gain information and they must be zeroed manually prior to recording. For information on setting the faders manually, see “Interpreting Position Indicator Lights” in the Help.
Chapter 13 Working with Audio: Advanced External Fader Controller and Mixer Features (Continued) Feature Digi 002 and Command|8 FaderMaster Pro MCS-3000X Yamaha 01V/96 and Yamaha 01V Solo/mute Yes Yes Yes Yes n Supports audio mixing No n No No Yes Solo works only if you don’t use the unit for audio mixing at the same time The Digi 002 can be used as a standalone audio mixer but not at the same time as it is being used as an automation gain or automation pan controller or control surface.
Using External Fader Controllers • Latch mode: In Latch mode (also known as Snap mode), the fader controller automatically stops recording as soon as you release the fader. When you release the fader, it resumes following the volume information in the Timeline. For more information, see “Using the Latch Mode Feature on the Digi 002 and Command|8” on page 363 and “Using the Snap Mode Feature on the MCS-3000X” on page 369.
Chapter 13 Working with Audio: Advanced n The position indicator lights do not apply to automation pan. For information on connecting a fader controller or mixer, see “Using an External Fader Controller or Mixer to Record Automation Gain” on page 352. Using an External Fader Controller or Mixer to Record Automation Gain To record audio gain information using an external fader controller or mixer: 1. Attach the fader controller or mixer to your system.
Using the Digi 002 and Command|8 n When you record over previously recorded audio volume keyframes, the MCS-3000X, the Yamaha 01V, and the Yamaha 01V/96 automatically display the changing values. This allows you to make quick adjustments to existing automation gain recordings. 7. Click the Record button again to stop recording. 8. Click the Audio Loop Play button to play the clip and test your results. 9.
Chapter 13 Working with Audio: Advanced Using the Digi 002 with Avid DNA Hardware (Windows Only) Windows systems with Avid DNA hardware (Avid Adrenaline, Avid Mojo, or Avid Mojo SDI) can use the Digi 002 as an external audio device. This means you can use the Digi 002 to play, record, and output audio. n You can also use the Digi 002 as a standalone mixer. However, you cannot use the Digi 002 as a mixer while you are using it as the audio input and output device for your Avid editing application.
Using the Digi 002 and Command|8 Avid DNA Device Audio/Video Sync Connection Avid Mojo Connect one end of an RCA cable to the analog audio output connectors labeled Clk on the Avid Mojo (white audio output) and connect the other end to the S/PDIF input on the Digi 002. This allows the Digi 002 to receive video sync from the Avid Mojo and the optional blackburst generator. (Option) Connect a blackburst generator to the Ref connector on the Avid Mojo.
Chapter 13 Working with Audio: Advanced Using the Command|8 with Your Avid Editing System The Command|8 is primarily a control surface. It can be used for controlling aspects of the user interface as well as for automation gain and automation pan recording. The Command|8 can be used by all the Avid editing applications that use Avid DNA hardware.
Using the Digi 002 and Command|8 4. Double-click Controller Settings. The Controller Settings dialog box opens. The Controller menu, Port menu, and Edit Settings button apply to the control surface. You can use either a Digi 002 or a Command|8. The Gain Controller Port applies to any controller that you connect for automation gain or automation pan recording. 5. From the Controller menu, select one of the following: - Digidesign 002 - Digidesign Command|8 6.
Chapter 13 Working with Audio: Advanced Console View Open Command Palette button Display Controls and Foot Switch Keyboard Modifier switches Transport and Navigation controls Mic/Line/Inst Input controls Monitor Section Console/channel view section (contains a pan knob for each track) Status indicators and Display controls Keyboard Modifier switches Transport and Navigational controls Fader Section 358
Using the Digi 002 and Command|8 The following illustration shows the Digidesign Command|8 Controller Settings dialog box as well as the layout on the Command|8 itself. Compare the two illustrations to see which buttons are mappable using the Digidesign Command|8 Controller Settings dialog box.
Chapter 13 Working with Audio: Advanced Button Layouts on the Digi 002 and Command|8 The buttons on the Digi 002 and Command|8 can have different functions if you press the Shift, Control, Option, or Command keys. You can either use the keyboard or press one of the Keyboard Modifier switches on the controller surface.
Using the Digi 002 and Command|8 7. Click the button on the dialog box that you want to change. The system highlights the button. 8. Select a menu command. For example, select Tools > Audio Punch-In. The system maps the menu command to the button. 9. When you finish mapping menu commands, click Active Palette on the Command palette or Button to Button Reassignment to map buttons. 10. When you finish mapping menu commands and buttons and you want to save your changes, click OK.
Chapter 13 Working with Audio: Advanced Using a Foot Pedal as a Foot Switch The Digi 002 and Command|8 each have a connection on the back for a foot pedal. The system accepts any “normally open” foot pedal. For example, you can use a standard normally-open sustain pedal for an electronic keyboard. You can assign any button or menu item to the foot pedal. By default, the system assigns the foot pedal to the Record button on the Audio Punch-In tool.
Using the Digi 002 and Command|8 6. Listen to the audio and turn the pan knob for the track. The system displays the values in the Pan Value display for the corresponding track in the Audio Mixer tool. 7. Click the Record button again to stop recording. 8. Click the Audio Loop Play button to play the clip and test your results. 9. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and select Filter Automation Pan on Track — In/Out.
Chapter 13 Working with Audio: Advanced When the track is in Latch mode, the system continues to record audio volume information after you release the fader. Press the Latch Mode button to stop recording and snap the button back to its current Timeline position. Configuring USB-to-MIDI Software for External Controllers Once you have connected a fader controller to your Avid editing system, you can install USB-to-MIDI software and configure the software to recognize your fader controller.
Configuring USB-to-MIDI Software for External Controllers 5. To initiate the driver installation, use a USB connector to connect the MIDISPORT 2x2 USB-to-MIDI converter to the system. You do not need to connect the external fader to the MIDISPORT 2x2 device. The system automatically detects that a new device has been connected and opens the Found New Hardware Wizard dialog box. 6. Follow the instructions in the Install.txt file.
Chapter 13 Working with Audio: Advanced 9. Click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders. If the external fader controller is connected and the system is using the correct MIDI port, then the Audio Mixer tool displays the following: - At least one of the position indicator lights is on (blue). Position indicator lights - The Recording Status Light changes to gold. 10. If the lights do not change to blue, see “Troubleshooting the MIDI Connections” on page 367. 11.
Using the FaderMaster Pro and MCS-3000X 6. Do one of the following: t Click and hold the Audio Mixer Mode button and select Automation Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Automation Mode setting. If the fader or mixer is on and correctly configured, the indicator lights on the Audio Mixer tool should change to blue. If the lights do not change to blue, see “Troubleshooting the MIDI Connections” on page 367.
Chapter 13 Working with Audio: Advanced To test the external fader controller: 1. Select Tools > Audio Mixer. The Audio Mixer tool opens. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Automation Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Automation Mode setting. 3. Click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders. The box changes to blue. 4.
Using the FaderMaster Pro and MCS-3000X • Select buttons: The green light next to the Select button for a track is on when you are recording Audio Gain Automation on the track. The green light is off when you are listening to the volume level in the Timeline. If the track is in Snap mode, as soon as you touch the fader, the Select button light turns on to indicate that you are recording. When you release the fader, the Select button light turns off and the fader begins moving with the Timeline volume.
Chapter 13 Working with Audio: Advanced The green light next to the Select button for a track is on when you are recording automation gain on the track. The green light is off when you are listening to the volume level in the Timeline. Ganging Faders on the FaderMaster Pro You can use the features available on the FaderMaster Pro to gang faders. When the faders for two tracks are ganged, the fader sends identical volume messages for both tracks when you move one fader.
Using the Yamaha 01V/96 or the Yamaha 01V Initializing the Yamaha 01V/96 or Yamaha 01V This section describes how to initialize the Yamaha 01V/96 or Yamaha 01V digital mixer. These procedures should have to be done only once and repeated only if the mixer’s operational parameters have been manually changed to settings that are incompatible with your Avid editing application. You should perform these procedures when you first set up the unit.
Chapter 13 Working with Audio: Advanced n Configure the mixer whether you are using a USB connection or a MIDI connection. To configure the Yamaha 01V/96 or Yamaha 01V to recognize MIDI control messages: 1. Press the MIDI button. The system displays the first pane of the MIDI Options window. 2. Set the following controls in the MIDI Options window: - Set Control Change TX to ON. - Set Control Change RX to ON. 3. Set Port to MIDI. To reconfigure the Yamaha 01V to recognize serial control messages: 1.
Using the Yamaha 01V/96 or the Yamaha 01V Starting the Avid System with the Yamaha 01V/96 or the Yamaha 01V Attached To set the correct port in the Controller Settings: 1. Start your Avid editing application. 2. From the Project window, click the Settings tab. 3. Double-click Controller Settings. 4.
Chapter 13 Working with Audio: Advanced To record automation gain information: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Automation Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Automation Mode setting. 1. Press the Option I/O (Yamaha 01V) or Master (Yamaha 01V/96) button. The faders move into the correct position for recording automation gain. 2.
Using the Audio EQ Tool n If Solo mode is on when you are mixing audio, it interferes with the normal operation of the mixing board functions. If the audio outputs from your Avid system are connected to the Yamaha 01V, leave the Param Change TX and Param Change RX controls set to OFF. Using the Audio EQ Tool The Audio Equalization (EQ) tool supports real-time, segment-based frequency equalization on individual clips.
Chapter 13 Working with Audio: Advanced Audio EQ Tool Features This section describes the basic buttons and menus on the Audio EQ tool as well as the EQ-specific items on the tool. Basic EQ Tool Features The following table describes the buttons that appear along the top portion of the Audio EQ tool: Button Description Effect Mode Selector Allows you to select among the Audio EQ, Audio Mixer, and AudioSuite Plug-In tools.
Using the Audio EQ Tool EQ-Specific Features The Audio EQ tool provides three bands of control: • The first band, the low shelf, has four turnover points (50 Hz, 80 Hz, 120 Hz, and 240 Hz). A turnover point is the point at which the curve starts to return to 0. A shelf affects all frequency values within the range of the shelf. The low shelf affects all frequencies from 20 Hz to the low shelf turnover point. For more information, see “Low Shelf Example” on page 382.
Chapter 13 Working with Audio: Advanced The following illustration shows the Audio EQ tool with the frequency response curve displayed and identifies the related areas of the tool.
Using the Audio EQ Tool 5. Click and hold the Track Selection Menu button in the Audio EQ tool, and select a track to be adjusted. Track Selection Menu button The Track Selector panel in the Timeline is updated to reflect your selection. n If multiple tracks are enabled in the Timeline, then plus signs (+) appear next to the enabled tracks in the Audio EQ tool. 6. Click the Audio Loop Play button to play the currently selected audio clip within the current IN to OUT range.
Chapter 13 Working with Audio: Advanced For example, the following illustration shows a segment with one EQ effect applied to Audio Clip 2 in track A1. If you select Set EQ In/Out, the current EQ effect is also applied to Audio Clip 1 and Audio Clip 3 on track A1. Before Set EQ In/Out After Set EQ In/Out – EQ effect is added to Audio Clip 1 and Audio Clip 3. If there is no EQ setting on the currently selected clip, selecting Set EQ In/Out deletes the EQ settings on all clips within the IN to OUT range.
Using the Audio EQ Tool Saving Audio EQ Effects Your Avid editing application treats an EQ setting as an effect. You can save EQ settings in a bin just as you save any other effect template. This makes it easy to save EQ settings and apply them whenever you need them. The following illustration shows an EQ Effect icon in a bin and in the Timeline. EQ effect icon in a bin EQ effect in the Timeline To save EQ settings in a bin: t Drag the effect icon in the Audio EQ tool to a bin.
Chapter 13 Working with Audio: Advanced Removing Audio EQ Effects To remove an Audio EQ effect: 1. Move the position indicator to the effect in an active track. 2. Do one of the following: t Click the Remove Effect button on the Tool palette. For more information, see “Using the Tool Palette” on page 291. t In Trim or Effect mode, press the Delete key. You can also use the commands from the Audio EQ Tool Fast menu.
Using the Audio EQ Tool To compensate for the loss of bass: 1. Use the 2-octave midrange setting to create a wide midrange. 2. Move the midpoint of the parametric curve to 88 Hz. 3. Boost the midrange of the parametric curve to +7.7 dB. Small Octave Range Example This example isolates the particular frequency that we want to deemphasize. In this example, we do not use the low shelf, but instead use the parametric midrange to isolate the frequency. To isolate the frequency: 1.
Chapter 13 Working with Audio: Advanced 3. Use the EQ Range slider to move the midpoint of the parametric curve until it isolates the bass frequency. In this case, the bass frequency that we want to deemphasize is approximately 80 Hz. Use the EQ Range slider to move the center point of the parametric curve and locate a specific frequency. To locate a specific frequency and either emphasize or deemphasize it: • Use the ¼-octave influence range and a large negative decibel value.
Using the Audio EQ Tool The Fast menu on the Audio EQ tool provides access to a number of predefined EQ templates, as shown in the following illustration. The EQ templates are designed to fix problems that you often encounter with audio clips. For example, Tape Hiss Filter rolls off frequencies above 4 kHz. NTSC Hum Buster cuts the bass on frequencies that often cause hum on NTSC systems. Applying an EQ Template To apply an EQ template from the Audio EQ Tool Fast menu: 1.
Chapter 13 Working with Audio: Advanced The following illustration shows the contents of the Audio EQ tool when you select the Female Voice with Presence template in the Timeline. As explained in the tool, you cannot change the parameters of a predefined EQ template. n To see the parameter values of one of the EQ templates that cannot be edited, view the Console window after you apply the effect. To open the Console window, select Tools > Console.
Using the Audio EQ Tool To add an EQ template to Site_EQs_Bin: 1. Open the bin containing your EQ templates. 2. Select File > Open Bin. A dialog box opens. 3. Navigate to the bin named Site_EQs_Bin.avb in one of the following locations: drive:\Program Files\Avid\Avid editing application\ SupportingFiles\Site_Effects 4. Double-click the Site_EQs_Bin.avb file. The Site_EQs_Bin window opens. 5. Drag one of your EQ templates into the Site_EQs_Bin window. 6.
Chapter 13 Working with Audio: Advanced Recording Voice-Over Narration Your Avid editing application provides you with two ways to record voice-over narration: • Using the Capture tool. • Using the Audio Punch-in tool. Recording voice-over narration directly into your Avid editing application saves you the extra steps of recording the narration to tape first, capturing the narration audio to your Avid system, and then editing the audio clip into the sequence.
Recording Voice-Over Narration To capture voice-over narration using the Capture tool: 1. Mark the IN and OUT points in the Timeline. 2. Select Tools > Capture. The Capture tool opens. Voice-over button Audio Input menu 3. Click the Voice-over button in the Capture tool. 4. Click the Audio Input menu, and select the appropriate input. 5. In the Timeline, patch the source track to the record track you want. For more information on patching, see “Patching Tracks” in the Help. 6. Click the Record button.
Chapter 13 Working with Audio: Advanced Your Avid editing application automatically names the voice-over. You can change the name as you would for any clip (for example, change the name in the bin). The following illustrations show the results of adding a voice-over. Voice-over adding a new track Voice-over replacing a portion of a track Understanding the Audio Punch-In Tool You can use the Audio Punch-in tool to record voice-over narration directly into the Timeline.
Recording Voice-Over Narration Audio Punch-in Tool Features The following illustration shows the features of the Audio Punch-In tool. The following table describes the features of the tool.
Chapter 13 Working with Audio: Advanced Audio Punch-In Tool Features (Continued) Feature Description Passthrough Mix Tool button Opens the Passthrough Mix tool so you can monitor the audio levels during recording. Preroll text box Allows you to provide an audiovisual cue before the recording begins. Your Avid editing application backs up the position indicator for the prescribed number of seconds. You can hear the audio during preroll.
Recording Voice-Over Narration Audio Punch-in Tool Scenarios You can punch-in audio in several ways: • Scenario 1 – Set only an OUT point. The position indicator is used as the IN point. Set a preroll time. Click the Play In/Out button to loop continuously through the sequence. Click the Record button when you find what you want to punch-in, and then click the Record button again to end recording. • Scenario 2 – Set an IN point and an OUT point around the material you want to record.
Chapter 13 Working with Audio: Advanced To use the Audio Punch-In tool: 1. Load a sequence into the Timeline. 2. Select Tools > Audio Punch-In. The Audio Punch-In tool opens. Record button Play In/Out button Stop button Input Source menu Timeline Track menus Input Channels buttons 3. Select the input source and input channels that correspond to your hardware setup, and set other values in the window as appropriate.
Recording Voice-Over Narration 6. Click the Play In/Out button or press the V key. Loop play begins over the entire sequence. If you set an IN point and an OUT point, loop play begins from the IN point to the OUT point. The Play In/Out button blinks bright green while playing. 7. When you are ready to start the voice-over, click the Record button or press the B key. The Record button blinks bright red while recording, and the Play In/Out button is a steady green.
Chapter 13 Working with Audio: Advanced To cancel an audio punch-in at any time: t Click the Cancel button, or press the Esc or the period (.) key. Monitoring Previously Recorded Tracks While Recording Voice-Over Narration You can monitor previously recorded audio tracks while you record a voice-over narration. To monitor other audio tracks: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the Output Options menu, and select Mono. 3.
Using a GPI Device with the Audio Punch-In Tool If you have a V-LAN VLXi deck controller and a GPI device connected to your Avid system and they are configured correctly, you can use the GPI to control additional external hardware while you are working with the Audio Punch-In tool. For example, you might want to control an indicator light in a recording studio to provide a visual cue for performers or a control light outside the studio that indicates when recording is in progress.
Chapter 13 Working with Audio: Advanced GPI Signal Sequences GPI signal sequences differ, depending on whether or not you are using the Audio Punch-In tool with preroll and postroll. When you use the Audio Punch-In tool without any preroll or postroll, the following occurs: • Record Out is sent when recording begins. • Stop Out is sent when recording (and playback) ends.
Using a GPI Device with the Audio Punch-In Tool Connecting a V-LAN VLXi Controller and GPI The V-LAN VLXi controller and VLXi-GT GPI connect to your Avid system through a direct serial connection as shown in the following figure. GPI terminals (for connections to external hardware) VLXi-GT GPI IN OUT IN OUT IN OUT IN OUT IN OUT IN OUT SERIAL LAN AC 1 2 3 4 5 6 Terminator (required when cable length is more than 50 feet [15.
Chapter 13 Working with Audio: Advanced 4. Click the Port menu, and select the serial port to which the V-LAN VLXi is connected. 5. Click OK. The Autoconfigure message box opens. 6. Click Yes. The connected GPI is automatically detected and appears in the Deck Configuration dialog box. Working with GPI Settings You must create a separate GPI setting for each trigger signal you want the GPI to recognize. For example, you would need one setting for the Record Out signal and another for the Stop Out signal.
Using a GPI Device with the Audio Punch-In Tool 6. Click OK. The GPI Settings dialog box opens. 7. Click OK to set the GPI. 8. Click Apply in the Deck Configuration dialog box. GPI Settings Options The following tables describe the GPI settings and GPI Node settings options. GPI Settings Options Option Description Name Keep the default V-LAN VLXi name, or type a new name. Description (Option) Add a description of the GPI trigger. Device Type Select V-LAN, which is the Avid-supported device type.
