Avid® NewsCutter Products ® Input and Output 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.
The following disclaimer is required by Videomedia, Inc.: “Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect to its merchantability or its fitness for any particular purpose.” “This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc.
Footage Arizona Images — KNTV Production — Courtesy of Granite Broadcasting, Inc., Editor/Producer Bryan Foote. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Tornados + Belle Isle footage — Courtesy of KWTV News 9. WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA. Women in Sports – Paragliding — Courtesy of Legendary Entertainment, Inc.
Contents Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Converting Log Files with Avid Log Exchange . . . . . . . . . . . . . . . . . . . . . . . 47 Converting Log Files with Avid Log Exchange . . . . . . . . . . . . . . . . . . . 48 Using Drag-and-Drop Conversion for Log Files . . . . . . . . . . . . . . . . . . 52 Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Logging Directly to a Bin . . . . . . . . . . .
Setting Deck Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Understanding Drop-Frame and Non-Drop-Frame Timecode. . . . . . . . . . . . 85 Setting Up the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Opening the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Changing the Power Scheme. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Setting the Video and Audio Input . .
Checking for a Valid Digital Sync Signal . . . . . . . . . . . . . . . . . . . . . . . 114 Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Configuring the Sound Card (Software-Only Systems) . . . . . . . . . . . . 115 Sound Card Configuration with Surround Sound Capabilities (Software-Only Systems) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 4 Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Before You Begin Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . . . . . . . . . . . 147 Adding Extra Text Fields in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . 147 Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Modifying the Pulldown Phase After Capturing . . . . . . . . . . . . . . . . . . . . . 184 DV Scene Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Setting Up DV Scene Extraction Before Capturing . . . . . . . . . . . . . . . 187 Setting Up DV Scene Extraction After Capturing . . . . . . . . . . . . . . . . 189 Recapturing Your Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Recapturing Master Clips and Subclips. . . . .
Setting the XDCAM Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Importing XDCAM Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Automatically Importing Proxy Media . . . . . . . . . . . . . . . . . . . . . . 220 Importing All Proxy Media from an XDCAM Disc . . . . . . . . . . . . . 222 Copying XDCAM Proxy Media to a Local Drive or a Server . . . . . 223 Manually Importing XDCAM Media from the XDCAM Disc . . . . . .
Calibrating for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Calibrating Global Output Levels . . . . . . . . . . . . . . . . . . . . . . . . . 253 Adjusting Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Frame-Accurate Capture . . . . . . . . . . . .
Chapter 7 Exporting and Exchanging Material . . . . . . . . . . . . . . . . . . . . . . 285 Exporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 Mixing Down Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting as a QuickTime Reference Movie . . . . . . . . . . . . . . . . . . . . 320 Exporting as a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 Selecting QuickTime Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Avid Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Using the Avid Codecs for QuickTime. . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 8 Using the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 Configuring the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358 Configuring the ENPS Server for Avid Clients . . . . . . . . . . . . . . . . . . . 358 Configuring the NRCS Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 Starting the NRCS Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adjusting the Story Timing with a Time Pad (iNEWS Only) . . . . . . . . 386 Using Associated Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388 Saving Changes to a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . 390 Using the Post to Web Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 Processing the Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 Creating a Web Page . . . . . . . . . . .
True 24 FPS Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428 Playback Modes for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428 Video Color Space for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428 Changing the Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429 Editing in HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tables Supported Resolutions and Hardware Configurations . . . . . . . . . . . . . . . . . . 30 Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Options for Modifying Bin Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 GPI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 GPI Node Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
HD Resolutions: 1080 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424 HD Resolutions: 720 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425 Avid HD Formats and Other HD Formats . . . . . . . . . . . . . . . . . . . . . . . . . . 425 Offline Formats for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429 Choices for Modifying Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide The Avid® NewsCutter® products help editors, journalists, Web authors, and other professionals create broadcast-quality output. Users can incorporate production elements from full-speed, high-resolution footage, to multimedia artwork and animation, to computer-generated effects and titling. n This documentation describes the features and hardware of all the NewsCutter products. Therefore, your system might not contain certain features and hardware that are covered in the documentation.
Using This Guide Symbol or Convention Meaning or Action t This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed. Margin tips In the margin, you will find tips that help you perform tasks more easily and efficiently. Italic font Italic font is used to emphasize certain words and to indicate variables. Courier Bold font Courier Bold font identifies text that you type.
Accessing the Online Library Accessing the Online Library The Avid NewsCutter Products Online Library CD-ROM contains all the product documentation in PDF format. You can access the library from the Online Library CD-ROM or from the Help menu. n You will need Adobe® Reader® installed to view the documentation online. The Acrobat folder on the CD-ROM contains an installer for Acrobat Reader.
Using This Guide 24
Chapter 1 Planning a Project This chapter gives a brief description of video formats and resolutions supported by your Avid editing application, and other information that can help you plan your project.
Chapter 1 Planning a Project • 1080p/23.976: For HD online editing. Film-originated material can be transferred to this format for editing and effects. • 1080p/25: For HD online editing. Film-originated material can be transferred to this format for editing and effects. • 1080i/50: For HD broadcast • 1080i/59.94: For HD broadcast In the 30i NTSC and 25i PAL options, the i represents interlaced frames played at 30 fps or 25 fps.
Types of Projects n n • This rate is also used for film (film-based television) or 24p HD video (television or feature film). These sources can be downconverted to standard NTSC without further audio slowdown. Audio captured at 48 kHz can remain at 48 kHz throughout the project. • Your film and audio sources have been synced in the telecine process and transferred to Digital Betacam® or other digital videotape formats. The 23.976 fps frame rate is sometimes referred to as 23.97 fps or 23.98 fps.
Chapter 1 Planning a Project The following figure illustrates the difference between Standard pulldown and Advanced pulldown. 24p Standard pulldown (2:3:2:3) 1 2 1 2 1 2 1 2 1 2 A1 A2 B1 B2 B3 C1 C2 D1 D2 D3 24p frame capture A 24p Advanced pulldown (2:3:3:2) B C Captured fields indicated with bold lines D A1 A2 B1 B2 B3 C1 C2 C3 D1 D2 1 2 1 2 1 2 1 2 1 2 To capture with Advanced pulldown: t Select the Advanced pulldown setting on your mini-DV camera.
Project Resolutions Project formats are described as follows: • Avid video projects capture and store 30i-fps NTSC or 25i-fps PAL media as digital video that conforms to the ITU-R 601 standard (SDTV or standard-definition TV). • Avid film projects capture and store 23.976p-fps NTSC media. You do your offline editing in an Avid editing application and finishing on a Symphony™ or Avid DS system.
Chapter 1 Planning a Project • 10-bit resolutions are available for Render, Import, Capture, Consolidate/Transcode, and Video Mixdown.You must be connected to Adrenaline hardware to capture and play back 10-bit video. 10-bit resolutions are available for both standard definition (SD) and high definition (HD) projects. When working with HD projects, the 10-bit resolutions appear as DNxHD 220X, DNxHD 185X, or DNxHD 175. When working with an SD project, the 10-bit resolution appears as 1:1 10b MXF.
Project Resolutions Supported Resolutions and Hardware Configurations (Continued) Resolution Hardware Configuration DVCPRO HD Separate 1394 card MPEG 30 Avid Adrenaline and editing and playback only with Avid Mojo MPEG 40 Avid Adrenaline and editing and playback only with Avid Mojo MPEG 50 Avid Adrenaline and editing and playback only with Avid Mojo 35:1 Avid Adrenaline 28:1 Avid Adrenaline, Avid Mojo, or separate 1394 card 20:1 Avid Adrenaline 14:1 Avid Adrenaline 10:1 Avid Adrenaline
Chapter 1 Planning a Project Supported Resolutions and Hardware Configurations (Continued) Resolution Hardware Configuration 1:1 10b MXF Avid Adrenaline or Avid Mojo DNxHD 220X - (10 bit) Avid Adrenaline DNxHD 220 - (8 bit) DNxHD 145 - (8 bit) DNxHD 185X - (10 bit) Avid Adrenaline DNxHD 185 - (8 bit) DNxHD 120 (8 bit) DNxHD 175X - (10 bit) Avid Adrenaline DNxHD 175 - (8 bit) DNxHD 115 - (8 bit) These resolutions appear, along with other Avid resolutions, wherever a list of resolutions appears (for exa
Working with Mixed-Resolution Projects Working with Mixed-Resolution Projects The Avid editing system allows you to work with mixed resolutions in the same sequence. However, you cannot mix NTSC with PAL. 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.
Chapter 1 Planning a Project Software-Only Avid Editing Systems When you configure Avid editing systems that do not use an external Avid Adrenaline or Avid Mojo for a DV camera or deck, you need to select OHCI (Open Host Controller Interface) (for example, from the Video pop-up menu in the Capture tool). The OHCI specification is a standardized way of interacting with the 1394 bus.
Sample Workflow Sample Workflow the following figure shows a possible workflow using a standalone configuration. If you are in a workgroup environment, media can be brought in from, and sent back to, shared storage. Project Workflow Software-only models Log Betacam DV 1. (Option) Import a log file to create a bin. 2. Connect your equipment. For analog video, use the Avid Adrenaline or Avid Mojo. For the software only model, use the 1394 connection on the Avid editing system.
Chapter 1 Planning a Project 36
Chapter 2 Logging When you log with a deck or import shot log files, you provide the Avid editing system 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 2 Logging To set the default preroll for tape playback: 1. Open the Deck Settings dialog box by doing one of the following: t If no deck currently exists, double-click Deck Configuration in the Settings scroll list to open the Deck Configuration dialog box, click Add Channel, and then click Add Deck. t If a deck already exists, double-click Deck Configuration in the Settings scroll list to open the Deck Configuration dialog box, and then double-click the deck name.
Logging Tips To log drop-frame timecode when there is no tape in the deck: 1. Double-click Deck Preferences in the Settings scroll list. The Deck Preferences dialog box opens. Log As pop-up menu 2. Click the Log As pop-up menu, and select Drop Frame. When you are bringing in a bin created outside of the Avid editing system, use semicolons (;) between the hours, minutes, seconds, and frames. To log non-drop-frame timecode when there is no tape in the deck: 1.
Chapter 2 Logging Naming Tapes When you type tape names in the Capture tool, consider the following: • 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 might be difficult to distinguish among tapes with similar names when you try to locate a specific tape quickly. Name tapes based upon the amount and complexity of your source material.
Logging Tips Adding a Memory Mark You can add a memory mark to a particular location on a tape. The Mark Memory button in the Capture tool allows you to add one mark per tape. The Go to Memory button allows you to move through the tape to the marked location. You can clear the memory mark by using the Clear Memory button. The memory mark is not stored on the tape. When you remove the tape from the deck, the mark is cleared.
Chapter 2 Logging Preparing Logs for Import For Avid Log Exchange information, see “Avid Log Specifications” in the Help. Avid editing applications provide many useful tools to help you prepare frame-accurate log information for import to the bin from any number of sources. This process might involve using a word processor or standard text editor to create and import logs, including those using the Avid Log Exchange (ALE) format.
Preparing Logs for Import 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 you can log clips from several different videotapes into one log. Importing Shot Log Files You can import any log created or converted to meet Avid log specifications. You can also combine or merge events while importing a log so that fewer master tapes require capturing.
Chapter 2 Logging 3. Do one of the following: t Click the Files of type pop-up menu, and select Shot Log. The system displays file types that belong to the selected category only. t Click the Files of type pop-up menu, and select All Files. The system displays all files in a selected folder, regardless of file type. Use this option if you want to batch import multiple file types. n When batch importing multiple files and file types, you should establish global Import settings in advance.
Setting the Pulldown Phase 7. Use the Up One Level button to locate the folder containing the source file. 8. Select the file. 9. Click Open. When the system finishes importing the file, the clips appear in the selected bin. Setting the Pulldown Phase For information about the pulldown process, see “Transferring 24-fps Film” in the Help.
Chapter 2 Logging 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) an odd and an even 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.
Converting Log Files with Avid Log Exchange For information about fixing an incorrectly logged sync point, see “Modifying the Pulldown Phase After Capturing” on page 184. The pulldown-to-timecode relationship might vary from tape to tape, or within the same tape, depending on how the footage was transferred.
Chapter 2 Logging Nations1.atn is converted to Nations001.ale, Nations002.ale, Nations003.ale, and so on. The converted output files are stored in the folder containing the original input file. Converting Log Files with Avid Log Exchange To convert a log file to an ALE file: 1. Click the Start button, and select All Programs >Avid > Avid Log Exchange. The Avid Log Exchange window opens. 2.
Converting Log Files with Avid Log Exchange 3. Double-click the file you want to convert. The Import Header options box appears. 4. Select the information you want to appear in the global settings of the .ale file. The global settings appear at the top of the .ale file. 5. Click OK. 6. Depending on the type of file you are opening, one of the following occurs: - If the file type is recognized by the ALE utility, the file appears in the Avid Log Exchange window.
Chapter 2 Logging - If the file type is not recognized, the Select File Type dialog box opens. Select the type of file you are converting and click OK. The file appears in the Avid Log Exchange window. n For specific information on the various file types, see “Compatible Log Formats” on page 54. 7. Use the Options menu to select the tracks to include in the Tracks column of the log. The default track selections are Log V, Log A1, and Log A2.
Converting Log Files with Avid Log Exchange 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. For example, if you transfer film footage with a timecode of 2:00:00:00 and then add some clips at the end with a timecode of 1:00:00:00, Relaxed prevents the deleting of events that come earlier in the transfer.
Chapter 2 Logging 11. (Option) Select the original file from the Window menu if you want to convert the file again using different options. 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.
Converting Log Files with Avid Log Exchange Avid Log Exchange Shortcut icon 5. Drag the selected files to the Shortcut icon for the ALE utility, and release the mouse button. 6. Depending on the type of files you are converting, one of the following occurs: - If the file type is recognized by the ALE utility, a message box opens, indicating the conversion was successful. - If the file type is not recognized, the Select File Type dialog box opens. Select the type of file you are converting and click OK.
Chapter 2 Logging For example, the .ale file name extension is added to the new file names for the Avid format. The converted files are stored in the folder containing the original log files. Compatible Log Formats The following table lists the log formats that can be imported directly or converted for import using Avid Log Exchange (ALE). Compatible Log Formats 54 Log Format Requirements File Name Extension AatonBase Conversion required .atn or .atl Avid Log Import directly .
Logging Directly to a Bin Logging Directly to a Bin You can log clips directly to a bin by using the Capture tool in one of two ways described in this section: For complete information on working with bin columns and clip information, see “Organizing Bin Information” in the Help. • Log directly to a bin with an Avid-controlled deck for semiautomated data entry. • Log manually during or after viewing of footage offline with a non-Avidcontrolled deck or other source.
Chapter 2 Logging Capture/Log Mode button Mark IN button Channel Selection buttons Deck Selection pop-up menu Source Tape Display button 4. To select a deck or device, click the Deck Selection pop-up menu, select Autoconfigure or Adjust Deck, and then load your tape into the deck. The Select Tape dialog box opens.
Logging Directly to a Bin 5. Do one of the following: t Click Cancel to stop the process at any time. t Select “Show other projects” to display the tape names and associated project names for all bins that have been opened in the current session. t Click “Scan for tapes” to scan the system and display tape names and associated project names for all media files that are currently online (drives that are currently mounted on the system). 6.
Chapter 2 Logging 11. To finish logging the clip, do one of the following: t t Set the remaining IN or OUT point on-the-fly by using the Mark IN or Mark OUT buttons, or by pressing F4. Type a timecode for the clip’s IN point, OUT point, or duration in the timecode text boxes next to the corresponding icon, and press Enter. The system automatically calculates the appropriate timecode for the remaining IN point, OUT point, or duration, and enters the clip into the bin.
Logging Directly to a Bin 3. Set up the deck and the Capture tool as described in “Logging with an Avid-Controlled Camera or Deck” on page 55. Mark IN button 4. Start the deck. 5. When you reach the point where you want to start the clip, click the Mark IN button in the upper left corner of the Capture tool (or press the F4 key). The Mark IN button changes to the Mark OUT button, and the deck continues to play. 6.
Chapter 2 Logging Logging with a Non-Avid-Controlled Camera or Deck You can use the Capture tool to log clips directly to a bin from a source that is not Avid-controlled. For example, you can log clips from a camera or deck that is not connected to the system or from handwritten or printed log information for a tape that was previously logged but is not currently available. n When logging with the Capture tool, you should leave the deck empty.
Modifying Clip Information Before Capturing Modifying Clip Information Before Capturing The following conditions apply to modifying clip information: • When you modify a clip’s information, related objects are automatically updated to reflect the new data. For example, if you change the name of a clip, the updated name appears in the sequences that use the clip. • Some data cannot be modified after capturing because changes would prevent you from playing back and editing the material successfully.
Chapter 2 Logging 2. Click a clip icon to select it. Ctrl+click each additional clip you want to modify. Selected clip is highlighted. 3. Select Clip > Modify. The Modify dialog box opens. Pop-up menu 4. Click the pop-up menu, and select an option (for example, Set Timecode By Field). Depending on the modification you select, different options appear in the dialog box that allow you to establish the specific modification, as described in “Options for Modifying Bin Information” on page 63. 5.
Modifying Clip Information Before Capturing Options for Modifying Bin Information The following table describes the options available from the pop-up menu in the Modify dialog box. Options for Modifying Bin Information Type of Modification Options Description Set Timecode Drop/Non-drop Drop, Non-drop Changes the timecode format between dropframe and non-drop-frame. Setting must match the timecode format of the tape. Set Timecode By Field Start or End Changes either the start or end timecode.
Chapter 2 Logging Modifying in the Bin You can modify the start and end timecodes in the bin before a clip is captured. To modify clip information in the bin: 1. Set the bin to display Start and End. For more information about setting bin headings, see “Showing and Hiding Columns” in the Help. 2. Select the clip you want to modify. 3. Type the timecode numbers you want.
Exporting Shot Log Files 3. Select File > Export. The Export As dialog box opens. 4. Do one of the following: t If you have previously created an Export setting for exporting shot log files, click the Export Setting pop-up menu, and select the setting. Then go to step 11. For information on creating Export settings, see “Customizing Export Settings” on page 312. t If you want to create a new Export setting, go to step 5. 5. Click Options. The Export Settings dialog box opens.
