Avid® NewsCutter® Advanced Guide Avid ®
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Contents Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 How to Order Documentation . . . .
Working with Bins and Projects in an Avid Unity Environment. . . . . . . . . . . . . . . . . 58 Understanding Avid Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Sharing Only Bins in Avid Unity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Sharing Bins and Projects in Avid Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Opening a Shared Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 3 Logging: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Using Avid Log Exchange to Prepare Log Files for Import . . . . . . . . . . . . . . . . . . . . 79 Converting Log Files with Avid Log Exchange (Windows) . . . . . . . . . . . . . . . . . 80 Using Drag-and-Drop Conversion for Log Files (Windows) . . . . . . . . . . . . . . . . 82 Converting Log Files with Avid Log Exchange (Macintosh) . . . . . . . . . . . . . . . .
Preparing for Audio Input: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Using the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Resizing the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Monitoring Audio with the Passthrough Mix Tool . . . . . . . . . . . . . . . . .
Controlling Decks from the Keyboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Working in Quick Record Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Quick Record Condition Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Adding Extra Text Fields in the Capture Tool. . . . . . . . . . . . . . . . . . . . . . . . . . 144 Mapping the Record Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 5 Importing Files: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Photoshop Graphics Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Importing Single-Layer Photoshop Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . 174 Importing Multilayered Photoshop Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Example of Multilayered Photoshop Graphics Import . . . . . . . . . . . . . . . . . . .
Modifying Clip Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Modifiable Bin Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Modifying Data Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Using the Modify Command to Modify Data. . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Modifying Data with the Modify Command. . . . . . . . . . . . . . . . . . . . . .
Chapter 7 File Based Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Sony XDCAM Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Sony XDCAM EX Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 XDCAM and XDCAM EX Formats and Resolutions . . . . . . . . . . . . . . . . . . . . 226 Working with XDCAM HD Media . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing Proxy Media from an XDCAM Disc . . . . . . . . . . . . . . . . . . . . . . . . . 249 Copying XDCAM Proxy Media to a Local Drive or a Server . . . . . . . . . . . . . . 250 Manually Importing XDCAM Media from the XDCAM Disc . . . . . . . . . . . . . . . 251 Importing Essence Marks as Locators in XDCAM Media. . . . . . . . . . . . . . . . . 251 Editing XDCAM Proxy Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 9 Script-Based Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 Lined Script Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Lined Script Symbols. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Lining in the Digital Realm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285 Script Integration Workflow . . . . . . . . . . . .
Working with Takes in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Selecting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Adding Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Deleting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Displaying Take Numbers . . . . . . . . . . . . . . .
Using Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 Suggested Uses for Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Adding Locators While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 Adding Locators On-the-Fly while Playing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 Finding Locators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Ganging Footage in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356 Using MetaSync to Synchronize Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 Chapter 12 Using the Timeline: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 Timeline Views: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 Displaying the Timeline Top Toolbar . . . . . . . . . . . . . . . .
Chapter 13 Working in Trim Mode: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378 Maintaining Sync While Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 Adding Black When Trimming . . . . . . . . . . . . . . .
Using a Digi 002 or Command|8 to Record Automation Pan . . . . . . . . . . . . . . 406 Using the Latch Mode Feature on the Digi 002 and Command|8 . . . . . . . . . . 406 Configuring USB-to-MIDI Software for External Controllers . . . . . . . . . . . . . . . . . . 407 Installing USB-to-MIDI Software (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . 408 Installing USB-to-MIDI Software (Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . .
Applying an EQ Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 Creating Your Own Audio EQ Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432 Adding an EQ Template to the Audio EQ Tool Fast Menu . . . . . . . . . . . . . . . 432 Adjusting EQ While Playing an Audio Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 433 Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
AudioSuite Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 Rendering AudioSuite Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 Creating New Master Clips with AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . 459 AudioSuite Controls for Creating New Master Clips. . . . . . . . . . . . . . . . . . . . . 459 Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins . . . . . . . .
Reverse AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496 DC Offset Removal AudioSuite Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 Signal Generator AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 Time Compression Expansion AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . 497 Pitch Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting as Windows Media (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546 Exporting as Windows Media Using an Avid Supplied Template (Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546 Exporting as Windows Media Using an Existing Windows Media Profile (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548 Creating a Custom Video Profile for Windows Media Export (Windows Only) . . . . . . . .
Vertical Blanking Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574 Vertical Blanking Interval Line Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575 Displaying and Preserving Vertical Blanking Information . . . . . . . . . . . . . . . . 575 Editing a Sequence with Vertical Blanking Information . . . . . . . . . . . . . . . . . . 577 Effects of Preserving Vertical Blanking Information on Compressed Video Quality . . . . . . . . . . . . . .
Displaying Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604 Working with Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605 AMA Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612 AMA Settings: Bins Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612 AMA Settings: Volume Mounting Tab . . . . . . . . . .
Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639 Export Settings Dialog Box Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639 Export Settings: QuickTime Reference Options . . . . . . . . . . . . . . . . . . . . . . . 640 Export Settings: QuickTime Movie Export Options . . . . . . . . . . . . . . . . . . . . . 643 Export Settings: QuickTime Movie Settings . . . . . . . . . . . . . . . . . . . . . . . . . .
Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677 Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677 Interface Settings: Appearance Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678 Interplay Folder Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679 Interplay Server Settings. . . . . . . . . . . . . . . .
Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698 Trim Settings: Play Loop Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698 Trim Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698 Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699 Video Input Tool Settings . . . . . . . . . . . . . .
Resolution Specifications: JFIF Progressive . . . . . . . . . . . . . . . . . . . . . . . . . . 735 Resolution Specifications: Multicam. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735 Resolution Specifications: Digital Video (DV). . . . . . . . . . . . . . . . . . . . . . . . . . 736 Resolution Specifications: MPEG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737 Resolution Specifications: VC1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 23 Working with Stereoscopic Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . 765 Acquiring Stereoscopic Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765 Setting Up Your System For Viewing Stereoscopic Material in Three Dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 766 Displaying Stereoscopic Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Playing Back HDV Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791 Rendering and Transcoding HDV Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 792 Outputting HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793 Long-GOP Splicing for HDV Encoding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793 Exporting to an HDV Device. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Moving Through Footage with the MCS3 Controller . . . . . . . . . . . . . . . . . . . . . . . 817 Using the MCS3 for Editing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818 Troubleshooting the MCS3 Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide This guide contains all the advanced task-oriented instructions and conceptual information you need to use the capture, editing, and output features of your Avid editing application, as well as information about file format specifications, and other supplementary information. The Basics Guide for your Avid editing application is a companion to this Advanced Guide. It contains all the basic task-oriented instructions and conceptual information you need to get started using the product.
Symbol or Convention Meaning or Action > This symbol indicates menu commands (and subcommands) in the order you select them. For example, File > Import means to open the File menu and then select the Import command. This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed.
Accessing the Online Library 4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read or join online message-board discussions.
is not responsible for their content, any changes or updates to them, or the collection of any personal data or information by the operators of such Web sites. All information and product availability is subject to change without notice. How to Order Documentation To order additional copies of this documentation from within the United States, call Avid Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the United States, contact your local Avid representative.
1 Working with the Project Window: Advanced The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.
1 Working with the Project Window: Advanced Each user profile is stored in settings files within a folder, as described in “Understanding the Avid Projects and Avid Users Folders” in the Help. User profile folders are kept in the following folder: • (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Avid Users\UserName • (Windows Vista) drive:\Users\Public\Public Documents\Avid editing application\Avid Users\UserName • (Macintosh) /Users/Shared/Avid editing
Managing User Profiles n Cross-platform (Macintosh to Windows or Windows to Macintosh) user profiles can not be shared. • Update a user profile with the Update User Profile option, which lets you add user settings, such as the Send To settings options, to an existing Settings list.
1 Working with the Project Window: Advanced To return to the original user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection menu, and select the default user profile. n If you are using a user profile other than the default and you change to another project, the default user settings are loaded, even though the Project window still displays your non-default user profile name. You must reselect the user profile you want to have active.
Folders and Bins 3. Empty the Recycle Bin (Windows) or the Trash (Macintosh) to remove the files from the system. 4. Close the windows, and restart your Avid editing application. The deleted user no longer appears in the Select Project dialog box. Folders and Bins You can use the Project window to create hierarchies of folders and bins that reflect the specific workflow of the current project. This structure provides both simplicity and backup security.
1 Working with the Project Window: Advanced A format cuts bin for storing the final cuts with added format elements such as segment breaks, color bars and tone, slate, or countdown • (Option) Create additional folders at the desktop level for better organization. For example, you can create one folder for each capture bin and show cut bin, or a folder to contain all shot logs to be imported. • Save these files as templates for future productions of a similar nature.
Folders and Bins Managing Bins and Memory System memory usage increases depending on how many bins you have open, the number of sequences in a bin, the number of tools that are open, and the size of a sequence. Using more memory can slow system performance. In the Bin tab of the Project window, a memory usage indicator increases and updates as you open and close bins. Avid recommends that you keep memory usage below 80-85%.
1 Working with the Project Window: Advanced When autosave occurs: • Any open bins are updated with changes made since the last autosave. • Copies of these bins are placed in the project’s backup bin folder: - (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Avid Attic folder - (Windows Vista) drive:\Users\Public\Public Documents\Avid editing application\Avid Attic folder - (Macintosh) /Users/Shared/Avid Attic folder The system automatically saves copie
Using the Info Display to View Memory Information and Access the Hardware Tool (Windows only) You can view additional memory information through the Windows Task Manager and Performance Monitor tools. You can view information about system activities, such as driver messages, through the Windows Event Viewer. For information on these tools, see the Windows Help. To open the Info display: t Click the Info tab in the Project window.
1 Working with the Project Window: Advanced To open the Hardware tool, do one of the following: t Click the Info tab in the Project window, and then click the Hardware button. t Select Tools > Hardware. The Hardware tool opens. n For more information about the Hardware tool, see “Using the Hardware Tool” on page 77.
Customizing the Avid User Interface The Interface components whose colors you can change are listed in the top half of the Appearance tab, as shown in the following illustration. Check box Interface component list Color boxes 3. Click in the color box next to the interface component that you want to customize. A color selection grid opens. 4. Click the color to which you want to set your interface component. The color selection grid disappears. The color you selected appears in the color box.
1 Working with the Project Window: Advanced Changing Button and Toolbar Styles You can control the shading style and depth of buttons and toolbars. You can also change the shape of buttons and the way buttons are spaced in Monitors and in the Timeline. To set the style of buttons and toolbars: 1. In the Project window, click the Settings tab, and then double-click Interface. The Interface dialog box opens. 2. Click the Appearance tab. 3.
Customizing the Avid User Interface Control Description Options Monitor Button Separation Controls the spacing between the Monitor buttons and between the Timeline buttons Maximum Timeline Button Separation Moderate Examples Maximum button separation None Moderate button separation No button separation Button Style Controls the shape of buttons.
1 Working with the Project Window: Advanced The following table describes the windows you can change, and where these changes are saved. Window Location of Changes Project Changes the font and point size of the text in the Project window; saved as a Project setting. Bin Changes the font and point size of the text in the Bin window; saved as a Bin setting (not a Bin View setting).
User-Customized Workspaces For example, during capture you might want to display the Capture tool and Video Input tool in specific locations. During effects editing, you might want to display the Effect Palette and Effect Editor in particular locations and sizes. For information on switching between workspaces, see “Switching Between Workspaces” on page 56. While in a workspace, you can move tool windows or open and close tool windows.
1 Working with the Project Window: Advanced 4. Click to the left of the new workspace you want to set. A check mark appears next to the workspace. 5. Assign a custom name to the new workspace: a. In the column between Workspace and User, click until you see a text cursor and box. Make sure you click the Custom name column and not the Setting name. New workspace Custom name column b. Type a name for the new custom workspace; (for example, Logging). c. Press Enter (Windows) or Return (Macintosh). d.
User-Customized Workspaces Linking User Settings and Workspaces User settings can be linked to a workspace. You can create a customized workspace, set up specific options in any Settings dialog box, and link them together by name. For example, you can create an Audio workspace that opens the Audio Mixer tool and Audio tool. This workspace can also open a customized Timeline (with enlarged audio tracks and rubberbanding displays).
1 Working with the Project Window: Advanced 7. Double-click the workspace you just created. The Workspace Settings dialog box opens. 8. Click Activate Settings Linked By Name. 9. Click OK. All the settings and the new workspace you created are activated. Switching Between Workspaces To switch from one workspace to another: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click to the left of the workspace setting you want to use. A check mark appears next to the workspace.
User-Customized Workspaces Assigning a Workspace Button To assign a workspace button: 1. If you want to assign a workspace button to a palette (for example, the Tool palette from the Fast menu) or the Keyboard, open the palette or Keyboard setting. 2. Select Tools > Command Palette. W1 button More tab 3. Click the More tab. 4. Select Button to Button Reassignment. 5.
1 Working with the Project Window: Advanced Working with Bins and Projects in an Avid Unity Environment The following topics describe how to work in an Avid Unity environment that does not use an asset manager or Avid Interplay Transfer. If you are using an asset manager or Avid Interplay Transfer, see the Avid Interplay Engine and Avid Interplay Archive Engine Administration Guide and the Avid Interplay Transfer Setup and User’s Guide.
Working with Bins and Projects in an Avid Unity Environment In an Avid Unity environment, your Avid editing application creates and stores projects and bins on the client’s internal drive. If a user moves or saves these projects and bins to the workspace, only one client can work on the project at a time. If two or more users are working simultaneously on the same project, only one user can update the files. Other users can open and play sequences but cannot make any changes to them.
1 Working with the Project Window: Advanced n Depending on the number of users sharing a workspace, you might want to increase the number of files that your Avid editing application stores in the Unity Attic folder (using the Bin Settings dialog box). The following illustration shows the Project window for a shared project. Bold bins are locked for editing but can be viewed.
Working with Bins and Projects in an Avid Unity Environment The following illustration shows locked and unlocked bins. Unlocked bin Locked bin When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 62. n The Bin Lock Status button does not appear if the bin is not on Avid Unity.
1 Working with the Project Window: Advanced To permanently lock a bin: 1. Select one or more bins in the Project window. 2. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Bin icon, and select Lock Project Bin. An asterisk (Windows) or diamond (Macintosh) appears next to the user name in the Project window. In this case, the bin remains locked even after you close it.
Working with Bins and Projects in an Avid Unity Environment Suggestions for Improving Performance When Working with Shared Bins The following information is provided to improve performance when working with shared bins in an Avid Unity environment. • Do not use the same name for your editing system machine name and your user name. In fact, do not use the same name for security objects such as machine names, user names, group names, and domain names.
1 Working with the Project Window: Advanced environment that includes an Avid Interplay server must have the Avid Unity client software installed. The Media Tool might become unreliable if an editor in the Avid Unity workgroup environment does not have the Avid Unity client software installed. Shared Bin and Project Limitations If an editor other than the creator deletes a media file, other editors cannot see that media file go offline immediately.
Working with Bins and Projects in an Avid Unity Environment Drive Filtering in Networked Workflows The Drive Filtering and Indexing tab of the Media Creation Settings dialog box includes three options: • Filter by Resolution • Filter by System Drive • Filter by Launch Drive For Symphony products and for current versions of Avid Media Composer and Avid NewsCutter® products, these three options are selected by default.
1 Working with the Project Window: Advanced The default values for Filter by Resolution, Filter by System Drive, and Filter by Launch Drive are as follows: 66 Product Filter By Resolution Filter by System Drive Filter by Launch Drive Symphony products Yes Yes Yes Media Composer products Yes Yes Yes NewsCutter products Yes Yes Yes Media Station PT Yes Yes Yes Avid Xpress Pro No No No Avid Xpress DV No No No Free DV No No No
2 Using Tools The Tools menu in your Avid editing application provides quick access to essential tools that you can use in your projects. In addition to the tools available from the Tools menu, you can also add a controller to your system that you can use as an alternative to your keyboard and mouse for editing footage.
2 Using Tools Deck Controller Window Reference Timecode indicator Logging controls Close button Timecode display Delete Mark IN Delete Mark OUT Timecode display Deck controls Deck Selection menu Tape Name button Eject Mark IN Mark OUT Clear Memory button Go To Memory button Each deck controller includes the following elements: • n 68 The Timecode display provides information about the control status of the tape deck, as follows: - If the deck is properly connected and power is on, the deck contr
The Command Palette • The deck controller allows you to associate a tape name with the controller by clicking the Tape Name button and selecting a tape in the Select Tape dialog box. For more information, see “Selecting a Source Tape” in the Help. • Logging controls allow you to log IN and OUT marks while cueing your tape. For more information on logging, see “Logging Directly into a Bin” on page 97.
2 Using Tools n For information about each button in the Command palette, right-click (Windows) or Ctrl+Shift+click (Macintosh) a button and select What’s This? from the menu. For more information on logging with the Capture tool, see “Logging Directly into a Bin” on page 97. Understanding Button Mapping Mapping user-selectable buttons allows you to reconfigure Tool palettes, toolbars, or the keyboard in various combinations to suit different editing needs.
The Command Palette For more information on multiple settings, see “Working with Multiple Settings” on page 606. Your Avid editing application saves button configurations as follows: • Changes to the Keyboard palette are saved in the Keyboard settings. • Changes to the Tool palette are saved in the Interface settings. You can change the appearance of the buttons in the Tool palette by using the Interface settings from the Settings list in the Project window.
2 Using Tools Modifier Keys You can add modifier keys to functions already associated with keys and buttons. The Other tab in the Command palette contains the following modifier key buttons: Button Description (Windows) Add Alt Key button (Macintosh) Add Control Key button (Macintosh) Add Option Key button For example, on a Windows system, if you map the Add Alt Key button to the Mark IN key (I key), the function of the I key changes to Go to IN Point (which is equivalent to pressing Alt+I).
Using the Avid Calculator 3. Select Menu to Button Reassignment. 4. Click a target button on the Keyboard palette or the Tool palette. The pointer changes to a small white menu. 5. Select the menu command you want to map to the target button. The initials for the menu command appear on the target button. Menu command mapped to a button Activating Commands from the Command Palette You can perform a command function directly from the Command palette.
2 Using Tools To use the Avid Calculator: 1. Select Tools > Calculator. The Avid Calculator opens. 2. Click the Format menu, and select a format. 3. Make calculations in one of the following ways: t Click numbers and functions in the Avid Calculator. t Enter numbers and functions using the numeric keypad. t Enter numbers and functions using the top row of numbers on the keyboard. You do not need to enter leading zeros, colons, or semicolons for timecode.
The Console Window Displaying System Information in the Console Window To display current system information: 1. Select Tools > Console. The Console window opens. 2. Scroll in the Console window to view your system information and ID. Your system ID is on a line beginning System ID: This feature is especially useful for finding the system ID when you need to contact your Avid Reseller or Avid Customer Support.
2 Using Tools Using the Console Window to Access Network Drives Your Avid editing application can access network drives that you have mapped to your Avid editing system. Once your network drives are mapped, typing the appropriate console command displays the mapped drive letter in the appropriate tools in the Avid editing application. n For information about mapping dives to your computer, see your Windows or Macintosh documentation.
Using the Hardware Tool Using the Hardware Tool The Hardware tool provides the following information about the system’s hardware configuration: • n The Drives tab lists each online drive. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive.
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3 Logging: Advanced When you import shot log files or log directly into a bin, you provide your Avid editing application with frame-accurate clip information used to capture the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.
3 Logging: Advanced When you are converting an ATN file that contains multiple sections to an ALE file, multiple ALE files are created. The Avid Log Exchange window displays only the first ALE file created. The succeeding ALE files are given the same file name with incremental numbering. For example, the file 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.
Using Avid Log Exchange to Prepare Log Files for Import The file appears in the Avid Log Exchange window. For specific information on the various file types, see “Log Formats Compatible with Avid Log Exchange” on page 87. 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. After you import the log into an Avid bin, the system captures all tracks shown in this column when batch capturing.
3 Logging: Advanced 10. Select Convert > ALE. The default output selection is the ALE format. This is the required format for import into an Avid bin. The Avid Log Exchange window displays the converted ALE file. The converted file has the same file name as the original file, except the file name extension matches the converted file format. 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.
Using Avid Log Exchange to Prepare Log Files for Import To convert a log file by using drag-and-drop conversion: 1. Check the options that are set in the ALE utility. See “Converting Log Files with Avid Log Exchange (Windows)” on page 80. The current options are used when you perform drag-and-drop conversion. 2. Create a shortcut for the ALE utility. 3. Open the folder that contains the files you want to convert, positioning the folder so the Shortcut icon for the ALE utility is visible. 4.
3 Logging: Advanced Converting Log Files with Avid Log Exchange (Macintosh) You can use the ALE utility included with your system to quickly convert shot logs that are created during a film-to-tape transfer. To convert a log file to an ALE file: 1. Select Go > Applications, open the ALE folder, and double-click the ALE icon. The Avid Log Exchange dialog box opens.
Using Avid Log Exchange to Prepare Log Files for Import 4. Select the tracks to include in the Tracks column of the log. After you import the log into an Avid bin, the system captures all tracks shown in this column when batch capturing. The Track selection only works on non ALE files being converted to ALE format. When ALE is the incoming format, Track selection does not work. 5. Select the option if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips.
3 Logging: Advanced ALE stores the converted file in the same folder as the original input file. The original file name extension is replaced by the extension for the new format. The .ale files can be imported only into Avid products. Using Drag-and-Drop Conversion for Log Files (Macintosh) Use this shortcut to convert files into an ALE file. n If the log file is a Final Cut Pro, Cinema Tools, or a Tab Delimited shot log file, you cannot use drag-and-drop conversion.
Using Avid Log Exchange to Prepare Log Files for Import 3. Select the Comments tab. 4. Enable the Color Decision List option. 5. Select File > Get Current Sequence. The ASC_SOP and ASC_SAT information appears as part of the edit event. Log Formats Compatible with Avid Log Exchange The following table lists the log formats that can be imported directly or converted for import using Avid Log Exchange (ALE). Log Format Requirements File Name Extension AatonBase Conversion required .atn or .
3 Logging: Advanced Avid Log Specifications You can prepare an Avid log on any Windows or Macintosh computer by using a word processing application or a text editor. You can use the file name extension .txt, but it is not required. To ensure accuracy, you must follow the Avid log specifications described in this section.
Avid Log Specifications Global Titles The global Titles must come first in an Avid log file, and you must enter one value for each Title. The following table shows the format for the global Titles and the supported values for each Title. GLOBAL Titles: Global Titles are case sensitive and must be spelled exactly as shown. Include all required Titles. Other Titles are optional but might be necessary for your project. The maximum number of combined global, standard, and custom Titles in a log file is 64.
3 Logging: Advanced Column Titles The standard column Titles appear after the global Titles in the Avid log file. You do not enter the data for a column Title along with the Title. You enter the data later, in a separate data section. You must include the five required standard column Titles; they are listed first in the following table. You can create your own custom column Titles. Enter them after the standard Titles (see the last Title in the following table).
Avid Log Specifications Auxiliary TC5 [Tab] Title for auxiliary timecode. Camera [Tab] Title for the camera used to film this clip. This feature is used in multicamera shoots. Camroll [Tab] Title for the camera roll ID containing this clip. Duration [Tab] Title for timecode Start to timecode End, the length of the video clip. FPS [Tab] Title for video frames per second rate for digitizing the individual clip. If omitted, the global entry applies.
3 Logging: Advanced TC 24 [Tab] Title for 24-fps timecode. TC 25P [Tab] Title for 25-fps timecode with pulldown. TC 25 [Tab] Title for 25-fps timecode. TC 30 [Tab] Title for 30-fps timecode. Take [Tab] Title for take ID for clip. Tape [Tab] Title for source tape ID for the individual clip. If omitted, the global entry applies. DESCRIPT [Tab] Title for description of clip. COMMENTS [Tab] Title for comments about clip. [Tab] Add any category of information you want.
Avid Log Specifications [Tab] Required Under Tracks Title. Enter the tracks you want captured for the clip. Enter V for MOS takes. Enter A1, A2, or A1A2 for wild sound. [Tab] Required Under Start Title. Enter the video timecode for the sync point, the first frame of the clip. Use colons for non-drop-frame (for example, 01:00:12:20). Use one or more semicolons for drop-frame (for example, 01;18;00;02). [Tab] Required Under End Title.
3 Logging: Advanced [Tab] Under KN End Title. Identify the key number for the end of the clip. You need to identify only feet and frames, for example, 0342&07. [Tab] Under KN Duration Title. Identify the length of the clip, in feet and frames. [Tab] Under Labroll Title. Identify the lab roll, using letters and numbers. <1> <2> <3> [Tab] Under Perf Title. Edit the perf for this clip only. (matchback only) [Tab] Under Pullin Title.
Avid Log Specifications [Tab] Under Take Title. Identify the take, using letters and numbers. [Tab] Under Tape Title. Enter the source videotape ID for this clip only. [Tab] Under DESCRIPT Title. Describe the clip. [Tab] Under COMMENTS Title. Comment on the clip. [Tab] Under the Titles you created yourself, type the appropriate information.
3 Logging: Advanced Heading [Return] Macintosh FIELD_DELIM [Tab] TABS [Return] VIDEO_FORMAT [Tab] NTSC [Return] AUDIO_FORMAT [Tab] 44kHz [Return] TAPE [Tab] 001 [Return] FPS [Tab] 29.
Double-Checking Log Files To create a text document in TextEdit: t Select Format > Make Plain Text. To create an Avid Log by using a word processor or text editor: 1. Enter shot log information according to the specifications described in “Avid Log Specifications” on page 88. 2. Save your file as a text file in the Save As dialog box. You can use the file name extension .txt, but it is not required. c The Avid editing application only accepts text files (ASCII format).
3 Logging: Advanced Tips for Logging Preroll, Logging Timecode, and Naming Tapes Observe the following important guidelines for preroll, timecode formats, and naming of tapes when logging prior to capturing. Logging Preroll Be sure to leave adequate preroll with continuous timecode prior to IN points when logging your tapes. The recommended minimum preroll is 2 seconds for Betacam® playback, 5 seconds for 3/4-inch U-matic® playback, and 6 seconds for DV playback.
Logging Directly into a Bin n If you want your Avid system to consider master clips as coming from the exact same tape, you should try to select that tape name from the Select Tape dialog box. If you do not see the tape you are looking for, but know you have online media from that tape, you should click the Scan for Tapes button. For more information, see “Logging with Avid-Controlled Decks” on page 99. • c It is important that you devise a naming scheme for your tapes.
3 Logging: Advanced 3. Select Tools > Capture. The Capture tool opens. Playback from the deck is displayed in the Client monitor. Capture/Log Mode button Mark IN button Channel Selection buttons Deck Selection pop-up menu Source Tape Display button If you forget to connect and turn on the power to the deck before opening the Capture tool, you can reinitialize deck control after turning it on by clicking the Deck Selection menu, and selecting Check Decks. 4.
Logging Directly into a Bin 6. Insert your tape into the deck. The Select Tape dialog box opens. You can select the option “Show other project’s tapes” to display the tape names and associated project names for all bins that have been opened in the current session. New tape name List of tapes Show Tapes option Because the media file database does not open when you start your Avid editing application, tape names of all online media files do not appear automatically.
3 Logging: Advanced 8. Set either an IN point or an OUT point for the clip you want to log using one of the following methods: t If you want to keep the deck running while you log: Start the deck. At the point where you want to start the clip, click a Mark IN button (you can use either the Mark IN button in the upper left of the Capture tool or the Mark IN button in the lower right) or press the F4 key. The deck continues to play.
Logging Directly into a Bin t If you want to log using timecode: Type a timecode for the clip’s IN point, OUT point, or duration in the timecode text boxes next to the corresponding icon.Then enter the mark by pressing the Go to IN button or the Go to OUT button, which scans the tape forward to the mark, or by pressing Enter (Windows) or Return (Macintosh). To log the clip into the bin, click the Log Clip button in the upper left of the Capture tool.
3 Logging: Advanced 4. When you reach the point where you want to end the clip, click the Mark OUT button in the upper left of the Capture tool or press the F4 key again. The Mark OUT button changes to the Log Clip button, and the deck pauses. 5. Type a clip name and comment in the corresponding text boxes in the Capture tool. 6. Click the Log Clip button or press the F4 key. Your Avid editing application logs the clip in a bin, and the deck starts playing again.
Logging Directly into a Bin To log clips directly into a bin from a non-Avid-controlled deck: 1. If there is a deck connected to the system, eject the tape from the deck. 2. Double-click Deck Preferences in the Settings list of the Project window. The Deck Preferences dialog box opens. 3. For NTSC projects, click the “When no tape in deck log as” menu, and select Non-Drop-Frame or Drop-Frame. 4. Click OK to close the dialog box. 5. Open the bin where you want to store the clips. 6. Select Tools > Capture.
3 Logging: Advanced 8. Click the Source Tape Display button. A dialog box opens. 9. Click Yes to open the Select Tape dialog box. 10. Double-click the name of the tape in the dialog box, or click New and enter the name of the tape. 11. Click OK. 12. Select the tracks you want to log, using the Channel Selection buttons in the Capture tool. 13. Type the start timecode in the Mark IN text box. 14. (Option) Enter a clip name and comment in the corresponding text boxes. 15.
Understanding the Pulldown Phase Understanding the Pulldown Phase If you are logging or capturing 24-fps sources (film-to-tape transfers, media downconverted from 1080p/24 footage, or both), you can set the pulldown-to-timecode relationship for a transferred tape in the 24p Setting dialog box. For information about the pulldown process, see “Transfer of 24-fps Film to NTSC Video” on page 754.
3 Logging: Advanced The following illustration shows the relationship between film frames and video frames. Four film frames A B C D Five NTSC video frames (ten fields) A1 odd A2 even B1 odd B2 even B3 odd C1 even C2 odd D1 even D2 odd D3 even A B X C D The Set Pulldown Phase setting lets you log, batch capture, and capture-on-the-fly more easily, because the correct pulldown phase of any IN point for a particular tape is automatically determined.
Setting the Pulldown Phase Setting the Pulldown Phase To set the pulldown phase: 1. Determine the correct pulldown phase for 00:00:00:00 in one of the following ways: t If you are capturing film-to-tape transfers, check the transfer log. t If you are capturing tapes that have been downconverted from 1080p/24, check what pulldown frame was set for 00:00:00:00 on the deck that performed the conversion. 2. Double-click 24p in the Settings list of the Project window. 3.
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4 Capturing Media: Advanced Capturing is the process of creating digital media from videotape or audio input. When you capture, you convert source material from videotape into master clips that contain reference information. You also create associated media files that contain the digital audio and video.
4 Capturing Media: Advanced Advanced Capture Settings Capture settings include options for capturing, batch capturing, auto capturing, capturing to multiple media files, DV or HDV scene extraction, and setting key commands. For basic capture settings, see “Selecting Settings for Capture” in the Help. This section includes information about advanced capture settings. For reference information about all settings in the Capture Settings dialog box, see “Capture Settings” on page 622.
Advanced Capture Settings To set the preroll method: 1. Double-click Capture in the Settings list of the Project window. The Capture Settings dialog box opens. 2. Click the General tab. 3. Click the Preroll Method menu, and select a method from the options described in “Preroll Methods” on page 113. 4. Click OK to close the dialog box and apply the options. Preroll Methods Preroll Method Description Best Available Your Avid editing application first checks the tape for timecode to use for preroll.
4 Capturing Media: Advanced Preroll Method Description Best Available Control Your Avid editing application uses the control track to determine the preroll point. Track • If there is not enough control track for preroll, the system adjusts the specified preroll time to accommodate the amount of valid control track available. • 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.
Advanced Capture Settings To capture video or audio to multiple OMF media files: 1. Verify that OMF is selected in the Media Type tab of the Media Creation dialog box. 2. Double-click Capture in the Settings list of the Project window. 3. Click the OMF Media Files tab. 4. In the OMF Media Files tab, select the option “Capture to multiple files.” For information about other options, see “Capture Settings: OMF Media Files Tab” on page 625. 5. Click OK to close the dialog box and apply the options. 6.
4 Capturing Media: Advanced Settings for Film and 24p Projects The following settings are important when you are capturing video transferred from film or capturing 24p video. You should specify these settings for film or 24p projects immediately after you create a new project and before capturing.
Advanced Capture Settings Option Description Video Pulldown Cadence Allows you to specify how the application handles pulldown frames: Set Pulldown Phase of Timecode • Video rate, no pulldown: Select this option when capturing 24-fps footage that was transferred MOS (roughly translated as “without sound”) to 30 fps by speeding up the film, and the audio was brought into the Avid system separately at 100 percent of the actual speed.
4 Capturing Media: Advanced To disable resolutions: 1. Select Tools > Media Creation. The Media Creation dialog box opens. 2. Click one of the tabs that includes a Resolutions menu, and note the exact spelling of each resolution you want to disable. 3. Open a text file by doing one of the following: n 118 t (Windows) Click the Start menu, and then select All Programs > Accessories > Notepad. t (Macintosh) Click Go > Applications, and double-click TextEdit. This file must be a plain text file.
Advanced Capture Settings 4. Type each resolution you want to disable on a separate line. Do not include OMF or MXF. Windows Macintosh The text of the resolution has to exactly match the text in the Media Creation dialog box. If you want to disable DV 25, for example, you need to type DV 25 411 with DV in capital letters. Do not disable all resolutions supported by the editing application. You need to keep one resolution available. 5. (Windows) Name and save the file: a. Select File > Save As. b.
4 Capturing Media: Advanced 7. If a project is open, close the Project window and open the project again. Your Avid editing application reads the DisabledRes.txt file when it opens a project and removes the listed resolutions for all projects and all users. To enable the resolutions you disabled: t Navigate to the location of the DisabledRes.txt file and delete it.
Preparing for Audio Input: Advanced The following illustration compares the two types of timecode at the 1-minute mark. No frames are actually dropped. Non-drop-frame timecode 01:00:59:28 01:00:59:29 01:01:00:00 01:01:00:01 01:01:00:02 01;00;59;28 01;00;59;29 01;01;00;02 01;01;00;03 01;01;00;04 Drop-frame timecode PAL video (the video format used in many countries other than the United States) uses a scan rate of 25 fps. Timecode is indicated by colons.
4 Capturing Media: Advanced 4. Set the appropriate calibration tone parameters for the project. You can also use the default output tone of –20 dB (digital scale) with a 1000-Hz signal. If you set the tone media frequency to 0, the system generates random noise. Also, a value of –777 generates a tone sweep. 5. Select the number of tracks of tone you want to create (up to 8 tracks). 6. Click the menus, and select a target bin for the tone master clip and a target drive for the tone media file. 7. Click OK.
Preparing for Audio Input: Advanced Resizing the Passthrough Mix Tool To choose the number of tracks (4 or 8) to display: t Click the Number of Mix Panes button When you select 4 tracks, an additional button appears that allows you to display the first 4 or last 4 enabled tracks. With the tool minimized, you can continue to adjust levels by selecting a track and typing values by using the numeric keypad on the keyboard or by typing a value in the Volume Level display.