Chapter 13 Working with Audio: Advanced GPI Node Settings Options Option Description Function Select a function for a particular node: • Capture in (Satellite mode) • Play in • Cue to first frame • Stop in • Capture out (Satellite mode) • Play out • Stop out Node Click the Node menu, and select a node. Nodes 1 through 6 correspond to the physical connectors on the back of the VLXi-GT GPI device. Action Select an action: • Set activates a command. • Reset deactivates a command.
Displaying Audio Formats in Bins Deleting a GPI Setting To delete a GPI setting: 1. In the Project window, double-click Deck Configuration. The Deck Configuration dialog box opens. 2. Click the VLXi-GT text box. 3. Select the name of the GPI you want to delete. 4. Click Delete. 5. Click OK. 6. Click Apply. The GPI setting is deleted. Displaying Audio Formats in Bins You can select a bin heading to display the audio formats in the bin.
Chapter 13 Working with Audio: Advanced Auto VO might be useful whenever you have organized the audio tracks in your sequence so that audio from one type of material is isolated on one audio track. For example, a common approach in broadcast news is to create a sequence that intersperses interview material with B-roll (background or location) footage.
Using Automatic Voice-Over 5. Select one of the following: - Extract segments, to remove all segments with audio on the track selected in step 4 - Keep segments, to retain all segments with audio on the track selected in step 4 and remove all other segments 6. Click OK. The system creates a new sequence in the bin and names it by adding a .vo file name extension to the original sequence name.
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Chapter 14 Using AudioSuite Plug-Ins This chapter describes how to access and use the AudioSuite plug-ins, including the set of core plug-ins that comes with your Avid editing application. It also provides a list of other plug-ins that are supported by this version.
Chapter 14 Using AudioSuite Plug-Ins c n Your Avid editing application requires the files in this folder named AvidAppPlugIn.dpm and AvidAppPlugIn.dpm.rsr. Do not delete them. AudioSuite Plug-ins supported by Avid are added to the Plug-In Selection menu in the AudioSuite window. If you install a plug-in that is not officially supported by Avid, the plugin name is still added to the Plug-In Selection menu, but a ~ character precedes the name, informing you that this plug-in is not supported.
Understanding Digidesign AudioSuite Plug-Ins Applying an AudioSuite Plug-in to a Clip in the Timeline The following illustration shows the default layout of the AudioSuite window. Effect Mode Selector menu Render Effect button Fast Menu button Audio Loop Play button Effect icon Display/Hide Master Clip Controls button Plug-In Selection menu Target Drive menu Status display Activate Current Plug-In button Track Selection Menu button To apply an AudioSuite plug-in to a clip in the Timeline: 1.
Chapter 14 Using AudioSuite Plug-Ins 6. To save the effect, click OK. To close the dialog box without saving the effect, click Cancel. 7. (Option) To save the effect as a template, drag the effect icon to a bin. n If you want to use plug-ins that operate on stereo pairs or that change the length of the audio clip, use the methods described in “Creating New Master Clips with AudioSuite Plug-Ins” on page 412.
Understanding Digidesign AudioSuite Plug-Ins Button Description Bypass Plays the selected audio without processing. This is useful for comparing the audio with and without processing applied. Find level Performs an analysis pass on the audio. Depending on the plug-in, the text and function of this button might change. Some plug-ins require an analysis pass on the audio data before they can process the information. If so, they perform the first pass automatically.
Chapter 14 Using AudioSuite Plug-Ins Creating New Master Clips with AudioSuite Plug-Ins You can use AudioSuite plug-ins to create new master clips. This allows you to use multiple input and output channels and to change the length of the media. You can perform the following operations on the media you create: • Apply AudioSuite plug-ins to more than one track (also referred to as a channel or stream) at the same time. For example, a plug-in might allow you to process two separate tracks as a stereo pair.
Understanding Digidesign AudioSuite Plug-Ins The following table describes the controls in the AudioSuite window. AudioSuite Window Controls Control Description Track Selection Menu button This menu is not active in Master Clip Processing mode. Clip Selection menu This menu allows you to choose the active clip. It lists the current active clip and other clips you dragged into the AudioSuite window. The window controls change to reflect the active clip.
Chapter 14 Using AudioSuite Plug-Ins AudioSuite Window Controls (Continued) Control Description Handle Length for End This text box allows you to add filler at the end of a master clip. The value of Master Clip (seconds) represents the number of seconds to add. For example, use this feature to add filler text box at the end of a master clip when you use a reverb effect to add a reverb trail to the end of the clip. Select the value before you run the plug-in.
Understanding Digidesign AudioSuite Plug-Ins The Status display at the bottom of the AudioSuite Plug-in window indicates how many tracks the plug-in can process. If more tracks are enabled than can be processed, the plug-in automatically selects the correct number of tracks. You can change the track selection based on your needs. Most AudioSuite plug-ins automatically select the appropriate processing mode and label the values in the Processing Mode Selection menu.
Chapter 14 Using AudioSuite Plug-Ins 9. Either render the plug-in from the Plug-In dialog box, or return to the AudioSuite window. For more information on rendering, see “Rendering AudioSuite Plug-in Effects” on page 411. When you click the Render Effect button, your Avid editing application creates a new master clip in the target bin. Your application names the new master clip by combining the original clip name with the effect name, for example, Test Audio clip_Normalize.
Understanding Digidesign AudioSuite Plug-Ins 4. Double-click the Site_AudioSuite_Bin file. The Site_AudioSuite_Bin window opens. 5. Drag one of your AudioSuite templates to the Site_AudioSuite_Bin window. 6. If you have not already done so, name the template by clicking the text and typing a name. 7. Close the bin. n Your Avid editing application does not save the effect to the bin until you close the bin. 8. Click the AudioSuite Fast Menu button, and look for your new template.
Chapter 14 Using AudioSuite Plug-Ins Troubleshooting AudioSuite Plug-Ins You might need to respond to an error message or cancel a render operation when rendering AudioSuite plug-ins. If the Digidesign Audio Engine is not running when you start to render an AudioSuite plugin effect, the system displays an error message stating that the DAE connection does not exist. The dialog box gives you the following options: • Cancel stops the rendering process.
Core AudioSuite Plug-Ins You can use some AudioSuite plug-ins in either mono or stereo. For guidance on working in stereo, see “Using AudioSuite Plug-Ins in Stereo” on page 417. Core AudioSuite Plug-Ins Plug-In Description Chorus Provides time-delay and pitch-shift effects, added to the clip to create a multi-layered sound. For more information, see “Chorus AudioSuite Plug-In” on page 420. D-Verb™ Provides a studio-quality reverberation or ambience processing to single or multiple tracks.
Chapter 14 Using AudioSuite Plug-Ins Core AudioSuite Plug-Ins (Continued) Plug-In Description Multi-Tap Delay Allows you to control up to four independent delays applied to the audio clip. For more information, see “Multi-Tap Delay AudioSuite Plug-In” on page 437. Normalize Finds the peak value in the source audio file and scales the entire file proportionally to that maximum value. For more information, see “Normalize AudioSuite Plug-In” on page 438.
Core AudioSuite Plug-Ins Chorus Parameters The following table lists the Chorus plug-in parameters: Parameter Description Gain Allows you to adjusts the input volume of the chorus to prevent clipping or increase the level of the processed signal. This slider is set to a default of +3 dB. If your source audio has been recorded very close to peak level, this +3 dB default setting could cause clipping. Use this control to reduce the input level.
Chapter 14 Using AudioSuite Plug-Ins D-Verb AudioSuite Plug-In Digital reverberation processing can simulate the complex natural reflections and echoes that occur after a sound has been produced. Reverberation can take relatively lifeless mono source material and create a stereo acoustic environment that gives the source a perceived weight and depth in a mix. In addition, digital signal processing can be used creatively to produce reverberation characteristics that do not exist in nature.
Core AudioSuite Plug-Ins Parameter Description Diffusion Sets the degree to which initial echo density increases over time. High settings result in high initial buildup of echo density. Low settings cause low initial buildup. This control interacts with the Size and Decay parameters to affect the overall reverberation density. Decay Controls the rate at which the reverberation decays after the original direct signal stops.
Chapter 14 Using AudioSuite Plug-Ins The Compressor has built-in metering that allows you to monitor the amount of gain reduction taking place. The Gain Reduction meter usually remains at 0-dB level when the input signal is below the threshold, and falls to the left to show the amount of gain reduction in decibels when the input signal exceeds the threshold. Compressor Parameters The following table lists the Compressor plug-in parameters.
Core AudioSuite Plug-Ins Parameter Description External Key This parameter has no effect on the AudioSuite plug-ins. Key Listen This parameter has no effect on the AudioSuite plug-ins. Limiter AudioSuite Plug-In The Limiter plug-in is used to prevent signal peaks from exceeding a chosen level so that they don’t overload amplifiers or recording devices. Most limiters have ratios of 10:1 or 20:1, although some provide ratios of up to 100:1.
Chapter 14 Using AudioSuite Plug-Ins Parameter Description Attack Allows you to set the Limiter’s attack time. The smaller the value, the faster the attack. The faster the attack, the faster the Limiter applies attenuation to the signal. If you use fast attack times and heavy limiting, you should use a proportionally longer release time, particularly with material that contains many peaks in close proximity.
Core AudioSuite Plug-Ins Expander-Gate Parameters The following table lists the Expander-Gate plug-in parameters. Parameter Description Reduction Indicates the amount of signal reduction in dB. Threshold Allows you to set the threshold level. Signals that fall below the threshold are reduced in gain. Signals that are above it are unaffected. (When you adjust the Threshold slider, be sure that audio material is playing through the Expander-Gate to see changes reflected in the Reduction meter.
Chapter 14 Using AudioSuite Plug-Ins Gate AudioSuite Plug-In The Gate plug-in reduces noise by decreasing the gain of signals that fall below a userselectable threshold. Gate Parameters The following table lists the Gate plug-in parameters. Parameter Description Reduction Indicates the amount of reduction in dB. Threshold Allows you to set the threshold level. Signals that exceed this level pass through.
Core AudioSuite Plug-Ins DeEsser AudioSuite Plug-In The DeEsser plug-in isolates and attenuates sibilants (“ess” sounds: “s,” “sh,” and “ch”) and other high-frequency distortions. It removes these sounds by using a fast-acting compression monitored by a Threshold control that sets the frequency above which compression starts and a Frequency control that sets the frequency band in which the plug-in operates. n The DeEsser is a monophonic-only plug-in.
Chapter 14 Using AudioSuite Plug-Ins Parameter Description Frequency Sets the frequency band in which the DeEsser operates. Frequencies in the specified range will be gain-reduced. To find the optimum Frequency setting, slide this control back and forth during playback. Key Listen Monitors the sibilant peaks used by the DeEsser as a key input to trigger compression. This is useful for listening only to the sibilants and fine-tuning settings to remove them.
Core AudioSuite Plug-Ins Parameter Description High-Pass Attenuates all frequencies below the selected cutoff frequency setting at a rate of 12 dB per octave while allowing all others above the frequency to pass through. For this reason, no gain control is available for this filter. High-pass filters can be useful for removing lowfrequency rumble or for thinning out the lower end of a sound for special effects, such as a “telephone simulation” effect.
Chapter 14 Using AudioSuite Plug-Ins Parameter Q Description (Peak and Notch) Controls the width of the EQ band. Higher values represent narrower bandwidths. Lower values represent wider bandwidths. (High-Shelf and Low-Shelf) Changes the Q of the shelving filter. Higher Q values represent steeper shelving curves. Lower Q values represent broader shelving curves. (High-Pass and Low-Pass) Lets you select from any of the following Slope values: 6 dB, 12 dB, 18 dB, or 24 db per octave.
Core AudioSuite Plug-Ins Parameter Description Bands The plug-in has separate parameter controls for each of the following 7 bands: • High-Pass/Low-Notch (HPF) • Low-Pass/High-Notch (LPF) • Low Shelf/Low Peak (LF) • Low-Mid Peak (LMF) • Mid-Peak (MF) • High-Mid Peak (HMF) • High Shelf/High Peak (HF) Band Enable button Toggles the band in and out of the circuit. When a band’s Enable button is highlighted, the band is in circuit.
Chapter 14 Using AudioSuite Plug-Ins Parameter Q Description (Peak and Notch bands) Controls the width of the EQ band. Higher values represent narrower bandwidths. Lower values represent wider bandwidths. (Shelf bands) Changes the Q of the shelving filter. Higher Q values represent steeper shelving curves. Lower Q values represent broader shelving curves. (High-Pass and Low-Pass bands) Lets you select from any of the following Slope values: 6 dB, 12 dB, 18 dB, or 24 db per octave.
Core AudioSuite Plug-Ins Parameter Description Mix Allows you to adjust the balance between the Dry (source) signal and the Wet (processed) signal, giving you control over the depth of the effect. High Pass Filter Controls the cutoff frequency of the High Pass Filter, allowing you to attenuate the frequency content of the feedback signal and the frequency response of the flanging. The higher the setting, the more low frequencies are removed from the feedback signal.
Chapter 14 Using AudioSuite Plug-Ins Delay AudioSuite Plug-In The Delay plug-in provides time-delay-based effects. Delay Parameters The following table lists the Delay plug-in parameters. Parameter Description Input Controls the input volume of the delay to prevent clipping. Mix Allows you to control the balance between the delayed signal and the original signal. If you are using a delay for flanging or chorusing, you can control the depth of the effect somewhat with the Mix setting.
Core AudioSuite Plug-Ins Multi-Tap Delay AudioSuite Plug-In The Multi-Tap Delay plug-in adds up to four independently controlled delays (or “taps”) to the original audio signal. By allowing you to control the delay time and number of repetitions of each tap individually, the Multi-Tap Delay plug-in provides greater flexibility than standard single-delay devices. The Multi-Tap Delay plug-in is ideal for adding spatialization or complex rhythmic echo effects to virtually any instrument or sound.
Chapter 14 Using AudioSuite Plug-Ins Normalize AudioSuite Plug-In In cases where a sound file has been recorded with too little amplitude, the Normalize plug-in ensures that the inherent dynamics of the performance remain unchanged while the overall volume level of the passage is raised. The controls let you specify how close to maximum level (the clipping threshold) the peak level of your selection or file is boosted.
Core AudioSuite Plug-Ins Ping-Pong Delay AudioSuite Plug-In The Ping-Pong Delay plug-in modifies an audio signal by adding a controllable delay to the original signal. It is ideal for adding spatialization and creating a characteristic ping-pong echo effect. Ping-Pong Delay Parameters The following table lists the Ping-Pong Delay plug-in parameters: Parameter Description Gain Adjusts the input volume of the Ping-Pong Delay to prevent clipping or increase the level of the processed signal.
Chapter 14 Using AudioSuite Plug-Ins DC Offset Removal AudioSuite Plug-In The DC Offset Removal plug-in removes DC offset from your audio files. The term “DC offset” describes a specific type of audio artifact that might appear in digital audio signals. DC Offset can be identified in a waveform overview because it appears to have a nearvertical fade-in with a constant or “steady-state” offset from zero when the file is actually “silent” (it contains no audible audio).
Core AudioSuite Plug-Ins Master Clip Mode Parallel Processing The Time Compression Expansion plug-in allows two tracks to be time-compressed or expanded as a “stereo pair,” so that the two sides of the stereo signal are processed relative to each other. The Time Compression Expansion plug-in has special parameters that let you enter time compression or expansion values in different formats. They are located in the Source and Destination columns, and also include the Ratio slider.
Chapter 14 Using AudioSuite Plug-Ins Parameter Description Crossfade The Crossfade slider allows you to manually adjust the crossfade length in milliseconds to optimize performance of the Time Compression Expansion plug-in according to the type of audio material you are processing.
Core AudioSuite Plug-Ins Pitch Shift AudioSuite Plug-In The Pitch Shift plug-in allows you to adjust the pitch of any source audio file with or without a change in its duration. This powerful function allows sounds to be transposed a maximum of a full octave up or down in pitch with or without altering playback speed. Edit the Pitch Shift parameters by double-clicking and typing in any Destination text box or by dragging a slider to adjust.
Chapter 14 Using AudioSuite Plug-Ins Parameter Description Reference Pitch The Reference Pitch feature generates a sine wave tone that you can adjust to match a selected portion of audio material, and then use as an audible reference when pitchshifting other audio material in your session. To use the Reference Pitch feature: 1. Select the audio material you want to use as a pitch reference. Click the Preview button to begin playback of the selected audio. 2.
Core AudioSuite Plug-Ins Time Shift Parameters The following table lists the Time Shift plug-in parameters. Parameter Description Audio You use the Audio parameter controls to select the most appropriate time compression and expansion mode for the type of material you want to process, and to attenuate the gain of the processed audio to avoid clipping.
Chapter 14 Using AudioSuite Plug-Ins Parameter Description Time You use the Time parameter controls to specify the amount of time compression or expansion you want to apply. The Original column displays the Start and End times, and Length of the edit selection. Times are displayed in units of the timebase selected in the Units menu. The Processed column displays the target End time and Length of the processed signal. Times are displayed in units of the timebase selected in the Units menu.
Core AudioSuite Plug-Ins Parameter Description Formant/Transient You use the Formant or Transient parameter controls to adjust either the amount of formant shift or the transient detection parameters, depending upon which mode you have selected in the Audio section. n The Formant parameter is available only when you select Monophonic as the Audio mode. The Transient section is available with slightly different controls, depending on whether you select Polyphonic or Rhythmic as the Audio mode.
Chapter 14 Using AudioSuite Plug-Ins Non-Core AudioSuite Plug-Ins Non-core AudioSuite plug-ins are also supported, but are not installed with your Avid editing application. They are located in the Goodies folder. These plug-ins can be used on a trial basis and then purchased through Digidesign. All others are not supported at this time. The supplied non-core AudioSuite plug-ins are briefly described in this topic. The plug-ins have their own detailed documentation.
Non-Core AudioSuite Plug-Ins Digidesign D-Fi The set of D-Fi™ plug-ins provides analog synthesizer effects: • Lo-Fi™ adds noise generation, bit-rate reduction, distortion, and saturation to sound. • Sci-Fi™ adds analog synthesizer-type ring modulation, frequency modulation, and variable frequency resonator. • Recti-Fi™ generates new harmonics and subharmonics through waveform rectification. • Vari-Fi™ adds tape and turntable “start up” and “slow down” effects.
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Chapter 15 Exporting and Transferring Material: Advanced You can export files for use with another system, another application, or another platform. Your Avid video-based editing system provides tools for exporting clips and sequences in various formats.
Chapter 15 Exporting and Transferring Material: Advanced Exporting Using Send To Templates The Send To feature is the quickest and simplest way to perform most common export tasks. Send To enables you to send sequences or master clips from your Avid editing system to other applications, automating your workflow. The Send To option provides you with a choice of several pre-defined templates to streamline your workflow. These templates are set to default parameters, customized for the specific workflow.
Exporting Using Send To Templates Send To DigiDelivery You can export a sequence directly to DigiDelivery®, the file-exchange service from Avid Digidesign®. You must have a DigiDelivery account to deliver your exported sequence. For information about obtaining an account, go to the Avid DigiDesign web site, www.digidesign.com, and select Products > DigiDelivery. To export directly to DigiDelivery: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” in the Help. 2.