Chapter 2 Logging 6. Click the Export As pop-up menu, and select either Avid Log Exchange or Tab Delimited as the file type. 7. Click Save As. 8. Type a name in the Setting Name text box. The export setting name is added to the list of formats available from the Export dialog box. 9. Click OK. You are returned to the Export As dialog box. 10. (Option) Change the file name, but keep the default file name extension. 11. Select the destination folder for the file, and click Save.
Chapter 3 Preparing to Capture Capture is the process of creating digital media from videotape or audio input.
Chapter 3 Preparing to Capture Understanding Digital Video (DV) DV refers to digital video that is transferred through equipment conforming to the Institute of Electrical and Electronics Engineers (IEEE) Standard 1394. This equipment (cameras, decks, cables, connectors, and processing boards) is sometimes referred to as FireWire or i.LINK. DV connections let you transfer digital data (both video and audio) directly from a DV camera to a digital nonlinear editing system with no conversion losses.
Preparing the Hardware Preparing the Hardware Before you begin capturing, check the following: • n Remote switch. The deck control switch on the front of the source deck must be set to Remote rather than Local to control the deck with the Capture tool. The deck should be turned on and the control switch set to Remote before you start the Avid editing application. • Striped drives. If you are capturing high-resolution media, you must use striped drives. • Digital Audiotape (DAT).
Chapter 3 Preparing to Capture For more information about General settings, see “General Settings” in the Help. c The Avid editing system does not prevent you from using non-Avid drives, but their reliability cannot be guaranteed. Transfer Settings for Film Projects The following settings are important for transferring media in a film project. You should set the transfer settings for film projects immediately after you create a new project and before capturing.
Selecting Settings - Standard 2:3:2:3 pulldown: Select this option when working with 24-fps footage that has been transferred to 30 fps by duplicating frames (pulldown) and the audio has been synchronized to the picture. - Advanced 2:3:3:2 pulldown: Select this option when using native DV editing with capture over Firewire. If you are capturing sound that has been created during an NTSC film-totape transfer, you need to set the pulldown switch before you begin capturing.
Chapter 3 Preparing to Capture • Audio Source Tape TC Rate allows you to specify the digital audiotape (DAT) timecode format: either 30 fps or 29.97 fps (NTSC only). This timecode format must conform to the timecode format on your original DAT tapes. This setting is active when capturing audio only. This setting does not appear in 23.976p projects. • Set Pulldown-to-Timecode Relationship allows you to set a default pulldown phase for a 24p NTSC project. See “Setting the Pulldown Phase” on page 45.
Selecting Settings 2. Click Add Channel. A Channel dialog box appears. 3. Click the Channel Type pop-up menu, and select VLAN VLX. 4. Click the Port pop-up menu, and select COM1 or COM2. 5. Click OK. A dialog box appears, asking if you want to automatically configure the channel now. 6. Click Yes. The connected GPI is automatically detected and appears in the Deck Configuration dialog box. 7. Double-click the VLAN VLXi-GT device name in the Deck Configuration dialog box.
Chapter 3 Preparing to Capture GPI Settings Options (Continued) Option Description Pulse Duration Pulse durations are expressed in milliseconds. GPI Control Enable When you deselect this option, you disable the GPI but keep the GPI settings. This is useful for troubleshooting purposes. Edit Click to edit an existing GPI node. Delete Click to delete an existing GPI node. Add Click to add another GPI node.
Selecting Settings Deleting a GPI Setting You can delete a GPI setting that you have defined so it no longer appears as an option in your GPI Settings dialog box. To delete a GPI setting: 1. Double-click Deck Configuration in the Setting scroll list. The Deck Configuration dialog box appears. 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. Editing an Existing GPI Setting To edit a GPI setting: 1.
Chapter 3 Preparing to Capture Configuring Decks Deck Configuration settings allow you to establish deck control parameters for a single deck or for multiple decks. As with all settings, you can create multiple versions, allowing you to select among them for frequent changes in hardware configurations. Deck Configuration settings and global Deck Preferences settings appear as separate items in the Settings scroll list of the Project window.
Configuring Decks For more information about Deck Configuration settings, see “Deck Configuration Settings” in the Help. To configure a deck or multiple decks: 1. Double-click Deck Configuration in the Settings scroll list. The Deck Configuration dialog box opens. 2. If you are configuring your system for the first time, click Add Channel to add a new channel box on the left side of the Deck Configuration dialog box and automatically open the Channel dialog box. 3.
Chapter 3 Preparing to Capture n If you are not sure which port to select, check the 9-pin serial port connectors on the back of the system. If the ports are not labeled, see the hardware documentation supplied with your system. 5. Click OK to close the Channel dialog box. A dialog box opens asking if you want to automatically configure the channel now. 6. Click Yes if you want to automatically configure the channel.
Configuring Decks 7. If you did not auto-configure the deck, click the channel box to select it. 8. Click Add Deck to open the Deck Settings dialog box. n n With a deck already connected to the system, you can click Auto-configure to bypass the Deck Settings dialog box and automatically configure a deck with the default settings. Not all DV devices respond to the Auto-configure command. Due to this limitation, Auto-configure will select only the generic devices.
Chapter 3 Preparing to Capture 9. Select settings based on your device. For information on Deck settings, see “Deck Settings Options” on page 81. 10. Click OK to close the Deck Settings dialog box and to return to the Deck Configuration dialog box. n You can reopen the Deck Settings dialog box to change the options at any time by double-clicking the deck box in the Deck Configuration dialog box. 11. Repeat steps 1 through 10 for each additional channel or deck you want to configure. 12.
Configuring Decks Deck Settings Options To open the Deck Settings dialog box, do one of the following: t Click Add Deck in the Deck Configuration dialog box. t In the Deck Controls area of the Capture tool, click the Deck Selection pop-up menu and select Adjust Deck. t Double-click the deck box in the Deck Configuration dialog box. The Deck Settings dialog box opens.
Chapter 3 Preparing to Capture The following table describes the Deck Settings options. Deck Settings Options Option Suboption Description Name — Type your custom name for the tape deck. The default name matches the deck type. Description — Enter notes about the deck. Notes — Displays configuration information, supplied by Avid, about the deck you have selected. Not all decks include this information. Device — Select your model and manufacturer from the pop-up menus.
Configuring Decks Deleting Deck Configurations To delete a deck configuration: 1. Double-click Deck Configuration in the Settings scroll list. The Deck Configuration dialog box opens. Delete button 2. Click the names of the currently configured channel and deck in the display area. The entire display area should have a red border. 3. Click Delete. 4. Click Apply to complete the changes and close the dialog box.
Chapter 3 Preparing to Capture Setting Deck Preferences Deck preferences are global settings for basic deck control. These settings apply to all decks connected to your system, regardless of your deck configuration. You can open the Deck Preferences dialog box from the Settings scroll list. For more information about Deck Preferences, see “Deck Preferences Settings” in the Help.
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 3 Preparing to Capture Setting Up the Capture Tool The Capture tool provides controls for cueing, marking, and logging footage, and specifies capturing parameters such as source and target locations. Opening the Capture Tool To open the Capture tool: t Select Tools > Capture. The Capture tool opens.
Setting Up the Capture Tool Changing the Power Scheme If you install your Avid editing application on a laptop computer, an Incompatible Power Scheme warning button might appear in the top right corner of the Capture tool. Some of the standard power schemes available to laptops running Windows XP might affect the performance of editing functions, including capturing media. Avid recommends you use the “Always On” power scheme when working with Avid applications.
Chapter 3 Preparing to Capture Selecting Video Input You select video input from either the Capture tool or the Video Input tool. The options for video input might be different form those listed here, depending on the model of your Avid editing system.
Setting Up the Capture Tool To create a customized default Video Input Tool setting: 1. Select Tools > Video Input Tool. The Video Input tool opens. 2. Select the video input as described in “Selecting Video Input” on page 88. 3. Click the Settings pop-up menu in the Video Input tool, and select Save As. A dialog box opens. 4. Type Default in the dialog box and click OK. (You must use this spelling and initial capitalization.
Chapter 3 Preparing to Capture - Line In (software-only models) - Microphone (software-only models) - Phone Line (software-only models) Selecting a Deck The Deck Selection pop-up menu in the Capture tool contains a list of decks or cameras that were connected to the system, powered up, and initialized when you entered Capture mode. The first deck or camera in the list is selected by default, unless all decks or cameras are offline.
Setting Up the Capture Tool If a deck name appears in italics in the pop-up menu, the deck has lost power or has been disconnected. To reestablish deck control, click the pop-up menu, and select Check Decks. n You must have V-LAN VLXi hardware to manage more than one deck at a time. For more information on V-LAN equipment, contact your Avid sales representative.
Chapter 3 Preparing to Capture Selecting a Tape To select a source tape: 1. Insert a tape into your deck. The Select Tape dialog box opens. 2. In an NTSC project, play the tape briefly so the system can detect the timecode format of the tape (drop-frame or non-drop-frame). Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box regardless of the format on the tape, and you might receive a message indicating a wrong tape.
Setting Up the Capture Tool Selecting Source Tracks You can select the tracks to capture from the source tape. To select only those tracks that you want to capture: t Click the Channel Selection buttons in the Capture tool. The TC (timecode) track is selected by default. Channel Selection buttons n If you are not seeing the source video or hearing source audio in Capture mode, click the Channel Selection buttons to make sure the correct tracks have been selected.
Chapter 3 Preparing to Capture Detecting Valid or Locked Capture Input On systems with an Avid Adrenaline or an Avid Mojo, the Capture tool indicates the kind of signal you have selected to capture, and if the signal you want to capture is valid or locked. For more information about selecting tracks in the Capture tool, see “Selecting Source Tracks” on page 93. When you select a video track you want to capture, the Video Lock icon appears in the Comment area of the Capture tool.
Setting Up the Capture Tool Selecting a Resolution in the Capture Tool Click the Capture Tool Resolution (Res) pop-up menu, and select a video resolution. Depending on the video format of your project, your selections vary. See “Project Resolutions” on page 28 for a complete list of resolutions. Resolution pop-up menu Bin pop-up menu To select a resolution in the Capture tool: You can also set the resolution in the Media Creation dialog box, which you access through the Settings scroll list.
Chapter 3 Preparing to Capture on your video input and your Avid editing system. For more information, see “Capturing DV 50 and DVCPRO HD Media Directly from a DV Device” on page 155. Selecting a Format in the Capture Tool You can select either the OMF® or MXF format in the Media Type tab of the Media Creation dialog box. You can also select a specific video resolution in the Capture tool or in the Media Creation dialog box (accessed through the Settings scroll list).
Setting Up the Capture Tool 2. Click the Drive Filtering tab. You can remove from the list of available drives the drive where your operating system is located and the drive where the Avid editing system is located. This allows you to choose to store media only on drives with sufficient space. 3. Select a drive to filter out: t Select Filter Based on Resolution to remove as a storage choice the drives that cannot support the selected resolution.
Chapter 3 Preparing to Capture 6. Click the Video Resolution pop-up menu, and select a video resolution. The Video Resolution pop-up menu contains a list of the available resolutions. n n Avid editing applications have the ability to play back and edit media that has been captured using a Meridien-based Avid editing system or an Editcam™ when in a shared storage workgroup. For more information on supported resolutions, see “Project Resolutions” on page 28.
Setting Up the Capture Tool Selecting a Media Type To select a media type in the Media Creation dialog box: 1. Do one of the following: t Double-click Media Creation in the Settings scroll list. t Select Tools > Media Creation. The Media Creation dialog box opens.For information about options, see “Media Creation Settings” in the Help. 2. Click the Media Type tab. 3. Select OMF or MXF from the Video File Format pop-up menu, and then click OK.
Chapter 3 Preparing to Capture 3. On the desktop, click the Start menu, and then select All Programs > Accessories > Notepad. n Do not use Wordpad. It introduces characters that the application cannot recognize. 4. Type each resolution you want to disable on a separate line. Do not include OMF or MXF.
Setting Up the Capture Tool 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 all caps. Do not disable all resolutions supported by the editing application. You need to keep one resolution available. 5. Select File > Save As. 6. Navigate to Program Files > Avid > Application Name, for example Program Files > Avid > NewsCutter Adrenaline. 7.
Chapter 3 Preparing to Capture To select a target bin, do one of the following: t Click the Bin pop-up menu in the Capture tool, and select an open bin (only open bins appear in the Bin pop-up menu). t Activate a previously created bin by selecting File > Open Bin, then locate and open the bin in the Open Bin dialog box. t Create a new bin by selecting File > New Bin, and then naming and opening the new bin in the New Bin dialog box.
Setting Up the Capture Tool 2. Click the Single/Dual Drives Mode button in the Capture tool until it displays the Single Drive icon. Target Drive pop-up menu Single/Dual Drives Mode button 3. Click the Target Drive pop-up menu, and then select a drive. The name shown in bold in the menu has the most storage available. The time remaining is calculated based on your resolution selection.
Chapter 3 Preparing to Capture To target separate drives for audio and video: 1. Select Tools > Capture. The Capture tool opens. 2. Click the Single/Dual Drives Mode button in the Capture tool until it displays the Dual Drives icon. Target Drive pop-up menu Single/Dual Drives Mode button Timeremaining 3. Click the Target Drive pop-up menu, and select separate drives for audio and video. The names shown in bold in the menus have the most storage available.
Setting Up the Capture Tool Interpreting the Time Remaining Display You can interpret the numbers in the time remaining display in the Capture tool based on the following factors: n • Each captured clip is limited by the Avid editing system to a maximum file size of 2 GB. Any clip whose size exceeds 2 GB will have more than one media file associated with it.
Chapter 3 Preparing to Capture 2. Do one of the following: t 106 For OMF media, click the OMF Media Files tab.
Setting Up the Capture Tool t For MXF media, click the MXF Media Files tab. 3. In the OMF Media Files tab, select the option “Capture to multiple files.” n MXF media only captures to multiple files. 4. Accept the default or type a different time limit in the “Maximum (default) capture time” text box. c n If you think that any of your captured clips might exceed 30 minutes, make sure you enter a higher estimate in this text box; otherwise, the system stops capturing at 30 minutes.
Chapter 3 Preparing to Capture 6. Select Tools > Capture. The Capture tool opens.
Setting Up the Capture Tool 7. To capture to multiple files across drives, click the Target Drive pop-up menu, and select Change Group. The Drive Group dialog box opens. 8. Ctrl+click multiple drives to include in the capturing session, or click All 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 close the dialog box. 9. Click OK to close the dialog box and apply the changes. 10. Proceed with capturing.
Chapter 3 Preparing to Capture Selecting the Preroll Method The Preroll Method pop-up menu in the Capture Settings dialog box includes the following four methods that help you capture more efficiently when a source tape contains timecode breaks: • Best Available: The 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.
Setting Up the Capture Tool - If the adjusted preroll time is too short to sync lock at the IN point, the system does not capture the shot and displays an error message. Use this method if you know there are timecode breaks and want to capture material as automatically as possible. Because the system does not use timecode, it might occasionally capture the wrong frames if there is a problem with the control track.
Chapter 3 Preparing to Capture Preparing for Audio Input Avid editing systems support direct input of four channels of audio. Source track assignments are mapped directly to audio tracks in the captured clips. For example, when you capture source footage with audio channels 1 to 3, the resulting master clip has matching audio tracks 1 to 3.
Preparing for Audio Input • Audio media files written when using the Consolidate feature: Media files that are copied or created during a consolidate procedure retain their original file types. To select the audio file format: 1. Double-click Audio Project in the Settings scroll list. The Audio Project Settings dialog box opens. 2. Click the Main tab. 3. Click the Audio File Format pop-up menu, and select OMF (WAVE), OMF (AIFF-C), or MXF (PCM). 4. Close the Audio Project Settings dialog box.
Chapter 3 Preparing to Capture • c Analog audio input: If you are capturing audio-only from an analog source, sync is generated from a black burst generator or house sync source when it is connected to REF IN on the Avid Adrenaline or Avid Mojo. If there is no reference connected, sync is generated from internal timing.
Preparing for Audio Input Adjusting Audio Project Settings You can use the Audio Project Settings dialog box to check the current configuration of audio hardware and to select various input and output options. The Audio Project Settings dialog box has four tabs: Main, Input, Output, and Hardware. n Some options depend on the audio configuration of your system, so your system might not contain certain features and hardware that are covered in the documentation.
Chapter 3 Preparing to Capture 2. Double-click Sound Card Configuration. The Sound Card Configuration dialog box opens. Record/Input list Playback/Output list Input sources Output Source pop-up menus Default button Audio device name 3. For each input source in the Record/Input list that you want to map, click the matching Output Source pop-up menu from the Playback/Output list and select an output source. n You can map an input source to only one output source at a time.
Preparing for Audio Input Sound Card Configuration with Surround Sound Capabilities (Software-Only Systems) If your system has a surround sound audio chip installed, your Avid application might not be able to configure the Windows Mixer properly for audio output. By default, the Avid application mutes all output sources except the primary audio, which typically is a WAVE source. Some surround sound devices require that other audio output sources, such as Front Speakers, not be muted.
Chapter 3 Preparing to Capture In addition, controls in the Audio tool allow you to calibrate, set levels, and generate customized calibration tones for output to the speakers or a capture device. For information about other options in the Audio tool, see “Calibrating for Audio Output” on page 252. To open the Audio tool, do one of the following: Audio Tool button t t Select Tools > Audio Tool. Click the Audio Tool button in the Capture tool.
Preparing for Audio Input Audio Tool Components (Continued) Component Description Peak Hold Menu button Displays a pop-up menu that allows you to select options for customizing the meter displays and for setting and playing back the internal calibration tone. Digital scale to the left of the meters Displays a fixed range of values from 0 to –90 decibels (dB), according to common digital peak meter standards.
Chapter 3 Preparing to Capture n n You must recalibrate the audio I/O device when you adjust the reference level. For more information, see “Calibrating Input Channels for the Audio I/O Device” on page 124. If the reference level doesn’t match the hardware calibration setting, the 0 VU entry displays in red on the Audio tool.
Preparing for Audio Input Depending on your audio hardware configuration, you can use one of the following methods to adjust audio levels. To check and adjust input levels using an audio input device: 1. Click the In/Out toggle buttons in the Audio tool for the channels that you will use for input. The Audio tool displays an I for Input. 2. Play back the source audio (from a videotape or DAT, for example). If the capturing includes reference tone, cue to the tone and play it back. 3.
Chapter 3 Preparing to Capture 4. Click the Input tab. The Input tab displays either an Input Level slider or an Input Gain button. Input Gain Button Input Level slider 5. Do one of the following: n t Click the Input Level slider and drag it to raise or lower the audio input level. t Click the Input Gain button and select either 0 dB or +6 dB. These options are available only if your audio hardware configuration supports software audio control.