4 Capturing Media: Advanced 6. Adjust the volume as needed. You can adjust the volume of multiple channels by clicking the appropriate Gang button.For more information, see “Changing an Audio Level in the Passthrough Mix Tool” on page 124. 7. Adjust the pan values as needed. For more information, see “Adjusting Pan Values in the Passthrough Mix Tool” on page 124.
Preparing for Audio Input: Advanced Changing Audio Hardware Calibration Settings for Avid Adrenaline By default, the Avid editing application is calibrated for analog 0 Volume Unit (VU) to be digital –20 dBFS, which matches the default calibration of the Avid Adrenaline hardware. You can use the Audio Project Settings dialog box to change your default audio hardware calibration if necessary. However, if you change the application’s default, you must recalibrate your audio hardware to match.
4 Capturing Media: Advanced 4. In the Audio tool, click the In/Out toggle buttons for channel 1 to display I for input. You should see a level in the meter display. 5. Select Calibrate from the PH (Peak Hold) menu in the Audio tool. The Audio tool changes to Calibrate mode: the scales display a range of approximately 2 dB, and the meters indicate levels within this range.
Preparing for Audio Input: Advanced 3. Click the PH (Peak Hold) menu in the Audio tool, and select Set Calibration Tone. 4. 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. 5. Click the PH menu, and select Calibrate. 6. Click the PH menu, and select Play Calibration Tone. 7.
4 Capturing Media: Advanced 4. Click the HW Calibration menu, and select a new default hardware calibration setting: –14 dBFS, –18 dBFS, or –20 dBFS. A message box opens. 5. Click OK. 6. Click the Open Calibration window. The Audio Hardware Calibration window opens. 7. To change the digital level of the meter’s display of 0 VU, click Set Reference Level. Opens the Set Reference Level dialog box.
Preparing for Audio Input: Advanced 8. Enter the new reference level in dB. This should be set to match the 0 VU standard in your workflow. n Avid recommends a -20 dBfs value. 9. Select the interface you want to calibrate: Analog XLR input, Analog RCA input, Analog TRS input, Monitor output, or Analog output. Options vary depending on the Avid input/output hardware you have connected. You can calibrate only one channel at a time. 10. Select the appropriate channel.
4 Capturing Media: Advanced 5. Select the interface you want to calibrate: Analog XLR input, Analog RCA input, or Analog TRS input. Options vary depending on the Avid input/output hardware you have connected. You can calibrate only one channel at a time. 6. Select the appropriate channel. Channels vary depending on the Avid input/output hardware you have connected. 7. At the bottom of the Audio Hardware Calibration window, click Audio Tool. The Audio tool opens. 8.
Preparing for Audio Input: Advanced Using an External Meter to Calibrate Audio Output Channels for Avid Nitris DX and Avid Mojo DX If you have already calibrated your analog audio inputs, you can use the Avid meter by connecting one channel’s input to another channel’s output (use the In/Out toggle button in the Audio tool and set it to In). To calibrate the audio output channels for Avid Nitris DX and Avid Mojo DX: 1.
4 Capturing Media: Advanced Using the Console Window to Check Audio Levels Once you have played back audio through the Audio tool, you can use the Console window to view a list of precise information about the peak levels. To check peak levels in the Console: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the RP (Reset Peak) button to clear the system’s record of the most recent maximum peaks. 3. Play a sequence or portion of the sequence. 4.
Preparing for Video Input: Advanced Preparing for Video Input: Advanced Before capturing, you need to prepare the video for input. The advanced video input features include limitations when using a consumer deck, video input settings, and saving video settings.
4 Capturing Media: Advanced 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. If you use the video in a circumstance in which the line is visible, you can remove it by cropping the bottom edge of the picture. Saving Video Input Settings You can save the settings for an individual tape each time you calibrate bars. Saved settings are restored each time you select the same tape for recapturing clips.
Preparing for Video Input: Advanced Saving Calibration Settings To save the calibration settings for a tape: 1. After calibrating the video input, click the Settings menu in the Video Input tool, and select Save As. For more information, see “Calibrating Video Input” in the Help. The View Name dialog box opens. 2. Accept the default name (matching the tape name), or type a new name for the settings. 3. Click OK.
4 Capturing Media: Advanced The following table describes the criteria for adjusting video levels by eye, without color bars. Color Adjustment Criteria Blacks Should not seem flat and lacking detail. Find a series of frames in the footage that include black areas. Shadows work better than black objects. Blacks should fall around 7.5 IRE for NTSC, 0 IRE for NTSC-EIAJ, or 0.3 V for PAL in the Waveform monitor. Whites Should not be washed out or lacking detail.
Using Capture Function Keys Press To F3, Add a locator to the current frame while capturing. Each Function key adds a different F5 through color locator. See “Adding Locators On-the-Fly” on page 141. F12 F4 In Capture mode, start the capture process. During capture, end a comment for a locator. In Log mode, press once to mark an IN point. Press again to mark an OUT point to log the clip in the bin. To change function key commands for capturing media: 1.
4 Capturing Media: Advanced Special Capture Procedures This section describes several optional procedures you can use during the capture process. Logging Errors to the Console Window The Console window is useful for logging errors that occur during the capture process. For more information about the Console, see “The Console Window” on page 74.
Special Capture Procedures When subclips are created in 24p or 25p projects, they are always created as “hard” subclips. This means you cannot trim past the edges of the subclip when adjusting transitions and edits. Hard subclips prevent film-tracking information errors for editing and cut lists. c n n For NTSC film-to-tape transfers, you must log the correct pulldown phase before you create subclips. For more information, see “Setting the Pulldown Phase” on page 109.
4 Capturing Media: Advanced Creating Timed Subclips While Capturing You can capture a subclip of a preset duration. The Keys tab in the Capture Settings window allows you to specify the duration of a subclip that is automatically created when you press a function key mapped to the Timed Subclip button. IN and OUT points are created at predetermined intervals before and after the point you mark in the source media by pressing the Timed Subclip button. To set the duration of a timed subclip: 1.
Special Capture Procedures Adding Locators On-the-Fly To add a locator to a frame while capturing: 1. Start capturing. 2. Watch the playback of the footage in the monitor, and press one of the locator keys (F5–F12) when you see the shot or frame with which you want to associate a locator. A default name and number for the locator appear in the Name text box in the Capture tool. 3. While you capture, you can add comments for the locator.
4 Capturing Media: Advanced Controlling Decks from the Keyboard You can use the J-K-L keys to control a deck from the Capture tool, Digital Cut tool, and Deck Controller window. 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. J+K Shuttle the deck at –0.25x normal speed.
Special Capture Procedures To use Quick Record mode: 1. Select Tools > Capture. The Capture tool opens. 2. Click the Toggle Source button until the Deck Capture icon appears. 3. Click the Deck Selection pop-up menu, and select your deck. See “Setting Up the Capture Tool” in the Help. 4. Click the Servo Lock Mode button. A check mark appears in the button and the Toggle Source button changes to the Quick Record Mode icon. 5.
4 Capturing Media: Advanced Message Cause or Action Required Selected deck will not Servo Lock Some deck models do not generate a servo-lock signal. This is defined in the deck’s template. n Deck not in Local mode If this message appears, make sure you have the correct deck selected in the Deck Selection pop-up menu. If the message continues, you cannot use the deck with Quick Record mode. Quick Record mode requires the deck to be in Local mode.
Special Capture Procedures 6. Click OK in the Field Selection dialog box. The new text field appears in the Capture tool. Press the Tab key to move between fields while capturing. 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.
4 Capturing Media: Advanced To delete extra text fields: 1. Click the column heading in the bin. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The column is deleted from the view and the entry in the Field Selection list is deleted. Mapping the Record Button You can map the Record button from the Play tab in the Command palette to a key on the keyboard. This allows you to start capturing by pressing a key.
Understanding DV Capture Offset Understanding DV Capture Offset DV capture offset allows you to offset the incoming DV stream against the timecode assigned to each frame during capturing. This offset is only used in a transcoder configuration or in configurations where the DV stream does not encode timecode into the incoming DV frames. DV capture offset was primarily designed for configurations where an RS-422 controller is used to control a DV device and the DV stream is captured over a FireWire cable.
4 Capturing Media: Advanced FireWire Configuration with Encoded Timecode The range of DV capture offset in your Avid editing application is from –6 to 24 frames with the default value set to 0. To use DV capture offset, perform several captures with the DV capture offset set to 0. Note the first frame of the master clip for each clip. If the first frame of the master clip is not as expected, the DV capture offset should be adjusted to account for this variation.
Understanding DV Capture Offset Capture with No Offset To adjust for this device behavior, set the DV capture offset to –6 frames. The result should be a frame-accurate capture. However, the results are dependent on device behavior. If the device behavior for sending streams across a FireWire cable is inconsistent, frame-accurate results on capture will also be inconsistent. See the following illustration.
4 Capturing Media: Advanced Delaying Audio Sometimes the source from which you are capturing provides an audio signal that is one or more frames ahead of the video. For example, the Panasonic AG-DVX100 DV camcorder always records audio one frame ahead of the video. Also, the use of a timebase corrector (TBC) or other video processing devices on your input signal might introduce fixed frame delays of video.
Capturing in Satellite Mode or No Device Control A 23.976p video only capture is supported only with the Advanced Pulldown cadence of 2:3:3:2 as created by the Panasonic cameras AG-DVX100 and the AG-SDX900 NTSC versions. When creating a 23.976 project in these products, capture always assumes the pulldown cadence to be “advanced.” If you are taking a feed from a source based on a time-of-day timecode generator, setting IN and OUT points is especially useful.
4 Capturing Media: Advanced Preparing to Capture with External Timecode To prepare for capturing with external timecode: 1. Select Tools > Capture. The Capture tool opens. Toggle Source button Timecode Source menu Source Tape Display button 2. Select the audio and video tracks. 3. Select the audio and video input.
Preparing to Capture with External Timecode 4. Click the Timecode Source menu, and select one of the following (the devices that appear in the Timecode Source menu originate from the current Deck Configuration settings): Option Description Internal Uses internal system timecode. LTC Input Detects LTC input. LTC is only available with some Avid input/output hardware devices. If LTC is not available for your configuration, the LTC Input option is grayed out. Auto Detect Detects LTC input by default.
4 Capturing Media: Advanced 6. If the tape name for which you are searching does not appear in the Select Tape dialog box, click the Scan for Tapes button. Tape and project names are listed. New Ta pe Name button List of tapes Show other projects option 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.
Timed Captures 10. If you notice that your captured material is consistently one or more frames off, select “Latency for satellite mode” in the General tab in the Capture Settings dialog box to fix the problem. For more information, see “Capture Settings: General Tab” in the Help. Timed Captures When Satellite mode is enabled, the Timed Capture option allows you to schedule a capturing session for upcoming live satellite feeds.
4 Capturing Media: Advanced 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.
Capturing to the Timeline 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. Select Tools > Capture. The Capture tool opens. 2.
4 Capturing Media: Advanced 3. Load a sequence into the Source/Record monitor. 4. (Option) Patch tracks you are capturing (source tracks) to the tracks in your sequence (record tracks). See “Patching When Capturing to the Timeline” on page 159. 5. Mark an IN point in the sequence or move the position indicator to where you want the edit to take place. 6. Mark the source material you want to capture by using the Capture tool logging controls.
Capturing Video Without Pulldown into a 24p NTSC Project Patching When Capturing to the Timeline By default, the tracks you selected for capturing (V1, A1, A2, and so on) are edited to the corresponding tracks in the Timeline. You can patch the captured footage to any track in the Timeline. n You can also patch tracks in the Timeline in the same way you patch tracks when editing from the Source monitor. See “Patching Tracks” in the Help.
4 Capturing Media: Advanced Remote Play, Capture, and Punch-In The Remote Play and Capture feature allows you to use an external edit controller with an Avid editing system. Remote Play and Capture covers three basic functions: Function Description Remote Capture Controls the capturing of media into an Avid editing system while using an edit controller. Remote Capture allows you to record and stop.
Remote Play, Capture, and Punch-In Selecting Remote Play and Capture Settings To open the Remote Play and Capture Settings dialog box: 1. Double-click Remote Play and Capture in the Settings list. The Remote Play and Capture Settings dialog box opens. 2. Click the Mode menu, and select Remote Play, Remote Capture, or Remote Punch-In. For information about each option, see “Remote Play and Capture Settings” in the Help.
4 Capturing Media: Advanced 7. Specify the time (measured in frames) it takes the deck to start playing from a cued position in the Runup area. 8. Select Clip > Remote Play and Capture when you are ready to capture. A check mark appears next to the command to indicate that the system is ready. A yellow outline appears around the Play button in the Source/Record monitor to indicate that Remote Play and Capture is active. 9. Select Tools > Capture. The Capture tool opens. 10.
Remote Play, Capture, and Punch-In 5. With a sequence loaded in the Source/Record monitor, use the Play, Cue, and Stop buttons on the edit controller to control the sequence. At this time, fast-forward, rewind, and shuttle and jog are not enabled from the edit controller.
4 Capturing Media: Advanced 4. Double-click Remote Play and Capture in the Settings list of the Project window. The Remote Play and Capture Settings dialog box opens. 5. Select Mode > Remote Punch-In. 6. Click the Device Code menu, and select the appropriate device. 7. (Option) Specify other settings as described in “Remote Play and Capture Settings” on page 690. 8. Click OK. 9. Select Clip > Remote Play and Capture when you are ready to use the system for capturing.
Remote Play, Capture, and Punch-In 10. Select Tools > Audio Punch-In. The Audio Punch-In tool opens. Some of the features in the Audio Punch-In tool — such as the preroll and postroll options — do not appear when you open the tool in Remote Play and Capture mode. Input Channels buttons 11. Select the tracks you want to record to by clicking the Input Channels buttons. 12. Load a sequence in the Source monitor. 13. Using the controls on the external controller, set an IN point in the Timeline.
4 Capturing Media: Advanced n This procedure does not apply to Avid editing applications running on the Windows Vista operating system. To install or change the system’s serial driver: 1. Quit your Avid editing application. 2. Right-click the My Computer icon, and then choose Manage. The Computer Management window opens. 3. Click Device Manager in the left pane. 4. Expand the Ports (COM & LPT) by clicking the plus sign (+) in the right pane. 5. Double-click the Communications Port you are using.
Modifying the Pulldown Phase After Capturing To check for an incorrect pullin frame: 1. Look for a section of the clip that includes a series of frames with motion. 2. Step through the clip frame by frame (using the Step buttons or another method) and look for two frames that have no movement. If the pattern is two frames of movement followed by two frames of no movement, the pullin is incorrect.
4 Capturing Media: Advanced c. Compare these digits with the last digit of the start timecode (first frame) of the clip to determine the correct pullin. For example, if the A frame ends in 0 or 5, and the start timecode ends in 4, the pullin is D. d. If the pullin for the clip is the X frame, you need to modify the timecode to produce a number you can associate with a pullin.
DV and HDV Scene Extraction DV and HDV Scene Extraction While you are capturing DV or HDV footage, the DV and HDV Scene Extraction feature allows you to generate subclips and locators automatically, based on time-of-day (TOD) information contained in the DV or HDV format. Discontinuities in the DV or HDV TOD metadata indicate each place in a master clip or subclip where a new take was initiated on a DV or HDV camera.
4 Capturing Media: Advanced 5. Select one of the following options: Option Description Add Locators Creates locator marks where the TOD information breaks occur while capturing. Create Subclips Creates subclips where the TOD information breaks occur while capturing. Both Creates subclips and locator marks where the TOD information breaks occur while capturing. 6. Click OK. 7. Select Tools > Capture and then click the Record button.
Using the Panasonic VariCam 6. Select one of the following options: Option Description Add Locators Creates locator marks where the TOD information breaks occur while capturing. Create Subclips Creates subclips where the TOD information breaks occur while capturing. Both Creates subclips and locator marks where the TOD information breaks occur while capturing. 7. If you have chosen to create subclips, select the bin where you want these subclips stored. 8.
4 Capturing Media: Advanced n Note, if you capture audio, it will be out of sync. To use the VariCam camera with the Avid editing application: 1. Connect the VariCam camera through a 1394 (FireWire) port on your computer. 2. Select a 720p project format. 3. If you are using Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following: - Click the DNA/1394 button above the Timeline so that 1394 is displayed. - Select Special > Device > IEEE 1394. 4.
5 Importing Files: Advanced When you import files, the system converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. Any corresponding media files are stored on a target drive that you specify.
5 Importing Files: Advanced Importing Single-Layer Photoshop Graphics A single-layer graphic is a graphic file that was created on a single layer or a layered graphic that was flattened in Photoshop. Avid editing applications import this kind of graphic as a matte key or master clip, depending on the format of the Photoshop file. • If the graphic uses a transparent background or an alpha channel, the Avid editing application creates a matte key.
Photoshop Graphics Import You can also preserve layer effects and the original structure of the file by importing the file in two stages: n You can import multilayered graphics created in Photoshop v6.0 or later. Example of Multilayered Photoshop Graphics Import A typical multilayered Photoshop graphic might consist of a collage of still images over a background image, with a layer of text.
5 Importing Files: Advanced The following illustration shows the layers as they appear in a bin. During the import, your Avid editing application creates a sequence with each layer on a separate video track; this makes it easy to edit all layers into the final sequence. This sequence preserves the names and order of the layers as created in the original Photoshop file, as shown in the following illustration. You can then edit the tracks to build up to the full collage.
Photoshop Graphics Import Support for Multilayered Photoshop Graphics Import You should be aware of the following requirements for multilayered graphics import and details of how your Avid editing application handles the import: • Graphics must be RGB 8 or 16 bits, or grayscale. • Layer order and layer names are preserved during import. • Hidden layers are imported as matte keys. • Opacity is converted to Foreground level in the Matte Key effect.
5 Importing Files: Advanced Special Layer Option Supported Notes Type Layer Yes — Solid Layer Yes Solid layers are imported as a graphic with a full-screen opaque alpha channel. Gradient Layer Yes Gradient transparency is preserved. Pattern Layer Yes — Adjustment Layer No Adjustment layers include Levels, Curves, Color Balance, Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient Map, Invert, Threshold, and Posterize.
Importing Editcam Files 4. In the message box, do one of the following: t Click Sequence of Layers if you want to preserve all layers. If the number of layers exceeds the number of tracks supported, your Avid editing application creates a sequence that contains the number of tracks supported. Additional layers are imported into the bin, but not as tracks in a sequence. This selection applies to all files you selected for import.
5 Importing Files: Advanced 4. Click the Files of Type menu (Windows) or the Show menu (Macintosh), select CamCutter, and then select the CamCutter bin by doing the following: a. From the desktop, select the FieldPak by selecting the FieldPak drive letter (Windows) or FieldPak volume name (Macintosh). 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.
Importing Sequences from Pro Tools through Interplay (Windows Only) For additional information about Editcam, CamCutter technology, and how these systems operate with nonlinear editors, see the Web site www.nltek.com. Importing Sequences from Pro Tools through Interplay (Windows Only) You can import a sequence you have worked on in Pro Tools back into your Avid editing application. You need to have checked the sequence into Interplay from Pro Tools. To import a sequence from Pro Tools: 1.
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6 Working with Bins: Advanced Your Avid editing application provides powerful database tools for organizing and managing your captured material. You can view bins in four different display views. You can rename, sort, sift, duplicate, and delete clips and sequences. You can also print single-clip frames or whole bins.
6 Working with Bins: Advanced Displaying Custom Bin Views When a bin is in Text view, the Bin View menu appears to the right of the Fast Menu button. Use the Bin View menu (Text view only) to select different bin views. Bins have the following default views that are automatically installed: View Description Custom Allows you to create and save customized views. The only required column heading is the Name heading, which is displayed by default.
Advanced Bin Procedures There are several ways to customize views of the bin: • Alter the arrangement of existing columns in one the default bin views — for example, Statistics view — to suit your needs, without adding or hiding columns. These arrangements are recalled each time you select the modified standard bin view. • Add or hide columns of information to create customized views for any of the default bin views. They are saved as additional view settings in numerical order: for example, Statistics.
6 Working with Bins: Advanced 3. Select and deselect the columns you want to see. 4. Click OK. Assigning Colors to Bin Objects You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects. Colors assigned to bin objects are referred to as source colors. You can display source colors in bins and in the Timeline. For information on displaying source colors in the Timeline, see “Displaying Local and Source Colors in the Timeline” on page 362.
Advanced Bin Procedures 3. Do one of the following: t (Text view only) Click in the Color column and select a color from the menu. t (Text view only) Alt+click (Windows) or Option+click (Macintosh) in the Color column in the bin, and then select one of the colors. When you Alt+click or Option+click in the Color column, the menu of colors that appears is limited to the colors you are currently using in the bin.The color appears in the Color column (Text view only) and on the clip icon.
6 Working with Bins: Advanced 2. Click the Criterion menu, and select one of the sifting options. 3. Click the first Text to Find text box, and type the text that you want to use as a sift criterion. When sifting by color, type the exact name of the color (using uppercase and lowercase letters) in the text box. 4. Click the Column or Range to Search menu, and select a column heading to which you want to apply the criterion. 5.
Advanced Bin Procedures Finding Specific Effects You use the Effect Summary and Effect Location Summary to find a particular effect. When you output the summary to a text editor, you use the Find option and Find Next option to cycle through all occurrences of the particular effect. In addition, the start or end timecode value for each occurrence can be entered into the Source/Record monitor to go to the start of the effect in the Timeline.
6 Working with Bins: Advanced To open the Sequence Info or Clip Info dialog box from the Source or Record monitor, do one of the following: t With a sequence or clip loaded in a monitor, right-click the monitor and select Get Sequence Info (for a sequence) or Get Clip Info (for a clip). t With a sequence or clip loaded in a monitor and the monitor selected, press Ctrl+I.
Advanced Bin Procedures 3. Right-click the monitor and select Get Sequence Info. The Sequence Info dialog box opens. 4. Select Generate Summary Info. 5. Choose from the following options: t If you selected specific tracks, click Enabled Tracks Only. t If you set IN and OUT points, click Use Marks. t If you want to run a report on the entire sequence regardless of tracks or marks, do not select either of these options.
6 Working with Bins: Advanced To choose the Info options (type of summary): 1. Once you have determined the track information, choose the type of report you want from the Summary Info Options section. Depending on the summaries you want information for, you can select one or more of those summaries below. Summary Option Suboption Description Create Effect Summary This displays the types of effects and how many were found in your sequence, the breakdown by effect type, and an effect plug-in summary.
Advanced Bin Procedures Summary Option Suboption Description Skip Non-Selected Clips in Group Clips Select this option if you do not want any non-selected clips inside of a group clip to appear in the report. Show Globally Unique Identifier (UID) Select this option if you want to display the unique identifiers (Mob IDs) associated with the clips and sources in your sequence. To display the summary in a text file: 1. In the Summary Output Options area, select Output File. 2.
6 Working with Bins: Advanced Understanding Sifting Timecodes or Keycode Ranges You can sift on a timecode (or keycode) number within a specific range. For example, you can sift for all the clips that start before and end after a particular timecode. Before custom sift For example, type 01:08:32:00 in the Text to Find text box in the Custom Sift dialog box, click the Column or Range to Search menu, and select Start to End Range.
Advanced Bin Procedures If you display any column in the bin that is associated with ranges, either explicit or implicit, the corresponding range menu item appears in the Column or Range to Search menu in the Custom Sift dialog box. For example, if you choose to display the Start column and the Auxiliary TC1 column in the bin, the Start to End Range and Auxiliary TC1 Range menu choices will appear in the Column or Range to Search menu.
6 Working with Bins: Advanced Bin Column (Implicit Ranges) Column or Range to Search Menu Item Auxiliary TC5 Auxiliary TC5 Range Ink Number Ink Number Range Auxiliary Ink Auxiliary Ink Range Sifting Timecodes or Keycode Ranges To sift for a timecode or keycode number within a specific range: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. 2. Type the timecode (or keycode) number for the range in which you want to sift. 3.
Advanced Bin Procedures If the Lock column is not displayed, you might have hidden that column. For information on hiding and restoring bin columns, see “Manipulating Bin Columns” on page 200. To unlock previously locked items: 1. Select the items in the bin. 2. Select Clip > Unlock Bin Selection. You can use the clip-locking feature along with archiving software to automatically archive all locked media files. For more information on archiving locked files, see your archiving software’s documentation.
6 Working with Bins: Advanced Selecting Offline Items in a Bin Offline items are clips, subclips, or sequences that are missing some or all of their original media files or that have never been captured. To identify offline items, do one of the following: t Select Bin > Select Offline Items. t Click the Bin Fast Menu button, and then select Select Offline Items. The bin highlights all items that are missing media files.
Advanced Bin Procedures 4. Select the clip or sequence, and select Bin > Select Media Relatives. The system highlights all related objects in all open bins. Highlighted media relatives Selecting Unreferenced Clips When you select unreferenced clips, your Avid editing application highlights all clips not currently referenced by clips or sequences that are in the open bins. Any master clips, subclips, or effect clips you edited into sequences in the bins are not highlighted.
6 Working with Bins: Advanced To identify unreferenced clips: 1. Open the bin containing the sequence or clip that is referenced. 2. Open all other bins containing clips that were used during editing. 3. Select Bin > Select Unreferenced Clips. A message box warns you that unreferenced clips will be highlighted in open bins only (items in closed bins are not shown). 4. Click OK. All unreferenced clips are highlighted in the open bins.
Text View: Advanced To align bin columns: t Select Bin > Align to Columns. To delete a column: 1. Click the column heading in a bin. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The column disappears from the view, and surrounding columns close to fill the space. Duplicating Bin Columns You can duplicate existing columns containing timecode information into other compatible columns that you target in a dialog box.
6 Working with Bins: Advanced To add a new custom column: 1. Click an empty area to the right of the current headings in the headings box. 2. Move any existing column to the right or left to create an empty area. 3. Type the column heading you want, and press Enter (Windows) or Return (Macintosh). Column headings must contain a maximum of 14 characters, including spaces. This places the pointer in the data box, beside the first clip in the bin. 4.
Text View: Advanced Moving Within Column Cells You can use the keyboard shortcuts described in the following table to move from cell to cell in bin columns: Shortcut Description Tab Moves the pointer to the parallel cell in the next column. You can continue to press the Tab key to scroll through the cells to the right until the cell in the last column is highlighted. The next time you press the Tab key, the cell in the first column is highlighted.
6 Working with Bins: Advanced 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. • You cannot modify some data after capture because changes would prevent you from playing back and editing the material successfully.
Text View: Advanced Modifiable Bin Heading Restrictions Color No restrictions. Comments No restrictions. Auxiliary timecodes, 1–5 No restrictions. Journalist No restrictions. Production No restrictions. Start No restrictions. TapeID No restrictions. TC 60 No restrictions. Modifying Data Directly c Modifying tape names and timecodes affects any key numbers entered for the selected clips. To modify the clip data directly in a bin: 1. Click the Text tab in the bin to enter Text view. 2.
6 Working with Bins: Advanced Using the Modify Command to Modify Data The Modify command gives you specialized control over groups of clip information. For example, you can use the Modify command to change the name of source tapes, or to increment or decrement the start and end timecodes by a specified length of time for one or several clips at once. You can apply changes with the Modify command to master clips only; subclips and sequences are not altered in this way.
Text View: Advanced Type of Modification Options Description Set Source None Opens the Select Tape dialog box. Selects another source tape name for the clips that should match the original source tape name. Set Disk Label Set label Allows you to change the name assigned to an XDCAM disk. For more information, see “Importing XDCAM Media” on page 244. Set Format Compatible formats Allows you to change the format of a sequence.
6 Working with Bins: Advanced 5. Select an option or type information into the text boxes (timecode values, for example) when they appear. 6. Click OK. The modification takes effect. Copying Information Between Columns To copy column information to another column: 1. Select the column that you want to copy. 2. Select Edit > Duplicate. The Select dialog box opens, prompting you to target a column for the data. 3. Select the target column for the data, and click OK.
Text View: Advanced - 16mm, 20 perf - 65mm, 15 perf (used in IMAX® films) - 65mm, 10 perf - 65mm, 8 perf - 65mm, 5 perf - VistaVision® Tracking 3-Perf Counts You can track 3-perf counts in film projects. The perf value is an extension of the key number, and appears in the KN Start, Ink Number, and Aux Ink Number bin columns. A sample key number might be as follows: KJ 12 1234-3456-10.3 The “.3” at the end of the key number represents the perf value.
6 Working with Bins: Advanced Edgecode Type Edgecode Format Sample Edgecode Edgecode (5 count) NNN-NNNNN+NN (Identifier-Feet on film+Frame in foot) 203-09025+03 Frames NNNNN 45678 Sorting Clips in Text View Sorting clips arranges them in either numerical or alphabetical order, based on the data in the column you select as the sorting criteria. You can sort clips in several different ways, including an ascending sort, a descending sort, or a multilevel sort.
Text View: Advanced To perform a multilevel sort using the information in the bins: 1. With a bin in Text view, arrange the columns in the bin to establish the primary column. The column that appears farthest to the left in the bin has higher sort priority. 2. Select the columns you want to contribute to the sort criterion. 3. Select Bin > Sort. The objects in the bin are sorted. To sort clips by color: 1. Click the Color column heading in the bin. 2. Select Bin > Sort.
6 Working with Bins: Advanced Frame Counting for Timecodes The following table shows the frame count for each timecode available for your Avid editing application. The timecodes are listed as 24 for 24 fps, 25 for 25 fps, 25P for 25 PAL with pulldown, 30 for 30 fps (the count skips six frames to fit 30 frames into 24 fps), 30NP for 30 fps with no pulldown, and 60 for 60 fps.
Text View: Advanced Bin Column Headings You can select individual or multiple headings to be displayed or hidden in a bin. For information on how to select column headings, see “Manipulating Bin Columns” in the Help. Your Avid editing application provides the ability to track multiple film gauges within a bin and within a sequence.
6 Working with Bins: Advanced Bin Column Heading Description Cadence Type of pulldown present on the source NTSC tapes when in a 23.976 or 24p project. Color Color of the bin objects for organizing the objects. Color Framing The color framing for the tape. For NTSC, the choice is Even or Odd. For PAL, the choices are A Standard, A Non-Standard, B Standard, or B Non-Standard. Creation Date Date and time the clip was logged or captured.
Restricted Material Bin Column Heading Description Project Project under which the media was originally captured. Pullin Telecine pulldown of the first frame of the clip (pulldown phase). Pullin can have the values A, B, X (matchback only), C, or D. Used for 24p projects and matchback projects only. (NTSC only) Start Timecode of the clip’s head frame. TC 60 60-fps timecode. Used for HD projects. Tape Source tape name. TapeID Tape ID number. Tracks All tracks used by this media object.
6 Working with Bins: Advanced Displaying or Outputting Restricted Material The clip icon of any clip that contains restricted material displays the Restricted marker. Restricted marker When you first open a restricted clip or load a sequence containing restricted clips, a warning message box opens. The warning appears every time you perform this operation (that is, opening or displaying a clip) on restricted material in this session, not just on the present clip.
Restricted Material To ignore the warning for the rest of the editing session and continue with editing or output: t Click the “Don’t warn again” button. You no longer see restriction warnings for the current clip or any other clip in this editing session. When you quit your Avid editing application and then open it, you see the warning again the first time you try to display or output restricted material.
6 Working with Bins: Advanced Changing Restriction Comments You can change the comments for a particular range of material in Avid Interplay Assist while your Avid editing application is open. To see changes in Restriction comments while you are editing: 1. Change the comments in Avid Interplay Assist. For more information, see the Avid Interplay Assist documentation. 2. In the editing application, select Tools > Remote Assets. 3. Navigate to the changed clip, and drag it into the bin again.
Digital Bars and Tone 4. Select the appropriate options from the Page Setup dialog box. 5. Click OK (Windows) or click Print (Macintosh). 6. Select File > Print Bin. The Print dialog box opens, reflecting the specific options for your printer. 7. Select the Print options. 8. Click OK (Windows) or Print (Macintosh). The system prints the active bin. To print a single frame of a clip or sequence: 1. Load a clip or sequence into the Source/Record monitor. 2. Select the frame you want to print. 3.
6 Working with Bins: Advanced Acquisition Method Description Record bars from an external color bar generator Provides good results, but you must have a color bar generator available, and you must rearrange your system inputs to attach the generator. In addition, you must acquire tone separately and sync it with bars within your Avid editing application. Import a file of bars Provides the highest quality results because the source image is already digital.
Importing Color Bars and Other Test Patterns 6. Select a test pattern file from the File browser (Windows) or Source File list (Macintosh) for importing: - 8-bit PICT files are located at the top level of the Test_Patterns folder. - 16-bit TIFF files are located in the HD_720p, HD_1080i, SD_NTSC, and SD_PAL folders. The file name appears in the File Name text box (Windows) or the Go to text box (Macintosh). 7. Click Options to adjust the Import settings. The Import Settings dialog box opens. 8.
6 Working with Bins: Advanced Leaders Film editors traditionally use standard head and tail leaders for cueing and syncing material. You can use digital leaders in your Avid editing application to mark the beginning and ending of tracks and to help you maintain sync, as described in “Managing Sync with Multiple Tracks” on page 353. You can create your own leader for video or film. Whatever you choose for specifications, make all your leader clips the same length, with common sync points.
Leaders 5. Prepare the sound levels for leader without a sync point (no audio pop) by opening the Audio Mixer tool and bringing the audio level all the way down for the entire clip. 6. Prepare the sound levels for leader that include a sync point (audio pop) by doing the following: a. Find the appropriate sync point. Step one frame backward and place an add edit before the sync frame; then step two frames forward and place an add edit after the sync frame.
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7 File Based Media Avid supports P2, XDCAM™, and XDCAM EX file based media. You can link, import, or export clips and sequences from one of these third-party volumes to and from the Avid editing system. You can manipulate and edit this media as you would any other clip or sequence. You obtain this media from a third-party device (a camera or reader), from a CD or DVD, or from a virtual volume (a server connected to your system).
7 File Based Media Sony XDCAM EX Media Your Avid editing application supports high-resolution XDCAM EX media. Sony’s XDCAM EX media is stored on a card, as opposed to the traditional XDCAM media on an optical disc. XDCAM EX media, like other XDCAM media, is imported at the data rate at which it was recorded. Sony's XDCAM EX cameras and reader’s use a card to store recorded media. The XDCAM EX devices can record media in high-resolution XDCAM HD formats.
Sony XDCAM EX Media Working with XDCAM HD Media Your Avid editing application supports import of both proxy and high-resolution XDCAM HD media. XDCAM HD media, like other XDCAM media, is imported at the data rate at which it was recorded in one of the following resolutions: • XDCAM HD LP (long play) (17.
7 File Based Media This command removes the actual XDCAM EX device from your system, not just the card. However, when you follow these procedures, it prevents any unmount messages from the Avid editing application to occur. To eject an XDCAM EX card from its device: 1. With an XDCAM EX card inserted in the XDCAM EX device and your Avid editing application running, click the Safely Remove Hardware icon located at the bottom right-hand corner of the taskbar. 2. Select Safely Remove XDCAM EX device name.
