Avid NewsCutter Editing Guide ® ®
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Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Avid Training Services . . . . . . . . . .
Managing User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Customizing the Avid User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 User-Customized Workspaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Working with Bins and Projects in an Avid Unity Environment. . . . . . . . . . . . . . . . . 83 Chapter 3 Using Tools. . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 6 Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Capturing and Logging at the Same Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Capturing Directly from a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Capturing Audio from a Music CD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Frame Chase Capture. . . . . . . . . . . . . . . . . . . . . . . .
Sample Rate Conversion and Audio Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Setting Sample Rate Conversion Options Before Importing Audio Files . . . . . . . . 270 Photoshop Graphics Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Digital Bars and Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . . . . . . . . .
Working with Restricted Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345 Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 Chapter 9 File Based Media - AMA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 XDCAM and XDCAM EX Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 P2 Media . . . . . . . . . . . . . . . . . . . . .
Customizing Monitors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446 Using the Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 Using the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453 Playing Video to the Client Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Understanding Sync Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539 Ganging Footage in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542 Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543 Understanding AutoSequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dupe Detection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636 Editing with the Film Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639 Finding Black Holes and Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640 Printing the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641 Chapter 15 Working with Trim Edits . . . .
Adjusting the Play Buffer Size for Audio (Software-only Models) . . . . . . . . . . . . . . 689 Using the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689 Rendering and Unrendering Order for Audio Effects . . . . . . . . . . . . . . . . . . . . . . . 696 Audio Gain Staging and an Audio Editing Workflow . . . . . . . . . . . . . . . . . . . . . . . . 696 Using Clip Gain and Pan Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting With the Export Command or the Drag-and-Drop Method. . . . . . . . . . . 851 Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854 Guidelines for Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855 Exporting Projects and Bins Using AFE Files (Windows Only) . . . . . . . . . . . . . . . 859 Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
stream Encoding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 914 Indicating the Destination Timecode Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 914 Selecting the Video Pulldown Cadence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 915 Digital Cuts and Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 915 Changing the Default Pulldown Phase for Sequences . . . . .
Editing with Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 997 Managing Remote Assets with the Interplay Window . . . . . . . . . . . . . . . . . . . . . 1009 Finding Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1028 Capturing Media to Interplay Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1032 Connecting to Avid Unity and Mounting Workspaces . . . . . . . . . . . . . .
Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1115 Options for Moving User Settings Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1120 Summary of Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1121 AMA Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1124 Audio Settings . . . . . . . . . . . . . . .
Safe Colors Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1201 Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1202 Sound Card Configuration Settings (Windows Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1203 Timeline Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Checklist: Editing Digital Film Footage in Media Composer . . . . . . . . . . . . . . . . . 1274 HD Workflow: Video-Based Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1276 Producing Graphics for Broadcast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1278 Creating a Film-Based Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1278 Editing with High-Resolution Media . . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide This guide contains the task-oriented instructions, conceptual information, and reference information you need to use the features of your Avid editing application. The contents of this guide is also available in the Help. This guide is intended for all users, from beginning to advanced. Unless noted otherwise, the material in this document applies to the Windows® and Mac OS® X operating systems.
Symbol or Convention Meaning or Action (Windows), (Windows only), (Macintosh), or (Macintosh only) This text indicates that the information applies only to the specified operating system, either Windows or Macintosh OS X. Bold font Bold font is primarily used in task instructions to identify user interface items and keyboard sequences. Italic font Italic font is used to emphasize certain words and to indicate variables. Courier Bold font Courier Bold font identifies text that you type.
Accessing the Goodies Folder Accessing the Goodies Folder Avid supplies a Goodies folder located on the editing application DVD. Access the Goodies folder by browsing the DVD. This folder contains programs and files you might find useful when trying to perform functions beyond the scope of your Avid editing application. The information in the Goodies folder is provided solely for your reference and as suggestions for you to decide if any of these products fit into your process.
1 Starting a Project Your work begins when you turn on your system, start your Avid editing application, and open an existing project or create a new project.
1 Starting a Project Working with the Desktop You can use some of the desktop navigation features of your operating system to speed your work or customize for your convenience while you edit. You can: • Control how the Windows taskbar appears on the screen (Windows only). • Use the Macintosh Dock as a quick way to launch your Avid editing application (Macintosh only). • Use shortcut menus (also sometimes known as context menus) to quickly access editing commands.
Working with the Desktop To change the taskbar settings: 1. Right-click an unused part of the taskbar, and select Properties. The Taskbar and Start Menu Properties dialog box opens. 2. Select the options you want: t To keep the taskbar hidden, deselect “Keep the task bar on top of other windows” and “Auto hide the task bar.” t To set the taskbar to appear when you want, select “Keep the task bar on top of other windows” and “Auto hide the task bar.”. 3. Click OK.
1 Starting a Project Using the Mouse Scroll Wheel for Navigating You can use the mouse scroll wheel to navigate in your Avid editing application, as described in the following table. You can also set the speed to scroll with the mouse wheel, and assign functions to three additional mouse buttons, as described in “Customizing Mouse Functions” on page 30. Option Command To scroll through items in a window or function area with a vertical scroll bar (such as a bin).
Working with the Desktop The Mouse Settings dialog box opens. 2. Select a speed from the Vertical Scroll Speed menu. Normal is the default setting. Normal scrolls one item at a time. Moderate scrolls two items at a time, and Fast scrolls four items at a time. To assign functions to additional mouse buttons: 1. In the Project window, click the Settings tab, and then double-click Mouse. The Mouse Settings dialog box opens. 2. Select Tools > Command Palette. The Command palette opens. 3.
1 Starting a Project • Disable CPU throttling. In Control Panel > Power Options > Power schemes, select Always On. • Do not enable the Windows Display setting “Show window contents while dragging.” This setting hinders redraw performance on the Avid editing system. In Control Panel > Display > Appearance tab > Effects, deselect Show window contents while dragging. • Enable setting to adjust for best performance.
Working with the Desktop In your Avid editing application, deselect Clip > Render On-the-Fly. • Do not name files with special characters (/ \ : ? ” < > | *). Windows does not recognize special characters in file names. Bin names are limited to 27 characters (not including the four characters reserved for the file name extension). • Do not schedule automatic backups at times when your Avid editing system might be in use.
1 Starting a Project In Control Panel > Security > Windows Defender > Tools > Options > Administrator Options, deselect Use Windows Defender > Save. • Disable Sidebar. Right-click the Sidebar or Sidebar icon on your desktop > Properties > Deselect Start Sidebar when Windows starts > Right click icon and select Exit. • Disable Hibernation in the Power options. In Control Panel > System and Maintenance > Power Options > Change when the computer sleeps > Put the computer to sleep, select Never.
Starting Your Avid Editing Application (Windows) • Do not name files with special characters (/ \ : ? ” < > | *). Windows does not recognize special characters in file names. Bin names are limited to 27 characters (not including the four characters reserved for the file name extension). • Do not schedule automatic backups at times when your Avid editing system might be in use. • Do not run any application that includes prescheduled or automatically scheduled activities, such as a calendar program.
1 Starting a Project n If you install your Avid editing application on a laptop computer, a dialog box might open with a message about incompatible power management schemes. Avid recommends you use the “Always On” power scheme for Windows XP and the “High Performance” power option for Windows Vista or Windows 7 when you work with Avid editing applications. Other power schemes might affect performance of editing functions (for example, capture and digital cuts).
Working with Projects Select Project Dialog Box The Select Project dialog box lets you find and open a project, create a new project, or establish user profiles. 1 2 5 3 6 4 7 Element Description 1 User Displays the login name of the user currently logged into the system. To change to a different user, log out and log in as that user. 2 Folder Displays the path of the current folder. This path determines which projects appear in the project list and where a new project is created.
1 Starting a Project 6 Element Description (Continued) Folder buttons Select a button to set the path for the project folder: • Private displays any projects in the folder for the user logged into the system. Private projects use the security provided by your system’s user login. By default, this path is (Windows) drive:\Documents and Settings\Windows login name\Documents\Avid Projects (Macintosh) Macintosh HD/Users/Mac login name/Documents/Avid Projects • Shared displays projects in the folder for
Working with Projects Example of the New Project dialog box 6. Set the following additional option(s), where applicable: Option SD Aspect Ratio Select either 4:3 or 16:9 HD Always uses the 16:9 aspect ratio. The project uses the aspect ratio setting to determine the display setting in the monitors, and as a factor in determining whether material requires resizing or repositioning in sequences.
1 Starting a Project Option SD HD Matchback Available for 25i PAL, 30i NTSC, 720p, and 1080i Matchback projects only. Select Matchback, then click the Film button and select a format for film gauge tracking from the Default Film Type menu. The Matchback item appears only if your Avid editing application includes the Matchback option 7. Click OK. Your Avid editing application creates the new project files and folder, and then returns to the Select Project dialog box.
Working with Projects (Macintosh only) If you use your Avid editing application as a standalone editor (and don’t plan to move your bins or projects to another platform), you can extend bin and project names to 31 characters. You can also choose to accept or not accept the Windows compatible file naming convention of special characters and spacing. To use Windows compatible file names 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click General Settings. 3.
1 Starting a Project Project Type Source Footage Transfer (Continued) Color Space 1080p/23.976 For film footage transferred to videotape, or high-resolution files from digital film cameras. YCbCr RGB 1080p/24 For film footage transferred to videotape, or high-resolution files from digital film cameras. True 24-fps editing. YCbCr RGB 1080p/25 For film footage transferred to videotape, or high-resolution files from digital film cameras.
Working with Projects To open an existing project: 1. In the Select Project dialog box, select the folder in which the project is located: Private, Shared, or External. For more information, see “Select Project Dialog Box” on page 37. 2. Do one of the following: t Select a project in the Select Project dialog box, and then click OK. t Double-click a project name in the Projects list. The Project window, the Source/Record monitor, and the Timeline open with the User settings loaded.
1 Starting a Project The Browse for Folder (Windows) or Project Directory (Macintosh) dialog box opens. 3. Navigate to the folder that contains the project you want. 4. Click OK (Windows). 5. Select a project in the Projects list. 6. Click OK. The Project window, the Source/Record monitor, and the Timeline open with the User settings loaded. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box.
Working with Projects The next time you start your Avid editing application, it opens your last project. To turn off the automatic opening of projects so that you can select another project when you start your Avid editing application: 1. Deselect “Automatically Launch Last Project at Startup,” and then click OK. 2. Quit your Avid editing application and restart it. The Select Project dialog box opens. 3. Select a project and click OK.
1 Starting a Project 3. Press the Delete key. 4. If you see a message asking if you want to delete the selected project and associated bins, click OK The deleted project no longer appears in the Select Project dialog box. c n Deleting a project also deletes any bins that are in that project. Media related to a deleted project is not deleted with the project folder.
Avid Projects and Avid Users Folders To turn off your equipment: 1. Turn off the system by doing the following: For a Windows system: a. Click the Start button, and select Shut Down. The Shut Down Windows dialog box opens. b. Click the menu, and select Shut down. c. Click OK. For a Macintosh system: t Select Apple menu > Shut Down. 2. If you have an Avid input/output device attached to your system, turn it off. 3. Turn off peripheral devices (such as monitors and speakers). 4.
1 Starting a Project • Private Projects (Macintosh) — Macintosh HD/Users/Mac login name/Documents/Avid Projects • Shared Projects (Macintosh) — Macintosh HD/Users/Shared/Avid editing application/Shared Avid Projects For an explanation of the difference between private projects and shared projects, see “Select Project Dialog Box” on page 37. The Avid Users folder is located in the application folder: • (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Avid U
Changing Project and User Names The user folder and the two files all use the user profile name you provide. The new folder is stored in the Avid Users folder. Changing Project and User Names You cannot change project or user names from within your Avid editing application. You must change the names from your desktop before you start your Avid editing application. For information about the location of the Avid Projects and Avid Users folders, see “Avid Projects and Avid Users Folders” on page 47.
1 Starting a Project n • Network storage device (such as a file server) • Mass-storage device To back up the larger media files created when you capture footage, use a high-capacity storage device. For information on backing up media files, see “Backing Up Media Files” on page 425. To save your work on a drive or on removable media: 1. Mount the drive or insert the storage media (USB drive, CD-ROM, or DVD-ROM). 2. (Windows only) From the Windows desktop, double-click the My Computer icon. 3.
Avid Attic Folder For information on retrieving files from the Avid Attic folder, see “Retrieving Files from the Avid Attic Folder (Windows)” on page 51. The Avid Attic folder contains a folder for each project. Each project folder contains a Bins folder. When a bin is saved, a folder with the bin’s name is created in the Bins folder and a copy of the bin file is stored in the folder with the bin name. The system adds the file name extension .bak plus a version number to the bin’s file name.
1 Starting a Project 6. Select the backup bin file or files you want to retrieve. 7. Ctrl+drag the selected backup bin files to the desktop. This makes a copy of the files, leaving the original files in the Avid Attic folder. To copy backup files to a new bin: 1. Click the taskbar item for your Avid editing application to restore it. n If the taskbar is hidden, see “Using the Windows Taskbar (Windows Only)” on page 28. 2.
Using Toolsets 7. Select the material you want to keep from the backup bin, and drag the files to the new bin. 8. Repeat steps 3 through 7 for any other backup bin files you copied to the desktop. 9. Select and delete the backup bins in the Other Bins folder. 10. Drag the backup bin files on the desktop to the Recycle Bin.
1 Starting a Project You can change the toolset workspace, restore it to the default arrangement, or link it to other settings. For example, you might want each toolset to appear with a different color scheme. You can also customize the NRCS toolset. You can link the current toolset to custom User settings, or link several toolsets to named settings but leave the other toolsets linked to a default, unnamed setting. To open a toolset, do one of the following: t Select Toolset > toolset.
Using Toolsets n You can link toolsets only to User settings. 5. Click OK. The active toolset is linked to the custom setting you specified. To link a toolset to an unnamed setting: 1. For the toolset you want to link, select Toolset > toolset. 2. Select Toolset > Link Current to. The Link Toolset dialog box opens. 3. Click the Links to Current Toolset menu, and select Link to Unnamed Settings. 4. Click OK. The active toolset is linked to all the unnamed settings in the Settings list.
1 Starting a Project 56
2 Working with the Project Window 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.
2 Working with the Project Window Overview of the Project Window The Project window is a central location for important information and tools that you need as you work on your project. Project window information is organized in tabs. Tab Function Bins Lets you create and open bins. See “Using the Bins Tab” on page 59. Settings Lets you view and modify settings. See “Using the Settings Tab” on page 66. Effects Lets you access a library of effects. See “Applying Effects” in the Help.
Using the Bins Tab To locate and redisplay the Project window, do one of the following: t Select Tools > Project. t Click in an area of the Project window to bring it forward. To close the Project window, do one of the following: t With the Project window active, select File > Close Project. t Click the Close button in the Project window. The Select Project dialog box opens.
2 Working with the Project Window Fast menu button (top) and Bins list with bin icons (bottom) in the Bins tab of the Project window. Creating a New Bin To create a new bin from the Project window: 1. Do one of the following: t Select File > New Bin. t Click the New Bin button in the Project window. A new (empty) bin opens and is given the name of the project as displayed in the title bar of the Project window.
Using the Bins Tab To change the name of a bin: 1. Click the bin name in the Bins list. 2. Type a new name. Project name in title bar (top) and default bin name based on Project name (bottom) in the Bins tab of the Project window Opening and Closing Bins You can open a single bin or open multiple bins at once. You can also open a bin from another project. n c If you have the SuperBin enabled, see “Working with the SuperBin” on page 337.
2 Working with the Project Window 2. Find and select the bin you want. Bins have the file name extension .avb. 3. Click Open. The bin appears in the Bins list in a folder called Other Bins. The name Other Bins appears in italic. You can rename this folder. This option is useful when you want to open a bin not currently displayed in the Project window. n The Other Bins folder disappears from the Bins list when you delete all the bins in the Other Bins folder.
Using the Bins Tab 2. Click the untitled folder name in the Bins list and rename it. To show or hide the folder’s contents in the Bins list in the Project window: t Click the arrow next to a folder icon. To view a list of only the folder contents and not the folders: t Click the Fast Menu button, and select Flat View. The Trash icon and its contents disappear until Flat View is deselected. Creating a Folder To create a folder in a project: 1. Click the Bins tab in the Project window. 2.
2 Working with the Project Window Viewing and Emptying the Trash If you need to view the contents in the Trash or decide you do not want to delete those items, you must first move the bins and folders from the Trash. c n Emptying the trash permanently removes the bins or folders from the drive. If you change the name of the Trash icon, you cannot empty the Trash. To view items in the Trash: 1. Click the arrow next to the Trash icon in the Bins list. 2.
Using the Bins Tab Your Avid editing application automatically saves copies of all bins into the Avid Attic folder at regular intervals for backup. When your work is lost, or when you want to recover an earlier version of a bin or sequence, you can retrieve files from the Avid Attic folder. To adjust the frequency of automatic saves: 1. In the Project window, click the Settings tab, and then double-click Bin. The Bin Settings dialog box opens. 2. Type a number in the Auto-Save interval text box. 3.
2 Working with the Project Window Using the Settings Tab From the Settings tab in the Project window, you can view, select, open, and alter various User, Project, and Site settings. Each setting either displays information about that specific tool or window or lets you select options or preferences associated with that tool or window. For more information, see “Viewing and Modifying Settings” on page 1115. To view the Settings list: t Click the Settings tab in the Project window.