Preparing for Audio Input Creating Tone Media To create tone media: 1. Open a bin. 2. Click the Peak Hold pop-up menu, and select Create Tone Media. Peak Hold pop-up menu The Create Tone Media dialog box opens.
Chapter 3 Preparing to Capture 3. Set the appropriate calibration tone parameters in the dialog box. You can also use the default output tone of –20 dB (digital scale) with a 1000-Hz signal. n If you set the tone media frequency to 0, the system generates random noise. A value of –777 generates a tone sweep. 4. Select the number of tracks of tone you want to create. 5. Click the pop-up menus, and select a target bin for the tone master clip and a target drive for the tone media. 6. Click OK.
Preparing for Audio Input 4. Click the Peak Hold pop-up menu, and select Calibrate. The Audio tool changes to Calibrate mode: the scales display a range of approximately 2 dB, and the meters indicate levels within this range. Peak Hold Menu button Indicates the hardware calibration value set in the Hardware tab in the Audio Project Settings dialog box. The Volume Unit scale varies, displaying a custom reference level setting, +1 dB above and –1 dB below. 5.
Chapter 3 Preparing to Capture 3. Click the Peak Hold pop-up menu, and select Set Calibration Tone. The Set Calibration Tone dialog box opens. 4. In the Calibration tone level text box, type the system reference level (for example, –14), and click OK. 5. Click the In/Out toggle buttons to display I for the channels you are using for input, for example, 3 and 4. Click the In/Out toggle buttons to display O for the channels you are calibrating, for example, 1 and 2. 6.
Preparing for Audio Input 3. Click the Passthrough Mix Tool button. The Passthrough Mix tool opens. Input Mix Mode button Number of Mix Panes button Channel Selection button Stereo Mix Tracks pop-up menu Which Set of Tracks to Display in Mix Panes button Volume Level display Gang button Volume Level slider Pan Value display and pop-up slider n You can open the Passthrough Mix tool by clicking the Passthrough Mix Tool button in the Capture tool or the Audio Punch-In tool.
Chapter 3 Preparing to Capture Monitoring Audio with the Passthrough Mix Tool When you capture, you can monitor the mix, volume, and pan values of audio channels with the Passthrough Mix tool. The Passthrough Mix tool adjusts monitored audio only and has no effect on the captured audio signal. To adjust audio in the Passthrough Mix tool: 1. Double-click Audio Project in the Settings scroll list. The Audio Project Settings dialog box opens. 2. Click the Input tab. 3. Click the Passthrough Mix Tool button.
Preparing for Audio Input Changing an Audio Level in the Passthrough Mix Tool The following illustration shows the audio panel in the Passthrough Mix tool. Volume Level display Gang button Volume Level slider Pan Value display Pop-up slider To change an audio level value in the audio panel in the Passthrough Mix tool, do one of the following: t Click a number along the vertical edge of the Volume Level slider. t Click the Volume Level slider, and type a value.
Chapter 3 Preparing to Capture Audio Meters in the Timeline The Audio meters in the Timeline allow you to view and adjust audio levels without opening the Audio tool. The Audio meter displays two channels of audio. To display the Audio meters in the Timeline: t Click the Meter Menu button, and select Show Audio Meters. The Audio meters display in the Timeline.
Audio Meters in the Timeline Using the Meter Menu The Meter menu options are the same options as those available in the Audio tool (see the following table). n For more information on these options, see “Using the Audio Tool” on page 117. Audio Meter Menu Options Option Description Hide Audio Meters/Show Audio Meters Displays or hides the Audio meters in the Timeline. Peak Hold Keeps the highest meter value displayed in the meters for a short duration after the highest value is hit.
Chapter 3 Preparing to Capture a. If your project is set to a 32-kHz sample rate and you have a DV device connected, you can have eight channels of audio. The Audio meter in the Timeline can display only two channels at a time. If you have an Avid Adrenaline attached to your system, you can select which two to display. Adjusting Volume Control in the Timeline Avid editing systems allow you to adjust your speaker or headphone volume without leaving the application.
Audio Meters in the Timeline n n If you have an Avid DNA attached to your system, the Audio meter in the Timeline functions only as a Mute button. You cannot use the audio meter to adjust the volume. Adjusting the volume control affects the volume only while you are in the Avid editing application. Once you quit the application, the volume control defaults to how it was set on your desktop. To mute volume t From the Timeline, click the Master Volume button.
Chapter 3 Preparing to Capture 2. Click the Reset Peak button to clear the system’s capture of the most recent maximum peaks. 3. Play a sequence or portion of the sequence. 4. After playing back the audio, open the Console window by selecting Tools > Console. 5. In the Console command line, type DumpMaxPeaks. Console command line 6. Press Enter. A list of peak values appears in the Console window.
Calibrating for Video Input n c Before you calibrate for video input, check that your monitor is properly calibrated for displaying footage accurately. For more information, see your monitor’s hardware documentation. When recapturing media from an offline project, check video settings for each tape. Do not rely on saved settings. Manually Calibrating for Video Input n The Video Input tool is not available on all models.
Chapter 3 Preparing to Capture If clicking the Signal Lock TV button does not improve the video quality, Avid recommends that you purchase a time-base corrector (TBC). Make sure the deck and TBC support the advanced sync feature. This feature eliminates the one-frame delay that many TBCs introduce. For more information, see “Limitations When Using Consumer Decks or Decks Without Time-Base Correctors” on page 139. 5. Click the 100% Bars button if the source displays 100% bars for calibration.
Calibrating for Video Input 7. Adjust the Line Selector slider located below the Waveform monitor to display the appropriate line of the test pattern; then adjust the luminance values based on the settings listed in the following table.
Chapter 3 Preparing to Capture 8. Close the Waveform monitor, and open the Vectorscope monitor by clicking the Vectorscope Monitor button. Vectorscope Monitor button Line Selector slider 9. Adjust the Line Selector slider to display the signal for color bars at approximately line 150 (this applies to all formats and all types of bars). 10.
Calibrating for Video Input Limitations When Using Consumer Decks or Decks Without TimeBase Correctors This section describes some difficulties you might encounter when working with consumer video decks and tapes (such as VHS) or decks that do not provide time-base correction or stabilized timing on their outputs. Workarounds are described when available.
Chapter 3 Preparing to Capture Green Line in VHS Video Some VHS tape decks do not output the full 240 lines of video normally included in the VHS format. As a result, after you capture from a device such as a VCR, a green line might appear at the bottom of the monitors in Avid editing systems. This line is at the bottom of the visible area of the picture, and is not seen in a standard consumer monitor in most cases.
Calibrating for Video Input To save the calibration settings for an entire tape: 1. After calibrating the videotape input, click the Video Input Tool Settings pop-up menu, and select Save As. The View Name dialog box opens. 2. (Option) Type a new name for the settings. n If you give the settings the same name as the tape name, Avid editing applications apply the settings automatically when that tape is loaded into the deck in the future (for example, when you are recapturing). 3. Click OK.
Chapter 3 Preparing to Capture Saving a Custom Default Setting for the Video Input Tool 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. To create a customized default Video Input tool setting: 1. Select Tools > Video Input Tool. The Video Input tool opens. Settings pop-up menu 2.
Calibrating for Video Input Adjusting Video Levels Without Color Bars Color bars are the best way to set the video levels consistently. However, if you have a tape or series of tapes with no color bars, you might need to adjust video levels by using the Waveform and Vectorscope monitors. n Calibrate your monitor before adjusting video levels by eye. The following table describes the criteria for adjusting video levels by eye, without color bars.
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Chapter 4 Capturing Media When you capture media, you convert source material from videotape to master clips that contain reference information. You also create associated media files that contain the digital audio and video.
Chapter 4 Capturing Media Before You Begin Capturing Depending on your immediate needs and chosen capturing method, use the following guidelines for working through this chapter: 146 • If you want to add clip names and comments on-the-fly while you capture, see “Adding Clip Names and Comments On-the-Fly” on page 147. • If you want to capture DV 50 or DVCPRO HD media, see “Capturing DV 50 and DVCPRO HD Media Directly from a DV Device” on page 155.
Adding Clip Names and Comments On-the-Fly Adding Clip Names and Comments On-the-Fly The annotate feature allows you to type clip names and comments during the capturing of a clip. The information is saved in the clip Name and Comments columns in the bin. You can add comments about the clip such as color correction or editing directions. To add clip names and comments on-the-fly: 1. Start typing the clip name at any time during the capturing of a clip.
Chapter 4 Capturing Media 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. The Field Selection list opens with your new text field selected.
Adding Extra Text Fields in the Capture Tool To display or hide text fields: 1. Select Tools > Capture. The Capture tool opens. 2. Click the Extra Field Selection button. 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.
Chapter 4 Capturing Media Adding Locators On-the-Fly Locators mark a single frame within a clip or sequence so you can attach a note or find the frame at a later time. This section describes a shortcut method of adding locators on-the-fly while capturing. When the Capture tool is active, eight colored locators are mapped to eight Function keys on the keyboard: F5–F12. Also, the End Locator Entry key is mapped to F4. The locators override any other functions mapped to these keys.
Creating Subclips While Capturing 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.
Chapter 4 Capturing Media n If your Avid editor is a Avid Unity MediaManager client in an MXF/AAF workgroup, you cannot create subclips while capturing media using the Capture tool. However, you can use the Frame Chase feature when capturing media from a supported external device using Avid Unity TransferManager. For more information about using Frame Chase, see the Avid Unity MediaManager Help. You can also capture a subclip of a preset duration.
DV Capture Offset DV Capture Offset The DV capture offset option allows you to offset the incoming DV stream against the timecode assigned to each frame during capturing. This offset option is used in software-only models with a transcoder configuration or in configurations where the DV stream does not encode timecode into the incoming DV frames.
Chapter 4 Capturing Media To offset the sequence for capture: 1. Double-click Deck Preferences in the Settings scroll list. The Deck Preferences dialog box opens. This option appears only in software-only models 2. Determine the approximate offset, and then type the offset in the Capture Offset (frames) text box. 3. Click OK. The delay is reflected in the DV Capture Offset box in the Capture tool. 4. Capture your material.
Capturing DV 50 and DVCPRO HD Media Directly from a DV Device Capturing DV 50 and DVCPRO HD Media Directly from a DV Device DNA button 1394 button When you capture DV 50 or DVCPRO HD media, you can capture directly from a DV camera or deck connected through a separate IEEE-1394 port.
Chapter 4 Capturing Media n In software-only systems, the Avid Mojo selection does not display and the default selection is 1394. 2. To capture DV 50 or DVCPRO HD media, select 1394. The 1394 icon displays above the Timeline, and a check mark appears next to IEEE 1394 in the Device menu. n For information on playing back DV 50 and DVCPRO HD media, see “Playing Back Footage” in the Help.
Capturing and Logging at the Same Time Capturing and Logging at the Same Time When you capture without entering log information in a bin ahead of time, the system creates clips and associated media files while you capture. Capturing in this manner involves manually cueing source footage with an Avidcontrolled deck by using the deck controls in the Capture tool or the Deck Controller window. There are several ways to capture and log at the same time: • Capturing from an IN point to an OUT point.
Chapter 4 Capturing Media Capturing from One Point to Another Capturing from an IN point to an OUT point allows you to specify exactly where to begin and end capturing. You can specify only an IN point or an OUT point, and the system enters the other mark on-the-fly.
Capturing and Logging at the Same Time Setting Both Marks To capture by specifying an IN point and an OUT point: 1. Make sure you have selected the proper Capture settings as described in “Selecting Settings” on page 69 and have set up the Capture, Audio, and Video Input tools as described in Chapter 3. 2. Set either an IN point or OUT point for the clip you want to capture, using one of the following methods: Mark IN Mark OUT t Use the deck controls in the Capture tool or the Deck Controller window.
Chapter 4 Capturing Media you type does not appear on the screen until you have completed capturing. (After you log clips, you can modify information to correct input errors or to add information.) When the tape reaches the clip’s OUT point or you click the Record button again, capturing stops, and the system creates a new clip in the bin.
Capturing and Logging at the Same Time n There is a slight delay of several frames after you manually select a spot to start and to stop capturing. Therefore, use this method when you do not need precise beginning and end points in your clip. In some circumstances, the captured material might exceed the logical file size of the Avid editing system. For example, the maximum size of a media file cannot exceed the size of a 2-GB partition.
Chapter 4 Capturing Media 2. (Option) Click the Clip Name and Comment triangular opener in the Capture tool to display the Name and Cmnt (Comment) text boxes if you plan to enter clip names or comments during capturing. 3. Use the deck controls in the Capture tool or the Deck Controller window to locate the position on the tape where you want to start capturing.
Capturing and Logging at the Same Time 7. To stop capturing and to enter the OUT point of the clip, click the Record button, or press the Esc key. The system creates a new clip in the bin. Autocapture Autocapture can save you time by allowing you to bypass both the logging process and the time it takes to cue each clip. However, this process requires the most storage space, and more time is spent while the system is actually capturing entire tapes.
Chapter 4 Capturing Media To autocapture: 1. Double-click Capture in the Settings scroll list. The Capture Settings dialog box opens. 2. Do one of the following: t Click the Preroll Method pop-up menu, select either Best Available or Best Available Control Track, and then select “Capture across timecode breaks.” See “Capture Settings: General Tab” in the Help and “Selecting the Preroll Method” on page 110.
Capturing and Logging at the Same Time 5. Double-click the deck box for the video deck from which you are capturing. The Deck Settings dialog box opens. 6. Deselect Fast Cue, and set the preroll to approximately 4 seconds. 7. Click OK to close the Deck Settings dialog box. 8. Create one bin for each source tape. This keeps bins to a manageable size and automatically names all clips from each tape after the names of their respective bins. 9. Name each bin after the source tape.
Chapter 4 Capturing Media Capturing with Time-of-Day Timecode When you capture with an Avid-controlled deck, you can capture your footage with time-of-day timecode rather than source timecode. To capture with time-of-day timecode: 1. Select Tools > Capture. The Capture tool opens. 2. When selecting tracks, deselect the TC button. 3. Capture by using the procedure described in “Capturing On-the-Fly” on page 160.
Capturing and Logging at the Same Time To prepare for capturing with external timecode: 1. Select Tools > Capture. The Capture tool opens. 2. Click the Toggle Source button until the Satellite Mode icon appears. Toggle Source button Timecode Source pop-up menu Source Tape Display button 3. Select the audio and video tracks. 4. Select the audio and video input. 5.
Chapter 4 Capturing Media n LTC Input is only available with Avid Adrenaline DNA products. 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. If the LTC Input is deactivated, the Capture tool automatically switches to internal timecode. If the LTC Input is reactivated, the Capture tool switches back to LTC Input. - Firewire Timecode: Detects timecode over a FireWire connection.
Capturing and Logging at the Same Time New Tape Name button List of tapes Show other projects option For guidelines on naming tapes, see “Logging Tips” on page 37. 7. 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. t Click New if the tape is not in the list, and type a new tape name in the text box that appears at the bottom of the Tape Name list.
Chapter 4 Capturing Media n You can log an event ahead of time and it will automatically start recording that signal when the internal clock or external LTC arrives at that timecode. For example, log a clip at 14:00:00:00 to14:30:00:00 sometime in the morning, and at 2:00, the capture will start and then end at 2:30.
Remote Play and Capture n If a message appears stating that the Avid Serial Driver is not installed for Remote Play and Capture, make sure the correct serial driver is installed on your system. If you are running Avid Media Browse™ and using the Remote Play and Capture option, you need to run the Avid editor with the Microsoft driver. If you are running the Avid editor (without Avid Media Browse), the Avid serial driver should be installed.
Chapter 4 Capturing Media 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 scroll list of the Project window. The Communication (Serial) Ports tool opens. See “Changing the Serial Driver” on page 174. 2. Choose the appropriate port from the Remote Play and Capture pop-up menu. 3. Close the Communication (Serial) Ports tool.
Remote Play and Capture 9. Select Tools > Capture. The Capture tool opens. 10. Select the tracks onto which you want to capture by clicking the Channel Selection buttons. 11. Choose a bin from the Bin pop-up menu. 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.
Chapter 4 Capturing Media Changing the Serial Driver When your Windows installation occurs, two serial drivers are installed: msports.inf and serial.sys. When an Avid editor is installed, two additional serial drivers are installed: msportsAvid.inf and Avidxpserial.sys. When you run the Avid editor, the Avid drivers are used. However, if you are using Avid Media Browse and Remote Play and Capture, you need to change the systems serial driver to the Microsoft drivers.
Remote Play and 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 When the capturing is done, the Capture tool updates the timecode entry fields for the next scheduled capturing session. 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.
Capturing Audio from a Music CD 5. Select the Scheduled Capture Mode option. 6. Select how to capture the satellite feed: t Select the Once option to capture the satellite feed one time. t Select the Loop option to repeat the schedule every day. 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.
Chapter 4 Capturing Media 4. Select Tools > Capture. The Capture tool opens. Record button Toggle Source button set to Satellite mode Audio pop-up menu Selected audio track Selected Bin pop-up menu Source Tape Display button 5. Click the Toggle Source button until the Satellite Mode icon appears. 6. Select an audio track. 7. Click the Audio pop-up menu, and select CD Player. 8. Click the Source Tape Display button. The Select Tape dialog box opens. 9. Click New in the Select Tape dialog box. 10.
Capturing to the Timeline Capturing to the Timeline You can capture footage directly from tape into a sequence loaded in the Timeline in one step, bypassing several steps such as organizing and reviewing clips, marking edit points, and performing edits. To capture to the Timeline: 1. Prepare to capture as described in Chapter 3. 2. Select options in the Capture Settings dialog box: a. Double-click Capture in the Settings scroll list. The Capture Settings dialog box opens. b. Click the Edit tab. c.
Chapter 4 Capturing Media 10. If you did not mark the OUT point in advance, click the Record button again when the footage reaches the appropriate frame. n If you already marked an OUT point, capturing will stop automatically. When capturing ends, the clip appears in place in the sequence, and a master clip appears in the bin. Patching When Capturing to the Timeline By default, the tracks you have selected for capturing (V1, A1, A2, and so on) are edited to the corresponding tracks in the Timeline.