Panasonic P2 Media Panasonic Format Avid Format Number of Audio Channels DVCPRO HD 720p 1080i 4 DVCPRO 50 DV 50 (NTSC and PAL) 4 Avid editing applications support one video track and up to four tracks of 48 kHz, 16-bit audio, the maximum you can record on Panasonic P2 equipment. P2 Files and Folders Panasonic P2 video and audio media is recorded in MXF format, one of the two media file formats you can use in Avid editing applications.
7 File Based Media Installing the Panasonic P2 Drivers Before you can use Panasonic P2 equipment, you need to load the appropriate drivers. These drivers are included on a CD that is packaged with your Panasonic P2 equipment. To install Panasonic P2 drivers: t n Follow the instructions included with your P2 equipment. You can download the most up to date driver from the Panasonic website, www.panasonic.com.
Panasonic P2 Media Setting up a P2 Card Reader (Windows only) Before using a P2 card reader with a Windows system, you need to set Autoplay options. To set up a P2 card reader for the first time: 1. Make sure your Avid editing application is not running. 2. Make sure the appropriate driver is installed. See “Installing the Panasonic P2 Drivers” on page 230. 3. Connect the card reader to a USB port. 4. Insert a P2 card into each slot.
7 File Based Media 5. Insert one or more P2 cards (up to five). (Windows) Each P2 card displays as a single lettered drive on the Windows desktop. (Macintosh) Each card appears as a single drive with the label “No Name.” Volumes with duplicate names are renamed sequentially (No Name1, No Name2, and so on). However, this is not visible to the editor.
Panasonic P2 Media To copy the P2 cards to another drive: 1. On the drive, set up a folder for each P2 card you want to copy. 2. Give each folder a unique name that identifies the P2 card. The name does not have to be the same as the actual P2 card name. 3. Navigate to the actual P2 card and select the Contents folder. 4. Do one of the following: t Copy and paste the Contents folder to the folder on the other drive. t Click the Contents folder and drag it to the folder on the other drive. 5.
7 File Based Media Deleting Clips When you are working in your Avid editing application, you can delete master clips, but you cannot delete media files that reside on drives. Your Avid editing application treats files as read-only devices. In your Avid editing application, you can delete master clips and media files the same way you delete other master clips and media files. However, you might not be able to delete files that you moved rather than copied.
Panasonic P2 Media Working with Spanned Clips Spanned clips are clips that extend from one card (for example a P2 card or an XDCAM EX card) to another. You can work with spanned clips in your Avid editing application. The following illustration shows how clips can span multiple cards.
7 File Based Media • P2 and XDCAM EX spanned media covers multiple drives, but the bin displays only one drive letter. The drive letter in the bin might be any of the drives, but is usually the highest lettered drive where the media exists. • If necessary, copy all spanned clips to another drive to ensure a clip’s integrity before swapping out the cards.
The Avid Media Access (AMA) Workflow • Understanding Linking with AMA • Working with Essence Marks • Workflow for Editing P2 Clips with AMA Selecting the AMA Settings You can set options in the AMA Settings dialog box to turn AMA on or off (on by default), to automatically mount your volumes, and to customize your bin. To set up AMA: 1. In the Project window, click the Settings tab. 2. Double-click AMA. The AMA Settings dialog box appears. 3. Click the Volume Mounting tab. 4.
7 File Based Media n If you restart the application, the system automatically rescans the drives regardless of the options you’ve selected. 6. To customize your bin, click the Bins tab. By default, the system links your clips into a new bin using the project name as the bin name. If you want to change the bin name or want to use an already existing bin, you can make these changes in the Bins tab. For more information on Bins options, see “AMA Settings: Bins Tab” on page 612.
The Avid Media Access (AMA) Workflow Linking Media with AMA You can link your media using AMA. This allows you to access the high-resolution media onto the Avid editing system quickly. n For optimum viewing and playing, Avid recommends a single clip length should not exceed more than 12 hours. n The decompose option from the Clip menu is not available with AMA. You do not need to decompose clips when you use the AMA method. To link clips automatically with AMA: 1.
7 File Based Media 3. Select Bin Selection options. Option Description Single Bin Based On Selected Folder Places all imported clips into one default bin. Single Bin Named Allows you to create a new bin and type in a new bin name. Places all imported clips into that bin. Multiple Bins Based on Current AMA Setting Places the clips in the bins you set up in the AMA Settings Bins tab. Multiple Bins Based on Subfolders Places the clips in multiple bins based on their subfolders.
The Avid Media Access (AMA) Workflow 3. Click OK. The virtual volume is removed from your system and clips linked to this virtual volume appear offline. When you restart the application, the system scans the system for virtual volumes and the clips appear online. Workflow for Editing XDCAM and XDCAM EX Clips with AMA Once you have linked the XDCAM or XDCAM EX clips from their respective sources, you can consolidate the media from your sequence.
7 File Based Media Working with Essence Marks 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.
The Import and Export Workflow The Import and Export Workflow In the traditional method, you can import and export file based media from a third-party volume (for example, a P2 or XDCAM device) into a bin. For XDCAM, you can import the proxy media to work with low resolution media and take up less disk space, and then consolidate and import the high resolution media once your sequence is complete. There are also several options you need to setup before you import the media.
7 File Based Media • Importing P2 Clips and Media • Dragging P2 Master Clips from the Media Tool to a Bin • Exporting Your Clip or Sequence to a P2 Card Setting 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, see Import Settings: XDCAM Tab.
The Import and Export Workflow n Low-resolution proxy media have the same number of audio tracks as the high-resolution formats. There are several ways to access XDCAM media: • You can automatically import all proxy media when you load a disc in your XDCAM device. See “Automatically Importing Proxy Media from an XDCAM Device” on page 248. • You can manually import all proxy media on all discs currently loaded on your system. See “Importing Proxy Media from an XDCAM Disc” on page 249.
7 File Based Media Importing XDCAM EX Media Although using AMA is faster and easier to import an XDCAM EX clip and Avid recommends using the AMA method, you can import an XDCAM EX clip into an Avid editor without using the AMA method. XDCAM EX devices store media as MP4 interleaved files. The Avid editing application does not directly support these files.
The Import and Export Workflow 10. Open the Avid editor. 11. Open a project and a bin, or create a new bin. 12. With the bin selected, Right-click (Windows) or Ctrl+Shift+click (Macintosh) and select Import. The Select files to Import dialog box opens. 13. Locate and select the AAF composition files, and then click Open. All metadata information is embedded with the clip. The video resolution in the Import window is ignored. The XDCAM EX clips appear in the bin.
7 File Based Media Automatically Importing Proxy Media from an XDCAM Device You can use this method to automate the process of importing proxy media from your XDCAM device to your Avid editing application. To import proxy media from an XDCAM device: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 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.
The Import and Export Workflow 7. Type a name in the Disk Label text box. Your Avid editing application uses the disk label for operations such as Batch Import, where you are prompted to insert a specific XDCAM disc that holds the files you want to import. A disk label is required in order to import XDCAM media. 8. Click the Single/Dual Drives button, and select a destination drive for the imported file from the menu. 9. Click Import.
7 File Based Media 6. Click Import. When your application finishes importing the files, the clips appear in the selected bin. Your Avid editing application imports XDCAM media at the native resolution of the media on the XDCAM disc. Your application ignores other resolution settings — for example, in the Select Files to Import dialog box. 7. (Option) Repeat this procedure for each XDCAM disc that holds media you want to import.
The Import and Export Workflow Manually Importing XDCAM Media from the XDCAM Disc You can use the standard Import function to import XDCAM media into your Avid editing application. You set the default XDCAM import options in the XDCAM tab of the Import Settings dialog box. For more information on import options, see “Import Settings: XDCAM Tab” in the Help.
7 File Based Media To import Essence Marks as locators: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Import Essence Marks as locators. 4. Click OK. Editing XDCAM 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.
The Import and Export Workflow To set the playback options for XDCAM media: 1. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Video Quality menu button, and select Draft Quality (yellow/green) or Best Performance (yellow/yellow). 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. 2.
7 File Based Media To batch import high-resolution XDCAM media: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Batch Import High-resolution Video. 4. Click the Handle Length text box and type the number of additional frames you want to import at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. The default is 30 frames. 5. Click OK. 6.
The Import and Export Workflow 10. Click the All Clips button. The Batch Import dialog box opens. Single/Dual Drives button Video Drive and Audio Drive menus Your Avid editing application imports XDCAM media using the native resolution of the XDCAM files. 11. 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. 12. Click Import. The high-resolution files are imported.
7 File Based Media Editing and Finishing High-Resolution XDCAM Media (Non-AMA Method) Once you have imported the high-resolution media, you can play back and edit your sequence with full resolution and in real time using the standard Avid editing functions. You can also send the sequence to a broadcast playback server using Avid Interplay Transfer. As you edit your sequence, you can move between the proxy media and the high-resolution media by relinking your clips with the corresponding media files.
The Import and Export Workflow Exporting to XDCAM You can export NTSC and PAL projects. Depending on the format (SD or HD), you need to use the appropriate XDCAM device (if you export SD media, use an XDCAM SD device; if you export HD media, you must use an XDCAM HD device). To export to an XDCAM device: 1. Connect your XDCAM device. 2. Select the appropriate mode on your XDCAM device that corresponds to the video format that you will be exporting. For example, set your XDCAM device to 1080i 59.
7 File Based Media 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7. Select an XDCAM disk from the Target XDCAM Disk list. If the target XDCAM disk you are exporting to already has other clips on it, you are only allowed to export a clip with the same number of audio tracks.
The Import and Export Workflow 4. Do one of the following: - Import the master clips directly from the P2 card. - Drag the master clips from the Media tool to a bin. 5. Use the master clips to edit and output a sequence. A typical workflow is as follows: 1. Import the P2 clips from a P2 card or any device where the P2 contents are stored by selecting File > Import P2 > Clips to Bin. The P2 master clip information loads into a bin.
7 File Based Media To import P2 clips directly from a P2 card or a copy of a P2 card on any accessible drive: 1. Open the bin into which you want to import the master clips and make sure it is the active window. 2. Select File > Import P2 > Clips to Bin. The Browse for Folder dialog box opens. 3. Navigate to the P2 files: t Navigate to the P2 card t Navigate to the folder where multiple P2 cards reside. The system can import P2 files from multiple cards as long as each card has a Contents folder.
The Import and Export Workflow 4. Click OK. A progress box appears as the clips import. When the import is complete, the clips appear in the active bin. You can play and edit the clips; the media resides on the P2 card. If you leave the application and then restart it, you see the clips in the bin, but the media is offline. You need to import the clips again to continue working with them. To import media from a P2 card: 1.
7 File Based Media Dragging P2 Master Clips from the Media Tool to a Bin To drag P2 master clips from the Media tool to a bin: 1. From a project, create one or more bins. 2. Select Tools > Media Tool. The Media Tool Display dialog box opens. 3. Select the following options: 262 a. In the Media Drives list, select one or more P2 drives. b. Click the Current Project button. c. Select Master Clips, deselect Precompute Clips, and deselect Media Files.
The Import and Export Workflow 4. Click OK. The Media tool displays the clips contained on the drives you selected. 5. (Option) If you do not see any media clips, update the mounted drives and media database again by selecting File > Mount All and File > Refresh Media Directories. You might also need to restart the application. 6. Select the clips you want to use. 7. Drag them into an appropriate bin. You can now use the master clips in your project.
7 File Based Media 3. Select Output > Export to Device > P2. The P2 Export Settings dialog box opens. 4. Select options as described in “P2 Export Settings” on page 664. If you are not connected to a P2 device or camera, the options are not available. 5. (Option) If you are connected to a P2 device and it does not appear in the P2 Device list, select File > Mount All to update the list of mounted drives. 6. Click Save.
8 Managing Media Files: Advanced When you capture footage, the system creates digital media files for the video and audio tracks on the media drives attached to your system. Bin tools allow you to organize the clips that reference the media files. In addition, your Avid editing application provides tools and features for directly managing media files for storage and playback efficiency, for backup, and for transfer between systems.
8 Managing Media Files: Advanced The system searches all available drives, opens Windows Explorer or the folder (Macintosh), and highlights related media files.
Relinking Media Files (Windows only) If more than one file is related to the clip, a message box asks if you want to see the next file. If you click OK, you need to bring the Explorer window forward by pressing and holding the Alt key while pressing the Tab key until you select the OMFI MediaFiles folder or the Avid MediaFiles folder. Relinking Media Files Sometimes, after you consolidate or move material between systems, the clips or sequences lose their links to the original media files.
8 Managing Media Files: Advanced To relink master clips, subclips, or sequences: 1. Select the unlinked object or objects in the bin. 2. Select Clip > Relink. The Relink dialog box opens. 3. Select options as described in “Relink Options” on page 269. You can display Help for the dialog box by pressing F1 (Windows) or the Help key (Macintosh).
Relinking Media Files 4. Click OK. The system searches the selected media drives, and relinks clips and sequences if possible. The system disregards audio sample rate when matching media files. Relink Options The following table describes the options for the Relink dialog box.
8 Managing Media Files: Advanced Option Description Video Relink Parameters Relink to: Relink method: Relink if quality: • Video format of current project only: Restricts relinking to the current video format (listed in the menu option). • Any HD video format: Restricts relinking to HD formats only. Relinking searches for any available HD formats. • Any SD video format: Restricts relinking to SD formats only. Relinking searches for any available SD formats.
Relinking Media Files Option Description If no match is found: • Use Existing Media: The application displays the media to which the clips are currently linked. • Unlink (Take Offline): The application unlinks the clip and displays the message Media Offline. Create new sequences Leaves existing sequences alone and relinks only to copies with .relinked appended to their names. This option is selected by default.
8 Managing Media Files: Advanced Relinking by Resolution You can relink to clips of a specific resolution. n In an Avid Interplay environment, you can use dynamic relinking to easily switch between resolutions. For more information, see “Using MultiRez and Dynamic Relinking” in the Help. To relink a clip by resolution: 1. Select the object or objects in the bin that you want to relink. 2. Select Clip > Relink. The Relink dialog box opens. 3. Select Relink Method > Specific Resolution. 4.
Relinking Media Files Relinking to Selected Clips You can also use the Relink command for connecting subclips or sequences to selected master clips and subclips. To relink to selected master clips and subclips: 1. Move the subclips or sequences that you want to relink into the bin containing the clips. 2. Select the clips targeted for relinking. 3. Select Clip > Relink. The Relink dialog box opens. 4.
8 Managing Media Files: Advanced To relink consolidated subclips or sequences: 1. Select the new master clips for a consolidated subclip or sequence (the clips have the file name extension .new), and unlink them. For information on unlinking, see “Unlinking Media Files” on page 275. 2. Select Clip > Relink. The Relink dialog box opens. 3. Select “Relink offline master clips to online media files” to relink master clips to media files that share similar database information. 4.
Unlinking Media Files Unlinking Media Files You can use the Ctrl and Shift keys to modify the Relink command for unlinking clips from their media files. n Because subclips and sequences do not point directly to the media files, you can perform this procedure only by using the source master clips. To unlink master clips from their current links: 1. Select the master clips to unlink. 2. Ctrl+Shift+Right-click (Windows) or Ctrl+Shift+click (Macintosh) the clips and select Unlink.
8 Managing Media Files: Advanced When you archive a project, the source media files are archived to videotape, and then you save the project files. For information about saving the project files, see “Backing Up Your Project Information” in the Help. You can reconstruct your project with the archived files and your source tapes. n The media files experience generation loss when the media is archived and restored because the target videotape format might include some compression.
Videotapes for Archiving and Restoring Media Files 4. Drag the appropriate duplicate sequences and clips to the Archive bin. 5. Select the clips and sequences to archive from the Archive bin by doing one of the following: t Select Edit > Select All to select all the clips and sequences in the bin. t Ctrl+click (Windows) or Shift+click (Macintosh) to select specific clips or sequences. 6. Select Clip > Archive to Videotape. The Archive to Videotape dialog box opens. 7. Select the appropriate options.
8 Managing Media Files: Advanced 8. Click OK. The Tape Lengths dialog box opens. The Archive Length area displays the calculated length of time required for archiving the media files. The archiving process might require more time than indicated because individual clips are not divided between tapes. 9. Under the “Enter the quantity of tapes available for the archive” area, do one of the following: t Type the number of blank videotapes needed for the archive next to the length of time of your blank tapes.
Videotapes for Archiving and Restoring Media Files 11. Follow the instructions displayed in the message boxes to complete the archiving process. A set of archive sequences is created in the Archive bin, and the source media is output to the videotape. One archive sequence is created for each tape. When needed, the system prompts you for another blank tape. The tapes are requested in the order that they appear in the Tape Lengths dialog box.
8 Managing Media Files: Advanced Restoring an Archive from Videotape Restoring an archive from videotape is similar to performing a batch capture. The archiving process creates new master clips for sequences. During the restore process, each archived master clip is stamped with the archive tape name and archive timecodes. The original source information on the master clips remains unchanged.
Videotapes for Archiving and Restoring Media Files 10. Follow the instructions displayed in the message boxes to complete the restore process. Your Avid editing application recaptures the archived sequences and clips, and relinks the selected clips and sequences to the new master clips. 11. Batch import any graphics and render all non-real-time effects. For information about batch import, see “Reimporting Files” in the Help.
8 Managing Media Files: Advanced Plug-in Information An Effect Summary displays a list of effects found in the selection, including how many times the effect was used. For plug-ins loaded on your system, a section displays a summary of the plug-ins used, displaying the name, the vendor, the version and the ID of the plug-in. This can be helpful if you need to get a list of the plug-ins needed for online.
9 Script-Based Editing The lined script is traditionally used as a tool for managing scene and take information during postproduction on a dramatic feature film or television production. The script-based editing feature in your Avid editing application allows you to adapt the lined script to the digital realm for use in any type of production, from drama to documentary to spot advertising.
9 Script-Based Editing Lined Script Basics The conventional lined script — which evolved during decades of trial and error in Hollywood — provides assistant editors and chief editors with a road map that helps them find the coverage they need to edit scenes in a film or television show. Traditionally, the continuity person creates the lined script on the set at the time of shooting. All notes are handwritten.
Lined Script Basics The following table summarizes the lining techniques and numbering system shown in the example in “Lined Script Basics” on page 284: Master shot The line labeled 33/1 is the master shot that usually covers all the action in a wide shot. The first number in the label indicates the scene number as written on the script (scene 33). The number following the slash indicates that this is the first take captured on film for the master shot.
9 Script-Based Editing Unlike the traditional lining of a script, digital script integration is usually performed after the shoot — for example, by the assistant editor — using the notes of the continuity person. The following is an example of the script shown in “Lined Script Basics” on page 284, prepared and lined using script integration.
Lined Script Basics The Script window provides additional controls for matching back to clips in the source bins, loading and playing back takes, and searching for takes and script text. Script Integration Workflow The basic workflow for script integration is as follows: To create a script integration workflow: 1. The continuity person or an assistant creates the lined script in hardcopy form on the set during shooting. 2.
9 Script-Based Editing The following is an example of an audiovisual script for a news magazine piece imported into the Script window, with the basic features of script integration applied. Narration track is synced to the script. All possible B-roll shots are ready to be loaded and cued. Color indicates preferred shots. Music cuts are linked to appropriate sections of the script.
Script Window Basics Script Settings Options Before you open a script in the Script window, you can select default preferences using the Script Settings dialog box. After the Script window is open, any changes you make in the Script Settings dialog box are ignored by the Script window. You must close the Script window and then reopen it for the new settings to take effect. However, the Script menu provides several commands that allow you to override the Script settings.
9 Script-Based Editing 4. Locate the file and double-click it, or select the file and click Open. - A script bin appears in the Bins list in the Project window. - The script, with its original layout, appears in the Script window. 5. Change the name of the script bin by clicking the title in the Bins list in the Project window, and typing a new name. Selecting Text Encoding for Scripts You can specify the text encoding of the script.
Script Window Basics Option Description PC (Latin-1) Select this option when the script was created on a Window-based system using the Latin-1 character set. This is the default encoding on Windows-based systems for plain text using the Latin character set. UTF-8 n Select this option when the script was created using the Unicode UTF-8 character set. Non-native characters might not display correctly even if they are encoded in UTF-8.
9 Script-Based Editing Displaying Clip and Sequence Information in a Script Window The Info window displays statistical information about a clip or sequence. The window updates the information automatically. To open the Info window from a Script window: 1. Press the Alt key (Windows) or the Option key (Macintosh), and click the Takes tab. 2. Drag the window to a new location to leave the Info window open.
Working with Script Text Working with Script Text After importing a script, you can customize its appearance by changing the font and font size. You can also cut, copy, paste, or remove lines of script to reflect changes that might occur during the course of a project. Changing the Font Used in Script Text The default font and font size used in the script are established on import, based on the current Script settings. You can override the settings and change the font and size after importing the script.
9 Script-Based Editing Selecting Text in the Script Window Selecting text in the Script window is similar to making selections in a word processor, except that the smallest unit you can select is an entire line of text. To select a single line of script: t Click anywhere in the line to highlight it.
Working with Script Text To select several lines of script, use one of the following methods: t Lasso the first line of the selection, and drag through the text. As you drag, a box outlines your selection. Lasso a portion of script to select it. Release the mouse button when you finish lassoing the selected lines. The text is highlighted. n t Click the first line of the selection, and then Shift+click the last line. The entire block of text is highlighted.
9 Script-Based Editing Cutting, Copying, and Pasting Script Text You can cut, copy, and paste text in the script as you would in a normal word processor. However, because you cannot select individual words or characters, you can move only lines or paragraphs. n c To rearrange or rewrite individual words or characters in the script, you should make the changes in a word processor before importing them into a separate Script window.
Searching Through Script Removing Script Text You cannot delete lines of text from the Script window by using the Delete key as you would in a normal word processor. Use the Cut command to remove the text. To remove lines of script: 1. Select the lines of script you want to delete. 2. Select Edit > Cut. Unlike a normal deletion, the text remains in the Windows Clipboard or Macintosh Clipboard until the next time you copy or cut a selection.
9 Script-Based Editing 3. Type the number for the scene or page, and click OK. The scene number appears in the left margin and the page number appears in the right margin next to the first line of the selected region. New page number New scene number Scene/page status bar Scene and page numbers both appear in the status bar at the bottom of the Script window and reflect your current position within the script.
Searching Through Script To delete a page or scene number: 1. Select the first line of the scene or page. You can also delete all page or scene numbering throughout a range of the script by selecting the range of lines or the entire script. 2. Press the Delete key. The Delete dialog box opens. 3. Select the options for Delete scene(s) or Delete page break(s) as appropriate, and click OK. The numbering is deleted from the Script window. To search for a page or scene number: 1.
9 Script-Based Editing Linking Clips to the Script You can link clips to the script by hand, or you can use the ScriptSync feature to automatically link clips to the script. For more information about ScriptSync, see “Marking with ScriptSync” on page 313. To link clips to the script: 1. Open the script bin by double-clicking the Script Bin icon. 2. Open the source bin for the clips that you want to link to the script. 3.
Interpolating Position for Script Integration A slate frame appears above the text, with one or more of the takes covering the scene as lines. The slate appears. 6. Continue to apply clips to additional portions of the script until you have finished creating all your slates. Alternatively, you can create slates one at a time, place script marks, and fine-tune the lining of each scene before proceeding to the next portion of the script.
9 Script-Based Editing Working with Slates in the Script Window Once you create a slate by dragging a clip into the Script window, you can manipulate the slate’s appearance and position. Selecting Slates To select slates, do one of the following: t Click a slate to select it. t Shift+click additional slates to select all the active takes. t Drag a lasso through a region of the script containing slates. All slates and takes within the lasso are selected.
Working with Slates in the Script Window To hold slates on screen: t n Select Script > Hold Slates Onscreen. You can change the default behavior before opening a script in the Script window by selecting Hold Slates Onscreen in the Script Settings dialog box. For more information, see “Script Settings Options” on page 289. Hiding Slate Frames By default, the system displays a representative frame for each take in the slates.
9 Script-Based Editing Showing One Take Per Slate You can minimize clutter on the screen by showing only one take per nonactive slate. To show one take per nonactive slate: t Select Script > Show All Takes. The check mark to left of the command is removed, indicating Show All Takes is disabled. The Script window shows only the first take in each nonactive slate. A single take is shown. To display all the takes: t Select Script > Show All Takes again.
Working with Takes in the Script Window t n To move the slate and all its take lines vertically to a new location in the script, press the Ctrl key (Windows) or the Command key (Macintosh), and then drag the slate to the new location. As you move the slate, the takes continue to cover the same number of lines in the script. To lengthen or shorten the number of lines covered in the takes at the new location, see “Adjusting Take Lines” on page 308.
9 Script-Based Editing t Shift+click additional takes in the same slate or across slates to select them. t Drag a lasso through an entire region of the script. All takes within the lasso are selected. n Selecting multiple takes is especially useful when you add or delete color or off-screen dialog indicators. See “Using Color Indicators in the Script Window” on page 309 and “Indicating Off-Screen Dialog in a Script” on page 308. Adding Takes To add another take to an existing slate: 1.
Working with Takes in the Script Window Displaying Take Numbers To display the take numbers in the tab of each take: t Type the numbers in the Take column of the source bin for the clips. Numbers in the Take column appear in the tabs for each take. Changing the Representative Frame for a Take To change the representative frame that appears in the slate for a take: 1. Select the Takes tab in the Script window. 2.
9 Script-Based Editing Playing Takes To play back a take, do one of the following: t Double-click a take to load it into the Source monitor, and then click the Play button or press the Play key. The clip plays back and stops when it reaches the end. t Select a take in the script, and then click the Play button at the top of the Script window. The clip loads and plays back in a continuous loop until you press the space bar. If you selected more than one take, each take plays in sequence.
Working with Takes in the Script Window n You must select the range of the script that contains the off-screen dialog before enabling the off-screen function. To remove one or more off-screen indicators: 1. Select the range of script containing the off-screen indicators. 2. Select only those takes that display the indicators. 3. Click the Set Offscreen button.
9 Script-Based Editing Script Marks Script marks allow you to synchronize individual lines of script with matching points in captured clips. When you place a mark in the script, an IN point also appears in the clip when you load it into a monitor for editing. This provides line-by-line control over alternative takes that the editor can instantly load and edit into the sequence. You can place script marks in several ways: • One take at a time: see “Placing Script Marks Manually” on page 310.
Script Marks 3. Click the Play button, or press the Play key. The take plays in the monitor. Alternatively, you can step (jog) or shuttle through the footage, place the position indicator on the exact frame, or scrub the audio to find the exact line of dialog. The clip does not have to be playing. 4. When the playback reaches the selected line of dialog, click the Add Script Mark button or press the Add Script Mark key. The line is marked in the Script window with a small horizontal bar, and play stops.
9 Script-Based Editing Using Real-Time Screening and Marking The Script window provides controls for automating the process of screening and placing script marks for a single take or across multiple takes. To use real-time screening and marking: 1. Select one or more takes. 2. Click the Record button in the Script window toolbar. The first selected take changes to green in the Script window, the system automatically loads the clip into the Source monitor, and the clip begins to play.
Script Marks t Use variable-speed play controls (J-K-L keys on the keyboard) to shuttle, step, or pause during playback. t Press the Tab or Shift+Tab keys on the keyboard to begin playback of the next or the previous take. As each take reaches its end, the system automatically loads and plays the next take. 5. Continue to place marks until all takes have been screened. To stop the playback loop: t Press the space bar.
9 Script-Based Editing 3. Select Script > ScriptSync. The ScriptSync dialog box opens. 4. Select options as described in the following table. Option Description Language Select the language of your script (this setting is for both the audio and the text). n 314 Depending on the language you select, the Acoustic model used by Nexidia changes; the models are Broadcast and Telephony. Only one model applies per language.
Script Marks Option Description Skip text in parentheses ‘()’ or brackets ‘[]’ Select this option if parenthetical expressions in your script are not spoken. Skip text before colon ‘:’ Select this option to skip all text before the first colon in a line of text. For example, select this option if your script uses the convention of placing a character’s name before a colon when the character begins to speak.
9 Script-Based Editing 7. Check through the marks. If ScriptSync missed any, add them manually as described in “Placing Script Marks Manually” on page 310. Loading and Playing Marked Segments Once you have placed marks syncing lines in your script to points in the source clips, you can quickly load and cue takes for selected lines of dialog. You can load a single take, or you can load all the coverage for any given range of lines.
Finding Clips and Script To delete a script mark: 1. Click once on a script mark to select it. (If you double-click, you load the clip and make the Composer window active.) You can select multiple script marks for removal by highlighting an entire region of text and selecting the takes containing the script marks you want to remove. 2. Press the Delete key. The Delete dialog box opens. 3. Select Delete 1 mark(s), and click OK. The mark is deleted.
9 Script-Based Editing To find source clips and bins: 1. Select the takes that you want to find. 2. Click the Find Bin button in the Script window toolbar. Your Avid editing application searches through bins linked to the project, opens the bin containing the linked clips, and highlights them in the bin. Editing From the Script Window Using the Script window in combination with the Single Mark Editing feature, you can edit in a highly streamlined manner.
Editing From the Script Window c. Patch the tracks, if necessary. d. Mark an IN point in the sequence for the next edit. 6. Double-click the next preferred take to load it. 7. Play the clip until you reach the appropriate OUT point, and stop play. 8. Perform the edit on-the-fly. 9. Repeat steps 5 through 8 until you have moved through the entire scene or segment. 10. Fine-tune the edits by using normal trimming and editing procedures.
9 Script-Based Editing Interactive Screenings The Script window is a valuable tool during screenings of work in progress, allowing you to: • Quickly search for scenes and pages with clips attached for instant retrieval. Sequences are not loaded into the Script window. Instead, you can perform a video mixdown and load the resulting master clips. For more information, see the Help. • Match back and cue source material to compare alternative takes.
10 Viewing and Marking Footage: Advanced Before making your first edit, you can review your footage, add locators and comments to clips, mark IN to OUT points, and create subclips. By viewing and marking your material in advance, you can concentrate on editing and refining your sequence at a later time without having to pause and set marks each time you load a new clip.
10 Viewing and Marking Footage: Advanced To display information from the Source/Record monitor: 1. Place the mouse pointer in the gray area to the right of the Clip icon. 2. Press and hold the mouse button. The Info window opens. Only fields with data are displayed. 3. Drag the window to a new location to leave the window open. To display information from a pop-up monitor: 1. Move the pointer to the left part of the top gray area. 2. Press and hold the mouse button. The Info window opens.
Using the Timecode Window Using the Timecode Window Each monitor has two lines available to display timecode as described in “Displaying Tracking Information” in the Help. The Timeline also displays one line of timecode. In addition, the Timecode window allows you to display up to 48 lines of timecode in a separate window. When you are working with a 24p or 25p project, you can display additional timecode information in the Timecode window.
10 Viewing and Marking Footage: Advanced The window displays the timecode you have chosen. The Timecode menu contains the same options as the Tracking Information menu. For a description of the Timecode options, see “Displaying Tracking Information” in the Help. 3. To add an additional line of timecode, click Add Line, then click the new line and select an option. 4. To change the size of the font displayed in the Timecode window, select Size > font size. 5.
Using the Tool Palette Using the Tool Palette The Tool palette provides additional buttons for editing and navigating with your Avid editing application. The Tool palette buttons can appear with or without labels, and you can “tear off” the Tool palette to display it in another screen location. You can also map other functions and buttons to the Tool palette for easy access. See “The Command Palette” on page 69. To use the Tool palette with the Source monitor or a pop-up monitor: 1.
10 Viewing and Marking Footage: Advanced To view the names of the buttons in the Tool palette: t Move the pointer over a button. The name of the button appears in a ToolTip box. To display labels on the Tool palette buttons: 1. In the Project window, double-click the Interface Setting. The Interface Setting dialog box appears. 2. Select Show Labels in Tool Palette. 3. Click OK. Labels appear on the buttons under the icons.
Using Locators There are eight Add Locator buttons in the More tab of the Command palette. Each Add Locator button is a different color, which allows you to group locators by color. For example, you can use the red Add Locator button to identify color correction frames and use the blue Add Locator button to identify cutaway shots. You can map Add Locator buttons, as described in “Understanding Button Mapping” on page 70.
10 Viewing and Marking Footage: Advanced When you insert a locator, it appears as an oval in the Timeline, in the position bar, and at the bottom of the frame in the monitor. The color of the oval corresponds to the color of the locator button you used. Locator displayed in the monitor and in the Timeline You can add locators to your source material while you are in an editing session, as described in “Adding Locators While Editing” on page 328.
Using Locators The following illustration shows the Locator edit entry window. Comment area Click to open the Locators window. 4. (Option) Type a new name in the Name text box. 5. Type your comments in the comment area of the Locator edit entry window. 6. Change the color from the Color menu or change the locator name. 7. To save your information, click OK, or press the Enter (Windows) or Return (Macintosh) key. The information is stored with the marked frame.
10 Viewing and Marking Footage: Advanced 4. Click the Play button, and every time you want to add a locator, press the key to which you mapped the Add Locator button. 5. (Option) Map different Add Locator buttons to different keys to be able to add more than one color of locator. To add comments to the locators: 1. Stop playing. 2. Do one of the following: t Double-click the locator in the position bar under the monitor. t Click the large oval on the frame in the monitor. A Locator edit pane opens.
Using Locators To keep the Locator edit pane from opening: 1. Select Tools > Locators. The Locators window opens. 2. Select Disable Locators Popup from the Fast menu. The Locator edit pane now does not open even if you double-click a locator. Finding Locators To quickly go to a frame with a locator while editing: t Search for a particular comment by selecting Edit > Find.
10 Viewing and Marking Footage: Advanced Marking an Area Using Locators You can mark the area between two locators by using the Mark Locator button. To mark the area between two locators: 1. Move the position indicator between two locators. 2. Click the Mark Locators button in the Edit tab of the Command palette. The area between the two locators is selected.
Using Locators Using the Locators Window The Locators window allows you to quickly add comments, go to locator marks, copy and paste locators, export and import locators, delete locators, and print a list of locators in the currently loaded clip or sequence. Many features of the Locators window are similar to those of the Bin window. You can use the Locators window to: • Go to the locator in the sequence or clip. • Find frame, timecode, and footage information about each locator.
10 Viewing and Marking Footage: Advanced Viewing Locators in the Locators Window The Locators window is monitor specific. If you have selected the Source monitor, the Locators window displays the locators for the clip in the Source monitor. If you have selected the Record monitor, the Locators window displays the locators for the sequence in the Record monitor.
Using Locators To display the frame associated with a locator: t Right-click (Windows) or Ctrl+Shift+click (Macintosh), and select Show Images. To display a timecode column, a footage column, or a frame number column in the Locators window: t Right-click (Windows) or Ctrl+Shift+click (Macintosh), and select Display > Frame Number, Timecode, or Footage. To display XML and Trigger columns: t Right-click (Windows) or Ctrl+Shift+click (Macintosh), and select Show MetaSync. To sort locators: 1.