Chapter 15 Exporting and Transferring Material: Advanced The Send To dialog box opens with the template you selected. The Filename text box displays the name of the sequence or clip you chose, and Auto Launch is selected by default to launch DigiDelivery automatically after you click OK. If the option you chose involves linking to media, Include Linked Media is also selected by default. 5. (Option) Change the file name. 6.
Exporting Using Send To Templates 8. (Option) If you need to make any changes, select the Options button, make any necessary changes, and click Save. 9. (Option) Do the following if your sequence includes MetaSync tracks: a. Select Export MetaSync tracks, and then select XML or AAF. If you select XML, the system performs an AAF export, and then automatically opens MetaSync Publisher, which produces the XML file. For more information on MetaSync Publisher, see “Using MetaSync Publisher” in the Help. b.
Chapter 15 Exporting and Transferring Material: Advanced 3. Do one of the following: t Select File > Send To > Digidesign Pro Tools, for sequences that you want to transfer on movable media. t Select File > Send To > Digidesign Pro Tools on Avid Unity, for sequences that are located on the same Avid Unity environment. t Right-click the clip or sequence in the bin, and select Send To > Digidesign Pro Tools or Digidesign Pro Tools on Avid Unity. The Send to Digidesign Pro Tools template options appear.
Exporting Using Send To Templates The Send To dialog box opens with the template you chose. The Filename text box displays the name of the sequence or clip you chose. 5. (Option) Change the file name. 6. Click Set to browse to the drive and folder to which you want to export the sequence. n Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 7. Review the Export Setting Summary.
Chapter 15 Exporting and Transferring Material: Advanced 10. (Option) If you make any changes to the Send To dialog box, do the following if you want to save these changes as a new template. a. Click the Save As Template button. b. Rename the file. Make sure you leave the .stt extension. c. Click Save. The new template is saved. The next time you select a sequence, and choose File > Send To, the new template appears in the list. 11. Click OK. The file is exported to the selected destination.
Exporting Using Send To Templates The Send To DVD Authoring dialog box opens with a default export template. The Filename text box displays the name of the sequence or clip you chose. 4. (Option) Change the file name. 5. Click Set to browse to the drive and folder to which you want to export the sequence. n Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. Review the Export Setting Summary. 7.
Chapter 15 Exporting and Transferring Material: Advanced 8. (Option) If you make any changes to the Send To dialog box, do the following if you want to save these changes as a new template. a. Click the Save As Template button. b. Rename the file. Make sure you leave the .stt extension. c. Click Save. The new template is saved. The next time you select a sequence, and select File > Send To, the new template appears in the list. 9. Click OK.
Exporting Using Send To Templates The Send To DVD One Step dialog box opens with a default export template. The Filename text box displays the name of the sequence or clip you chose. 4. (Option) Change the file name. 5. Click Set to browse to the drive and folder to which you want to export the sequence. n Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. Accept the default settings for the rest of the options. 7.
Chapter 15 Exporting and Transferring Material: Advanced 8. Click OK. The Burn to DVD dialog box opens. 9. Select the capacity of your DVD medium from the Capacity menu. c The capacity of your DVD medium must match the size you select from the Capacity menu. 10. For information about the other options, see the Sonic printed or pdf documentation. 11. Click OK. Your DVD is burned. Send to Sorenson Squeeze When you send directly to Sorenson Squeeze, a QuickTime Reference template is selected. 1.
Exporting Using Send To Templates 4. Do one of the following; t Select File > Send To > Encoding > Sorenson Squeeze. t Right-click the clip or sequence in the bin, and select Send To > Encoding > Sorenson Squeeze. The Send To dialog box opens with a default template. The Filename text box displays the name of the sequence or clip you chose. 5. (Option) Change the file name. 6. Click the Options button to select Sorenson Squeeze settings. For more information, see the Sorenson Squeeze documentation. 7.
Chapter 15 Exporting and Transferring Material: Advanced Send To Avid DS When you choose to send to Avid DS, the sequence is exported as an AFE file. To export directly to Avid DS: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” in the Help. 2. Select a clip or a sequence in a bin. 3. Do one of the following: t Select File > Send To > Avid DS.
Exporting Using Send To Templates n Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. (Option) If you need to make any changes, select the Options button, make any necessary changes, and then click Save. 7. (Option) Do the following if you want the Avid DS application to automatically launch after you export. a. (Option) Click the Auto Launch button, and select Add Item. b. (Option) Browse to find the Avid DS application. c.
Chapter 15 Exporting and Transferring Material: Advanced Send To Third-Party Applications Avid provides a Make New option that allows you to customize your own Send To template for third-party applications. To create your own template: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” in the Help. 2. Select a clip or a sequence in a bin. 3. Do one of the following: t Select File > Send To > Make New. t Right-click the clip or sequence in the bin, and select Send To > Make New.
Exporting Using Send To Templates 4. (Option) Change the file name. 5. Select the destination folder for the file, and then click OK. n Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. Review the Export Setting Summary. 7. (Option) If you need to make any changes, select the Options button, make any necessary changes, and then click Save. 8.
Chapter 15 Exporting and Transferring Material: Advanced Exporting OMFI and AAF Files OMFI and AAF are industry-standard file formats that let you exchange compositions and media between applications. Exporting Through OMF Interchange OMF Interchange® (OMFI) is a platform-independent file format that stores both the digital media (video, audio, graphics, animation) and the information describing how the media is edited together to form a final sequence.
Exporting OMFI and AAF Files Selecting an OMFI or an AAF Transfer Method OMF Interchange and AAF, as implemented in Avid editing applications, provide two basic methods for exporting files. Method 1: Compositions with Linked Media Avid editing applications can export an OMFI or an AAF file that contains only the editing information about a selected master clip or sequence. The file also contains links to the media used in the clip or sequence.
Chapter 15 Exporting and Transferring Material: Advanced 4. Click the Export Settings menu, and select a setting. If you want to create a new setting, select Untitled. You can create settings in advance. See “Customizing Export Settings” in the Help. 5. Click the Options button. The Export Settings dialog box opens. 6. Click the Export As menu, and select OMF 1.0, OMF 2.0, or AAF. 7. Select other options as described in “Export Settings: OMFI, AAF, and AFE” on page 595.
Exporting OMFI and AAF Files 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file. 10. (Option) Change the file name. In most cases, keep the file name extension the same. 11. Click Save.
Chapter 15 Exporting and Transferring Material: Advanced Export Settings Guidelines for AAF Export to Pro Tools Setting Guidelines Media Destinations (Video Details and Audio Details tabs) • Using the Folder option with “Use Same Folder as AAF File” is very convenient for moving files back and forth between the Avid editing application and Pro Tools.
Exporting Projects and Bins Using AFE Files Exporting Projects and Bins Using AFE Files AFE (Avid File Exchange) files are an efficient way to transfer project information between Avid applications. For example, you can use AFE files to transfer projects and bins from an offline to an Avid DS finishing system. n You can import an AFE file into Avid DS v6.0 or later only. AFE files are based on AAF (Advanced Authoring Format) technology.
Chapter 15 Exporting and Transferring Material: Advanced To create an AFE file that includes the contents of a single bin: 1. Open the bin. 2. Click the bin, and select File > Export. The Export Bin As dialog box opens. 3. Select Avid File Exchange from the Export Bin As list. 4. Select a location, name the file, and click Save. 5. Transfer the AFE file to a location you can access from the other Avid application. You can use removable media, a network connection, or an Avid Unity shared storage system.
Exporting Video in DV Stream Format 3. Select File > Export. The Export As dialog box opens. 4. Click the Export Settings menu, and select a setting. If you want to create a new setting, select Untitled. You can create settings in advance. See “Customizing Export Settings” in the Help. 5. Click Options. The Export Settings dialog box opens. 6. Click the Export As menu, and select DV Stream. 7. Select other options as described in “Export Settings: DV Stream” on page 594. 8. Click Format Options.
Chapter 15 Exporting and Transferring Material: Advanced n If you select DV as the DV format, you can choose to provide locked or unlocked audio. For compatibility with DV cameras that require unlocked audio, deselect Locked. If you select DVCPRO as the DV format, audio is always locked and the Locked option is grayed out. Also, the audio rate is always 48 kHz and the Audio Rate menu is grayed out. 10. Click OK. 11.
Exporting QuickTime Movies Exporting QuickTime Movies You can export a sequence as a QuickTime movie for final distribution or for further processing in another application. There are three basic methods for QuickTime export, as described in the following table. Selecting a QuickTime Export Option Option Description Same as Source This option is available when you select QuickTime Movie from the Export Settings dialog box.
Chapter 15 Exporting and Transferring Material: Advanced 3. Select File > Export. The Export As dialog box opens. 4. Click the Export Settings menu, and select a setting. If you want to create a new setting, select Untitled. You can create settings in advance. See “Customizing Export Settings” in the Help. 5. Click the Options button. The Export Settings dialog box opens. 6. Click the Export As menu, and select QuickTime Movie.
Exporting QuickTime Movies n Using Same as Source results in the fastest export and is usually the best selection for a movie that will be processed by another application. See “Exporting QuickTime Movies” on page 477. 8. Select the remaining options as described in “Export Settings: QuickTime Movie Export Options” on page 588. To change the codec (compressor/decompressor) used for compression, click the Format Options button.
Chapter 15 Exporting and Transferring Material: Advanced To export as a QuickTime reference movie: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” in the Help. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” in the Help. 3. Select File > Export. The Export As dialog box opens. 4. Click the Export Settings menu, and select a setting. If you want to create a new setting, select Untitled. You can create settings in advance.
Exporting QuickTime Movies 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file. 10. (Option) Change the file name. In most cases, keep the file name extension the same. 11. Click Save.
Chapter 15 Exporting and Transferring Material: Advanced To export a clip or sequence by using one of the Avid codecs: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” in the Help. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” in the Help. 3. Select File > Export. The Export As dialog box opens. 4. Click the Export Settings menu, and select a setting. If you want to create a new setting, select Untitled.
Exporting QuickTime Movies 10. Select the codec that you want to use for export. 11. Click the Options button. A Codec Configuration dialog box opens. The settings depend on the codec that you selected.
Chapter 15 Exporting and Transferring Material: Advanced n The Quality slider does not affect your settings. 12. Select the settings that you want, and click OK. For Color Levels or Color Input, select the color levels of the source media. If you are exporting from an Avid editing system, use ITU-R 601 (SD) or 709 (HD). 13. Click OK in the Compression Settings dialog box. 14. Click OK in the Movie Settings dialog box. The Export Settings dialog box reopens. 15.
Exporting As an AVI File c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. Exporting As an AVI File To export as an AVI file: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” in the Help. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” in the Help. 3. Select File > Export. The Export As dialog box opens. 4.
Chapter 15 Exporting and Transferring Material: Advanced 6. Click the Export As menu, and select AVI. 7. Select the AVI options you want. “Export Settings: AVI” on page 599 describes the AVI settings options in the Export Settings dialog box. In the Video Format tab, you can also select further options by clicking the Codec Options button. 8. Select an AVI codec by clicking Codec Options. The Video Compression dialog box opens. 9.
Installing or Copying the Avid Codecs for QuickTime on Other Systems Installing or Copying the Avid Codecs for QuickTime on Other Systems When you install the Avid editing application on your system, the Avid Codecs for QuickTime are automatically installed. If you want to export a QuickTime movie from a third-party application such as Adobe After Effects® for use on an Avid system, you should have the appropriate Avid codec installed on the system running the third-party application.
Chapter 15 Exporting and Transferring Material: Advanced Codec Description AvidAVpkCodec.qtx Avid Packed codec (Uncompressed MXF 10-bit) AvidQTAVuiCodec.qtx Avid Meridien Uncompressed codec (OMF 8-bit) For the DVCPRO and DNxHD codecs, you must also copy the following files: - libmmd.dll - msvcr71.dll 3. On the other system, copy the files to one of the following folders: drive:\Program Files\QuickTime\QTComponents drive:\Windows\System32 n Once the Avid Codecs for QuickTime are installed on the
Exporting as Windows Media Exporting as Windows Media Your Avid editing application allows you to export your sequence as native Windows Media. Before you perform any export procedures, make sure you have reviewed “Preparing to Export a Sequence” in the Help. Exporting Using an Avid Supplied Template Your Avid editing application includes a number of Windows Media templates you can use to export media. To export as Windows Media using an Avid-supplied template: 1. Select the sequence or clips to export.
Chapter 15 Exporting and Transferring Material: Advanced 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7. Select Windows Media Legacy Template. 8. Click the Version button, and select v8, v7 or v4. This refers to the available version 8, version 7, and version 4 Windows Media templates. 9.
Exporting as Windows Media Exporting Using an Existing Windows Media Profile A Profile is a group of settings that matches content type and bit rate with the appropriate audio and video codecs. Profiles have the file name extension .prx. If you have an existing .prx file, select that file to use for the Windows Media export settings. n A .prx file is basically a saved template. You can create and save .prx files to share with others. To use an existing Windows Media Profile: 1.
Chapter 15 Exporting and Transferring Material: Advanced 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7. Select Windows Media Custom Profile. 8. Click Set. 9. Browse to the location where the .prx file is located on your system, and select the file. 10. Click Open. 11. Click Save. 12. In the Export As dialog box, select the destination folder for the file.
Exporting as Windows Media 3. Click Options. The Export Settings dialog box opens. Add Button 4. In the Export As menu, select Windows Media. 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline.
Chapter 15 Exporting and Transferring Material: Advanced 9. (Option) If you want to save the .prx file, do the following: a. Click Save As Custom Profile. b. Browse to the location on the system where you want to save the .prx file. c. Name the file and click Save. The .prx file is saved.You are returned to the Export Settings window 10. Click Save to export the sequence. 11. In the Export As dialog box, select the destination folder for the file. 12. (Option) Change the file name.
Exporting as Windows Media 3. Click Options. The Export Settings dialog box opens. 4. In the Export As menu, select Windows Media. 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7.
Chapter 15 Exporting and Transferring Material: Advanced 9. (Option) If you want to save the .prx file, do the following: a. Click Save As Custom Profile b. Browse to the location on the system where you want to save the .prx file. c. Name the file and click Save. The .prx file is saved. You are returned to the Export Settings window 10. Click Save to export the sequence. 11. In the Export As dialog box, select the destination folder for the file. 12. (Option) Change the file name.
Exporting Tracks As Audio Files 6. Click the Export As menu, and select Audio. The Export Settings dialog box displays the Audio options. 7. Select the options you require. Use the “Export Settings: Audio” on page 607 to make your selections. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK.
Chapter 15 Exporting and Transferring Material: Advanced Exporting As a Graphic File You can export a single frame as a graphic file or you can choose to export multiple frames as sequentially numbered files. To export as a graphic file: 1. Do one of the following: t If you plan to export a single frame, mark an IN point to export the marked frame from a bin or a monitor, or move the position indicator to the frame you want to export.
Exporting As a Graphic File 5. Click the Export As menu, and select Graphic. The Export Settings dialog box displays the Graphic options. 6. Click the Graphic Format menu, and select a format. Use “Export Settings: Graphic Format” on page 609 to make your selection. 7. Select other options as appropriate. Use “Export Settings: Graphic” on page 608 to make your selection. 8. Do one of the following: t To save your settings in the existing settings file, click Save.
Chapter 15 Exporting and Transferring Material: Advanced 10. (Option) Change the file name. In most cases, keep the file name extension the same. 11. Click Save. The file is exported to the selected destination. When you are working with the Format Options settings, you can click Defaults to return the settings to their default values. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.
Exporting Media to XDCAM Devices XDCAM Resolutions (Continued) Format/Resolution Number of Audio Channels (maximum) MPEG IMX: (NTSC and PAL) 2 MPEG 30 MPEG 40 MPEG 50 Exporting to XDCAM You can export NTSC and PAL projects. Depending on the format (SD or HD), you need to use the appropriate XDCAM device (if you export SD media, use an XDCAM SD device; if you export HD media, you must use an XDCAM HD device). To export to an XDCAM device: 1. Connect your XDCAM device. 2.
Chapter 15 Exporting and Transferring Material: Advanced The XDCAM Export Settings dialog box opens. 5. (Option) Select Use Marks. When Use Marks is selected, the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7.
Exporting Media to XDCAM Devices For HD projects, select 16 bits. XDCAM HD devices are not capable of handling 24 bits. 10. Click OK. Sony applies its own file-naming convention. All exported clips are given a new sequential name of Cxxxx.mxf, for example, C0019.mxf. A progress bar appears displaying the new Sony XDCAM sequential clip name. The sequence is exported.
Chapter 15 Exporting and Transferring Material: Advanced 504
Chapter 16 Generating Output: Advanced Your Avid editing application provides tools for generating output for individual tracks or entire sequences to various videotape or audiotape formats. You can also generate an edit decision list (EDL) for use in an online suite.
Chapter 16 Generating Output: Advanced Using Test Patterns Use the menu of test patterns to calibrate the system output. To display a test pattern: t In the Video Output tool, click the Test Patterns menu, and select a pattern.
Advanced Video Output Calibration 8. Select an output format in the Video Output tool. n You can precisely match only one output format at a time in phase with the reference signal. In most cases, you should select either Composite or Serial Digital. 9. Calibrate any of the available controls in the Video Output tool while checking the external Waveform and Vectorscope monitors. For example, composite output provides Gain and Saturation controls.
Chapter 16 Generating Output: Advanced Using the Digital Cut Tool: Advanced The Digital Cut tool provides controls when you record a sequence to tape. This section describes some of the more advanced digital cut features. Output Mode Resolution Options The output mode menu in the Digital Cut tool displays the relevant resolution options, depending on your project type and the output device. The connected output device is displayed in the Digital Cut tool.
Using the Digital Cut Tool: Advanced The following table provides information on the available output resolutions. n There are restrictions for progressive formats. See “Output Mode Resolutions with Progressive Projects” on page 510.
Chapter 16 Generating Output: Advanced Output Mode Resolutions with Progressive Projects The availability of the Output Mode resolutions for progressive projects depends on the Output Format play rate in the Digital Cut tool. The following table describes the Output Mode resolutions for progressive projects.
Using the Digital Cut Tool: Advanced Outputting DV 50 and DVCPRO HD Media Directly to a DV Device You can output DV 50 or DVCPRO HD sequences directly to a DV device. This lets you output without any loss due to compression and decompression. DV 50 and DVCPRO HD Output You can output: If the project is: And if the output device is: DV 50 Any SD project 1394 DVCPRO HD The following HD projects: 1394 • 720p/23.976 • 720p/50 • 720p/59.94 • 1080i/50 • 1080i/59.
Chapter 16 Generating Output: Advanced Selecting Output and Timecode Formats for 23.976p and 25p Projects When you are working in a 23.976p or 25p project, you can output multiple formats from the same progressive media. You click the Output Format menu in the Digital Cut tool to select the formats you want, as described in “Selecting Output Formats for 23.976p and 25p Projects” on page 512. Depending on the format you select, you also need to: • Select the timecode to output.
Using the Digital Cut Tool: Advanced The play rate you select determines how the digital cut is recorded. For example, if you select 23.976, you tell your Avid editing application to slow down the play rate to match the play rate used during an NTSC telecine transfer. When your application records the digital cut, it adds the pulldown frames and re-creates a telecine transfer to an NTSC videotape.
Chapter 16 Generating Output: Advanced • 24 (NTSC): Plays back the sequence at 24 fps (film rate). This play rate tells the system to record audio at the film rate. If the system records video, it maintains sync by adding pulldown fields and dropping every 1000th frame. This video should be used for reference only. Use this setting for direct audio output to be used in sync with film projection.
