7.5
Table Of Contents
- Title Page
- Contents
- Using This Guide
- Working with the Project Window: Advanced
- User Profiles
- Managing User Profiles
- Folders and Bins
- Using the Info Display to View Memory Information and Access the Hardware Tool
- Customizing the Avid User Interface
- User-Customized Workspaces
- Working with Bins and Projects in an Avid Unity Environment
- Understanding Avid Unity
- Sharing Only Bins in Avid Unity
- Sharing Bins and Projects in Avid Unity
- Opening a Shared Project
- Locks and Shared Bins
- Working with Locks and Shared Bins
- Restrictions and Limitations for Locked Bins
- Suggestions for Improving Performance When Working with Shared Bins
- Shared Bin and Project Limitations
- Shared Bin Lock Icon Limitation
- Drive Filtering in Networked Workflows
- Using Tools
- Logging: Advanced
- Using Avid Log Exchange to Prepare Log Files for Import
- Converting Log Files with Avid Log Exchange (Windows)
- Using Drag-and-Drop Conversion for Log Files (Windows)
- Converting Log Files with Avid Log Exchange (Macintosh)
- Using Drag-and-Drop Conversion for Log Files (Macintosh)
- Avid Log Exchange Stores ASC Color Decision List (CDL) Parameters
- Log Formats Compatible with Avid Log Exchange
- Avid Log Specifications
- Creating an Avid Log
- Double-Checking Log Files
- Logging Directly into a Bin
- Understanding the Pulldown Phase
- Setting the Pulldown Phase
- Using Avid Log Exchange to Prepare Log Files for Import
- Capturing Media: Advanced
- Advanced Capture Settings
- Understanding Drop-Frame and Non-Drop-Frame Timecode
- Preparing for Audio Input: Advanced
- Creating Tone Media
- Using the Passthrough Mix Tool
- Resizing the Passthrough Mix Tool
- Monitoring Audio with the Passthrough Mix Tool
- Changing an Audio Level in the Passthrough Mix Tool
- Adjusting Pan Values in the Passthrough Mix Tool
- Changing Audio Hardware Calibration Settings for Avid Adrenaline
- Calibrating Audio Input Channels for Avid Adrenaline
- Calibrating Audio Output Channels for Avid Adrenaline
- Audio Hardware Calibration for Avid Nitris DX and Avid Mojo DX
- Using the Default Audio Calibration for Avid Nitris DX or Avid Mojo DX
- Using a Tone Generator to Calibrate Audio Input Channels for Avid Nitris DX or Avid Mojo DX
- Using an External Meter to Calibrate Audio Output Channels for Avid Nitris DX and Avid Mojo DX
- Using the Console Window to Check Audio Levels
- Preparing for Video Input: Advanced
- Using Capture Function Keys
- Special Capture Procedures
- Logging Errors to the Console Window
- Opening the Console Window
- Considerations for Creating Subclips While Capturing
- Creating Subclips While Capturing
- Creating Timed Subclips While Capturing
- Understanding Locators On-the-Fly
- Adding Locators On-the-Fly
- Naming a New Tape from the Keyboard
- Controlling Decks from the Keyboard
- Working in Quick Record Mode
- Quick Record Condition Messages
- Adding Extra Text Fields in the Capture Tool
- Mapping the Record Button
- Ejecting Tapes with a Button or Key
- Returning to the Previous Place in the Select Tape Dialog Box
- Understanding DV Capture Offset
- Delaying Audio
- Capturing in Satellite Mode or No Device Control
- Preparing to Capture with External Timecode
- Timed Captures
- Capturing to the Timeline
- Capturing Video Without Pulldown into a 24p NTSC Project
- Remote Play, Capture, and Punch-In
- Modifying the Pulldown Phase After Capturing
- DV and HDV Scene Extraction
- Using the Panasonic VariCam
- Importing Files: Advanced
- Working with Bins: Advanced
- Advanced Bin Procedures
- Displaying Custom Bin Views
- Customizing Bin Views in Text View
- Saving a Custom Bin View
- Assigning Colors to Bin Objects
- Sifting Clips and Sequences
- Sequence and Clip Information Summary
- Creating a Summary of Effects and Source Information
- Understanding Sifting Timecodes or Keycode Ranges
- Sifting Timecodes or Keycode Ranges
- Locking and Unlocking Items in a Bin