10 Viewing and Marking Footage: Advanced For information about creating or editing a locators text file, see “Creating a Locator Text (.txt) File” on page 336. To export locators: 1. From the Locators window, right-click (Windows) or Ctrl+Shift+click (Macintosh) and select Export Locators. A dialog box opens, asking if you want to export only the selected locators or export all locators. 2. Click All or Selected. The Choose location for Exported Locators dialog box opens. 3.
Using Locators To add comments or information into the Locator text file: 1. Type each line of the file using the following syntax: NameFrameTrackColorComment 2. Enter the color names as follows: red, green, blue, cyan, magenta, yellow, black, white 3.
10 Viewing and Marking Footage: Advanced To copy locators from a clip and paste them into a sequence using the Locators window: 1. Select the locators in the Locators window by doing one of the following: t Click a single locator. t Ctrl+click (Windows) or Shift+click (Macintosh) multiple locators. 2. Do one of the following: t Select Edit > Copy. t Press Ctrl+C (Windows) or Command+C (Macintosh). 3. Load a sequence into the Source/Record monitor or into the Timeline. 4.
Using Locators 3. Select File > Page Setup. The Page Setup dialog box opens, reflecting the specific options for your printer. 4. Select the Page Setup options. 5. Click OK. 6. Select File > Print. The Print dialog box opens, reflecting the specific options for your printer. 7. Select the Print options. 8. Click OK (Windows) or Print (Macintosh). The system prints the current view of locator information. To print the complete contents of the Locators window: 1. Make sure your printer is correctly set up.
10 Viewing and Marking Footage: Advanced You can also disable the Locator edit window so it only opens from the Locators window. For information on accessing the Locator edit window, see “Editing Locator Information” on page 331. To keep the Locator edit window from opening each time you add a locator: 1. Select Tools > Locators. The Locators window opens. 2. Select Disable Locator Popup when Adding from the Fast menu. The Locator edit window now does not open when you add locators.
Sequence and Clip Information Summary Sequence and Clip Information Summary You can generate a report to display information about the contents of a sequence or a clip. For example, you can generate a list of the types of effects in your sequence or where a particular effect is located. You can also create a clip summary or a source summary. This allows you to display a list of clip names, tape names, offline clips, and import path locations of imported clips contained in your selection.
10 Viewing and Marking Footage: Advanced Creating a Summary of Effects and Source Information You need to decide the following when you create a summary of effects, source information, or clip information: • Determine the tracks or the material within the IN and OUT points you want to run the report on • Choose the summary options you want information on: types of effects, location of effects, source information, or clip information • Decide how you want to display the report: through the Console wind
Creating a Summary of Effects and Source Information 3. Right-click the monitor and select Get Sequence Info. The Sequence Info dialog box opens. 4. Select Generate Summary Info. 5. Choose from the following options: t If you selected specific tracks, click Enabled Tracks Only. t If you set IN and OUT points, click Use Marks. t If you want to run a report on the entire sequence regardless of tracks or marks, do not select either of these options.
10 Viewing and Marking Footage: Advanced To choose the Info options (type of summary): 1. Once you have determined the track information, choose the type of report you want from the Summary Info Options section. Depending on the summaries you want information for, you can select one or more of those summaries below.
Creating a Summary of Effects and Source Information Summary Option Suboption Description Skip Non-Selected Clips in Group Clips Select this option if you do not want any non-selected clips inside of a group clip to appear in the report. Show Globally Unique Identifier (UID) Select this option if you want to display the unique identifiers (Mob IDs) associated with the clips and sources in your sequence. To display the summary in a text file: 1.
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11 Creating and Editing Sequences: Advanced After you have viewed and marked your clips or created subclips, you are ready to create a sequence.
11 Creating and Editing Sequences: Advanced Phantom Marks Phantom marks provide visual guidance when editing according to the three-mark rules. For information on editing using three marks, see “Editing Additional Clips into the Sequence” in the Help. The following examples illustrate two typical scenarios. Setting One Mark In this example, you set only the mark IN on the source side.
Enabling Phantom Marks Enabling Phantom Marks To enable phantom marks: 1. Double-click Composer in the Settings list of the Project window. The Composer Settings dialog box opens. 2. Select the Phantom Marks option in the Edit tab. 3. Click OK. When you enable phantom marks, the system displays blue mark IN or mark OUT icons in the position bars below both the Source monitor and the Record monitor.
11 Creating and Editing Sequences: Advanced Playback Performance Tips As you continue to edit, you might find the playback performance of the system diminishing as the sequence grows in length and layers. This can happen when you are using a great deal of system memory for playback of large and complex sequences.
Autosyncing Clips 3. Click the Play Length Toggle button. The Play button and the Play Length Toggle button change to white, indicating the Play Length Toggle feature is active. 4. Click the Play button. The sequence plays for the default Play Length, which is 1 minute. 5. To set the Play Length back to play the entire sequence, click the Play Length Toggle button again.
11 Creating and Editing Sequences: Advanced Use the following guidelines when autosyncing: • You can autosync audio clips with video clips only. To link two or more video clips or audio clips, use the Grouping option described in “Understanding Grouping and Multigrouping Clips” on page 583. • You can create only one autosynced subclip at a time. You cannot autosync numerous pairs of audio and video clips simultaneously.
Managing Sync with Multiple Tracks 4. Click OK. The subclip is created and named by default after the video clip with the file name extension .sync.n, where n is the incremental number of subclips created with the same name. You can change the name according to preference. You can load an autosynced subclip into the Source/Record monitor and immediately edit it into a sequence.
11 Creating and Editing Sequences: Advanced • You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. • Sync locking affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you add, move, trim, or remove material anywhere in the sequence.
Managing Sync with Multiple Tracks To mark sync points with locators: 1. Move the position indicator to the point in the sequence where you want to maintain sync between two or more tracks. 2. Select all tracks where you want the locators to appear. 3. Click an Add Locator button. The system adds a locator to the enabled tracks in the Timeline and in the Record monitor.
11 Creating and Editing Sequences: Advanced To restore sync: 1. Find the point at which the sync was lost. 2. Add or remove frames by using the appropriate edit function, as described in “Fixing Sync Breaks” in the Help. Using Add Edit When Trimming When trimming with several audio tracks in sync, you can use the Add Edit button to create an edit in the silent or black areas of the synced tracks. They occur in line with the track you are trimming, and they trim all the tracks at once to maintain sync.
Using MetaSync to Synchronize Metadata 3. Click the Gang button on the Other tab of the Command palette for each monitor that you want to synchronize (the Record monitor is always ganged). The button changes to green when the function is enabled. 4. View the footage in any of the monitors using standard playback methods. As you move through footage in one monitor, the footage in all other monitors freezes. The footage is updated when the play stops.
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12 Using the Timeline: Advanced Your Avid editing application represents each edit and effect in a graphical timeline structure to help you track and manipulate the elements of your sequence. The Timeline continuously updates as you work, displaying an extensive array of icons and information that you can customize in various ways. In addition, the Timeline has its own set of editing tools that you can use to create and revise edits and transitions across multiple tracks.
12 Using the Timeline: Advanced Displaying the Timeline Top Toolbar You can display a top toolbar in the Timeline for easy access to editing buttons. You can also map additional buttons to the Timeline top toolbar. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 71. You can choose to show or hide the Timeline top toolbar. To show the Timeline top toolbar: 1. In the Project window, double-click the Timeline Setting. The Timeline Settings dialog box opens. 2.
Timeline Views: Advanced To customize the tracks to be displayed in the Timeline: t n Click the Timeline Fast Menu button, and select Show Track > tracks. The TC1 track represents the timecode of the project in which you are working. Assigning Local Colors to Clips in the Timeline You can assign local colors to clips in the Timeline to indicate clips that should be grouped together. To assign a local clip color: 1. Click one of the Segment Mode buttons, and select a clip. 2.
12 Using the Timeline: Advanced Displaying Local and Source Colors in the Timeline You can display source colors and local colors for clips in the Timeline. Source colors are assigned to clips in bins and local colors are assigned to clips in the Timeline. By default, the Timeline is set to display no colors. n Displaying source colors and local colors overrides any track color assigned from the Timeline Fast menu.
Timeline Views: Advanced Showing Locators in the Timeline When you add locators to a sequence, the locators are displayed in the Timeline. You can modify which locators are displayed in the Timeline by selecting Show Locators from the Timeline Fast menu. When you select a color from the Show Locators submenu, only locators of that color appear in the Timeline.
12 Using the Timeline: Advanced Navigating in the Timeline: Advanced The Timeline window provides various controls for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing.
Navigating in the Timeline: Advanced To reduce tracks: t Select the tracks, and press Ctrl+K (Windows) or Command+K (Macintosh). You can also continue to work in Source/Record mode by resizing the Timeline window so that it overlaps the Composer window. You can click in either window to activate it and bring it forward at any time, or you can click in the title bar of the Timeline window and drag it to the Bin monitor to place each window in its own monitor.
12 Using the Timeline: Advanced IN to OUT Highlighting in the Timeline When you mark a sequence with IN to OUT points, the system indicates the selection by highlighting the marked region in the Timeline. Only selected tracks are highlighted. Highlighted region All tracks selected This visual guide helps you monitor track and segment selection more carefully when mixing or applying effects across multiple tracks and segments.
Advanced Timeline Techniques Bin Editing into the Timeline You can use Segment mode to edit clips directly from a bin into the sequence in the Timeline. Bin editing allows you to bypass the process of loading clips into the monitor, setting marks, and clicking the Splice-in button or Overwrite button. For information on editing multiple clips directly from the bin into the monitor, see “Creating an Instant Rough Cut” in the Help. To perform a direct edit from a bin into your Timeline: 1.
12 Using the Timeline: Advanced 3. Select a clip in the bin. The entire clip is edited into the sequence, unless you have marked IN and OUT points. 4. Do one of the following: t Press the V key to perform a splice-in edit, which inserts the clip into the sequence and moves existing material down, lengthening the total duration of the sequence.
Advanced Timeline Techniques Editing in Heads or Heads Tails View While in the early stages of editing a project, you can rearrange clips in the sequence visually by using Heads view or Heads Tails view. These display formats are useful for rearranging simple straight-cut edits. c If you rearrange a split edit (in which the audio extends beyond the video, or the reverse), the system cuts all tracks to the same edit point.
12 Using the Timeline: Advanced Performing a Quick Edit Using the Top and Tail Commands The Top and Tail commands allow you to perform quick edits to segments in the Timeline. Use the Top button in the Edit tab of the Command palette to extract footage from the start of the clip or segment to the position indicator. This action is equivalent to the T-R-X keyboard command sequence: Mark Clip, Mark OUT, Extract.
Add Edit (Match Frame) This form of edit is also known as a match frame. In traditional analog editing, match framing accomplishes specific tasks, such as creating a dissolve between two clips. In Avid editing applications, however, Add Edits (or match frames) function differently. Use match frames primarily to divide and isolate portions of a clip or sequence to modify that portion without affecting the rest of the footage. You can also add edits to filler segments to maintain sync while trimming.
12 Using the Timeline: Advanced Adding Edits to Filler Clips You can add an edit to all tracks with filler, regardless of the track selection. To add an edit to filler clips at the position indicator: 1. Move the position indicator to the selected frame. 2. Alt+click (Windows) or Option+click (Macintosh) the Add Edit button. The edit appears on all tracks with filler in the sequence at the position indicator.
Dupe Detection When you activate Dupe Detection, each set of duplicate frames is tagged with a different color. (Up to 10 color sets can be distinguished during a single detection process.) Matching frames have matching colors. You can use any of the Trim Mode options to remove the duplicate frames, if necessary. The colored bars that distinguish duplicate frames in the sequence are automatically drawn above the frames in the Timeline, as shown.
12 Using the Timeline: Advanced Methods for Changing Handle Length in Dupe Detection There are two methods: • In 35mm film editing (using the single-strand method), one extra frame, known as the safety frame, provides tabs for the negative cutter to use when cutting two segments of film together. However, this frame is always lost during the negative conform. 35mm conforming: Preparing for a cut Frames A and C can still be used in a sequence, but frame B is cut in the middle.
Finding Black Holes and Flash Frames Adding specific handle lengths to dupes (as they appear both in the sequence and in film lists) has the following advantages: • In 35mm single-strand conforming: Editors can better track duplicate frames and provide the negative cutter with more than one safety frame to avoid losing specific frames.
12 Using the Timeline: Advanced To find the next segment that contains filler: t Select Clip > Find Black Holes again. To find flash frames: 1. Set the maximum frame length that you want to detect: a. In the Project window, double-click the Timeline Setting. The Timeline Settings dialog box opens. b. Click the Edit tab. c. In the option Find Flash Frames Shorter Than, type the maximum number of frames you want to detect.
13 Working in Trim Mode: Advanced After creating a rough version of a sequence, you can enter Trim mode and fine-tune the transitions between each clip or between whole segments. You can also trim edits as you build a sequence rather than create a rough cut first.
13 Working in Trim Mode: Advanced To create an overlap edit: 1. Perform a straight-cut edit between two clips, including audio and video tracks: t If the timing of the video edit is crucial, mark edit points according to video. If the timing of the audio transition is crucial, mark edit points according to audio. 2.
Maintaining Sync While Trimming 3. (Option) If you are extending the edit to an OUT point, remove any IN points that might be on the track. Otherwise, the extend edit goes in the wrong direction. Audio track is selected for extending backward. Mark IN 4. Click the Extend button. The Extend button appears in the Trim tab of the Command palette. You can map the Extend button to a custom location. For information on the Command palette and button mapping, see “Understanding Button Mapping” in the Help.
13 Working in Trim Mode: Advanced n Because dual-roller trims do not cause sync breaks, you can add black only while performing single-roller trims. Adding Black When Trimming You can add black filler on either the A-side or the B-side of a transition while maintaining the overall duration of the track and the sync relationships. Your Avid editing application adds a black segment to fill the duration of trimmed frames. To add black filler while trimming: 1. Click the Trim Mode button to enter Trim mode.
Maintaining Sync While Trimming Trimming with Sync-Locked Tracks You can sync lock tracks to maintain a synchronized relationship when you perform a single-roller trim. Sync Lock icon Before trimming Single-roller A-side trim A1 A2 A3 Maintains the relationship After trimming n A1 A2 A3 Sync-locked tracks aid only single-roller trim functions in Trim mode because dual-roller trims do not cause sync breaks. To trim with sync-locked tracks: 1.
13 Working in Trim Mode: Advanced - When you trim back the A-side of a transition, additional segments locked in sync move back as well. If the segments are staggered and one of the additional sync-locked segments encounters another segment on the same track, you can trim no further and the system emits a warning sound. If you trim the B-side of the transition in the same direction, all other segments locked in sync move forward to stay in sync.
Slipping or Sliding Segments • In slide trimming, the two outer monitors for the outgoing (A-side) and incoming (B-side) frames change because the clip remains fixed while the footage before and after it is trimmed. Surrounding material is selected. Before slide 1 2 3 Slide 1 frame to the right.
13 Working in Trim Mode: Advanced 3. Right-click in the Timeline, and then select Select Slip Trim or Select Slide Trim. The four-frame display appears. Outgoing and Incoming video (or A- and B-side) Tail and head frames of the selected clip Performing a Slip or Slide Trim To slip or slide a shot: 1.
Slipping or Sliding Segments 2. Monitor the progress of the trim by using the monitors, the Trim counters, and the Timeline. When you reach the end of available material while slipping a shot, the trim stops. Similarly, when you reach the next transition while sliding a shot along a track, the trim stops. A red bracket at the transition indicates the limit. After completing the initial slide, you can perform another slide in the same direction. 3.
13 Working in Trim Mode: Advanced 386
14 Working with Audio: Advanced You edit audio by using many of the same techniques and tools you use to edit video, including Source/Record mode, Segment mode, and Trim mode functions. Your Avid system also provides several unique features that facilitate audio editing, such as audio scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between speakers.
14 Working with Audio: Advanced Audio Gain Staging and an Audio Editing Workflow You can adjust the volume or gain of an audio clip at several points during an editing session. For example, you can adjust volume using the Audio Mixer tool in Clip Gain mode and Automation Gain and Pan mode. Also, the EQ tool and many of the AudioSuite plug-in effects allow you to modify the volume of the clip.
Audio Gain Staging and an Audio Editing Workflow This workflow also applies to using AudioSuite plug-ins because some AudioSuite plug-ins affect the level of the audio. Often, if you use clip gain to raise or lower the level before you apply an audio effect, you can achieve higher quality results. In this workflow, the Audio Mixer tool in Automation Gain and Pan mode acts like the level faders on a console for final mixing of the audio material.
14 Working with Audio: Advanced Viewing Clip Gain and Automation Gain Values You can view the clip gain and the automation gain values in the Timeline at the same time. n You can also view automation pan values by selecting Auto Pan from the Timeline Fast menu. You cannot display Auto Gain and Auto Pan values at the same time in the Timeline. To turn on the display of clip gain values and automation gain values: 1. Click the Timeline Fast Menu button. 2. Select Audio Data. 3.
Audio Gain Staging and an Audio Editing Workflow For more information on the Audio tool, see “Understanding the Audio Tool” in the Help. For information on improving response time, see “Improving Response Time When Adjusting Volume” on page 391. n For additional ways to change the volume while playing an Audio Mix effect, see “Recording Automation Gain or Automation Pan Information” in the Help. To adjust volume while playing a Clip Gain effect: 1.
14 Working with Audio: Advanced To improve the response time, do any of the following: t Monitor as few audio tracks as possible. t Deselect the video track, if practical. t Use IN and OUT points to select a narrow interval to adjust. Using External Fader Controllers Your Avid editing application supports the following external fader controllers or mixers as control surfaces or for Automation Gain and Automation Pan recording. • Digi 002 (Windows only) and Command|8.
Using External Fader Controllers n The JL Cooper controllers and Yamaha mixing consoles do not support automation pan recording. An external fader controller or mixer is optional. It is not required to perform automation gain or automation pan recording. The following table compares the external fader controllers and mixers.
14 Working with Audio: Advanced Digi 002 and Command|8 FaderMaster Pro MCS-3000X Yamaha 01V/96 and Yamaha 01V Latch mode (also known as Snap mode) Yes No Yes No Number of steps of accuracy 1024 128 1024 256 Feature The following list provides additional information on touch sensitivity and automatically stopping recording: • Touch sensitivity: As soon as you touch a moving fader on the Digi 002, Command|8, or MCS-3000X, the unit passes control of the fader to you.
Using External Fader Controllers 3. Move the corresponding fader to adjust the volume for the keyframe. For information on connecting a fader controller or mixer, see “Using an External Fader Controller or Mixer to Record Automation Gain” on page 395. Adjusting the Pan of Individual Keyframes To edit the pan values for individual keyframes using a Digi 002 or Command|8: 1. Click an audio gain keyframe. 2. Activate the track on the Digi 002 or Command|8. 3.
14 Working with Audio: Advanced 6. Depending on the fader controller or mixer, listen to the audio and do the following: t FaderMaster Pro: When you want to start recording volume information, move the corresponding fader. The system does not begin recording until you move a fader. t Digi 002, MCS-3000X, and Command|8: When you want to start recording volume information, either touch or move the corresponding fader. The MCS-3000X faders are touch sensitive.
Using the Digi 002 and the Command|8 The following table compares some of the features of the Digi 002 and Command|8.
14 Working with Audio: Advanced The following table describes this connection for each Avid input/output hardware device. In all cases, you also have the option to connect a black burst generator to the Ref/Ref Sync connector on your Avid input/output hardware device. Avid recommends using a black burst generator when performing an audio-only capture.
Using the Digi 002 and the Command|8 Using the Command|8 with Your Avid Editing System The Command|8 is primarily a control surface. It can be used for controlling aspects of the user interface as well as for automation gain and automation pan recording. The Command|8 can be used by all the Avid editing applications that use Avid input/output hardware. The Command|8 has two stereo inputs, one stereo output, and a headphone jack.
14 Working with Audio: Advanced 5. From the Controller menu, select one of the following: t Digidesign 002 (Windows only) t Digidesign Command|8 6. From the Port menu, select one of the following: t Windows - “Digi 002 Control Port” or “C|8 Surface” t Macintosh - Digidesign Inc, Command|8 Port 1 7. From the Gain Controller Port menu, select a controller for automation gain or automation pan recording. The Gain Controller Port menu displays all COM or MIDI ports that are available on the system. 8.
Using the Digi 002 and the Command|8 Console View Open Command Palette button Display Controls and Foot Switch Keyboard Modifier switches Transport and Navigation controls Mic/Line/Inst Input controls Monitor Section Console/channel view section (contains a pan knob for each track) Status indicators and Display controls Keyboard Modifier switches Transport and Navigational controls Fader Section 401
14 Working with Audio: Advanced The following illustration shows the Digidesign Command|8 Controller Settings dialog box as well as the layout on the Command|8 itself. Compare the two illustrations to see which buttons are mappable using the Digidesign Command|8 Controller Settings dialog box.
Using the Digi 002 and the Command|8 Button Layouts on the Digi 002 and Command|8 The buttons on the Digi 002 and Command|8 can have different functions if you press the Shift, Control, Option, or Command keys. You can either use the keyboard or press one of the Keyboard Modifier switches on the controller surface.
14 Working with Audio: Advanced 5. Click Open Command Palette. The Command palette opens. 6. Click Menu to Button Reassignment on the Command palette. As you move the mouse over a button, the cursor changes to a menu icon. 7. Click the button on the dialog box that you want to change. The system highlights the button. 8. Select a menu command. For example, select Tools > Audio Punch-In. The system maps the menu command to the button. 9.
Using the Digi 002 and the Command|8 To ensure that you perform the correct operation when you press a button on the control surface: 1. Map some buttons to menu commands that give focus to a particular window or tool. For example, on the Digi 002, the F5 key is mapped to Tools > Timeline by default. Pressing the F5 button on the Digi 002 puts focus on the Timeline. 2. (Option) To see the function of a mapped button, hold the cursor over the button to view the tooltip.
14 Working with Audio: Advanced Using a Digi 002 or Command|8 to Record Automation Pan To record automation pan information using a Command|8: 1. Attach the Digi 002 or Command|8 to your system. See “Configuring the Digi 002 or Command|8” on page 399. The position indicator lights change to blue when the fader controller or mixer is on and correctly attached to the system. Position indicator lights 2. Click the Timeline Fast Menu button and select Audio Data > Auto Pan. 3.
Configuring USB-to-MIDI Software for External Controllers When a fader is not in Latch Mode, it automatically stops recording as soon as you release the fader. When you release the fader, it begins moving again as it follows the volume information in the Timeline. n The light inside the Latch mode button is on when a fader is not in Latch mode. To use Latch Mode: 1. Click the Latch Mode button for the appropriate tracks on the controller. You can click the button before or during a recording session. 2.
14 Working with Audio: Advanced c To reduce traffic on the USB, connect the USB-to-MIDI converter only if you need to use the JL Cooper FaderMaster Pro, JL Cooper MCS-3000X, Yamaha 01V/96, or Yamaha 01V fader box.
Configuring USB-to-MIDI Software for External Controllers Installing USB-to-MIDI Software (Macintosh) To install the MIDISport 2x2 driver software: 1. Download the latest MIDISPORT 2x2 drivers from the following Web site: www.m-audio.com The system downloads a compressed, executable file. 2. Double-click the downloaded file to uncompress the driver files to a floppy disk or to a folder on your Avid system. 3. Double-click the installer file. 4. Follow the on-screen instructions to load the software.
14 Working with Audio: Advanced 9. Click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders. If the external fader controller is connected and the system is using the correct MIDI port, then the Audio Mixer tool displays the following: - At least one of the position indicator lights is on (blue). - The Recording Status Light changes to gold. Position indicator lights 10. If the lights do not change to blue, see “Troubleshooting MIDI Connections” on page 411. 11.
Configuring USB-to-MIDI Software for External Controllers 6. Do one of the following: t Click and hold the Audio Mixer Mode button and select Automation Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Automation Mode setting. If the fader or mixer is on and correctly configured, the indicator lights on the Audio Mixer tool should change to blue. If the lights do not change to blue, see “Troubleshooting MIDI Connections” on page 411.
14 Working with Audio: Advanced Using the FaderMaster Pro and MCS-3000X The setup procedure is similar for both units. To connect and initialize the fader controllers, see “Connecting Serial and MIDI Port Devices” in the Help. c For the MCS-3000X to recognize your Avid editing application, you must set the rear DIP switch #4 down (ON). To set the correct port in the Controller Settings: 1. Start your Avid editing application. 2. Click the Settings tab in the Project window. 3.
Using the FaderMaster Pro and MCS-3000X 5. Move the faders on the external fader controller. The corresponding fader should move in the Audio Mixer tool. MCS-3000X Buttons There are four rows of unlabeled buttons at the top of the MCS-3000X fader controller. The following illustration labels each row of buttons: Select Snap Mode Solo Mute • Select buttons: The green light next to the Select button for a track is on when you are recording Audio Gain Automation on the track.
14 Working with Audio: Advanced In Snap mode, the fader automatically stops recording as soon as you release the fader. In addition, the fader continues to display the volume information in the Timeline. To use Snap mode: 1. Click the Snap Mode button for the appropriate tracks on the external fader controller. You can click the button before or during a recording session. 2. Set IN and OUT points, and click the Record button. The system begins playing the section and the faders move accordingly. 3.
Using the Yamaha 01V/96 or the Yamaha 01V 3. Press the PROG button to turn off the Fader LED. Now, when you move fader 1, your Avid editing application will receive identical volume information for fader 2. 4. To turn off the group feature, repeat steps 1 to 3, but assign fader 2 to 0. Using the Yamaha 01V/96 or the Yamaha 01V Your Avid editing application supports the Yamaha 01V/96 or Yamaha 01V digital mixing console.
14 Working with Audio: Advanced Configuring the Yamaha 01V/96 or Yamaha 01V to Recognize Control Messages After you initialize the mixer, you must configure it to receive and transmit control messages. The Yamaha 01V/96 and Yamaha 01V can both receive MIDI messages. The Yamaha 01V can also be controlled via a serial port and must be configured to receive serial control messages if you are using a serial connection. The Yamaha 01V/96 can receive USB control messages.
Using the Yamaha 01V/96 or the Yamaha 01V 3. (Windows only) Do the following to load the driver: a. Insert the Studio Manager CD-ROM before plugging in the board. b. Plug the board into a USB port and allow the Plug & Play to install the MIDI driver. c. Start your Avid editing application, and in the Controller Settings dialog box, select the YAMAHA USB IN 0-1 port. 4. (Macintosh only) Do the following to load the driver: a.
14 Working with Audio: Advanced Switching Between Audio Mixing and Gain Recording with the Yamaha 01V/96 and Yamaha 01V When you start your Avid system with the Yamaha 01V/96 or the Yamaha 01V attached, you can use the faders for mixing audio channels or for performing automation gain recording.
Using the Yamaha 01V/96 or the Yamaha 01V To record automation gain information: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Automation Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Automation Mode setting. 3. Press the Option I/O (Yamaha 01V) or Master (Yamaha 01V/96) button. The faders move into the correct position for recording automation gain. 4.
14 Working with Audio: Advanced Using the Audio EQ Tool The Audio Equalization (EQ) tool supports real-time, segment-based frequency equalization on individual clips. This feature allows you to adjust the high, low, and midrange frequency ranges of an audio clip. You can also save a variety of audio EQ effects and apply them in different circumstances, as described in this section. To access the Audio EQ tool, do one of the following: t Select Tools > Audio EQ.
Using the Audio EQ Tool Audio EQ Tool Features This section describes the basic buttons and menus on the Audio EQ tool as well as the EQ-specific items on the tool. The following table describes the buttons that appear along the top portion of the Audio EQ tool: Button Description Effect Mode Selector Allows you to select among the Audio EQ, Audio Mixer, and AudioSuite Plug-In tools. Audio Loop Play Allows you to make adjustments to an EQ effect while you play the effect.
14 Working with Audio: Advanced EQ-Specific Features The Audio EQ tool provides three bands of control: • The first band, the low shelf, has four turnover points (50 Hz, 80 Hz, 120 Hz, and 240 Hz). A turnover point is the point at which the curve starts to return to 0. A shelf affects all frequency values within the range of the shelf. The low shelf affects all frequencies from 20 Hz to the low shelf turnover point. For more information, see “Low Shelf Example” on page 427.
Using the Audio EQ Tool The following illustration shows the Audio EQ tool with the frequency response curve displayed and identifies the related areas of the tool.
14 Working with Audio: Advanced 5. Click and hold the Track Selection Menu button in the Audio EQ tool, and select a track to be adjusted. Track Selection Menu button The Track Selector panel in the Timeline is updated to reflect your selection. If multiple tracks are enabled in the Timeline, plus signs (+) appear next to the enabled tracks in the Audio EQ tool. 6. Click the Audio Loop Play button to play the currently selected audio clip within the current IN to OUT range.
Using the Audio EQ Tool Saving Audio EQ Effects Your Avid editing application treats an EQ setting as an effect. You can save EQ settings in a bin just as you save any other effect template. This makes it easy to save EQ settings and apply them whenever you need them. The following illustration shows an EQ Effect icon in a bin and in the Timeline. EQ effect icon in a bin EQ effect in the Timeline To save EQ settings in a bin: t Drag the effect icon in the Audio EQ tool to a bin.
14 Working with Audio: Advanced For example, the following illustration shows a segment with one EQ effect applied to Audio Clip 2 in track A1. If you select Set EQ In/Out, the current EQ effect is also applied to Audio Clip 1 and Audio Clip 3 on track A1. Before Set EQ In/Out After Set EQ In/Out – EQ effect is added to Audio Clip 1 and Audio Clip 3. If there is no EQ setting on the currently selected clip, selecting Set EQ In/Out deletes the EQ settings on all clips within the IN to OUT range.
Using the Audio EQ Tool Removing Audio EQ Effects with the Remove Effect Button To remove an Audio EQ effect: 1. Move the position indicator to the effect in an active track. 2. Do one of the following: t Click the Remove Effect button on the Tool palette. For more information, see “Using the Tool Palette” on page 325. t In Trim or Effect mode, press the Delete key. Audio EQ Examples The following examples show two different ways to use the Audio EQ tool to remove excess bass from an audio track.
14 Working with Audio: Advanced 3. Boost the midrange of the parametric curve to +7.7 dB. Small Octave Range Example This example isolates the particular frequency that we want to deemphasize. In this example, we do not use the low shelf, but instead use the parametric midrange to isolate the frequency. To isolate the frequency: 1. Use the ¼-octave influence range. 2. Set the midrange EQ parameter to –15 dB.
Using the Audio EQ Tool 3. Use the EQ Range slider to move the midpoint of the parametric curve until it isolates the bass frequency. In this case, the bass frequency that we want to deemphasize is approximately 80 Hz. Use the EQ Range slider to move the center point of the parametric curve and locate a specific frequency. Once you locate the frequency you want, you can adjust it as needed.
14 Working with Audio: Advanced The Fast menu on the Audio EQ tool provides access to a number of predefined EQ templates, as shown in the following illustration. The EQ templates are designed to fix problems that you often encounter with audio clips. For example, Tape Hiss Filter rolls off frequencies above 4 kHz. NTSC Hum Buster cuts the bass on frequencies that often cause hum on NTSC systems.
Using the Audio EQ Tool Applying an EQ Template The following illustration shows the contents of the Audio EQ tool when you select the Female Voice with Presence template in the Timeline. As explained in the tool, you cannot change the parameters of a predefined EQ template. n To see the parameter values of one of the EQ templates that cannot be edited, view the Console window after you apply the effect. To open the Console window, select Tools > Console.
14 Working with Audio: Advanced Creating Your Own Audio EQ Templates If you create an EQ effect, you can use it again as a template in another sequence or on another track. To create your own EQ effect template: 1. Drag the effect icon from the Audio EQ tool to a bin. Your Avid editing application creates an EQ effect in the bin. 2. Rename the template by clicking the text and typing a new name.
Recording Voice-Over Narration Adjusting EQ While Playing an Audio Effect You can use the Audio Loop Play button to create or change an EQ effect while a clip is playing. Use the same procedure as described in “Adjusting Volume While Playing a Clip Gain Effect” on page 390. If there is no existing EQ effect on the clip before you start, you do not hear any changes until you click the Audio Loop Play button to stop and replay the effect.
14 Working with Audio: Advanced Connecting Voice-Over Recording Hardware Before you can record voice-over narration, you need to connect a microphone or other input device to your system. The following are typical examples: • Connect a microphone to a mixer, and connect the mixer to the audio interface I/O device on your Avid system. • Connect a microphone to a microphone preamplifier, and connect the preamplifier to the audio interface I/O device on your Avid system.
Recording Voice-Over Narration To capture voice-over narration using the Capture tool: 1. Mark the IN and OUT points in the Timeline. 2. Select Tools > Capture. The Capture tool opens. Voice-over button Audio Input menu 3. Click the Voice-over button in the Capture tool. 4. Click the Audio Input menu, and select the appropriate input. 5. In the Timeline, patch the source track to the record track you want. For more information on patching, see “Patching Tracks” in the Help. 6. Click the Record button.
14 Working with Audio: Advanced 7. Stop the recording as follows: t If you started with both IN and OUT points in the Timeline, the system automatically stops recording when it reaches the OUT point (or after it adds the appropriate audio handle after the OUT point). t If you added only an IN point, click the Record button a second time to stop the recording. Your Avid editing application automatically names the voice-over.
Recording Voice-Over Narration Audio Punch-in Tool Features The following illustration shows the features of the Audio Punch-In tool. The following table describes the features of the tool.
14 Working with Audio: Advanced Audio Punch-In Tool Feature Description Passthrough Mix Tool button Opens the Passthrough Mix tool so you can monitor the audio levels during recording. Preroll text box Allows you to provide an audiovisual cue before the recording begins. Your Avid editing application backs up the position indicator for the prescribed number of seconds. You can hear the audio during preroll.
Recording Voice-Over Narration Audio Punch-in Tool Scenarios You can punch-in audio in several ways: • Scenario 1 – Set only an OUT point. The position indicator is used as the IN point. Set a preroll time. Click the Play In/Out button to loop continuously through the sequence. Click the Record button when you find what you want to punch-in, and then click the Record button again to end recording. • Scenario 2 – Set an IN point and an OUT point around the material you want to record. Set a preroll time.
14 Working with Audio: Advanced To use the Audio Punch-In tool: 1. Load a sequence into the Timeline. 2. Select Tools > Audio Punch-In. The Audio Punch-In tool opens. Record button Play In/Out button Stop button Input Source menu Timeline Track menus Input Channels buttons 3. Select the input source and input channels that correspond to your hardware setup, and set other values in the window as appropriate. To select the input channels you want, click and hold the appropriate Input Channels button. 4.
Recording Voice-Over Narration 6. Click the Play In/Out button or press the V key. Loop play begins over the entire sequence. If you set an IN point and an OUT point, loop play begins from the IN point to the OUT point. The Play In/Out button blinks bright green while playing. 7. When you are ready to start the voice-over, click the Record button or press the B key. The Record button blinks bright red while recording, and the Play In/Out button is a steady green.
