6.x
Table Of Contents
- Title Page
- Contents
- Using This Guide
- Planning a Project
- Logging
- Preparing to Capture
- Understanding Digital Video (DV)
- Preparing the Hardware
- Selecting Settings
- Configuring Decks
- Understanding Drop-Frame and Non-Drop-Frame Timecode
- Setting Up the Capture Tool
- Opening the Capture Tool
- Changing the Power Scheme
- Setting the Video and Audio Input
- Selecting a Deck
- Selecting a Tape
- Selecting Source Tracks
- Detecting Valid or Locked Capture Input
- Selecting a Resolution in the Capture Tool
- Selecting a Format in the Capture Tool
- Setting Media Creation Resolutions and Selecting Drives
- Selecting a Media Type
- Disabling Editor Resolutions
- Selecting a Draft Resolution for DV Media
- Selecting a Target Bin
- Selecting the Target Drives
- Interpreting the Time Remaining Display
- Capturing to Multiple Media Files
- Selecting the Preroll Method
- Capturing Across Timecode Breaks
- Preparing for Audio Input
- Audio Meters in the Timeline
- Calibrating for Video Input
- Capturing Media
- Before You Begin Capturing
- Adding Clip Names and Comments On-the-Fly
- Adding Extra Text Fields in the Capture Tool
- Adding Locators On-the-Fly
- Creating Subclips While Capturing
- DV Capture Offset
- Capturing DV 50 and DVCPRO HD Media Directly from a DV Device
- Delaying Audio
- Capturing and Logging at the Same Time
- Remote Play and Capture
- Capturing Audio from a Music CD
- Capturing to the Timeline
- Batch Capturing from Logged Clips
- Modifying the Pulldown Phase After Capturing
- DV Scene Extraction
- Recapturing Your Material
- Other Capture Functions
- Importing Files
- Preparing to Import Files
- Working with Mixed-Resolution Projects
- Creating and Using Import Settings
- Importing Files
- Using the Drag-and-Drop Method to Import Files
- Importing Photoshop Graphics
- Importing Media from XDCAM Devices
- Importing Editcam Files
- Reimporting Files
- Output Options
- Preparing for Output
- Using the Digital Cut Tool
- Selecting a Deck in the Digital Cut Tool
- Using ExpertRender to Prepare Effects for a Digital Cut
- Previewing a Digital Cut
- Outputting DV 50 DVCPRO HD Media Directly to a DV Device
- Selecting Output and Timecode Formats for 23.976p and 25p Projects
- Performing a Digital Cut to Tape (Remote Mode)
- Crash Recording
- Performing a Digital Cut to Tape (Local Mode)
- Output Mode Resolution Options
- DV Digital Cut Offset
- Understanding Passthrough
- Using EDL Manager
- Exporting and Exchanging Material
- Exporting Files
- Preparing to Export a Sequence
- Mixing Down Video Tracks
- Exporting Frames, Clips, or Sequences
- Using Distributed Media Services
- Using ProEncode
- Improving Workflow Using Send To
- Exporting Video in DV Stream Format
- Customizing Export Settings
- Exporting OMFI and AAF Files
- Exchanging Titles in OMFI Format
- QuickTime Reference Movies
- Exporting as a QuickTime Movie
- Avid Codecs
- Exporting As an AVI File
- Exporting as Windows Media
- Exporting Tracks As Audio Files
- Exporting As a Graphics File
- Transferring a Project Between Systems
- Transferring Media to and from a Video Server
- Using the NRCS Tool
- Configuring the NRCS Tool
- Starting the NRCS Tool
- Understanding the NRCS Tool
- Using the Directory Panel
- Changing the Text Display
- Editing Story Text (iNEWS Only)
- Rearranging Text in a Story (iNEWS Only)
- Marking Text As Presenter Instructions (iNEWS Only)
- Marking Text As Closed Caption (iNEWS Only)
- Adding a Production Cue (iNEWS Only)
- Deleting a Production Cue (iNEWS Only)
- Marking Text As Machine Control (iNEWS Only)
- Formatting Text (iNEWS Only)
- Marking Text As Normal (iNEWS Only)
- Adding a Loaded Cue (iNEWS Only)
- Using a Loaded Cue (iNEWS Only)
- Deleting a Loaded Cue (iNEWS Only)
- Finding the Read Time of a Story
- 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
- Working with HD Media
- Index
Chapter 1 Planning a Project
26
• 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. An interlaced frame consists of two fields, each of
which contains one-half the scan lines of the frame. Interlaced frames are
standard for NTSC and PAL video media.
n
Not all project types and resolutions are available on all Avid editors.
Therefore, your system might not support certain project types or resolutions
that are covered in the documentation.
For more information on 23.976 projects, see “Working in a 23.976p NTSC
Project” on page 26 and “Capturing with Advanced Pulldown” on page 6.
Working in a 23.976p NTSC Project
Avid editing systems include a 23.976p NTSC project type. This project type
is especially designed for capture and output of digital audio that has been
transferred or recorded at 48 kHz, in sync with picture at 23.976 fps. A 23.976
project lets you maintain digital standards for all NTSC input and output at
23.976 fps. This rate can be downconverted to standard NTSC without further
audio slowdown. Audio captured at 48 kHz can remain at 48 kHz throughout
the project.
Select this project type for one of the following reasons:
• Your audio and video sources have been shot at a camera rate of 23.976
fps using Advanced Pulldown (see “Capturing with Advanced Pulldown”
on page 27). This frame rate, sometimes referred to as 24p by
video-equipment manufacturers, is a DV-based standard-definition
format, with media being recorded and played back at 23.976 fps. Your
Avid editing application takes full advantage of the high-quality
progressive nature of this media, as you work in a 1:1 relationship with the
frame rate at which you captured your media.