- Selecting Offline Items in a Bin
- Selecting Media Relatives for an Object
- Selecting Unreferenced Clips
- Text View: Advanced
- Manipulating Bin Columns
- Duplicating Bin Columns
- Adding Customized Columns to a Bin
- Changing a Custom Bin Column Heading
- Managing Clip Information in Text View
- Moving Within Column Cells
- Modifying Clip Information
- Modifiable Bin Headings
- Modifying Data Directly
- Using the Modify Command to Modify Data
- Modifying Data with the Modify Command
- Copying Information Between Columns
- Copying Information from Another Cell in a Custom Column
- Selecting a Film Gauge
- Tracking 3-Perf Counts
- Selecting an Edgecode Type
- Sorting Clips in Text View
- Displaying Timecodes in a 24p or 25p Project
- Frame Counting for Timecodes
- Adding Timecode Columns to a Bin or the Media Tool
- Adding Timecode Values to the Timecode Columns
- Bin Column Headings
- Restricted Material
- Printing Bins
- Digital Bars and Tone
- Importing Color Bars and Other Test Patterns
- Leaders
- Advanced Bin Procedures
- File Based Media
- Sony XDCAM Media
- Sony XDCAM EX Media
- Panasonic P2 Media
- Panasonic P2 Formats
- P2 Files and Folders
- Installing the Panasonic P2 Drivers
- Preparing to Mount P2 Cards as Drives
- Setting up a P2 Card Reader (Windows only)
- Mounting P2 Cards as Drives
- Copying P2 Files to a FireWire or Network Drive
- Changing P2 Cards in the Card Reader
- Sharing P2 Clips and Sequences
- Deleting Clips
- Working with Spanned Clips
- The Avid Media Access (AMA) Workflow
- The Import and Export Workflow
- Setting XDCAM Import Options
- Importing XDCAM Media
- Importing XDCAM EX Media
- Automatically Importing Proxy Media from an XDCAM Device
- Importing Proxy Media from an XDCAM Disc
- Copying XDCAM Proxy Media to a Local Drive or a Server
- Manually Importing XDCAM Media from the XDCAM Disc
- Importing Essence Marks as Locators in XDCAM Media
- Editing XDCAM Proxy Media
- Batch Importing High-Resolution XDCAM Media from the XDCAM Disk
- Editing and Finishing High-Resolution XDCAM Media
- Exporting Media to XDCAM Devices
- Exporting to XDCAM
- Workflow for Editing with P2 Media
- Changing P2 Cards in the Card Reader
- 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
- Managing Media Files: Advanced
- Script-Based Editing
- Lined Script Basics
- Script Window Basics
- Working with Script Text
- Searching Through Script
- Linking Clips to the Script
- Interpolating Position for Script Integration
- Working with Slates in the Script Window
- Working with Takes in the Script Window
- Script Marks
- Finding Clips and Script
- Editing From the Script Window
- Viewing and Marking Footage: Advanced
- Using the Info Window
- Using the Timecode Window
- Adjusting the Play Delay Offset
- Using the Tool Palette
- Playing Selected Clips in a Loop
- Using Locators
- Suggested Uses for Locators
- Adding Locators While Editing
- Adding Locators On-the-Fly while Playing
- Finding Locators
- Editing Locator Information
- Marking an Area Using Locators
- Moving to the Previous or Next Locator
- Deleting Locators
- Using the Locators Window
- Viewing Locators in the Locators Window
- Working in the Locators Window
- Exporting and Importing Locators
- Creating a Locator Text (.txt) File
- Copying and Pasting Locators Using the Locators Window
- Printing the Contents of the Locators Window
- Disabling the Locator Edit Window
- Sequence and Clip Information Summary
- Creating a Summary of Effects and Source Information
- Creating and Editing Sequences: Advanced
- Using the Timeline: Advanced
- Working in Trim Mode: Advanced
- Working with Audio: Advanced
- Audio Gain Staging and an Audio Editing Workflow
- Using External Fader Controllers
- Using the Digi 002 and the Command|8
- Using the Digi 002 with Avid Input/Output Hardware (Windows Only)
- Using the Command|8 with Your Avid Editing System
- Configuring the Digi 002 or Command|8
- Mapping Buttons and Menu Commands for the Digi 002 or Command|8