Using the Format Tab Using the Format Tab The Format tab in the Project window lets you view basic project information, such as the video format (NTSC, for example). The information lists the options you selected in the New Project dialog box when you created the project. For some project formats, the Project Type list lets you change the format of the project to another format that shares the same frame rate. For example, if you are working in a 1080i/59.
2 Working with the Project Window Working with Color Spaces in HD Projects In full HD projects, some Avid editing applications and Avid input/output hardware devices let you work in either the YCbCr or the RGB color space. Your Avid editing application uses a project’s color space setting to control how it displays video, processes most effects, and outputs sequences. RGB and YCbCr both separate colors into three channels, but they store color information differently.
Working with Color Spaces in HD Projects Because no color data is lost, your Avid editing application can make more precise calculations when processing effects using RGB media. The quality improvement over YCbCr processing is most noticeable in effects that perform color analysis, such as chroma keyers. Even if the original video data is in YCbCr, your should consider converting to RGB to process effects as precisely as possible. The disadvantage of RGB is file size.
2 Working with the Project Window The color space of your media depends on its format. Tape-based SD and HD media uses the YCbCr color space. Newer HD digital formats, such as R3D, use RGB. See “Resolution Specifications” on page 1233 for information about supported formats. You can check the color space of the media for any clip in your project by viewing the Color Space bin heading in the bin that contains the clip. For more information, see “Moving, Aligning, and Deleting Bin Columns” on page 322.
Using the Info Tab Using the Info Tab The Info display in the Project window lets you view system memory information and access the Hardware tool. The items listed in this display are for information only and cannot be changed. The Hardware tool gives a visual representation of usage for each drive and provides operating system information. To open the Info display: t Click the Info tab in the Project window. To display system memory information: t Click the Info tab, and then click the Memory button.
2 Working with the Project Window 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 99. 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.
Understanding User Profiles Understanding User Profiles User profiles let you switch between settings without having to log out of your system and log back in under a different user name. User profiles let you establish separate settings for different editing functions. User “Jane,” for example, can have separate profiles for “Audio editor,” “Film editor,” or for “Assistant 1,” “Assistant 2,” and so on. User profile folders are kept in the following folder: Windows XP drive:\Documents and Settings\All Use
2 Working with the Project Window n You can not share user profiles across platforms (Macintosh to Windows or Windows to Macintosh). • Update a user profile to add user settings to an existing Settings list. For example, if you upgrade to a version of your Avid editing application that contains the Send To option from a version that did not have that option, you can choose the Update User Profile option to make sure the Send To settings templates appear in your Settings list.
Managing User Profiles 3. The new user profile name appears in the Project window title bar. To return to the original user profile: 1. Click the Settings tab. 2. Click the User Profile Selection menu, and select the default user profile. n If you use a user profile other than the default and you change to another project, the default user settings load, even though the Project window displays your non-default user profile name. You must reselect the user profile.
2 Working with the Project Window Customizing the Avid User Interface The Interface Settings dialog box provides you with controls for customizing the brightness and the colors of the Avid user interface. For complete reference information on the Interface Settings dialog box, see “Interface Settings” on page 1187. The Interface Settings dialog box allows you to set the highlight color for buttons.
Customizing the Avid User Interface The Interface dialog box opens. 2. Click a highlight color to change button highlight colors. 3. Click the Interface Brightness slider to adjust the brightness of the user interface. The Avid editing application provides several presets on the slider. 4. (Option) If you want to set the color of the video, audio, or timecode tracks to the default, select the appropriate option. 5.
2 Working with the Project Window The changes you select do not take effect. Changing Font and Point Size You can change the default font and point sizes of the Project, Bin, Source/Record monitor, Script, and Timeline windows. You can vary the fonts and point sizes across these windows. For example, you can set the Project window to Helvetica, 13 pt.; set one Bin window to Times Roman, 11 pt.; and set another Bin window to Arial, 12 pt.
User-Customized Workspaces User-Customized Workspaces A workspace is the arrangement and size of tool windows displayed in your Avid editing application. If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button. For example, during capture you might want to display the Capture tool and Video Input tool in specific locations.
2 Working with the Project Window 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. Custom name column in the Settings list b. Type a name for the new custom workspace; (for example, Logging). c. Press Enter (Windows) or Return (Macintosh). d. Open the windows and tools with which you want to associate the workspace.
User-Customized Workspaces Linking User Settings and Workspaces You can link User settings 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). To link user settings and a workspace: 1. Create a new workspace.
2 Working with the Project Window All the settings and the new workspace you created are activate. 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. To switch between workspaces use the workspace buttons. To assign workspace buttons, see “Assigning a Workspace Button” on page 82.
Working with Bins and Projects in an Avid Unity Environment 2. Click the More tab. 3. Select Button to Button Reassignment. 4. Click a workspace button (W1 – W8), and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard setting. The workspace button appears in the new location. The buttons are assigned to the workspaces in the Settings list in the Project window in the order that they appear. Your Avid editing application sorts the workspaces alphabetically.
2 Working with the Project Window For information on managing workspaces, see the clients’ Quick Start cards. For details on Avid Unity, see the Avid Unity MediaNetwork Management Guide or the Avid Unity ISIS Administration Guide. n You can also use an asset manager such as Avid Interplay to collaborate on projects. For more details, refer to Working with Avid Interplay from an Avid Editing System in the help.
Working with Bins and Projects in an Avid Unity Environment The following illustration shows the Project window for a shared project. Bins tab in the Project window, showing a bin that is locked for editing (bold text, top left), the name of the computer that currently has the bin locked (top right), and folders for each computer that accesses the project (bottom) Opening a Shared Project To open an existing project on the shared volume: 1. Start your Avid editing application. 2.
2 Working with the Project Window The Bin Lock Status button. When the button is green (top), the bin is unlocked. When the button is red (bottom) the bin is locked. When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Considerations for Working with Shared Bins and Projects” on page 87.. n The Bin Lock Status button does not appear if the bin is not on Avid Unity.
Working with Bins and Projects in an Avid Unity Environment To permanently lock a bin: 1. Select one or more bins in the Project window. 2. Right-click the Bin icon, and select Lock Project Bin. An asterisk (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. To unlock the bin: t n Right-click the bin in the Project window, and select Unlock Project Bin.
2 Working with the Project Window Avid recommends that you do not use a common prefix for machine names. If you must use a common prefix, make sure all the names are the same length (ABC01, ABC02, ABC03, etc.). • Do not use Windows Explorer to examine, copy, or manipulate shared bin files or shared project folders or their contents when you use those files or folders.
Working with Bins and Projects in an Avid Unity Environment Avid recommends that you institute policies where media files are deleted by the editor who created them, or if necessary, the deleting editors notify the editor who created the media files that a deletion has occurred. This editor can then switch to the desktop and back, and all other editors can see the deleted file go offline.
2 Working with the Project Window 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 Depending on the version of your Avid editing system, the drive filtering options could be on or off by default. Avid recommends that all drive filtering options should be on by default.
3 Using Tools The Tools menu 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.
3 Using Tools Deck Controller Window Reference 2 1 3 6 4 5 Element 1 Timecode display Description Provides information about the control status of the tape deck: • If the deck is properly connected and power is on, the deck controller displays timecode when you mount a tape. • If a deck is not properly connected to the system or power is off when you open the controller, the indicator displays the message “NO DECK.
The Command Palette Element 6 Logging controls Description Let you log IN and OUT marks while you cue your tape. For more information on logging, see “Logging Directly into a Bin” on page 119. The Command Palette The Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use. User-selectable buttons let you perform a wide range of commands with a single click of the mouse. The Command palette organizes buttons by editing function.
3 Using Tools Understanding Button Mapping Mapping user-selectable buttons lets you reconfigure Tool palettes, toolbars, or the keyboard in various combinations to suit different editing needs. n When you map buttons to the keyboard, the mapping might be specific to the current editing mode. For example, buttons mapped to the Page Up key or the Page Down key revert to the default key functions when you enter Effect mode. After you exit Effect mode, the keys return to the mapped function.
The Command Palette The Blank Button The Blank button in the Other tab of the Command palette lets you replace a defined button with an undefined button. If you do not need a specific button on the Tool palette, you can replace this button with a Blank button. For more information on mapping the Blank button to a new location, see “Mapping User-Selectable Buttons” on page 95. Modifier Keys You can add modifier keys to functions already associated with keys and buttons.
3 Using Tools t Open the Mouse Settings dialog box from the Settings list in the Project window. 2. Select Tools > Command Palette. The Command palette opens. 3. Select Button to Button Reassignment at the bottom of the Command palette. 4. Click the tab from which you want to select a user-selectable button. 5. Drag the button from the Command palette to a button location on the other palette.
Using the Avid Calculator Activating Commands from the Command Palette You can perform a command function directly from the Command palette. For example, you can click the Play button in the Command palette to play the material in the Source monitor. To activate a command from the Command palette: 1. Select Tools > Command Palette. The Command palette opens. 2. Select Active Palette at the bottom of the Command palette. 3. Click the tab from which you want to select a command function. 4.
3 Using Tools If you enter drop-frame timecode into the calculator while non-drop-frame timecode is selected in the format menu, the calculator converts the entered timecode to a non-drop-frame equivalent (and vice-versa). Using The Console Window The Console window provides a number of features including, finding your system ID number, viewing log error messages, getting information about your sequence, displaying your networked drives, and information after you capture or import.
Using the Hardware Tool To get information with the Console window: 1. Select Tools > Console. The Console window opens. 2. Select the item about which you want information, for example: t In the Timeline, move the position indicator to the selected clip or segment. t In the bin, select an object or Ctrl+click (Windows) or Shift+click (Macintosh) multiple objects. 3. Select File > Get Bin Info or File > Get Position Info. Information about the clip appears in the Console window.
3 Using Tools To check the hardware configuration of your Avid system, do one of the following: t Select Tools > Hardware. t Click the Info tab in the Project window, and then click Hardware. The Hardware tool opens. External Controllers as Editing Control Surfaces Adding a controller to your Avid system provides an alternative to using the keyboard and mouse for editing your sequence.
4 Logging When you import shot log files or log directly into a bin, you provide your Avid editing application with frame-accurate clip information that it uses 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.
4 Logging example, the file Nations1.atn converts to Nations001.ale, Nations002.ale, Nations003.ale, and so on. The system stores the converted output files in the folder containing the original input file. Converting Log Files with Avid Log Exchange (Windows) To convert a log file to an ALE file: 1. Click the Start button, and select All Programs > Avid > Avid Log Exchange. The Avid Log Exchange window opens. 2.
Using Avid Log Exchange to Prepare Log Files for Import For specific information on the various file types, see “Log Formats Compatible with Avid Log Exchange” on page 109. 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 you batch capture.
4 Logging 11. (Option) Select the original file from the Window menu if you want to convert the file again using different options. 12. Select File > Close. If you made changes in the editor, a message box opens. 13. Click Yes. The converted file is stored in the same folder as the original log file. Using Drag-and-Drop Conversion for Log Files (Windows) Use this shortcut to convert files into an ALE file.
Using Avid Log Exchange to Prepare Log Files for Import 3. Open the folder that contains the files you want to convert. Position the folder so the ALE utility Shortcut icon is visible. 4. Select the files you want to convert. 5. Drag the selected files to the Shortcut icon, and release the mouse button. 6. Depending on the type of files you convert, one of the following occurs: - If the ALE utility recognizes the file type, a message box opens indicating the conversion was successful.
4 Logging The Avid Log Exchange dialog box opens. 1 2 3 4 5 6 7 Avid Log Exchange dialog box 1 Files you can convert 5 Global Settings information 2 Files you can generate 6 Convert button 3 Clean and Relaxed options 7 Quit button 4 Track selection 2. Select the type of file you want to convert from the Input list. If you are not sure of the type of file, select the Automatic option. ALE will determine the type of file based on the file name.
Using Avid Log Exchange to Prepare Log Files for Import The Track selection only works on non ALE files that you convert to an ALE format. When ALE is the incoming format, Track selection does not work. 5. Select the options Clean if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips. When you select Clean, the utility changes the end timecode of a previous event to be less than that of the following event. Clean is the default. 6.
4 Logging 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. Use the procedure in “Converting Log Files with Avid Log Exchange (Macintosh)” on page 105) to convert files of this type. To convert a log file by using drag-and-drop conversion: 1. Check the options that are set in the ALE utility.
Avid Log Specifications Log Formats Compatible with Avid Log Exchange The table lists the log formats that you can import directly or convert for import when you use Avid Log Exchange (ALE). Log Format Requirements File Name Extension AatonBase Conversion required .atn or .atl Avid Log Import directly .ale Cinema Tools Conversion required .txt CMX EDL Conversion required .cmx Evertz® Conversion required .ftl Excalibur Conversion required .ale or .
4 Logging An Avid log is composed of three sections, in this order: • Global Titles • Standard and custom column Titles • Data Titles When you create an Avid log, you must follow the order precisely. The tables in these topics follow this order. The tables use the following conventions: • A Title appears in the first column, without angled brackets or square brackets. For example, FIELD_DELIM is the first global Title. • A is surrounded by angled brackets.
Avid Log Specifications 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. Title FIELD_DELIM [Enter] or Required [Return] This marks the start of the global Titles. Enter TABS to show that the file is Tab delimited.
4 Logging 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 table. You can create your own custom column Titles. Enter them after the standard Titles (see the last Title in the 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 capturing the individual clip. If omitted, the global entry applies.
4 Logging 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. Enter D for a data track. [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).
4 Logging [Tab] Under KN End Title. Identify the key number for the end of the clip. 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, use 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 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 create, type the appropriate information. [Enter] or [Return] Press Enter (Windows) or Return (Macintosh) after the last entry for the clip. Do not press Tab after the last entry for the clip.
4 Logging Heading [Return] 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 109. 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 Your Avid editing application only accepts text files (ASCII format).
4 Logging Logging Preroll Leave adequate preroll with continuous timecode prior to IN points when you log 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. n Use the Preroll menu in the Deck Settings dialog box to set the default preroll for tape playback. For more information, see “Deck Settings” on page 1142.
Logging Directly into a Bin n If you want your Avid editing application 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, 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 121. • c It is important that you create a naming scheme for your tapes.
4 Logging The Capture tool opens. The Client monitor displays your video. 1 2 3 4 5 6 7 8 9 1 Capture/Log Mode button 6 Timecode display 2 Mark IN button 7 Deck controls 3 Channel Selection buttons 8 Deck Selection menu 4 Clip Name text box 9 Source Tape Display button 5 Clip Comment text box If you forget to connect and turn on the power to the deck before you open the Capture tool, click the Deck Selection menu and select Check Decks to reinitialize the deck control. 4.
Logging Directly into a Bin 6. Insert your tape into the deck. The Select Tape dialog box opens. Select “Show other project’s tapes” to display the tape names and associated project names for all bins. Select Tape dialog box. Top: New tape name button. Center: list of tapes. Bottom: Show other projects 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.
4 Logging t To keep the deck running while you log: Start the deck. At the point where you want to start the clip, click the Mark IN button or press the F4 key. The deck continues to play. If you want to pause the deck while you enter a clip name and comments, see “Pausing the Deck While Logging” on page 125. t To cue your source tape: Use the deck controls in the Capture tool to cue your source tape to the start or end point. Click the Mark IN button or the Mark OUT button in the Capture tool.
Logging Directly into a Bin t 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 press the Go to IN button or the Go to OUT button to scan the tape forward to the mark. To log the clip into the bin, click the Log Clip button in the Capture tool. Logging controls (left) and Log Clip button (right) The clip name highlights in the bin.
4 Logging Your Avid editing application logs the clip in a bin, and the deck starts playing again. Using a Memory Mark When Logging You can add a memory mark to a particular location on a tape, then use the Go to Memory button to move through the tape to the marked location. To use a memory mark for a particular location on a tape: t Click the Mark Memory button in the Capture tool to mark the location. t Click the Go to Memory button to move through the tape to the marked location.
Logging Directly into a Bin 5. Open the bin where you want to store the clips. 6. Select Tools > Capture. The Capture tool opens.
4 Logging 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. Use the Channel Selection buttons to select the tracks you want to log. 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. Type the end timecode in the Mark OUT text box.
Understanding the Pulldown Phase Set Pulldown Phase option in the 24P Settings dialog box You set this relationship when you select the pulldown phase (sometimes called the pulldown frame or pullin frame), which is the video frame at which the master clip starts. The pulldown phase is designated A, B, X, C, or D. Film labs and transfer houses typically use the A frame to start the transfer. The illustration shows the relationship between film frames and video frames. A B C D A1 .1 A2 .2 B1 .
4 Logging 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 correct pulldown phase prevents incorrectly captured clips that stutter when you play it in 23.976p NTSC projects.
5 Preparing for Capture The chapter provides information on preparing your Avid editing application and your capture hardware before you capture media.
5 Preparing for Capture For information about logging into a bin, see “Logging Directly into a Bin” on page 119. For information about logging and capturing at the same time, see “Capturing and Logging at the Same Time” on page 194. Importing Shot Log Files You can import a shot log file into a bin to make clip information such as start and end timecode available to your Avid editing application. For more information, see “Logging and Shot Logs” on page 131. To import shot log files into a bin: 1.