Batch Capturing from Logged Clips Batch Capturing from Logged Clips Once you have imported a log or manually logged a group of clips to a bin, you can automate the capture process by using the batch capture capabilities of Avid editing systems. If you want to batch capture, source tapes must have timecode that matches the timecode for the selected clips. You can also use the batch capture process to recapture existing clips. The recapture process is described in “Recapturing Your Material” on page 190.
Chapter 4 Capturing Media Batch Capturing Clips To batch capture clips: 1. Make sure you selected the correct Capture Settings and set up the Capture tool, as described in Chapter 3. 2. Open the bin that stores the clips you want to capture. 3. (Option) If you are recapturing a project created on an offline system, readjust the video levels for each tape. You cannot reuse video settings from a previous offline session. For information, see “Calibrating for Video Input” on page 134. 4.
Batch Capturing from Logged Clips 6. Select options in the dialog box: For more information on handle lengths when recapturing, see “Recapturing Sequences” on page 191. n t If the bin contains some clips that are already captured and you do not want to recapture those clips, select “Offline media only.” If this option is not selected and some of the selected clips have media files, the system deletes the media files and recaptures new media files.
Chapter 4 Capturing Media n t Click “Skip this tape” to skip all the clips from the mounted tape. The system then prompts you for the next tape. t Click Abort to end the batch capture process. You can also stop capturing at any time by clicking the Trash button in the Capture tool. To skip specific clips in the process of batch capturing a particular tape, you must abort each clip manually by clicking the Trash button and then clicking the next clip in the Abort window to continue.
Modifying the Pulldown Phase After Capturing b. Think of these frames as frames B and X of a four-frame series. No movement A B X D Incorrect sequence A B C D Correct sequence 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.
Chapter 4 Capturing Media 2. Deselect the option “Delete master clip(s)” and select “Delete associated media file(s).” 3. Click OK. The original media file is deleted. 4. Make sure the clip is still selected. Press Ctrl+Shift and choose Unlink from the Clip menu. The clip information is unlinked and you can modify the clip information. 5. Type the correct letter for the pulldown phase in the Pullin column. If necessary, type a new timecode and key number.
DV Scene Extraction You can perform a DV Scene Extraction in two ways: t Set up the DV Scene Extraction option before capturing. When capturing is performed, subclips and locator marks appear in the bin. t Perform DV Scene Extraction after capturing. Select those clips in the bin for which you want to generate subclips and locator marks. Consider the following: • You can perform DV Scene Extraction on any existing clip or subclip in a bin that has TOD information breaks.
Chapter 4 Capturing Media 3. Select DV Scene Extraction. 4. Select one of the following options: t Add Locators: Creates locator marks where the TOD information breaks occur while capturing. t Create Subclips: Creates subclips where the TOD information breaks occur while capturing. t Both: Creates subclips and locator marks where the TOD information breaks occur while capturing. 5. Click OK. 6. In the Capture tool, click the Record button.
DV Scene Extraction Setting Up DV Scene Extraction After Capturing You can use DV Scene Extraction after you capture. To set up DV Scene Extraction after capturing: 1. Open a bin and select the clip or clips for which you want to create subclips or locator marks. 2. Select Bin > DV Scene Extraction. The DV Scene Extraction dialog box opens. 3. Select one of the following options: t Add Locators: Creates locator marks where the TOD information breaks occur while capturing.
Chapter 4 Capturing Media Recapturing Your Material Recapturing is the process of capturing previously captured source footage based on existing clips and sequences. Recapturing uses the batch capture process and does not require extra logging time because the clip information for items such as source tracks, timecodes, and resolutions already exists in the bin. There are several situations in which you might want to recapture: c • You can recapture a sequence after you transfer it to another system.
Recapturing Your Material Also, recapturing breaks the link from the subclip to the original master clip. If you edit the subclip into a sequence, however, the sequence will reflect any changes in the newly captured subclip. Recapturing Sequences Recapturing a sequence creates new master clips and associated media files based on the length of each clip edited into the sequence.
Chapter 4 Capturing Media Decompose creates new master clips in the bin for each shot in the sequence prior to recapturing. Using Decompose gives you greater control during the recapturing process. You can use this procedure to sort clips in the bin, modify the clips, and then recapture selected clips in the sequence. To use Decompose: 1. Activate the bin that stores the sequence and select the sequence. 2. Select Bin > Decompose. The Decompose dialog box appears. 3.
Recapturing Your Material For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, a batch capture will fail if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00. 7. Click OK. The new master clips appear in the bin. You can now sort and select these clips like all other objects in the bin. 8.
Chapter 4 Capturing Media 5. To preserve clips that already have existing media, select the option “Capture only those items for which media is currently unavailable.” Deselect this option if you plan to recapture the entire sequence. 6. Click the Handle Length text box and type the number of additional frames you want to capture at the heads and tails of the new master clips. This provides enough overlap to allow for trimming and transition effects.
Other Capture Functions 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 servolock signal.
Chapter 4 Capturing Media During Quick Record mode, the timecode display for the deck shows the timecode followed by “* LOCAL”; for example: 00;01;05;14 * LOCAL. 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.
Other Capture Functions Controlling Decks from the Keyboard You can use the J-K-L keys to control a deck from the Capture tool, the Digital Cut tool, and the Deck Controller window. The J-K-L keys work the same way they do in the Source/Record monitor, as shown in the following table. Press To K Stop the deck. L Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed. J Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal speed. K+L Shuttle the deck at 0.25x normal speed.
Chapter 4 Capturing Media To change function key commands for capturing media: 1. Double-click Capture in the Settings tab in the Project window, and click the Keys tab. The Keys tab in the Capture Settings window appears. 2. Click the key you want to map, and then select the new function from the menu. 3. Click OK. Naming a New Tape from the Keyboard You can name a new tape without taking your hands off the keyboard. To create a new tape name by using a keystroke in Capture mode: 1.
Other Capture Functions t Click the Source Tape Display button. The Select Tape dialog box opens. 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. Close the Select Tape dialog box: t Press Enter. t Click OK. 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.
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Chapter 5 Importing Files 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 Working with Mixed-Resolution Projects For more information on resolutions, see “Resolutions and Storage Requirements” in the Help. You can work with mixed resolutions in the same sequence. This feature allows you to import graphics that will match the resolution of the final sequence. For example, assume that you want to use a low resolution such as 20:1 for your initial work and then recapture your media at 2:1 for the final version.
Creating and Using Import Settings To create a new Import setting: 1. Click Import in the Settings scroll list. 2. Select Edit > Duplicate. 3. Name the new Import setting that appears in the Settings scroll list: a. Click the Custom setting name column (between the setting name and the setting type identifier). b. Type a name. c. Press Enter. Custom setting name column 4. Adjust the options for the setting as described in the following procedure.
Chapter 5 Importing Files 2. Select the appropriate options. For more information about Import Settings, see “Import Settings” in the Help. 3. Click OK. Importing Files You can access files for import from any folder or drive source mounted on the desktop, such as a CD-ROM, fixed drive, removable drive, or network server. You can import more than one file at a time, including files of multiple types. Consider copying all graphics files to a single folder before you import the files.
Importing Files To import files: 1. If you created one or more Import settings, select the Import setting you want to use from the Settings scroll list (see “Creating and Using Import Settings” on page 202). 2. Select the format MXF or OMF in the Import tab of the Media Creation dialog box. For information on selecting media formats, see “Setting Media Creation Resolutions and Selecting Drives” in the Help. 3. Open the bin in which you want to store the imported files. 4. Select File > Import.
Chapter 5 Importing Files 5. Click the Files of Type menu to display only files of the selected file type in the file browser, and select an import file type: n t Select Shot Log to import Avid Log Exchange (.ALE) files containing clip information to a bin. For more information about Avid log specifications, see “Avid Log Specifications” in the Help. t Select either Graphic or Audio to import one of more than 30 supported graphics and audio file types.
Importing Files n For sequentially numbered files (for example, myfile_001.jpg, myfile_002.jpg, and so on), the system combines all of the files into one clip. 6. (Option) Click Options to adjust the Import settings. The Import Settings dialog box opens, which allows you to select import parameters. The following illustration shows the choices for a graphics file. n For a complete description of all options in the Import Settings dialog box, see “Import Settings” in the Help. a.
Chapter 5 Importing Files n The Avid system imports XDCAM media at the native resolution of the media on the XDCAM disc. The system ignores other video resolution settings. 9. Click the Single/Dual Drives button, and select a destination drive for the imported file from the menu. 10. (XDCAM only) Type a name in the Disk Label text box.
Importing Photoshop Graphics 5. (XDCAM only) The Import file(s) from XDCAM dialog box opens. Type a name in the Disk Label text box, and then click Import. n The Avid application uses the disk label for operations such as Batch Import, where you are prompted to insert a specific XDCAM disc that holds the files you want to import. A disk label is required in order to import XDCAM media. Importing Photoshop Graphics You can import both single-layer and multilayered graphics created in Adobe Photoshop®.
Chapter 5 Importing Files To import a single-layer graphic, or a multilayered graphic that was flattened in Photoshop: t n Follow the standard instructions for importing a graphic, as described in “Importing Files” on page 204. Single-layer files that contain transparency gradients or feathering and a transparent background do not import correctly. Partially transparent pixels are displayed with either white or black blended into them, based on the percentage of transparency.
Importing Photoshop Graphics The Avid editing application imports each layer as an individual matte key with alpha channel. In this example, the graphic uses a background image, so the system creates the background image as a master clip. (If the graphic used a transparent background, the background layer would be imported as a matte key.) The following illustration shows the layers as they appear in a bin.
Chapter 5 Importing Files During the import, the 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. The sequence preserves the names and order of the layers from the original Photoshop file, as shown in the following illustration. You can then edit the tracks to build up to the full collage. Note the following: • Graphics must be RGB 8 or 16 bits, or grayscale.
Importing Photoshop Graphics You can also preserve layer effects and the original structure of the file by importing the file in two stages: 1. For the first import, click Select Layers in the message box that appears, and select all layers except the layers that contain layer effects. 2. For the second import, open Photoshop, hide the layers you have already imported, and show the layers that contain layer effects. During the import, click Flatten Image.
Chapter 5 Importing Files Support for Photoshop Special Layer Types (Continued) Layer Option Supported Notes Gradient Layer Yes Gradient transparency is preserved. Pattern Layer Yes None. Adjustment Layer No Adjustment layers include Levels, Curves, Color Balance, Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient Map, Invert, Threshold, and Posterize. Importing Multilayered Files To import a multilayered Photoshop file: 1.
Importing Photoshop Graphics Select the layers you want to import and click OK. If you select more layers than the number of tracks supported, the additional layers will be imported but will not be included in the sequence. The Avid editing application displays messages as it creates media for each layer. At the end of the process, the objects are displayed in the bin you have selected.
Chapter 5 Importing Files Importing Media from XDCAM Devices Sony’s XDCAM decks and camcorders use an optical disc with a capacity of up to 23.3 GB to store recorded media. The XDCAM devices can record media in high-resolution MPEG IMX and DVCAM™ formats. At the same time, XDCAM devices create corresponding low-resolution proxy media (MPEG-4). This allows you to work with the proxy media in an off-line editing session and then later conform the proxy media to the corresponding high-resolution media.
Importing Media from XDCAM Devices Connecting the XDCAM Device You use an IEEE-compliant 1394 (i.LINK) connector to attach 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 host 1394 port on your system must be on a bus separate from the one used by an Avid Adrenaline or an Avid Mojo device. You can have multiple XDCAM devices connected to your system at any one time.
Chapter 5 Importing Files Setting the XDCAM Import Options You set the default options for importing XDCAM media in the XDCAM tab of the Import Settings dialog box. 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. Importing XDCAM Media XDCAM devices store media as MXF media files.
Importing Media from XDCAM Devices There are several ways to import XDCAM media: • You can automatically import all proxy media when you load a disc in your XDCAM device (see “Automatically Importing Proxy Media” on page 220). • You can manually import all proxy media on all discs currently loaded on your system (see “Importing All Proxy Media from an XDCAM Disc” on page 222).
Chapter 5 Importing Files 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.
Importing Media from XDCAM Devices 2. Click the XDCAM tab. 3. Select Automatically Import Proxies when disk is inserted. 4. Click OK. 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.
Chapter 5 Importing Files Importing All Proxy Media from an XDCAM Disc You can use this method when you want to import all of the proxy media stored on your disc, but you have not opted to import the proxy media automatically. If you want to import only some of the files on your disc, use the procedure described in “Manually Importing XDCAM Media from the XDCAM Disc” on page 224. n For information on setting the XDCAM import to start automatically, see “Automatically Importing Proxy Media” on page 220.
Importing Media from XDCAM Devices n The Avid system imports XDCAM media at the native resolution of the media on the XDCAM disc. The system ignores other resolution settings — for example, in the Select Files to Import dialog box. You can repeat this procedure for each XDCAM disc that holds media you want to import. Copying XDCAM Proxy Media to a Local Drive or a Server You might want to import proxy media when the XDCAM device is not available.
Chapter 5 Importing Files To copy proxy media to a local drive or a server: 1. Copy the XML files in the root directory of the XDCAM disc to the root directory of a local drive or a server. 2. Copy the XDCAM proxy folder (XDCAM drive:\Sub) to the root directory of a local drive or a server. n You must create the same file and folder structure on your local drive as the structure used on the XDCAM disc. 3.
Importing Media from XDCAM Devices Importing Essence Marks as Locators Sony XDCAM products use Essence Marks to store metadata about media clips. Essence Marks, which can be set manually or automatically, allow XDCAM cameras to mark events such as clip start points or audio clipping. You can use Essence Marks for sorting and searching clips stored on XDCAM discs. For a description of Essence Marks, see your Sony documentation.
Chapter 5 Importing Files 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. You can mix the clips in the Timeline with any supported NTSC or PAL resolutions, add effects or titles, or perform any other editing function available in your Avid application. XDCAM proxy media are single-field resolution media.
Importing Media from XDCAM Devices 3. Deselect 10-bit SD Processing. 4. Click OK. n Some effects, such as IllusionFX and FluidMotion effects, do not play back in real time when you have Draft Quality selected. For these effects, you must also select the Progressive Source button in the Effect Editor before rendering. 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.
Chapter 5 Importing Files 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. The Batch Import command allows you to reimport the high-resolution DVCAM or MPEG IMX files while automatically linking the new imported material with the sequences and master clips created with the low-resolution MPEG-4 media.
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. Deselect Override file selections. 4. Select Batch Import High-resolution Video. 5. 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.
Chapter 5 Importing Files 9. Select Bin > Batch Import. The Batch Import dialog box opens. Single/Dual Drives button Video Drive and Audio Drive menus n The Avid 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 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 Unity TransferManager. 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 4. Click the Files of Type pop-up menu, and select CamCutter Files. Select the CamCutter bins as follows: n a. From the desktop, select the FieldPak by selecting the FieldPak drive letter. b. Open the bin folder on the FieldPak. c. Select the CamCutter bins or select the .spl files to be imported. The Outakes.bin contains clips that were discarded by the Editcam operator. These clips are generally not imported, but they can be. 5.
Reimporting Files t Import the CamCutter clips as OMFI files. This process copies the clips to a media drive. For additional information on Editcam, CamCutter technology, and how these systems operate with nonlinear editors, see the Web page www.nltek.com. Reimporting Files If you are working with master clips or sequences that contain imported material, you can use the Batch Import command to reimport the imported files.
Chapter 5 Importing Files Selected Clips section Video Resolution pop-up menu Import Target section Import Options section Selected Clips Section The Selected Clips section shows the clips you selected for import. The caption at the top of the section summarizes the total number of clips shown and how many of them were found and therefore are available to be imported. Clips displayed in black were found and will be imported. Clips displayed in red were not found in their original location.
Reimporting Files To remove a clips from the Selected Clips list: 1. Select one or more clips in the Selected Clip list. 2. Click Skip This Clip. The clips are removed from the list and are not imported. Import Target Section The Import Target section of the Batch Import dialog box contains global settings that affect all the files you are importing. • Video Resolution pop-up menu: Allows you to select a video resolution.
Chapter 5 Importing Files Starting the Reimport Process Before beginning the reimport process, consider mounting any removable media drives that held the original graphics. To reimport imported files: 1. Do one of the following: t Double-click Media Creation in the Settings scroll list. t Select Tools > Media Creation. The Media Creation dialog box opens. 2. Click the Media Type tab. 3. Click the File Format menu, and select the format (MXF or OMF).
Reimporting Files c. Navigate to the location of the source file. If you select more than one clip displayed in red, the system attempts to find the rest of the clips first in the same folder as the first clip and then, if not found there, in folders that maintain the same relationship with the first clip’s folder. When the clips are found, they are displayed in black. 9. Click the Video Resolution pop-up menu, and select a video resolution for all the reimported files.
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Chapter 6 Output Options The Avid editing application provides tools for generating output for individual tracks or entire sequences to various videotape or audiotape formats. In addition, you can generate an edit decision list (EDL) to be used by editors in a videotape suite for preparing a master tape. You can also use Remote Play and Capture for direct playback of sequences by using an edit controller in an analog editing suite.
Chapter 6 Output Options • Decide whether you want to generate stereo or mono audio. See “Adjusting One Audio Track at a Time” on the Help. • Mix down multiple audio tracks if necessary. Systems equipped with a two-channel audio board can generate a maximum of two channels. See “Mixing Down Audio Tracks” in the Help. • For HD projects, you can select to crossconvert or downconvert your sequence. • Prepare the capture tapes. See “Preparing Record Tapes” on page 256.
Preparing for Output c If you are working in a facility that uses house sync or a black burst generator to maintain accurate timing between various input and output devices, you should connect the reference signal to the reference input (REF) on the Adrenaline DNA before performing a digital cut. The Output Lock feature allows you to lock your output connection to the reference or an internal signal on the Adrenaline DNA.
Chapter 6 Output Options Selecting Sync for HD Formats Most HD formats allow you to use either black burst or tri-level as a sync source. One exception is 1080p/23.976; you cannot use reference for 1080p/23.976. Select the type of sync generator according to the following table. Output Sync Options Project Format Sync Source 1080i/59.94 720p/59.94 1080p/23.976 1080p/25 1080i/50 Tri-Level frame rate setting 1080i/59.94 720p/59.94 1080Psf/23.
Preparing for Output • Setting Vertical Blanking Interval: You can instruct the system to preserve 5 lines above each field in NTSC and 8 lines above each field for PAL. These lines can be used to store additional encoded information such as closed captioning, edgecodes or keycodes for film projects, or various interactive or enhanced TV codes. VBI information is added to the video before the footage is captured. This option allows you to preserve the information when you output your sequence.