14 Working with Audio: Advanced Monitoring Previously Recorded Tracks While Recording Voice-Over Narration You can monitor previously recorded audio tracks while you record a voice-over narration. To monitor other audio tracks: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the Output Options menu, and select Mono. 3. Record your voice-over as described in “Recording Voice-Over Narration Using the Capture Tool” on page 434 or “Recording Voice-Over Narration Using Audio Punch-in” on page 439.
Using a GPI Device with the Audio Punch-In Tool To make use of this feature, you must: • Understand when your Avid editing application sends GPI trigger signals. For more information, see “Understanding GPI Trigger Signals” on page 443. • Connect a V-LAN VLXi deck controller and a VLXi-GT GPI to your Avid system. For more information, see “Connecting a V-LAN VLXi Controller and GPI” on page 445. • Configure the V-LAN VLXi deck controller and the GPI.
14 Working with Audio: Advanced When you use the Audio Punch-In tool with preroll and postroll, the following occurs: n • Play Out is sent when preroll begins (the position indicator begins moving in the Timeline, and the Play In/Out button in the Audio Punch-In tool blinks green). • Record Out is sent when recording begins (the Record button in the Audio Punch-In tool blinks red).
Using a GPI Device with the Audio Punch-In Tool Connecting a V-LAN VLXi Controller and GPI The V-LAN VLXi controller and VLXi-GT GPI connect to your Avid system through a direct serial connection as shown in the following illustration. GPI terminals (for connections to external hardware) VLXi-GT GPI IN OUT IN OUT IN OUT IN OUT IN OUT IN OUT SERIAL LAN AC 1 2 3 4 5 6 Terminator (required when cable length is more than 50 feet [15.
14 Working with Audio: Advanced 4. Click the Port menu, and select the serial port to which the V-LAN VLXi is connected. 5. Click OK. The Autoconfigure message box opens. 6. Click Yes. The connected GPI is automatically detected and appears in the Deck Configuration dialog box. Working with GPI Settings You must create a separate GPI setting for each trigger signal you want the GPI to recognize. For example, you would need one setting for the Record Out signal and another for the Stop Out signal.
Using a GPI Device with the Audio Punch-In Tool 6. Click OK. The GPI Settings dialog box opens. 7. Click OK to set the GPI. 8. Click Apply in the Deck Configuration dialog box. GPI Settings Options The following tables describe the GPI settings and GPI Node settings options. GPI Option Description Name Keep the default V-LAN VLXi name, or type a new name. Description (Option) Add a description of the GPI trigger. Device Type Select V-LAN, which is the Avid-supported device type.
14 Working with Audio: Advanced GPI Node Option Description Function Select a function for a particular node: • Capture in (Satellite mode) • Play in • Cue to first frame • Stop in • Capture out (Satellite mode) • Play out • Stop out Node Click the Node menu, and select a node. Nodes 1 through 6 correspond to the physical connectors on the back of the VLXi-GT GPI device. Action Select an action: • Set activates a command. • Reset deactivates a command.
Displaying Audio Formats in Bins Deleting a GPI Setting To delete a GPI setting: 1. In the Project window, double-click Deck Configuration. The Deck Configuration dialog box opens. 2. Click the VLXi-GT text box. 3. Select the name of the GPI you want to delete. 4. Click Delete. 5. Click OK. 6. Click Apply. The GPI setting is deleted. Displaying Audio Formats in Bins You can select a bin heading to display the audio formats in the bin.
14 Working with Audio: Advanced To remove selected segments from a sequence, do one of the following: t Extract all the segments whose audio appears on the selected track. t Extract all other segments from the sequence, leaving only those segments whose audio appears on the selected track. The system creates a new sequence with a .vo file name extension that contains only the material remaining after the Auto VO process. The original sequence is retained and is unaffected.
Using Automatic Voice-Over 5. Select one of the following: t Extract segments, to remove all segments with audio on the track selected in step 4 t Keep segments, to retain all segments with audio on the track selected in step 4 and remove all other segments 6. Click OK. The system creates a new sequence in the bin and names it by adding a .vo file name extension to the original sequence name.
14 Working with Audio: Advanced 452
15 Using AudioSuite Plug-Ins This chapter describes how to access and use the AudioSuite plug-ins, including the set of core plug-ins that comes with your Avid editing application. It also provides a list of other plug-ins that are supported by this version.
15 Using AudioSuite Plug-Ins AudioSuite Plug-Ins Installation The installer for your Avid editing application automatically creates a Plug-Ins folder that stores AudioSuite plugins in the following location: (Windows) drive:\Program Files\Common Files\Digidesign\DAE (Macintosh) Macintosh HD/Library/Application Support/Digidesign A set of core plug-ins is installed automatically. When you purchase additional plug-ins, the third-party vendor provides instructions on how to load the plug-ins.
Understanding Digidesign AudioSuite Plug-Ins By default, the AudioSuite window displays the controls for applying a plug-in to a clip in the Timeline. When you drag a master clip into the window, the window expands to display additional parameters for working with master clips. The following illustration shows the expanded view.
15 Using AudioSuite Plug-Ins n If you want to use plug-ins that operate on stereo pairs or that change the length of the audio clip, use the methods described in “Creating New Master Clips with AudioSuite Plug-Ins” on page 459. To apply an AudioSuite plug-in to a clip in the Timeline: 1. Open the AudioSuite window by doing one of the following: t Select Tools > AudioSuite. t If an audio tool is already open, click the Effect Mode Selector menu, and select AudioSuite. 2.
Understanding Digidesign AudioSuite Plug-Ins Using an AudioSuite Plug-In Dialog Box The contents of the plug-in dialog boxes vary, but the top six buttons are always visible. If a particular button is not available, it appears dimmed. The following illustration shows the Digidesign Gain plug-in. These six buttons appear on all AudioSuite Plug-In dialog boxes. The following table describes the six common buttons: Button Description OK Saves the effect and closes the dialog box.
15 Using AudioSuite Plug-Ins AudioSuite Fast Menu The AudioSuite Fast menu allows you to: • Apply an existing AudioSuite template. See “Using AudioSuite Effect Templates” on page 463. • Set, render, or remove AudioSuite plug-ins. The menu text differs, depending on whether you have IN to OUT points in the sequence. The following commands appear in the menu: Command Description Global There are no IN points on the segment. The command affects all the plug-ins on the enabled tracks.
Understanding Digidesign AudioSuite Plug-Ins Creating New Master Clips with AudioSuite Plug-Ins You can use AudioSuite plug-ins to create new master clips. This allows you to use multiple input and output channels and to change the length of the media. You can perform the following operations on the media you create: • Apply AudioSuite plug-ins to more than one track (also referred to as a channel or stream) at the same time.
15 Using AudioSuite Plug-Ins The following table describes the controls in the AudioSuite window. Control Description Track Selection Menu button This menu is not active in Master Clip Processing mode. Clip Selection menu This menu allows you to choose the active clip. It lists the current active clip and other clips you dragged into the AudioSuite window. The window controls change to reflect the active clip.
Understanding Digidesign AudioSuite Plug-Ins Control Description Handle Length for End of This text box allows you to add filler at the end of a master clip. The value Master Clip (seconds) text represents the number of seconds to add. For example, use this feature to add filler box at the end of a master clip when you use a reverb effect to add a reverb trail to the end of the clip. Select the value before you run the plug-in.
15 Using AudioSuite Plug-Ins For stereo and multichannel processing, the plug-in creates a master clip with the number of tracks equal to the number of output streams from the plug-in. For example, a plug-in that operates on stereo pairs creates a two-channel master clip. A plug-in such as Normalize, that operates on multiple channels, creates a master clip with the same number of tracks that were selected in the AudioSuite window.
Understanding Digidesign AudioSuite Plug-Ins 8. Click the Activate Current Plug-In button to open the plug-in’s dialog box. For more information, see “Using an AudioSuite Plug-In Dialog Box” on page 457. 9. Make any changes, and click the Preview button to preview the effect. 10. Either render the plug-in from the Plug-In dialog box, or return to the AudioSuite window. For more information on rendering, see “Rendering AudioSuite Plug-in Effects” on page 458.
15 Using AudioSuite Plug-Ins To add a template to the AudioSuite Fast menu: 1. Open the bin containing your AudioSuite templates. 2. Select File > Open Bin. A dialog box opens. 3. Navigate to the AudioSuite Site bin file in the following location: (Windows) drive:\Program Files\Avid\Avid editing application\ SupportingFiles\Site_Effects\Site_AudioSuite_Bin.avb (Macintosh) Macintosh HD/Applications/Avid editing application/ SupportingFiles/Site_Effects/Site_AudioSuite_Bin 4.
Core AudioSuite Plug-Ins AudioSuite Plug-in Limitations The following limitations apply to the AudioSuite plug-ins: • Some plug-ins that perform analysis passes on the audio data are not supported. This includes plug-ins that use playlist information to cache analysis data. • If you want to use plug-ins that change the length of an audio clip or that operate on multiple inputs at the same time, use the method described in “Creating New Master Clips with AudioSuite Plug-Ins” on page 459.
15 Using AudioSuite Plug-Ins but a ~ character precedes the name, informing you that this plug-in is not supported. If you attempt to use the plug-in, a dialog box appears informing you that this plug-in is not supported and might cause an error. n Other AudioSuite plug-ins might get installed on your system for use with ProTools, or you might download plugins. These plug-ins might not work correctly with your Avid editing application, and are not supported by Avid.
Core AudioSuite Plug-Ins Core AudioSuite Plug-Ins Plug-In Description Compressor/Limiter III Applies either compression or limiting to audio material, depending on the ratio of compression used. For more information, see “Compressor/Limiter III (Dynamics III) AudioSuite Plug-In” on page 478. Expander/Gate III Applies expansion or gating to audio material, depending on the ratio setting. For more information, see “Expander/Gate III (Dynamics III) AudioSuite Plug-In” on page 482.
15 Using AudioSuite Plug-Ins Core AudioSuite Plug-Ins Plug-In Description Reverse Rewrites the selected audio in reverse. For more information, see “Reverse AudioSuite Plug-In” on page 496. DC Offset Removal Removes an audio artifact that is common in digital audio files. A DC offset is caused by poorly calibrated analog-to-digital converters (A/Ds), and can produce clicks and pops on clip edit transitions if not removed. For more information, see “DC Offset Removal AudioSuite Plug-In” on page 497.
Core AudioSuite Plug-Ins Parameter Description Attack Sets the attack time of the compressor. Full counterclockwise is slowest, and full clockwise is fastest. Attack times vary between 0.4 milliseconds to 5.7 milliseconds. Release Sets the release time of the compressor. Full counterclockwise is slowest, and full clockwise is fastest. Attack times vary between 0.06 milliseconds to 1.1 seconds.
15 Using AudioSuite Plug-Ins Parameter Description Mix Allows you to adjust the balance between the Dry (source) signal and the Wet (processed) signal, giving you control over the depth of the effect. Low Pass Filter Controls the cutoff frequency of the Low Pass Filter, allowing you to attenuate the high frequency content of the feedback signal. The lower the setting, the more high frequencies are removed from the feedback signal. The range of the Low Pass Filter is 20 Hz to 19.
Core AudioSuite Plug-Ins The D-Verb plug-in has the following parameters: Parameter Description Input Allows you to adjust the input volume of the reverberation. Mix Allows you to adjust the balance between the Dry (source) signal and the Wet (processed) signal, giving you control over the depth of the effect. Algorithm Allows you to select one of seven reverberation algorithms. Selecting an algorithm changes the preset provided for it.
15 Using AudioSuite Plug-Ins Compressor AudioSuite Plug-In The Compressor plug-in reduces the dynamic range of signals that exceed a selected threshold by a specific amount. The increase of input signal needed to cause a 1-dB increase in the output signal of the compressor is called the compression ratio. With a ratio of 4:1, for example, an 8-dB increase of input produces a 2-dB increase in the output.
Core AudioSuite Plug-Ins Parameter Description Ratio Allows you to set the compression ratio. The range is based on decibels above the threshold. If this parameter is set to 2:1, for example, it compresses changes in signals above the threshold by one half. Attack Allows you to set the Compressor’s attack time. The smaller the value, the faster the attack. The faster the attack, the faster the Compressor applies attenuation to the signal.
15 Using AudioSuite Plug-Ins The Limiter’s ratio is internally set to 100:1 and the attack time is automatically set to 0 milliseconds. The Limiter is similar to heavy compression. It can be useful for reducing pops and clicks, or for hard-limiting dynamic range for broadcast or band-limited media such as a cassette. The following table lists the Limiter plug-in parameters. 474 Parameter Description Input Indicates the level of the unprocessed input signal to the Limiter.
Core AudioSuite Plug-Ins Expander-Gate AudioSuite Plug-In The Expander-Gate plug-in reduces noise by decreasing the gain of signals that fall below a user-selectable threshold. Expanders are particularly useful for reducing noise or signal leakage that creeps into recorded material as its level falls, which often occurs with headphone leakage. Expanders can be thought of as soft-noise gates because they provide a gentler way of cutting off noisy low-level signals than the typically abrupt cutoff of a gate.
15 Using AudioSuite Plug-Ins Parameter Description Key Listen This parameter has no effect on the AudioSuite plug-ins. Key HPF This parameter has no effect on the AudioSuite plug-ins. Key LPF This parameter has no effect on the AudioSuite plug-ins. Graph Displays the response curve set by the Expander-Gate’s Threshold, Ratio, and Range settings. As you adjust these parameters, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings.
Core AudioSuite Plug-Ins Parameter Description External Key This parameter has no effect on the AudioSuite plug-ins. Key Listen This parameter has no effect on the AudioSuite plug-ins. DeEsser AudioSuite Plug-In The DeEsser plug-in isolates and attenuates sibilants (“ess” sounds: “s,” “sh,” and “ch”) and other high-frequency distortions.
15 Using AudioSuite Plug-Ins Parameter Description Frequency Sets the frequency band in which the DeEsser operates. Frequencies in the specified range will be gain-reduced. To find the optimum Frequency setting, slide this control back and forth during playback. Key Listen Monitors the sibilant peaks used by the DeEsser as a key input to trigger compression. This is useful for listening only to the sibilants and fine-tuning settings to remove them.
Core AudioSuite Plug-Ins The following table lists the Compressor/Limiter III plug-in parameters: Parameter Description Levels panel Phase invert button Inverts the phase (polarity) of the input signal, to help compensate for phase anomalies that can occur either in multi-microphone environments or because of mis-wired balanced connections. Input/Output level meters Show peak signal levels before and after processing.
15 Using AudioSuite Plug-Ins Parameter Description Compressor/Limiter panel (COMP/LIMIT) Knee Sets the rate at which the compressor reaches full compression once the threshold has been exceeded. As you increase this control, it goes from applying “hard-knee” compression to “soft-knee” compression. Values range from 0dB (hardest response) to 30dB (softest response). With hard-knee compression, compression begins when the input signal exceeds the threshold. This can sound abrupt and is ideal for limiting.
Core AudioSuite Plug-Ins Parameter Description Attack Sets the attack time, or the rate at which gain is reduced after the input signal crosses the threshold. Values range from 10 microseconds (fastest attack time) to 300 milliseconds (slowest attack time). The smaller the value, the faster the attack. The faster the attack, the more rapidly the Compressor/Limiter applies attenuation to the signal.
15 Using AudioSuite Plug-Ins Expander/Gate III (Dynamics III) AudioSuite Plug-In The Expander/Gate III plug-in applies expansion or gating to audio material, depending on the ratio setting. Expansion decreases the gain of signals that fall below a chosen threshold. It is particularly useful for reducing noise or signal leakage that creeps into recorded material as its level falls, as often occurs in the case of headphone leakage.
Core AudioSuite Plug-Ins Parameter Description Gain Reduction meter (GR) Indicates the amount the input signal is attenuated (in dB) and shows different colors during dynamics processing.
15 Using AudioSuite Plug-Ins Parameter Description Attack Sets the attack time, or the rate at which gain is reduced after the input signal crosses the threshold. Use this along with the Ratio setting to control how soft the Expander’s gain reduction curve is. Values range from 10 microseconds (fastest attack time) to 300 milliseconds (slowest attack time). Release Sets how long it takes for the gate to close after the input signal falls below the threshold level and the hold time has passed.
Core AudioSuite Plug-Ins The following table lists the DeEsser III plug-in parameters: Parameter Description Levels panel Input/Output level meters Show peak signal levels before and after processing.
15 Using AudioSuite Plug-Ins Parameter Description De-Esser panel Frequency Sets the frequency band in which the De-Esser operates. Values range from 500 Hz (lowest frequency) to 16 kHz (highest frequency). When HF Only is disabled in the Options panel, gain is reduced in frequencies within the specified range. When HF Only is enabled, the gain of frequencies above the specified value will be reduced.
Core AudioSuite Plug-Ins EQ II Parameters The following table lists the EQ II plug-in parameters. Parameter Description Input Allows you to control the input gain of the EQ to prevent the possibility of clipping. Phase Invert Allows you to invert the phase (polarity) of the input signal in order to change frequency response between “multi-miked” sources (a common technique for “miking” a guitar amplifier), or to correct for miswired microphone cables.
15 Using AudioSuite Plug-Ins Parameter Description High-Shelf Produces a lift or a cut at the specified frequency and above it. Low-Pass Attenuates all frequencies above the selected cutoff frequency setting at a rate of 12 dB per octave while allowing all others below the frequency to pass through. For this reason, no gain control is available for this filter. 1-Band EQ III Parameters The following table lists the 1-Band EQ III plug-in parameters.
Core AudioSuite Plug-Ins Parameter Gain Description Allows you to control the amount that the selected frequencies are cut or boosted (for High-Shelf, Low-Shelf, and Peak only). Frequency Graph Display Shows a control dot that indicates the center frequency or cutoff frequency for the currently selected filter type, and a frequency response curve. You can adjust the parameters by dragging the control dot. 7-Band EQ III Parameters The following table lists the 7-Band EQ III plug-in parameters.
15 Using AudioSuite Plug-Ins Parameter Description Band Enable button Toggles the band in and out of the circuit. When a band’s Enable button is highlighted, the band is in circuit. When a band’s Enable button is dark gray, the band is bypassed.
Core AudioSuite Plug-Ins Parameter Gain Description Allows you to control the amount that the selected frequencies are cut or boosted (for Shelf and Peak only). Frequency Graph Display Shows a color-coded control dot that corresponds to the color of the Gain control for each band, and a frequency response curve. You can adjust the parameters by dragging one or more of the control dots.
15 Using AudioSuite Plug-Ins Parameter Description LFO Width Allows you to adjust the intensity of the LFO applied to the delayed signal as modulation. The higher the setting, the more intense the modulation. Feedback Controls the amount of feedback applied from the output of the delayed signal back into its input. Negative settings provide a more intense effect. LFO Waveform Selects a sine wave or triangle wave for the LFO. This affects the character of the modulation.
Core AudioSuite Plug-Ins Delay AudioSuite Plug-In The Delay plug-in provides time-delay-based effects. Effects obtained through the use of Delay include slap echo, doubling, chorusing, and flanging. There are four Delays, each of which is capable of a different maximum delay time: • Short Delay provides 1024 samples of delay (23.2 ms at 44.1 kHz or 21.3 ms at 48 kHz). • Slap Delay provides 7186 samples of delay (162 ms at 44.1 kHz or 149 ms at 48 kHz).
15 Using AudioSuite Plug-Ins Parameter Description Duration Click one or more of the buttons to specify a desired delay from a musical perspective. You can click one of the note value buttons (whole note, half note, quarter note, eighth note, sixteenth note). If necessary, click the Triplet modifier or Dot modifier button to dot the selected note value or make it a triplet. Groove Provides fine adjustment of the delay in percentages of a 1:4 subdivision of the beat.
Core AudioSuite Plug-Ins Normalize AudioSuite Plug-In In cases where a sound file has been recorded with too little amplitude, the Normalize plug-in ensures that the inherent dynamics of the performance remain unchanged while the overall volume level of the passage is raised. The controls let you specify how close to maximum level (the clipping threshold) the peak level of your selection or file is boosted. You can enter this information in several ways.
15 Using AudioSuite Plug-Ins Ping-Pong Delay AudioSuite Plug-In The Ping-Pong Delay plug-in modifies an audio signal by adding a controllable delay to the original signal. It is ideal for adding spatialization and creating a characteristic ping-pong echo effect. The following table lists the Ping-Pong Delay plug-in parameters: Parameter Description Gain Adjusts the input volume of the Ping-Pong Delay to prevent clipping or increase the level of the processed signal.
Core AudioSuite Plug-Ins DC Offset Removal AudioSuite Plug-In The DC Offset Removal plug-in removes DC offset from your audio files. The term “DC offset” describes a specific type of audio artifact that might appear in digital audio signals. DC Offset can be identified in a waveform overview because it appears to have a near-vertical fade-in with a constant or “steady-state” offset from zero when the file is actually “silent” (it contains no audible audio).
15 Using AudioSuite Plug-Ins The Time Compression Expansion plug-in allows two tracks to be time-compressed or expanded as a “stereo pair,” so that the two sides of the stereo signal are processed relative to each other. The Time Compression Expansion plug-in has special parameters that let you enter time compression or expansion values in different formats. They are located in the Source and Destination columns, and also include the Ratio slider.
Core AudioSuite Plug-Ins Parameter Description Crossfade The Crossfade slider allows you to manually adjust the crossfade length in milliseconds to optimize performance of the Time Compression Expansion plug-in according to the type of audio material you are processing. The Time Compression Expansion plug-in achieves length modification by replicating or subtracting very small portions of audio material and very quickly crossfading between these alterations in the waveform of the audio material.
15 Using AudioSuite Plug-Ins Pitch Shift AudioSuite Plug-In The Pitch Shift plug-in allows you to adjust the pitch of any source audio file with or without a change in its duration. This powerful function allows sounds to be transposed a maximum of a full octave up or down in pitch with or without altering playback speed. Edit the Pitch Shift parameters by double-clicking and typing in any Destination text box or by dragging a slider to adjust.
Core AudioSuite Plug-Ins Parameter Description Reference Pitch The Reference Pitch feature generates a sine wave tone that you can adjust to match a selected portion of audio material, and then use as an audible reference when pitch-shifting other audio material in your session. To use the Reference Pitch feature: 1. Select the audio material you want to use as a pitch reference. Click the Preview button to begin playback of the selected audio. 2.
15 Using AudioSuite Plug-Ins The following table lists the Time Shift plug-in parameters. Parameter Description Audio You use the Audio parameter controls to select the most appropriate time compression and expansion mode for the type of material you want to process, and to attenuate the gain of the processed audio to avoid clipping.
Core AudioSuite Plug-Ins Parameter Description Time You use the Time parameter controls to specify the amount of time compression or expansion you want to apply. The Original column displays the Start and End times, and Length of the edit selection. Times are displayed in units of the timebase selected in the Units menu. The Processed column displays the target End time and Length of the processed signal. Times are displayed in units of the timebase selected in the Units menu.
15 Using AudioSuite Plug-Ins Parameter Description Formant/Transient You use the Formant or Transient parameter controls to adjust either the amount of formant shift or the transient detection parameters, depending upon which mode you have selected in the Audio section. n The Formant parameter is available only when you select Monophonic as the Audio mode. The Transient section is available with slightly different controls, depending on whether you select Polyphonic or Rhythmic as the Audio mode.
Non-Core AudioSuite Plug-Ins Non-Core AudioSuite Plug-Ins Non-core AudioSuite plug-ins are also supported, but are not installed with your Avid editing application. They are located in the Goodies folder. These plug-ins can be used on a trial basis and then purchased through Digidesign. All others are not supported at this time. The plug-ins have their own detailed documentation. For more information, see the following Web site: www.digidesign.com.
15 Using AudioSuite Plug-Ins Digidesign D-Fi The set of D-Fi™ plug-ins provides analog synthesizer effects: 506 • Lo-Fi™ adds noise generation, bit-rate reduction, distortion, and saturation to sound. • Sci-Fi™ adds analog synthesizer-type ring modulation, frequency modulation, and variable frequency resonator. • Recti-Fi™ generates new harmonics and subharmonics through waveform rectification. • Vari-Fi™ adds tape and turntable “start up” and “slow down” effects.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced You can export files for use with another system, another application, or another platform. Your Avid video-based editing system provides tools for exporting clips and sequences in various formats. You can also use VTR emulation for direct playback or recording of sequences by using an edit controller in an analog editing suite.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced Exporting With the Send To Templates The Send To feature is the quickest and simplest way to perform most common export tasks. Send To enables you to send sequences or master clips from your Avid editing system to other applications, automating your workflow. The Send To option provides you with a choice of several pre-defined templates to streamline your workflow.
Exporting With the Send To Templates Exporting Using Send To DigiDelivery You can export a sequence directly to DigiDelivery®, the file-exchange service from Avid Digidesign®. You must have a DigiDelivery account to deliver your exported sequence. For information about obtaining an account, go to the Avid DigiDesign web site, www.digidesign.com, and select Products > DigiDelivery. To export directly to DigiDelivery: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” in the Help. 2.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced The Send To dialog box opens with the template you selected. The Filename text box displays the name of the sequence or clip you chose, and Auto Launch is selected by default to launch DigiDelivery automatically after you click OK. If the option you chose involves linking to media, Include Linked Media is also selected by default. 5. (Option) Change the file name. 6.
Exporting With the Send To Templates 8. (Option) If you need to make any changes, select the Options button, make any necessary changes, and click Save. 9. (Option) Do the following if your sequence includes MetaSync tracks: a. Select Export MetaSync tracks, and then select XML or AAF. If you select XML, the system performs an AAF export, and then automatically opens MetaSync Publisher, which produces the XML file. For more information on MetaSync Publisher, see “Using MetaSync Publisher” in the Help. b.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced To export to Digidesign Pro Tools: 1. Select a sequence in a bin. 2. Do one of the following: t Select File > Send To > Digidesign Pro Tools, for sequences that you want to transfer on movable media. t Select File > Send To > Digidesign Pro Tools on Avid Unity, for sequences that are located on the same Avid Unity environment.
Exporting With the Send To Templates The Send To dialog box opens with the template you chose. The Filename text box displays the name of the sequence or clip you chose. 4. (Option) Change the file name. 5. Click Set to browse to the drive and folder to which you want to export the sequence. 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.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 9. (Option) If you make any changes to the Send To dialog box, do the following if you want to save these changes as a new template. a. Click the Save As Template button. b. Rename the file. Make sure you leave the .stt extension. c. Click Save. The new template is saved. The next time you select a sequence, and choose File > Send To, the new template appears in the list. 10. Click OK.
Exporting With the Send To Templates The Send To DVD Authoring dialog box opens with a default export template. The Filename text box displays the name of the sequence or clip you chose. 4. (Option) Change the file name. 5. Click Set to browse to the drive and folder to which you want to export the sequence. Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. Review the Export Setting Summary. 7.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 8. (Option) If you make any changes to the Send To dialog box, do the following if you want to save these changes as a new template. a. Click the Save As Template button. b. Rename the file. Make sure you leave the .stt extension. c. Click Save. The new template is saved. The next time you select a sequence, and select File > Send To, the new template appears in the list. 9. Click OK.
Exporting With the Send To Templates The Send To DVD One Step dialog box opens with a default export template. The Filename text box displays the name of the sequence or clip you chose. 4. (Option) Change the file name. 5. Click Set to browse to the drive and folder to which you want to export the sequence. Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. Accept the default settings for the rest of the options. 7.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 8. Click OK. The Burn to DVD dialog box opens. 9. Select the capacity of your DVD medium from the Capacity menu. The capacity of your DVD medium must match the size you select from the Capacity menu. For information about the other options, see the Sonic printed or pdf documentation. 10. Click OK. Your DVD is burned.
Exporting With the Send To Templates 4. Do one of the following; t Select File > Send To > Encoding > Sorenson Squeeze. t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the clip or sequence in the bin, and select Send To > Encoding > Sorenson Squeeze. The Send To dialog box opens with a default template. The Filename text box displays the name of the sequence or clip you chose. 5. (Option) Change the file name. 6. Click the Options button to select Sorenson Squeeze settings.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced Exporting Using Send To Avid DS When you choose to send to Avid DS, the sequence is exported as an AFE file (Windows) or an AAF file (Macintosh). To export directly to Avid DS: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” in the Help. 2. Select a clip or a sequence in a bin. 3. Do one of the following: t Select File > Send To > Avid DS.
Exporting With the Send To Templates 5. Click Set to browse to the drive and folder to which you want to export the sequence, and then click OK. Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. (Option) If you need to make any changes, select the Options button, make any necessary changes, and then click Save. 7. (Option) Do the following if you want the Avid DS application to automatically launch after you export. a.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced n If you are editing and finishing an offline sequence that will be finished on Avid DS, make sure to consult the Avid DS Nitris Conform Guide. This guide contains important information about the most efficient way of preparing a sequence for the conform process. You can download this guide from the Avid Knowledge Base (www.avid.com/onlinesuppport) or the Avid DS Support Center (aviddssupport.avid.com/).
Exporting With the Send To Templates The Send To dialog box opens with a default export template. 4. (Option) Change the file name. 5. Select the destination folder for the file, and then click OK. Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. Review the Export Setting Summary. 7. (Option) If you need to make any changes, select the Options button, make any necessary changes, and then click Save.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 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. Select Auto Load Exported File(s) if you want the files you export to automatically load in the third-party application. e.
Exporting OMFI and AAF Files Any other program that supports OMFI can read OMFI files, even if the program resides on a different computer platform. As a result, with OMFI, you can transfer between different applications on different platforms without worrying about cross-platform translations. This can be very effective for importing animation or audio files created on proprietary platforms.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced Method 2: Compositions with Embedded Media Avid editing applications can export an OMFI or an AAF file that contains all the editing information for the selected master clip or sequence along with the video and audio media files for that master clip or sequence. See “Exporting As an OMFI or an AAF File” on page 526.
Exporting OMFI and AAF Files 5. Click the Options button. The Export Settings dialog box opens. 6. Click the Export As menu, and select OMF 1.0, OMF 2.0, or AAF.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 7. Select other options as described in “Export Settings: OMFI, AAF, and AFE” on page 648. For additional guidelines on suitable export options for AAF export to Pro Tools, see “Guidelines for Exporting AAF Files to Pro Tools” on page 529. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens.
Exporting OMFI and AAF Files 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. Guidelines for Exporting AAF Files to Pro Tools You use the same basic method to create an AAF export for use with Pro Tools that you use when creating any other type of AAF export. For more information, see “Exporting OMFI and AAF Files” on page 524.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced Setting Guidelines Export Method: Video • Mixdown (Video Details tab) The Mixdown with Video Edits option is only compatible with Pro Tools v7.2 or later, and takes advantage of the fact that Pro Tools v7.2 or later can display multiple video tracks. This allows you to add a video track that shows the video edits.
Exporting Projects and Bins Using AFE Files (Windows Only) n Specific information for transferring projects to Avid DS is contained in the Avid DS Conform Guide, which is available from the Avid Knowledge Base at www.avid.com/onlinesupport or the Avid DS Support Center at aviddssupport.avid.com. 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. Select a location, name the file, and click Save. 3.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced To create an AFE file that includes the contents of a single bin: 1. Open the bin. 2. Click the bin, and select File > Export. The Export Bin As dialog box opens. 3. Select Avid File Exchange from the Export Bin As list. 4. Select a location, name the file, and click Save. 5. Transfer the AFE file to a location you can access from the other Avid application.
Exporting Video in DV Stream Format 3. Select File > Export. The Export As dialog box opens. 4. Click the Export Settings menu, and select a setting. If you want to create a new setting, select Untitled. You can create settings in advance.See “Customizing Export Settings” in the Help. 5. Click Options. The Export Settings dialog box opens. 6. Click the Export As menu, and select DV Stream. 7. Select other options as described in “Export Settings: DV Stream” on page 647. 8. Click Format Options.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 11. In the Export Settings dialog box, do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 12. In the Export As dialog box, select the destination folder for the file. 13. (Option) Change the file name.
Exporting QuickTime Movies Option Description QuickTime Reference QuickTime Reference is available from the Export As menu in the Export Settings dialog box. This option is similar to Same as Source, but your Avid editing application links to the original media files. This is the fastest method of export, but the movie can only be run or processed on your local system or in an Avid Unity workgroup environment.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 6. Click the Export As menu, and select QuickTime Movie. If you installed additional QuickTime Export formats, they appear in the menu with tildes (~) before their names. This indicates they have not been qualified and are not supported by Avid. QuickTime Movie (Same as Source) QuickTime Movie (Custom) 7.
Exporting QuickTime Movies 9. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 10. In the Export As dialog box, select the destination folder for the file. 11. (Option) Change the file name. In most cases, keep the file name extension the same. 12. Click Save.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 4. Click the Export Settings menu, and select a setting. If you want to create a new setting, select Untitled. You can create settings in advance. See “Customizing Export Settings” in the Help. 5. Click Options. The Export Settings dialog box opens. 6. Click the Export As menu, and select QuickTime Reference. The Export Settings dialog box displays the QuickTime Reference options. 7.
Exporting QuickTime Movies 10. (Option) Change the file name. In most cases, keep the file name extension the same. 11. Click Save. The file is exported to the selected destination. 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. Using Avid Codecs for QuickTime The following Avid codecs for QuickTime are installed automatically when you install your Avid editing application.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 4. Click the Export Settings menu, and select a setting. If you want to create a new setting, select Untitled. You can create settings in advance. See “Customizing Export Settings” in the Help. 5. Click the Options button. The Export Settings dialog box opens. 6. Click the Export As menu, and select QuickTime Movie. 7. Select the Custom option. 8. Click the Format Options button. The Movie Settings dialog box opens. 9.
Exporting QuickTime Movies 11. Click the Options button. A Codec Configuration dialog box opens. The settings depend on the codec that you selected. The Quality slider does not affect your settings. 12. Select the settings that you want, and click OK. For Color Levels or Color Input, select the color levels of the source media. If you are exporting from an Avid editing system, use ITU-R 601 (SD) or 709 (HD). 13. Click OK in the Compression Settings dialog box. 14.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 16. In the Export As dialog box, select the destination folder for the file. 17. (Option) Change the file name. In most cases, keep the file name extension the same. 18. Click Save. The file is exported to 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.
Exporting As an AVI File (Windows Only) 5. Click the Options button. The Export Settings dialog box opens. 6. Click the Export As menu, and select AVI. 7. Select the AVI options you want. “Export Settings: AVI (Windows Only)” on page 651 describes the AVI settings options in the Export Settings dialog box. In the Video Format tab, you can also select further options by clicking the Codec Options button. 8. Select an AVI codec by clicking Codec Options. The Video Compression dialog box opens. 9.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 11. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 12. In the Export As dialog box, select the destination folder for the file. 13. (Option) Change the file name. In most cases, keep the file name extension the same.