Using the Digital Cut Tool: Advanced 25 percent and is not usable. Use this output rate for animations and other special applications. 24 fps NTSC requires a sample-rate conversion, so high-quality audio is not guaranteed. The following table summarizes the change in audio rates for 23.976p output options. Audio Play Rates for 23.976p Projects Output Play Rate Source Output Audio Rate 23.976 NTSC 23.976 fps 48 kHz (no change) 24 NTSC 23.976 fps 48.048 kHz (0.1% speedup) 29.97 NTSC 23.
Chapter 16 Generating Output: Advanced Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding You can output drop-frame and non-drop-frame NTSC timecode simultaneously from a 23.976p or 25p project. A broadcast production company might need to output drop-frame timecode for a broadcast master while outputting non-drop-frame timecode to track NTSC film pulldown.
Using the Digital Cut Tool: Advanced n Your Avid editing application can generate LTC at 29.97 fps only. No LTC will be output if you select 30.00. To indicate the destination timecode rate: 1. Select Clip > Digital Cut. 2. Click the Dest. TC Rate menu, and select 29.97 fps or 30.00 fps. Digital Cuts and Audio You can use one of several tape formats and methods for audio output, but the following are most common: n • Record a digital cut directly to videotape by using analog output.
Chapter 16 Generating Output: Advanced Understanding DV Digital Cut Delay DV digital cut delay affects the timing of the DV data sent to the DV device for a digital cut. Increasing the digital cut delay will cause the sequence stream to be to delayed when it is sent to the DV device when digital cut begins. While the system is waiting for this delay, the first frame of the sequence is continually sent to the DV device. There are several components to this setting.
Using the Digital Cut Tool: Advanced For example, suppose the DV digital cut delay is set to 0 frames. The digital cut is expected to begin with the first frame of the sequence being recorded on the IN point designated on the tape. In this example, the IN point is set to frame number 6. This is where the recording would begin on the tape. However, due to the behavior of the particular DV device, the digital cut does not perform as expected.
Chapter 16 Generating Output: Advanced Delaying the Sequence for a Digital Cut You can delay the sequence stream being sent to a DV device during a digital cut. This can help you to ensure that the first frame recorded is the first frame of your sequence. For more information, see “Understanding DV Digital Cut Delay” on page 518. To delay the sequence for a digital cut: 1. Click the Settings tab in the Project window. 2. Double-click Deck Preferences. The Deck Preferences dialog box opens. 3.
Preserving Information in the Vertical Blanking Interval Preserving Information in the Vertical Blanking Interval You can choose whether or not to display 5 lines above each field in NTSC and 8 lines above each field for PAL and whether to preserve the lines when you perform a digital cut. These lines can be used to store additional encoded information such as closed captioning, edgecodes or key numbers for film projects, or various interactive or enhanced TV codes.
Chapter 16 Generating Output: Advanced Displaying and Preserving Vertical Blanking Information Avid editing applications using Avid DNA hardware automatically preserve the extra lines of VBI information when you capture footage. You can choose whether to display the lines and whether to retain the lines when you output your sequence as a digital cut.
Preserving Information in the Vertical Blanking Interval To display VBI information and preserve VBI information for a digital cut: 1. Select Tools > Video Output Tool. The Video Output tool opens. VBI menu 2. Click the VBI menu and select Preserve. n If you select Blank, your Avid editing application fills the vertical blanking interval with video black (R=G=B=16). 3. Close the Video Output tool. Any VBI information that is present in your clips or sequences will now be displayed.
Chapter 16 Generating Output: Advanced c The VBI value resets to Blank each time you launch the application. If you want to preserve VBI information on output, set the value before you perform a digital cut. Editing a Sequence with VBI Information After a sequence is created and output from the Avid editing system, some facilities apply VBI information to the tape to add information such as closed captioning. Often, the tape is recaptured so that the sequence can be repurposed for another market.
Preserving Information in the Vertical Blanking Interval Effects of Preserving Vertical Blanking Information on Compressed Video Quality For resolutions other than 1:1, preserving vertical blanking information when you capture can affect the video quality in the rest of the frame. For example, depending on the compression ratio, a video frame might look more blocky with vertical blanking information included. Your Avid editing application performs the following operations when capturing a frame: 1.
Chapter 16 Generating Output: Advanced Comparison with VBI on Meridien Systems The following table shows the differences between how VBI is treated on systems with Meridien hardware (for example, Media Composer v12.0 or Avid Symphony v5.0) and systems with Adrenaline DNA hardware.
Preserving HD Closed Captioning and Ancillary Data Preserving HD Closed Captioning and Ancillary Data Your Avid editing application lets you capture closed-captioning and other ancillary data in HD media and preserve this data throughout the editing and output processes. The following information is preserved: • Closed Captioning (CEA 608, CEA 708): Closed capturing ancillary data packets are captured from the HD-SDI source according to the SMPTE 334M standard.
Chapter 16 Generating Output: Advanced You can play HD media that contains ancillary data in the following applications: c • Media Composer Adrenaline v2.2.2 or later • NewsCutter Adrenaline and NewsCutter XP v6.2.2 or later • Avid Xpress Pro v5.2.2 or later • Symphony Nitris v1.0.1 or later Earlier versions of these applications cannot play HD media that contains ancillary data. The application displays an error message if you try to play this media.
Chapter 17 MultiCamera Editing The Avid MultiCamera editing features allow you to incorporate multiple camera angle sources into the nonlinear editing process.
Chapter 17 MultiCamera Editing • The MultiGroup function is designed primarily for situation comedies and similar productions that record multiple takes sequentially on the same source tapes. Multigrouping does not provide any benefit when you edit with clips that do not share common timecode or were not recorded sequentially, and might even cause the wrong clips to be grouped together.
Creating Multigroup Clips 4. Select an option, based on the following: Option Description Film TC/Sound TC Use this option if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. Inpoints Use this option if you are syncing according to IN points set in each clip. Outpoints Use this option if you are syncing according to OUT points set in each clip.
Chapter 17 MultiCamera Editing 4. Select an option, based on the following: Option Description Film TC/Sound TC Use this option if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. Inpoints Use this option if you are syncing according to IN points set in each clip. Outpoints Use this option if you are syncing according to OUT points set in each clip.
MultiCamera Displays • n MultiCamera Mode: MultiCamera Quad Split Edit and MultiCamera Nine Split Edit—After you create a sequence that includes group clips, you can display the sequence in MultiCamera mode. MultiCamera mode is similar to Quad Split Source view or Nine Split Source view, except that it gangs the Source and Record monitors under one set of controls. All camera angles displayed in the Source monitor are synchronized and update when stopped or scrubbing through the timeline.
Chapter 17 MultiCamera Editing Quad Split Source View After loading a group clip into the Source monitor, you enter Quad Split Source view by clicking the Quad Split button located in the Command palette in the MCam tab. The Source monitor splits into four camera angles of the group clip. A Group Menu icon appears in the second row of information above the Source and Record monitors.
MultiCamera Displays Nine Split Source View After loading a group clip into the Source monitor, you enter Nine Split Source view by clicking the Nine Split button located in the Command palette in the MCam tab. The Source monitor splits into nine camera angles of the group clip. A Group Menu icon appears in the second row of information above the Source and Record monitors.
Chapter 17 MultiCamera Editing MultiCamera Mode After loading a group clip into the Source monitor and editing it to create a new sequence, select MultiCamera Mode from the Special menu to activate the features. The MultiCamera Quad Split Edit or MultiCamera Nine Split Edit is displayed, depending on whether you were in Quad Split Source view or Nine Split Source view before entering MultiCamera mode.
MultiCamera Displays The basic features of MultiCamera mode are as follows: • Provides sequence-oriented control of multicamera material, in contrast to Full-Monitor display, Nine Split Source view, and Quad Split Source view. Whenever you play back, cue, switch camera angles, or mark material, your changes occur in the sequence. • Synchronizes all camera angles displayed in the Source monitor and continuously updates during playback and editing.
Chapter 17 MultiCamera Editing Whenever you have a multicamera or group clip open in a monitor, your Avid editing application uses the Video Quality setting for multicamera or group clips, even if the clips you are currently playing are single clips. To change the Video Quality setting, you can make a new selection from the Video Quality menu, or you can close all multicamera or group clips to revert to your most recent Video Quality setting for single clips.
MultiCamera Editing Techniques Using various keys and functions, you can switch and edit the displayed group clip at any point in the sequence. These techniques apply to both group and multigroup clips. Switching Clips with the Arrow Keys You can switch the display of camera angles by using the Previous In Group button and the Next In Group button. These buttons are mapped by default to the Up Arrow and Down Arrow keys.
Chapter 17 MultiCamera Editing Using the Group Menu The Group menu allows you to select video or audio channels from any of the clips in the group and patch to the tracks available in the sequence. You can have nine camera angles and nine or more audio tracks synchronized and available for patching at any time. Click the Group Menu icon to display the menu.
MultiCamera Editing Techniques Using the Multi-angle View Menus You can use the Multi-angle View menus to group up to 18 clips at a time, and select additional clips to be shown in any of the multi-split displays in the Source monitor. You can also select Sequence from the Multi-angle View menus to display the entire sequence. To select an additional clip from the group to appear in one of the multi-split displays: 1. Press the Ctrl key to activate the display of clip names in the multi-split displays. 2.
Chapter 17 MultiCamera Editing Selective Camera Cutting Selective camera cutting involves marking and editing source material into the sequence, much as you build a sequence by using nongrouped clips in a normal session. You can play, cue, and mark clips on the source side, and then splice, overwrite, and trim clips in the sequence.
Chapter 18 Using Settings The Settings list is displayed when you click the Settings tab of the Project window. If you select a setting in the Settings list and make changes, the new parameters remain the default settings until you change them again. To view or modify the parameters, double-click the setting. For information on using the Settings window, see “Using the Settings List” on page 545.
Chapter 18 Using Settings 544 • Interplay User Settings • Keyboard Settings • Marquee Title Settings • Media Creation Settings • Media Services Settings • Mouse Settings • NRCS Settings • PortServer Settings • Remote Play and Capture Settings • Render Settings • Safe Colors Settings • Script Settings • Sound Card Configuration Settings • Timeline Settings • Trim Settings • Video Display Settings • Video Input Tool Settings • Video Output Tool Settings • Workspace Setti
Using the Settings List Using the Settings List From the Settings list in the Project window, you can view, select, open, and alter various User, Project, and Site settings. To view the Settings list: t Click the Settings tab in the Project window. Settings tab Settings type Settings Fast menu Settings list Understanding Settings Three types of settings appear in the Settings list in the Project window, as indicated in the third column of information: User, Project, and Site.
Chapter 18 Using Settings Default Locations of Avid Projects Folders Private Projects Shared Projects C:\Documents and Settings\Windows login name\My Documents\Avid Projects C:\Documents and Settings\All Users\Shared Documents\Shared Avid Projects • n Site settings establish default parameters for all new users and projects on a particular system. They can apply to particular configurations of equipment installed at the site (for example, specification and node settings for an external switcher).
Using the Settings List Settings List (Continued) Setting Name Description For More Information Communication (Serial) Ports Sets a port for Remote Play and Capture. See “Remote Play, Capture, and PunchIn” on page 145. Controller Settings Sets the default controller, port selection, and custom controller buttons. See “Controller Settings” on page 576. Correction Sets the parameters for the Color Correction tool. See “Correction Settings” on page 577 and the Avid Color Correction User’s Guide.
Chapter 18 Using Settings Settings List (Continued) Setting Name Description For More Information Interplay Server Allows you to specify the Avid Interplay Server location on the network. See “Interplay Folder Settings” on page 629 and the Avid Interplay Administration Guide. Interplay User Allows you to set the preference for accessing Avid asset manager. See “Interplay User Settings” on page 630 and the Avid Interplay Administration Guide.
Using the Settings List Settings List (Continued) Setting Name Description For More Information Safe Colors Sets the safe color parameters for the Color Correction tool. See “Safe Colors” in the Help. Script Sets the default display options for scripts imported using script integration. See “Script Settings” on page 648. Timecode Window Displays various timecodes in an adjustable window. Appears in the Settings list to facilitate copying settings.
Chapter 18 Using Settings Defining Settings You can use the Settings list to establish a hierarchy of settings that address the specific needs of each production phase.
Using the Settings List The following table describes the different Settings display groups.
Chapter 18 Using Settings Modifying Settings You can alter the default options for various settings to reflect the specific needs of a project or to customize your Avid editing application based on personal preferences.
Using the Settings List Duplicating Settings To create a new version of a setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the setting you want to copy. Ctrl+click any additional settings you want to copy. 3. Select Edit > Duplicate. A copy of each selected setting appears in the Settings list.
Chapter 18 Using Settings Deleting Settings You can delete settings from the Settings list in the Project window at any time. For example, you might choose to delete one or more versions of a particular setting, or you might want to delete all but a few settings for transfer into another Settings window. c You cannot undo a deletion.
Using the Settings List Copying Settings Between Settings Files You can copy selected settings: • Between existing settings files. • Into a new settings file for use in other projects. • To change one type of setting to another type. • Into the Settings folder to establish standard system settings for all new projects and users. See “Using Site Settings” on page 556. You can also transfer settings files to another Avid system. To copy settings between setting files: 1.
Chapter 18 Using Settings Using Site Settings When your Avid editing application opens a new project, it first searches the Site_Settings file and loads site settings and any settings placed here. The system then proceeds to load any Project and User settings not included in the Site_Settings file. The Site_Settings file is located in the following folder: • drive:\Program Files\Avid\Avid editing application\Settings Adding settings to the site settings files is useful if you need to establish global set
Using the Settings List Manipulating Settings by Importing User Profiles or Copying Files Manually Experienced users are accustomed to going to the desktop and moving settings and project files around manually, but there is an easier and more reliable way of doing this. The User Profile menu, in the Settings tab of the Project window, has two items: Create User Profile, and Import User or User Profile.
Chapter 18 Using Settings If you use the User Profile option to import User1 and User2 (turning them into User Profiles), you see something like this: Avid Users OS login name EMaxwell EMaxwell Settings.avs EMaxwell.ave MCState UserProfile1 UserProfile1 Settings.avs UserProfile1.ave MCState UserProfile2 UserProfile2 Settings.avs UserProfile2.ave MCState OS login name AnotherOS_User AnotherOS_User Settings.avs AnotherOS_User.ave MCState UserProfile1 UserProfile1 Settings.avs UserProfile1.
24p Settings 24p Settings 24p settings apply to some progressive format projects. The following table describes the options available in the 24p Settings dialog box. n In the Settings list in the Project window, double-click Film and 24P Settings to open the 24P Settings dialog box. 24P Setting Dialog Box Options Option Description Video Pulldown Cadence (NTSC only) Specify the type of film-to-tape transfer. The choices are: Video Rate, no pulldown.
Chapter 18 Using Settings Audio Settings The following table describes options available in Audio Settings. Audio Settings Option Description Source Scrub Select the number of outgoing and incoming frames you hear as you scrub the source. Timeline Scrub Select the number of outgoing and incoming frames you hear as you scrub in the timeline. Default Pan Select the way you want sound to pan between speakers.
Audio Project Settings Audio Project Settings The following topics describe options available in Audio Project Settings. You can save multiple Audio Project settings and select one as the active setting. If you edit an inactive setting, your Avid editing application does not display items that are not saved. For example, Mix Mode is not displayed in an inactive setting because it can’t be saved in the Project settings. n The Direct Out mode is saved in the Audio settings, not the Audio Project settings.
Chapter 18 Using Settings Audio Project Settings: Main Tab (Continued) Option Suboption Description Sample Bit Depth 16 Bit 24 Bit Select this option to set the sample size used when you work with audio files: DV Audio Pattern Unlocked Audio Locked Audio • 16 Bit is for CD-quality audio. • 24 Bit is for work with higher resolution audio. This option is only available for you to select from when your Avid editing application is in a software-only configuration.
Audio Project Settings Audio Project Settings: Main Tab (Continued) Option Suboption Description Show Mismatched Yes Sample Rates as No Different Color Allows you to identify a specific sample rate by color if you have a sequence with several different sample rates. Optical ADAT Connection — S/PDIF available when you are using Avid Adrenaline hardware Allows you to select an output for use with an optical connection.
Chapter 18 Using Settings Audio Project Settings: Output Tab n The options that appear in this tab depend on your audio configuration and the audio hardware installed on your system. Your options might differ from those listed here. The following table describes options available in the Audio Projects Settings: Output tab. Audio Project Settings: Output Tab Option Suboption Description Output Gain Allows you to calibrate the volume of global audio output.
Audio Project Settings Audio Project Settings: Output Tab (Continued) Option All or Timeline Track Maps Suboption Description All Timeline Available when you select Direct Out with the Mix Mode Selection Menu button. Allows you to map the track and output channels: Which Set of Track Maps Grp 1 Grp 2 Grp 3 Reset • All allows you to choose between all available tracks. • Timeline allows you to assign output channels to the tracks monitored in the Timeline.
Chapter 18 Using Settings Audio Project Settings: Hardware Tab The following table describes settings available in the Audio Projects Settings: Hardware tab.The settings in this tab (aside from HW Calibration) are for informational purposes only and list defaults set by the system, depending on your audio hardware and configuration. Audio Project Settings: Hardware Tab Option Suboption Description Card The type of audio card installed.
Audio Project Settings Audio Project Settings: Effects Tab The following table describes options available in the Audio Projects Settings: Effects tab. Audio Project Settings: Effects Tab Option Suboption Description Bypass panel Clip Gain RT EQ Auto Gain Allows you to have your Avid editing application ignore the volume settings established with the audio tools when playing back or recording a sequence: • Clip Gain bypasses the clip gain mode of the Audio Mixer tool.
Chapter 18 Using Settings Bin Settings The following table describes options available in Bin Settings. Bin Settings Option Description Auto-Save interval n minutes Specifies the length of time between attempts to auto-save project files. The default is 15 minutes. To avoid interrupting an edit, the Avid system waits until the system is inactive before auto-saving. Use the option “Force Auto-Save at” to specify an interval at which the system interrupts an edit to make the auto-save.
Capture Settings Capture Settings Capture settings include essential options for capturing, batch capturing, auto capturing, capturing to multiple media files, DV scene extraction, and setting key commands. The following topics describe options available in Capture Settings. • Capture Settings: DV Options Tab Capture Settings: General Tab The following table describes options available in the Capture Settings: General tab.
Chapter 18 Using Settings Capture Settings: General Tab (Continued) Option Description Latency for no deck mode n frames Select this option to compensate for problems that could occur when capturing with external timecode, as described in “Capturing in Satellite Mode or No Device Control” on page 137. If you notice that your captured media consistently starts on the wrong frame (usually one or two frames off), use this option to ensure that capturing starts on the correct frame.
Capture Settings Capture Settings: Batch Tab The following table describes options available in the Capture Settings: Batch tab. Capture Settings: Batch Tab Option Description Optimize for disk space When this option is selected, your Avid editing application captures only the exact amount of material in the master clips plus any additional handles. The tape pauses and prerolls independently for each master clip that is batch captured.
Chapter 18 Using Settings Capture Settings: Batch Tab (Continued) Option Description Use the audio sample rate logged for each clip Select this option if you want your Avid editing application to use the audio sample rate logged for each clip. Use the audio sample bit depth logged for Select this option if you want your Avid editing application to use the each clip audio sample bit depth logged for each clip.