Chapter 6 Output Options n Calibrating video output requires external Waveform and Vectorscope monitors. If you do not have external Waveform or Vectorscope monitors, keep the Video Output tool preset values. To calibrate for video output: 1. Select Tools > Video Output Tool. The Video Output tool opens.
Preparing for Output 2. Click the SD or HD tab, depending on the project format. 3. From the Output menu, select the video signal for your output device: n - For SD, select either Component, Composite, or SVideo. - For HD, select HD Component YPbPr or HD Component RGB, depending on the connection to your output device. The Video Output tool does not display basic calibration controls for Serial Digital, DV, or HD-SDI.
Chapter 6 Output Options Video Format Output Parameters (Continued) Parameter Video Formats Description Y Gain Overall Gain Component HD 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. RY Gain R Gain Pr Gain Component HD Component HD Component The red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard.
Preparing for Output Video Format Output Parameters (Continued) Parameter VBI Video Formats 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. These lines are 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 6 Output Options 4. Display color bars for calibrating: - If you edited digital bars and tone into the sequence, go to the head of the bars and tone, and then click Play. - You can use internal bars from the Video Output tool by clicking the Test Patterns pop-up menu, and selecting either SMPTE_Bars.pct (SMPTE standard bars) or ColorBars.pct (full-field color bars). Bars are displayed on the Client monitor, and the signal appears on the external Waveform and Vectorscope monitors.
Preparing for Output 6. Adjust the Hue and Sat slider (composite or S-Video output), or the RY Gain and BY Gain sliders (component output) until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. n If you do not have separate Vectorscope and Waveform monitors, you can use the Client monitor’s “blue only” feature, if available, to adjust SC phase output. For more information on this feature, see your monitor’s documentation. 7.
Chapter 6 Output Options Adjusting Phase Controls The Video Output tool provides controls for adjusting horizontal phase globally for output. Horizontal phase, or H Phase, is the horizontal blanking interval used to synchronize the timing of two or more video signals. SC Phase (subcarrier phase) controls are also available for timing two or more signals based on the color burst portion of a composite or S-Video signal.
Preparing for Output 5. Save the input calibration settings as the system Default settings, as described in “Saving Video Input Settings” on page 140. 6. Select Tools > Video Output Tool. The Video Output tool opens. 7. Select Tools > Capture. The Capture tool opens. 8. With the Capture tool active, calibrate any of the available controls in the Video Output tool according to house standards by using external Waveform and Vectorscope monitors.
Chapter 6 Output Options Preparing for Audio Output The Audio tool allows you to generate and customize calibration tone, and to adjust global output levels. For information on additional audio mix procedures such as adjusting volume and pan or mixing down selected tracks, see “Audio Tools” in the Help. The Avid system supports direct output of up to eight channels of audio, depending upon your system’s configuration.
Preparing for Output To play back the tone: t Click the Peak Hold pop-up menu, and select Play Calibration Tone. To check the adjusted tone level in the meters: t Make sure the In/Out (I/O) toggle buttons are set to O for Output. Calibrating Global Output Levels You can use the meters in the Audio tool and the Output Control slider (master attenuator) in the Output tab in the Audio Project Settings dialog box to make global level adjustments for output from the system.
Chapter 6 Output Options Bypass panel Mix Mode Selection Menu button Stereo Mix Tracks pop-up menu Which Set of Track Maps button Output Control slider (master attenuator) All or Timeline Track Maps pop-up menu Output Track Maps Channel Assignment pop-up menu 3. Click the Mix Mode Selection Menu button, and select a type of output. - Select Stereo to mix the currently monitored audio tracks into a stereo pair. - Select Mono to pan all the currently monitored tracks to center.
Preparing for Output - You can select All or Timeline from the All or Timeline Track Maps pop-up menu above the track and channel selectors buttons as follows: Timeline allows you to assign output channels to the tracks monitored in the Timeline. All allows you to select between all available tracks. n If you want to map output channels to audio channels not listed in the Output Tracks Maps area, click the Which Set of Track Maps button to display other available audio tracks.
Chapter 6 Output Options 8. Watch the levels in the meters, and adjust the master attenuator to the level that you want. n To adjust levels for individual tracks, use the Audio Mix tool. 9. Close the Audio tool. 10. Close the Audio Project Settings dialog box. Preparing Record Tapes The two basic methods of recording to tape are: • Frame-accurate recording, using the Digital Cut tool • Manual recording, using controls on the record deck Each method requires different treatment of the record tapes.
Preparing for Output Recording Bars and Tone You can also record a portion of bars and tone onto the tape before recording a digital cut. There are two methods of recording bars and tone to tape: • If your recording must be frame accurate, consider adding a segment of digital bars and tone to the front of your sequence, or prepare it as a separate sequence that you can record by using the Digital Cut tool. For more information, see “Preparing Digital Bars and Tone” in the Help.
Chapter 6 Output Options To enable assemble-edit recording: 1. Double-click Deck Preferences in the Settings scroll list. The Deck Preferences dialog box opens. Assemble-edit option 2. Select “Allow assemble edit for digital cut.” 3. Click OK. 4. Make sure the record deck has the following settings: - The free run/rec (record) run switch should be set to record run. - The Ext (external)/Int (internal) sync switch should be set to internal.
Using the Digital Cut Tool Crossconverting and Downconverting for HD Projects The Video Output tool includes options for crossconverting from one HD format to another and downconverting from an HD format to an SD format. For more information, see “Setting Video Output for HD” in the Help. Using the Digital Cut Tool The Digital Cut tool provides controls when you record a sequence to tape.
Chapter 6 Output Options The Digital Cut tool allows you to: • Record by using either assemble edit, insert edit, or crash record. • Record a selected portion of the sequence or selected tracks. • Record an entire sequence. • Record according to different timecode parameters. • Select the sequence video and audio tracks to record (Sequence Track buttons). • Have the system locate real-time effects with dropped frames.
Using the Digital Cut Tool Enable Video Track button Preview Digital Cut button Sequence Tracks pop-up menu Audio Track Selection buttons Deck controls Deck Selection pop-up menu Timecode text boxes Selecting a Deck in the Digital Cut Tool The Deck Selection pop-up menu in the Digital Cut tool contains a list of all decks that were connected to the system, powered up, and initialized when you opened the Digital Cut tool.
Chapter 6 Output Options The Deck Selection pop-up menu also lists three commands: • Adjust Deck opens the Deck Settings dialog box. Changes you make apply to the selected deck. For information on Deck settings, see “Deck Settings Options” on page 81. • Auto-configure allows you to automatically configure the selected deck with the default deck settings for that deck.
Using the Digital Cut Tool To prepare effects for a digital cut: 1. Load the sequence you want to output. 2. Open the ExpertRender dialog box: t Select Clip > ExpertRender at Position. t Right-click in the Timeline, and select ExpertRender at Position. The ExpertRender dialog box opens. 3. Select “Prepare effects for Digital Cut,” and then click OK. For more information about ExpertRender, see the Help for your system.
Chapter 6 Output Options Play Digital Cut button Halt Digital Cut button Mix Mode Selection toggle button Preview Digital Cut button Sequence Tracks pop-up menu Local option Deck control option area 2. Select Remote or Local in the deck control option area. 3. Select the options that you want for the digital cut 4. Select the audio tracks and topmost video track that you want represented in the digital cut preview by using the Sequence Tracks pop-up menu.
Using the Digital Cut Tool Outputting DV 50 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 IEEE 1394 DVCPRO HD The following HD projects: IEEE 1394 • 720p/59.94 • 1080i/50 • 1080i/59.
Chapter 6 Output Options 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 for NTSC video, PAL video, and audio — all from the same progressive media. You click the Output Format pop-up menu in the Digital Cut tool to select the formats you want. Depending on the format you select, you also need to: • Select the timecode to output (see “Selecting the Timecode Format for Output” on page 268).
Using the Digital Cut Tool 23.976p and 25p Project Output Options Digital Cut Tool Menu Choice (Playback Speed) Target Project or System Pulldown Indicator on Output Format and Avid DNA Recording Media 23.976 (NTSC) NTSC TV; video screenings; digital audio workstations (DAWs) that support pulldown On (0.99) Picture and sound to NTSC tape; sound to video-referenced audiotape 25 (PAL) PAL TV; video screenings Off (1.
Chapter 6 Output Options Selecting Output Formats for 23.976p Projects If you are working in a 23.976 project, all output play rates are available, but only 23.976 NTSC maintains the original audio quality. For 23.976 NTSC, the audio rate is not slowed down for output and remains at 48 kHz. For 29.97 NTSC, the audio rate is sped up 25 percent and is not usable. Use this output rate for animations and other special applications.
Using the Digital Cut Tool 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.
Chapter 6 Output Options To indicate the destination timecode rate: 1. Select Output > Digital Cut. 2. Click the Dest. TC Rate pop-up menu, and select 29.97 fps or 30.00 fps. Performing a Digital Cut to Tape (Remote Mode) Recording in Remote mode allows you to control your record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. Prior to recording a digital cut, make sure you have selected the appropriate device.
Using the Digital Cut Tool 2. Select Clip > Digital Cut. The Digital Cut tool opens. Enable Video Track button Play Digital Cut button Mix Mode Selection toggle button Video Effect Safe Mode button Sequence Tracks pop-up menu 3. Select the Output Mode and Bit Depth according to the “Output Mode Resolution Options” on page 278. 4.
Chapter 6 Output Options 5. Click the Video Effect Safe Mode button (selected by default) to allow the system to notify you that an effect needs to be rendered. During a digital cut, real-time effects can drop frames. To eliminate the chance of dropping frames, it’s best to render the real-time effects that might drop frames. The Video Effect Safe Mode option analyzes and identifies real-time effects that might cause dropped frames during the digital cut and allows you to render them.
Using the Digital Cut Tool n You can change the start timecode to match the record tape by using the Get Clip Info command. For more information, see “Changing the Start Timecode for Sequences” in the Help. t Select Mark In Time to ignore the sequence timecode. Establish an IN point on the record tape by cueing and marking with the deck controls. 11.
Chapter 6 Output Options To stop the recording at any time, do one of the following: t t n n Press the space bar. Click the Halt Digital Cut button. After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending on the record deck model. This provides several frames of overlap for the next IN point before control track and timecode break up.
Using the Digital Cut Tool Performing a Digital Cut to Tape (Local Mode) Recording in Local mode allows you to manually control your record deck by bypassing deck control in the Avid application and using the controls on the deck (sometimes referred to as manual recording or crash recording). This mode is useful when you need to use non-Avid-controlled decks, such as consumer-grade VHS or Hi8. Prior to recording a digital cut, make sure you have selected the appropriate device.
Chapter 6 Output Options 2. Select Clip > Digital Cut. The Digital Cut tool opens. Play Digital Cut button Mix Mode Selection toggle button Video Effect Safe Mode button Sequence Tracks pop-up menu 3. Select the Output Mode and Bit Depth according to the “Output Mode Resolution Options” on page 278. 4. Select or deselect Entire Sequence, based on the following: t Select Entire Sequence if you want the system to ignore any IN or OUT points and play the entire sequence from start to finish.
Using the Digital Cut Tool identifies real-time effects that might cause dropped frames during the digital cut and allows you to render them. After all the real-time effects are rendered, the system automatically initiates the digital cut. 6. (Option) Select Stop on Dropped Frames. This option appears for all realtime (non-native) digital cuts if you have an Avid Adrenaline, an Avid Mojo DNA, or a DV device attached to your 1394 port.
Chapter 6 Output Options Output Mode Resolution Options The output mode pop-up 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 The following table provides information on the available output resolutions. Output Mode Resolution Options Available Output Mode Resolution and Bit Depth Project Type Device 30i and 25i, or 25p SD Project Adrenaline or RTa DNA (8-bit or 10-bit) Avid Mojo RT DV 25 (8-bit or 10-bit)b DV 25b Comments With RT DNA selected, RT DNA allows you to output through the following connectors: Composite, SVideo, Component, SDI, or DNA-1394.
Chapter 6 Output Options 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 Progressive Project Output Mode Resolution Options Project Type Play Rate Available Output Mode Resolution and Bit Depth PAL 25p project 25 DV 25 DV 50 RT DV 50 (8-bit or 10-bit) RT DV 25 (8-bit or 10-bit) NTSC 23.976p projects 23.976 RT DV 50 (8-bit or 10-bit) RT DV 25 (8-bit or 10-bit) n PAL 24p Method 1 For information on Method 1 and Method 2, see “Transferring 24-fps Film to PAL Video” in the Help.
Chapter 6 Output Options DV Digital Cut Offset To delay the sequence for a digital cut: 1. Double-click Deck Preferences in the Settings scroll list. The Deck Preferences dialog box opens. 2. Select Override Recommended Digital Cut Offset. 3. Determine the approximate delay and type the offset in the Digital Cut Offset (frames) text box. 4. Click OK. The offset is reflected in the DV Offset box in the Digital Cut tool. 5. Perform a digital cut. See “Using the Digital Cut Tool” on page 259. 6.
Understanding Passthrough Understanding Passthrough When the Digital Cut tool is active, the footage you see in the monitor is passing through from an input source to the output channels. Passthrough, also known as confidence view, uses the input source you specified in the Input tab in the Audio Project Settings dialog box, the Video Input tool Audio pop-up menu, or the Capture tool Audio pop-up menu. It does not use the target device you selected in the Digital Cut tool.
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Chapter 7 Exporting and Exchanging Material You can export and exchange material with another system, another application, or another platform. Your Avid editing application provides tools for exporting clips and sequences in various formats or for transferring projects and media between systems.
Chapter 7 Exporting and Exchanging Material • Exporting Tracks As Audio Files • Exporting As a Graphics File • Transferring a Project Between Systems • Transferring Media to and from a Video Server Exporting Files There are several reasons why you might want to export video, audio, or both from the Avid editing application: • You can export files to be viewed as an AVI or QuickTime movie.
Preparing to Export a Sequence For more information on rendering, see the Avid Effects Guide. n • If you want to archive the source sequence before making any alterations, duplicate the sequence, place the duplicate in another bin, and prepare the duplicate for export. The original sequence will be unaffected. • Consider rendering all effects in advance.
Chapter 7 Exporting and Exchanging Material Mixing Down Video Tracks Video mixdown allows you to combine several tracks into a single new master clip. This is convenient for building multilayered effects, for consolidating media, and for export and exchange. c When you mix down video tracks, you cannot separate them again to work on the tracks individually. Use this function only during the last stages of editing when you no longer need to make changes, or to make a copy for previewing.
Exporting Frames, Clips, or Sequences 7. Click the Resolution pop-up menu, and select a video resolution for the mixdown. 8. Click OK. A progress indicator appears, showing the progress of the video mixdown. When the mixdown is completed, a new clip appears in the bin along with the sequence, and a new media file is created on the target drive. Exporting Frames, Clips, or Sequences For information on using the drag-anddrop method, see “Using the Drag-andDrop Method for Export” on page 291.
Chapter 7 Exporting and Exchanging Material 2. Select a clip or sequence in one of two ways: t Click the monitor that displays the clip or sequence you want to export. t Click the clip or sequence in a bin. Ctrl+click to select multiple clips or sequences. 3. Select File > Export, or right-click and select Export. The Export As dialog box opens with a default file name in the File name text box, based on the file type. 4. Select the destination folder for the file. 5. (Option) Change the file name.
Exporting Frames, Clips, or Sequences 7. (Option) If you want to check the current Export setting, click Options to open the Export Settings dialog box, view the selections, and then click Save to return to the Export As dialog box. For more information about Export Settings options, see “Export Setting Dialog Box Options” in the Help. n For information on creating a new settings, see “Creating a New Export Setting” on page 313. 8. Click Save. The file is exported and appears at the selected destination.
Chapter 7 Exporting and Exchanging Material n n t To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. If you mark an IN point and no OUT point, the system exports from the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the Export Settings dialog box.
Using Distributed Media Services Using Distributed Media Services The DMS Settings dialog box allows you to connect to a Distributed Media Services (DMS) Broker. DMS Broker services are used in an Avid Unity MediaManager workgroup environment where dedicated computers automate time-consuming operations.
Chapter 7 Exporting and Exchanging Material The following Media Browse services are supported: n • The Create Proxy service allows you to create a low resolution version of a sequence and make it available to other users through Media Browse. • The Nearchive Audio/Video Mixdown service allows you to send a high resolution version of a sequence to an archive and to automatically create a low resolution version stored on a Media Browse server.
Using Distributed Media Services To use the Nearchive Audio/Video Mixdown service: 1. Select a sequence or clip in a bin. 2. Do one of the following: t Select File > DMS > Nearchive Audio/Video Mixdown. t Right-click the file, and select DMS > Nearchive Audio/Video Mixdown. The Nearchive Audio/Video Mixdown service sends a mixed-down, high resolution version of the sequence to the Nearchive archive system.
Chapter 7 Exporting and Exchanging Material Additional Tasks Performed by the Media Browse Services The Media Browse services perform the following tasks as part of the Nearchive Mixdown, Create Proxy, and Send to Playback operations: • Create a copy of the sequence or clip. • Check the copied sequence or clip into Avid Unity MediaManager. • Use the Avid editing application to render any unrendered effects.
Improving Workflow Using Send To To send a sequence or clip to ProEncode: 1. Select a sequence or clip to export (see “Exporting Frames, Clips, or Sequences” on page 289). 2. Select File > Send To > ProEncode. ProEncode creates a QuickTime reference movie and prompts you for the name of your DMS broker. For information on configuring ProEncode, see the Avid ProEncode Setup and User’s Guide.
Chapter 7 Exporting and Exchanging Material n Avid recommends you use the pre-defined template default settings, which have been qualified by Avid. To use the predefined templates: 1. Select a sequence in a bin. 2. Select File > Send To. 3. Select the desired Send To template option. 4. Click Set and choose a destination folder for the exported files. 5. Click OK. The file is exported to the selected destination.
Improving Workflow Using Send To 4. Select from one of the following options. - Link to audio + video - Link to audio + QT ref - Link to audio + QT mov - Consolidate - link to audio + video - Consolidate - embed audio only - Consolidate - embed audio + QT mov The Send To dialog box opens with a default export template. The filename displays the name of the sequence or clip you chose. 5. (Option) Change the file name. 6.