- Button Layouts on the Digi 002 and Command|8
- Viewing Different Controller Button Settings
- Mapping Controller Menu Commands for the Digi 002 or Command|8
- Using Digi 002 or Command|8 Buttons to Change Focus in the Avid Editing Application Interface
- Using a Foot Pedal as a Foot Switch with the Digi 002 or Command|8
- Switching Between the Digi 002 and Command|8
- Using a Digi 002 or Command|8 to Record Automation Pan
- Using the Latch Mode Feature on the Digi 002 and Command|8
- Configuring USB-to-MIDI Software for External Controllers
- Using the FaderMaster Pro and MCS-3000X
- Using the Yamaha 01V/96 or the Yamaha 01V
- Initializing the Yamaha 01V/96 or Yamaha 01V
- Configuring the Yamaha 01V/96 or Yamaha 01V to Recognize Control Messages
- Starting the Avid System with the Yamaha 01V/96 or the Yamaha 01V Attached
- Switching Between Audio Mixing and Gain Recording with the Yamaha 01V/96 and Yamaha 01V
- Operating the Yamaha 01V/96 and Yamaha 01V
- Soloing Avid System Channels with the Yamaha 01V/96 and Yamaha 01V
- Using the Audio EQ Tool
- Audio EQ Tool Features
- EQ-Specific Features
- Applying Audio EQ Effects
- Saving Audio EQ Effects
- Removing Audio EQ Effects with the Fast Menu
- Removing Audio EQ Effects with the Remove Effect Button
- Audio EQ Examples
- Low Shelf Example
- Small Octave Range Example
- Using Audio EQ Templates
- Applying an EQ Template
- Creating Your Own Audio EQ Templates
- Adding an EQ Template to the Audio EQ Tool Fast Menu
- Adjusting EQ While Playing an Audio Effect
- Recording Voice-Over Narration
- Connecting Voice-Over Recording Hardware
- Recording Voice-Over Narration Using the Capture Tool
- Understanding the Audio Punch-In Tool
- Audio Punch-in Tool Features
- Audio Punch-in Tool Scenarios
- Recording Voice-Over Narration Using Audio Punch-in
- Monitoring Previously Recorded Tracks While Recording Voice-Over Narration
- Using Peak Hold While Recording Voice-Over Narration
- Using a GPI Device with the Audio Punch-In Tool
- Displaying Audio Formats in Bins
- Using Automatic Voice-Over
- Using AudioSuite Plug-Ins
- Understanding Digidesign AudioSuite Plug-Ins
- AudioSuite Plug-Ins Installation
- Using Digidesign AudioSuite Plug-Ins
- Applying an AudioSuite Plug-in to a Clip in the Timeline
- Using an AudioSuite Plug-In Dialog Box
- AudioSuite Fast Menu
- Rendering AudioSuite Plug-in Effects
- Creating New Master Clips with AudioSuite Plug-Ins
- AudioSuite Controls for Creating New Master Clips
- Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins
- Using AudioSuite Plug-ins to Create New Master Clips
- Using AudioSuite Effect Templates
- Using AudioSuite Plug-Ins in Stereo
- AudioSuite Plug-in Limitations
- Troubleshooting AudioSuite Plug-Ins
- Core AudioSuite Plug-Ins
- BF Essential Clip Remover AudioSuite Plug-in
- Bomb Factory BF76 AudioSuite Plug-in
- Chorus AudioSuite Plug-In
- D-Verb AudioSuite Plug-In
- Compressor AudioSuite Plug-In
- Limiter AudioSuite Plug-In
- Expander-Gate AudioSuite Plug-In
- Gate AudioSuite Plug-In
- DeEsser AudioSuite Plug-In
- Compressor/Limiter III (Dynamics III) AudioSuite Plug-In
- Expander/Gate III (Dynamics III) AudioSuite Plug-In
- DeEsser III (Dynamics III) AudioSuite Plug-In
- EQ AudioSuite Plug-Ins
- Flanger AudioSuite Plug-In
- Funk Logic Mastererizer AudioSuite Plug-in
- Invert AudioSuite Plug-In
- Duplicate AudioSuite Plug-In
- Delay AudioSuite Plug-In
- Multi-Tap Delay AudioSuite Plug-In
- Normalize AudioSuite Plug-In
- Gain AudioSuite Plug-In
- Ping-Pong Delay AudioSuite Plug-In
- Reverse AudioSuite Plug-In
- DC Offset Removal AudioSuite Plug-In
- Signal Generator AudioSuite Plug-In
- Time Compression Expansion AudioSuite Plug-In
- Pitch Shift AudioSuite Plug-In
- Time Shift AudioSuite Plug-In
- Non-Core AudioSuite Plug-Ins
- Understanding Digidesign AudioSuite Plug-Ins
- Exporting Frames, Clips, or Sequences and Transferring Material: Advanced
- Exporting With the Send To Templates