Capture Settings Capture Settings: OMF Media Files Tab n If you select OMF in the Media Type tab of the Media Creation dialog box, this tab in the Capture Settings dialog box is labeled OMF Media Files. If you select MXF, the Capture Settings tab is labeled MXF Media Files. The following table describes options available in the Capture Settings: OMF Media Files tab.
Chapter 18 Using Settings Capture Settings: MXF Media Files Tab n If you select MXF in the Media Type tab of the Media Creation dialog box, this tab in the Capture Settings dialog box is labeled MXF Media Files. If you select OMF, the Capture Settings tab is labeled OMF Media Files. The following table describes options available in the Capture Settings: MXF Media Files tab.
Capture Settings Capture Settings: DV Options Tab The following table describes options available in the Capture Settings: DV Options tab. Capture Settings: DV Options Tab Option Suboption Description DV Scene Extraction When this option is selected, you can automatically generate subclips and locators based on time-of-day (TOD) information contained in the DV video format. See “DV and HDV Scene Extraction” on page 154.
Chapter 18 Using Settings Communication (Serial) Ports Tool Settings The Communication (Serial) Ports tool allows you to view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without closing your Avid editing application or shutting down the computer. The following table describes options available in the Communication (Serial) Ports Tool settings dialog box.
Correction Settings Correction Settings The following topics describe options available in the Color Correction settings. For more information about options in the Correction Settings, see “Customizing Color Correction Mode Settings” in the Help. Correction Settings: Features Tab The following table describes options available in the Correction Settings: Features tab.
Chapter 18 Using Settings Correction Settings: AutoCorrect Tab The following table describes options available in the Correction Settings: AutoCorrect tab. Correction Settings: AutoCorrect Tab Option Suboption When applying Color correction from the Effect Palette, perform the following operations: Description Select an option from menus to define the first, second, and third automatic color correction that Avid Color Correction makes when you apply the Color Correction effect from the Effect Palette.
Deck Configuration Settings Deck Configuration Settings The following table describes options available in Deck Configuration Settings. For information on the Deck Settings options, see “Deck Settings” on page 579. Deck Configuration Settings Option Description Configuration name Type a name for the configuration. Add channel Click to add a new channel box. Opens the Channel dialog box. Add deck Click to add a deck or DV device. Opens the Deck Settings dialog box.
Chapter 18 Using Settings Deck Settings Options (Continued) Option Suboption Description Notes Displays configuration information, supplied by Avid, about the deck or DV device you have selected. Not all decks or devices include this information. You can supply your own information in the Description field, and then save the configuration. Device Click the Manufacturer menu, and select your device manufacturer. Click the Model menu, and select your device model.
Deck Preferences Settings Deck Preferences Settings The following table describes options available in Deck Preferences Settings. Deck Preferences Settings Option Description When the deck contains no tape or drop frame cannot be detected set timecode to Select the timecode format (Drop Frame or Non-drop Frame) for logging clips when no tape is in the deck or when drop frame or non-drop frame cannot be detected.
Chapter 18 Using Settings Deck Preferences Settings (Continued) Option Description DV Capture Offset & Digital Cut Offset (software-only systems) Capture Offset (frames) (software-only systems) — Type the number of frames by which you want to offset while you capture. For more information, see “Understanding DV Capture Offset” on page 134. Digital Cut Offset (systems with Avid DNA hardware attached) Override Recommended Digital Cut Offset — Select this option to set a digital cut delay.
Effect Editor Settings Effect Editor Settings (Continued) Option Description Update Position While Playing When selected, the position indicator in the Effect Editor moves while you play the effect. Because using Update Position While Playing can cause video underrun problems in complex real-time effects, the option is deselected by default.
Chapter 18 Using Settings Export Settings The following topics describe options available in Export Settings. Export Settings Dialog Box Options The following table describes options available in the Export Settings Dialog Box Options. Export Settings Dialog Box Options Option Description OMFI 1.0 OMFI 2.0 Select one of these options to export a standard OMFI composition for transfer to a third-party workstation that supports OMFI.
Export Settings Export Settings Dialog Box Options (Continued) Option Description Audio Select this option to export audio tracks in the WAVE format, or AIFF-C audio format. See “Exporting Tracks As Audio Files” on page 496 and “Export Settings: Audio” on page 607. Graphic Select this option to export a single frame, a series of frames, or a file type that supports multiple frames as a graphic file. Select a file type from the menu. See “Exporting As a Graphic File” on page 498.
Chapter 18 Using Settings Export Settings: QuickTime Reference Options (Continued) Option Description Digital Mastering Defaults Select this option to render all video effects and to premix audio tracks before exporting the file. This option automatically selects Flatten Video Tracks, Fill Spaces with Black, Render All Video Effects, and Premix Audio Tracks. Flatten Video Tracks When this option is selected, the composition is exported as one video track.
Export Settings Export Settings: QuickTime Reference Options (Continued) Option Description Audio Format Select the format that is supported by the application into which you will be importing the QuickTime reference movie. WAVE is compatible with Windows applications. AIFF-C is compatible with many third-party applications, including Pro Tools. Select the AIFF-C format for all audio media when you need to transfer audio media files directly to a Pro Tools or an AudioVision® system for audio sweetening.
Chapter 18 Using Settings Export Settings: QuickTime Reference Options (Continued) Option Description Use Avid DV Codec Deselect this option when you are working in a cooperative environment where one or more non-Avid systems also have access to the media. This option is selected by default. Select this option if the non-Avid systems have the Avid DV Codec. Color Levels Select this option to set the color to RGB or 601/709.
Export Settings Export Settings: QuickTime Movie Export Options (Continued) Option Suboption Description Custom When you select this option, your Avid editing application decompresses the files, processes them, and compresses the files at the requested resolution. This method is slower and often loses quality. You should only use the Custom option if you have to directly export a clip or sequence in a particular file format. Format Options Appears when you select Custom.
Chapter 18 Using Settings Export Settings: QuickTime Movie Export Options (Continued) Option Suboption Description Color Levels Select this option to set the color to RGB or 601/709. File Field Order Appears when you select Custom. These options allow you to select the field that is the upper field during export. For 23.976p, or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames.
Export Settings Export Settings: QuickTime Movie Settings The following table describes options available in Export Settings: QuickTime Movie Settings. QuickTime Movie Settings Option Suboption Description Video Settings Standard Video See “Export Settings: QuickTime Compression Settings” on Compression Settings page 592. Filter Choose Video Filter Allows you to apply a single effect filter during an export. Size Export Size Settings Select Use current size or Use custom size.
Chapter 18 Using Settings QuickTime Movie Settings (Continued) Option Suboption Description Hinted Streaming Select this option if you are putting the exported file on a streaming video server. The file does not stream without a hint track for each track in the movie. The hint tracks allow the streaming video server to split the file into packets for the streaming. A file with hinted streaming also plays as a progressive download.
Export Settings The following table describes the Avid codecs available in the Standard Video Compression Settings dialog. Export Settings: Avid QuickTime Codecs Codec Description Avid 1:1x For high quality, 8-bit or 10-bit, lossless compression (in which no picture information is lost); available for use with MXF media files. This format cannot be used by Meridien systems. It can be used by both Avid DS and Avid DNA-based systems. It uses 4:2:2 sampling.
Chapter 18 Using Settings Export Settings: HDV The following table describes options available in Export Settings: HDV. Export Settings: HDV Option Description Use Marks When you select this option, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To output the entire clip or sequence, deselect this option.
Export Settings Export Settings: DV Stream (Continued) Option Description Audio Only Select this option if you want to export only the audio. For example, use this option if you want to use or enhance audio in a third-party application or use the audio in a multimedia project. Video Format Color Levels Select this option to set color to RGB or 601/709. File Field Order These options allow you to select the field that is the upper field during export. For 23.
Chapter 18 Using Settings Export Settings Options (AAF, OMFI, and AAF) (Continued) Option Suboption Description AFE Select this option if the application to which you are exporting supports AFE. n There are no options available to you when you select AFE. Your Avid editing application uses the default settings. Use Marks When you select this option, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export.
Export Settings Export Settings Options (AAF, OMFI, and AAF) (Continued) Option Suboption Description The following options appear in the Video Details tab only, depending on the export method: Export Method: Video Mixdown Creates a new video mixdown track for the sequence. For more information about video mixdown, see Performing a Video Mixdown” in the Help. Mixdown with Video Edits Compatible with Avid Digidesign Pro Tools v7.2 or later.
Chapter 18 Using Settings Export Settings Options (AAF, OMFI, and AAF) (Continued) Option Suboption Description Convert Audio Sample Rate to: Project rate, Select this option if your sequence has a mix of sample rates and 32 kHz, 44.1 kHz, you need to create a single sample rate. (You set the project rate in or 48 kHz the Audio Project Settings window. For more information see “Audio Project Settings” on page 561.
Export Settings Export Settings: AVI The following table describes options available in Export Settings: AVI. Export Settings: AVI Option Suboption Description Use Marks When this option is selected, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.
Chapter 18 Using Settings Export Settings: AVI (Continued) Option Suboption Description File Field Order These options allow you to choose the field that will be the upper field during export. For 23.976p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. Audio Format Mono • Odd (Upper Field First): Select this option if you are in a PAL project.
Export Settings Export Settings: AVI Video Compression The following table describes options available in Export Settings: AVI Video Compression. Export Settings: AVI Video Compression Option Suboption Description Compressor Cinepak Codec by Radius For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. This codec uses a compression algorithm optimized for CD-ROM playback.
Chapter 18 Using Settings Export Settings: Windows Media Export Options The following topics describe the Windows Media Export options: • Windows Media Legacy Template • Existing Windows Media Custom Profile • Windows Media Options Video Settings • Custom Profile Audio Settings Windows Media Legacy Template The following table describes options available in Windows Media Legacy Template.
Export Settings Windows Media Options Video Settings The following table describes options available in Windows Media Options Video Settings. Windows Media Options Video Settings Option Description Use Marks When Use Marks is selected, the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. Use Enabled Tracks When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline.
Chapter 18 Using Settings Windows Media Options Video Settings (Continued) Option Description (This option is not Windows Media MPEG-4 Video V3 — Creates high-quality video for streaming, available when you download and play. Enables playback of interlaced content on televisions. select Uncompressed.) ISO MPEG-4 Video V1 — The MPEG-4 standard was defined by the Moving Picture Experts Group (MPEG), the working group within the International Organization for Standardization (ISO).
Export Settings Windows Media Options Video Settings (Continued) Option Description Buffer Size Type the number of seconds that you want content to be stored before encoding begins. A larger buffer results in better quality content, but requires more memory. When you encode content, the encoding process is delayed by the amount of time specified in the buffer; the content is also delayed by the same amount of time when streaming to a player.
Chapter 18 Using Settings Custom Profile Audio Settings (Continued) Option Description Codec (This option is Select one of the following codecs: not available when Windows Media Audio 9.1 — Provides improvement in compression over the Windows you select Media 8 Audio codec. Supports VBR audio encoding. Uncompressed.) ACELP.net — In some instances, the Sipro Labs ACELP codec appears in the list of codecs. For example, if you import a profile that was created by using Windows Media Encoder version 7.1.
Export Settings Export Settings: Audio The following table describes options available in Export Settings: Audio. Export Settings: Audio Option Description Use Marks When Use Marks is selected, the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. Use Enabled Tracks When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option.
Chapter 18 Using Settings Export Settings: Graphic The following table describes options available in Export Settings: Graphic. Export Settings: Graphic Option Suboption Description Use Marks When this option is selected, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.
Export Settings Export Settings: Graphic (Continued) Option Suboption File Field Order Description This option allows you to choose the field that will be the upper field during export. For 23.976p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. • Odd (Upper Field First): Select this option if you are in a PAL project.
Chapter 18 Using Settings Export Settings: Graphic Format (Continued) Option Suboption Description Whitepoint This option allows you to adjust a film exposure value that corresponds to filming a 90% white card. Values can be between 1 and 1023. If the files came from and will be transferred back to a Cineon™ system, use a white point of 1023. The default value of 685 is appropriate if the final destination is not a Cineon system — for example, a video display.
Export Settings Export Settings: Graphic Format (Continued) Option Suboption Description Compression This option controls the compression ratio and, therefore, the size of the file. You can choose from all the compression ratio options used by your Avid editing application when recapturing. For more information on Avid compression ratios, see “Resolutions and Storage Requirements” on page 681. PCX™ Photoshop Developed by Zsoft Corporation for use with their PC PaintBrush™ paint software.
Chapter 18 Using Settings Export Settings: Graphic Format (Continued) Option Suboption Description SGI® Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image. Softimage Developed by Softimage®, Inc. for use in Softimage software. SunRaster™ Developed by Sun® Microsystems, Inc. and supported mainly in Sun applications.
Export Settings Export Settings: Graphic Format (Continued) Option Suboption XWindows Description Developed by the MIT X Consortium, and is supported by many X Window System™ applications on workstations and some personal computers. YUV Format This option controls the video format of saved images. If set to NTSC, NTSC video format (720 x 486) is used. If set to PAL, PAL video format (720 x 576) is used. Images are either padded with black or cropped.
Chapter 18 Using Settings Export Settings: XDCAM The following table describes options available in Export Settings: XDCAM. Export Settings: XDCAM Option Description Use Marks When Use Marks is selected, the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. Use Enabled Tracks When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline.
Full Screen Playback Settings Full Screen Playback Settings The following table describes options available in Full Screen Playback Settings. Full Screen Playback Settings Option Description Scaling Select the desired scaling.
Chapter 18 Using Settings For information on using Full Screen Play, see “Playing Video to a Full-Screen Monitor” in the Help. General Settings The following table describes options available in General Settings. General Settings Option Description Project Format This option displays the format currently selected for the project (NTSC or PAL). You cannot change it.
Grid Settings Grid Settings The following topics describe the options available in the Grid Settings dialog box. Grid Settings: Coordinates Tab The following table describes options available in Grid Settings: Coordinates tab. Grid Settings Options (Coordinates Tab) Option Suboption Description Scale Mode Normal This setting allows you to work with a grid that indicates boundaries for a format other than the one in which you are working.
Chapter 18 Using Settings Grid Settings Options (Coordinates Tab) (Continued) Option Suboption Description Hor. Offset Moves the grid on the image. These values are intended mainly for film projects. Source Grid Adjustments Vert. Offset Inset Shrinks the grid proportionally. Grid Settings: Display Tab The following table describes options available in Grid Settings: Display tab.
Import Settings Grid Settings Options (Display Tab) (Continued) Option Suboption Description Show Thirds Divides the screen into three sections. This is especially useful if you are creating titles for the lower third of the screen. Show Points Shows the grid points. Use the Fields parameter to set the number of grid points. Show Position Info Displays the position coordinates of any point in the Effect Preview, or Record monitor.
Chapter 18 Using Settings Import Settings: Image Tab The following table describes options available in the Import Settings: Image tab. Import Settings: Image Tab Option Suboption Description Aspect Ratio, Pixel Aspect 601/709, nonsquare Select this option to import images with the dimensions used by your Avid editing application: 720 x 480 (NTSC) or 720 x 576 (PAL). Also use this option for 720 x 540 images, or for other images that fit the 4:3 aspect ratio.
Import Settings Import Settings: Image Tab (Continued) Option Suboption Description Maintain, square Select this option for an image that was created in a square-pixel environment, such as a graphics application. Use this option primarily for icons, logos, and other graphics that cannot be resized and are not intended to fill the entire screen. Your Avid editing application fills the rest of the screen with video black. If the image has an alpha channel, this black is keyed out in the alpha channel.
Chapter 18 Using Settings Import Settings: Image Tab (Continued) Option Suboption File Field Order Description This section allows you to select the field ordering (sometimes referred to as field dominance) of the media you are importing. For 23.976p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames.
Import Settings Import Settings: Image Tab (Continued) Option Suboption Description Ignore Select this option to import an image that contains alpha channel transparency information as one opaque graphic. The imported graphic appears as a single master clip in the bin. n Single Frame Import Duration n seconds If an image contains an embedded alpha channel but your Avid editing application does not support alpha channel import for the file type, select this option to import the image successfully.
Chapter 18 Using Settings Import Settings: OMFI Tab The following table describes options available in the Import Settings: OMFI tab. Import Setting: OMFI Tab Option Description Resolution Use the source file’s resolution. Select this option to maintain the source file’s resolution. Your Avid editing application disregards the resolution setting in the Select Files to Import dialog box as well as the resolution set in the Import tab of the Media Creation dialog box. Use the current import resolution.
Import Settings Import Setting: Shot Log Tab (Continued) Option Description Merge events with known sources and automatically create subclips. Select this option to create subclips for events that are merged or relinked to their source clips upon import. Use this option if you have already entered master clips in a bin for each camera roll or master scene, and have subsequently logged all the events related to those clips for import. n Merge events with known master clips.
Chapter 18 Using Settings Import Settings: XDCAM Tab The following table describes options available in the Import Settings: XDCAM tab. Import Settings: XDCAM Tab Option Description Force import of both Proxy & High-resolution Select this option to import both proxy and high-resolution versions of the selected file or files. If this option is not selected, only the selected files (proxy or high-resolution) are imported. Proxy files are imported first.
Interface Settings Interface Settings The following topics describe options available in Interface Settings. Interface Settings: General Tab The following table describes options available in the Interface Settings: General tab. Interface Settings: General Tab Option Description Show Labels in Tool Palette When you select this option, your Avid editing application displays text labels with the icons on the Tool palette. This is the default option.
Chapter 18 Using Settings Interface Settings: General Tab (Continued) Option Description Automatic Num Lock Activation When you select this option, your Avid editing application automatically sets the numeric keypad in numeric mode the next time you start the application. If you deselect this option, the Num Lock key on the keyboard controls the mode of the numeric keypad. With either selection, you can use the Num Lock key to change the mode of the numeric keypad.
Interplay Folder Settings Interface Settings: Appearance Tab (Continued) Option Suboption Description Shading Depth 5% – 50%, in 5% increments Controls the three-dimensional “rounding” of buttons and toolbars. See “Changing Button and Toolbar Styles” on page 45. Monitor Button Separation Maximum Moderate Controls the spacing of the Monitor buttons. See “Changing Button and Toolbar Styles” on page 45. None Timeline Button Separation Maximum Moderate Controls the spacing of the Timeline buttons.
Chapter 18 Using Settings The following table describes options available in Interplay Folder Settings. Interplay Folder Settings Option Description Interplay Root Folder Lists the default directory for your workgroup project, where the asset manager checks in media assets. Set Allows you to navigate to a directory on the Interplay Server and set a new default Interplay Root Folder.
Keyboard Settings The following table describes options available in Interplay User Settings. Interplay User Settings Option Description User Name Allows you to enter a user name. This name must be a known workgroup user. Automatic Login at Project Selection Logs you in to the asset manager automatically every time you open a project. Login/Logout Connects to or disconnects from asset manager. Keyboard Settings The following illustration displays the default keyboard settings.
Chapter 18 Using Settings in the Keyboard palette, a message box opens that says foreign keyboard mapping mode has been turned off. To return to foreign keyboard mapping mode, Select Standard, and then select Map Foreign Keyboard again. Marquee Title Settings The following table describes options available in the Marquee Title Settings. For more information on Marquee, see the Avid Marquee Title Tool User’s Guide or the Marquee Help.