Chapter 7 Exporting and Exchanging Material 7. Review the Export Setting Summary. If you chose Link to audio + QT ref, Link to audio + QT mov, or Consolidate - embed audio + QT mov, the Export Setting 1 Summary displays the appropriate settings options for link or consolidate to audio. The Export Setting 2 Summary displays the appropriate settings options for QuickTime Movie, or QuickTime Reference. 8.
Improving Workflow Using Send To 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. Send To DVD When you choose to export to a DVD authoring application, a QuickTime Reference Movie template is selected.
Chapter 7 Exporting and Exchanging Material n To access Send To from the shortcut menu, right-click the clip or sequence in the bin. The filename displays the name of your sequence or clip. 4. (Option) Change the file name. 5. Click Set to browse to the drive and folder to which you want to export the sequence. Click OK. n 302 Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field.
Improving Workflow Using Send To 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. (Option) Do the following if you want the DVD application to launch automatically after you export: a. (Option) Click the Auto Launch button, and select Add Item. b. (Option) Browse to find the DVD application. c. Click Open. d.
Chapter 7 Exporting and Exchanging Material Send To Sorenson Squeeze When you send directly to Sorenson Squeeze, a QuickTime Reference template is selected. To export to Sorensen Squeeze: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 286. 2. Select a sequence in a bin. 3. Select File > Send To > Encoding > Sorenson Squeeze. The Send To dialog box opens with a default template.
Improving Workflow Using Send To n To access Send To from the shortcut menu, right-click the clip or sequence in the bin. The filename displays the name of your sequence or clip. 4. (Option) Change the file name. 5. Click Set to browse to the drive and folder to which you want to export the sequence. Click OK. n Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field.
Chapter 7 Exporting and Exchanging Material 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. (Option) Do the following if you want the Sorenson Squeeze application to automatically launch after you export: a. (Option) Click the Auto Launch button, and select Add Item. b. (Option) Browse to find the Sorenson Squeeze application. c. Click Open. d.
Improving Workflow Using Send To Send To Avid DS When you choose to send to Avid DS, the sequence is exported as an AFE file. To export to Avid DS: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 286. 2. Select a clip or a sequence in a bin. 3. Select File > Send To > Avid DS. n To access Send To from the shortcut menu, right-click the clip or sequence in the bin. The Send To dialog box opens with a default export template.
Chapter 7 Exporting and Exchanging Material 5. Click Set to browse to the drive and folder to which you want to export the sequence. 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. Click the OK to save the AFE file. The file is exported to the selected destination. n If you are editing an offline sequence that will be finished on Avid DS, make sure to consult the Avid DS Nitris Conform Guide.
Improving Workflow Using Send To n To access Send To from the shortcut menu, right-click the clip or sequence in the bin. 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.
Chapter 7 Exporting and Exchanging Material 7. (Option) If you need to make any changes, select the Options button and make any necessary changes, and then click Save. 8. (Option) Do the following if you want the third-party application to automatically launch after you export: a. (Option) Click the Auto Launch button, and select Add Item. b. (Option) Browse to find the third-party application. c. Click OK Open. d.
Exporting Video in DV Stream Format Exporting Video in DV Stream Format The DV Stream format is often used for distribution over the Web. Use this option when exporting video that will be combined or processed with other DV-formatted media. This option requires a video track. n The DV Stream format appears after you have installed QuickTime. If you want to use the QuickTime application for exporting sequences, download the latest version of QuickTime from the Apple® Web site at: www.apple.
Chapter 7 Exporting and Exchanging Material 5. Click the Export As pop-up menu, and select DV Stream. 6. Select your options. For more information about DV Stream options, see “Export Setting: DV Stream Options” in the Help. 7. Click Format Options. The DV Export Settings dialog box opens. 8. Select a video format and an audio format. For compatibility with DV cameras that require unlocked audio, deselect Locked. 9. Click OK. 10. Click Save in the Export Settings dialog box.
Customizing Export Settings • Macintosh Image: Exports a PICT file for use in Macintosh graphic applications. See “Exporting As a Graphics File” on page 345. • Windows Image: Exports a BMP file for use in Windows graphic application.“Exporting As a Graphics File” on page 345. You can select or customize these settings, as described in “Exporting Frames, Clips, or Sequences” on page 289. Creating a New Export Setting To create a new Export setting from the Settings scroll list: 1.
Chapter 7 Exporting and Exchanging Material 5. Click the Export As pop-up menu, and select the appropriate file type and options. For more information about Export Settings options, see “Export Setting Dialog Box Options” in the Help. 6. Click Save As. 7. Type a name in the Setting Name text box, and click OK. The Export As dialog box opens, and the new setting appears in the Export Setting pop-up menu. 8. Click Save to complete the export.
Exporting OMFI and AAF Files 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. This editing information, called a composition, is the OMFI representation of the sequence created in Avid editing applications.
Chapter 7 Exporting and Exchanging Material Selecting an OMFI or an AAF Transfer Method OMF Interchange and AAF, as implemented in Avid editing systems, 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.
Exporting OMFI and AAF Files 4. Click the Options button. The Export Settings dialog box opens. 5. Click the Export As pop-up menu, and select OMF 1.0, OMF 2.0, or AAF options. For more information about Export Settings dialog box, see “Export Setting OMFI and AAF Options” in the Help.
Chapter 7 Exporting and Exchanging Material 6. Do one of the following: t To save your revised settings in the existing settings file, click Save. The Export As dialog box opens again. t To create a new settings file, click Save As. Name the setting by typing a name in the Setting Name text box, and click OK. The Export As dialog box opens again. 7. (Option) In the Export As dialog box, change the file name. In most cases, keep the file name extension the same. 8.
QuickTime Reference Movies Because OMFI 2.0 files containing real-time title information are not backward-compatible with earlier releases of Avid editing applications, you can export and reimport such files only with the current release of Avid editing applications. c If you import an OMFI 2.0 file containing real-time title information into any version of an Avid editing application prior to the current release, you lose title information.
Chapter 7 Exporting and Exchanging Material Exporting as a QuickTime Reference Movie To export as a QuickTime reference movie: 1. Identify the portion of the clip or sequence you want to export in one of the following ways: n t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. t To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor.
QuickTime Reference Movies 4. Click Options. The Export Settings dialog box opens. 5. Click the Export As pop-up menu, and select QuickTime Reference. For more information about QuickTime Reference Export Options, see “Export Setting: QuickTime Reference Options” in the Help. 6. Click Save to save the revised setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 313.
Chapter 7 Exporting and Exchanging Material 7. Select the destination folder for the file. 8. (Option) Change the file name. In most cases, keep the default file name extension. 9. Click Save. The file is exported and appears at the selected destination. 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. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.
Exporting as a QuickTime Movie You can use the dragand-drop method to export QuickTime files. See “Using the Dragand-Drop Method for Export” on page 291. t To export part of a clip or sequence, mark IN and OUT points to export the marked range from a bin or a monitor. If you mark an IN point and no OUT point, the system exports from the IN point to the end of the clip or sequence. If you mark only an OUT point, the system exports from the beginning to the OUT point.
Chapter 7 Exporting and Exchanging Material QuickTime Movie (Same as Source) QuickTime Movie (Custom) 6. Select Same as Source to use the resolution of the source file, or select Custom to customize your settings. 7. Select the remaining options. For more information about QuickTime Movie Export Options, see “Export Setting: QuickTime Movie Export Options” in the Help. 8. Click Save to save the revised setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 313.
Exporting as a QuickTime Movie c c Avid editing systems allow a maximum exported file size of 2 GB. If you exceed this limit, the file is unusable and an error message is displayed. Break up large sequences or master clips into smaller pieces. If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.
Chapter 7 Exporting and Exchanging Material 5. Click Format Options. The Movie Settings dialog box opens.
Avid Codecs 6. Click Settings in the Video area. The Compression Settings dialog box opens. 7. Select the options. For more information about QuickTime Compression Settings, see “Export Setting: QuickTime Compression Settings” in the Help. 8. Click OK. Avid Codecs This section describes the Avid codecs (compressor/decompressor) used when exporting QuickTime files from the Avid editing system or from third-party applications for import into an Avid editing system.
Chapter 7 Exporting and Exchanging Material • Avid DV (DV 25/DV 50 resolutions) • Avid DVCPRO HD (HD MXF resolution) • Avid Meridien Compressed (JFIF resolutions) • Avid Meridien Uncompressed (OMF 8-bit resolution) • Avid MPEG-50 mbit (MPEG-IMX resolutions) • Avid Packed (Uncompressed MXF 10-bit resolution) The Avid codecs create encapsulated media files for export of high-resolution files that are readable within QuickTime applications.
Avid Codecs 7. Click the Format Options button. The Movie Settings dialog box opens. 8. Click Settings in the Video area. The Compression Settings dialog box opens. 9. Select the codec that you want to use for export.
Chapter 7 Exporting and Exchanging Material 10. Click the Options button. A Codec Configuration dialog box opens. The settings depend on the codec that you selected. n The Quality slider does not affect your settings. 11. Select the settings that you want. 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). 12. Click OK. 13. Click OK in the Compression Settings dialog box. 14.
Exporting As an AVI File Exporting As an AVI File To export as an AVI file: 1. Identify the material you want to export in one of the following ways: t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure Use Enabled Tracks is selected in the Export Settings dialog box. You can set this option before the export. See “Customizing Export Settings” on page 312.
Chapter 7 Exporting and Exchanging Material 5. Click the Export As pop-up menu, and select AVI. 6. Select AVI options from the Video Format tab. For more information about AVI options, see “Export Setting: AVI Setting” in the Help. 7. Select an AVI codec by clicking Codec Options. The Video Compression dialog box opens.
Exporting As an AVI File 8. Select the compressor you want, and click Configure to further configure the codec. For more information about compression options, see “Export Setting: AVI Setting” in the Help. 9. Click OK to close the Video Compression dialog box and return to the Export Settings dialog box. 10. Select AVI options from the Audio Format tab. For more information about Audio Format options, see “Export Setting: AVI Setting” in the Help. 11.
Chapter 7 Exporting and Exchanging Material 14. Click Save. The file is exported and appears at the selected destination. c c The Avid editing system allows a maximum exported file size of 2 GB. If you exceed this limit, the file is unusable and the system displays an error message. Break up large sequences and master clips into smaller pieces. 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 Codec Description AvidAVdvCodec.qtx Avid DV codec(DV 25 and DV 50, OMF and MXF) AvidAVmpCodec.qtx Avid MPEG 50 codec (MPEG-IMX, OMF and MXF) AvidAVpkCodec.qtx Avid Packed codec (Uncompressed MXF 10-bit) AvidQTAVJICodec.qtx Avid Meridien Compressed codec (OMF 8-bit) AvidQTAVUICodec.qtx Avid Meridien Uncompressed codec (OMF 8-bit) For the DVCPRO HD and DNxHD codecs, you must also copy the following files: - libmmd.dll - msvcr71.dll 3.
Chapter 7 Exporting and Exchanging Material Exporting as Windows Media The 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.
Exporting as Windows Media 6. Select Windows Media Legacy Template. 7. Select Version: 8, 7 or 4. This refers to the available version 8, version 7, and version 4 Windows Media templates. 8. In the Templates list, select Windows Media options that best fit your needs. n Windows Media Legacy Template compatibility is subject to Windows media updates. 9. Click Save. 10. In the Export As dialog box, select the destination folder for the file. 11. (Option) Change the file name.
Chapter 7 Exporting and Exchanging Material Exporting Using an Existing Windows Media Profile A Profile is a group of settings that match 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 and existing Windows Media Profile: 1.
Exporting as Windows Media 6. Select Windows Media Custom Profile. 7. Click Set. 8. Browse to the location where the .prx file is located on your system, and select the file. 9. Click Open. 10. Click Save. 11. In the Export As dialog box, select the destination folder for the file. 12. (Option) Change the file name. In most cases, keep the file name extension the same. 13. Click Save. The file is exported using the selected profile settings.
Chapter 7 Exporting and Exchanging Material Exporting Using a Custom Profile The Avid editing system allows you to create custom audio and video profiles. Once you create the profile, you can use the settings in that profile to export a sequence. Creating a Custom Video Profile To create a custom video profile: 1. Select the sequence or clips you want to export. 2. Select File > Export. The Export As dialog box opens. 3. Click the Options button. The Export Settings dialog box opens. 4.
Exporting as Windows Media 7. Click the Add button and select Video. 8. Choose the custom profile settings according to “Custom Profile Audio Settings” in the Help. 9. (Option) Click Save As Custom Profile if you want to save the .prx file. a. Browse to the location on the system where you want to save the .prx file. b. 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.
Chapter 7 Exporting and Exchanging Material Creating a Custom Audio Profile To create a custom audio profile: 1. Select the sequence or clips you want to export. 2. Select File > Export. The Export As dialog box opens. 3. Click the Options button. The Export Settings dialog box opens. 4. In the Export As menu, select Windows Media. 5. Select Use Marks and/or Use Enabled Tracks.
Exporting Tracks As Audio Files 7. Click the Add button and select Audio. 8. Choose the custom profile settings according to “Custom Profile Audio Settings” in the Help. 9. (Option) Click Save As Custom Profile if you want to save the .prx file. a. Browse to the location on the system where you want to save the .prx file. b. 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.
Chapter 7 Exporting and Exchanging Material 5. Click the Export pop-up menu, and select a setting. If you do not have a preset audio template, select Untitled, and then click Options. The Export Settings dialog box opens. 6. Click the Export As pop-up menu, and select Audio. 7. Do one of the following: t Select Use Marks if you are exporting a marked sequence. t Select Use Enabled Tracks if you are exporting specific tracks in a sequence.
Exporting As a Graphics File Exporting As a Graphics File Avid editing applications allow you to select from a number of graphic format options. To export as a graphics file: 1. 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. 2. Select a clip or sequence in one of two ways: t Click the monitor that displays the clip or sequence you want to export. t Click the clip or sequence in a bin. 3. Select File > Export.
Chapter 7 Exporting and Exchanging Material 5. Click the Export As pop-up menu, and select Graphic. 6. Select the graphic options. For more information about Graphic options, see “Export Setting: Graphic Options” in the Help. 7. Make sure Use Marks is selected if you want to export a specific frame. 8. Click Save to save the current setting, or click Save As to create a new setting. See “Creating a New Export Setting” on page 313.
Transferring a Project Between Systems Methods for Transferring Files Between Avid Editing Systems The type of transfer device you use depends on which method of transfer you choose. • Moving project folders, settings, and media files requires large amounts of storage space because of the size of media files. • Transferring only the project folders and settings files requires minimal storage space. The following table lists the recommended devices for transferring files between systems.
Chapter 7 Exporting and Exchanging Material Transferring a Project and Associated Media Files There are two basic methods for transferring projects with their media files between Avid editing applications: - Back up the project files and transport the media files on a removable storage device. - Send sequences, clips, or entire projects to a network storage device. To transfer a work in progress and associated media files to another Avid editing system: 1.
Transferring a Project Between Systems 6. Copy the project folder and any settings files to the appropriate folder on drive C. For more information, see “Transferring Projects, User Profiles, and Site Settings” on page 349. 7. Start your Avid editing application, open the project, and resume work. n The Avid editing application reconstructs the MediaFiles database the first time you start the application to incorporate the new media into the system’s internal directory.
Chapter 7 Exporting and Exchanging Material Default Folder and File Locations (Continued) n Folder or File Location Site Settings file drive:\Program Files\Avid\NewsCutter\ Settings The exact location depends on how your Avid editing application was installed on your system. 2. Copy the files to a CD-ROM or to a location on a server. 3. On the destination system, copy the project folder, user folder, or Site Settings file to the appropriate location, as listed in step 1.
Transferring a Project Between Systems n Specific information for transferring projects to Avid DS is contained in the Avid DS Conform Guide, which is available from the Avid Customer Support Knowledge Base or the Avid DS Web site. For information on accessing the Knowledge Base, see the ReadMe for your Avid editing application. To create an AFE file that includes all bins in a project: 1. Click the project window and select File > Export. The Export Project As dialog box opens. 2.
Chapter 7 Exporting and Exchanging Material 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.
Transferring Media to and from a Video Server Configuring the Video Server To configure the video server: t Select the following general settings from the video server’s user interface: - Select BVW as the deck protocol. - Select the video server port used for the serial connection. - Select the video I/O settings to match your hardware connections. - Select the audio I/O settings to match your hardware connections. For complete information, see the documentation for your video server.
Chapter 7 Exporting and Exchanging Material 7. In the Deck Configuration dialog box, click Add Deck. The Deck Settings dialog box opens. 8. Click the Deck Type pop-up menus, select the appropriate video server, and then click OK. The dialog box closes and returns you to the Deck Configuration dialog box. 9. Click Apply. Transferring from the Avid Editing System to the Video Server To transfer a sequence from the Avid editing system to the video server: 1.
Transferring Media to and from a Video Server 4. Select Clip > Digital Cut. The Digital Cut tool opens. Play Digital Cut button Record to Tape pop-up menu Mark IN text box Source Tape Display button 5. Select Entire Sequence. 6. Select Remote. 7. Click the Record to Tape pop-up menu, and select Mark In Time. 8. Select a tape name as follows: a. Click the Source Tape Display button. The Select Tape dialog box opens. b. Click New. A New Tape name line appears in the dialog box. c.
Chapter 7 Exporting and Exchanging Material Transferring from the Video Server to the Avid Editing System After you connect the video server and select the appropriate settings, you can capture media from the video server to the Avid editing system. Some video servers allow you to drag clips from the video server’s user interface into the Capture tool in the Avid editing application. n Not all functionality is the same in each video server’s user interface.
Chapter 8 Using the NRCS Tool The Newsroom Computer System (NRCS) tool lets you use one computer to view stories and rundowns located on an Avid iNEWS™ server or on an Electronic News Production System (ENPS) server, and to edit sequences in the Avid editing application. You use the NRCS tool to connect to an iNEWS server to access story scripts, and to edit stories on your Avid editing system.
Chapter 8 Using the NRCS Tool n • Building a Sequence from a Story • Adjusting the Story Timing (iNEWS Only) • Using Associated Sequences • Saving Changes to a Story (iNEWS Only) • Using the Post to Web Feature • Sending and Receiving NRCS Mail (iNEWS Only) • Disconnecting from Your NRCS Server Your iNEWS or ENPS user permissions define how many of these procedures you can perform. If you are unsure of your permissions, consult your system administrator.