Installing or Copying the Avid Codecs for QuickTime on Other Systems To copy the Avid QuickTime Codecs from one system to another system: 1. On your Avid system, open one of the following folders: (Windows) drive:\Program Files\QuickTime\QTComponents (Windows) drive:\Windows\System32 (Macintosh) MacintoshHD/Library/QuickTime 2. Copy the codecs you need to a removable device or network server. The following table describes the codecs: Codec (Windows) Codec (Macintosh) Description AvidAV1xCodec.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced Exporting from a Third-Party QuickTime or AVI Application To export files from a QuickTime compatible application or from an AVI compatible application on a Windows system for import (or reimport) into your Avid system: 1. Make sure the applicable codec is installed on the system. See “Installing or Copying the Avid Codecs for QuickTime on Other Systems” on page 544. 2.
Exporting as Windows Media (Windows Only) 3. Click Options. The Export Settings dialog box opens. 4. In the Export As menu, select Windows Media. 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 12. (Option) Change the file name. In most cases, keep the file name extension the same. 13. Click Save. The sequence is exported using the selected template. Exporting as Windows Media Using an Existing Windows Media Profile (Windows Only) A Profile is a group of settings that matches content type and bit rate with the appropriate audio and video codecs. Profiles have the file name extension .prx. If you have an existing .
Exporting as Windows Media (Windows Only) 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7. Select Windows Media Custom Profile. 8. Click Set. 9. Browse to the location where the .
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 3. Click Options. The Export Settings dialog box opens. Add Button 4. In the Export As menu, select Windows Media. 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline.
Exporting as Windows Media (Windows Only) 9. (Option) If you want to save the .prx file, do the following: a. Click Save As Custom Profile. b. Browse to the location on the system where you want to save the .prx file. c. Name the file and click Save. The .prx file is saved.You are returned to the Export Settings window 10. Click Save to export the sequence. 11. In the Export As dialog box, select the destination folder for the file. 12. (Option) Change the file name.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 3. Click Options. The Export Settings dialog box opens. 4. In the Export As menu, select Windows Media. 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline.
Exporting as Windows Media (Windows Only) 9. (Option) If you want to save the .prx file, do the following: a. Click Save As Custom Profile b. Browse to the location on the system where you want to save the .prx file. c. Name the file and click Save. The .prx file is saved. You are returned to the Export Settings window 10. Click Save to export the sequence. 11. In the Export As dialog box, select the destination folder for the file. 12. (Option) Change the file name.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 8. Click the Pixel Aspect Ratio menu, and select Square 1:1. 9. Click the Codec menu, and select Windows Media Video 9 Advanced Profile. 10. Make sure the value in the Keyframe text box is set to less than 1.00 seconds. 11. Click Save. 12. In the Export As dialog box, select the destination folder for the file. 13. Click Save. The sequence or clip is exported as VC1 media embedded in a Windows Media Video (.wmv) file. 14.
Exporting Tracks As Audio Files 6. Click the Export As menu, and select Audio. The Export Settings dialog box displays the Audio options. 7. Select the options you require. For more information on selecting options, see “Export Settings: Audio” on page 658. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced Exporting Frames As Graphic Files You can export a single frame as a graphic file or you can choose to export multiple frames as sequentially numbered files. To export as a graphic file: 1. Do one of the following: t If you plan to export a single frame, mark an IN point to export the marked frame from a bin or a monitor, or move the position indicator to the frame you want to export.
Exporting Frames As Graphic Files 5. Click the Export As menu, and select Graphic. The Export Settings dialog box displays the Graphic options. 6. Click the Graphic Format menu, and select a format. For more information on graphic formats, see “Export Settings: Graphic” on page 660. 7. Select other options as appropriate. For more information on graphic format options, see “Export Settings: Graphic” on page 660. 8.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 10. (Option) Change the file name. In most cases, keep the file name extension the same. 11. Click Save. The file is exported to the selected destination. When you are working with the Format Options settings, you can click Defaults to return the settings to their default values. c 558 If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.
17 Generating Output: Advanced Your Avid editing application provides tools for generating output for individual tracks or entire sequences to various videotape or audiotape formats. You can also generate an edit decision list (EDL) for use in an online suite.You can also use VTR emulation for direct playback or recording of sequences by using an edit controller in an analog editing suite.
17 Generating Output: Advanced Calibrating the System with Passthrough Signals If you work in a production environment in which house standards are used to synchronize a number of devices including the source decks connected to your Avid system, you can calibrate the system one time to conform to existing standards with the least amount of alteration of the signal. This method involves the use of a passthrough signal (a signal that gets sent directly from an input source through to the output channels).
Using an XLR Adapter for Consumer-Level Analog Output 10. In the Video Output tool, click the Test Patterns menu, and select a test pattern. The test pattern appears and is sent to the output channels (the input signal is no longer passed through). Additional controls are enabled in the Video Output tool for phase control. 11. Make any necessary adjustments to H phase, SC phase, and Hue by using the sliders in the Video Output tool while checking the external Waveform and Vectorscope monitors.
17 Generating Output: Advanced Using the Digital Cut Tool: Advanced The Digital Cut tool provides controls when you record a sequence to tape. The following topics describe some of the more advanced digital cut features. • Output Mode Resolution Options • Outputting DV 50 and DVCPRO HD Media Directly to a DV Device • Selecting Output and Timecode Formats for 23.
Using the Digital Cut Tool: Advanced With some output modes, you can also use the Bit Depth menu to select either 8-bit or 10-bit effects processing. If this option is not available, the Bit Depth menu is either grayed out or does not appear. For more information, see “Options for Controlling Real-Time Effects Playback” in the Help. Output Device Output Mode menu Bit Depth menu The following table provides information on the output resolutions.
17 Generating Output: Advanced Output Mode Description RT DV25 Provides DV 25 output through either a Host 1394 connection or through the 1394 connector on an Avid Adrenaline, Avid Mojo, or Avid Mojo SDI. DV50 Provides DV50 output through either a Host 1394 connection or through the 1394 connector on an Avid Mojo SDI. All media must be DV 50. Does not support real-time effects playback.
Using the Digital Cut Tool: Advanced 3. If you are using Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following: t Click the DNA/1394 button above the Timeline to display the 1394 label. t Select Special > Device > IEEE 1394. The 1394 icon displays above the Timeline, and a check mark appears next to IEEE 1394 in the Device menu. 4. Select Clip > Digital Cut. The Digital Cut tool opens. 5. Select other Digital Cut options.
17 Generating Output: Advanced Selecting Output Formats for 23.976p and 25p Projects To output a particular format: 1. Select Clip >Digital Cut. 2. Click the Output Format menu, and select a play rate. A brief description of each output format is displayed in the Digital Cut tool. The play rate you select determines how the digital cut is recorded. For example, if you select 23.
Using the Digital Cut Tool: Advanced Digital Cut Tool Output Format (Play Rate) 24 (NTSC) Target Project or System, and Recording Media Audio for film projection; DAWs (video for reference only) Picture and sound to NTSC tape; sound to DAT or mag tape Description Plays back the sequence at 24 fps (film rate). This play rate tells your Avid editing application to record audio at the film rate.
17 Generating Output: Advanced The following table provides changes in audio rates if you are working in a 25p project: Output Play Rate 24p Source 25p Source 23.976 NTSC 0.1% slowdown 4.1% slowdown 24 NTSC No change 4% slowdown 29.97 NTSC 25% speedup 20% speedup 24 PAL No change 4% slowdown 25 PAL 4.1% speedup No change 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.
Using the Digital Cut Tool: Advanced n To output LTC timecode, you need to select “Generate LTC on Playback” in the General Settings dialog box. For more information, see “Using LTC Timecode for Output” in the Help. By default, the menus display the timecode format of the sequence you loaded into the Timeline. n Your Avid editing application can generate LTC at 29.97 fps only. See “Indicating the Destination Timecode Rate” on page 570. To select the timecode format for output: 1.
17 Generating Output: Advanced To output drop-frame and non-drop-frame timecode simultaneously for downstream encoding: 1. Select Clip > Digital Cut. 2. Do the following: t Click the RS-422 Output menu, and select Drop. t Click the LTC Output menu, and select Non-Drop. Indicating the Destination Timecode Rate When you select 24 (NTSC) as your output format, the Destination Timecode Rate menu (labeled Dest. TC Rate) opens.
Using the Digital Cut Tool: Advanced n Some low-cost DV decks cannot be striped as non-drop-frame for performing digital cuts. To select the video pulldown cadence: 1. Select Clip > Digital Cut. 2.
17 Generating Output: Advanced Changing the Default Pulldown Phase for Sequences During a digital cut to 30-fps NTSC videotape, your Avid editing application defaults to an A-frame pulldown conversion for sequences (subsequences are an exception). If you are appending sequences to the same output tape on which continuous pulldown is required, you might need to change the default pulldown phase (or pullin) to a B frame. A digital cut can begin only on the first field of an A or B frame.
Using the Digital Cut Tool: Advanced There are several components to this setting. • The recommended value represents the delay that is found in the machine template for the online DV device. If for some reason, there is no “online” DV device, the recommended value is set to the delay in the machine template of the “offline” DV device. If no DV device is configured in the Deck Configuration and Deck Settings dialog boxes, this value is set to 0.
17 Generating Output: Advanced 4. Determine the approximate delay and type the delay in the Digital Cut Delay (frames) text box. 5. Click OK. 6. Perform a digital cut. See “Using the Digital Cut Tool” in the Help. 7. Repeat this process until you achieve the appropriate delay. Using EDL Manager An edit decision list (EDL) is a detailed list of the edits contained in a sequence, including all the timecode and supported effects information required to re-create the sequence in an online videotape suite.
Vertical Blanking Information Vertical Blanking Interval Line Ranges Your Avid editing application can capture 248 lines per field in NTSC or 296 lines per field in PAL. For NTSC, only 243 of these lines are in RP-187’s production aperture. For PAL, the number is 288. The additional lines in each field are located immediately above the active part of each of the two fields. These lines (5 per field in NTSC and 8 per field in PAL) can be used for carrying additional data.
17 Generating Output: Advanced To display vertical blanking information and preserve it for a digital cut: 1. Select Tools > Video Output Tool. The Video Output tool opens. VBI menu 2. Click the VBI menu and select Preserve. If you select Blank, your Avid editing application fills the vertical blanking interval with video black (R=G=B=16). 3. Close the Video Output tool. Any VBI information that is present in your clips or sequences will now be displayed.
Vertical Blanking Information c The VBI value resets to Blank each time you launch your Avid editing application. If you want to preserve VBI information on output, set the value before you perform a digital cut. Editing a Sequence with Vertical Blanking Information After a sequence is created and output from an Avid editing system, some facilities apply VBI information to the tape to add information such as closed captioning.
17 Generating Output: Advanced Your Avid editing application performs the following operations when capturing a frame: 1. It captures the entire frame (including the 5 or 8 extra lines per field) as an uncompressed frame. 2. It compresses the frame if compression is selected. The following problems may occur: • If the frame contains vertical blanking information, the picture quality of the entire frame might be slightly degraded due to the added entropy or complexity from the vertical blanking lines.
Preserving HD Closed Captioning and Ancillary Data Feature Meridien Current Is VBI information preserved when you apply effects? Not always Yes (see “Editing a Sequence with Vertical Blanking Information” on page 577.) Can you use a two layer effect to wipe in VBI information? Yes No Can VBI information affect compression quality? Yes Yes Can compression affect VBI quality? Yes n For example, a color effect can modify the VBI information on a Meridien system.
17 Generating Output: Advanced • • You must limit your editing to cuts-only sequences and limit your playback of clips and sequences to Full Quality. Any other actions make the ancillary data unusable and prevent it from being preserved.
Preserving HD Closed Captioning and Ancillary Data Option Description DID A hex number (for example, 0x61) SDID A hex number (for example, 0x60) The following table lists the DID and SDID number values for the four ancillary data packets that your Avid editing application can capture and preserve by default: Data Packet DID SDID CEA 708 61 01 CEA 608 61 02 DTV 62 01 ATC 60 60 For example: - To turn off data slot 1, type Embeddnxccoptions 1 0 To set data slot 2 to hold CEA 708 data, ty
17 Generating Output: Advanced 582
18 MultiCamera Editing The Avid MultiCamera editing features allow you to incorporate multiple camera angle sources into the nonlinear editing process.
18 MultiCamera Editing • The MultiGroup function is designed primarily for situation comedies and similar productions that record multiple takes sequentially on the same source tapes. Multigrouping does not provide any benefit when you edit with clips that do not share common timecode or were not recorded sequentially, and might even cause the wrong clips to be grouped together.
Creating Multigroup Clips 4. Select an option, based on the following: Option Description Film TC/Sound TC Use this option if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. Inpoints Use this option if you are syncing according to IN points set in each clip. Outpoints Use this option if you are syncing according to OUT points set in each clip.
18 MultiCamera Editing 4. Select an option, based on the following: Option Description Film TC/Sound TC Use this option if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. Inpoints Use this option if you are syncing according to IN points set in each clip. Outpoints Use this option if you are syncing according to OUT points set in each clip.
MultiCamera Displays You can switch the Nine Split Source view from one bank of nine camera angles to a second bank of nine camera angles by using the Swap Cam Bank or Quad Split button. • n MultiCamera Mode — MultiCamera Quad Split Edit and MultiCamera Nine Split Edit: After you create a sequence that includes group clips, you can display the sequence in MultiCamera mode.
18 MultiCamera Editing Quad Split Source View After loading a group clip into the Source monitor, you enter Quad Split Source view by clicking the Quad Split button located in the Command palette in the MCam tab. The Source monitor splits into four camera angles of the group clip. A Group Menu icon appears in the second row of information above the Source and Record monitors. Quad Split Source view Group Menu icon Sequence • Provides source-oriented control of multicamera material.
MultiCamera Displays Nine Split Source View After loading a group clip into the Source monitor, you enter Nine Split Source view by clicking the Nine Split button located in the Command palette in the MCam tab. The Source monitor splits into nine camera angles of the group clip. A Group Menu icon appears in the second row of information above the Source and Record monitors.
18 MultiCamera Editing MultiCamera Mode After loading a group clip into the Source monitor and editing it to create a new sequence, select MultiCamera Mode from the Special menu to activate the features. The MultiCamera Quad Split Edit or MultiCamera Nine Split Edit is displayed, depending on whether you were in Quad Split Source view or Nine Split Source view before entering MultiCamera mode.
MultiCamera Displays The basic features of MultiCamera mode are as follows: • Provides sequence-oriented control of multicamera material, in contrast to Full-Monitor display, Nine Split Source view, and Quad Split Source view. Whenever you play back, cue, switch camera angles, or mark material, your changes occur in the sequence. • Synchronizes all camera angles displayed in the Source monitor and continuously updates during playback and editing.
18 MultiCamera Editing Limitations on Playback of MultiCamera Media To play back a group clip or a multigroup clip, you must be in MultiCamera mode. In addition, the following limitations apply to playback performance for standard-definition projects and high-definition projects: • In an HD project, playback in any of the multicamera displays uses the Best Performance mode for video quality. For information on Best Performance mode, see “Video Quality Options for Playback” in the Help.
MultiCamera Editing Techniques • Understanding the Group Menu for Multicamera Editing • Using the Multi-angle View Menus During Multicamera Editing • Using Match Frame in MultiCamera Editing Switching Clips with the Arrow Keys During Multicamera Editing You can switch the display of camera angles by using the Previous In Group button and the Next In Group button. These buttons are mapped by default to the Up Arrow and Down Arrow keys.
18 MultiCamera Editing 3. After adding the edits, place the position indicator within each segment and use the arrow keys to switch camera angles. Understanding the Group Menu for Multicamera Editing The Group menu allows you to select video or audio channels from any of the clips in the group and patch to the tracks available in the sequence. You can have nine camera angles and nine or more audio tracks synchronized and available for patching at any time. Click the Group Menu icon to display the menu.
MultiCamera Editing Techniques Using the Multi-angle View Menus During Multicamera Editing You can use the Multi-angle View menus to group up to 18 clips at a time, and select additional clips to be shown in any of the multi-split displays in the Source monitor. You can also select Sequence from the Multi-angle View menus to display the entire sequence. To select an additional clip from the group to appear in one of the multi-split displays: 1.
18 MultiCamera Editing Selective Camera Cutting Selective camera cutting involves marking and editing source material into the sequence, much as you build a sequence by using nongrouped clips in a normal session. You can play, cue, and mark clips on the source side, and then splice, overwrite, and trim clips in the sequence.
19 Using Settings The Settings list is displayed when you click the Settings tab of the Project window. If you select a setting in the Settings list and make changes, the new options remain the default settings until you change them again. To view or modify the options, double-click the setting. For information on using the Settings list, see “Using the Settings List” on page 599.
19 Using Settings 598 • Keyboard Settings • Marquee Title Settings • Media Creation Settings • Media Services Settings (Windows Only) • Mouse Settings • NRCS Settings • PortServer Settings • Remote Play and Capture Settings • Render Settings • Safe Colors Settings • Script Settings • Sound Card Configuration Settings (Windows Only) • Timeline Settings • Trim Settings • Video Display Settings • Video Input Tool Settings • Video Output Tool Settings • Workspace Settings
Using the Settings List Using the Settings List From the Settings list in the Project window, you can view, select, open, and alter various User, Project, and Site settings. To view the Settings list: t Click the Settings tab in the Project window. Settings tab Settings Fast menu Settings type Settings list Understanding Settings Three types of settings appear in the Settings list in the Project window, as indicated in the third column of information: User, Project, and Site.
19 Using Settings • Project settings are directly related to individual projects. When you change a Project setting, it affects all editors working on the project. Specific Project settings are stored in each project folder. Project folders are stored in the following locations, which depend on whether your project is private or shared: Platform Private Projects Shared Projects Windows C:\Documents and Settings\Windows login name\Documents\Avid Projects C:\Documents and Settings\All Users\Shared Avi
Using the Settings List Setting Name Description For More Information Communication (Serial) Ports Sets a port for Remote Play and Capture. See “Remote Play, Capture, and Punch-In” on page 160. Controller Settings Sets the default controller, port selection, and custom controller buttons. See “Controller Settings” on page 628. Correction Sets the parameters for the Color Correction See “Correction Settings” on page 629. tool. Deck Configuration Configures channels and decks into the system.
19 Using Settings 602 Setting Name Description For More Information Keyboard Used to map commands from the Command See “Keyboard Settings” on page 681 palette to the keyboard. and “Using the Keyboard” in the Help. Marquee Title Allows you to select the Title tool for creating titles and provides options for promoting titles. See “Marquee Title Settings” on page 682 and the Avid Marquee Title Tool User’s Guide.
Using the Settings List Setting Name Description For More Information Timecode Window Displays various timecodes in an adjustable See “Using the Timecode Window” on window. Appears in the Settings list to page 323. facilitate copying settings. Timeline Contains general Timeline preferences. See “Timeline Settings” on page 696. Trim Customizes the Trim mode environment. See “Trim Settings” on page 698.
19 Using Settings By establishing these settings once, and selecting the appropriate setting or bin view in context, you can save time and effort that would be spent searching for information or adjusting bin headings on-the-fly. You can also save these settings along with your template for use on similar projects, as described in “Folders and Bins” on page 43.
Using the Settings List Option Description Workspaces Displays all the Workspace settings you created Workspace Linked Displays only the linked workspaces Site Settings Displays all Site settings in the Site_Settings file Working with Settings You can view and modify most of your current settings by double-clicking them in the Settings list of the Project window and by selecting new options. You can duplicate, rename, copy, and move settings among files or systems.
19 Using Settings 3. Type new values or select new options for the setting. 4. Click OK, Save, Apply, or Cancel, or click the Close button. The system saves changes in the appropriate User, Project, or Site settings file. Working with Multiple Settings You can have multiple versions of settings in your Settings list in the Project window that apply to several users at various stages of production.
Using the Settings List Naming Settings You can give settings custom names to differentiate among copies or to indicate a specific use. To enter a custom setting name: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the Custom setting name column located to the right of the setting name. 3. Type a name, and press Enter (Windows) or Return (Macintosh). The new name appears in the list and is saved in the settings file.
19 Using Settings 3. Do one of the following: t Press the Delete key. t Select Edit > Delete. The selected settings are removed immediately. Restoring Default Settings To restore settings to their default values: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click a setting to select it. Ctrl+click (Windows) or Shift+click (Macintosh) each additional setting you want to select. 3.
Using the Settings List To copy settings between setting files: 1. With the Settings list in the Project window active, open the destination settings file in one of the following ways: t Create and open a new settings file by selecting File > New Settings File. t Open an existing settings file by selecting File > Open Settings File, locate and select a settings file (which has the file name extension .avs), in the Avid Projects or Avid Users folder, and then click Open.
19 Using Settings Adding settings to the site settings files is useful if you need to establish global settings for all new users and projects, such as switcher settings, a specific start timecode for all sequences, or various customized features of the interface. To load settings into the Site_Settings file: 1. Open a project with the settings you want to establish as Site settings.
Using the Settings List A standard file structure with multiple users: Avid Users EMaxwell EMaxwell Settings.avs EMaxwell.ave MCState User2 User2 Settings.avs User2.ave MCState If you use the User Profile option to import User1 and User2 (turning them into User Profiles), you see something like this: Avid Users OS login name EMaxwell EMaxwell Settings.avs EMaxwell.ave MCState UserProfile1 UserProfile1 Settings.avs UserProfile1.ave MCState UserProfile2 UserProfile2 Settings.avs UserProfile2.
19 Using Settings For more information about selecting projects, see “Working with Projects” in the Help. AMA Settings The following topics describe options available in AMA (Avid Media Access) Settings. AMA Settings: Bins Tab The following table describes options available in the Bins tab of the AMA Settings dialog box. Option Description Display imported headframe Displays the device-defined headframe.
Audio Settings Audio Settings The following table describes options available in Audio Settings. Option Description Source Scrub Select the number of outgoing and incoming frames you hear as you scrub the source. Timeline Scrub Select the number of outgoing and incoming frames you hear as you scrub in the timeline. Default Pan Select the way you want sound to pan between speakers: • Alternating L/R: Allows you to send the odd tracks to the left channel and send the even tracks to the right channel.
19 Using Settings Audio Project Settings The following topics describe options available in Audio Project Settings. You can save multiple Audio Project settings and select one as the active setting. If you edit an inactive setting, your Avid editing application does not display items that are not saved. For example, Mix Mode is not displayed in an inactive setting because it can’t be saved in the Project settings. n The Direct Out mode is saved in the Audio settings, not the Audio Project settings.
Audio Project Settings Option Description Sample Bit Depth Select this option to set the sample size used when you work with audio files: DV Audio Pattern • 16 Bit: For CD-quality audio. • 24 Bit: For work with higher resolution audio. Depending on your Avid input/output hardware, this option could be grayed out. The option is automatically selected for you depending on the deck template you have chosen.
19 Using Settings Audio Project Settings: Input Tab The options that appear in this tab depend on your audio configuration and the hardware installed on your system. Your options might differ from those listed here. The following table describes options available in the Input tab of the Audio Projects Settings dialog box. Option Description Input Gain slider Depending on your Avid input/output hardware, controls your computer’s volume settings.
Audio Project Settings Audio Project Settings: Output Tab The options that appear in this tab depend on your audio configuration and the hardware installed on your system. Your options might differ from those listed here. The following table describes options available in the Output tab of the Audio Projects Settings dialog box. Option Description Output Gain Allows you to set the volume of global audio output. Monitors Volume Available with software-only configurations.
19 Using Settings Option Description All or Timeline Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button. Allows you to map the track and output channels: • All: Allows you to choose between all available tracks. • Timeline: Allows you to assign output channels to the tracks monitored in the Timeline. Which Set of Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button.
Audio Project Settings Audio Project Settings: Hardware Tab The following table describes settings available in the Hardware tab of the Audio Projects Settings dialog box. Apart from HW Calibration, the settings in this tab are for informational purposes only and list defaults set by the system, depending on your audio hardware and configuration. Option Description Card The type of audio card installed. Peripheral The type of peripheral audio device (audio interface) attached to the system.
19 Using Settings Audio Project Settings: Effects Tab The following table describes options available in the Audio Projects Settings: Effects tab. Option Description Effect Bypass panel Allows you to have your Avid editing application ignore the volume settings established with the audio tools when playing back or recording a sequence: • Clip Gain: Bypasses the clip gain mode of the Audio Mixer tool.
Bin Settings Bin Settings The following table describes options available in Bin Settings. Option Description Auto-Save interval n minutes Specifies the length of time between attempts to auto-save project files. The default is 15 minutes. To avoid interrupting an edit, the Avid system waits until the system is inactive before auto-saving. Use the option “Force Auto-Save at” to specify an interval at which the system interrupts an edit to make the auto-save.
19 Using Settings Capture Settings Capture settings include essential options for capturing, batch capturing, auto capturing, capturing to multiple media files, DV scene extraction, and setting key commands. The following topics describe options available in Capture Settings. Capture Settings: General Tab The following table describes options available in the Capture Settings: General tab.
Capture Settings Option Description Latency for no deck mode n frames Select this option to compensate for problems that could occur when capturing with external timecode, as described in “Capturing in Satellite Mode or No Device Control” on page 150. If you notice that your captured media consistently starts on the wrong frame (usually one or two frames off), use this option to ensure that capturing starts on the correct frame. The option is set to zero by default.
19 Using Settings Capture Settings: Batch Tab The following table describes options available in the Capture Settings: Batch tab. Option Description Optimize for disk space When this option is selected, your Avid editing application captures only the exact amount of material in the master clips plus any additional handles. The tape pauses and prerolls independently for each master clip that is batch captured.
Capture Settings Option Description Use the audio sample bit Select this option if you want your Avid editing application to use the audio sample depth logged for each clip bit depth logged for each clip. Use the video compression logged for each clip Select this option if you want your Avid editing application to use the video compression logged for each clip. Capture Settings: Edit Tab The following table describes options available in the Capture Settings: Edit tab.
19 Using Settings Option Description Maximum (default) capture time n minutes Before a capture begins, your Avid editing application preallocates (reserves) space on the target drive or drives. Your application uses this setting to determine how much space to preallocate. The default capture time is 30 minutes. This setting applies only to capture-on-the-fly and capture from an IN point without an OUT point. Capture from an IN point to an OUT point overrides this setting.
Capture Settings Option Description During capture, clip is updated in Interplay When this option is selected, Frame Chase capture is enabled. An initial check-in takes place 10 seconds after a capture begins. Subsequent Interplay updates occur at intervals defined by the Update Interval option. Select an update interval from the menu to determine how frequently updates to Interplay occur during a Frame Chase capture.
19 Using Settings Capture Settings: Keys Tab The following table describes options available in the Capture Settings: Keys tab. Option Description Function Key Commands (while capturing/logging) Allows you to change the commands mapped to the function keys on your keyboard. These mappings apply to Capture mode only. Timed Subclip Allows you to specify a preset duration for subclips created while capturing.
Correction Settings Option Description Edit Settings If you have selected a port and controller, click Edit Setting to map the controller functions. Gain Controller Select a port for a fader or a mixer to record audio gain information. The options on this menu Port differ depending on the ports you have configured on your Avid editing application. Correction Settings The following topics describe options available in the Color Correction settings.
19 Using Settings Option Description Show Eyedropper Info When this option is selected, the numerical RGB values appear on the color swatches in the Color Match controls. Eyedropper Picks from When this option is selected, you can pick colors from anywhere in the application, Anywhere in Application not only from video images in the Source/Record monitor, using the Color Match eyedroppers.
Deck Configuration Settings Deck Configuration Settings The following table describes options available in Deck Configuration Settings. For information on the Deck Settings options, see “Deck Settings” on page 631. Option Description Configuration name Type a name for the configuration. Add channel Click to add a new channel box. Opens the Channel dialog box. Add deck Click to add a deck or DV device. Opens the Deck Settings dialog box. Delete Click to delete a deck or DV device.
19 Using Settings Option Description Notes Displays configuration information, supplied by Avid, about the deck or DV device you have selected. Not all decks or devices include this information. You can supply your own information in the Description field, and then save the configuration. Device Click the Manufacturer menu, and select your device manufacturer. Click the Model menu, and select your device model.
Deck Preferences Settings Deck Preferences Settings The following table describes options available in Deck Preferences Settings. Option Description When the deck contains no tape or drop frame cannot be detected set timecode to Select the timecode format (Drop Frame or Non-drop Frame) for logging clips when no tape is in the deck or when drop frame or non-drop frame cannot be detected. When a tape is in the deck, your Avid editing application automatically uses the existing timecode format on the tape.
19 Using Settings Option Description Host-1394 DV Capture Offset & Digital Cut Offset (when Host 1394 capture is available) This group of options varies depending on your DV input/output configuration. • Digital Cut Offset (when Host 1394 capture is not available) Capture Offset (frames): Type the number of frames by which you want to offset while you capture. For more information, see “Understanding DV Capture Offset” on page 147. This option only appears when Host 1394 capture is available.
Dynamic Relink Settings Dialog Box Area Option Description (Continued) Working settings tab and Target settings tab If no match is found Allows you to specify the action to take if no media is available that matches the working or target settings. You can select one option as a working setting and a different option as a target setting. Select one of the following: • Keep Existing Media: The application displays the media to which the clips are currently linked.
19 Using Settings Dialog Box Area Option Description (Continued) Relink if quality When you select Specific Resolution as the Relink method, the Relink quality menus allow you to specify a relational operator and a resolution to compare against.
Effect Editor Settings Dialog Box Area Option Description (Continued) Relink if sample rate and bit depth The relational operators on the left for sample rate and bit depth are similar to the relational operators for the Video parameter “Relink if quality” menu. However, the two menus have an additional entry, “Any,” which allows you to use one criteria and ignore the other. For example, you could select sample rate equal to 44.1 kHz and bit depth to “Any”.
19 Using Settings Option Description Real Time Update When selected, your Avid editing application updates the rendered effect image in real time. Because the update can be slow for complex effects, you have the option to deselect updating in real time. Set Position To Keyframe With Set Position To Keyframe selected, when you click a keyframe indicator, your Avid editing application moves the position indicator to the keyframe.
Export Settings Export Settings The following topics describe options available in Export Settings. Export Settings Dialog Box Options The following table describes options available in the Export Settings Dialog Box Options. Option Description OMFI 1.0 OMFI 2.0 Select one of these options to export a standard OMFI composition for transfer to a third-party workstation that supports OMFI. You can choose to export composition only, or embed the video and audio, or both.
19 Using Settings Option Description Windows Media (Windows only) Select this option to export your sequence as native Windows Media. You can export your media using one of the Avid-supplied templates or using a custom audio and video template. See “Exporting as Windows Media (Windows Only)” on page 546. Audio Select this option to export audio tracks in the WAVE format, SD II (Macintosh only), or AIFF-C audio format.
Export Settings Option Description Digital Mastering Defaults Select this option to render all video effects and to premix audio tracks before exporting the file. This option automatically selects Flatten Video Tracks, Fill Spaces with Black, Render All Video Effects, and Premix Audio Tracks. Flatten Video Tracks When this option is selected, the composition is exported as one video track.
19 Using Settings Option Description Audio Format Select the format that is supported by the application into which you will be importing the QuickTime reference movie. • WAVE: Compatible with Windows applications. • AIFF-C: Compatible with many third-party applications, including Pro Tools. Select the AIFF-C format for all audio media when you need to transfer audio media files directly to a Pro Tools or an AudioVision® system for audio sweetening.
Export Settings Export Settings: QuickTime Movie Export Options The following table describes options available in Export Settings: QuickTime Movie Export Options. Option Description Use Marks When you select this option, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.
19 Using Settings Option Description Video Format The following options might be available, depending on your other settings: • Width x Height: Appears when you select Custom. Use this option to set the size of the clip. You can type in values or select from the predefined values in the Fast menu. The values in the Fast menu suggest a typical use for each size, for example, 320 x 240 (Internet video, large). The Size to Fit suboption sizes to fit the specified width and height.
Export Settings Export Settings: QuickTime Movie Settings The following table describes options available in Export Settings: QuickTime Movie Settings. Option Description Video Settings Opens the Standard Video Compression Settings dialog box. See “Export Settings: QuickTime Compression Settings” on page 646. Filter Opens the Choose Video Filter dialog box, which allows you to apply a single effect filter during an export. Size Opens the Export Size Settings dialog box.
19 Using Settings Export Settings: QuickTime Compression Settings The Standard Video Compression Settings dialog box gives you access to a wide range of QuickTime video codecs. The set of codecs available from the Compression Type list might vary depending on your computer’s configuration and your operating system. Other options that appear in the dialog box vary depending on the codec you select from the Compression Type list.
Export Settings Export Settings: HDV The following table describes options available in Export Settings: HDV. Option Description Use Marks When you select this option, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To output the entire clip or sequence, deselect this option.
19 Using Settings Option Description Audio Only Select this option if you want to export only the audio. For example, use this option if you want to use or enhance audio in a third-party application or use the audio in a multimedia project. Video Format • Color Levels: Select this option to set color to RGB or 601/709. • File Field Order: These options allow you to select the field that is the upper field during export. For 23.
Export Settings Option Description Use Enabled Tracks When you select this option, your Avid editing application exports only the currently enabled tracks for a selected sequence or clip. To export all tracks in the sequence, deselect this option. Include All Video Tracks in Sequence Select this option to include all video tracks from the sequence in the AAF or the OMFI file. The Video Details tab appears.
19 Using Settings Option Description The following options appear in the Media Destinations area for Video and Audio, depending on the export methods: Media Drive Specify a media drive as the destination for newly created or copied media. Select Use Media Creation Settings to use the drive you selected in the Media Creation dialog box. If you deselect Use Media Creation Settings, you can select a different destination drive.
Export Settings Option Description Convert Audio Select this option if your sequence has a mix of sample bit depths and you need to create Sample Bit Depth to: a single sample bit depth. (You set the project bit depth in the Audio Project Settings window. For more information see “Audio Project Settings” on page 614.) You can also use this option to change the sample bit depth if the application to which you are exporting does not support the current sample bit depth.
19 Using Settings Option Description Video Only Select this option if you want to export only the video. Audio Only Select this option if you want to export only the audio. For example, use this option if you want to use or enhance audio in a third-party application or use the audio in a multimedia project. Video Format The following options are available: • Codec Options: Opens the Video Compression dialog box to allow you to select a specific AVI compression type.
Export Settings Option Description Audio Format The following options are available: • Mono: Exports audio to a single channel. • Stereo: Exports audio to two channels. • Sample Rate: Sets the sample rate The Project Rate suboption uses the native rate of the chosen audio media (32 kHz, 44.1 kHz, or 48 kHz). The 22.050 kHz suboption is half the sample rate of 44.1-kHz media. The 11.025 kHz suboption is one quarter the sample rate of 44.1-kHz media.
19 Using Settings Option Description Key Frame Every n frames Use this option to have your Avid editing application use keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. This option is not available for the Avid Codec for AVI or for uncompressed files. Data Rate n KB/sec Use this option to set a specific data rate for the compressed file, in kilobytes per second.
Export Settings Existing Windows Media Custom Profile The following table describes options available in Existing Windows Media Custom Profile. Option Description Use Marks When Use Marks is selected, the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. Use Enabled Tracks When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline.