Media Creation Settings Media Creation Settings The following topics describe adjusting the Media Creation settings. For more information about options in the Media Creation Settings dialog box, see “Selecting Video Resolutions and Media Drives” in the Help. Media Creation Settings: Drive Filtering & Indexing Tab The following table describes options available in the Media Creation Settings: Drive Filtering & Indexing tab.
Chapter 18 Using Settings Media Creation Settings: Capture, Titles, Import, and Mixdown & Transcode Tabs The following table describes the options in the Capture tab, Titles tab, Import tab, and Mixdown & Transcode tab, and Media Type tab of the Media Creation dialog box. Media Creation Settings: Capture, Titles, Import, and Mixdown & Transcode Tabs Option Description Video Resolution Select a resolution. Apply to All This sets your chosen resolution for all the Media Creation dialog box tabs.
Media Creation Settings Media Creation Settings: Render Tab The following table describes options available in the Media Creation Settings: Render tab. Media Creation Settings: Render Tab Option Suboption Video Resolution Description Select a resolution for the rendered effects. n The application always renders an effect at the highest resolution used in the effect source clips. Apply to All This sets your chosen resolution for all the Media Creation dialog box tabs.
Chapter 18 Using Settings Media Creation Settings: Media Type Tab The following table describes the options in the Media Type tab of the Media Creation dialog box. Media Creation Settings: Media Type Tab Option Description Video File Format Select a file format: Open Media Format (OMF) or Material Exchange Format (MXF). This setting applies to all video format menus (in the Capture tool, the Consolidate/Transcode dialog box, and other places in your Avid editing application).
Mouse Settings The following table describes options available in Media Services Settings. Media Services Settings Option Description Media Services Broker is available Select to make sure you are connected to the Media Services Broker. You can deselect this option to disconnect without losing your setting information. Media Services Broker Type the Broker name as it appears in the Media Services Broker application window. For example: http:\\myBrokerPC:8080 You may need to check with your Media Servi
Chapter 18 Using Settings NRCS Settings The following topics describe adjusting the NRCS settings: • NRCS Settings: NRCS Tab (iNEWS and ENPS) • NRCS Settings: iNEWS Tab (iNEWS only) • NRCS Settings: ENPS Tab (ENPS only) • NRCS Settings: Post to Web Tab (iNEWS and ENPS) For more information about options in the NRCS Settings dialog box, see “Configuring the NRCS Tool” in the Help. NRCS Settings: NRCS Tab The following table describes the options in the NRCS tab.
NRCS Settings NRCS Settings: iNEWS Tab The following table describes the options in the iNEWS tab. NRCS Options (iNEWS Tab) Option Suboption Show Message-of-the-Day Description Select this option if you want to view the Message-of-theDay (MOTD). If selected, choose to see the message at on every connection or the just the first connection of the day. Every Connection If the MOTD is selected, select this option if you want to view the message on every connection to the iNEWS server.
Chapter 18 Using Settings NRCS Settings: ENPS Tab The following table describes the options in the ENPS tab. NRCS Options (ENPS Tab) Option Suboption MOS Identification Description Select how your Media Object Server (MOS) identification is determined. MOS ID (this system) • Use Computer Name • Other Select this option if you want your Avid editing system to be identified in the ENPS by the computer name.
PortServer Settings NRCS Settings: Post to Web Tab The following table describes the options in the Post to Web tab. NRCS Settings (Post to Web Options) Option Description Include Closed Caption (green) text Converts all text marked as Closed Caption to plain text. Add paragraph tags (
) at the start of Converts line breaks into paragraph breaks, so each line is displayed new lines as a separate paragraph on the Web page.
Chapter 18 Using Settings Remote Play and Capture Settings Remote Play and Capture allows you to use your Avid editing application like a videotape recorder (VTR) or edit controller, giving you access to some of the features of an external editing suite through your Avid editing application interface. The following table describes options available in Remote Play and Capture Settings. Remote Play and Capture Settings Option Description Mode Use Remote Capture when you want to perform a quick capture.
Render Settings Remote Play and Capture Settings (Continued) Option Description Inhibit preloading when cueing by single frame. This option is only available with Remote Play and Remote Punch-In. Avid recommends that you do not inhibit preloading under normal circumstances. Preloading occurs by default in your Avid editing application. It improves playback performance by preparing the digital media for playback each time you cue a new frame.
Chapter 18 Using Settings Render Settings (Continued) Option Suboption Description Duplicated Field Displays a single field in the effect. For two-field media, this reduces the information stored by half because it drops one field of the image, resulting in a lower quality image. For single-field media, this is usually the best choice because of its speed (the other options do not improve effect quality for single-field media).
Render Settings Render Settings (Continued) Option Suboption Description VTR-Style Creates a second field for the effect by shifting selected video fields of the original media by a full scan line. This technique is similar to that used by high-quality professional video decks when playing footage at less than normal speed.
Chapter 18 Using Settings Render Settings (Continued) Option Suboption Description Blended VTR Your Avid editing application first creates a second field for the effect by shifting selected video fields of the original media by a full scan line. Then it blends, or averages, pixels from the original frames or fields to create intermediate frames or fields. For example, at 25% speed, your Avid editing application creates three blended images between outgoing Image A and incoming Image B.
Safe Colors Settings Safe Colors Settings The following table describes options available in Safe Colors Settings. Safe Colors Settings Option Description Composite Sets safe color values for the composite video signal. Luminance Sets safe color values based on brightness. RGB Gamut Sets safe color values based on color range. Units buttons Define the units of measurement for the three types of safe color values. The Composite Units menu allows you to select either IRE or mVolts (millivolts).
Chapter 18 Using Settings Script Settings The following table describes options available in Script Settings. Script Settings Option Description Font This option selects the font for imported scripts. Size This option selects the font size. The default is 12 points. Left Margin (pixels) This option specifies the left margin size. The default is 40 pixels. Take Coloring This option specifies the color that your Avid editing application will apply to takes.
Sound Card Configuration Settings Sound Card Configuration Settings The following table describes the options available in the Sound Card Configuration Settings dialog box. This settings option is only available in software-only configurations. Sound Card Configuration Settings Options Suboption Record/Input list Playback/Output list Description Lists the input sources available with the audio hardware installed on your system.
Chapter 18 Using Settings Timeline Settings The following topics describe options available in Timeline Settings. Timeline Settings: Display Tab The following table describes options available in Timeline Settings: Display tab. Timeline Settings: Display Tab Option Description Show Toolbar Displays the Timeline top toolbar. Show Marked Region Highlights the region from the IN point to the OUT point.
Trim Settings Timeline Settings Options (Edit Tab) (Continued) Option Description Segment Drag Sync Locks When this option is set and you click the Sync Lock buttons in the Track Selector panel, you can drag clips in Segment mode while maintaining audio and video synchronization. Your Avid editing application adds filler where necessary. For more information, see “Maintaining Sync in Segment Mode” in the Help.
Chapter 18 Using Settings Trim Settings: Features Tab The Trim Settings Features tab has one option, J-K_L Trim. Select this option to use the J-KL keys in Trim mode. For more information, see “Trimming with the J-K-L Keys” in the Help. Video Display Settings The following table describes options available in Video Display Settings.
Video Display Settings Video Display Settings (Continued) Option Suboption Description Desktop Play Delay (not applicable to DV devices connected to an Avid Adrenaline or Avid Mojo) frames Available only if you have connected a DV device to a software-only system or an Avid Mojo SDI and you have selected Device > IEEE 1394. Move the slider to increase or decrease the amount of frame offset in the Source/Record monitor so that the media on the desktop and the media in the DV device play simultaneously.
Chapter 18 Using Settings Video Input Tool Settings The following table describes options available in Video Input Tool Settings. Video Input Tool Settings Option Description Input menu Lets you select the video input for SD projects: Composite, Component, S-Video, SDI, or DNA-1394. For HD projects, the menu displays HD-SDI. For SD or HD projects, if you are capturing DV media through a 1394 port on your computer, the menu displays Host-1394.
Video Output Tool Settings Video Output Tool Settings The Video Output tool has two tabs. For more information on the Video Output settings, see the following topics. Video Output Tool Settings: SD Tab The following table describes options available in the Video Output Tool Settings: SD tab. Video Output Tool Settings: SD Tab Option Output menu Suboption Description Lets you select either Component, Composite, or SVideo. • On Adrenaline systems, all outputs on the Avid Adrenaline hardware are active.
Chapter 18 Using Settings Video Output Tool Settings: SD Tab (Continued) Option Suboption Description SubPixel HPhase SVideo, Component and Composite A fine adjustment of Horizontal phase. H Phase SVideo, Component and Composite The horizontal blanking interval used to synchronize the timing of two or more video signals. Y Gain Component A measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Color bars are used to set the white level.
Video Output Tool Settings Video Output Tool Settings: SD Tab (Continued) Option Suboption VBI (DV resolutions unsupported) Description (Vertical Blanking Interval) Instructs the system to preserve or blank 5 lines above each field in NTSC and 8 lines above each field for PAL when you when you display a sequence or perform a digital cut.
Chapter 18 Using Settings Video Output Tool Settings: HD Tab (Adrenaline Only) The following table describes options available in the Video Output Tool Settings: HD tab. Video Output Tool Settings: HD Tab Option Suboption Output menu Description Lets you select either HD Component RGB or HD Component YPbPr. Overall Gain HD Component RGB and A measurement of luma (Y) in the video signal that is the HD Component YPbPr whitest point in the visible picture. Color bars are used to set the white level.
Workspace Settings Workspace Settings The following table describes options available in the Workspace Settings. Workspace Settings Options Option Description Activate Settings Linked By Name Select this option to link other settings to the workspace. Continually Update This Workspace Select this option to automatically preserve the workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved.
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Chapter 19 File Format Specifications To be compatible with a variety of imaging standards, your Avid editing application can accommodate many file types and formats.
Chapter 19 File Format Specifications Graphics (Image) Files Avid editing applications use Image Independence® to produce usable files from a large number of graphics formats. Once you have imported a file in a particular format, you can export it in the same or different format, with the exception of Photo CD™; you cannot export a file to a Photo CD.
Graphics (Image) Files Supported Graphics (Image) File Formats (Continued) Format Description Pixar Developed by Pixar for stored pictures. PNG Developed by the PNG Development Group originally as an alternative to the GIF image format. PNG is an acronym for Portable Network Graphics and is pronounced “ping.” QRT Developed on the Amiga personal computer to run on several operating systems. Used by many ray tracing programs, such as DKB Ray Trace and the QRT ray tracer.
Chapter 19 File Format Specifications Import Specifications for Supported Graphics File Formats The following table contains specifications for those graphics file formats that are supported for import. The table uses the following terms: n • Bit depth: These numbers refer to color-depth resolution of the image based on the number of bits per pixel.
Graphics (Image) Files Graphics File Import Specifications (Continued) Format Default File Name Bit Depth Extension Support Alpha Channel Support IFF .iff 1-bit to 24-bit color; 1-bit alpha Pixel aspect information is saved with image 1-bit to 8-bit only data. grayscale; 64-color EHB; 4096-color HAM; 262,144-color HAM8; SHAM; A-HAM; A-RES JPEG .jpg 24-bit color, 8-bit grayscale OMFI .omf PCX .pcx Color-mapped and 24-bit color Photoshop .
Chapter 19 File Format Specifications Graphics File Import Specifications (Continued) Format Default File Name Bit Depth Extension Support Alpha Channel Support Notes SGI .rgb 8-bit or 16-bit Yes grayscale; 8-bit grayscale plus 8-bit alpha channel; 24- and 48-bit color; 24-bit color plus 8bit alpha channel; 64-bit (16 bits per component) Softimage .pic 24-bit plus 8-bit alpha Yes Pixel aspect information is saved with the image.
Graphics (Image) Files Graphics File Import Specifications (Continued) Format Default File Name Bit Depth Extension Support Alpha Channel Support YUV .yuv No 24-bit Notes Pixel aspect information (based on the video format) is saved with image data. When importing, select the option Force to Fit Screen.
Chapter 19 File Format Specifications Graphics Requirements (Continued) Aspect Requirement Notes File format Various Your Avid editing application accepts many file formats for input. TIFF (.tif), PICT (.pct), and PNG (.png) are commonly used formats. See “Import Specifications for Supported Graphics File Formats” on page 664.
Graphics (Image) Files Frame Size for Imported Graphics The table in this topic shows the frame sizes to use when creating and importing graphics and sequences. This table includes sizes for both square and non-square pixels. When creating graphics for import, it’s important to distinguish between these types of pixels. Computer display cards usually use square pixels, and as a result most graphic and animation programs also use square pixels.
Chapter 19 File Format Specifications Animation Files This topic describes the animation file formats that your Avid editing application supports. In addition to the specific formats described below, your Avid editing application also supports sequences of image files. You must name image file sequences appropriately for your Avid editing application to handle them correctly on import. Name each file in the sequence NameN.ext, with Name identifying the animation, N indicating the file order, and .
Audio File Formats AVI (Audio Video Interleave) Developed by Microsoft for storing video and audio information as part of its Video for Windows standard. AVI files use the .avi file name extension. After you import an AVI file, the file maintains the .avi file name extension, which is visible in a bin. The .avi file name extension is the default for export. Avid AVI files can be quite large, especially at high video resolutions. They require adequate storage and transfer capabilities.
Chapter 19 File Format Specifications that it contains, so an MXF file can contain video and/or audio at any resolution or compression. In many instances MXF files will encapsulate media which is already formatted to one of the existing industry standards. MXF allows for easy exchange of material between file servers, tape streamers and digital archives. MXF is an ideal interchange format to enable workflow efficiencies in news broadcasting, post production, asset management, and archiving applications.
OMFI Files OMFI File Import Specifications (Continued) OMFI File Import Specifications OMFI version Notes Avid editing applications recognize and support OMFI 1.0 composition and media files and OMFI 2.0 composition files. The following OMFI 2.0 effects are supported generally: • Video effects: dissolves, wipes, freeze frame, film pulldown, slow motion, fade to black • Audio effects: pan and volume, audio dissolves Other effects can be imported from other Avid applications.
Chapter 19 File Format Specifications BWF Files Avid editing applications support any BWF files that adhere to the BWF specification. Some BWF information always appears in bin columns. You can use Avid-specific coding to add additional information. Currently, the following vendors have products that can provide this additional information: • Aaton • Zaxcom • Nagra • Fostex Avid editing applications support 24-bit audio data, and up to 16 tracks in a single file.
BWF Files Preparing Custom BWF Information Additional information can be displayed in bin columns, but this information needs to be coded in a particular format. The recording device must provide this information in the BWF Description field, using the following keyword/value pairs: uKEYWORD=data[CR/LF] Syntax Definition u Letter code of the manufacturer. Use the letter u unless otherwise instructed by Avid. KEYWORD Designation of the bin column. = Terminates the keyword.
Chapter 19 File Format Specifications In addition, to assign a file to a particular track number, the file name needs to end in _n, -n, or a space followed by n (where n is the track number). For example, a file named Orchestra_1.bwf would create the audio on track A1. To avoid display of a dialog box during import, you can specify the frame rate using the following syntax: uFRAMERATE=nDF or uFRAMERATE=nND where nn is the frame rate (25, 29.97, or 30), DF is drop-frame, and ND is non-drop-frame.
BWF Files 4. For 24p PAL projects, you need to create a new bin column: a. Highlight the Start timecode column. b. Select Edit > Duplicate. c. From the list of columns, select Aux TC 24 and click OK. d. In the dialog box, click Convert. e. Display the Auxiliary TC1 column. f. Highlight the Aux TC 24 column, and copy it to the Auxiliary TC1 column. Use Auxiliary TC 1 only as a sync point reference for AutoSync. Do not use it for data tracking or EDL generation.
Chapter 19 File Format Specifications Field Ordering in Graphic Imports and Exports Graphic images are composed of one or more image files, each of which contains a full frame. These frames contain fields (formed from the odd-numbered and even-numbered lines of the image frame) that have three basic arrangements: • Progressive or still frame: The upper and lower fields in the frame originated at the same instant of time, or are coherent with each other, as shown in the following illustration.
Field Ordering in Graphic Imports and Exports Preventing a Spatial Field Mismatch on Import The following table shows the proper spatial field position for each of the common video formats in Avid editing applications. n In the following table, Odd Field or Even Field specifies whether the temporally first field in the frame has the odd or even numbered lines, starting from 1.
Chapter 19 File Format Specifications 24p and 25p Import and Export The spatial field selection options do not apply for 24p and 25p projects because the frames in these projects are already in progressive or still-image form. Field Dominance Editing in Avid applications is frame based. All timecode is expressed in frame numbers, and all cuts are at frame boundaries. A raw video stream has no concept of frames (ignoring color framing) until the frame unit is defined.
Chapter 20 Resolutions and Storage Requirements This section describes the different resolutions available in your Avid editing application and lists their specifications. It also explains how to estimate the drive space you will require to store your captured media.
Chapter 20 Resolutions and Storage Requirements You can use lower resolutions when your work does not require very high image quality (for example, in offline work, or in CD-ROM or Web authoring projects), and higher resolutions when you need excellent image quality. You can also mix different resolutions within the same project as long as those resolutions are compatible with one another. See “Mixing Resolutions” on page 692.
Compression and Resolutions n For more information on blanking or VITC, see “Preserving Information in the Vertical Blanking Interval” on page 521. Compression and Resolutions Avid editing applications provide you with a range of resolutions, both compressed and uncompressed, that you can use at various stages of your project. You can also mix certain resolutions within a sequence.
Chapter 20 Resolutions and Storage Requirements Avid DNxHD encoding technology delivers mastering-quality 8-bit or 10-bit HD media at standard-definition (SD) data rates and file sizes. The following table provides information about HD resolutions for interlaced and progressive media. HD resolutions are available only in MXF format. Resolution Specifications: HD (MXF only) 684 Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 8 10 8 8 8 1080i/59.94 1920 x 1080 29.
Compression and Resolutions Resolution Specifications: HD (MXF only) (Continued) n Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 8 10 8 8 8 1080p/24 1920 x 1080 24.00 995 796 175 175 115 36 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DNxHD 36 10 8 10 8 8 8 1080p/23.976 1920 x 1080 23.976 994 795 175 175 115 36 1:1 10-bit HD 1:1 HD DNxHD 90 X DNxHD 90 DNxHD 60 DVCPRO HD 10 8 10 8 8 8 720p/23.976 1280 x 720 23.
Chapter 20 Resolutions and Storage Requirements A good guideline for selecting a resolution is to use the Avid DNxHD resolution that matches the megabit data rate of the acquisition format. For HDCAM-originated material, for example, select DNxHD 145, which closely matches the data rate of HDCAM but provides better mastering results with significantly less storage required. The following table compares Avid HD formats to the HDCAM format.
Compression and Resolutions Resolution Specifications: JFIF Interlaced (MXF and OMF) (Continued) Resolution 2:1s 20:1 10:1 3:1 2:1 1:1 SD 1:1 10b SD (MXF only) Fields Per Frame Quality 352 x 243 (NTSC) 352 x 288 (PAL) 1 Online 720 x 486 (NTSC) 720 x 576 (PAL) 2 720 x 486 (NTSC) 720 x 576 (PAL) 2 720 x 486 (NTSC) 720 x 576 (PAL) 2 720 x 486 (NTSC) 720 x 576 (PAL) 2 720 x 486 (NTSC) 720 x 576 (PAL) 2 720 x 486 (NTSC) 720 x 576 (PAL) 2 Field Size (Visible Pixels) Provides enough det
Chapter 20 Resolutions and Storage Requirements Resolution Specifications: JFIF Progressive The following table provides information about the Avid resolutions for progressive media (24p NTSC and 24p PAL projects). Frame size does not include blanking or VITC lines.