- Exporting Using Send To DigiDelivery
- Exporting Using Send To Digidesign Pro Tools
- Exporting Using Send to DVD Authoring
- Exporting Using Send to DVD One Step
- Exporting Using Send to Sorenson Squeeze
- Exporting Using Send To Avid DS
- Creating a Custom Send To Template for Exporting to Third-Party Applications
- Exporting OMFI and AAF Files
- Exporting Projects and Bins Using AFE Files (Windows Only)
- Exporting Video in DV Stream Format
- Exporting QuickTime Movies
- Exporting As an AVI File (Windows Only)
- Installing or Copying the Avid Codecs for QuickTime on Other Systems
- Exporting from a Third-Party QuickTime or AVI Application
- Exporting as Windows Media (Windows Only)
- Exporting as Windows Media Using an Avid Supplied Template (Windows Only)
- Exporting as Windows Media Using an Existing Windows Media Profile (Windows Only)
- Creating a Custom Video Profile for Windows Media Export (Windows Only)
- Creating a Custom Audio Profile for Windows Media Export (Windows Only)
- Exporting as Windows Media Using a VC1 Resolution
- Exporting Tracks As Audio Files
- Exporting Frames As Graphic Files
- Exporting With the Send To Templates
- Generating Output: Advanced
- Advanced Video Output Calibration
- Using an XLR Adapter for Consumer-Level Analog Output
- Using the Digital Cut Tool: Advanced
- Output Mode Resolution Options
- Outputting DV 50 and DVCPRO HD Media Directly to a DV Device
- Selecting Output and Timecode Formats for 23.976p and 25p Projects
- Selecting Output Formats for 23.976p and 25p Projects
- Output Format Reference for 23.976p and 25p Projects
- Selecting the Timecode Format for Output
- Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding
- Indicating the Destination Timecode Rate
- Selecting the Video Pulldown Cadence
- Digital Cuts and Audio
- Changing the Default Pulldown Phase for Sequences
- Understanding DV Digital Cut Delay
- Delaying the Sequence for a Digital Cut
- Using EDL Manager
- Vertical Blanking Information
- Preserving HD Closed Captioning and Ancillary Data
- MultiCamera Editing
- Understanding Grouping and Multigrouping Clips
- Creating Group Clips
- Creating Multigroup Clips
- MultiCamera Displays
- MultiCamera Editing Techniques
- Switching Clips with the Arrow Keys During Multicamera Editing
- Using the Add Edit Button During Multicamera Editing
- Understanding the Group Menu for Multicamera Editing
- Using the Group Menu for Multicamera Editing
- Using the Multi-angle View Menus During Multicamera Editing
- Using Match Frame in MultiCamera Editing
- Selective Camera Cutting
- Using Settings
- Using the Settings List
- Understanding Settings
- Defining Settings
- Viewing Settings
- Displaying Project Settings
- Working with Settings
- Selecting Another User
- Modifying Settings
- Working with Multiple Settings
- Duplicating Settings
- Naming Settings
- Selecting Among Multiple Settings
- Deleting Settings
- Restoring Default Settings
- Copying Settings Between Settings Files
- Using Site Settings
- Manipulating Settings by Importing User Profiles or Copying Files Manually
- AMA Settings
- Audio Settings
- Audio Project Settings
- Bin Settings
- Capture Settings
- Communication (Serial) Ports Tool Settings
- Controller Settings
- Correction Settings
- Deck Configuration Settings
- Deck Settings
- Deck Preferences Settings
- Dynamic Relink Settings
- Effect Editor Settings
- Export Settings
- Export Settings Dialog Box Options
- Export Settings: QuickTime Reference Options
- Export Settings: QuickTime Movie Export Options
- Export Settings: QuickTime Movie Settings
- Export Settings: QuickTime Compression Settings
- Export Settings: HDV
- Export Settings: DV Stream
- Export Settings: OMFI, AAF, and AFE
- Export Settings: AVI (Windows Only)
- Export Settings: AVI Video Compression (Windows Only)
- Export Settings: Windows Media Export Options (Windows Only)
- Windows Media Legacy Template
- Existing Windows Media Custom Profile