Configuring the NRCS Tool To create a MOS ID for the Avid editing system on the ENPS server: 1. Start the ENPS client application and log in as an ENPS administrator. n You must have ENPS administrator server rights to perform system maintenance functions. n Each folder at the bottom of the application contains a green dot. This dot is called a Rover. 2. Click the fourth Rover (dot) from the left, and select System Maintenance > MOS Repeater Target. 3. Click New. 4.
Chapter 8 Using the NRCS Tool Configuring the NRCS Settings To configure the NRCS settings and to connect to the server: 1. Double-click NRCS in the Settings scroll list. The NRCS Settings dialog box opens. 2. Click the pop-up menu, and select an NRCS server: - iNEWS - ENPS The options that appear depend on the server selection. n The NRCS Settings dialog box also appears when you connect to a server if the active NRCS setting is missing a name in the Server text box. 3. Type the name of the server.
Configuring the NRCS Tool 6. (iNEWS only option) Select “Automatic update from server” if you want the information in the NRCS tool to be updated periodically. You can set the time interval used for updates by entering a time in the Update interval text box. (The default is 1 minute.) n Avid recommends that the NRCS tool not be used for editing scripts in queues that have the automatic update option enabled.
Chapter 8 Using the NRCS Tool n SYSTEM.MESSAGE is the standard directory on the iNEWS server for the message-of-the-day files. Type a different directory name only if your system administrator suggests doing so. c. n c If you want to change the location of the Mail Directory, type the new directory name in the Mail Directory text box. SYSTEM.MAIL.OUT is the standard directory on the iNEWS server for sending e-mail messages.
Configuring the NRCS Tool c. Select Show running order start date/time if you want running order names to be listed, including the Editorial Start date and time. d. Select Show story page number if you want story names to be listed, including the page number. e. In Sequence Creation, set a default value for the duration of the new sequence. Enter the default time you want for new sequences in the Default Duration text box. f.
Chapter 8 Using the NRCS Tool Starting the NRCS Tool To start the NRCS tool after it has been configured: 1. Select Tools > NRCS Tool. The NRCS tool opens. 2. Click the Connect button. The NRCS Login dialog box opens for the iNEWS server or the NRCS tool connects to the ENPS server. n A login dialog box does not appear for the ENPS server. 3. (iNEWS only) Type a user name (if you did not set a default name in the NRCS Settings dialog box). 4. (iNEWS only) Type the password. 5. (iNEWS only) Click OK.
Understanding the NRCS Tool Understanding the NRCS Tool The following illustration shows the components of the NRCS tool that appear when the Avid editing system is connected to an iNEWS server.
Chapter 8 Using the NRCS Tool The following illustration shows the components of the NRCS tool that appear when the Avid editing system is connected to an ENPS server. Connect/ Disconnect button Directory panel Story Name Mark text box IN/OUT button MOS media Production panel item Build Find Sequence Sequence button button Post To Web button Read Time display Story panel The following table describes the components of the NRCS tool.
Understanding the NRCS Tool NRCS Tool Components (Continued) Component Server Support Description Show/Hide Story Form triangular opener iNEWS Opens and closes the Story Form display. Story Name text box iNEWS and ENPS Shows the directory path and name of the story. Post To Web button iNEWS and ENPS Opens a dialog box for creating Web content from an iNEWS or an ENPS story. Directory panel iNEWS and ENPS Lists the contents of the news database you are accessing.
Chapter 8 Using the NRCS Tool NRCS Tool Components (Continued) Component Server Support Description Production panela iNEWS and ENPS Displays production information: Story panela iNEWS and ENPS • (iNEWS) Displays production cues and timing markers that have been scripted into a story. • (ENPS) Displays MOS media items and anchors read-rate markers. Displays the text of a story.
Using the Directory Panel n (ENPS only) A small green light flashes on the Disconnect button as stories are received from the server. Directory stories first display gray in the list, then display black when they are available. (ENPS only) Green flashes as stories display (iNEWS only) Send Mail button Closed directory Open directory Story 2. Do one of the following: t Double-click the story name. t Click the story name and press Enter. The story’s text appears in the Story panel.
Chapter 8 Using the NRCS Tool Shortcut Server name Removing a Shortcut to a Directory (iNEWS Only) To remove a shortcut to a directory: t Right-click the directory name, and select Remove Shortcut. The shortcut is removed. Deleting a Story (iNEWS Only) The NRCS tool allows you to delete a story without having to go through the iNEWS workstation, if your iNEWS User settings have the necessary permissions. If you are unsure of your settings, see your system administrator. To delete a story: 1.
Editing Story Text (iNEWS Only) To alter the appearance of the text in your story: t n Select the text in the Story panel, right-click, and select a font and point size. The font and point size are saved with the current NRCS settings. They are not sent to the iNEWS or the ENPS server and apply only to the local client.
Chapter 8 Using the NRCS Tool Rearranging Text in a Story (iNEWS Only) The shortcut menu provides commands for cutting, copying, pasting, and deleting text. To rearrange the text in a story: 1. Select the text you want to cut, copy, or delete. 2. Right-click the text, and select the appropriate command. To paste cut or copied text: 1. Position the cursor in the story where you want to paste the text. 2. Right-click, and select Paste.
Editing Story Text (iNEWS Only) Text marked as Closed Caption is not included in the read time of a story. For more information, see “Finding the Read Time of a Story” on page 378. To mark text as Closed Caption: 1. Select the text you want to mark. 2. Do one of the following: t Click the Closed Caption button. t Right-click the text, and select Closed Caption. The text changes to green, indicating that the text is closed captioned.
Chapter 8 Using the NRCS Tool To insert a production cue into your scripted story: 1. In the Story panel, move the pointer next to or within the text where you want to place the production cue. 2. Right-click, and select Insert Production Cue. A blue Production Cue marker appears within the Story panel, and a blank box opens in the Production panel. 3. Type the cue information in the text box.
Editing Story Text (iNEWS Only) To format text: 1. Select the text you want to format. 2. Do one of the following: t Click the Text Underlined, the Italic, or the Bold button. t Right-click the text, and select Underline, Italic, or Bold. To remove text formatting: 1. Select the formatted text. 2. Do one of the following: t Click the Text Underlining, the Italic, or the Bold button to deselect it. t Right-click the text, and reselect Underline, Italic, or Bold.
Chapter 8 Using the NRCS Tool To create a loaded cue: 1. Select the clip or sequence you want to use as a loaded cue. 2. Click the file and drag it to the Story panel. Position it in the script at the point where you want the cue. A Production Cue marker appears within the Story panel, and a Clip icon and clip name appear in the Production Cue text box.
Editing Story Text (iNEWS Only) To change the size of the head frame, do one of the following: n t Select Edit > Enlarge HeadFrames or Edit > Reduce HeadFrames. t Right-click the clip icon on the Production Cue text box and select one of the following: - Enlarge HeadFrames - Reduce HeadFrames Enlarging or reducing the size of the head frame affects all head frames in the Story panel. Using a Loaded Cue (iNEWS Only) You can load clips or sequences from the loaded cues in your story.
Chapter 8 Using the NRCS Tool Finding the Read Time of a Story The NRCS tool calculates the read time of a story by using the number of words in the story and the read rate in words per minute (wpm) of the presenter. The default wpm rate is 180, but it can differ according to the settings for the particular story. For example, if the presenter listed for the story has a read rate of 150 wpm, the NRCS tool calculates the read time based on that read rate.
Building a Sequence from a Story Presenter n Selected story text Calculated read time for the selected text The NRCS tool does not include Closed Caption or Presenter Instructions text in the read time. Only text marked as Normal (including bold, italic, or underlined text) is calculated. Building a Sequence from a Story The NRCS tool allows you to create a new sequence with a length that corresponds to a particular story.
Chapter 8 Using the NRCS Tool To build a sequence from a story: 1. Open the bin in which you want to place your sequence. 2. Do one of the following: t Select the story in the Directory panel, and drag the story to the open bin. t Select the story in the Directory panel, right-click, and then select Build Sequence from Story. Click the Build Sequence button. t n The Build Sequence button is active only when a story is displayed in the Story panel and the computed duration is not zero.
Building a Sequence from a Story 3. (Option) If you Shift+click the Build Sequence button, a new bin will be created to hold the new sequence (named after the sequence). (iNEWS only) If there are loaded cues in the story, they will be automatically edited into the sequence.
Chapter 8 Using the NRCS Tool Consider the following when you place clips in the new sequence: • Loaded cues are processed in the order they appear in the story text. Only those that appear before the end of the text (and before the end of the sequence) will be edited into the sequence. • The placement of the Timeline position bar for each edit is determined by the read time of the text up to the anchor point for the loaded cue. The edit length is determined by the clip’s IN to OUT points.
Building a Sequence from a Story To set IN and OUT points based on the story timing: 1. Load the appropriate sequence in the Timeline. 2. Select a portion of the text in the Story panel. The read time of the selected text appears in the upper right corner of the NRCS tool. Story panel Mark IN/OUT button Read time 3. Click the Mark IN/OUT button. The NRCS tool places IN and OUT points in the Timeline, based on the computed read time of the selected text.
Chapter 8 Using the NRCS Tool Adjusting the Story Timing (iNEWS Only) You might want to adjust the story timing in cases where you will be using the Mark IN/OUT button to set IN and OUT points in the Timeline based on the story text timing. For example, if there is introductory text in a story that is not part of the sequence you will be building, when you set IN/OUT points in the sequence, then the computed times will be offset by the extra text.
Adjusting the Story Timing (iNEWS Only) Adjusting the Story Timing with a Time Marker (iNEWS Only) Because the calculated story timing might not exactly match the required sequence or clip duration, the NRCS tool allows you to add cues that can assign a specific time to a point in the text. To add a cue that assigns a specific story time to a point in the text: 1. In the Story panel, right-click a point in the text where you want to add a Time Marker cue, and select Insert Time Marker.
Chapter 8 Using the NRCS Tool Adjusting the Story Timing with a Time Pad (iNEWS Only) Because the calculated story timing might not exactly match the required sequence or clip duration, you can specify the duration of the media clip by adding a Time Pad cue to the sequence. The Time Pad cue inserts cues in the text, based on the IN and OUT points. For example, if part of the story has a video clip but no corresponding text, the timing of any following text will be offset.
Adjusting the Story Timing (iNEWS Only) To add a cue that inserts a Time Pad cue at a point in the text: 1. In the Story panel, right-click a point in the text where you want to add a Time Pad cue, and select Insert Time Pad. 2. Do one of the following: t Select the default time, if you want the Time Pad cue to match the time between the IN and OUT points in the clip loaded in the Source/Record monitor. t Select Other, if you want to specify a time other than what is marked in the clip.
Chapter 8 Using the NRCS Tool Using Associated Sequences The NRCS tool allows you to locate sequences associated with NRCS stories or, conversely, to locate stories from their associated sequences. This makes it easier to find stories on the iNEWS or the ENPS server (for example, when the tape ID is unknown) or to load sequences for NRCS scripts directly into the Timeline.
Using Associated Sequences To locate a story associated with a sequence: 1. Select a sequence in an open bin. 2. Click the sequence and drag it to the NRCS tool. Place it in the Story Name text box. The story is loaded into the Story panel.
Chapter 8 Using the NRCS Tool Saving Changes to a Story (iNEWS Only) After you edit a story, you can save the changes by modifying the original story or by creating a new story. It is important to remember, however, that when you save a story in the NRCS tool, the story is actually saved on the iNEWS server. Therefore, use caution when saving a story because your changes might affect others using the same story. Changes cannot be saved to the ENPS server.
Using the Post to Web Feature Using the Post to Web Feature Through the NRCS tool, the Avid editing application can generate a hypertext version of your iNEWS or ENPS story for viewing on the World Wide Web. The Post to Web feature helps you to create Internet content directly from a single script rather than requiring the production of dual content, one for broadcast and one for the Web.
Chapter 8 Using the NRCS Tool Formatted text Clip linked by loaded cue Story text box n Loaded cues in the script are highlighted in blue within the text box. See “Adding a Loaded Cue (iNEWS Only)” on page 375. 3. Edit the script in the Story text box. 4. (Option) Click the Lowercase button to convert the story if Post to Web does not automatically reformat the script (for example, if you did not select the Always option in the Post To Web tab in the NRCS Settings dialog box).
Using the Post to Web Feature Linking Clips Post to Web allows you to link additional clips to the text of your story for inclusion in a Web page. (iNEWS only) When you post a story to the Web, loaded cues in the iNEWS story become links to clips stored on your Web server. However, you might have other footage for your story that you want to add for viewing on the Web. Post to Web provides a way to link these clips to the Web page generated from your story.
Chapter 8 Using the NRCS Tool t n Select the text in the Story text box that you want to associate with a clip, right-click in the story text, and select Link > clip. The Link submenu lists loaded cues and any sequences associated with your story. The menu is updated whenever you add clips to the Story text box. The selected text is highlighted in blue and becomes a link to the clip. Link submenu t Link 394 Click a clip and drag it from an open bin to the Story text box.
Using the Post to Web Feature The link is created within the text wherever the selection cursor was located. If you selected text in the Story text box before dragging in the clip, the selected text is highlighted and a link is created. If you did not select any text, the name of the clip is inserted and a link is created. n If you hold the Shift key down while dragging a clip from a bin, you can place the clip anywhere in the story and Post to Web ignores any selected text.
Chapter 8 Using the NRCS Tool These tags use placeholders to insert text and media files in the Web page created when you post a story to the Web. You can specify the text and media files to be included in your Web page by using the following placeholders: • $TEXT$ • $URL$ • $URLn$ • $IMGURL$ The following sections describe how you use tags and placeholders with the Post to Web templates. Avid provides generic HTML templates in the following location: drive:\Program Files\Avid\Utilities\PostToWeb_S
Using the Post to Web Feature “Label” is a field name specified in the template; it appears in the Text Fields tab of the Template tab in the Post To Web dialog box. Format elements are optional. They include any HTML tags used in formatting your Web page (for example, table tags), and they can precede and follow the placeholder. The Text tag uses the $TEXT$ placeholder.
Chapter 8 Using the NRCS Tool HTML code showing the Post to Web output Student Protests Strike Paris User-supplied text that replaces the $TEXT$ placeholder n If you do not enter any text for a text field, the corresponding text tag in the template will not be included in the output page. This includes any page formatting code in the format elements. The Clip Tag You use the Clip tag to create links to media files stored on a server.
Using the Post to Web Feature The following examples show a Clip tag as it appears in a template, in the template fields in the Post To Web dialog box, and in the HTML code generated by the template when Post to Web creates a Web page.
Chapter 8 Using the NRCS Tool n If you do not specify a clip for one of the video fields, the corresponding clip tag in the template will not be included in the output page. This includes any page formatting code in the format elements. The Videoformat Tag You use the Videoformat tag to link encoding formats to video clips.
Using the Post to Web Feature Videoformat tag in a template Videoformat tag Label Label < ! - - VIDEOFORMAT 1=“Low Bandwidth” 2=“High Bandwidth” --> < ! - - CLIP “videoclip” For Dial-up Connections For DSL/Cable Connections - - > Placeholders Export Settings in the Post To Web dialog box Export settings associated with videoformat tag Video formats specified by $URL1$ and $URL2$ HTML code showing the Post to Web output
Chapter 8 Using the NRCS Tool The Hyperclip Tag You use the Hyperclip tag to include information and formatting for any linked clips in your story. When you link a video clip to your story (see “Linking Clips” on page 393), Post to Web allows you to add HTML formatting (for example, table tags), JavaScript code, text, or other elements. The Hyperclip tag applies to all linked clips in the story and takes the following form: < ! - - HYPERCLIP format elements placeholder - - > Format elements are optional.
Using the Post to Web Feature Using a Template with Post to Web To format a story with a Web template: 1. Load a story into the Story panel. 2. Click the Post To Web button. The Post To Web dialog box opens. 3. Click the Template tab. Pop-up menu Template text box Template fields 4. Do one of the following: t n Click the Template pop-up menu, and select a template. The pop-up menu lists the most recently used templates. t Click the Browse button, and select a template from the appropriate folder.
Chapter 8 Using the NRCS Tool 6. For any display fields, click in the text the column to the right of the field name and type any text you want displayed on the Web page. Text column n The specific template you use defines which fields are displayed in the Text Fields and Video Fields tabs. 7. Repeat step 6 for each field you want to customize. 8. Click the Video Fields tab.
Using the Post to Web Feature 9. Select an item in the field and do one of the following: t Click a clip and drag it from an open bin. Place it in the appropriate row. t Right-click in the Clip column, and select a clip. Clip column Shortcut menu 10. (Option) If the field has a Text column, click the column to the right of the field, and type any text you want displayed with the clip on the Web page (for example, a caption).
Chapter 8 Using the NRCS Tool to Web. In this case, the DMS broker provides export settings for your media files. For information on ProEncode, see “Using ProEncode” on page 296 and the Avid ProEncode Setup and User’s Guide. You can also export clips through Avid editing systems with the Direct Export option. In this case, you set export options through the Export Settings dialog box.
Using the Post to Web Feature 5. In the Video area, click the Format pop-up menu and select a video format. n n ProEncode formats are supplied by the ProEncode DMS broker. The format name must include the file name extension enclosed in brackets; for example, “low bandwidth QuickTime [.mov].” Only formats marked with bracketed file extensions are available for use with the Post to Web feature. For ProEncode formats, the Options button applies only to the QuickTime reference movie sent to ProEncode.
Chapter 8 Using the NRCS Tool 10. Click the Post button. Post to Web creates the text file formatted for the Web, links video clips and image files, and stores them in the folder specified in the Post tab of the Post To Web dialog box. Sending and Receiving NRCS Mail (iNEWS Only) The NRCS tool contains a mail application that allows you to send mail to other iNEWS users on the network.
Disconnecting from Your NRCS Server 3. Select your user name from the list. 4. Select the Mail directory. 5. Select the mail message from the list (if there is more than one message). The mail message is displayed in the Story panel of the NRCS tool. Disconnecting from Your NRCS Server When you have finished using the NRCS tool, you should disconnect from the iNEWS or the ENPS server. To disconnect from the iNEWS or the ENPS server: t n Click the Disconnect button.
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Appendix A Working with HD Media NewsCutter Adrenaline and NewsCutter XP include support for capture, editing, and output of high-definition (HD) media in the following resolutions: • Avid DNxHD • DVCPRO HD Avid DNxHD encoding technology delivers mastering-quality 8-bit or 10-bit HD media at standard definition (SD) data rates and file sizes. NewsCutter Adrenaline supports 8-bit and 10-bit compressed HD media, while NewsCutter XP supports 8-bit compressed HD media.