Importing Shot Log Files The Select Files to Import dialog box opens. Look in menu (top) and Files of type menu (bottom ) in the Select files to import dialog box on Windows 4. (Option) If you want to select options for combining events on import, click Options to open the Import Settings dialog box. Select the appropriate options from the Shot Log tab, and then click OK to close the Import Settings dialog box and return to the Select Files to Import dialog box.
5 Preparing for Capture 6. Use the Look in menu (Windows) or the From menu (Macintosh) to locate the folder containing the source file. 7. Select the source file from the list and click the Open button. When your Avid editing application finishes importing the file, the clips appear in the selected bin.
Preparing the Hardware for Capture Item Description (Continued) DAT (digital audiotape) When capturing from DAT, you might need to select an appropriate sync setting. For more information, see “Establishing Sync for Audio-Only Input” on page 135. Striped drives If you are capturing media at high resolution, you must use striped drives. See “Storage Options and Drive Striping” in the Help and “Getting Information About Striped Drives” on page 135.
5 Preparing for Capture With some Avid input/output hardware, you can view the selected sync source in the Hardware tab of the Audio Project settings dialog box, in the Sync Mode field. To be sure you see the correct sync source, view the Audio Project settings with the Capture tool active, or with channels armed for passthrough in the Audio tool.
Selecting Settings for Capture For reference information about all settings in the Capture Settings dialog box, see “Capture Settings” on page 1133. For information about locating and modifying settings, see “Viewing and Modifying Settings” on page 1115.You can also view information about settings by clicking a window or dialog box and pressing the F1 key (Windows) or the Help key (Macintosh).
5 Preparing for Capture For more information on the media file formats, see “MXF Media” on page 379 and “Specifications for Importing OMFI Files” on page 1222. 3. Click the Capture tab. 4. Click the Video Resolution menu, and select a video resolution. The Video Resolution menu contains a list of the available resolutions, which depend on such factors as the model of your Avid editing application, your Avid input/output hardware, and your project format.
Selecting Settings for Capture n The drive that appears in boldface type has the most available space. 6. (Option) You can select drives and create a drive group. Click the Target Drive menu, and select Change Group. For more information on selecting a drive group, see “Selecting the Target Drives” on page 163. n Because no audio is associated with titles or motion effects, you can select only a video drive in the Titles or the Motion Effects tab of the Media Creation dialog box. 7.
5 Preparing for Capture 3. Open a text file by doing one of the following: n 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. On a Windows system, use Notepad. Do not use Wordpad. On a Macintosh system, select TextEdit > Preference > Plain Text. Other files might introduce characters that your Avid editing application cannot recognize. 4.
Selecting Settings for Capture The text of the resolution must exactly match the text in the Media Creation dialog box. To disable DV 25, for example, type DV 25 411 with DV in capital letters. Do not disable all resolutions supported by your Avid editing application. You need to keep one resolution available. 5. (Windows) Name and save the file: a. Select File > Save As. b. Type DisabledRes in the File Name text box. c. Navigate to Program Files > Avid > Avid editing application. d.
5 Preparing for Capture To set drive filtering in the Media Creation dialog box: 1. Do one of the following: t Double-click Media Creation in the Settings list. t Select Tools > Media Creation. The Media Creation dialog box opens. 2. (Option) Click the Drive Filtering & Indexing tab. n Options for indexing local drives apply only in an Avid Interplay™ environment. For more information, see the Avid Interplay Software Installation Guide. 3.
Selecting Settings for Capture 4. Click OK to save your settings. For more information about options, see “Media Creation Settings” on page 1191. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh).
5 Preparing for Capture Preroll Method Description Best Available Your Avid editing application uses the control track to determine the preroll Control Track point. If there is not enough control track for preroll, your Avid editing application 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, your Avid editing application does not capture the shot and displays an error message.
Selecting Settings for Capture Capturing to multiple media files has the following advantages: c • You can create longer clips whose media files would otherwise exceed the file size limitation of 2 GB. • You can group all drives with the multiple file options. This enables your Avid editing application to capture long clips continuously, for example, satellite feeds. • Your Avid editing application makes more efficient use of drive space, particularly when capturing long clips.
5 Preparing for Capture General Settings for Capture The General Settings dialog box includes the following options that are relevant to capture. Setting Description Project Type The top portion of the dialog box displays the project type (NTSC or PAL) and other useful information such as the type of film used as source media. NTSC Has Setup This option applies to standard NTSC format and is selected by default.
Selecting Settings for Capture Option Description Video Pulldown Cadence Lets you specify how your Avid editing 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 your Avid system separately at 100 percent of the actual speed.
5 Preparing for Capture Configuring Decks Deck Configuration settings let you establish deck control parameters for a single deck or for multiple decks. You can create multiple versions, allowing you to select among them for frequent changes in hardware configurations. Deck Configuration settings and global deck control preferences appear as separate items (Deck Configuration and Deck Preferences) in the Settings list in the Project window.
Configuring Decks n Channel refers to the signal path for deck control, whether directly through a serial port, through a V-LAN® VLXi system connected to a serial port, or through a FireWire® connection. A direct serial port or FireWire connection allows one deck for each channel, while a V-LAN VLXi system allows multiple decks. 4.
5 Preparing for Capture n Do not autoconfigure a DV camera or deck. Not all DV devices respond to the Auto-configure command. Due to this limitation, Auto-configure selects only a generic device template. When a digital camera is attached to your system, click the Deck Type menu, and select the proper device (described later in this procedure). When a deck is attached, click the Deck Type menu, and select the applicable deck.
Configuring Decks 10. Select the manufacturer and model number of your deck or other device. Selecting a model opens a template of settings for the device you selected. You can change these settings based on your device. For more information, see “Deck Settings” on page 1142. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh). 11. Click OK to close the Deck Settings dialog box and return to the Deck Configuration dialog box.
5 Preparing for Capture 14. Type a name in the Configuration name text box to name the deck configuration. The new deck configuration appears in the Settings list in the Project window. 15. Click the Apply button to complete the configurations and close the Deck Configuration dialog box. 16. Double-click Deck Preferences in the Settings list in the Project window to review and if necessary adjust global deck control options.
Connecting a DV Device For example, if you work on a 1-hour show that uses 52 minutes of video, the program ends at 01:52:00:00 (non-drop-frame). If it is broadcast at 29.97 fps, it will last 94 frames too long (approximately 3 seconds). The following illustration compares the two types of timecode at the 1-minute mark. Remember that no frames are actually dropped when drop-frame timecode is used. Drop-frame timecode simply skips timecode numbers as necessary to match the actual NTSC scan rate.
5 Preparing for Capture To use a connected DV device for capture, play, or output on a system with an Avid Adrenaline, Avid Mojo, or Avid Mojo SDI, you must select it in your Avid editing application, as described in “Selecting a DV Device” on page 204. On Windows systems with an Adrenaline or an Avid Mojo, you can capture DV 50, DVCPRO, or HDV only through an optional IEEE-1394 card installed in your computer. This card must be on a bus separate from the one used by the Adrenaline or Avid Mojo.
Setting Up the Capture Tool 1 2 3 4 5 6 7 8 9 10 11 13 14 15 12 Top of Capture tool 1 Capture indicator 9 Record button 2 Trash 10 Channel Selection buttons 3 Capture/Log Mode button 11 Audio Channel Grouping buttons 4 Toggle Source button 12 Message bar 5 Video tool 13 Video and Audio Input menus 6 Audio tool 14 Subclip status indicator 7 Passthrough Mix tool 15 Video Lock icon 8 Edit to Timeline buttons (optional) 155
5 Preparing for Capture 1 2 3 4 9 5 6 7 8 Bottom of Capture tool 1 Clip Name text box 6 Deck controls 2 Clip comment text box 7 Deck Selection menu 3 Resolution menu 8 Source Tape Display button 4 Single/Dual Drive Mode button 9 Time remaining on target drives 5 Target Drive menus When you are working in an Avid Interplay environment, the Capture tool lets you select either Local Bins or Remote Bins. See “Selecting a Target Bin” on page 162.
Setting Up the Capture Tool Opening the Capture Tool To open the Capture tool: 1. Ensure the deck or other playback device is properly connected to the system and is turned on. 2. Do one of the following: t Click a bin to activate it and select Bin > Go To Capture Mode. t Select Tools > Capture. t Select Toolset > Capture. 3. Ensure you are in Capture mode. If the Capture tool is in Log mode, click the Capture/Log Mode button until the CAP icon appears.
5 Preparing for Capture If a deck name appears in italics in the Deck Selection menu, the deck has lost power or has been disconnected. Click the menu, and select Check Decks to reestablish deck control. n After deck control has been properly initialized, it remains active for all deck controllers throughout the session until you quit your Avid editing application. You must have V-LAN VLXi hardware to manage more than one deck at a time.
Setting Up the Capture Tool Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box, regardless of the format on the tape, and you might receive a message indicating a wrong tape. n Drop-frame timecode appears in the Timecode indicator with semicolons between hours, minutes, seconds, and frames. Non-drop-frame timecode appears with colons. For more information, see “Understanding Timecode” on page 152. 3.
5 Preparing for Capture To select only those tracks you want to capture: t Click the Channel Selection buttons in the Capture tool. Channel Selection buttons in the Capture tool If you do not see source video or hear source audio in Capture mode, click the Channel Selection buttons to ensure they are not the cause. n When you use an Avid-controlled deck, the TC (timecode) track is selected by default, and the system captures the timecode from the source tape.
Setting Up the Capture Tool n The Video Input tool is not available on all models. If your model does not have the Video Input tool, your Avid editing application sets the default input options automatically. For more information, see “Preparing to Capture Audio” on page 166 and “Preparing to Capture Video” on page 183. n If you change the settings, the settings in the Video Input tool or in the Audio Project Settings dialog box automatically change to the settings you select.
5 Preparing for Capture To select a resolution in the Capture tool: t Click the Res (Resolution) menu, and make a selection. Selecting a Target Bin You select a target bin as the destination for the master clips that you create when you capture and log at the same time. In an Avid Interplay environment, the Capture tool includes an option to capture to a local bin or a remote folder. To select a target bin: 1.
Setting Up the Capture Tool Selecting the Target Drives You select one or more target drives as the destination for audio and video media files that you create when you capture. By default, the Capture tool targets a single media drive volume for capturing the audio and video for each clip. You can also: • Target separate physical drives for audio and video tracks. You might want to target separate drives for media management, such as sending audio files to a Pro Tools® system for audio sweetening.
5 Preparing for Capture To target separate drives for audio and video: 1. If the Capture tool is not already open, select Tools > Capture. The Capture tool opens. 2. Click the Single/Dual Drive Mode button to display the Dual Drive icon. Two Target Drive menus appear. The top one is targeted for video and the bottom one is targeted for audio. 3. Click each Target Drive menu, and select separate drives for audio and video. The names in bold in the menus have the most storage available.
Setting Up the Capture Tool 2. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple drives to include in the capturing session, or click the All button to select all drives. 3. Click OK. Your Avid editing application creates the drive group, and it appears in the Target Drive menu. When you capture, any clip that exceeds the capacity of a drive (whether that drive is empty or already contains media files) continues capturing onto another drive in the group.
5 Preparing for Capture Preparing to Capture Audio Your Avid editing application provides you with a wide range of options for audio input: capturing audio with video from tape, capturing audio from a digital or analog deck, or capturing through a microphone, in various formats and at various sample rates. The topics in this section describe preparations you might need to take before capturing audio.
Preparing to Capture Audio When you are using some Avid input/output hardware devices, you can also control how your Avid editing application handles audio sample rate conversion during capture. Sample rate conversion on input applies to the following digital inputs: SDI embedded, AES/EBU, SPDIF, and ADAT. To select the audio sample rate: 1. In the Project window, click the Settings tab. The Settings list appears. 2. Double-click Audio Project. The Audio Project Settings dialog box opens. 3.
5 Preparing for Capture Selecting the Audio File Format You create audio files when you: • Record audio tracks in Capture mode. • Create tone media by using the Audio tool. • Mix down audio tracks by using the Audio Mixdown tool. • Import files by using the Import dialog box. • Apply an AudioSuite plug-in that creates new source audio.
Preparing to Capture Audio Selecting the Audio Input Source You can connect one or more audio devices to your Avid hardware or to your computer. Use the Audio Project settings to select the device you want to use as the source for capture. The choices available depend on your system configuration. For more information, see “Audio Project Settings: Input Tab” in the Help. n If you select IEEE 1394 as your input device, the input source is automatically set to Host-1394.
5 Preparing for Capture n Configuring your sound card to ensure compatibility is necessary only if your Avid editing application is not using Avid input/output hardware (software-only). If Sound Card Configuration does not appear in the Settings scroll list, you do not have to configure your sound card. To customize the sound card configuration: 1. In the Project window, click the Settings tab. The Settings list appears. 2. Double-click Sound Card Configuration.
Preparing to Capture Audio To reconfigure the sound card to the original application settings: t c Click the Default button. Clicking the Default button applies the default settings immediately. You cannot cancel the reconfiguration once you reset the default options. To override the mute feature for surround sound: 1. In the Settings list, double-click Sound Card Configuration. The Sound Card Configuration dialog box opens. 2. Click the Override Mute menu.
5 Preparing for Capture Component Description Peak Hold Menu button Lets you select options for customizing the meter displays and for setting and playing back the internal calibration tone. Digital scale to the left Displays a fixed range of values from 0 to –90 decibels (dB), according to of the meters common digital peak meter standards. Volume unit (VU) scale (analog) to the right of the meters Displays a range of values that you can conform to the headroom parameters of your source audio.
Preparing to Capture Audio Audio tool. Top, left to right: Reset Peak (RP) button, In/Out toggle buttons, Peak Hold (PH) Menu button. Left display column: Digital scale (fixed). Right display column: Volume unit scale (adjustable). Adjusting Audio Input Levels You can use the Audio tool and the Audio Project Settings dialog box to check the audio input levels. If the input levels are too high or too low, you need to adjust the output level of your source signal, if possible.
5 Preparing for Capture Creating Tone Media You can create your own tone media as a master clip for editing directly into sequences. To create tone media: 1. Open a bin. 2. Select Tools > Audio tool. 3. Click the PH (Peak Hold) menu in the Audio tool, and select Create Tone Media. The Create Tone Media dialog box opens. 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.
Preparing to Capture Audio For more information, see “Recording Voice-Over Narration Using Audio Punch-in” on page 744. The Audio Project Settings dialog box opens. To choose the number of tracks (4 or 8) to display in the Passthrough Mix tool: t Click the Number of Mix Panes button. When you select 4 tracks, an additional button appears that lets you display the first 4 or last 4 enabled tracks.
5 Preparing for Capture To change an audio level value in the audio panel in the Passthrough Mix tool, do one of the following: t Click a number along the vertical edge of the Volume Level slider. t Click the Volume Level slider, and type a value. Values are cumulative until you press Enter (Windows) or Return (Macintosh). For example, if you want to enter the value 12, type it.
Preparing to Capture Audio A message box opens. 4. Click OK. 5. Change the calibration of the audio hardware, as described in the following procedures. To calibrate input channels for the Avid Adrenaline: 1. Select the desired audio hardware calibration setting, as described in the procedure above. 2. Send a 1-kHz tone into channel 1. 3. In the Input tab of the Audio Project Settings dialog box, select XLR as the Input source. 4.
5 Preparing for Capture 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.
Preparing to Capture Audio 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. The Set Reference Level dialog box opens. 8. Enter the new reference level in dB. This should be set to match the 0 VU standard in your workflow. Avid recommends a -20 dBfs value.
5 Preparing for Capture 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 your Avid input/output hardware. You can calibrate only one channel at a time. 10. Select the appropriate channel. Channels vary depending on your Avid input/output hardware. 11. Use the Up and Down buttons to adjust the calibration in 0.5dB increments.
Preparing to Capture Audio The In/Out toggle buttons in the Audio Tool switch from O to I and highlight in green. The meters levels re-display. 9. Set the tone generator output to the reference level set in the Audio Hardware Calibration window. The following are suggested professional settings: - Analog XLR input: +4 dBu - Analog RCA input: -10 dBV - Analog TRS input: +4 dBu 10. Use the Up and Down buttons in the Audio Hardware Calibration window to adjust the calibration in 0.5dB increments.
5 Preparing for Capture - Analog output: +4 dBu 8. Click OK. 9. Select the interface you want to calibrate: Monitor output or Analog output. Options vary depending on your Avid input/output hardware. You can calibrate only one channel at a time. 10. Select the appropriate channel. Channels vary depending on your Avid input/output hardware. 11. Click Play Calibration Tone. 12. Repeat this procedure for each channel.
Preparing to Capture Video Preparing to Capture Video The Video Input tool lets you select the format of the video input signal and calibrate composite video, component video, and S-Video. If you are capturing SDI, HD-SDI, or DV, for example, from a D1, D5, digital Betacam, DV, or HD deck, you cannot adjust levels by using the video input controls in your Avid editing application.
5 Preparing for Capture For information about settings in the Video Input tool, see “Video Input Tool Settings” on page 1207. Using the Factory Preset Buttons in the Video Input Tool The preset buttons in the Video Input tool show the status of each calibration setting as follows: • When you first open the Video Input tool in a new project, all preset buttons are lit (green), with the factory presets loaded for each slider.