Compression and Resolutions Resolution Specifications: Multicam Both video (interlace) and progressive projects support multicamera resolutions (m resolutions). The m resolutions cannot be mixed with resolutions in other families. The capture of a multicamera resolution in a video project results in single-field compressed media that has been resized horizontally to 288 pixels wide. Playback decompresses and resizes to 720 pixels wide.
Chapter 20 Resolutions and Storage Requirements The following table provides DV resolution specifications for Avid applications with the DV/MPEG option or the HD option.
Compression and Resolutions The following table provides MPEG resolution specifications for Avid editing applications with the DV/MPEG option. Frame size does not include blanking or VITC lines.
Chapter 20 Resolutions and Storage Requirements Mixing Resolutions In a single sequence, you can mix resolutions. However, you cannot mix the following: c • NTSC and PAL resolutions • Media captured at different frame rates Avid recommends you do not mix interlaced resolutions with progressive resolutions. Mixing interlaced resolutions with progressive resolutions might result in problems with scrolling titles, exporting, and performing digital cuts.
Storage Requirements Storage Requirements You should plan the use of drive volumes in advance, especially when you capture numerous reels or tapes. “Estimating Drive Space Requirements” on page 693 contains recommendations for achieving efficient storage for your digital media. It explains how playback performance can be affected by the way you set up the storage drives and target them when you capture.
Chapter 20 Resolutions and Storage Requirements Estimated Storage Requirements The tables in the following topics show estimated drive space requirements for each resolution, including uncompressed. They show figures for estimated minutes per gigabyte and also figures for the drive space required for certain amounts of material. Estimated Storage Requirements: HD Before using this table, read the information in “Estimating Drive Space Requirements” on page 693.
Storage Requirements Estimated Storage Requirements: HD (Continued) Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media (GB) Drive Space Needed for 10 Minutes of Media (GB) Drive Space Needed for 30 Minutes of Media (GB) Resolution Bits Project Format 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DNxHD 36 10 8 10 8 8 8 1080p/23.976 0.14 0.18 0.81 0.81 1.23 3.97 6.95 5.56 1.22 1.22 0.81 0.25 69.5 55.6 12.2 12.2 8.1 2.5 208.4 166.7 36.9 36.9 24.4 7.
Chapter 20 Resolutions and Storage Requirements Estimated Storage Requirements: JFIF Interlaced Before using this table, read the information in “Estimating Drive Space Requirements” on page 693. Estimated Storage Requirements: JFIF Interlaced Resolution Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media 15:1s 0 48.5 20.6 MB 206 MB 618 MB 1 38.6 25.9 MB 259 MB 777 MB 2 32.1 31.2 MB 312 MB 936 MB 3 28.2 35.5 MB 355 MB 1.07 GB 4 24.5 40.8 MB 408 MB 1.
Storage Requirements Estimated Storage Requirements: JFIF Interlaced (Continued) Resolution Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media 20:1 0 16.6 60.1 MB 601 MB 1.80 GB 1 15.3 65.4 MB 654 MB 1.96 GB 2 14.1 70.7 MB 707 MB 2.12 GB 3 13.2 76.0 MB 760 MB 2.28 GB 4 12.3 81.3 MB 813 MB 2.44 GB 8 9.8 103 MB 1.03 GB 3.09 GB 0 8.3 120 MB 1.20 GB 3.60 GB 1 7.9 126 MB 1.26 GB 3.78 GB 2 7.6 131 MB 1.31 GB 3.93 GB 3 7.3 136 MB 1.
Chapter 20 Resolutions and Storage Requirements Estimated Storage Requirements: JFIF Interlaced (Continued) Resolution 1:1 SD (Uncompressed) 1:1 10b SD (10-bit Uncompressed) 698 Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 0 0.8 1.22 GB 12.2 GB 36.6 GB 1 0.8 1.23 GB 12.3 GB 36.9 GB 2 0.8 1.23 GB 12.3 GB 36.9 GB 3 0.8 1.24 GB 12.4 GB 37.2 GB 4 0.8 1.24 GB 12.
Storage Requirements Estimated Storage Requirements: JFIF Progressive Before using this table, read the information in “Estimating Drive Space Requirements” on page 693. Estimated Storage Requirements: JFIF Progressive Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 35:1 0 36.4 (NTSC) 30.3 (PAL) 27.5 MB 33.0 MB 275 MB 330 MB 824 MB 990 MB 1 30.5 (NTSC) 26.1 (PAL) 32.8 MB 38.3 MB 328 MB 383 MB 983 MB 1.14 GB 2 26.3 (NTSC) 22.9 (PAL) 38.1 MB 43.
Chapter 20 Resolutions and Storage Requirements Estimated Storage Requirements: JFIF Progressive (Continued) Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 14:1 0 14.6 (NTSC) 12.1 (PAL) 68.5 MB 82.6 MB 685 MB 826 MB 2.05 GB 2.48 GB 1 13.6 (NTSC) 11.4 (PAL) 73.8 MB 87.9 MB 738 MB 879 MB 2.21 GB 2.64 GB 2 12.6 (NTSC) 10.7 (PAL) 79.1 MB 93.2 MB 791 MB 932 MB 2.37 GB 2.80 GB 3 11.8 (NTSC) 10.1 (PAL) 84.4 MB 98.5 MB 844 MB 985 MB 2.53 GB 2.
Storage Requirements Estimated Storage Requirements: JFIF Progressive (Continued) Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 2:1 0 2.4 (NTSC) 2.0 (PAL) 417 MB 500 MB 4.17 GB 5.00 GB 12.5 GB 15.0 GB 1 2.4 (NTSC) 2.0 (PAL) 422 MB 505 MB 4.22 GB 5.05 GB 12.7 GB 15.2 GB 2 2.3 (NTSC) 2.0 (PAL) 427 MB 510 MB 4.27 GB 5.11 GB 12.8 GB 15.3 GB 3 2.3 (NTSC) 1.9 (PAL) 433 MB 516 MB 4.33 GB 5.16 GB 13.0 GB 15.5 GB 4 2.3 (NTSC) 1.
Chapter 20 Resolutions and Storage Requirements Estimated Storage Requirements: JFIF Progressive (Continued) Resolution 1:1 10b SD (10-bit Uncompressed) Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 0 0.8 (NTSC) 0.7 (PAL) 1.25 GB 1.44 GB 12.5 GB 14.4 GB 37.5 GB 43.2 GB 1 0.8 (NTSC) 0.7 (PAL) 1.26 GB 1.44 GB 1.26 GB 14.4 GB 37.9 GB 43.2 GB 2 0.8 (NTSC) 0.7 (PAL) 1.26 GB 1.
Maximizing Drive Space Estimated Storage Requirements: MPEG The following table provides information to help you estimate the storage requirements for MPEG media. Before using this table, read the information in “Estimating Drive Space Requirements” on page 693. This table does not include estimated storage requirements for audio.
Chapter 20 Resolutions and Storage Requirements Managing Storage to Improve Playback Performance The way you set up the media drives and target them when you capture can affect playback performance. Here are some suggestions for working with complex video images at high resolution, multiple video layers, or multicamera material: 704 • For more effective playback of multiple streams of video at higher resolutions, stripe the media drives.
Chapter 21 Film-to-Tape Transfer Methods This section presents suggested workflows and other information that can help you plan your film-originated project.
Chapter 21 Film-to-Tape Transfer Methods Transferring 24-fps Film to NTSC Video If you use an NTSC transfer, the film-to-video process takes place in two stages: • Stage 1: Transferring Film to Video • Stage 2: Capturing at 24 fps The following illustration shows a simplified view of the NTSC film-to-video transfer process. Telecine 2:3 pulldown 23.976 fps Stage 1 Film shot at 24 fps Betacam Capture and reverse pulldown to 24 fps. Stage 2 Betacam or Digital Betacam video signal 29.
Transferring 24-fps Film to NTSC Video To compensate, the telecine process creates an extra six frames every second (the difference between 24 and 30). That is, it creates five video frames for every four film frames. But remember, each video frame is subdivided into two video fields. To be more precise, the telecine creates ten video fields (the equivalent of five video frames) for every four film frames. This is referred to as a 4:5 ratio.
Chapter 21 Film-to-Tape Transfer Methods The telecine alternates between capturing odd-numbered and even-numbered fields. For example, B1 and B3 both contain the odd-numbered scan lines of the B film frame. Later in the transfer process, when the Avid editing application captures the fields, it must capture an odd-numbered and an even-numbered field for each frame.
Transferring 24-fps Film to NTSC Video If the telecine transfers sound along with picture (one of the first two paths), the sound is slowed by 0.1 percent to maintain sync with the picture. The reference signal slows from 60 Hz to 59.94 Hz and the rate at which the audio is recorded changes from 44100 Hz to 44056 Hz, or from 48000 Hz to 47952 Hz. Stage 2: Capturing at 24 fps The telecine has converted your film footage into video running at 29.97 fps.
Chapter 21 Film-to-Tape Transfer Methods Transferring 24-fps Film to PAL Video If you use a PAL transfer, the film-to-video process takes place in two stages: • Stage 1: Transfer the film to videotape by speeding up the film rate during the telecine process. • Stage 2: Capture the transferred videotape into the Avid system at the sped-up rate. The following illustration shows a simplified view of the PAL film-to-video transfer process. Telecine transfer with 4.
Transferring 24-fps Film to PAL Video In either case, the telecine process speeds up sound at the same rate as picture: 4.1 percent. Stage 2: Capturing at 24 fps After you’ve received the PAL transfer tapes, the next step is capturing the footage in a 24p PAL project. During the capturing process, your Avid editing application captures the material at the PAL rate of 25 fps, capturing every picture frame. It stores the two video fields as a single progressive frame, which you edit at 24 fps.
Chapter 21 Film-to-Tape Transfer Methods n When you created the project, you set the Audio Transfer rate as Film Rate (100%) in the New Project dialog box. In most cases, you will choose to edit at 24 fps. The sound maintains source quality (44.1 kHz and 48 kHz) and plays in sync with 24-fps video. PAL Method 2 is used primarily for film projects.
Film-to-Tape Transfer Guidelines • • On an NTSC monitor, the system does one of two things: - If playing at 23.976 fps (audio pulldown ON), the system performs a 2:3 pulldown that replicates the telecine pulldown, and displays the interlaced media at 29.97 fps. - If playing at 24 fps (audio pulldown OFF), the system performs a 2:3 pulldown, drops every 1000th frame in the Client monitor, and displays the interlaced media at 29.97 fps.
Chapter 21 Film-to-Tape Transfer Methods • Transfer all of the project’s source film footage to disk or tape by using either the NTSC or PAL method. - n Do not mix 24-fps and 30-fps transfers on the same transfer tape. - n For NTSC projects, you can mix footage transferred at 24 fps (23.976 fps) or 30 fps (29.97 fps), and mix sound transferred at 1.0 or 0.99. For PAL projects, you cannot mix audio that has been transferred at 4.
Film-to-Tape Transfer Options After you perform the final telecine operation, you can capture at a finishing resolution, such as 1:1 (uncompressed). Additional Film Transfer Aids The transfer facility might have available one or more of the following production aids, which you can include in your film-to-tape transfer: c • Automatic logging: Whenever possible, you should instruct the facility to log tracking information directly into a computer database program.
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Chapter 22 Working with HD Media Avid editing applications include support for capture, editing, and output of high-definition (HD) media in the following resolutions: • Avid DNxHD (8-bit and 10-bit) • DVCPRO HD • HDV Avid DNxHD encoding technology delivers mastering-quality HD media at standard definition (SD) data rates and file sizes. Avid editing applications also support play, edit, import, render, transcode, and export of high-definition (HD) media in 1:1 (uncompressed) resolution.
Chapter 22 Working with HD Media High-Definition Television High-definition television (HDTV) is a digital broadcasting technology that delivers a larger, clearer, more detailed picture than standard definition television (SDTV). HDTV refers to specific digital television (DTV) formats that have been standardized by the Advanced Television Systems Committee (ATSC) and adopted by the United States Federal Communications Commission (FCC).
HDTV Workflows HDTV Workflows This section describes three common workflows for creating HDTV output: • Creation of film-based television programs • Creation of video-based television programs • Creation of video graphics for broadcast For a more detailed description of the conform workflow, see “Conforming Workflow” in the Help.
Chapter 22 Working with HD Media 6. (Option) If a retransfer is needed, use FilmScribe to create an OCN (original camera negative) pull list for another telecine process, to retransfer footage used in the final edit. 7. (Option) Export an OMFI or AAF file to a Pro Tools digital audio workstation to create a final audio mix. 8. A negative cutter uses the pull list to create a reel of selects from the original negative (picture only).
HDTV Workflows 15. Use the Digital Cut tool to output a 1080p/23.976 master tape. Then convert the master tape to 720p/59.94 or 1080i/59.94 for broadcast. Optionally, use the Avid editing application to crossconvert to 720p/59.94 or 1080i/59.94 for preview or reference. The HD VTR can also create 1080i/50 for PAL broadcast.
Chapter 22 Working with HD Media Online Workflow: 24-fps Film Source for HDTV Telecine transfer process (picture only) From the offline session 8 Pull list Assembled reel at 24 fps 1080p Log file 1:1 transfer 1080p/23.976 HD format 9 24p HD VTR 310 11 12 Avid online system OMFI or AAF file 13 14 15 722 1080p 1080p/23.
HDTV Workflows Video-Based Television Workflow The following workflow describes the steps in creating video-based television programs that originate on video footage and are planned for HDTV broadcast. The workflow for creating such programs uses a single system for offline and online editing, but you can adapt it to use one system for offline editing and another for online editing.
Chapter 22 Working with HD Media 10. Render all effects and output a master tape. Offline/Online Workflow: HD Video Source for HDTV 1 1080i/59.94 HD format 1080i HD VTR 2 30i 30i NTSC SD format Avid editing system 33 4 5 6 OMFI or AAF file 7 8 9 10 724 1080i 1080i/59.
HDTV Workflows Broadcast Graphics Workflow Another HDTV workflow produces graphics, such as bumpers and promos that are created in graphics programs for HDTV broadcast. 1. Create files on a graphics workstation, using either 1280x720 for 720p or 1920x1080 for 1080i. 2. Export the files to a location that the Avid editing system can access. 3. Create a 720p or 1080i project, import the files, edit, and finish. 4. Create a broadcast master tape in the desired format.
Chapter 22 Working with HD Media Editing in HD The following sections describe features that are specific to HD projects. Changing the Project Format The Format tab in the Project window lets you change the format of the project to another format that shares the same frame rate. This feature is especially useful if you are working with downconverted HD material in an offline-to-online workflow, see “Video-Based Television Workflow” on page 723.
Editing in HD Offline Formats for HD (Continued) HD Online SD Offline Notes 1080p/29.97 30i NTSC You cannot change between these project formats because the edit rates are different. Use an NTSC 30i project for offline editing, then open a new 1080p/29.97 project for online editing and open the desired NTSC 30i bins. You do not need to modify the sequence. Duplicate the sequence. Then batch capture the duplicated sequence or decompose and batch capture.
Chapter 22 Working with HD Media Modifying the Format of a Sequence When your Avid editing application creates a sequence, it uses the format of the current project. You can change the format of an existing sequence by selecting Clip > Modify. The choice of formats is limited to compatible frame rates of the sequence. For example, you can change an NTSC 30i sequence to 1080i/59.94 or to 720p/59.94, but not to 1080p/23.976.
Editing in HD The following table shows the choices you have for modifying sequences and how each type of sequence is modified. Choices for Modifying Sequences Original Sequence Choices for Modifying How Sequence is Modified 23.976p NTSC 1080p/23.976 Existing sequence is duplicated with the extension 1080p. Media in the duplicated sequence is offline. To convert to 720p/23.976, see “Converting a 23.976p NTSC Sequence to 720p/23.976” on page 730. 25p PAL 1080p/25 Existing sequence is modified.
Chapter 22 Working with HD Media Your Avid editing application changes the format of the sequence. In cases where timecode needs to be converted, the application creates a new sequence and unlinks the media. No media is converted. The Modify dialog box opens. Converting a 23.976p NTSC Sequence to 720p/23.976 Because the source edit rates are different for these formats, you cannot simply change the project and sequence format.
Editing in HD You can set an option to highlight clips that do not match the project format. See “Highlighting Clips in a Mixed-Format Timeline” in the Help. n If you have a sequence that mixes SD and HD clips, and you need to recapture the SD clips in an HD resolution, you can create a subsequence of the SD clips, modify the format of the subsequence, see “Modifying the Format of a Sequence” on page 728, decompose, and recapture.
Chapter 22 Working with HD Media n • Transition effects default to one-second duration (60 frames). • Deck control for capture and digital cut is limited to 30 fps. A message box warns you if you try to mark an odd timecode value (such as 01:00:00:03). 1080i/50 and 1080i/59.94 are interlaced resolutions that you edit at 25 frames per second and 30 frames per second.
Working with HDV Video Color Space for HD Color space determines how the color components of the video signal are stored and processed. HD video uses an international specification for the YCbCr color space called ITU-R 709. It is an expansion of the earlier YCbCr specification for SD called ITU-R 601. ITU-R 601 and ITU-R 709 share some information: for example, for 8-bit components, black is mapped to 16 and white is mapped to 235.
Chapter 22 Working with HD Media Understanding HDV HDV is a low-cost prosumer format that allows you to record HD video onto standard DV videocassettes. This is achieved through the use of interframe compression, where a given frame in the video stream can be composed of information from adjacent frames. Frames are grouped into a sequence called a “Group of Pictures,” or GOP. Long-GOP (also known as IPB encoding) refers to the structure of HDV media.
Working with HDV HDV Basic Workflow A basic workflow for an HDV project is as follows: 1. Select one of the following Avid project types depending on the format in which your HDV camera records: - 1080i/59.94 HDV - 1080i/50 HDV - 720p/29.97 HDV 2. Do one of the following: t Capture HDV material. t Import an HDV file. The media is brought in as one video track and two 48-kHz audio tracks. 3. Edit the material. 4. Select the sequence. 5.
Chapter 22 Working with HD Media Capturing HDV How you capture HDV material depends on your system configuration: • On a system with Avid Adrenaline or Avid Mojo hardware, you must use a 1394 port on your computer. On a Windows system, the 1394 port must be on an optional IEEE-1394 card installed on a bus separate from the one used by the Avid Adrenaline or Avid Mojo. • On a system with Avid Mojo SDI hardware, use the 1394 port on the Mojo SDI.
Working with HDV To import an HDV transport stream: 1. Select File > Import. The Import As dialog box opens. 2. Select Files of Type > HDV files (*.m2t). 3. Select the target drive (no other import options are needed). 4. Click Open. Your Avid editing application copies the media in a fast import as native HDV. Mixing Resolutions You can mix SD resolutions and HD resolutions in the same Timeline with HDV as long as they have compatible frame rates and raster sizes.