Appendix A Working with HD Media • Setting Video Output for HD • Recording a Digital Cut for HD • Video Import and Export for HD 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).
High-Definition Television HDTV uses a 16:9 aspect ratio in place of the standard definition 4:3 ratio. The following illustration compares the pixel size of the most common HD formats — 720p and 1080i — to that of the digital version of standard definition NTSC media (ITU-R 601). Both 1080i and 720p formats fill the 16x9 screen on HD television sets.
Appendix A Working with HD Media HDTV Workflows This section describes common workflows in which you can use Avid HD systems: • Creation of video-based television programs • Creation of video graphics for broadcast Film-Based Television Workflow The following workflow describes the steps in creating film-based television programs that originate on film footage shot at 24 fps and that are planned for NTSC HDTV broadcast.
HDTV Workflows 5. Edit at 23.976 fps, apply effects, and create a final sequence. 6. Use FilmScribe to create an OCN (original camera negative) pull list for another telecine process, to retransfer footage used in the final edit. 7. A negative cutter uses the pull list to create a reel of selects from the original negative (picture only). The telecine process uses the assembled reel to create a full color-corrected or flat-grade transfer to tape. The process also creates a new transfer file. 8.
Appendix A Working with HD Media Offline Workflow: 24-fps Film Source for HDTV 1. The telecine process transfers 24-fps film footage to HD 1080p/23.976 video at 1:1 (no pulldown) and creates a shot log. 2. Create a 23.976p SD project on any Avid editing system that supports a 23.976p project. Telecine transfer process DAT DAT playback system Sound recording (DAT) 1 Film shot at 24 fps Telecine controller and record deck Log file 3.
HDTV Workflows Online Workflow: 24-fps Film Source for HDTV 7. The telecine process creates HD video with selects from the original negative (picture only) and a new transfer file. Telecine transfer process (picture only) From the offline session 7 Pull list 8. Transfer the project files and media to a NewsCutter Adrenaline HD system. 9. Open the project and change its format to 1080p/23.976. Modify the format of the sequence to create a new 1080p/23.976 sequence. 10.
Appendix A Working with HD Media 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. Footage can be shot at • 1080p/23.976 • 1080p/25 • 1080i/50 • 1080i/59.94 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.
HDTV Workflows 3. Create an offline project as shown in the following table: HD Online SD Offline 720p/23.976 23.976p NTSC 720p/59.94 30i NTSC 1080p/23.976 23.976p NTSC 1080p/24 24p NTSC or 24p PAL 1080p/25 25p PAL 1080i/50 25i PAL 1080i/59.94 30i NTSC 4. Capture your material. Edit, apply effects, and create a final sequence. 5. Change the project format to the corresponding HD online format.
Appendix A Working with HD Media Offline/Online Workflow: HD Video Source for HDTV 1. Shoot HD video at 1080p/23.976, 1080p/25, 1080i/50, or 1080i/59.94. This illustration uses 1080i/59.94 as an example. 1 2. Use an HD VTR to downconvert the source tape to 30i NTSC, 25i PAL, or 25p. 1080i/59,94 HD format 1080i 3. Create a corresponding offline project. 4. Capture your material. Edit, apply effects, and create a final sequence. 5. Change the project format to the corresponding online format.
HDTV Workflows Broadcast Graphics Workflow Another HDTV workflow produces graphics, such as bumpers and promos that are created in graphics programs for HDTV broadcast. Broadcast Graphics Workflow 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.
Appendix A Working with HD Media Starting an HD Project To create a new HD project: t Select an appropriate format in the New Project dialog box. The following table describes the HD online formats. HD Online Formats 422 Format/Frame rate Units/second How used 720p/23.976 Frames Film online. Film-originated material can be transferred to this format for post production. 720p/59.94 Frames HD broadcast. Video-originated material can be directly captured, edited, and output in this format.
Capturing HD Video and Audio HD Online Formats (Continued) Format/Frame rate Units/second How used 1080p/23.976 Frames HD online. Film-originated material can be transferred to this format for editing and effects. For broadcast, output in the native frame rate and convert the output to the broadcast format. 1080p/25 Frames HD online. Film-originated material can be transferred to this format for editing and effects.
Appendix A Working with HD Media To capture DVCPRO HD material, you need to change the input device setting (see “HD Video and Audio Input” on page 426). You can select an HD resolution in the Media Creation tool or the Capture tool. DNxHD resolutions are available in 10-bit and 8-bit versions. 10-bit compressions are indicated by an X, such as DNxHD 220 X. DNxHD resolutions use the MXF media format. JFIF, MPEG, DV 25, and DV 50 resolutions are not available in HD projects.
Capturing HD Video and Audio HD Resolutions: 720 Project Format 720p/59.94 n Resolution DNxHD 220 X DNxHD 220 DNxHD 145 DVCPRO HD Project Format 720p/23.976 Resolution DNxHD 90 X DNxHD 90 DNxHD 60 DVCPRO HD The data rate (bandwidth) for Avid DNxHD resolutions is calculated per second for each frame rate. For example, DNxHD 220 has a compressed data rate of 220 Mb/sec at 29.97 fps. DNxHD 185, which is an equivalent resolution, has a compressed data rate of 185 Mb/sec at 25 fps.
Appendix A Working with HD Media HD Video and Audio Input You can capture HD video through the following inputs: n • HD-SDI video through the Adrenaline HD-SDI IN connector • DVCPRO-HD video through an optional 1394 (FireWire) card in your computer A sync source is not required for capture when capturing video or video with audio. The Avid editing application gets its sync from the incoming video signal.
Capturing HD Video and Audio n You can capture embedded SDI audio in standard definition (SD) projects. In HD projects, only HD resolutions are available for capture, and in SD projects only SD resolutions are available for capture. You can switch the project format without creating a new project, and thus use other resolutions. For more information, see “Changing the Project Format” on page 429. n Avid NewsCutter XP can share DNxHD resolutions but cannot capture them.
Appendix A Working with HD Media True 24 FPS Timecode Avid HD editing systems support direct device control at 24 fps, enabling you to capture true 24-fps timecode from HD decks. When you are capturing 23.976-fps or 24-fps material in HD, the Capture tool displays 24-fps timecode for the Mark IN and Mark OUT points. After you capture a clip, the Start and End timecodes are also shown as 24-fps timecode.
Changing the Project Format 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 418). Each HD format has an equivalent SD format that you can use for offline editing, as shown in the following table.
Appendix A Working with HD Media n You cannot change the project format for 720p/23.976. To change the project format: 1. Click the Format tab on the Project window. 2. Select the corresponding format for your workflow. n You can select only projects with the same edit rate. When you change the project format, the following changes take place: • The hardware changes to support input and output for the new project. • The available resolutions change to those of the new project.
Editing in HD Editing in HD On Avid HD systems, editing HD media is very similar to editing SD media. The following sections describe features specific to HD projects. Modifying the Format of a Sequence When the Avid editing system creates a sequence, it uses the format of the current project. You can change this format by selecting Clip > Modify. The choice of formats is limited to the compatible frame rate of the sequence. For example, you can change an NTSC 30i sequence to 1080i/59.94 or to 720p/59.
Appendix A Working with HD Media The following table shows the choices you have for modifying sequences and how each type of sequence is modified. Choices for Modifying Sequences SD Offline HD Online How Sequence is Modified 23.976p NTSC 720p/23.976 1080p/23.976 No need to modify the sequence. Existing sequence is modified. 1080p/24 Existing sequence is modified. 25p PAL 1080p/25 Existing sequence is modified. 25i PAL 1080i/50 Existing sequence is modified. 30i NTSC 720p/59.94 1080i/59.
Editing in HD Mixing SD and HD You can mix SD and HD material in the same project. You can even mix SD and HD material in the same timeline if the edit rates match. For example, you can edit both NTSC 30i and 1080i/59.94 into the same sequence and then play the sequence in real time. This feature is useful if you want to preview SD material in an HD project. • In an HD sequence, an SD image is stretched to fill a 16:9 monitor.
Appendix A Working with HD Media Displaying Formats in a Bin The Format column displays the format of a clip or sequence as determined by the project type, such as 30i NTSC or 1080i/59.94. This is especially useful if you have both SD and HD clips in the same bin. Format column For information on displaying a column, see “Showing and Hiding Columns” in the Help. Displaying 16:9 HD Video in Monitors For HD projects, the monitors are displayed by default in the 16:9 aspect ratio.
Editing in HD Editing at 60 fps The project type 720p/59.94 uses a screen resolution of 1280 x 720 at a frame rate of 60 frames per second. Editing at 60 fps is similar to editing at 24 fps because both resolutions are progressive — they use full frames instead of interlaced fields. Note the following: n • Single-frame step commands move at 1/60th of a second. Single-field step commands are deactivated; if you click a button, the application beeps. • Draft Quality playback runs at 30 fps.
Appendix A Working with HD Media Setting Video Output for HD Before recording output for HD, you need to check the settings in the Video Output tool. The Video Output tool includes two tabs. For HD projects, select the HD tab. The following topics explain the options in the HD tab.
Setting Video Output for HD Output Menu (HD Tab) This selection displays controls for adjusting output gain to an HD component device, such as a monitor or a deck. Select one of the following, depending on the connections from the Adrenaline to the output device: • HD Component YPbPr • HD Component RGB For information on Avid DNA connections, see “Using the Avid Adrenaline” or “Using the Avid Mojo” in the Help. For information on adjusting output gain, see “Calibrating for Video Output” on page 242.
Appendix A Working with HD Media The Crossconvert choices depend on the format of the sequence, as described in the following table. HD Sequence Format Crossconverted HD Format 720p/59.94 1080i/59.94 1080p/23.976a 1080i/59.94 720p/59.94 1080p/25 -- 1080i/50 -- 1080i/59.94 720p/59.94 a. When converting 1080p/23.976 to 1080i/59.94 or 720p/59.94, the Avid editing system adds 2:3 pulldown frames to create a sequence with the correct frame rate.
Setting Video Output for HD The options are Anamorphic, Letterbox, Center Cut. High Definition SD - Anamorphic SD - Letterbox SD - Center Cut The format for SD downconvert matches the frame rate of the HD sequence, as described in the following table. HD Sequence Format Downconverted SD Format 720p/59.94 30i NTSC 1080p/23.976a 30i NTSC 1080p/25 25i PAL 1080i/50 25i PAL 1080i/59.94 30i NTSC a. When converting 1080p/23.
Appendix A Working with HD Media c Avid recommends using downconverted 720p/59.94 and 1080p/23.976 sequences for preview or reference only. When using digital cut to output the HD master sequence to tape, use the native frame rate of the sequence. Crossconvert and downconvert options that change the edit rate are not supported for digital cut. Test Patterns for HD This option lets you select a pattern from the HD Test Patterns menu.
Recording a Digital Cut for HD OutputLock for HD This option lets you select the type of sync generator the system uses when outputting a sequence: reference (black burst), tri-level, or internal. c Avid recommends that you use an external sync source whenever you record a digital cut to tape. Connect the sync source to both the Adrenaline hardware and the tape deck. Most HD formats allow you to use any of these options, but you cannot use reference for 1080p/23.976 or 1080p/24.
Appendix A Working with HD Media Video Import and Export for HD Video import and export includes the following changes to support HD media: 442 • HD projects use the ITU-R 709 color space instead of ITU-R 601. During import and export, the Avid editing system automatically uses the appropriate color space. For import and export, you can select RGB or 601/709 in the settings dialog box.
Video Import and Export for HD • 16:9 is the default pixel aspect ratio in the QuickTime and QuickTime Reference export dialogs. • Export of Windows Media format is available for both SD and HD projects. • Avid HD applications include two QuickTime codecs that support Avid HD compression: - Avid DNxHD - Avid DVCPRO HD For more information about using codecs and copying them to other systems, see “Using the Avid Codecs for QuickTime” on page 327.
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Index Numerics 10-bit resolutions 30 1394 capturing directly through 155 23.
Index selecting source tracks 93 sound card configuration 115 Audio board systems adjusting output on 253 Audio File format selecting 112 Audio I/O device adjusting output on 253 Audio input calibrating for audio I/O device 124 levels adjusting 121 Audio levels adjusting in Audio tool 121 checking with Console window 133 Audio mix adjusting in the Passthrough Mix tool 128 Audio output calibrating 252 preparing for 252 Audio pan adjusting in the Passthrough Mix tool 129 Audio Project settings adjusting 115
Index Black level adjusting for output 248 Blackburst for HD 441 Blue-only feature 249 Build Sequence button (NRCS tool) 367, 380 Buttons Build Sequence (NRCS tool) 366, 379 Disconnect (NRCS tool) 366 Edit mode (NRCS tool) 371 Edit/Save (NRCS tool) 366 Effect Safe Mode 272, 276 extra fields 147 In/Out (Audio tool) 118 Post To Web (NRCS tool) 391 Reset Peak (Audio tool) 118 Save Story (NRCS tool) 366 Send Mail (NRCS tool) 366 BY Gain slider adjusting for video output 249 C Calibrate command (Peak Hold Menu
Index Coincidence Wait mode 175 Color bars adjusting 143 Color space for HD 428 Columns bins 147 Configuring decks 76 video servers 353 Connecting XDCAM device 217 Console window checking audio levels 133 Control track using for preroll 110 Converting shot log files using drag-and-drop conversion 52 Copying XDCAM files 223 Crash recording 274 See Manual recording Create Proxy service for DMS Broker 294 Creating subclips during capturing 151 tone media 123 Web page 391 Creating a new tape name with a keystr
Index Digital video (DV) 68 Directory panel deleting stories 370 making shortcuts 369 opening a story 368 removing shortcuts 370 saving stories 390 using 368 Disabling available resolutions 99 Disconnect button (NRCS tool) 366 Disconnecting from the iNEWS server (NRCS tool) 409 DMS (Distributed Media Service) 296 DMS Broker 293 Create Proxy 294 Nearchive Audio/Video Mixdown 294 Send to Playback 294 DMS Settings 293 Downconversion HDTV to SDTV 28, 28 Downconvert for output 438 Downconverting 259 Drag-and-dr
Index Exporting AAF files 315 audio files 343 AVI files 331 bins as AFE files 350 DV Stream files 311 graphic files 345 OMFI files 315 preparing for 286 ProEncode files 296 projects as AFE files 350 QuickTime Movies 322 QuickTime Reference Movie files 319 to Avid DS 307 to Digidesign Pro Tools 298 to DVD 301 to Sorenson Squeeze 304 to third-party applications 308 Windows Media 336 with Avid Codecs for QuickTime described 328 Exporting Avid AVI files 331 Exporting files creating new settings 313 preparing f
Index Gryphon Avid Codecs for QuickTime 328 H Hard recording See Manual recording Hard subclips 151 HD codecs 443 HD Component signal adjusting output 437 HD Crossconvert option 259 HD media capturing 426 import and export 442 offline formats 429 outputting 441 recording output 436 resolutions 423 starting a project 422 transcoding 435 HDTV aspect ratio 413 broadcast graphics workflow 421 film-based workflow 414 supported formats 412 video-based workflow 418 workflow with downconversion 28 Head frames 376
Index Loaded cues adding 375 using 377 Loaded cures displaying head frames 376 Locators adding while capturing 150 Essence Marks (XDCAM) 225 Logging and capturing at the same time 157 and recording at the same time 157 guidelines for 37 pausing deck while 58 preroll 37 procedures for 37 tape names 40 timecodes 38 with a non-Avid-controlled deck 60 with an Avid-controlled deck 55 Logs creating 42 described 37 importing 43 preparing for import 42 LTC (longitudinal timecode) capturing with 166 establishing sy
Index Modify command changing sequence format 431 Clip menu 61 Modifying the pulldown phase after capturing 184 Movie Settings dialog box 326 Moving projects between systems 348 settings between systems 349 Multiple text fields 147 MXF media selecting 99 MXF Media Files tab 105, 107 N NCSID option (NRCS tool) configuring 362 Nearchive Audio/Video Mixdown service for DMS Broker 294 Non-drop-frame timecode 85 described 85 output 268 simultaneous output with drop-frame 269 NRCS tool adding loaded cues 375 ad
Index Optional equipment video server 352 Output establishing sync for 240 longitudinal timecode (LTC) 242 multiformat 266 options 239 preparing for 239 selecting 240 Output formats for 23.
Index Pulldown phase modifying after capturing 184 option in 24P Settings dialog box 45 Pullin frame modifying 184 Q Quick Record mode 195 QuickTime Avid codecs for 328 QuickTime Movie Settings dialog box 326 QuickTime movies exporting 322 format options 327 QuickTime reference movies exporting 320 R Read time, finding (NRCS tool) 378 Recapturing See also Batch capturing saving duplicated versions 191 sequences using Decompose 191 using Decompose during 191 Receiving mail (NRCS tool) 408 Record settings
Index Send To using predefined templates 297 Send to Playback service for DMS Broker 294 Sending mail (NRCS tool) 408 Sequence Track buttons (Digital Cut tool) 260 Sequences building from a story (NRCS tool) 379 exporting 285 locating by association 388 output options for 239 recapturing procedure 193 recapturing using Decompose 191 Serial digital output calibrating 245 Serial port output 268 Servo-lock 195 Settings audio 115 deck 81 deck configuration 76 deck preferences 84 DMS (Distributed Media Services
Index Story tag 396 Text tag 396 using placeholders 395 Videoformat tag 400 Test patterns calibrating with 249 for HD 440 Text copying (NRCS tool) 372 cutting (NRCS tool) 372 deleting (NRCS tool) 372 formatting (NRCS tool) 374 marking as Closed Caption (NRCS tool) 372 marking as machine control (NRCS tool) 374 marking as normal (NRCS tool) 375 marking as Presenter Instructions (NRCS tool) 372 pasting (NRCS tool) 372 rearranging (NRCS tool) 372 Text fields in the Record tool 147 Text tag (Post to Web) 396 T
Index transferring media from 356 transferring media to 354 Video test patterns 249 Video transfers with video server 352 Videoformat tag (Post to Web) 400 Videotape recording digital cut to 260 View mode (NRCS tool) editing in 370 VITC (Vertical Interval Timecode) for downstream encoding 269 VLXi 76 Volume meters in the Audio tool, defined 119 Volume unit scale (Audio tool), defined 119 VTR Emulation See Remote Play and Capture W WAVE file format option in Audio Project settings 112 Web page creating 391