Preparing to Capture Video To calibrate the video input: 1. Ensure that you have properly connected the video playback device to the system. For more information, see the setup guide for your Avid system. 2. Select Tools > Video Input Tool. The Video Input tool opens. 3. Click the Input menu, and select the appropriate video input channel. Your options for video input depend on the model of your Avid editing application and the project you select.
5 Preparing for Capture Top: full-field color bars (the leftmost bar is 100% white). Bottom: SMPTE standard split bars (the leftmost bar in the top row of bars is 75% white, the second bar in the center row of bars is 7.5 black level, and the second bar in the bottom row of bars is 100% white). 5.
Preparing to Capture Video NTSC (top) and PAL waveform values in the Video Input tool. NTSC values are measured in IRE, with the white level at 100 IRE (digital 235), the black level at 7.5 IRE (digital 16), and the 75% white level at 77 IRE (digital 180, the horizontal dotted line in the display). For NTSC-EIAJ, the black level falls at 0 IRE. PAL values are measured in volts, with the white level at 1 V (digital 235) and the black level at 0.3 V (digital 16).
5 Preparing for Capture 11. Adjust the Sat and Hue sliders (composite or S-Video) or the RY Gain and BY Gain sliders (component) until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. There is no hue adjustment for PAL video. n c You can also monitor hue with a vectorscope in the Color Correction tool. See “Working with the Waveform Monitors and Vectorscope Monitor” in the Help.
Preparing to Capture Video Limitations When Using Consumer Decks or Decks Without Time-Base Correctors This topic describes difficulties you might encounter when working with consumer video decks and tapes or decks that do not provide time-base correction or stabilized timing on their outputs. Capturing from Unstable Time-Base Sources Your Avid system is optimized for use with modern, broadcast-quality VTRs that contain time-base correctors (TBCs).
5 Preparing for Capture 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. The settings that are saved and restored are the Level adjustments made with the sliders and the selection status of the SignalLock or 100% Bars options. n Video Input settings do not restore the source format (Composite, Component, S-Video, DV, or SDI).
Preparing to Capture Video To create a customized default Video Input Tool setting: 1. Select Tools > Video Input Tool. The Video Input tool opens. 2. Adjust the Calibration settings. For more information, see “Calibrating Video Input” on page 184. 3. Click the Settings menu in the Video Input tool, and select Save As. The View Name dialog box opens. 4. Type Default, and click OK. You must use this spelling and initial capitalization.
5 Preparing for Capture Capture Preparations Check List ! ! ! ! ! ! ! 192 Check your hardware configurations, particularly connections between your deck and the Avid system. See “Preparing the Hardware for Capture” on page 134. If you are working on a complex project with multiple streams of video and high-resolution images, make sure your drives are striped properly. See “Getting Information About Striped Drives” on page 135.
6 Capturing Media This chapter provides information on capturing media from video or audio input. When you capture, you convert source material into master clips that contain reference information and media files that contain the digital audio and video.
6 Capturing Media For information about setting up the capture tools and adjusting capture settings, see “Preparing for Capture” on page 131. Capturing and Logging at the Same Time When you capture without entering log information in a bin ahead of time, your Avid editing application creates clips and associated media files while you capture. You manually cue source footage with an Avid-controlled deck, using the deck controls in the Capture tool.
Capturing and Logging at the Same Time Naming Clips and Adding Comments in the Capture Tool You can type clip names and comments before or during the on-the-fly capture of a clip. This information is saved in the clip Name and Comments columns in the bin. You can add comments about such things as color correction or directions for editing. If you do not type a clip name before or during capturing, your Avid editing application provides a default clip name.
6 Capturing Media To add clip names and comments during capture: 1. Click the arrow in the Capture tool to display the Name and Cmnt text boxes. 2. Start typing the clip name at any time during the capture of a clip. 3. After typing the clip name, press the Tab key and type a comment. You cannot edit the text until after the capture is complete, but you can backspace to retype the comments.
Capturing and Logging at the Same Time The Capture tool automatically rewinds the tape to the preroll point before the IN point of the clip, and the tape begins to play. The Record button becomes bright red, and the message bar displays the message that your Avid editing application is capturing. When the tape reaches the clip’s OUT point, capturing stops and your Avid editing application creates a new clip in the bin.
6 Capturing Media Capturing On-the-Fly Use the capturing on-the-fly method in any of the following circumstances: n • If you need to begin editing immediately and no adequate logs exist for importing into the system or setting marks. • If your source tape does not have timecode. • If you are capturing from a digital source such as a CD or DAT player. • If you are capturing from a live source, such as a satellite feed, or an in-house router.
Capturing and Logging at the Same Time 1 2 3 9 4 5 6 7 8 Deck controls in the Capture tool 1 Shuttle button 6 Pause button 2 Single-Frame Backward button 7 Play button 3 Single-Frame Forward button 8 Eject button 4 Fast Forward/Rewind buttons 9 Clear Marks buttons 5 Stop button 4. To begin capturing, play the deck. When it gets up to speed, click the Record button or press the F4 key.
6 Capturing Media You can also abort the capture procedure by clicking the Trash button. The clip is discarded. 6. To stop capturing and enter the OUT point of the clip, click the Record button, or press the Escape key on the keyboard. Your Avid editing application creates a new clip in the bin. It also enters basic log information for each clip, consisting of the mark IN, the mark OUT, the duration, and any other information typed in during the capture procedure. 7.
Capturing and Logging at the Same Time Autocapturing Autocapturing an entire tape can save you time by allowing you to bypass both the logging process and the time it takes to cue each shot. However, this process requires the most storage space, and it takes time to capture an entire tape. When you autocapture, you mount and cue your tape to a starting point and start the capturing process through the Capture tool.
6 Capturing Media Capturing with Time-of-Day Timecode When you capture with an Avid-controlled deck, you can capture your footage with time-of-day timecode rather than source timecode. To capture with time-of-day timecode: 1. Select the proper Capture settings and set up the capture tools, as described in “Preparing for Capture” on page 131. 2. When selecting tracks, deselect the TC button. 3. Capture by using any of the techniques described in “Capturing and Logging at the Same Time” on page 194.
Capturing Directly from a DV Device Codec Options (Adrenaline and Avid Mojo Only) If you capture through an Adrenaline or Avid Mojo, you have the option of using the Avid DNA hardware codec or the DV 25 software codec. For information on selecting the DV25 software codec, see “Selecting the DV 25 Software Codec” on page 203. If you capture through an Avid Mojo SDI or a separate IEEE 1394, your Avid editing application automatically uses the DV 25 software codec.
6 Capturing Media n For information on playing back DV 50 and DVCPRO HD media, see “Playing Back to a DV Device” on page 472. Selecting a DV Device Depending on your Avid input/output hardware configuration, when you want to use a DV device for capture, play, or output, you might need to select it in your Avid editing application.
Capturing Directly from a DV Device Understanding DV Capture Offset DV capture offset lets you 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.
6 Capturing Media Example of a DV offset of 6 frames: tape frames (top) and master clip frames (bottom) 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 are also inconsistent. Capturing DV Material with Offset To offset the sequence for capture: 1.
Capturing Audio from a Music CD To capture audio from a music CD: 1. Insert the music CD into the computer’s CD-ROM drive. 2. Start the CD player application, and select the track you want to capture. 3. Minimize the CD player application. 4. Select Tools > Capture. The Capture tool opens. 1 2 3 6 4 5 1 Toggle Source button set to Satellite mode 4 Selected Bin menu 2 Record button 5 Source Tape Display button 3 Selected audio track 6 Audio menu 5.
6 Capturing Media 10. Name the tape, and then select the tape. 11. Click OK. 12. Click the Record button in the Capture tool. Your Avid editing application captures audio to the selected bin. n You can map the Record button from the Play tab in the Command palette to a key on the keyboard. This lets you start capturing by pressing a key. The Record button works for either the Capture tool or the Audio Punch-In tool, depending on which tool is active.
Frame Chase Capture or edit the files. When the capture ends, the files are moved to their final location (Avid MediaFiles\MXF\1). Only then are the files checked in to Interplay and made available for use. Frame Chase Capture A Frame Chase capture creates media files directly in Avid MediaFiles\MXF\1 and creates a special type of clip known as an in-progress clip. In-progress clips are represented by In-progress master clip and In-progress audio clip icons.
6 Capturing Media Enabling Frame Chase Capture You use options in the Capture Settings dialog box to enable Frame Chase capture and to set both the default clip length and the interval for updates to Interplay. To enable and set options for Frame Chase capture: 1. In the Settings tab of the Project window, double-click Capture. The Capture Settings dialog box opens. 2. Click the MXF Media Files tab. 3. Select options as described in the following table, and then click OK.
Batch Capturing from Logged Clips n • Frame Chase capture is only possible if media files are captured to shared storage in the workgroup. If you select a local storage volume in the Capture tool, you override the “During capture, clip is updated in Interplay” setting in the Capture Settings dialog box and your Avid editing application performs a conventional capture. • Frame Chase capture is not available for JFIF or HDV video resolutions.
6 Capturing Media n When you capture footage from an NTSC film-to-tape transfer with pulldown, the playback flickers in the Client monitor during capturing because the system is dropping occasional frames due to the pullin process. The footage plays back smoothly in your Avid editing application, however, after the pullin conversion is complete. Preparing to Batch Capture Before you batch capture, you need to establish settings that allow the batch capture to take place with minimal supervision.
Batch Capturing from Logged Clips To prepare for unattended batch capturing: 1. Double-click Capture in the Settings list in the Project window. The Capture Settings dialog box opens. 2. Click the Batch tab and select the following options: t Log errors to the console and continue capturing t Switch to the emptiest drive if current drive is full For additional options, see “Capture Settings: Batch Tab” on page 1135.
6 Capturing Media 5. Select options in the dialog box: t If the bin contains some clips that are already captured and you do not want to recapture those clips, select “Offline media only.” If this option is not selected and some of the selected clips have media files, your Avid editing application deletes the media files and recaptures new media files. t If your selections include a sequence for batch capturing, the dialog box prompts you for handle length information.
Recapturing and Decomposing 7. Load the tape into the tape deck and click Mounted. A dialog box opens. 8. Click OK to confirm the tape and deck entries and begin the capture process. Your Avid editing application captures each clip from the tape, in start timecode order. 9. If your Avid editing application needs another source tape, it prompts you for the tape. At this point, you have several options. Do one of the following: t Load the new tape and click Mounted to continue the capturing process.
6 Capturing Media Understanding Recapturing There are three main situations in which you might want to recapture: • The original media files are unavailable. For example, you might transfer a sequence to a system that does not have access to the original media files, or you might accidentally delete media files. • The original media files have errors. For example, you might forget to check audio levels or set the wrong resolution when you first capture the media.
Recapturing and Decomposing Recapturing Sequences When you recapture a sequence, you create new master clips and associated media files based on the length of each clip edited into the sequence. Recapturing breaks any links to the original source clips, and only the sequence and its new master clips are linked to the newly captured media files. You can recapture a sequence in two ways: • Decompose to create new master clips, and then batch capture the clips.
6 Capturing Media the newly captured media files. If decomposing results in a change to the edit rate of some clips in the sequence, your Avid editing application adds Motion Adapter effects, or modifies existing Motion Adapter effects, to manage the edit rate change. Decompose gives you more control over the recapturing process than simply recapturing a sequence without using decompose. You can sort or modify the clips that decompose creates before you recapture media.
Recapturing and Decomposing For information on activating and using Expert Decompose, see “Decomposing Sequences” on page 220 and “Using Expert Decompose” on page 222. Target Formats for Expert Decompose The following table lists the target formats that are available using Expert Decompose. If the format of an existing clip is listed in the first column, you can decompose the clip to any of the formats listed in the second column, and then recapture the clip in that format.
6 Capturing Media Decomposing Sequences You can decompose sequences to create new master clips that you can then recapture. For more information on this process, see “Understanding Decompose and Expert Decompose” on page 217. To decompose one or more sequences: 1. Activate the appropriate bin and select the sequence or sequences. 2. Select Bin > Decompose. The Decompose dialog box opens. 3. To preserve clips that already have existing media files, select “Offline media only.
Recapturing and Decomposing c If you attempt to trim or add effects with no handles, you receive an error message notifying you that there is insufficient media. 6. (Option) Select “Extend handles beyond master clip edges” to allow the handles to extend before the beginning and after the end of the original master clip. When you batch capture, deselecting this option prevents capturing across a discontinuous timecode error.
6 Capturing Media n Your Avid editing application selects a resolution for each new clip that is appropriate for the target format you select in the Expert Decompose dialog box. If the target format matches the current project type, your Avid editing application uses the capture resolution set in the Media Creation settings. Otherwise, your Avid editing application uses the resolution of the original clip or the default resolution for the project.
Recapturing and Decomposing For more information, see “Understanding Decompose and Expert Decompose” on page 217 and “Decomposing Sequences” on page 220. To sort or reverse sort a column of information: t Right-click the column heading for any column, and then select one of the following: Command Description Sort Column Sorts the information in order, for example, alphabetically A to Z.
6 Capturing Media 3. Right-click on any selected item, and then select one of the following: Command Description Include in Decompose Selects the check box in the Decompose column for each of the selected items. Exclude from Decompose Deselects the check box in the Decompose column for each of the selected items. To deselect all selected tapes/sources or clips: t Click below the last item in any of the information columns.
Recapturing and Decomposing 5. To preserve clips that already have existing media files, select “Offline media only.” Deselect this option if you plan to recapture the entire sequence. 6. (Option) Select “All clips in a group edit.” 7. Click the Handle Length text box and type the number of additional frames you want to capture at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects.
6 Capturing Media Alternate Source Capture Alternate source capture allows you to choose a different source name (Tape) and timecode (Start) to use when you perform a batch capture. This is helpful when the clips used in your sequence are from a submaster source tape that is different than the original master tape.
Alternate Source Capture The Batch Capture dialog box opens. 6. Under the Alternate Source Options (Advanced), select the type of timecode from the Timecode Column menu that you want to batch capture from. Options depend on your project type. Timecode options can include: Start, Auxiliary TC1- TC5, Sound TC. If you choose a timecode other than Start, a message displays informing you that an Alternate Source is enabled. 7.
6 Capturing Media The deck rolls to the alternate source timecode and begins the capture process. Your Avid editing application captures each clip from the alternate source timecode and tape. Using Capture Function Keys Several function keys are mapped to specific capture functions when the Capture tool is active. When you are not in Capture mode, these keys operate with their default keyboard shortcut mappings. For more information, see ¨Shortcuts¨ in the Help.
Handling Errors During the Capture Process n The Start Capture function is not included in the key menus. F4 always starts capture. You can map an additional function to F4 to use after capture starts; End Locator Entry is the default. 4. Click OK. Handling Errors During the Capture Process You can log errors that occur during the capture process to the Console window. If you are not logging, you can respond to errors if they occur.
6 Capturing Media - If “Log errors to the console and continue capturing” is selected, when you batch capture and your Avid editing application encounters an error, it aborts the clip, enters error comments into the Console, and continues capturing the next clip. - If “Log errors to the console and continue capturing” is not selected, a message appears and your Avid editing application pauses if an error occurs while capturing. If this happens, use the last procedure below. 4. Click OK.
Creating Subclips While Capturing You should be aware of the following while creating subclips while capturing: • When you create subclips in 24p or 25p projects, they are always “hard” subclips. 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. • For NTSC film-to-tape transfers, you must log the correct pulldown phase before you create subclips.
6 Capturing Media 4. Click OK. To create a timed subclip: 1. Start capturing. 2. At the point where you want to start a timed subclip, press the mapped function key. This highlights the subclip IN and OUT points, and your Avid editing application creates the subclip automatically. 3. While your Avid editing application is capturing, you can type a name for the subclip. Press the Tab key to type comments about the clip.
Naming a New Tape from the Keyboard While Capturing The Name and Cmnt (Comment) text boxes revert to association with the master clip or the subclip being captured. Locator comments appear in the Locators window. 5. To see the locator comments, open the Locators window as described in “Viewing Locators in the Locators Window” on page 487. Naming a New Tape from the Keyboard While Capturing You can name a new tape without taking your hands off the keyboard.
6 Capturing Media Press To K+L Shuttle the deck at 0.25x normal speed. J+K Shuttle the deck at –0.25x normal speed. The following restrictions apply: • You must select the Capture tool, Digital Cut tool, or Deck Controller window for the keys to be active. • Single-field stepping is not supported. • If you remap the function of the J-K-L keys, you can no longer control decks with those keys.
Adding Extra Text Fields in the Capture Tool To display or hide text fields: 1. Select Tools > Capture. The Capture tool opens. 2. Click the Extra Field Selection button. The Field Selection dialog box opens. 3. Do one of the following: t Select the text fields that you want to display in the Capture tool. t Click Select None to hide the extra text fields in the Capture tool. 4. Click OK. Only the selected fields appear in the Capture tool. To delete extra text fields: 1.