Chapter 22 Working with HD Media Rendering and Transcoding HDV Media You cannot render to an HDV resolution. Also, you might need to transcode the HDV sequence, see “Outputting HDV through Avid DNA Hardware” on page 740. See the following table for information on which resolutions are used for rendering and transcoding in each project type. HDV Render and Transcode Resolutions HDV Project Type Renders or Transcodes to 1080i/59.94 HDV DNxHD–TR 145 1080i/50 HDV DNxHD–TR 120 720p/29.
Working with HDV To export the HDV material to an HDV device: 1. Do one of the following: - Select Special > Device > IEEE 1394. - Click the DNA/1394 button on the Timeline to show 1394. 2. Select the sequence or marked section. 3. Select Output > Export to Device > HDV. The Export to HDV Device dialog box opens. 4.
Chapter 22 Working with HD Media 5. Click OK. The transport stream file is created (or saved, if you used an existing transport stream). Outputting HDV through Avid DNA Hardware You can use Avid DNA hardware to output a sequence created with HDV media, but you must transcode the sequence and then use the standard Digital Cut tool. To perform a digital cut on an Avid DNA system: 1. Do one of the following: - Select Special > Device > Avid DNA. - Click the DNA/1394 button on the Timeline to show DNA. 2.
Working with HDV To export to other formats: t Export the sequence or use the Send To function as usual. See “Exporting Frames, Clips, or Sequences” or “Improving Workflow Using Send To” in the Help. Exporting HDV as Windows Media Use the following samples as a guide when exporting an HDV sequence as Windows Media for use on the Web or for use in DVD authoring: To export HDV as Windows Media for use on the Web: 1. Select the sequence or clips you want to export. 2. Select File > Export.
Chapter 22 Working with HD Media 3. Click the Options button. The Export Settings dialog box opens. 4. Select Export As > Windows Media. 5. Set the following: Width: 1440 Height: 1080 FPS: 60 Video Type: Progressive Pixel Aspect Ratio: 16:9 Codec: Windows Media 9 VBR: enabled and set to Quality Audio Settings: leave set at defaults 6. Click Save to export the sequence. 7. In the Export As dialog box, select the destination folder for the file. 8. Click Save.
Working with HDV HDV Compatibility Guidelines You can change the format of a project using the Project Type menu in the Format tab of the Project window. You can also mix certain formats in the Timeline as long as they are at the same frame rate. The following table describes which formats are compatible with HDV material that you capture. HDV Compatibility HDV captured at Can change in Project Type menu to Can mix in Timeline with 1080i/59.94 HDV 1080i/59.
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Chapter 23 International Character Support This chapter describes how to take advantage of international character support (ICS) in your Avid editing application. ICS allows you to display and input characters in languages other than English by doing the following: n • Install the local language operating system, and work within the operating system. • Use the standard English language operating system, install the language pack, and set the locale to your local language. Avid Unity™ MediaNetwork v3.
Chapter 23 International Character Support Choosing a Locale on an English Language Operating System When you use this method, you typically instruct your operating system to allow you to choose between English and a specific locale such as French, German, Chinese, or Japanese. This allows you to input and display characters in your chosen language even though you are using the basic English language operating system.
Choosing a Locale on an English Language Operating System 3. Double-click Regional and Language Options. The Regional and Language Options dialog box opens. 4. In the Regional Options tab, do the following: a. In the “Standards and formats” area, select a language. b. In the “Location” area, select your country.
Chapter 23 International Character Support 5. Click the Languages tab. Details button 6. Select the option you want in the Supplemental Language Support area.
Choosing a Locale on an English Language Operating System 7. In the “Text services and input languages” area, click Details. The Text Services and Input Languages dialog box opens. 8. In the “Installed services” area in the Settings tab, select a language and a keyboard layout for that language. 9. If the language you want is not in the list, click Add, select an input language and a keyboard layout for the language, and then click OK. 10.
Chapter 23 International Character Support c It is important to select your language in the “Language for non-Unicode programs” area; do not skip this step. 14. 12. Click OK to close the Regional and Language Options dialog box. A keyboard icon appears in the taskbar to allow you to switch keyboard layouts. 15. Restart the system. n For more information, see the Windows XP Help.
Recommendations and Restrictions for International Character Support n Each language has a certain number of keys that do not map to functions in your Avid editing application. These are referred to as “dead” keys. You cannot map functions to these dead keys. If you try to do so, the system displays an error message.
Chapter 23 International Character Support If you plan to move projects between Macintosh and Windows systems, avoid using characters that are not in both the MacRoman and Latin1 (ANSI) character sets. The following two files on the Knowledge Base list the characters you should avoid: • MacRoman Characters not in ANSI Encoding • ANSI Characters not in MacRoman Encoding To access the files on the Knowledge Base: 1. Go to www.avid.com/. 2. Click Support & Training, and then click Knowledge Base. 3.
Recommendations and Restrictions for International Character Support Traditional Chinese Big 5 Character Set When using Traditional Chinese, you should set the Input Method Editor (IME) to use the Traditional Chinese Big 5 character set. t (Windows) When setting the Input Locale in the Regional Options dialog box, click IME Settings and select the bottom option, which translates to “Only show Big 5 characters.
Chapter 23 International Character Support To create vertical text on Japanese and Chinese Windows systems: 1. Create a Text Box, then exit Text mode. 2. Select a font with an @ sign at the start of the name for the text box. 3. In the Transform pane, rotate the box by setting rotate Z to -90 4. Enter Text mode, and type in your text. The text appears moving down vertically. n You can create a style or template for this kind of text box to make the titles easier to create.
Recommendations and Restrictions for International Character Support • When naming Avid elements, do not use fonts that have an "@" sign at the start of the font name. These fonts are used when intending to display text vertically and, with elements such as bin and clip names, might position letters or characters on their side. • When you are using diacritical marks, exporting a bin as AFE with the default name might cause MediaLog to freeze. The resulting files have incorrect filenames.
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ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Numerics A 1 Pass encoding 603 1:1 video defined 681 1394 capturing HDV through 735 16:9 format 715 2 Pass encoding 603 2:3 pulldown transferring film to video with 706 23.976p projects converting NTSC sequence to 720p/23.
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ pan, using an external fader or mixer 351 take lines in the Script window 271 video levels for tapes without color bars 122 volume, using an external fader or mixer 351 adjustments 346 Adrenaline using Command|8 with 353 using Digi 002 with 353 Advanced keyframes Add Keyframe button commands 582 Automatic Start and End Keyframes option 582 Indent Rows command 582 Large Text command 582 Real-Time Update option 582 Set Position To Keyframe command 582 Show Add Keyframe Mode
ABCDEFGHIJKLMNOPQRSTUVWXYZ Audio file sample size 561 Audio files supported formats 671 Audio Gain Automation configuring USB-to-MIDI software 364 installing driver software (Windows) 364 Audio hardware options project settings 566 Audio input levels adjusting 563 calibrating for audio I/O device 118 Audio input options project settings 563 sources 563 Audio output options project settings 564 Audio peak levels checking 119 Audio Project settings audio file formats 561 described 561 Effects tab 567 Hardware
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Automation Gain and Pan fader controller or mixer, testing 365 Auto-Save function 41 options (Bin settings) 568 AutoSync command (Bin menu) 308 Autosync feature syncing clips 307 AVI file format brief description 670 AVI files methods for exporting 485 Avid Adrenaline using Command|8 with 353 using Digi 002 with 353 Avid Attic files setting (Bin settings) 568 Avid Attic folder described 41 Avid Calculator tool 70 Avid Codecs for QuickTime copying to another system 487 desc
ABCDEFGHIJKLMNOPQRSTUVWXYZ Bins adding columns 194 aligning columns 193 auto-save function 41 Bin View menu 184 changing fonts 47 deleting columns 193 displaying audio formats in 403 duplicating columns 194 editing from, in Segment mode 322 exporting as AFE files 473 extra text fields 131 finding from the Script window 282 Info display 42 information in the Console 71 listing timecodes in 205 locking items in 190 logging directly into 90 managing 38 managing clip information in 195 moving columns 193 printi
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ C Calculator command (Tools menu) 70 Calculator tool 70 Calibrate command (Peak Hold Menu button) 118 Calibrating video output using test patterns 506 video output, advanced procedures 505 Calibration tone creating media for 114 CamCutter files importing 179 Camera roll keypunch 715 Camera setups in the lined script 249 Capture command (Tools menu) 93 Capture Settings DV Options tab 575 Capture settings Batch tab 571 described 569 DV Options 154 Edit options 143 Edit tab 5
ABCDEFGHIJKLMNOPQRSTUVWXYZ Clips assigning local colors in the Timeline 317 assigning source colors in bins 186 autosyncing 307 creating group clips 530 creating multigroup clips 531 displaying information about 287 displaying source colors in bins 186 finding from the Script window 282 linking to script 263 linking to script with ScriptSync 277 locking in a bin 190 modifying information in 102 playing in a loop 292 relinking 231 sifting 187 Closed captioning in HD media 527 Closed captioning and Vertical B
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ logging capturing errors to 125 network drives 72 printing locator information from 302 Consumer-grade video deck limitations when capturing 120 Control track using for preroll 106 Controller settings described 576 Controller Settings dialog box 356 Controllers Command|8 73 configuring 73 Digi 002 73 Converting shot log files using drag-and-drop conversion (Windows) 79 Coordinates displaying, in monitors 618 Copying Panasonic P2 files 222 text from the Info window 287 text
ABCDEFGHIJKLMNOPQRSTUVWXYZ Delete command (Edit menu) deleting columns 193 Delete Take command (Script menu) 268 Deleting add edits (match frames) 326 bin columns 193 columns 193 locators 297, 298, 301 page and scene numbers in the Script window 262 script marks 281 settings 554 slates in the Script window 268 takes in the Script window 269 text in the Script window 260 user profiles 37 workspaces 52 Desktop Play Delay dialog box 290 Destination timecode rate 516 Device Code option (Remote Play and Capture
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Drag-and-drop method for converting files to ALE format (Windows) 79 Drive filtering in networked workflows 60 Drive Filtering and Indexing tab 633 Drive space managing to improve playback performance 704 maximizing use of 703 planning 693 Drive striping in relation to resolutions 683 Drives filtering 60 Drop-frame timecode described 113 output 515 simultaneous output with non-drop-frame 516 Dupe checking 650 Dupe Detection 327 Dupe Detection Handles option (Timeline setti
ABCDEFGHIJKLMNOPQRSTUVWXYZ EQ effects adjusting while playing 387 applying 377 removing 382 templates for 384 ERIMovie file format additional export options 609 brief description 670 Errors logged during capturing 125 viewing capturing errors in the Console window 125 viewing log of, in the Console window 71 Essence Marks 173 Estimating drive space requirements 693 Events in an EDL defined 520 Existing Windows Media Custom Profile 602 Expander-Gate AudioSuite plug-in 426 Export command (File menu) 473 Expor
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ F Fader controller external, adjusting pan with 351 external, adjusting volume with 351 external, using 352, 362 FaderMaster Professional fader controller connecting 364 described 348 recording audio gain 352 testing 367 Fading audio 567 Fast Cue option (Deck settings) 579 Fast menus Settings display in the Project window 550 Field dominance described 680 Field dominance, Import Settings options 620 Field ordering described 678 FieldPak importing files from 179 Fields vers
ABCDEFGHIJKLMNOPQRSTUVWXYZ Full Screen Playback settings 615 Full-Monitor Display 533 Full-screen image size defined 669 Full-screen Timeline 319 Function key commands (Capture Settings) 124 Function keys available when capturing 123 G Gain AudioSuite plug-in 438 Gang button 313 Ganging footage in monitors 313 multiple tracks on an external fader controller 370 Gate AudioSuite plug-in 428 General settings described 616 General Settings dialog box 109 General-purpose interface (GPI) device configuring with
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ importing 736 Long GOP splicing 738 mixing in Timeline with other resolutions 743 mixing with other resolutions 737 outputting digital cut by transcoding 740 rendering 738 transcoding 738 Headings command (Bin menu) 186 Heads and Heads Tails views in the Timeline 324 Hiding bin column headings 206 slate frames 266 Timeline top toolbar 316 High shelf in Audio EQ tool 377 High-definition television See HDTV Hinted streaming, exporting as 591 Holding slates on screen 266 Home
ABCDEFGHIJKLMNOPQRSTUVWXYZ Interface settings (Appearance tab) changing button and toolbar shading depth 45 changing button separation 45 changing button style 45 changing color of 44 changing shading styles 45 changing text font and size 47 described 44 Interlaced resolutions specifications for 686 storage requirements for 696 Interlacing 706 International character support (ICS) taking advantage of 745 International operating system 745 Interplay Folder Settings 630 Interplay Folder settings described 629
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ deleting 297, 298, 301 displaying comments 297 displaying in the Timeline 318 editing 295 Essence Marks (XDCAM) 173 finding 295 for managing sync breaks 311 marking an area with 296 moving to next or previous 296 printing 302 selecting in Locators window 298 using 292 Locators window deleting locators from 298 displaying frames in 298 displaying MetaSync information 298 displaying timecode or footage column in 298 exporting 300 importing 300 printing 302 sorting locators i
ABCDEFGHIJKLMNOPQRSTUVWXYZ Media creation restricting resolutions for 111 Media Creation settings Capture tab 634 described 633 Drive Filtering and Indexing tab 633 Import tab 634 Media Type tab 636 Mixdown & Transcode tab 634 Motion Effects tab 634 Render tab 635 Titles tab 634 Media files archiving 239 capturing to multiple 108 finding related 230 managing overview 217 relinking 231 restoring from videotape 244 unlinking 239 Media Files Capture settings 108 Media Indexer auto-indexing local drives 633 Med
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ MII component video standard unsupported 654 Millivolts (mVolts) 647 Mix Mode Selection 564 Mixer adjusting pan with 351 adjusting volume with 351 connecting 364 described 348 using 352, 362 using the Yamaha 01V and O1V/96 370 Mixing SD and HD material 730 video resolutions 692 Mod Delay AudioSuite plug-ins 436 Mode option (Remote Play and Capture settings) 642 Modify command changing sequence format 728 Clip menu 198 Modifying clip information before capturing 102 clip in
ABCDEFGHIJKLMNOPQRSTUVWXYZ Non-Avid-controlled deck logging with a 97 Non-drop-frame timecode described 113 output 515 simultaneous output with drop-frame 516 Non-English characters recommendations and restrictions 751 using only one locale 751 Non-English keyboard layout 746 Non-square pixels 669 Normalize AudioSuite plug-in 438 NRCS Settings ENPS tab 640 iNEWS tab 639 NRCS tab 638 Post to Web tab 641 NTSC (National Television System Committee) video transferring 24-fps film to 706 NTSC Has Setup option 10
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Pan adjusting for individual keyframes 351 Panasonic P2 acquisition formats 218 changing cards 223 creating master clips 224 deleting clips 229 exporting sequences to 228 files and folders 218 importing master clips 223 loading drivers 220 mounting cards 220 sharing clips and sequences 228 support for 217 transferring files 222 updating drive list 220 workflow 219 Parametric midrange in Audio EQtool 377 Passthrough Mix tool Audio Project Settings dialog box 563 using 115 P
ABCDEFGHIJKLMNOPQRSTUVWXYZ Profiles Windows media .
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Remote Capture 642 enabling 147 Remote Play enabling 148 Remote Play and Capture Avid serial driver 151 command (Clip menu) 150 command (Special menu) 147, 148 Device Code option 642 Inhibit Preloading option 642 Mode type option 642 Remote Punch-In 149 Runup option 642 setting ports for 642 Remote Play and Capture settings described 642 Remote Punch-In 149 configuring the SR-4 149 Removable storage, sending to Pro Tools on 455 Removing add edits (match frames) 326 audio E
ABCDEFGHIJKLMNOPQRSTUVWXYZ Schedule, satellite feed 141 Screen resolutions NTSC, PAL, HD 682 Screenings interactive, in Script window 284 Script integration described 250 elements of 250 for video projects 251 holding slates on screen 266 importing a script for 253 in Script window 272 in slates 250 in takes 272 lining conventions in 248 using color indicators 272 using off-screen indicators 272 using script marks 273 workflow 251, 283 Script Mark button 274 Script marks adding 274 adding during automatic s
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Selecting bin headings 193 media relatives in the bin 191 offline items in bins 191 slates in the Script window 265 text in the Script window 257 unreferenced clips in the bin 192 Send To DigiDelivery 453 Digidesign Pro Tools 455 DVD 458, 460 DVD authoring 458 DVD One Step 460 Sorenson Squeeze 462 using predefined templates 452 Send To dialog box 452, 466 Sequence information displaying, in a Script window 256 Sequenced image files 670 Sequences displaying information abou
ABCDEFGHIJKLMNOPQRSTUVWXYZ user 545 user, linking to workspaces 50 using site 556 Video Display 652 Video Input Tool 654 Video Output Tool 655 workspace, creating 49 settings Sound Card Configuration 649 Settings list 545 SGI file format additional export options for 609 brief description of 663 import specifications for 666 Sharing bins and projects 54 Shot log files Avid log file specifications 81 converting with Avid Log Exchange (Windows) 76 exporting 102 importing file from Final Cut Pro 76 preparing t
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Storage estimating drive space requirements for 693 managing to improve playback performance 704 maximizing 703 planning 693 Storage estimates in minutes per gigabyte 694 Storage requirements DNxHD 694 DV resolutions 702 JFIF interlaced 696 JFIF progressive 699 MPEG resolutions 703 Storing 24p and 25p media 712 Storyboard editing from the Script window 284 Stream Limit video display setting 653 Subclip status (Capture tool) 126 Subclips creating automatically with DV 154 c
ABCDEFGHIJKLMNOPQRSTUVWXYZ Text in the Script window changing font of 257 cutting, copying, and pasting 259 linking clips to 263 linking clips to with 277 removing 260 searching through 260, 262 selecting 257 Text view (bin display) described 193 Thumbwheels option 582 TIFF file format additional Export options 609 brief description of 663 import specifications for 666 Time Compression Expansion AudioSuite plug-in 440 using to change media length 412 Time Shift AudioSuite plug-in 444 Timecode breaks, captur
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Tracks ganging on an external fader controller 370 managing sync in 308 trimming with sync-locked 336 Transcoding HDV 738 Transferring through AFE 473 Transferring film to tape aids to 715 in NTSC format 706 in PAL format 710 quality options 714 without sound (PAL) 711 Transparency adding to a graphics image 667 Transport stream creating 738 Trim slip and slide procedures 337 Trim mode using the four-frame display 339 Trim pots adjusting 118 Trim settings described 651 Tri
ABCDEFGHIJKLMNOPQRSTUVWXYZ Video Compression options (Export settings) 601 Video decks See Decks Video Display settings described 652 Video Input tool saving settings in 121 Video Input Tool settings described 654 Video levels adjusting without color bars 122 Video Mixdown AAF export to Pro Tools 471 Video output advanced calibration 505 Video Output tool advanced calibration controls 505 Video Output Tool settings described 655 HD tab 658 SD tab 655 Video projects using script integration in 251 Video qual
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ script integration 251 video-based HDTV 723 Workspace settings 659 Workspaces assigning to buttons 52 Avid Unity 53 creating setttings 49 deleting 52 described 48 linking to user settings 50 switching between 51 Writable P2 device 228 X XDCAM batch import 176 connecting device 166 copying files 171 editing 174, 179 Essence Marks 173 exporting 500, 501 high-resolution media 176, 179 import options 167, 168, 172 importing proxy media 169, 170 locators 173 proxy media 164, 1