- Windows Media Options Video Settings
- Custom Profile Audio Settings for Windows Media Export
- Export Settings: Audio
- Export Settings: Graphic
- Export Settings: Graphic Format
- P2 Export Settings
- Export Settings: XDCAM
- Full Screen Playback Settings
- General Settings
- Grid Settings
- Import Settings
- Interface Settings
- Interplay Folder Settings
- Interplay Server Settings
- Interplay User Settings
- 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
- File Format Specifications
- Resolutions and Storage Requirements
- Compression and Avid Editing Applications
- Monitor Display Resolutions
- Compression and Resolutions
- Resolution Specifications
- Resolution Specifications: HD
- Resolution Specifications: JFIF Interlaced
- Resolution Specifications: JFIF Progressive
- Resolution Specifications: Multicam
- Resolution Specifications: Digital Video (DV)
- Resolution Specifications: MPEG
- Resolution Specifications: VC1
- Resolution Specifications: AVC-Intra
- Support for Uncompressed HD Media
- Mixing Resolutions
- Resolution Groups and Image Quality
- Storage Requirements
- Maximizing Drive Space
- Managing Storage to Improve Playback Performance
- Film-to-Tape Transfer Methods
- Working with Stereoscopic Material
- Working with HD Media
- High-Definition Television
- HDTV Workflows
- Editing in HD
- Understanding Options for Changing the Project Format
- Changing the Project Format
- Understanding Options for Modifying the Sequence Format
- Modifying the Format of a Sequence
- Converting a 23.976p NTSC Sequence to 720p/23.976
- Mixing SD and HD Material in a Project
- Displaying Formats in a Bin
- Editing at 60 fps
- Working with True 24 FPS Timecode
- Transcoding HD Media
- Video Color Space for HD
- Working with HDV
- Understanding HDV
- HDV Basic Workflow
- Capturing and Importing HDV
- Capturing HDV
- Importing HDV
- Mixing SD and HD Resolutions with HDV
- Playing Back HDV Media
- Rendering and Transcoding HDV Media
- Outputting HDV
- Long-GOP Splicing for HDV Encoding
- Exporting to an HDV Device
- Outputting HDV through Avid Input/Output Hardware
- Exporting an HDV Transport Stream
- Exporting HDV as Windows Media
- Finishing HDV on DS Nitris
- HDV Compatibility Guidelines
- International Character Support
- Using the MCS3 Controller
- Index
HDTV Workflows
773
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.
HD Workflow: Film-Based Television Workflow
The following workflow describes the steps in creating film-based television programs that
originate on film footage and that are planned for NTSC HDTV broadcast. This workflow
uses features that let you change the project and sequence format, eliminating the need to
create a new project and sequence. Modifying the format of the sequence lets you keep both
offline SD material and online HD material available in the same project.
For PAL broadcast, transfer film at 1080p/25, edit offline in a 25p PAL project, and edit
online in a 1080p/25 project.
“Offline Workflow: 24-fps Film Source for HDTV” on page 775 shows the offline stage of
the workflow for such programs, and “Online Workflow: 24-fps Film Source for HDTV” on
page 776 shows the online stage.
For a more detailed description of the conform workflow, see “Conforming Workflow” in
the Help.
To create a film-based HDTV program:
1. Use a telecine process to transfer 24-fps film footage to HD 1080p/23.976 video at 1:1.
The transfer should also create a shot log (for example, a FLEx file).
2. Create a 23.976p SD project in any Avid editing application that supports a 23.976p
project.
3. Convert the shot log file with ALE and import it into the project to create one or more
bins.
4. Use a 24p deck to downconvert the HD video to ITU-R 601 SD video and batch capture
the logged clips in an offline resolution, based on the shot log.
The deck adds 2:3 pulldown (NTSC) or 4.1% speedup (PAL). The Avid system removes
the extra pulldown fields and creates 23.976p media.