6 Capturing Media Ejecting Tapes with a Button or Key If you click the Eject button and eject a tape, you can bring the fact that the tape must be changed to the attention of any tape operator in a remote machine room. To eject tapes by using a button: 1. Select Tools > Command Palette. 2. Click the Play tab. 3. Select Active palette. 4. Click the Eject button. You can map the Eject button to any button on the Tool palette or any key on the Keyboard palette.
Using Dolby E Media c If you are working in a film project, you cannot use pulldown settings when you capture your media if you want to use Dolby E material. Avid does not support capturing Dolby E media with audio pulldown because pulldown interferes with the preservation of Dolby E information. Selecting Dolby E Safe Settings You can automatically set your Avid editing system to protect Dolby E information during capture.
6 Capturing Media To select Dolby E safe settings: 1. In the Project window, click the Settings tab, and then double-click Audio Project. The Audio Project Settings dialog box opens. 2. Click the Main tab. 3. Click Keep Dolby E Material Safe, and select Yes. If you modify your sequence to change any of these settings, the Keep Dolby E Safe setting automatically changes to No. You can reset the settings by selecting Yes.
Delaying Audio During Capture Capture tool with blue Dolby E Safe button n The Dolby E Safe button appears only on systems using the following Avid hardware: Avid Nitris, Avid Nitris DX, and Avid Mojo DX. To capture media while protecting Dolby E information: 1. In the Main tab of the Audio Project Settings dialog box, Click Keep Dolby E Material Safe, and select Yes. 2. Select Tools > Capture. The Capture tool opens. 3. Check to make sure the Dolby E Safe button displays blue.
6 Capturing Media To offset your audio: 1. Select Tools > Capture. 2. Select the number of offset frames from the Delay audio menu. 3. Capture your material. 4. Play the captured media to verify that the audio and video are in sync. Working in Quick Record Mode Quick Record mode allows the deck to control the capture of media into Avid editing systems. In Quick Record mode, your Avid editing application starts capturing automatically whenever the servo-lock signal is detected from the deck.
Capturing in Satellite Mode or No Device Control 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” on page 154. 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.
6 Capturing Media Setting IN and OUT points is especially useful if you are taking a feed from a source based on a time-of-day timecode generator. Your Avid editing application begins to capture when the time of the external timecode source matches the IN point, and stops when the external timecode matches the OUT point. n You can log an event ahead of time and it automatically starts recording that signal when the internal clock or external LTC arrives at that timecode.
Capturing in Satellite Mode or No Device Control 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.
6 Capturing Media 7. Provide a tape name in one of the following ways: t Select a tape name from the list. Tape names and associated projects are listed in two columns. t If the tape is not in the list, click New, and then type a new tape name in the text box that appears at the bottom of the Tape Name list. t Click the Source Tape Display to display the tape names and associated project names for all bins that have been opened in the current session. Stop the process at any time by clicking Cancel.
Scheduling a Capture Session Scheduling a Capture Session You can schedule a capture session for upcoming live satellite feeds by placing the Capture tool in Scheduled Record mode. When the time-of-day timecode is within 10 seconds of the next scheduled capture time (and if the Capture Tool window is still active) the Capture tool enters Coincidence Wait mode (blinking yellow record light) and then begins capturing.
6 Capturing Media t Click Load and navigate to a tab-delimited text file of a schedule. If a clip has a start time that overlaps the end of the previous scheduled clip, it appears red. 5. (Option) You can save a schedule as a tab-delimited text file and load it at a later date. Click Save to save your schedule list as a tab-delimited text file. 6. Select the Scheduled Record Mode option. 7. Select how to capture the satellite feed: t Select Once to capture the satellite feed one time.
Capturing to the Timeline Capturing to the Timeline You can capture footage directly from tape to a sequence loaded in the Timeline in one step, bypassing several steps such as organizing and reviewing clips, marking edit points, and performing edits. By default, your Avid editing application edits the tracks you select for capturing to the corresponding tracks in the Timeline. You can patch the captured footage to any track in the Timeline.
6 Capturing Media Track Selector button and menu in the Capture tool (left), and result displayed in the Timeline (right) 5. Mark an IN point in the sequence or move the position indicator to where you want the edit to take place. 6. Mark the source material you want to capture by using the Capture tool logging controls. For more information, see “Logging with Avid-Controlled Decks” on page 121. 7.
Capturing Video Without Pulldown into a 24p NTSC Project Capturing Video Without Pulldown into a 24p NTSC Project Film-to-tape transfers that are made without using pulldown can be captured directly into a 24p project. This feature is useful when special effects are generated on a frame-to-frame basis to tape, and need to be integrated into a 24p project. Before capturing the footage, click the Film to Video Transfer menu in the Film and 24p Settings dialog box, and select Video Rate.
6 Capturing Media n If a message appears stating that the Avid Serial Driver is not installed for Remote Play and Capture, make sure the correct serial driver is installed on your system. If you are running Avid Media Browse™ and using the Remote Play and Capture option, you need to run your Avid editing application with the Microsoft driver. If you are running your Avid editing application without Avid Media Browse, you need to install the Avid serial driver.
Remote Play, Capture, and Punch-In 3. Close the Communication (Serial) Ports tool. Your Avid editing application saves the setting as a Site setting, effective for all projects. 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 Capture. 6. Select Device Code > device. 7. Specify the time (measured in frames) it takes the deck to start playing from a cued position in the Runup area. 8.
6 Capturing Media A check mark appears next to the command to indicate that your 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. The Remote Play and Capture command behaves like a Local/Remote switch on a playback device, with VTR in Local mode by default when you start your system. 5. Use the Play, Cue, and Stop buttons on the edit controller to control a sequence loaded in the Source/Record monitor.
Remote Play, Capture, and Punch-In 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 1198. 8. Click OK. 9. Select Clip > Remote Play and Capture when you are ready to use your system for capturing. A check mark appears next to the command to indicate that your system is ready.
6 Capturing Media Input Channels buttons in the Audio Punch-In tool 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. If you set the IN point at the first frame of the sequence, you must add filler to the start of the sequence equal to the amount of preroll.
Modifying the Pulldown Phase After Capturing 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. The Communications Port Properties dialog box opens. 6. Click the Driver tab. 7. Click the Update Driver button. The Hardware Upgrade Wizard opens. 8. Select “Install from a list or specific location (Advanced),” and then click Next. 9.
6 Capturing Media t If you want to maintain the start timecode for each clip, review the original tape field by field. t If you do not need to maintain the start timecode: a. Step through the clip frame by frame (using the Step buttons or another method). Look for two frames that are identical (no movement). b. Think of these frames as frames B and X of a four-frame series.
DV and HDV Scene Extraction 2. Deselect the option “Delete master clip(s)” and select “Delete associated media file(s).” 3. (Windows only) Select the resolutions to delete. 4. Click OK. Your Avid editing application deletes the original media file. 5. Make sure the clip is still selected. Press Ctrl+Shift and choose Unlink from the Clip menu. The clip information is unlinked and you can modify it. 6. Type the correct letter for the pulldown phase in the Pullin column.
6 Capturing Media You should be aware of the following: • You can perform DV Scene Extraction on any existing clip or subclip in a bin that has TOD information breaks. • DVCPRO format does not provide TOD metadata. You cannot use DV or HDV Scene Extraction with DVCPRO format. • DV or HDV Scene Extraction does not work on non-DV or audio-only clips. To set up DV and HDV scene extraction before capturing: 1. Double-click Capture in the Settings list of the Project window.
Using the Panasonic VariCam 5. Select DV Scene Extraction. 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.
6 Capturing Media To use the VariCam camera with your 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.
7 Importing Files When you import files, your Avid editing application converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. You can specify a target drive to store any corresponding media files.
7 Importing Files Preparing to Import Files Before you begin the import process, make sure the system and the files are ready for import: • Prepare the files in advance according to specifications described in “File Format Specifications” on page 1215. • Determine the source for the files. Consider copying all files to a single folder before you import. See “Importing Media Files” on page 264. • Review the information on using import settings in “Creating and Modifying Import Settings” on page 262.
Creating and Modifying Import Settings Custom setting name column in the Settings list of the Project window 2. Click Import. 3. Select Edit > Duplicate. 4. To name the setting, click the Custom setting name column, type a name, and press Enter (Windows) or Return (Macintosh). 5. Double-click the new Import setting. The Import Settings dialog box opens.
7 Importing Files 6. Select the appropriate options. For more information about Import settings, see “Import Settings” on page 1181. 7. Click OK. To modify an existing Import setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click an Import setting. The Import Settings dialog box opens. 3. Select the appropriate options, as described in “Import Settings” on page 1181. 4. Click OK.
Importing Media Files n If you are working in an HD project, you cannot select OMF as a file format. MXF is selected by default. 5. Click the Import tab. 6. Select the resolution and target drives. For more information on using the Media Creation dialog box, see “Selecting Video Resolutions and Media Drives” on page 137. The information you select is displayed in the Select Files to Import dialog box. 7. Click OK and close the dialog box. 8. Open the bin in which you want to store the imported files. 9.
7 Importing Files 1 Look In menu 6 Options button 2 Details button 7 Single/Dual Drive button 3 File browser 8 Video Resolution menu 4 File to import 9 Media Drive menus 5 Files of Type menu 10 Disk Label (for XDCAM only) Select Files to Import dialog box (Macintosh) 1 Enable menu 5 Single/Dual Drive button 2 From menu 6 Video and Audio Drive menus 3 Options button 7 Source file list 4 Resolution menu 8 Disk Label (for XDCAM only) 10.
Importing Media Files Option Description (Continued) AVCHD Use to import AVCHD transport stream (.mts) files. OMFI Use to import OMFI (.omf) files, such as sequences transferred from an effects or digital audio workstation. CamCutter Use to import Editcam™ or Editcam-station (.bin or .spl) files. For more information, see “Importing Editcam Files” on page 279. AAF Use to import AAF (.aaf) files. MXF Use to import MXF (.
7 Importing Files 14. Click the Single/Dual Drives button and select a destination drive for the imported file. The target drive or drives match the drives selected on the Import tab of the Media Creation Settings dialog box. If you select a different drive, the drive is also selected in the Media Creation Settings dialog box. 15. For an XDCAM disc, type a name in the Disk Label text box.
Sample Rate Conversion and Audio Import 3. Click the Audio tab, and then select Apply attentuation/gain effect on Import. 4. Type a decibel level from 12 to -96 to adjust the volume, or use the Up and Down arrows on the keyboard to locate the decibel level you want to apply to all the imported clips. 5. (Option) If you only want gain to apply to CD imports, select “CD only” to apply the gain to all the music files on the CD. 6. Click OK.
7 Importing Files If you choose to convert your source sample rates when importing audio files, you also have the option to skip the conversion of files recorded with pullup or pulldown sample rates. This option affects the import process in the following ways: • Skipping the sample rate conversion of audio files with .1% pullup or pulldown sample rates imports the files, bit for bit, with no change to the source audio file.
Photoshop Graphics Import 3. Click the Audio tab, and then select the following options, as appropriate: Option Description Convert source sample rate to project sample rate Selecting this option converts all source audio files to the sample rate of your project. Deselecting this option imports all files at the source sample rate. The default is to convert sample rates on import.
7 Importing Files Single-Layer Photoshop Graphics A single-layer graphic is a graphic file that was created either on a single layer or with multiple layers and subsequently 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, your Avid editing application creates a matte key.
Photoshop Graphics Import Example of Multilayered Photoshop Graphics Import A multilayered Photoshop graphic might consist of a collage of still images over a background image, with a layer of text. Separate layers contain each image and the text. The goal is to edit the collage into a sequence, building it up one image at a time, and then add the text. The following illustration shows the graphics and layers in Photoshop.
7 Importing Files 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. You can then edit the tracks to build up to the full collage.
Photoshop Graphics Import Layer Option Supported Notes Blending Mode No To preserve the blending mode (Dissolve, Multiply, and so on), merge the layer into another layer that does not use a special blending mode. Only normal mode is supported. Opacity Yes The imported layer’s Level is set to the opacity specified in Photoshop. You can adjust opacity levels with the Foreground Level control in the Effect Editor.
7 Importing Files Importing Photoshop Files To import a single-layer graphic, or a flattened multilayered Photoshop graphic: t Follow the standard instructions for importing a graphic, as described in “Importing Media Files” on page 264. To import a multilayered Photoshop file: 1. Prepare the Photoshop graphic for import. For more information, see “Support for Multilayered Photoshop Graphics Import” on page 274. 2.
Digital Bars and Tone The resulting image contains only the layers that contain layer effects. Digital Bars and Tone If you expect to output your final sequence as a digital cut that requires calibration before playback (a digital cut that will be broadcast, for example), in most cases you might need a clip of color bars. You can add the clip to the front of the sequence, or you can output the clip separately as an assemble or insert edit onto tape during digital cut.
7 Importing Files 4. Do one of the following: - (Windows) Click the Files of Type menu, and select Graphic Files. - (Macintosh) Click the Show menu, and select Graphic Documents. 5. Use the Look in menu (Windows) or the From menu (Macintosh) to locate the folder containing the test pattern file. Test pattern files are located in the following folder: - (Windows) drive:\Program Files\Avid\Avid editing application \SupportingFiles\Test_Patterns - (Macintosh) Macintosh HD/Applications/Avid editing appl
Importing Editcam Files 12. Select the new subclip, Ctrl+click (Windows) or Shift+click (Macintosh) the audio clip containing the tone, and select Bin > AutoSync. A new subclip containing bars and tone appears in the bin. 13. Rename the clip as necessary. Importing Editcam Files You can import clips recorded with Ikegami® disk-based Editcam™ or Editcam-station products. The Editcam is a digital news-gathering (DNG) camera that uses Avid's CamCutter® technology.
7 Importing Files 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 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 you want to import. The Outakes.bin contains clips that were discarded by the Editcam operator. These clips are generally not imported. 5.
Setting XDCAM Import Options Setting XDCAM Import Options Set the default options to import XDCAM media in the XDCAM tab of the Import Settings dialog box. Use these settings to override the selections made in the Select Files to Import dialog box or to set default behavior when you import XDCAM media. For more information, see “Import Settings: XDCAM Tab” on page 1186. Importing XDCAM Media XDCAM and XDCAM HD devices store media as MXF OP1a interleaved files.
7 Importing Files There are several ways to access XDCAM media: • 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 284. • Manually import all proxy media on all discs currently loaded on your system. See “Importing Proxy Media from an XDCAM Disk” on page 286.
Importing XDCAM EX Media First you need to export the clip from the XDCAM EX device. There are two export options to choose from, one option is to export “MXF for NLEs.” This option creates an OP1a .mxf file, and then import the file into a bin. The other option is to choose to export “Avid AAF.” This option creates an AAF composition file, and concurrently creates an OPAtom MXF media file. In the Avid AAF export options, choose a valid Avid MediaFiles folder.
7 Importing Files To import an XDCAM EX clip using MXF for NLEs: 1. With an XDCAM EX camera or reader attached to your system, insert an XDCAM EX card. 2. Launch the Sony XDCAM EX Clip Browser. n The XDCAM EX Clip Browser application should have come with your Sony camera or reader. For information about the Sony XDCAM EX Clip Browser, see Sony’s documentation. 3. From within the Clip Browser window, select the clips you want to export. 4. Right-click the clips and select Export > MXF for NLEs.
Automatically Importing Proxy Media from an XDCAM Device 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. If you do not select a bin, or if you have more than one bin open, a dialog box opens and directs you to select from a list of open bins or create a new bin. 6. Insert a disk into your XDCAM device. The Import XDCAM Proxy from drive: dialog box opens. 7.
7 Importing Files Your Avid editing application imports XDCAM media at the native resolution of the media on the XDCAM disc. Your Avid editing application ignores other resolution settings — for example, in the Select Files to Import dialog box. 10. (Option) Repeat this procedure for each XDCAM disc that holds media you want to import.
Copying XDCAM Proxy Media to a Local Drive or a Server Copying XDCAM Proxy Media to a Local Drive or a Server You might want to import proxy media when the XDCAM device is not available. For example, if you want an editor to start editing the XDCAM footage while the actual XDCAM disk is at another location, you can transfer the proxy media files to an FTP server. You can then download the files from the server, and an editor can import the proxy media and begin editing.
7 Importing Files For more information, see “Importing Media Files” on page 264 and “Using the Drag-and-Drop Method to Import Files” on page 294. n Your Avid editing application imports XDCAM media at the native resolution of the media on the XDCAM disk. The system ignores other resolution settings — for example, in the Select Files to Import dialog box. You can locate the MXF media files in the following directories on your XDCAM disk: • High-resolution media — XDCAM drive:\Clip • Proxy media — XDCAM
Editing XDCAM Proxy Media 2. Click the XDCAM tab. 3. Select Import Essence Marks as locators. 4. Click OK. Editing XDCAM Proxy Media When you import proxy media files, a new master clip is created that you can edit in the timeline just like any other clip. You can mix the clips in the Timeline with any supported resolutions, add effects or titles, or perform any other editing function available in your Avid editing application. XDCAM proxy media is single-frame resolution media.
7 Importing Files 2. (Option) You can perform emergency play-to-air operations of the proxy media as an export, as a Send to Playback operation, or as a digital cut. Batch Importing High-Resolution XDCAM Media from the XDCAM Disk Once you finish editing your sequence with proxy media, you can replace the low-resolution media with the corresponding high-resolution media with the Batch Import command.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk 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.