19 Using Settings Option Description Codec (not available when you select Uncompressed.) Choose one of the following codecs: • Windows Media MPEG-4 Video V3: Creates high-quality video for streaming, download and play. Enables playback of interlaced content on televisions. • ISO MPEG-4 Video V1: The MPEG-4 standard was defined by the Moving Picture Experts Group (MPEG), the working group within the International Organization for Standardization (ISO).
Export Settings Option Description Buffer Size Type the number of seconds that you want content to be stored before encoding begins. A larger buffer results in better quality content, but requires more memory. When you encode content, the encoding process is delayed by the amount of time specified in the buffer; the content is also delayed by the same amount of time when streaming to a player. Quality The setting can range from 0 to 100, with 100 being the highest quality.
19 Using Settings Option Description Passes (not available when you select Uncompressed) Select either 1 Pass or 2 Pass. With 1 Pass encoding, the content passes through the encoder once, and compression is applied as the content is encountered. With 2 Pass encoding, the content is analyzed during the first pass, and then encoded in the second pass based on the data gathered in the first pass.
Export Settings Option Description Sample Rate Depending on your system, select one of the following: • Project Rate • 32 kHz • 44.1 kHz • 48 kHz • 88.2 kHz • 96 kHz You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box.For more information, see “Audio Project Settings for Capture” in the Help.
19 Using Settings Export Settings: Graphic The following table describes options available in Export Settings: Graphic. Option Description Use Marks When this option is selected, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.
Export Settings Export Settings: Graphic Format The following table describes options available in Export Settings: Graphic Format. Option Description Alias™ This option creates files that are compatible with Alias™/Wavefront™ systems. BMP The following suboptions are available: • Windows: Creates files that are compatible with systems running the Microsoft Windows operating system. • OS/2: Creates files that are compatible with systems running the IBM® OS/2®operating system.
19 Using Settings Option Description JPEG The following options are available: • Quality: Controls the output file size and quality. Higher values produce better images but larger file sizes. Conversely, lower values reduce the image quality but result in smaller file sizes. • Baseline: Selected by default. To see if this option is required, see the documentation that came with your JPEG-supported applications.
Export Settings Option Description PNG The following options are available: • Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. • Interlaced: Allows you to save the file for progressive display, similar to progressive JPEG files. As the file is transmitted, the recognizability of the image improves.
19 Using Settings Option Description Wavefront® The following options are available: • Format Type: Specifies one of two output file formats supported by Wavefront (either RLA or RLB). • Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. • Gamma: Specifies an adjustment to correct for gamma differences between Macintosh and Windows PC output display.
Export Settings Export Settings: XDCAM The following table describes options available in Export Settings: XDCAM. To open the XDCAM Export Setting dialog box, select Output > Export to Device > XDCAM. Option Description Use Marks When Use Marks is selected, the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. Use Enabled Tracks When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline.
19 Using Settings Full Screen Playback Settings The following table describes options available in Full Screen Playback Settings.For information on using Full Screen Play, see “Playing Video to a Full-Screen Monitor” in the Help. Option Description Scaling Select the desired scaling.
Full Screen Playback Settings Option Description Expand Luminance For Computer Displays Enabling this option gives a more accurate representation of the video image when using Full Screen Play on a standard computer monitor. If you are driving a studio quality monitor through either component, DVI or HDMI inputs you may want to run with this option disabled. The option is disabled by default. Current Monitor Position You can choose the monitor where you want to see the full screen playback.
19 Using Settings General Settings The following table describes options available in General Settings. Option Description Project Format This option displays the format currently selected for the project (NTSC or PAL). You cannot change it. Temporary File Directory When you use the Drag and Drop Export or an export that creates an intermediate movie file, your Avid editing application must store the intermediate file, which can be as large as the final export.
Grid Settings Grid Settings The following topics describe the options available in the Grid Settings dialog box. Grid Settings: Coordinates Tab The following table describes options available in Grid Settings: Coordinates tab. Option Description Scale Mode Allows you to work with a grid that indicates boundaries for a format other than the one in which you are working. This is useful when you are creating graphics (like titles) that must remain safe in other formats.
19 Using Settings Grid Settings: Display Tab The following table describes options available in Grid Settings: Display tab. Option Description Type Selects a different grid for each standard film type. For video projects, use the Square grid type. The grid for the Academy option includes a safety margin on the left that is used for adding the optical sound track.
Import Settings Import Settings The following topics describe options available in Import Settings. Import Settings: Image Tab The following table describes options available in the Import Settings: Image tab. Option Description Image Size Adjustment Controls the dimensions of imported images.
19 Using Settings Option Description Field Ordering in File Allows you to select the field ordering (sometimes referred to as field dominance) of the media you are importing. For 23.976p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. When the field ordering (or spatial field position) of the imported media matches the field ordering of the project format, no special processing is required.
Import Settings Option Description Alpha Channel Controls how the alpha channel is handled in imported images. The following options are available: • (Do not invert (black = opaque)): Select this option to import the image, using the existing alpha channel information.
19 Using Settings Import Settings: OMFI/AAF Tab The following table describes options available in the Import Settings: OMFI tab. Option Description Resolution Use the source file’s resolution. Select this option to maintain the source file’s resolution. Your Avid editing application disregards the resolution setting in the Select Files to Import dialog box as well as the resolution set in the Import tab of the Media Creation dialog box. Use the current import resolution.
Import Settings Option Description Merge events with known sources and automatically create subclips. Select this option to create subclips for events that are merged or relinked to their source clips upon import. Use this option if you have already entered master clips in a bin for each camera roll or master scene, and have subsequently logged all the events related to those clips for import. Merge events with known master clips.
19 Using Settings Import Settings: XDCAM Tab The following table describes options available in the Import Settings: XDCAM tab. Option Description Force import of both Proxy & High-resolution Select this option to import both proxy and high-resolution versions of the selected file or files. If this option is not selected, only the selected files (proxy or high-resolution) are imported. Proxy files are imported first.
Interface Settings Interface Settings The following topics describe options available in Interface Settings. Interface Settings: General Tab The following table describes options available in the Interface Settings: General tab. Option Description Show Labels in Tool Palette When you select this option, your Avid editing application displays text labels with the icons on the Tool palette. This is the default option.
19 Using Settings Interface Settings: Appearance Tab The following table describes options available in the Interface Settings: Appearance tab. Option Description Color Controls the color of the given interface component. See “Changing Interface Component Colors” on page 48.
Interplay Folder Settings Option Description Shading Depth Controls the three-dimensional “rounding” of buttons and toolbars. See “Changing Button and Toolbar Styles” on page 50. You can set the shading depth to percentage values that range from 5% – 50%, in 5% increments. Monitor Button Separation Controls the spacing of the Monitor buttons or of the Timeline buttons. See “Changing Button and Toolbar Styles” on page 50.
19 Using Settings Option Description Append project to directory path Automatically adds the name of your project to the directory path specified in the Interplay Root Folder text box. Interplay Server Settings You need to configure your Avid editing application before you can interact with the asset manager. For more information, see the Avid Interplay Installation Guide. The following table describes options available in Interplay Server Settings.
Keyboard Settings Keyboard Settings The following illustration displays the default keyboard settings. Step buttons Workspace buttons Delete key Play button Home key End key Stop/Play button Play buttons Arrow keys To view the name of a button in the Keyboard settings window, rest the pointer on the button. To get help for the button, right-click (Windows) or Ctrl+Shift+click (Macintosh) and select What’s This? For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 71.
19 Using Settings Marquee Title Settings The following table describes options available in the Marquee Title Settings. For more information on Marquee, see the Avid Marquee Title Tool User’s Guide or the Marquee Help. Option Description Create New Title using Controls which Title tool your Avid editing application uses. The following options are available: • Marquee: Your Avid editing application always opens Marquee when you select Clip > New Title or Tools > Title Tool.
Media Creation Settings Media Creation Settings The following topics describe adjusting the Media Creation settings. For more information about options in the Media Creation Settings dialog box, see “Selecting Video Resolutions and Media Drives” in the Help. Media Creation Settings: Drive Filtering & Indexing Tab The following table describes options available in the Media Creation Settings: Drive Filtering & Indexing tab.
19 Using Settings Media Creation Settings: Capture, Titles, Import, and Mixdown & Transcode Tabs The following table describes the options in the Capture tab, Titles tab, Import tab, and Mixdown & Transcode tab, and Media Type tab of the Media Creation dialog box. Option Description Video Resolution Select a resolution. Apply to All This sets your chosen resolution for all the Media Creation dialog box tabs. It also sets it for any place in the application where you select a resolution.
Media Creation Settings Option Description Video/Audio Drive Select a drive or drives. Apply to All This sets your chosen video and audio drives for all the Media Creation dialog box tabs. It also sets them for any place in the application where you select drives. Same as Source Select this option if you want the application to render the effect using the resolution of the clip or clips used to create the effect.
19 Using Settings Media Services Settings (Windows Only) The Media Services Settings dialog box allows you to connect to a Media Services Broker. The services provided by Avid Interplay Media Services Broker are used in an Avid Interplay environment where dedicated computers automate time-consuming operations. For more information, see the Avid Interplay Media Services Setup and User’s Guide. The following table describes options available in Media Services Settings.
NRCS Settings NRCS Settings The following topics describe adjusting the NRCS settings. • NRCS Settings: NRCS Tab (iNEWS and ENPS) • NRCS Settings: iNEWS Tab (iNEWS only) • NRCS Settings: ENPS Tab (ENPS only) • NRCS Settings: Post to Web Tab (iNEWS and ENPS) For more information about options in the NRCS Settings dialog box, see “Configuring the NRCS Tool” in the Help. NRCS Settings: NRCS Tab The following table describes the options in the NRCS tab.
19 Using Settings NRCS Settings: iNEWS Tab The following table describes the options in the iNEWS tab. Option Description Show Message-of-the-Day Select this option if you want to view the Message-of-the-Day (MOTD). If selected, select one of the following options to see the message on every connection or on just the first connection of the day: • Every Connection • First Connection Message-of-the-Day Directory If the MOTD is located in a directory on the serve different from the default (SYSTEM.
NRCS Settings NRCS Settings: ENPS Tab The following table describes the options in the ENPS tab. Option Description MOS Identification The MOS ID options select how your Media Object Server (MOS) identification is determined. • Use Computer Name: Select this option if you want your Avid editing system to be identified in the ENPS by the computer name.
19 Using Settings Option Description Convert story to lowercase Provides the following options: • Always: Converts all stories to lowercase characters, even if the source script contains both uppercase and lowercase text. • Only if story is all UPPERCASE: Converts only those stories with no lowercase characters. PortServer Settings The following table describes options available in PortServer Settings.
Render Settings Option Description Device Code Select the device code that identifies the VTR the system will emulate. The edit controller adjusts to this choice. The default value is a Sony PVW-2800, which performs all the common play and capture functions. You do not need to change the device code value unless your edit controller does not recognize the VTR or you want to emulate a specific VTR. Runup (frames) This option is only available with Remote Play.
19 Using Settings Option Description Motion Effects Render Using Determines the processing method when existing motion effects are rendered or rerendered. The following options are available: • Original Preference: Causes effects to be rendered as whatever type they were when originally created. • Duplicated Field: Displays a single field in the effect. For two-field media, this reduces the information stored by half because it drops one field of the image, resulting in a lower quality image.
Render Settings Option Description Timewarps Render Select an option to determine the processing method when Timewarp effects are rendered Using or rerendered.
19 Using Settings Option Description Effects Quality Render Using Sets a global override for 3D effects that have HQ (Highest Quality) software implementations. You select the HQ implementation or the standard implementation for individual effects by clicking the HQ button in the Effect Editor. The following options are available: • Quality Set in Each Effect: Causes effects to render at the quality determined by the HQ setting in the individual effects. This is the default.
Script Settings Option Description Actions buttons Define how your Avid editing application implements the safe color settings. The top menu controls both the Composite and the Luminance limit types; the bottom menu controls the RGB Gamut limit type. Each Actions menu allows you to select from the following options: • Ignore: The system does not limit based on these settings. This is the default setting. • Warn: The system provides warnings when these limits are exceeded.
19 Using Settings Sound Card Configuration Settings (Windows Only) The following table describes the options available in the Sound Card Configuration Settings dialog box. This settings option is only available in software-only configurations. Options Description Record/Input list Lists the input sources available with the audio hardware installed on your system. Playback/Output list Maps input sources to the output sources available with the audio hardware installed on your system.
Timeline Settings Option Description Highlight Suggested Render Areas After Playback This option allows you to display thin colored indicator lines in the Timecode track of the Timeline. These thin colored lines display information about the real-time effects in your sequence. For more information, see “Real-Time Playback of Video Effects” in the Help. Use Fast Scrub Available when you are using Avid Nitris DX or Avid Mojo DX. To view markers and all HD effects, deselect this option.
19 Using Settings Option Description New Sequences Allows you to set the number of video and audio tracks displayed in the Timeline for new sequences. You can select a maximum of 24 video tracks and 24 audio tracks. Dupe Detection Handles Select the size of the handles, in frames, to use for dupe checking. The chosen number of frames is added at the beginning and the end of each clip before checking for overlap. The handles are used only for internal calculations.
Video Display Settings Video Display Settings The following table describes options available in Video Display Settings. Option Description DV Output Setting (not applicable to DV devices connected to an Avid Adrenaline or an Avid Mojo) The following options are available: • Output to DV Device: Select this option if you have connected a DV device to a software-only system or an Avid Mojo SDI and you have selected Device > IEEE 1394.
19 Using Settings Video Input Tool Settings The following table describes options available in Video Input Tool Settings. Option Description Input menu Lets you select the video input for SD projects: Composite, Component, S-Video, SDI, or DNA-1394. For HD projects, the menu displays HD-SDI. For SD or HD projects, if you are capturing DV media through a 1394 port on your computer, the menu displays Host-1394. For more information, see “Capturing DV Media Directly from a DV Device” in the Help.
Video Output Tool Settings Video Output Tool Settings: Options Tab The following table describes options available in the Video Output Tool Settings: Options tab. Specific options apply to different projects, resolutions, and Avid input/output hardware; not all options are available for all versions of Avid editing applications. Option Description Sync Lock Use this feature to lock your output connection to the reference or an internal signal on the Avid input/output hardware.
19 Using Settings Option (Continued) Description VBI (DV resolutions unsupported) (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.
Video Output Tool Settings Video Output Tool Settings: SD Cal Tab The following table describes options available in the Video Output Tool Settings: SD Cal (Calibration) tab. Specific options apply to different projects, resolutions, and Avid input/output hardware; not all options are available for all versions of Avid editing applications. Option Description Output menu Lets you select either Component, Composite, S Video. On some systems, all outputs on the input/output hardware are active.
19 Using Settings Option (Continued) Description Gain Allows you to adjust the variation of the lightest or brightest in comparison to the darkest portions of the image. Available for the following output: Y Gain • S Video • Composite In some Avid input/output hardware configurations, allows you to adjust Y Gain, a measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Color bars are used to set the white level.
Video Output Tool Settings Option (Continued) Description SubPixel HPhase Provides a fine adjustment of Horizontal phase. Available for the following output: Settings menu • S Video • Component • Composite Lets you save the settings for an individual tape each time you calibrate bars.
19 Using Settings Option (Continued) Description Pb Gain In some Avid input/output hardware configurations, allows you to adjust the gain of the Pb color difference output, scaled from BY using the BT. 709 color space in HD component systems. Available for the following output: • R Gain HD Component YPbPr In some Avid input/output hardware configurations, allows you to adjust the red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard.
Workspace Settings Workspace Settings The following table describes options available in the Workspace Settings. Option Description Activate Settings Linked By Name Select this option to link other settings to the workspace. Continually Update This Workspace Select this option to automatically preserve the workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved.
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20 File Format Specifications To be compatible with a variety of imaging standards, your Avid editing application can accommodate many file types and formats.
20 File Format Specifications Supported Graphics (Image) File Formats The following table briefly describes the supported graphics (image) file formats: Format Description Alias Alias PIX image format, developed by Alias Research, Inc. (now Alias|Wavefront, a division of Silicon® Graphics Limited) for use with their animation and visualization software. BMP Developed by Microsoft Corporation as the standard image file format used by Microsoft Windows.
Specifications for Graphics (Image) Files Format Description PNG Developed by the PNG Development Group originally as an alternative to the GIF image format. PNG is an acronym for Portable Network Graphics and is pronounced “ping.” QRT Developed on the Amiga personal computer to run on several operating systems. Used by many ray tracing programs, such as DKB Ray Trace and the QRT ray tracer. Rendition Developed by Numerical Design Ltd. SGI Developed by Silicon Graphics, Inc.
20 File Format Specifications For other requirements, see “Preparing Graphics Files for Import” on page 715 and “Frame Size for Imported Graphics” on page 716. Format and Default File Bit Depth Name Extension Support Alpha Channel Support Alias (.als) 24-bit color, 8-bit grayscale No BMP (.bmp) 1-, 4-, 8-, and 24-bit No Notes Four-bit BMP files saved with RLE (run-length encoded) compression are not supported. Photoshop does not support four-channel BMP files. Chyron (.chr) 32-bit Yes Cineon (.
Specifications for Graphics (Image) Files Format and Default File Bit Depth Name Extension Support Alpha Channel Support Photo CD (Macintosh only) Not If you are importing Photo CD files, you must install applicable QuickTime software and a compatible QuickTime driver for Photo CD. Notes Most Photo CD files are high resolution. If the photo has a portrait orientation, the image will be automatically rotated upon import.
20 File Format Specifications Format and Default File Bit Depth Name Extension Support Alpha Channel Support Notes Softimage (.pic) Yes Pixel aspect information is saved with the image. 24-bit plus 8-bit alpha only) Double-clicking a Softimage c Windows file starts the application associated with PICT files because they use the same file name extension. Avoid double-clicking Softimage files to view them. Sun Raster (.sun) 1-, 8-, or 24-bit No Targa (.
Specifications for Graphics (Image) Files Preparing Graphics Files for Import Your Avid editing application can import graphics files that have been created with a wide range of specifications, and if necessary, you can make adjustments during the importing process, see “Import Settings” on page 671. However, graphics files that conform to basic specifications will make the importing process easier and more efficient.
20 File Format Specifications Aspect Requirement Notes File field order Odd (Upper field first) For interlaced media, your Avid editing application uses the Even (Lower field following order: first) • NTSC (601 and DV): lower field first • PAL 601: upper field first • PAL DV: lower field first • HD Interlaced: upper field first If the field order of the graphic is not correct, select the field order of the graphic during import and the application will reverse the fields appropriately.
Specifications for Animation Files Standard-definition (SD) digital video does not use square pixels. The ITU-R 601 standard specifies a 720-pixel width for both NTSC and PAL. However, because NTSC and PAL each has a different number of scan lines (486 for NTSC, 576 for PAL), digital video pixels are stretched vertically for NTSC and horizontally for PAL. These stretched pixels are referred to as non-square pixels. Your Avid editing application stores SD video as non-square pixels.
20 File Format Specifications n Your Avid editing application imports the file at the frame rate that is set in the project. Set the appropriate frame rate for the project when you export from a third-party application. Format Description ERIMovie Developed by Elastic Reality, Inc. (now a division of Avid Technology, Inc.) for quick playback of rendered movies on Silicon Graphics, Inc. platforms. ERIMovie files use the .mov or .eri file name extensions. QuickTime for Windows also uses the .
Specifications for Audio File Formats Specifications for Audio File Formats The following table briefly describes the supported audio file formats: n You can capture, render, and edit audio in any of these formats. Format Description Audio Interchange File Format (AIFF-C) Format for audio files developed by Apple Computer, Inc. (Macintosh only) Sound Designer II (SDII) Native format of the Sound Designer II application developed by Digidesign, Inc., a division of Avid Technology, Inc.
20 File Format Specifications Specifications for Importing OMFI Files OMFI was developed by Avid Technology, Inc. and many industry and standards partners for the interchange of digital media data between platforms and applications. For information about creating an OMFI file on a non-Avid application, see the documentation for the application. The information in the following table applies to importing OMFI files.
Working with BWF Files Option Description Avid MCXpress® for If you are importing OMFI compositions from Avid MCXpress for Windows NT, you might receive an error if the sequence includes video or audio effects. If this happens, Windows NT® files create a cuts-only version of the sequence in Avid MCXpress and export it again. You cannot import video media from Avid MCXpress for Windows NT; if you import a composition, you must recapture the media.
20 File Format Specifications Bin Column BWF Source Shoot date The origination date specified in the file. Tape Name If there is no tape name specified in the file, a name is created by concatenating the origination date and the imported file name. Preparing Custom BWF Information Additional information can be displayed in bin columns, but this information needs to be coded in a particular format.
Working with BWF Files Bin Column BWF Source Tape Name uTAPE=x, where x is text. If there is no tape name specified, a name is created by concatenating the origination date and the file name. TRK1 through TRK8 uTRKn=x where n is the track number, and x is text. User Bits (custom column) uUBITS=$hhhhhhhh where hhhhhhhh is the 32-bit hexadecimal encoded user bits.
20 File Format Specifications To import and sync BWF files: 1. Create a project, based on the source footage. 2. Import the log file, and capture the video footage. 3. Import the BWF file into the same bin in which you captured the video footage. 4. For 24p PAL projects, you need to create a new bin column: a. Highlight the Start timecode column. b. Select Edit > Duplicate. c. From the list of columns, select Aux TC 24 and click OK. d. In the dialog box, click Convert. e.
Working with BWF Files Importing Multi-Channel Broadcast Wave (BWF) Files You can import multi-channel, monophonic BWF files into an Avid editing system as a single master clip. Previously, you would have to import and manage each track individually. Now, for example, when you import an eight-track recording, an eight-track master clip is created with a sequential file name based on the track order (filename_1.wav is associated with track A1, filename_2.wav is associated with track A2, filename_3.
20 File Format Specifications Field Ordering in Graphic Imports and Exports Graphic images are composed of one or more image files, each of which contains a full frame. These frames contain fields (formed from the odd-numbered and even-numbered lines of the image frame) that have three basic arrangements: • Progressive or still frame: The upper and lower fields in the frame originated at the same instant of time, or are coherent with each other, as shown in the following illustration.
Field Ordering in Graphic Imports and Exports Preventing a Spatial Field Mismatch on Import The following table shows the proper spatial field position for each of the common video formats in Avid editing applications. n In the following table, Odd Field or Even Field specifies whether the temporally first field in the frame has the odd or even numbered lines, starting from 1. Avid Video Format Upper/Lower Field Spatial Setting Field Setting for Import and Export AVR NTSC Upper field is first.
20 File Format Specifications 24p and 25p Import and Export The spatial field selection options do not apply for 24p and 25p projects because the frames in these projects are already in progressive or still-image form. Field Dominance Editing in Avid applications is frame based. All timecode is expressed in frame numbers, and all cuts are at frame boundaries. A raw video stream has no concept of frames (ignoring color framing) until the frame unit is defined.
21 Resolutions and Storage Requirements This section describes the different resolutions available in your Avid editing application and lists their specifications. It also explains how to estimate the drive space you will require to store your captured media.
21 Resolutions and Storage Requirements Avid editing applications also support the capture and storage of video that is not processed by a data compression scheme: • Uncompressed video (1:1) is available as standard definition (conforming to the ITU-R 601 standard) or as high definition (conforming to the ITU-R 292M standard). The image quality of uncompressed video is very high, but uncompressed files require very large amounts of drive space.
Compression and Resolutions Compression and Resolutions Avid editing applications provide you with a range of resolutions, both compressed and uncompressed, that you can use at various stages of your project. You can also mix certain resolutions within a sequence. n For information on resolutions to use when importing graphics or sequences from a third-party application, see “Frame Size for Imported Graphics” on page 716.
21 Resolutions and Storage Requirements The following table provides information about HD resolutions for interlaced and progressive media. HD resolutions are available only in MXF format. 732 Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 8 10 8 8 8 720p/23.976 1280 x 720 23.
Compression and Resolutions n Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 8 10 8 8 8 1080i/50 1920 x 1080 25.00 1037 829 185 185 120 100 10 8 10 8 8 8 1080i/59.94 1920 x 1080 29.970 1243 994 220 220 145 100 Resolution Bits 1:1 10-bit HD 1:1 HD DNxHD 185 X DNxHD 185 DNxHD 120 DVCPRO HD 1:1 10b HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DVCPRO HD The data rate (bandwidth) for Avid DNxHD resolutions is calculated per second for each frame rate.
21 Resolutions and Storage Requirements Resolution Specifications: JFIF Interlaced Avid resolutions use a simple notation — x:1 — to identify the level of compression. The value of x indicates the level of compression that is applied to the image data. For example, a 3:1 compression ratio compresses the original data to one-third of its uncompressed size.
Compression and Resolutions Resolution Specifications: JFIF Progressive The following table provides information about the Avid resolutions for progressive media (24p NTSC and 24p PAL projects). Frame size does not include blanking or VITC lines.
21 Resolutions and Storage Requirements n For Meridien-based Avid editing applications, m resolutions were recommended for Multicam. The m resolutions remain available in current Avid editing applications for compatibility reasons, but are not recommended for use.
Compression and Resolutions Resolution Frame Size Color Sampling Megabits per second (Mb/sec) DV 50 interlaced 720 x 480 (NTSC) 720 x 576 (PAL) 4:2:2 50 DV 50p progressive 720 x 480 (NTSC) 720 x 576 (PAL) 4:2:2 50 DVCPRO HD (720p) 1280 x 720 4:2:2 100 DVCPRO HD (1080i) 1920 x 1080 4:2:2 100 Resolution Specifications: MPEG MPEG resolutions are resolutions specifically intended to support the SMPTE Type D-10 bit stream produced and recorded by devices such as Sony MPEG IMX VTRs.
21 Resolutions and Storage Requirements The VC1 options appear in the Media Creation settings in the Render tab and the Mixdown & Transcode tab. These options also appear in the AAF Export settings when setting the “Transcode Video To” option. Depending on the project type and edit rate, you can fast copy import, play back, transcode, and render VC1 resolutions. You must first export your sequence or clip as a Windows media file in order to perform a fast copy import to the editing application.
Compression and Resolutions Project 1080p Edit Rate Stored Resolution Max Bit Raster Size Name Rate (WxHxFields) Playback Fast Copy Transcode Import Render 50 VC1-APL3 45MBbit 1920x540x2 Y Y Y Y VC1-APL3 6MBbit N N N N VC1-APL3 45MBbit 1920x1080x1 Y Y Y Y VC1-APL3 6MBbit N N N N N N N N 23.976 1920x540x2 1920x1080x1 29.
21 Resolutions and Storage Requirements Resolution Specifications: AVC-Intra The editing application includes support for editing and playback of P2 media encoded using the Panasonic P2 AVC-Intra codec. You can import, playback, transcode, and consolidate AVC-Intra resolutions. The following table shows the AVC-Intra capabilities with this release. Project Edit Rate Resolution Name MB/Sec Raster Size 1080i 59.
Compression and Resolutions The following guidelines and limitations apply to handling uncompressed HD media on systems that do not support capture of uncompressed HD media: • You can play uncompressed HD media as Best Performance quality (yellow) and Draft Quality (yellow/green). Playback of uncompressed HD media through the Avid input/output hardware as Full Quality (green) is not supported.
21 Resolutions and Storage Requirements Resolution Groups and Image Quality Although it is generally true that a lower compression ratio means higher image quality, the resolution group itself (single-field, two-field, progressive, or uncompressed) is also a factor in the quality of the final image. Single-field resolutions work with smaller amounts of original image data than two-field or progressive resolutions.
Storage Requirements 3. Get a total duration for all the clips to be captured. Use the Console and the Get Bin Info commands, as described in “Getting Information with the Console Window” on page 75. 4. Use the appropriate estimated storage requirements table to estimate your drive space requirements based on the resolution and the number of audio tracks. See the following topics.
21 Resolutions and Storage Requirements Project Format Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media (GB) Drive Space Needed for 10 Minutes of Media (GB) Drive Space Needed for 30 Minutes of Media (GB) Resolution Bits 1:1 10-bit HD 1:1 HD DNxHD 90 X DNxHD 90 DNxHD 60 DVCPRO HD 10 8 10 8 8 8 720p/25 0.33 0.41 1.59 1.59 2.39 2.60 3.30 2.64 0.68 0.68 0.45 0.41 33.0 26.4 6.75 6.75 4.50 4.13 99.0 79.2 20.3 20.3 13.5 12.
Storage Requirements Project Format Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media (GB) Drive Space Needed for 10 Minutes of Media (GB) Drive Space Needed for 30 Minutes of Media (GB) Resolution Bits 1:1 10-bit HD 1:1 HD DNxHD 185 X DNxHD 185 DNxHD 120 DNxHD 36 10 8 10 8 8 8 1080p/25 0.14 0.17 0.78 0.78 1.18 3.97 7.24 5.79 1.28 1.28 0.85 0.25 72.4 57.9 12.8 12.8 8.5 2.5 217.3 173.8 38.4 38.4 25.4 7.
21 Resolutions and Storage Requirements Resolution Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media 4:1s 0 11.6 85.8 MB 858 MB 2.57 GB 1 11.0 91.1 MB 911 MB 2.73 GB 2 10.5 95.4 MB 954 MB 2.86 GB 3 9.9 101 MB 1.01 GB 3.03 GB 4 9.4 106 MB 1.06 GB 3.18 GB 8 7.9 127 MB 1.27 GB 3.81 GB 0 5.8 172 MB 1.72 GB 5.16 GB 1 5.7 177 MB 1.77 GB 5.28 GB 2 5.5 182 MB 1.82 GB 5.46 GB 3 5.4 187 MB 1.87 GB 5.61 GB 4 5.2 193 MB 1.93 GB 5.
Storage Requirements Resolution 2:1 1:1 SD (Uncompressed) 1:1 10b SD (10-bit Uncompressed) Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 1 2.9 349 MB 3.49 GB 10.47 GB 2 2.8 354 MB 3.54 GB 10.62 GB 3 2.8 360 MB 3.60 GB 10.80 GB 4 2.7 365 MB 3.65 GB 10.95 GB 8 2.6 386 MB 3.86 GB 11.58 GB 0 1.9 516 MB 5.16 GB 15.48 GB 1 1.9 521 MB 5.21 GB 15.63 GB 2 1.
21 Resolutions and Storage Requirements Estimated Storage Requirements: JFIF Progressive Before using this table, read the information in “Estimating Drive Space Requirements” on page 742. Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 35:1 0 36.4 (NTSC) 30.3 (PAL) 27.5 MB 33.0 MB 275 MB 330 MB 824 MB 990 MB 1 30.5 (NTSC) 26.1 (PAL) 32.8 MB 38.3 MB 328 MB 383 MB 983 MB 1.14 GB 2 26.3 (NTSC) 22.9 (PAL) 38.1 MB 43.6 MB 381 MB 436 MB 1.14 GB 1.
Storage Requirements Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 14:1 0 14.6 (NTSC) 12.1 (PAL) 68.5 MB 82.6 MB 685 MB 826 MB 2.05 GB 2.48 GB 1 13.6 (NTSC) 11.4 (PAL) 73.8 MB 87.9 MB 738 MB 879 MB 2.21 GB 2.64 GB 2 12.6 (NTSC) 10.7 (PAL) 79.1 MB 93.2 MB 791 MB 932 MB 2.37 GB 2.80 GB 3 11.8 (NTSC) 10.1 (PAL) 84.4 MB 98.5 MB 844 MB 985 MB 2.53 GB 2.96 GB 4 11.1 (NTSC) 9.6 (PAL) 89.7 MB 103 MB 897 MB 1.04 GB 2.69 GB 3.12 GB 8 9.
21 Resolutions and Storage Requirements Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 2:1 0 2.4 (NTSC) 2.0 (PAL) 417 MB 500 MB 4.17 GB 5.00 GB 12.5 GB 15.0 GB 1 2.4 (NTSC) 2.0 (PAL) 422 MB 505 MB 4.22 GB 5.05 GB 12.7 GB 15.2 GB 2 2.3 (NTSC) 2.0 (PAL) 427 MB 510 MB 4.27 GB 5.11 GB 12.8 GB 15.3 GB 3 2.3 (NTSC) 1.9 (PAL) 433 MB 516 MB 4.33 GB 5.16 GB 13.0 GB 15.5 GB 4 2.3 (NTSC) 1.9 (PAL) 438 MB 521 MB 4.38 GB 5.21 GB 13.1 GB 15.6 GB 8 2.
Storage Requirements Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 3 0.8 (NTSC) 0.7 (PAL) 1.28 GB 1.46 GB 12.8 GB 14.6 GB 38.4 GB 43.8 GB 4 0.8 (NTSC) 0.7 (PAL) 1.28 GB 1.46 GB 12.8 GB 14.6 GB 38.4 GB 43.8 GB 8 0.8 (NTSC) 0.7 (PAL) 1.30 GB 1.49 GB 13.0 GB 14.9 GB 39.0 GB 44.
21 Resolutions and Storage Requirements This table does not include estimated storage requirements for audio. Drive Space Needed for Resolution Minutes Per 1 Minute of (NTSC and PAL) Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media MPEG 30 4.7 210 MB 2.1 GB 6.3 GB MPEG 40 3.6 280 MB 2.8 GB 8.4 GB MPEG 50 2.9 350 MB 3.5 GB 10.
22 Film-to-Tape Transfer Methods This chapter presents suggested workflows and other information that can help you work with film-originated material.
22 Film-to-Tape Transfer Methods Transfer of 24-fps Film to NTSC Video If you use an NTSC transfer, the film-to-video process takes place in two stages: • Stage 1: Transferring Film to Video • Stage 2: Capturing at 24 fps The following illustration shows a simplified view of the NTSC film-to-video transfer process. Te lecine 2:3 pulldown 23.976 fps Stage 1 Film shot at 24 fps Betacam Capture and reverse pulldown to 24 fps. Stage 2 Betacam or Digital Betacam video signal 29.
Transfer of 24-fps Film to NTSC Video To compensate, the telecine process creates an extra six frames every second (the difference between 24 and 30). That is, it creates five video frames for every four film frames. But remember, each video frame is subdivided into two video fields. To be more precise, the telecine creates ten video fields (the equivalent of five video frames) for every four film frames. This is referred to as a 4:5 ratio.
22 Film-to-Tape Transfer Methods The telecine alternates between capturing odd-numbered and even-numbered fields. For example, B1 and B3 both contain the odd-numbered scan lines of the B film frame. Later in the transfer process, when the Avid editing application captures the fields, it must capture an odd-numbered and an even-numbered field for each frame.
Transfer of 24-fps Film to NTSC Video If the telecine transfers sound along with picture (one of the first two paths), the sound is slowed by 0.1 percent to maintain sync with the picture. The reference signal slows from 60 Hz to 59.94 Hz and the rate at which the audio is recorded changes from 44100 Hz to 44056 Hz, or from 48000 Hz to 47952 Hz. Stage 2: Capturing at 24 fps The telecine has converted your film footage into video running at 29.97 fps.
22 Film-to-Tape Transfer Methods Transfer of 24-fps Film to PAL Video If you use a PAL transfer, the film-to-video process takes place in two stages: • Stage 1: Transfer the film to videotape by speeding up the film rate during the telecine process. • Stage 2: Capture the transferred videotape into the Avid system at the sped-up rate. The following illustration shows a simplified view of the PAL film-to-video transfer process. Te lecine transfer with 4.