7 Importing Files Single/Dual Drives button (left) and Video Drive and Audio Drive menu location (right) in the Batch Import dialog box 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 import.
Editing and Finishing High-Resolution XDCAM Media Editing and Finishing High-Resolution XDCAM Media Once you import the high-resolution media, you can playback and edit your sequence with full resolution and in real-time. 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.
7 Importing Files 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 your Avid editing 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. Open and select the bin where you want to import the clips to. 2.
Reimporting Files 4. Open the bin in which you want to store the imported files. 5. Open the folder that contains the files you want to import. 6. Select the file you want to import and drag it to the bin. To select multiple files, Ctrl+click (Windows) or Shift+click (Macintosh) the files and drag them to the bin. 7. (XDCAM only) The Import file(s) from XDCAM dialog box opens. Type a name in the Disk Label text box, and then click Import.
7 Importing Files You cannot reimport a mixed-rate sequence because you cannot batch import material in formats other than the project format. A message box appears if you attempt to reimport such material. Instead, you can decompose the sequence, then reimport the resulting clips by opening the bin in projects that match each of the decomposed formats. n OMFI files can contain only one master clip when you reimport them. To reimport files: 1.
Reimporting Files The message box closes and the Batch Import dialog box opens. For reference information on the Batch Import dialog box, see “Batch Import Dialog Box” on page 298. 8. If you want to remove clips from the list, select the clips you want to remove and then click Skip This Clip. The clips are removed from the list and are not imported. 9. Locate the sources for files that weren’t found by doing the following: a. Select a clip or clips displayed in red in the Selected Clips section. b.
7 Importing Files Batch Import Dialog Box The Batch Import dialog box lets you select a source file for each master clip that you selected in a bin. Your Avid editing application finds the source file automatically if the it is located in the same folder where you last imported the file. For information on working in the Batch Import dialog box as part of the reimporting process, see “Reimporting Files” on page 295. Batch Import dialog box. Top: Selected Clips area.
Batch Import Dialog Box Area Control Selected Clips list Description Shows the clips you selected for import. The caption at the top of the section summarizes the total number of clips shown and how many of them are available for import. Found clips display in black. Clips not found in their original location display in red. Skip This Clip button Removes any clips that you select in the list so that they are not reimported.
7 Importing Files 300
8 Working with Bins Bins provide powerful database tools for organizing and managing your captured material. Bin functionality lets you view bin objects and information in several different ways. You can rename, sort, sift, duplicate, assign colors, and delete clips and sequences, move or copy clips from one bin to another, and print single-clip frames or whole bins.
8 Working with Bins Icon 302 Object Type Description Master Clips A clip that references audio and video media files formed from captured footage or imported files Shared Storage Master Clip A master clip that references media files located on a shared storage system In-progress Master Clips A master clip that references media currently being captured that you can view and edit. For more information, see “Understanding Frame Chase Capture” on page 208.
Bin Views Bin Views You can display the contents of your bins in four different ways: n Drag the lower right corner of the Bin window to resize each display view. The size of the display view is saved as a User setting for the bin. The bin view retains its set size every time you open that view of that bin, even in separate editing sessions. Each bin view can have a different size.
8 Working with Bins Text view: Bin with Text tab selected To select column headings: 1. With a bin in Text view, do one of the following: t Select Bin > Choose Column. t Right-click and select Choose Column. The Bin Column Selection dialog box opens. 2. Select the headings you want to add to the bin: t Click the name of a heading to select it. t Click a selected heading to deselect it. t Click All/None to select or deselect all the headings. 3. Click OK.
Bin Views Sorting Clips and Sequences You can automatically sort clips and sequences in Brief view and Text view only. If you need to view sorted clips in Script or Frame view, sort them in Text view first and then return to Script or Frame view. To sort clips in ascending or descending order: 1. With a bin in Text view, do one of the following: t Double-click the heading of the column that you want to use as the criterion.
8 Working with Bins Understanding Bin Views Use the Bin View menu (Text view only) to select different bin views. The Bin View menu appears to the right of the Fast Menu button. The following table describes the default bin views that are available. View Description Custom Lets you create and save customized views. The Name heading is only required column heading, which displays by default. Add, hide, or rearrange column headings to customize the view.
Bin Views Saving a Custom Bin View To save a bin view: 1. Open a bin and click the Text tab. 2. Resize, add, hide, or rearrange bin columns according to preference to customize your view. The Name column is the default and the only required column heading. The bin view name changes to an italic name with the file name extension .n to indicate that it no longer matches the original view.
8 Working with Bins To enter Frame view: t Click the Frame tab in the bin. Frame view in the bin. Top to bottom: Frame tab, Clip frame, Clip name, and Bin Fast Menu button To enlarge the frame size: t Select Edit > Enlarge Frame. The display size increases each time you select this option, up to seven times. To reduce the frame size: t Select Edit > Reduce Frame. The display size decreases each time you select this option, up to seven times. To rearrange a single frame: 1.
Bin Views To align selected frames to an invisible grid: t Select Bin > Align Selected to Grid. To space the frames evenly to fill the Bin window: t Select Bin > Fill Window. To arrange frames in the order in which they are sorted in Text view: t Select Bin > Fill Sorted. To change the frame identifying the clip: 1. Select the clip that you want to change.
8 Working with Bins Script view in the bin. Top to bottom: Script tab, Clip information, and Script text box To type text in the script box: 1. Click the text box and begin typing. 2. (Option) If the text you type extends beyond the size of the script box, you can use the Page Up and Page Down keys on the keyboard to scroll through the text. This text does not appear in sequences edited from the clips, only in printouts of the bin in Script view.
Bin Procedures Bin Procedures You can manipulate material in the bin in a variety of ways, including selecting, deleting, duplicating, moving, copying, and sifting clips and sequences. When you work with bins, an asterisk (Windows) or a diamond (Macintosh) appears before the bin name in the bin’s title bar. The asterisk or diamond indicates that the changes to the bin have not been saved. Once you save the bin, the asterisk or diamond is removed.
8 Working with Bins n Selecting a single item deselects any other selections. To reverse your selection: t Select Bin > Reverse Selection. The items that you previously selected are deselected, and those items that were previously deselected are selected. Duplicating, Copying, and Moving Clips and Sequences When you duplicate a clip or sequence, your Avid editing application creates a separate clip linked to the same media files.
Bin Procedures n If the destination bin’s display has been set to show reference clips, the referenced object types do not appear until you save the bin. For more information on setting the bin display, see “Setting the Bin Display” on page 340. To copy clips or sequences from one bin to another bin: 1. Position or resize the bins so that you can see both of them at the same time. 2. In the original bin, click the clips or sequences that you want to copy. 3.
8 Working with Bins Deleting Items from a Bin You can delete the following items from a bin: • Clips • Subclips • Sequences • Effect clips and their media files • Motion effect clips and their media files • Rendered effects clips and their media files • Data clips and their media files • Master clips and their media files • Sources • Groups c When you delete media files, you can no longer see the deleted material.
Bin Procedures Examples of the Delete dialog box with one master clip selected (left) and with multiple clips selected (right) 3. Select the items you want to delete: t Select clips and their associated media files for deletion. t Select only the media files for deletion if you want to retain the clips to recapture later. t Select only the clips for deletion if the media file is referenced by another clip. t Select the resolutions you want to delete.
8 Working with Bins n When you select a title for deletion, you might see more than one resolution. (Macintosh) To delete clips, subclips, and sequences with their media files from a bin: 1. Select the clips, subclips, or sequences you want to delete. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The Delete dialog box opens which displays information about the selected items. This example shows one sequence and one master clip selected for deletion. 3.
Bin Procedures Changing the Bin Background Color You can customize the background color of the bin. Changes affect only the currently active bin. Also, you can reset the bin background color to the default color for your Interface settings. To change the bin background color: 1. In the Settings list of the Project window, double-click Interface. The Interface Settings dialog box opens. 2. Select Allow Custom Bin Backgrounds, and then click OK. 3. Activate the bin you want to change.
8 Working with Bins Assigning Colors to Objects in a Bin You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects. You can display colors in bins and in the Timeline. For information on displaying colors in the Timeline, see “Displaying Clip Colors in the Timeline” on page 589. Also, you can reset the clip color to the default color for your Interface settings.
Bin Procedures To restore the default clip color, do the following: t With a bin in Brief or Text view, select the bin objects to which you want to restore the default color, and then select Edit > Set Clip Color to Default. Locking and Unlocking Items in a Bin You can lock any items in a bin — including source clips, master clips, subclips, and sequences — to prevent deletion. When you lock clips in a bin, you lock their associated media files on your desktop as well. To lock items: 1.
8 Working with Bins 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. 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.
Bin Procedures You can also use the Media tool to look at the captured video and audio data files stored on your media drives. For more information on the Media tool, see “Using the Media Tool” on page 408. To identify media relatives: 1. Open the bin that contains the selected clip or sequence. 2. Open any other bins that might contain the media relatives that you want to find. 3. Resize and position the bins so that you can see their contents.
8 Working with Bins 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 informs you that unreferenced clips highlight in open bins only (items in closed bins do not display). 4. Click OK. All unreferenced clips highlight in the open bins.
Working with Bin Columns To align bin columns: t Select Bin > Align to Columns. To hide or delete a column: 1. Do one of the following to hide a column: t Click the column heading in a bin, and then select Bin > Hide Column. t Right-click a column heading and select Hide Column. The column disappears from the view, and surrounding columns close to fill the space. 2. Do one of the following to delete a column: t Click the column heading in a bin, and then select Edit > Delete.
8 Working with Bins Adding Customized Columns to a Bin In addition to the standard column headings, you can add your own column headings to describe information about clips and sequences. For example, you might want to add a column heading to describe what kind of shot (close-up, wide shot, master shot, extreme or close-up) is used in a clip. To add a new custom column: 1. Click an empty area to the right of the current headings in the headings box. 2.
Working with Bin Columns To add a metadata column: 1. With a bin in Text view, select Bin > Headings. The Bin Column Selection dialog box opens. 2. Scroll to the bottom of the list and select the metadata headings you want to add to the bin. Manufacturer generated metadata column headings in the Bin Column Selection dialog box 3. Click OK. Only the metadata headings selected appear in the bin. n When you use AMA and metadata column headings, Avid recommends that you do not create custom bin views.
8 Working with Bins Moving Within Column Cells You can use the keyboard shortcuts described in the table to move from cell to cell in bin columns: Shortcut Description Tab Moves the pointer to the cell in the next column. You can continue to press the Tab key to move through the cells to the right until the cell in the last column highlight. The next time you press the Tab key, the cell in the first column highlights. Shift+Tab Moves the pointer left to the cell in the previous column.
Working with Bin Columns n For information to display timecodes in the Timeline and the Tracking Information display, see “Displaying Timecode Tracks in the Timeline” on page 595 and “Displaying Tracking Information” on page 448. After you add a timecode column (TC60) to a bin, you can use the Duplicate command to convert the values for master clips and subclips to the appropriate timecode for that column.
8 Working with Bins 5. Select the timecode heading from the list. 6. Click OK. The values for master clips, subclips, and sequences in the Start column convert to the appropriate timecode format and display in the column you selected. Modifying Clip Information You can change or modify the information in certain columns for your master clips, subclips, tapes, and other objects stored in the bin.
Modifying Clip Information If you work in an Interplay environment, the list of bin column headings include audio sample rates and video resolutions. Select from these headings to display multiple sample rates and resolutions in the bin. For more information, see “MultiRez Bin Headings” on page 1080. You can modify information in bin columns. For example, you can type a new name for a clip or correct the start and end timecodes.
8 Working with Bins Bin Column Heading Description CFPS Captured frames per second. Color Color of the bin objects for organizing the objects. For more information, see “Assigning Colors to Objects in a Bin” on page 318. Modifiable after capture with no restrictions. Color Space Indicates the color space (RGB or YUV) of the clip. Comments Modifiable after capture with no restrictions. Creation Date Date and time you log or capture the clip.
Modifying Clip Information Bin Column Heading Description Mark OUT Timecode for the OUT point, if you set one for the clip. Modifiable after capture — altering the mark OUT also alters the IN to OUT duration. This replaces any previous mark. Modified Date Date and time a sequence was last edited or changed. Offline Track names for any media files offline. Pixel Aspect Ratio Indicates the shape of each pixel in the image. Ratio of width to height.
8 Working with Bins Modifying Data in Bins You can modify data in bin columns directly by typing in a selected text field. You can use the standard keyboard shortcuts for entering text — for example, press Ctrl+A (Windows) or Command+A (Macintosh) to select all text in a text field. For more information, see “Bin Shortcuts: Text View” in the Help. You can also use the Modify command for specialized control over groups of clip information.
Modifying Clip Information To modify selected data using the Modify command: 1. Open the bin and click the Text tab. 2. Click the icon to the left of the clip, sequence, or other object you want to modify. Ctrl+click (Windows) or Cmd+click (Macintosh) each additional object you want to modify. 3. Select Clip > Modify. The Modify dialog box opens. 4. Click the Modify Options menu, and select an option. 5. Select an option or type information into the text boxes.
8 Working with Bins Modify Command Options Type of Modification Options Description Set Timecode Drop/ Non-drop Drop, Non-drop Changes the timecode format between drop-frame and non-drop-frame. Setting must match the timecode format of the tape. Set Timecode By Field Start or End Changes either the start or end timecode. You can only alter start timecodes after capture. Hour, Minutes, Seconds, Frames Lets you enter custom timecode. Start or End Changes either the start or end timecode.
Working with Film Information in Bins Type of Modification Options Description Set Disk Label Set label Lets you change the name assigned to an XDCAM disk. For more information, see “Importing XDCAM Media” on page 281. Set Format Compatible formats Lets you change the format of a sequence. The choice of formats is limited to the compatible frame rate of the current sequence. This option is useful if you work with downconverted HD material in an offline/online workflow.
8 Working with Bins Organize scene bins according to the following basic workflow: 1. Create one bin for each scene. See “Creating a New Bin” on page 60. 2. Gather clips according to scene. Use one of the following optional procedures: - Copy clips for each scene from the capture bins into the appropriate scene bin. - Duplicate the clips and then move the duplicates into the appropriate scene bin. See “Duplicating, Copying, and Moving Clips and Sequences” on page 312. 3.
Working with the SuperBin 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 look like this: KJ 12 1234-3456-10.3 The “.3” at the end of the key number represents the perf value. To specify the perf value: t Enter 1, 2, or 3 in the appropriate bin column cell. Selecting an Edgecode Type There is one edgecode per foot of film.
8 Working with Bins To enable or disable the SuperBin: 1. In the Settings list of the Project window, double-click Bin. The Bin Settings dialog box opens. 2. Select or deselect Enable SuperBin, and then click OK. To open bins in the SuperBin: 1. Enable the SuperBin. 2. Click the Bins tab in the Project window. 3. Click a bin name. The bin opens in the SuperBin. The SuperBin icon appears in the upper left corner, and the title is SuperBin: bin name.
Working with the SuperBin To move a bin out of the SuperBin and into its own window: 1. Click the Bins tab in the Project window. 2. Double-click the open bin’s icon in the Project window. The bin disappears from the SuperBin and appears in its own window. To move a clip or sequence into the SuperBin: t Drag the clip or sequence from an open bin window into the bin displayed in the SuperBin. The clip or sequence moves into the SuperBin. To move a clip or sequence out of the SuperBin: 1.
8 Working with Bins Creating a Storyboard To create a storyboard: 1. Synchronize picture and sound, convert audio timecode, and modify clip data. 2. Set the bin display to show the media objects for the clips you want in your storyboard. 3. Delete, move, copy, and sort clips to narrow down the clip selection. 4. Select Frame view to display your storyboard in the bin. 5. Rename clips to include additional information such as numbered ordering. 6.
Sifting Clips and Sequences 4. (Option) Accept the default or deselect “Show clips created by user” if you want to hide all objects except those created by the system. 5. (Option) Select “Show reference clips” to automatically display objects that are referenced by sequences in the bin, whether those clips were previously in the bin or not. 6. Click OK. The bin displays objects according to your specifications.
8 Working with Bins 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. Type additional sift criteria, and make additional column selections as necessary. 6.
Sifting Clips and Sequences Example of a bin after a custom sift by timecode. The detail of the Custom Sift dialog box (top) shows the query used for sifting, and the bin (bottom) shows only those clips that encompass the timecode number 01:08:32:00. Some column pairs explicitly define a range, for example, Start and End or Mark IN and Mark OUT. Other columns define the beginning of a range, and the end of the range is determined by the Duration column.
8 Working with Bins Bin Column (Explicit Ranges) Column or Range to Search Menu Item Start, End Start to End Range Mark In, Mark Out Mark In to Out Range KN Start, KN End KN Start to End Range KN Mark In, KN Mark Out KN Mark In to Out Range The table lists all columns associated with implicit ranges and their corresponding menu choices. The Duration column determines the end of these ranges.
Working with Restricted Material The criterion “contain” appears in the Criterion menu. If you try to change this criterion, no information appears in the Column or Range to Search menu. 5. Click OK. The bin displays those clips that encompass the timecode (or keycode) number that you entered. Working with Restricted Material Broadcast facilities sometimes need to manage digital rights by restricting the use of footage. You can mark restrictions on clips in Avid Interplay Assist.
8 Working with Bins 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. Restriction warnings for the current clip or any other clip do not display. When you quit your Avid editing application and then open it, you see the warning again the first time you display or output restricted material.
Printing Bins Printing Bins To print entire bins: 1. Make sure your printer is correctly set up. 2. Click the Brief, Text, Script, or Frame tab of the bin to select the view you want to print. 3. Select File > Page Setup. The Page Setup dialog box opens, reflecting the specific options for your printer. 4. Select the appropriate options. 5. Click OK (Windows) or Print (Macintosh). 6. Select File > Print Bin. The Print dialog box opens, reflecting the specific options for your printer. 7.
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9 File Based Media - AMA You can link, import, or export clips and sequences from many third-party volumes or third-party files 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, reader, or drive), from a CD or DVD, from a folder on your system, or from a virtual volume (a server connected to your system).
9 File Based Media - AMA low-resolution or compressed (proxy) media (MPEG-4). This lets you work with the compressed or low-resolution media in an off-line editing session and then later conform or link the compressed media to the corresponding high-resolution media. Your Avid editing application supports high-resolution XDCAM EX media. Sony’s XDCAM EX media is stored on a card.
XDCAM and XDCAM EX Media Resolution/Bit Rate Frame Rate/Raster XDCAM EX DV-AVI: DV 25 411 DV 25 420 SD NTSC 30i SD PAL 25i DVCAM: DV 25 411 DV 25 420 SD NTSC 30i SD PAL 25i MPEG IMX (16 and 24-bit audio) MPEG 30 MPEG 40 MPEG 50 SD NTSC 30i and PAL 25i SD NTSC 30i and PAL 25i SD NTSC 30i and PAL 25i MPEG-4 (compressed media) SD NTSC 30i and PAL 25i n Number of Audio Channels (maximum) 2 4 4 or 8 4 or 8 The above listed formats and resolutions support 16-bit audio, except where noted.
9 File Based Media - AMA Working with AMA XDCAM Multiple Resolution Media The XDCAM AMA plug-in allows you to link to low-resolution (proxy) or high-resolution audio or video media. To link to the AMA XDCAM multiple resolution media, see “Working with AMA Multiple Resolution Media” on page 387. The AMA multiple resolution feature supports specific XDCAM devices which include a /PROAV folder. For example, the Sony PDWU1 Professional Disc Drive Unit.
XDCAM and XDCAM EX Media Spanned Clips and XDCAM EX Spanned clips are clips that extend from one card to another. Avid supports working with spanned XDCAM EX clips in your Avid editing application. For more information about spanned clips, see “Spanned Clips and P2” on page 360. Ejecting an XDCAM EX Card To properly eject a card from an XDCAM EX device while your Avid editing application is running, choose to “Safely Remove Hardware” from your Windows Vista or Windows 7 system.
9 File Based Media - AMA To copy the XDCAM EX card or XDCAM disk to another drive: 1. On the drive, set up a folder for each XDCAM EX card or XDCAM disk you want to copy. Avid recommends that you do not place the media folder at the top level of the drive. 2. Give each folder a unique name that identifies the XDCAM EX card or XDCAM disk. The name does not have to be the same as the actual card or disk name. 3. Navigate to the actual XDCAM EX card or XDCAM disk and select the folder with the media. 4.
P2 Media Panasonic P2 Formats Avid editing applications support the following resolutions, captured by Panasonic P2 equipment at frame rates of 30i NTSC and 25i PAL: Panasonic Format Avid Format Number of Audio Channels DV DV 25 411 (NTSC) DV 25 420 (PAL) 2 DVCPRO DV 25 411 (NTSC and PAL) 2 DVCPRO HD 720p 1080i 4 DVCPRO 50 DV 50 (NTSC and PAL) 4 Avid editing applications support one video track and up to four tracks of 48 kHz, 16-bit audio, the maximum you can record on Panasonic P2 equipment.
9 File Based Media - AMA Examples of MXF audio and video files contained in the Audio and Video folders. Top: four audio tracks for a single clip. Bottom: the corresponding video track. Panasonic P2 devices write individual MXF audio and video media files for each track of each clip. For example, a P2 clip that includes one track of video and four tracks of audio is stored on the P2 card as five individual media files.
P2 Media After you install the appropriate Panasonic driver, you can mount the cards as drives from any of these devices: Device Description PCMCIA card slot Notebook computers typically include a PCMCIA card slot that will accept individual P2 cards. P2 drive Panasonic offers P2 card-reading peripherals such as the AJ-PCD10 memory card drive. You can connect this drive, or card reader through a USB port, or you can install it as an internal drive on a desktop PC.
9 File Based Media - AMA To mount one or more P2 cards as drives: 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 356. 3. Connect the card reader, camera, or deck to a USB port. 4. (Windows) Set up the P2 card reader. See “Preparing to Mount P2 Cards as Drives” on page 356. 5. Insert one or more P2 cards (up to five).
P2 Media You can connect a FireWire drive, for example, and store the contents of several P2 cards on it so you can keep using the cards in the camera. n You can work with media on a P2 card or work with media on another drive, but you cannot work with media that is stored in both places simultaneously. To avoid the problem, eject the P2 card after you copy the P2 files to the other drive. To copy the P2 cards to another drive: 1. On the drive, set up a folder for each P2 card you want to copy.
9 File Based Media - AMA For more information on workgroup support, see the Avid Interplay Help. n Some card slots of the P2 drive might require drive letters that have already been assigned to existing network drives. If your computer does not display all five card slots as drives, reassign the network drives or restart your system. Spanned Clips and P2 Spanned clips are clips that extend from one card to another. Avid supports working with spanned P2 clips in your Avid editing application.
Canon XF Media visible. To work around this, remove all the cards which contain chunks of the spanned clip and choose File > Unmount followed by File > Mount All (non-AMA method). All the master clips are visible. • 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.
9 File Based Media - AMA Canon XF Files and Folders Canon XF video and audio media files record in MXF format. Each card stores the video and audio files in: n • (Windows) drive:\CONTENTS\CLIPS • (Macintosh) Macintosh HD/CONTENTS/CLIPS AMA does not recognize clips if the folder names in the selected path contain double-byte characters (DBCS). AMA recognizes folders with the directory path that includes ASCII alphanumeric characters.
GFCAM Media 3. Navigate to the actual flash 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. Eject the flash card. GFCAM Media The Ikegami GFCAM HDS-V10 is a tapeless camera/recorder that uses flash memory instead of video tapes as a recording medium.
9 File Based Media - AMA Resolution/Bit Rate n n n Raster/Frame Rate Number of Audio Channels (maximum) 1080p/23.98 pulldown and 720p/23.98 pulldown record at 59.94fps and are only compatible with 1080i/59.94 and 720p/59.94 projects. 1080p/29.97 records as PSF at 59.94fps and is only compatible with 1080i/59.94 projects. 1080p/25 and 720p/25 record as PSF at 50fps and are only compatible with 1080i/50 and 720p/50 projects.
GFCAM Media Connecting the GFPAK Device You connect the GFPAK directly through an industry-standard USB 2.0 port on your computer. Use a cable to connect the GFPAK to a Windows system or a Macintosh system. The GFPAK mounts as individual media drives on your desktop and then link to your Avid editing system through AMA. Spanned Clips and GFCAM GFCAM allows gapless recording over several GFPAKs, however, each GFPAK handles the contents as a separate clip.
9 File Based Media - AMA Working with Shot Marks and Check Marks with GFCAM Media GFCAM products use Shot Marks and Check Marks to store metadata about media clips. Shot Marks allow GFCAM cameras to mark events such as clip start points or audio clipping. Press the RET button on the GFCAM device while you record or playback to set a Shot Mark. For a description of Shot Marks, see your GFCAM documentation.
RED Media n Avid supports the use of the REDRocket Accelerator card for transcoding, rendering and mixdown at half or full debayer settings. Playback is not supported. We do not use the video output connections on the card. The card is not supported on 32-bit Windows operating systems.
9 File Based Media - AMA Each clip folder (.RMD) is at the root directory. In each of these folders is the .RDC folder which contains the video, audio, and metadata files: • (Windows) drive:\camera+reel_date.RMD\camera+reel_clip_date+random number.RDC • (Macintosh) Macintosh HD/camera+reel_date.RMD/camera+reel_clip_date+random number.RDC AMA detects folders named with RMD and RDC and files named .R3D.
RED Media 2. Give each folder a unique name that identifies the card or drive. The name does not have to be the same as the actual drive or card name. 3. Navigate to the actual drive or card and select the contents of the folder. You can select the top directory of several RDC folders (containing an R3D file and a color metadata file such as RSX or RMD). 4. Do one of the following: t Copy and paste the contents of the folder to the folder on the other drive.
9 File Based Media - AMA You can choose from the Settings menu to select a camera metadata setting or an RSX, RLX or RMD setting (template), or adjust your own custom parameters. This procedure details the custom parameters. For information on settings (templates) in the Settings menu and how to apply a setting, see “Using Source Settings” on page 373 and “Applying a Source Setting” on page 374. 3. Drag the video slider to the frame you want to view. The new frame displays and the histogram updates.
RED Media 4. Set the appropriate options: Option Description Color Space Choose from: Camera RGB: as close to RAW REC.709: SMPTE standard color space for HD REDcolor: newest, more accurate color science from RED REDSpace (default): based on the camera’s RGB but more saturated Gamma Curve Lets you override the gamma curve. Choose from: REC.709: a REC.709 gamma curve with a linear portion at black and a gamma at 2.
9 File Based Media - AMA Option Description Chroma Denoise Choose from Off (default), Minimum, Milder, Mild, Strong, or Maximum. OLPF Controls the optical low-pass filter. Choose from Off (default), Low, Medium, or High. The system ignores this setting when you use REDRocket. Exposure Allows adjustment to the clip exposure. Click and drag the slider from -7.00 to 7.00. Default is 0.00. Brightness Adjusts the overall brightness of the image. Lifts blacks without affecting the white level.
RED Media If the clip is in the Source viewer, the changes are reflected in the Source viewer and in the Client monitor (if you have one attached). If you click Cancel after you click Apply, the Set Source Settings window closes with the changes you made. 6. Click OK to save your change and close the window. The system updates the bin column metadata with the new parameters.
9 File Based Media - AMA Applying a Source Setting To apply a source setting to a RED clip: 1. Right-click a RED clip in the bin (or Shift-click multiple clips), then choose Set Source Settings. The Set Source Settings window opens and your clip displays in the viewer. 2. Select a setting (template) from the Source Settings menu. Source Settings vary depending on the files or templates loaded on your system.
RED Media The new source setting appears in the Source Settings menu, and is immediately applied to the clip. Understanding the Source Settings Histogram The histogram in the Source Settings window helps you visualize the distribution of color values in an image. You can use the histogram to adjust the Source Settings of your AMA media more precisely while avoiding clipping and color imbalance. Example of a Source Settings histogram.
9 File Based Media - AMA Adjusting the Source Settings Histogram You can adjust the Source Settings Histogram in two ways. You can toggle drawing a histogram for an individual color, and you can zoom the vertical axis. To adjust the Source Settings Histogram: t Right-click anywhere inside the histogram graph, and then select one of the following options. Option Result Red Green Blue Enables or disables the histogram display for the selected color.
RED Media Preparing your RED Clip for Transcode, Mixdown, or Render If you want to take a RED clip and offline it to another application, you can create a different resolution RED file, depending on your requirements. This changes the speed and quality of the clip, which could affect the playback performance. The higher the video quality the slower the process (transcode, mixdown, render). The lower the video quality the faster the process.
9 File Based Media - AMA For information about render, see “Basics of Effects Rendering” in the Help. QuickTime Media To link QuickTime media through the AMA method, you first need to create a QuickTime movie from a third-party application or through the Avid editing system. The third-party applications that supports creating a QuickTime movie include Adobe AfterEffects® and Final Cut Pro. This is done through the QuickTime Export dialog box which uses the Avid QuickTime Codecs.
MXF Media For information on how to install the QuickTime codecs, see “Installing or Copying the Avid Codecs for QuickTime on Other Systems” in the Avid Help. MXF Media Material Exchange Format (MXF) is a wrapper or container format which encapsulates media and rich production metadata into a single file, which is useful for media storage and exchange. It is an open technology that can is implemented by different manufacturers.
9 File Based Media - AMA Company Resolution/Bit Rate Raster/Frame Rate Number of Audio Channels (maximum) Omneon, Rhozet D10 SD 30i 4 or 8 Sony XDCAM HD 1080i/59.94, 1080i/50, 4 1080p/23.976, 1440 x 1080 4 4 4 4 1080i59, 1080i50 XDCAM HD 17.5 Mbits XDCAM HD 25 Mbits XDCAM HD 35 Mbits HDV (25 Mbits CBR) XDCAM HD 50 Mbits 1080i/59.94, 1080i/50, 1080p/23.976, 1080p/25, 1080p/29, 720p/59, 720p/50,1920 x 1080, 1280 x 720 8 Sony XDCAM EX 25Mbits 1080i/59.94, 1080i/50, 1080p/23.
The Avid Media Access (AMA) Workflow Number of Audio Channels (maximum) Company Resolution/Bit Rate Raster/Frame Rate Sony, Ikegami MPEG IMX: MPEG 30 MPEG 40 MPEG 50 SD NTSC 30i and PAL 25i SD NTSC 30i and PAL 25i SD NTSC 30i and PAL 25i Sony MPEG-4 (proxy media) SD NTSC 30i and PAL 25i 4 or 8 Canon XF MPEG-2 HD 50 and 35Mbits 1920 x 1080, 1280 x 720 25Mbits 1440 x 1080 Ikegami MPEG-2 HD LongGOP 50 Mbits n Ikegami 4 or 8 4 1080i/59.94, 1080i/50, 4 1080p/23.98 pulldown, 1080p/29.
9 File Based Media - AMA The AMA method also allows for more metadata to be brought into the bin which gives you more information about the media. For example, essence marks (or locators) associated with the clip are automatically brought into your bin. To display metadata information in your bin, see “Adding a Metadata Bin Column Heading” on page 324. The following considerations and limitations apply: • When the AMA setting is activated, the non-AMA method does not appear in the File menu.
The Avid Media Access (AMA) Workflow The AMA Settings dialog box appears. 3. Click the Volume Mounting tab. 4. Select “Enable AMA Volume Management.” By default, this option is selected. If you deselect the option and then reselect it, you must quit and restart your Avid editing application. When this option is selected, the File > Import menu item is no longer available. 5.
9 File Based Media - AMA For more information on Bins options, see “AMA Settings: Bins Tab” on page 1124. n Depending on your AMA Settings, every time you insert a card into a reader , the system creates a new bin whether the same card or device has been previously inserted or not. 8. Click OK. Viewing Installed AMA Plug-ins Once you download and install a third-party plug-in from www.avid.com\ama, you can enter a console command to view a list and the version number of the plug-ins installed on your sy
The Avid Media Access (AMA) Workflow To link clips on a volume automatically with AMA: 1. Insert a P2 card, an XDCAM EX card, an XDCAM disk, RED card, into the device. The system scans the device and links the clips into a bin (based on the AMA settings). To manually link clips from another volume with AMA: 1. Select File > Link to AMA Volumes. The Browse For Folder dialog box opens. 2. Navigate to the P2, XDCAM, RED or GFCAM clips, and then click OK. For P2, navigate one level above the Contents folder.
9 File Based Media - AMA n Option Description Top Bin Window Places the clips in the active bin. If you relink a sequence and the bin that stores the AMA referenced clips is closed, the media does not relink. Before you relink, open the bin of the referenced clips. 4. Click OK. The clips appear in the bin or bins depending on the options you selected, they highlight in yellow. To manually link clips from a file with AMA: 1. Select File > Link to AMA File(s).
The Avid Media Access (AMA) Workflow n If you move a source file from one location to another and then back to the original location, you might need to refresh the bin to redisplay the clip. Close and reopen the bin to refresh the bin. Working with AMA Multiple Resolution Media If you choose to link to low-resolution media, you can link to any combination of proxy or high-resolution audio or video media. For instance, you can link to the most compressed (proxy) video and the highest quality audio.
9 File Based Media - AMA 4. Click the appropriate resolution for your video in the AMA Link Preference section, and click OK. If a particular resolution is not available, it will be grayed out. 5. Insert the disk into the device. 6. Select Bin Selection options from the Bins tab. For information on bin selection options, see “Linking Media with AMA” on page 384. 7. Select File > Link to AMA Volume. The Browse for Folder dialog box opens. 8. Navigate to the clips, and then click OK.
The Avid Media Access (AMA) Workflow The steps below highlight switching from low-resolution to high-resolution media. You can also switch from high-resolution to low-resolution. n For XDCAM, if you use the Sony PDZ-1 software to assign a User Disc ID, the Avid editing system displays this information in a bin column and knows what disk name is associated with each clip. To switch from low-resolution to high-resolution media: 1. Insert the disk in the device. 2.
9 File Based Media - AMA To consolidate high-resolution media: 1. In the Project window, click the Settings tab. 2. Double-click AMA. The AMA Settings dialog box appears. For information about the AMA Settings, see “AMA Settings” on page 1124. 3. Click the Quality tab. 4. Click the appropriate resolution for your video in the Consolidate Preference section, and click OK. If a particular resolution is not available, it will be grayed out. 5.