Transfer of 24-fps Film to PAL Video Stage 2: Capturing at 24 fps After you’ve received the PAL transfer tapes, the next step is capturing the footage in a 24p PAL project. During the capturing process, your Avid editing application captures the material at the PAL rate of 25 fps, capturing every picture frame. It stores the two video fields as a single progressive frame, which you edit at 24 fps.
22 Film-to-Tape Transfer Methods n When you created the project, you set the Audio Transfer rate as Film Rate (100%) in the New Project dialog box. In most cases, you will choose to edit at 24 fps. The sound maintains source quality (44.1 kHz and 48 kHz) and plays in sync with 24-fps video. PAL Method 2 is used primarily for film projects.
How Avid Editing Applications Store and Display 24p and 25p Media Displaying Media While Editing When you click the Play button while editing a clip or a sequence (sometimes referred to as Edit Play), the system separates (interlaces) the progressive frames into fields and does the following: • n On the Source, Record, Playback, or pop-up monitor, your application displays the footage at 23.976 fps, 24 fps, or 25 fps, depending on your project and editing preference.
22 Film-to-Tape Transfer Methods Film-to-Tape Transfer Guidelines Observe the following general guidelines when transferring film to tape: n • Instruct the telecine facility to record timecode on the address track. • Instruct the facility to use only a telecine transfer process when transferring to NTSC videotape. Do not use a film chain or any other transfer device. • PAL transfers do not require pulldown, so you can use either a telecine or a film chain.
Film-to-Tape Transfer Quality Options and Production Aids You can use the film-tape-film-tape feature to perform two separate telecine processes for a project: • Perform a one-light or best-light transfer to obtain the most material for the initial edits. • After editing is complete, perform a timed, fully color-corrected transfer of the clips that will be used in the final cut. After you perform the final telecine operation, you can capture at a finishing resolution, such as 1:1 (uncompressed).
22 Film-to-Tape Transfer Methods 764
23 Working with Stereoscopic Material Your Avid editing application allows you to display and edit stereoscopic (3D) material. You can work with stereoscopic content that uses Over/Under mode, which places the left and right eye images one above the other in a horizontal split frame (left eye on top). Your Avid editing application displays this content in a proxy resolution that uses one-half of the vertical lines.
23 Working with Stereoscopic Material Avid MetaFuze merges sets of single-frame files into playable MXF media files. The sources MetaFuze operates on might be files from the film scanning process or files produced by CGI applications. For information on how to transcode files for stereoscopic editing, see “Transcoding Files for Stereoscopic Editing” in the “Using Avid MetaFuze” chapter of the Avid MetaFuze User’s Guide.
Displaying Stereoscopic Material The emitter is a device that provides a syncing signal to the active glasses so that you see the left image of the stereo pair with your left eye and the right image with your right eye. The emitter typically connects to the rear of the monitor. The connector might be labelled “Glasses” or “3D Glasses Emitter” or something similar. For more information, see the documentation for the monitor and for the emitter. 3. Turn on stereo display in the monitor’s settings.
23 Working with Stereoscopic Material A common approach when editing is to do most of your work viewing either the left or the right image at all times. Your facility might have common standards for which image to use. So, for example, you might set your Avid editing application to display the Left image for stereoscopic material while you are editing, and switch to the Stereo view only when you want to check the material in three dimensions.
Considerations When Working with Stereoscopic Material Considerations When Working with Stereoscopic Material You should be aware of the following when working with stereoscopic material: • The stereoscopic editing capabilities of your Avid editing application are designed for use with progressive media and have not been tested with interlaced media • Your Avid editing application does not provide special bin headings for stereo clips, or any other indication in the bin that a clip is stereoscopic mater
23 Working with Stereoscopic Material 770
24 Working with HD Media Avid editing applications include support for capture, editing, and output of high-definition (HD) media in the following resolutions: • 1:1 HD (uncompressed 8-bit and 10-bit) • Avid DNxHD (8-bit and 10-bit) Avid DNxHD encoding technology delivers mastering-quality HD media at standard definition (SD) data rates and file sizes.
24 Working with HD Media High-Definition Television High-definition television (HDTV) is a digital broadcasting technology that delivers a larger, clearer, more detailed picture than standard definition television (SDTV). HDTV refers to specific digital television (DTV) formats that have been standardized by the Advanced Television Systems Committee (ATSC) and adopted by the United States Federal Communications Commission (FCC).
HDTV Workflows HDTV Workflows This section describes three common workflows for creating HDTV output: • Creation of film-based television programs • Creation of video-based television programs • Creation of video graphics for broadcast For a more detailed description of the conform workflow, see “Conforming Workflow” in the Help.
24 Working with HD Media 5. Edit at 23.976 fps, apply effects, and create a final sequence. 6. (Option) If a retransfer is needed, use FilmScribe to create an OCN (original camera negative) pull list for another telecine process, to retransfer footage used in the final edit. 7. (Option) Export an OMFI or AAF file to a Pro Tools digital audio workstation to create a final audio mix. 8. A negative cutter uses the pull list to create a reel of selects from the original negative (picture only).
HDTV Workflows Offline Workflow: 24-fps Film Source for HDTV Telecine transfer process DAT DAT playback system Sound recording (DAT) 1 Film shot at 24 fps Te lecine controller and record deck Log file 1080p 1:1 transfer 1080p/23.976 HD format HD VTR 2 33 Avid offline system 23.
24 Working with HD Media Online Workflow: 24-fps Film Source for HDTV Telecine transfer process (picture only) From the offline session 8 Pull list Assembled reel at 24 fps 1080p Log file 1:1 transfer 1080p/23.976 HD format 9 24p HD VTR 310 11 12 Avid online system OMFI or AAF file 13 14 15 776 1080p 1080p/23.
HDTV Workflows HD Workflow: Video-Based Television Workflow The following workflow describes the steps in creating video-based television programs that originate on video footage and are planned for HDTV broadcast. The workflow for creating such programs uses a single system for offline and online editing, but you can adapt it to use one system for offline editing and another for online editing.
24 Working with HD Media 10. Finish the sequence by batch capturing graphics, recreating title media and reviewing the program for effects that need fine-tuning. Use the original offline sequence for reference. 11. Render all effects and output a master tape. The following illustration shows an offline/online workflow using an HD video source for HDTV 1 1080i/59.94 HD format 1080i HD VTR 2 30i 30i NTSC SD format Avid editing system 33 4 5 6 OMFI or AAF file 7 8 9 10 778 1080i 1080i/59.
HDTV Workflows HD Workflow: Broadcast Graphics Workflow Another HDTV workflow produces graphics, such as bumpers and promos that are created in graphics programs for HDTV broadcast. To create a graphics-based HDTV program: 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.
24 Working with HD Media Editing in HD The following sections describe features that are specific to HD projects.: Understanding Options for 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. On systems with supported Avid input/output hardware, you can also change the raster dimension to improve performance as you edit HD projects.
Editing in HD HD Online SD Offline Notes 720p/59.94 30i NTSC You cannot change between these project formats because the edit rates are different, see “Editing at 60 fps” on page 786. Use an NTSC 30i project for offline editing, then open a new 720p/59.94 project for online editing. Open the desired NTSC 30i bins and modify the final sequence, as described in “Understanding Options for Modifying the Sequence Format” on page 782. 1080p/23.976 23.976p NTSC For 23.
24 Working with HD Media If necessary, you can then modify the format of an existing sequence, see “Understanding Options for Modifying the Sequence Format” on page 782. 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. 3. If available, click the Raster Dimension menu and select a raster size.
Editing in HD You can check the format of the sequence in the Format column of the bin. (For instructions on adding a column to a bin, see “Displaying Formats in a Bin” on page 786.) New 720p sequence Modified 1080i sequence The following table shows the choices you have for modifying sequences and how each type of sequence is modified. Original Sequence Choices for Modifying How Sequence is Modified 23.976p NTSC 1080p/23.976 Existing sequence is duplicated with the extension 1080p.
24 Working with HD Media Original Sequence Choices for Modifying How Sequence is Modified (Continued) 30i NTSC 720p/59.94 Existing sequence is duplicated with the extension 60 fps. Media in the duplicated sequence is offline. 1080i/59.94 Existing sequence is modified. Media remains online. Not available in 720p projects. For 1080p/29.97 projects, you can work with the 30i NTSC sequence without converting it. 1080i/50 Existing sequence is modified. Media remains online.
Editing in HD To convert a 23.976p NTSC sequence to 720p/23.976: 1. In the 23.976p NTSC project, duplicate the final sequence and move it to a new bin. 2. Decompose the sequence. 3. Select the master clips and export them as a shot log file. 4. Create a 720p/23.976p HD project. 5. Import the shot log file into a bin. 6. Batch capture the clips. 7. Open the SD bin containing the duplicated sequence. 8. Relink the SD sequence to the new HD clips. See “Relinking and New Project Formats” on page 271.
24 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 “Manipulating Bin Columns” on page 200. 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.
Working with HDV Working with True 24 FPS Timecode Avid HD editing applications 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.
24 Working with HD Media • 1080i/50 • 1080i/59.94 You can capture from an HDV device, edit in native HDV, and export to an HDV device using these project types. You can also use HDV in other project types, but Avid editing applications are more efficient and perform better with the dedicated HDV project types. The other project types you can use include: n • PAL 25i • NTSC 30i You cannot capture or export native HDV in the non-HDV project types.
Working with HDV In some 1080i formats on qualified systems, you can reduce the data rate of the video before compression by setting the video display (raster) to resize horizontally from 1920 x 1080 pixels to 1440 x 1080 pixels or to 1280 x 1080 pixels. In contrast, 720p projects use the standard HDV raster size of 1280 x 720. A special resolution, DNxHD-TR (for Thin Raster), improves the performance of 1080 HDV editing.
24 Working with HD Media 6. Output the sequence back to the HDV device using the Export to HDV Device dialog box. You can also export the file in other formats or use Windows Media 9 for export to a third-party HD-DVD authoring system, See “Exporting HDV as Windows Media” on page 795. Capturing and Importing HDV You can capture HDV only through a IEEE 1394 port, as described in “Capturing HDV” on page 790. You can import an HDV transport stream file (.m2t).
Working with HDV To capture HDV material: 1. Set up an HDV project, depending on the format in which your HDV camera records. 2. If you are using Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following: t Select Special > Device > IEEE 1394. t Click the DNA/1394 button on the Timeline to show 1394. 3. Select Tools > Capture. The Avid system automatically selects the correct resolution for native HDV. 4. Select other options, and start to capture.
24 Working with HD Media can play back to the DV device as Full Quality only if you first transcode the material to DNxHD or DNxHD-TR. For more information, see the table in “Rendering and Transcoding HDV Media” on page 792. In a 1080i HDV project you can play back through some Avid input/output hardware configurations (including through a non-1394 output on an Avid Mojo SDI) by changing the project type.
Working with HDV Outputting HDV To send your edited HDV sequence back to an HDV device, you need to use a transport stream. You can use an existing transport stream or create a new one. To create a digital cut to go out to other devices, you need to first transcode the sequence. Long-GOP Splicing for HDV Encoding Your Avid editing application uses a technique called long-GOP splicing when encoding an HDV MPEG-2 sequence for export.
24 Working with HD Media 4. Select options as described in the following table: Option/Suboption Description Use Existing Transport Stream Select this option if you previously exported or output a transport stream and saved it. Create New Transport Stream/ Not available if you use an existing transport stream. Select to Delete Transport Stream after create a transport stream and then save it. writing to HDV Device Create New Transport Stream/ Not available if you use an existing transport stream.
Working with HDV Exporting an HDV Transport Stream You can export an HDV transport stream for use in other applications. To export an HDV transport stream: 1. Select the sequence or marked section. 2. Select Export in the Settings tab of the Project window. The Export Settings dialog box opens. 3. Select Export As > HDV. 4. Select Use Marks and Use Enabled Tracks as desired. See “Export Settings: HDV” on page 647. 5. Click OK.
24 Working with HD Media 5. Set the following: Setting Value Width 720 Height 540 FPS 60 Video Type Progressive Pixel Aspect Ratio 16:9 Codec Windows Media 9 VBR Enabled and set to Quality Audio Settings Leave set at defaults 6. Click Save to export the sequence. 7. In the Export As dialog box, select the destination folder for the file. 8. Click Save. The sequence is exported using the selected settings. To export HDV as Windows Media for use in DVD authoring: 1.
Working with HDV Setting Value Pixel Aspect Ratio 16:9 Codec Windows Media 9 VBR Enabled and set to Quality Audio Settings Leave set at defaults 6. Click Save to export the sequence. 7. In the Export As dialog box, select the destination folder for the file. 8. Click Save. The sequence is exported using the selected settings. Finishing HDV on DS Nitris The following procedure outlines the steps to take if you want to finish an HDV sequence on an Avid DS Nitris system.
24 Working with HD Media HDV Compatibility Guidelines You can change the format of a project using the Project Type menu in the Format tab of the Project window. You can also mix certain formats in the Timeline as long as they are at the same frame rate. The following table describes which formats are compatible with HDV material that you capture. HDV captured at Can change in Project Type menu to Can mix in Timeline with 720p/23.976 Cannot change format DNxHD-TR DVCPRO HD All 23.
25 International Character Support This chapter describes how to take advantage of international character support (ICS) in your Avid editing application. ICS allows you to display and input characters in languages other than English by doing the following: n • Install the local language operating system, and work within the operating system. • Use the standard English language operating system, install the language pack, and set the locale to your local language. Avid Unity™ MediaNetwork v3.
25 International Character Support Choosing a Locale on an English Language Operating System When you use this method, you typically instruct your operating system to allow you to choose between English and a specific locale such as French, German, Chinese, or Japanese. This allows you to input and display characters in your chosen language even though you are using the basic English language operating system.
Non-English Character Support 3. Double-click Regional and Language Options. The Regional and Language Options dialog box opens. 4. In the Regional Options tab, do the following: a. In the “Standards and formats” area, select a language. b. In the “Location” area, select your country.
25 International Character Support 5. Click the Languages tab. 6. Select the option you want in the Supplemental Language Support area.
Non-English Character Support 7. In the “Text services and input languages” area, click Details. The Text Services and Input Languages dialog box opens. 8. In the “Installed services” area in the Settings tab, select a language and a keyboard layout for that language. 9. If the language you want is not in the list, click Add, select an input language and a keyboard layout for the language, and then click OK. 10. If you need to install additional files, the Insert CD-ROM dialog box opens.
25 International Character Support c It is important to select your language in the “Language for non-Unicode programs” area; do not skip this step. 14. Click OK to close the Regional and Language Options dialog box. A keyboard icon appears in the taskbar to allow you to switch keyboard layouts. 15. Restart the system. n For more information, see the Windows XP Help.
Recommendations and Restrictions for International Character Support 5. Press the corresponding key on your keyboard. The image in the Keyboard palette changes to match your keyboard, and the mapped key changes to blue. n Each language has a certain number of keys that do not map to functions in your Avid editing application. These are referred to as “dead” keys. You cannot map functions to these dead keys. If you try to do so, the system displays an error message.
25 International Character Support When you name a Mac OS X computer, use single-byte ASCII characters without spaces. The system uses the name in .pmr files (in the OMFI MediaFiles folder), and non-ASCII characters and spaces can cause problems with .pmr files. If you plan to move projects between Macintosh and Windows systems, avoid using characters that are not in both the MacRoman and Latin1 (ANSI) character sets.
Tips and Limitations for International Character Support Traditional Chinese Big 5 Character Set When using Traditional Chinese, you should set the Input Method Editor (IME) to use the Traditional Chinese Big 5 character set. t (Windows) When setting the Input Locale in the Regional Options dialog box, click IME Settings and select the bottom option, which translates to “Only show Big 5 characters.
25 International Character Support Creating Vertical Text When you want to create a title with vertical lettering, such as on Japanese and Chinese Windows systems, use one of the fonts with an “@” symbol at the beginning of its name. Also, use the Marquee title tool rather than the Classic Title tool to create vertical text lines. To create vertical text on Japanese and Chinese Windows systems: 1. Create a Text Box, then exit Text mode. 2.
Tips and Limitations for International Character Support • You might see problems with certain combinations of Japanese and Roman characters in the user name. The following limitations apply to user names: - Avoid mixing Roman and Chinese or Japanese characters in user names. The system might generate error messages or extra user names with incorrect text strings. - Chinese and Japanese user names are not supported on Avid Unity Workgroups.
25 International Character Support 810
26 Using the MCS3 Controller The JL Cooper Media Control Station3 (MCS3) provides an alternative to editing footage using the keyboard and mouse. While you need to use the keyboard and mouse for naming and digitizing functions, you can program and use the MCS3 controller for navigation and frequently used editing functions. Your Avid system documentation explains the editing process in detail. For hardware installation instructions, see the Help for your Avid system.
26 Using the MCS3 Controller 2. Click the Port menu, and select the appropriate port: - (Windows) COM1 or COM2 - (Macintosh) Port #1, #2, #3, or #4 3. Select Controller > JL Cooper MCS3 Controller. 4. Click Edit Settings. The MCS3 Controller Settings dialog box opens. Function buttons Navigation buttons Using the Default Button Mappings When the MCS3 Controller Settings dialog box opens for the first time, it includes a set of default functions mapped to the MCS3 buttons.
Configuring the MCS3 Settings n • Stop • Play You cannot change the navigation button definitions; however, the rightmost navigation button (without a symbol) is not mapped to a Command palette function. You can map this button. For instructions, see “Mapping MCS3 Buttons” on page 813. Record Rewind Fast Forward Stop Play Default Function Buttons Each function button is labeled with an F or W followed by a number.
26 Using the MCS3 Controller To map the Command palette functions to the MCS3 buttons: 1. Open the MCS3 Controller Settings dialog box. See “Configuring the MCS3 Settings” on page 811. 2. Click Open Command Palette, if the Command palette is not already open. The Command palette opens. 3. Select ‘Button to Button’ Reassignment. Make sure this is selected. 4.
Configuring the MCS3 Settings Configuring a Shifted Button You can use the Shift key on your keyboard to toggle between shifted and unshifted functions on the MCS3 controller, or you can program one of the buttons on the MCS3 to function as a Shift key. To configure a shifted button: 1. Open the MCS3 Controller Settings dialog box. See “Configuring the MCS3 Settings” on page 811. 2.
26 Using the MCS3 Controller Customizing the Maximum Shuttle Speed You can customize the maximum shuttle speed. You view footage at the maximum speed when the jog/shuttle wheel is turned to the rightmost or leftmost position. To customize the maximum shuttle speed: t n Click the Maximum Shuttle Speed menu in the MCS3 Controller Settings dialog box, and select an option. (The default is 8x, which is eight times the recorded speed of the film.
Moving Through Footage with the MCS3 Controller 4. Name the duplicate Controller settings: a. Click in the space to the right of Controller settings. b. Type a descriptive name in the text box. c. Press Enter (Windows) or Return (Macintosh). 5. Select the Controller settings that you want to make active. A check mark indicates the active Controller settings. Moving Through Footage with the MCS3 Controller The jog/shuttle wheel controls how you move through footage.
26 Using the MCS3 Controller The red arrow lights above the jog/shuttle wheel are on when you are in Shuttle mode. If they are off, press the wheel to enter Shuttle mode. • When the jog/shuttle wheel is at the midpoint position, both red arrow lights are on and the footage is paused. • Turn the jog/shuttle wheel until it stops. Keep the jog/shuttle wheel in this position to view footage at the maximum shuttle speed set in the MCS3 Controller Settings dialog box.
Troubleshooting the MCS3 Controller Troubleshooting the MCS3 Controller When you select Controller Settings from the Settings list, you might see the message “No Controller found.” This message means one of the following: • The MCS3 controller is not connected. • The MCS3 controller might be malfunctioning. • You selected the wrong port from the Port menu in the Controller Settings dialog box.
26 Using the MCS3 Controller 820
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Numerics A 1 Pass encoding 655 1:1 video defined 729 1394 capturing HDV through 790 16:9 format 762 2 Pass encoding 655 2:3 pulldown transferring film to video with 754 23.976p projects converting NTSC sequence to 720p/23.
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ off-screen indicators (Script window) 308 page and scene numbers in the Script window 297 script marks 310 takes in the Script window 306 Adjusting margins in the Script window 292 offset between audio and video playback 324 pan, using an external fader or mixer 395 take lines in the Script window 308 video levels for tapes without color bars 135 volume, using an external fader or mixer 394 adjustments 390 Adrenaline using Command|8 with 396 using Digi 002 with 396 Advance
ABCDEFGHIJKLMNOPQRSTUVWXYZ features of 422 opening 420 saving effects with 425 Audio File format displaying in bins 449 options 614 Audio file sample size 614 Audio files supported formats 719 Audio Gain Automation configuring USB-to-MIDI software 407 installing driver software (Macintosh) 409 installing driver software (Windows) 408 Audio hardware calibration 127 Audio hardware options project settings 619 Audio input levels adjusting 616 calibrating for audio I/O device 125, 127 calibrating with a tone ge
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Pitch Shift 500 rendering 458 Reverse 496 Signal Generator 497 supported 465, 505 Time Compression Expansion 497 Time Shift 501 troubleshooting 465 Authoring a DVD in Avid DVD by Sonic 514 Auto VO 449 Auto-indexing by Media Indexer 683 Automation Gain and Pan fader controller or mixer, testing 409 Auto-Save function 45 options (Bin settings) 621 AutoSync command (Bin menu) 352 Autosync feature syncing clips 351 AVI file format brief description 717 AVI files methods for ex
ABCDEFGHIJKLMNOPQRSTUVWXYZ backup options 621 described 621 Bin views customizing 184 saving 185 types of 184 Bins adding columns 201 aligning columns 200 auto-save function 45 Bin View menu 184 changing fonts 51 deleting columns 200 displaying audio formats in 449 editing from, in Segment mode 367 exporting as AFE files 530 extra text fields 144 finding from the Script window 317 Info display 46 information in the Console 75 listing timecodes in 211 locking items in 196 logging directly into 97 managing 43
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ BWF (Broadcast Wave Format) files bin columns for 721 custom information 722 importing and syncing 723 reimporting 723 support for 721 Bypass volume settings 390, 620 Bypassing volume settings 390 C Calculator command (Tools menu) 73 Calculator tool 73 Calibrate command (Peak Hold Menu button) 125, 127, 129, 131 Calibrating video output using test patterns 559 video output, advanced procedures 559 calibrating audio 127 calibrating audio output 131 Calibration tone creatin
ABCDEFGHIJKLMNOPQRSTUVWXYZ Cineon file format additional Export options 661 brief description of 710 import specifications for 712 Clear button (Project window) 45 Clip colors assigning source colors 186 viewing in bins 186 Clip data in Avid logs 92 Clip Gain effect, adjusting volume while playing 390 Clip information displaying in the Info window 321 displaying, in a Script window 292 managing in bins 202 modifying using the Modify command 206 summary 188, 281, 341 clip information effect summary 188, 281,
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Compression defined 729 in relation to drive space 729 in relation to image quality 729 Compression ratios See also Video resolutions mixing 741 Compression ratios (JFIF) defined 734 Compressor AudioSuite plug-in 472 Configuring Command|8 399 Digi 002 399 Connecting XDCAM device 227 Console command (Tools menu) 75 Console window 76, 132 checking peak audio levels with 132 described 74 displaying bin information in 75 displaying system information 75 logging capturing error
ABCDEFGHIJKLMNOPQRSTUVWXYZ Deck Configuration settings Deck settings 631 described 631 Deck controller 67 Deck Preferences settings described 633 Deck settings described 631 Fast Cue option 631 options 631 Preroll option 631 Deck Settings options (Deck Configuration settings) 631 Deck templates 631 Decks limitations on consumer-grade 133 logging with Avid-controlled 99 logging with non-Avid-controlled 104 using the keyboard to control decks 142 DeEsser AudioSuite plug-in 477 DeEsser III (Dynamics III) Audio
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Digital cut HDV 793 outputting transcoded HDV sequence 794 Digital cut delay, DV 572 Digital Cut tool 24p and 25p output formats 565 using 562 Digital cuts audio-only 571 recording 562 DINR AudioSuite plug-in See Digidesign Intelligent Noise Reduction plugin Disabling available resolutions 117 Displaying bin column headings 213 locator comments 333 take numbers in slates 307 Displaying 24p and 25p media during a digital cut 760 while editing 760 DLP monitors 766 DNxHD reso
ABCDEFGHIJKLMNOPQRSTUVWXYZ E Edit controller with Remote Play, Capture, and Punch-In 160 Edit decision list See EDL Editcam files importing 179 Editing directly from a bin 367 in Heads and Heads Tails views 369 multicamera material 583 proxy media (XDCAM) 252 types of selective camera cutting (MultiCamera) 596 with film track 368 with the Script window 318 Edits adding (match-framing) 370 extending 378 EDL (edit decision list) creating 574 described 574 Effect Editor Settings described 637 Effects Audio EQ
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ to Avid DVD by Sonic 514, 516 to DigiDelivery 509 to Digidesign Pro Tools 511 to DVD 514, 516 to HDV device 793 to HDV settings 647 to Sorenson Squeeze 518 to third-party applications 522 user profiles 41 VC1 media 553 Wavefront files 661 Windows Media 546 with Avid Codecs for QuickTime, described 539 with Avid Codecs for QuickTime, procedure for 535 XDCAM 256, 257 YUV files 661 Exporting files with Avid DV Codec 640, 643 Exporting sequences to P2 card 263 Extend button 37
ABCDEFGHIJKLMNOPQRSTUVWXYZ Finding black holes 375 flash frames 375 related media files 265 script from marked takes 317 text in the Script window 299 Finding bins from the Script window 317 Finding locators 331 Flanger AudioSuite plug-in 491 Flash frames 375 Focusrite d3 AudioSuite plug-in 505 Folders creating in projects 44 managing 43 Fonts changing in the Script window 293 changing in user interface 51 Footage viewing 321 Foreign keyboard mapping 804 Format bin heading 786 Format display in the Project
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Group menu 594 Grouping procedures 584 Guidelines for film-to-tape transfers 762 for logging 98 for naming tapes 98 High shelf in Audio EQ tool 422 High-definition television See HDTV Hinted streaming, exporting as 645 Holding slates on screen 302 Home command (Windows menu) 364 H I Hard subclips 138 Hardware command (Tools menu) 77 Hardware tool displaying information 46 using 77 HD media offline formats for 780 relinking 271 transcoding 787 HDTV aspect ratio 772 broa
ABCDEFGHIJKLMNOPQRSTUVWXYZ specifications for graphics files 711, 716 specifications for OMFI files 720 XDCAM 244, 251 IMX resolutions See MPEG resolutions IN and OUT points using to define segment relationships 629 Indent Rows command 637 Indicating off-screen dialog 308 Info display (Project window) described 46 displaying Hardware 46 displaying Memory 46 Info window opening from a monitor 321 opening from a Script window 292 Inhibit Preloading option (Remote Play and Capture settings) 690 Ink numbers dis
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ L Language non-English keyboard mapping 804 non-English, typing in 800 Large Text command 637 Layer effects, preserving 178 L-cut edit (Overlap edit) described 377 Leader creating 222 for managing sync breaks 354 Left Margin command (Script menu) 292 Left Margin dialog box 292 Limitations for adjusting volume 391 Limiter AudioSuite plug-in 473 Lined script 284 Linking clips to script 300 Linking clips to script with ScriptSync 313 Loading takes from the Script window 307,
ABCDEFGHIJKLMNOPQRSTUVWXYZ Managing bins 43 folders 43 media files 265 Mapping buttons 71 buttons to Timeline top toolbar 360 menu commands 72 Margins script, adjusting in Script window 292 Mark Locators button 332 Marking with locators 326, 332 Marking tape location using Mark Memory button 104 Marks phantom 348 Marquee Title Settings described 682 Master clips creating for P2 media 262 creating new, with AudioSuite 459 importing from P2 card 259 locking 196 sifting 187 Master shot, in the lined script 284
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Duplicate (Edit menu) 606 Enlarge Frame (Edit menu) 302 Export (File menu) 530 Find (Edit menu) 299 Find Black Holes (Clip menu) 375 Find Flash Frames (Clip menu) 375 Get Bin Info (File menu) 75 Get Position Info (File menu) 75 Go To Page (Script menu) 297 Go To Scene (Script menu) 297 Group Clips (Bin menu) 584 Hardware (Tools menu) 77 Home (Windows menu) 364 Left Margin (Script menu) 292 Lock Bin Selection (Clip menu) 196 mapping 72 New Deck Controller (Tools menu) 67 Ne
ABCDEFGHIJKLMNOPQRSTUVWXYZ MultiCamera mode described 590 Group menu 594 grouping 584 Multi-angle menus 595 MultiCamera Nine Split Edit 586 MultiCamera Quad Split Edit 586 Nine Split Source view 589 Quad Split Source view 588 selective cutting in 596 switching camera angles in 593 techniques 592 video quality 591 Multicamera resolutions specifications 735 Multigroup clips creating 585 Multilayered files, importing 178 Multilevel sorting of columns 210 Multiple text fields 144 Multi-Tap Delay AudioSuite plug
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ import specifications 712, 720 methods for exporting 525 OMFI file format brief description of 710 One-light transfers 762 Opening shared projects 60 the Script window 291 Optical connection project settings 614 Orphans See Offline items Output audio 571, 614 generating 559 mapping audio channels 617 multiformat 565 optical 614 options 559 Output formats for 24p and 25p projects 565 Output Gain 617 Output timecodes displaying in bins 211 Overlap edits creating 377 using ex
ABCDEFGHIJKLMNOPQRSTUVWXYZ Ping-Pong Delay AudioSuite plug-in 496 Pitch Shift AudioSuite plug-in 500 Pixar file format brief description of 710 import specifications for 713 Pixel aspect ratio 716 Pixels square and non-square for import 716 Play button (Script window) 308 Play Delay, adjusting 324 Playback improving performance of 350 improving performance of (storage management) 752 limitations on multicamera media 592 Playing clips in a loop 326 takes from the Script window 308 Plug-in effects dialog box
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Pullin changing 572 Pullin frame modifying 166 Pullout column 572 Q QRT file format brief description of 711 import specifications for 713 Quad Split button 588 Quad Split display 588 Quad Split Source view 586 Quality of film-to-tape transfer 762 Quick Record mode 142 QuickTime Avid codecs for 539 QuickTime files 717 QuickTime movie export 645 QuickTime Movie files exporting with Avid DV Codec 643 QuickTime movies exporting 535 methods for exporting 534 QuickTime Referen
ABCDEFGHIJKLMNOPQRSTUVWXYZ Resolutions relinking by 272 See also Screen resolutions See also Video resolutions Restore from Videotape dialog box 280 Restoring default settings 608 media files from videotape 280 Restricting available resolutions 117 Reveal File command (File menu) 265 Reverse AudioSuite plug-in 496 Revising scripts 319 RGB graphics levels, Import settings 671 RGB values reference black and white 694 Rounding buttons and toolbars 50 RS422 output 568 Runup option (Remote Play and Capture setti
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Script window adding color indicators 309 adding page and scene numbers 297 adding takes 306 adjusting margins 292 adjusting take lines 308 changing fonts 293 changing scene or page numbers 297 cutting, copying, and pasting text in 296 deleting slates 305 deleting takes 306 displaying clip and sequence information 292 displaying take numbers 307 editing with 318 exploring 292 finding bins from 317 finding clips from 317 hiding slate frames in 303 holding slates on screen i
ABCDEFGHIJKLMNOPQRSTUVWXYZ Set Position To Keyframe command 637 Settings Audio 612, 613 Audio export 658 Audio Project 614 Audio Project, DV audio pattern 614 basic 603 Bin 621 Capture 622 Communication (Serial) Ports Tool 628 Controller 628 copying between files 608 Correction 629 Deck 631 Deck Configuration 631 Deck Preferences 633 default 608 defining 603 deleting 607 described 599 displaying project 604 duplicating 606 DV Stream export 532 dynamic relinking 634 Effect Editor 637 Export 639 Full Screen P
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Show Every Frame command (Timeline Fast menu) 368 Show Frames command (Script menu) 303 Show Locators command (Timeline Fast menu) 363 Show Track submenu (Timeline Fast menu) 368 Showing Timeline top toolbar 360 Shuttle mode, MCS3 controller 817 Shuttle speed, MCS3 controller 816 Sifting clips and sequences 187 Signal Generator AudioSuite plug-in 497 Signal sequences GPI 443 Signal, servo-lock 142 Site settings described 599 using 609 Sixteen by nine (16:9) format 762 Slat
ABCDEFGHIJKLMNOPQRSTUVWXYZ Subclip status (Capture tool) 138 Subclips creating automatically with DV 169 creating during capturing 138 sifting 187 SunRaster file format brief description of 711 import specifications for 714 S-Video deck limitations when capturing 133 Swap Cam Bank button 586 Switching multicamera angles 593 Sync autosyncing 351 maintaining during trim 379 maintaining with Add Edit 356 maintaining with leader 354 maintaining with locators 354 maintaining with sync lock 353 trimming with sync
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ TIFF file format additional Export options 661 brief description of 711 import specifications for 714 Time Compression Expansion AudioSuite plug-in 497 using to change media length 459 Time Shift AudioSuite plug-in 501 Timecode breaks, capturing across 112 default starting 668 display options for 24p and 25p projects 211 drop-frame and non-drop-frame described 120 external 150 indicating the destination rate 570 logging drop-frame and non-drop-frame 98 selecting format for
ABCDEFGHIJKLMNOPQRSTUVWXYZ in PAL format 758 quality options 762 without sound (PAL) 759 Transparency adding to a graphics image 715 Transport stream creating 793 Trim slip and slide procedures 382 Trim mode options (Trim settings) 698 using the four-frame display 383 Trim pots adjusting 125 Trim settings described 698 Render On-the-Fly option 698 Trim Mode options 698 Trimming adding filler during 380 maintaining sync during 379 with sync-locked tracks 381 Troubleshooting vertical blanking interval informa
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Video Display settings described 699 Video Input tool saving settings in 134 Video Input Tool settings described 700 Video levels adjusting without color bars 135 Video Mixdown AAF export to Pro Tools 529 Video output advanced calibration 559 Video Output tool advanced calibration controls 559 Video Output Tool settings described 700 HD tab 705 SD tab 701, 703 Video projects using script integration in 287 Video quality settings with multicamera and group clips 591 Video r
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Workspace settings 707 Workspaces assigning to buttons 57 Avid Unity 58 creating settings 53 deleting 56 described 52 linking to user settings 55 switching between 56 Writable P2 device 263 X XDCAM batch import 253 connecting device 227 copying files 250 editing 252 Essence Marks 251 exporting 256, 257 high-resolution media 253, 256 import options 244, 251 importing proxy media 248, 249 locators 251 proxy media 225, 252, 256 resolutions 225, 256 workflow 225, 256 XLR adap
Index 852 ABCDEFGHIJKLMNOPQRSTUVWXYZ