The Avid Media Access (AMA) Workflow sequence is through the relink option. Relinking to an AMA file allows you to link to a different file. This process only works if the targeted file is compatible with the old file, for example the file has the same duration, edit rate or number of tracks. This feature is helpful when you have a group of linked clips that were moved to a different folder or drive. You can relink the clips to the new location.
9 File Based Media - AMA The AMA Plug-in Log File The Avid system creates an AMA plug-in log file when you link clips. The log file records errors and information about the clips. If you experience any problems while you link clips or if you receive an error message, check the AMA log file to get more information about the error (for example: a corrupt file or a bad filename). You can view the log file from the following location on your system: • (Windows) drive:\Program Files\Avid\Media Composer\Avid Fa
The Avid Media Access (AMA) Workflow Virtual Volumes and AMA Bins If you select Volume Name in the AMA Bin Settings tab, the system names the bin the same name as the virtual volume drive name. If you continue to use the same virtual volume to link other media through AMA, the system continues to place the linked media in the same bin.
9 File Based Media - AMA 4. Select Delete master clips and Delete associated media files. 5. Click OK. Workflows for Editing with AMA The following topics include high-level procedures of a typical workflow you might use when you edit with a particular media type and AMA. Workflow for Editing XDCAM and XDCAM EX Clips with AMA The following steps describe a typical workflow for editing XDCAM and XDCAM EX clips with AMA. n Do not mix AMA and traditional workflows.
Workflows for Editing with AMA 5. (Option) Rename the clips to help organize your material. 6. You can either transfer your media to your hard drive and then transcode or consolidate your sequence or clips, or consolidate directly from the XDCAM disk. n When you consolidate, if you want to keep your AMA clips linked to the original source, select the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files dialog box.
9 File Based Media - AMA A typical workflow is as follows: 1. Use Sony’s PDZ-1 software to associate your low-resolution clips with metadata to identify the clip in the Avid bin. This includes entering a User Disc ID in the Disc Properties window. 2. The Sony XDCAM and XDCAM EX AMA plug-in should be installed on your system. 3. Install the appropriate Sony XDCAM drivers. 4. In the Project window, click the Settings tab. 5. Double-click AMA. The AMA Settings dialog box appears. 6. Click the Quality tab. 7.
Workflows for Editing with AMA and provided a disk name in the User Disc ID field, the system message displays the disk label name. If you did not use the PDZ-1 software, the system asks you to insert the disk containing the (low-resolution) clip selected in the bin. 16. Remove the XDCAM disk. Workflow for Editing P2 Clips with AMA The following steps describe a typical workflow for editing P2 clips with AMA. n Do not mix AMA and traditional workflows.
9 File Based Media - AMA Workflow for Editing Canon XF Clips with AMA A typical workflow is as follows: 1. You need the Canon XF AMA plug-in and the MXF AMA plug-in installed on your system. 2. Mount the flash cards. The system links the Canon XF clips automatically into a bin. n If you use multiple flash cards and you remove one of the cards, your media displays offline. 3. Use the master clips to edit and output a sequence. 4. (Option) Rename the clips to organize your material. 5.
Workflows for Editing with AMA 4. (Option) Rename the clips to organize your material. 5. Consolidate or transcode your sequence or clips. Consolidating your media helps when you work with multiple GFPAKs. If a GFPAK is unplugged, consolidating lets you view your sequence with all the media online. n When you consolidate, if you want to keep your AMA clips linked to the original source, select the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files dialog box.
9 File Based Media - AMA 7. Transcode your sequence or clips to an HD or SD resolution. Avid supports the use of the REDRocket Accelerator card for transcoding, rendering and mixdown at half or full debayer settings. Playback is not supported. We do not use the video output connections on the card. The card is not supported on 32-bit Windows operating systems. If you need to output to a resolution higher than HD, then export an AFE of your sequence for the conform process on an Avid DS.
Workflows for Editing with AMA 8. Click Open. The clips appear in the active bin, and highlights in yellow. 9. Use the linked clips to edit your sequence. 10. If you need to change the QuickTime clip in After Effects or FCP, open the existing file in After Effects or FCP and make the change.
9 File Based Media - AMA Workflow for Editing MXF Clips with AMA A typical workflow is as follows: 1. You need the MXF AMA plug-in installed on your system. 2. Create a supported MXF file (create a supported MXF file from your third party application, for example: Rhozet or Omneon). 3. Move the .mxf file onto your Avid editing system. 4. Using the AMA method, link to the MXF clips automatically into a bin. 5. Use the linked clips to edit your sequence. 6.
10 Managing Media Files When you capture footage, the system creates digital media files on the media drives connected to your system. In addition to the bins where you organize the clips that reference these media files, your Avid editing application provides tools for directly managing these media files.
10 Managing Media Files Working with Media Files in an Avid Interplay Environment If you are using your Avid editing system in an Avid Interplay environment, you can use Avid’s media asset manager, the Avid Interplay Engine, to share media files between systems.
Using Avid Editing Systems in an Avid Unity LANshare Workgroup Using Avid Editing Systems in an Avid Workgroup Environment When you work with Avid Interplay, you belong to a workgroup that allows you open a bin with assets stored in the Interplay database. To read and write media to the database you first need to mount a workspace.
10 Managing Media Files 3. Select “Auto-connect to LANshare at Launch.” 4. Click Connect, and then click OK. The dialog box closes, and auto-connect is set. Viewing Media with a 100Base-T Connection to Avid Unity ISIS Avid editors can access MPEG-2 low-resolution video and MPEG-1 Layer II (or MP2) compressed audio stored on an Avid Unity ISIS media network.
Mounting and Unmounting Drives This is useful in several circumstances: • If you work with optical drives for backup and retrieval of low-resolution material, you can unmount drives and mount them as needed to avoid cluttering the desktop during normal use. • If you work with an extensive array of fixed-storage drives, which might involve many partitions divided among several projects, you can selectively mount and unmount drives according to use.
10 Managing Media Files n If you receive an error message that prevents you from unmounting a drive, it might be that you have Avid Media Access (AMA) enabled. AMA does not require you to mount and unmount drives. AMA is on by default. To turn off AMA (and unmount your drive), see “Selecting the AMA Settings” on page 382. Using the Media Tool The Media tool is your window into the captured video and audio data files stored on your media drives.
Using the Media Tool n • Media Tool database and display options are saved as User settings. When you close the Media tool, the view you are in (Brief, Frame, Script, or Text) is saved and any customizations of columns are saved. • You have the option of saving a custom view of the Media tool. Any view created in the Media tool is available from all bins and all custom bin views are available in the Media tool from the Views menu.
10 Managing Media Files Opening the Media Tool To open the Media tool: 1. Select Tools > Media Tool. The Media Tool Display dialog box opens. 2. Select the media drives from which to load by doing one of the following: t In the Media Drive(s) list, select individual media drives. t Click the All Drives button. The Media tool loads the media database only for the drives you select. The more drives you select, the more memory is required for the Media tool to open. 3.
Using the Media Tool 5. Click OK. The Media tool opens. Example of media objects in the Media tool. Top to bottom: a precompute clip, a media file, and a master clip. Deleting Media Files with the Media Tool You can use the Media tool to delete selected media files without harming the related master clips, subclips, and sequences. c If you use the Media tool to delete selected media files, you no longer have access to visuals of the deleted material.
10 Managing Media Files Depending on your needs, you can do the following: • Delete selected audio or video tracks and retain other tracks from a clip. • Delete entire sets of media files and related clips from within the Media tool. • Delete all unrelated media upon completion of a project, and retain only the media required for playback of a finished sequence as described in “Consolidating Media” on page 413. To delete selected media files: 1. Select Tools > Media Tool. 2.
Consolidating Media 4. Select the media objects that you want to delete: Option Description Video media file (V) After deletion, the master clip linked to that file is black, with the message “Media Offline” displayed. Related subclips and sequences are affected in the same way. Audio media file After deletion, the master clip linked to that file is silent. Subclips and (A1, A2, A3, A4, A5, sequences created from the master clip are affected in the same way.
10 Managing Media Files Master Clips When you consolidate a master clip, your Avid editing application creates exact copies of the media files. If you link the original master clip to the new files, your Avid editing application creates a master clip with the file name extension .old that remains linked to the old files. If you maintain the link between the original master clip and the old media files, your Avid editing application creates a new master clip with the file name extension .
Using the Consolidate Command Sequences When you consolidate a sequence, your Avid editing application copies only the portions of media files edited into the sequence and creates new master clips for each clip in the sequence. The file name extension .new is attached to the master clips, along with incremental numbering beginning with .01. The sequence is not renamed but is automatically relinked to the new media files. Consolidate finished sequences to: n • Create backup files.
10 Managing Media Files n If you have any compressed audio (MP2 audio) in the clip or sequence you selected to consolidate or transcode, a message appears informing you that selected items contain MP2 audio and cannot be consolidated or transcoded. You should relink this MP2 audio to an uncompressed audio format. If you do not relink to an uncompressed audio format, the selected clip or sequence with the MP2 audio is skipped. The Consolidate/Transcode dialog box opens. 4.
Using the Consolidate Command 6. Select the appropriate options. Option Description Video, audio and data on same drive(s) Select to store the consolidated media files on the same target drive. Deselecting this option lets you select separate drives for the audio, video and data media files. Handle length n frames If you are consolidating subclips or sequences, type a handle length for the new clips, or accept the default: leave it at 60 frames (NTSC), 50 frames (PAL), or 24 frames (progressive).
10 Managing Media Files Option Description (Continued) Target Audio Sample Bit Depth Select either 16 bit or 24 bit. Convert Audio Format Select this option to convert the audio to the target audio format. Target Audio Format Select either OMF (WAVE), OMF(AIFF-C), or MXF (PCM) audio format. See “Audio Projects Settings: Main Tab” on page 1126. 7. Click Consolidate in the lower right corner. The Copying Media Files dialog box opens. 8.
Using the Transcode Command c Do not make copies of media files from the Windows desktop or the Macintosh desktop while your Avid editing application is running. Also, do not keep duplicate copies of media files online; either delete the originals, take the backups offline, or store the backups in a folder with a different name. Using the Transcode Command The Transcode option in the Consolidate/Transcode dialog box lets you create new clips and new media files that use a different resolution.
10 Managing Media Files 3. Select Transcode in the upper left corner. 4. In the Target Drive(s) area, select a drive or drives. 5. In you are an Interplay environment, with Dynamic Relink enabled, select whether or not to create new master clips for the transcoded media. For more information, see “Understanding How Clips are Associated with Multiple Resolutions” on page 1051.
Using the Transcode Command The Create new clips check box in the Consolidate/Transcode dialog box 6. Click the Target Video Resolution menu, and select a video resolution. n If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. 7. Select the appropriate options. Option Description Video and audio on same drive(s) Select to store the transcoded media files on the same target drive.
10 Managing Media Files Option Description (Continued) Include reformatted clips already at target resolution Select this option if you want to include reformatted clips in the sequence that are already at the target video resolution. Your Avid editing application does not normally transcode clips in a sequence that are already at the target video resolution. However, you might want to include reformatted clips at the target resolution to preserve the reformatting.
Refreshing Media Directories Bins contain references to media files based on the contents of the bin. Your Avid editing application does not maintain the entire database in memory at all times. Instead, it builds up a partial database for the bins that have been opened in the current session to preserve as much memory as possible for editing.
10 Managing Media Files n Refreshing media directories can take a long time to execute on systems that have large amounts of media online. To refresh media directories: t Select File > Refresh Media Directories. Deleting Unreferenced Clips and Media Unlike the bin files stored in project folders, media files require considerable storage space.
Backing Up Media Files Backing Up Media Files The OMFI MediaFiles folders and the Avid MediaFiles folders on your media drives contain the individual media files created when you captured source material. The OMFI MediaFiles folders contain the OMF media files. The Avid MediaFiles folders contain the MXF media files.
10 Managing Media Files A related media file highlighted in Windows Explorer A clip in the bin and a related media file highlighted in Windows Explorer 426
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.
10 Managing Media Files 3. Select options.
Relinking Media Files Option Description All other items Relinks non-master clips (sequences, subclips, group clips, and other clips) to the appropriate media Relink only to media from the current project Restricts relinking to the current project. Selected items in ALL open bins Allows you to select multiple clips across multiple bins. Allow relinking to offline items Allow relinking to offline elements: Relinks to clips that are offline.
10 Managing Media Files Option Description Relink method: Highest Quality: Relinks to the highest quality clip; for online work. Most Compressed: Relinks to the most compressed clip; for offline work. Specific Resolution: Relinks to clips of a specific resolution. See “Relinking by Resolution” on page 431.
Relinking Media Files 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 Relink” on page 1045. 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.
10 Managing Media Files 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. Select “Relink all non-master clips to selected online items” to relink related subclips or sequences to the highlighted clip in the bin. 5.
Unlinking Media Files 4. Click the “Relink to media on volume” menu, and select a specific drive volume that contains the original media files. 5. (Option) Select “Relink only to media from the current project.” 6. (Option) Select “Match case when comparing tape names.” 7. Click OK. The clips are relinked to the original media files.
10 Managing Media Files 3. (Option) If you have similar material from different sources, you can duplicate a set of clips, unlink the duplicates, and then modify the sources of the duplicates before capturing the new source material. For example, if you are working with multicamera material, you can capture one reel, duplicate the clips several times, unlink the duplicated clips, and rename their source tapes to batch capture the remaining reels.
Archiving and Restoring Media Files to Videotape Each archived master clip is stamped with the archive tape name and archive timecodes during the restore process. The original source information on the master clips remains unchanged. Archiving Media Files Before archiving your media files to videotape, you must stripe the record tapes (record black and timecode for approximately 15 seconds after the bars and tone on the tape).
10 Managing Media Files The Archive to Videotape dialog box opens. 7. Select the appropriate options. If the clips or sequences that you want to archive are not highlighted in the active bin, Archive to Videotape appears dimmed in the Clip menu. Option Description Archive Name Type a name for the archive in the Archive Name text box. ProjectArchive is the default name. The archive name is numbered incrementally beginning with 001 to indicate the order of the tapes.
Archiving and Restoring Media Files to Videotape 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.
10 Managing Media Files When the system finishes creating the archive, a message box notifies you that the process is complete. 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.
Sequence and Clip Information Summary The Capture tool becomes the active window. 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” on page 295.
10 Managing Media Files n If a plug-in is not loaded on your system when you generate the summary, the information displays “unavailable effect,” followed by the plug-in ID. The vendor and version number are not directly accessible.
Sequence and Clip Information Summary The Sequence Report dialog box opens. 2. (Option) Do the following: t If you selected specific tracks, click Enabled Tracks Only. t If you set In and Out points, click Use Marks. If you want to run a report on the entire sequence regardless of tracks or marks, do not select either of these options. 3. Select the Summary Info options you want to include in your report. For information on report options, see “Summary Information Options” on page 442. 4.
10 Managing Media Files The application writes the report to a text file and opens a text editor. Summary Information Options The following options allow you to select which information to include in the sequence report. 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.
Sequence and Clip Information Summary 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.
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11 Viewing and Marking Footage Before you begin editing, 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.
11 Viewing and Marking Footage Viewing Method Description In bins You see pictorial images of the clips in your bins by using Frame or Script view and can play the clips in the bin. For more information, see “Using Frame View” on page 307 and “Using Script View” on page 309. In the Source/Record You can load a clip or sequence into the Source/Record monitor to view, mark, or modify monitor an existing clip or sequence.
Customizing Monitors Source/Record monitor in two-monitor layout You can customize the Source/Record monitor in a variety of ways, for example, to accommodate footage of different aspect ratio or to display different buttons and information. Resizing the Monitors You can resize the monitors that display your footage in a variety of ways.
11 Viewing and Marking Footage To hide or display the video in a monitor: t Right-click the monitor, and select Hide Video. The video disappears or reappears. When the video is hidden, the Hide Video command has a check mark beside it. Displaying a Second Row of Buttons You can choose to display a second row of buttons under the Source/Record monitors. You can use this row of buttons in the same manner as the top row of buttons that display by default.
Customizing Monitors The Tracking Information menu in the Record monitor By default, the tracking information area displays no data until you select a tracking format. There is no display of tracking data when there is no material loaded in the monitor. If you load a clip and no information is currently displayed, you can still open the menu by clicking in the area above a monitor. To display tracking information: 1. Load a clip or sequence into the monitor. 2.
11 Viewing and Marking Footage Tracking Format Options The Tracking Information menu contains options for information to be displayed above the monitors. The contents of the menu varies, depending on the monitor. Examples of the three panes in the Tracking Information menu for the Source monitor (left) and for the Record monitor (right) Panes in the Tracking Information Menu The Tracking Information menu has three panes.
Customizing Monitors Pane Description (Continued) Pane 1 example when you select Sequence > TC1 Pane 1 example when you select Source > V1 Pane 2 Lists Source or Sequence timecode options, such as master timecode (Master), duration of the entire clip (Duration), IN to OUT duration (In/Out), absolute timecode (Absolute), and time remaining (Remain). The format type that you select from pane 1 determines the tracking format that is displayed.
11 Viewing and Marking Footage Tracking Format Options The following table describes the tracking format options. Option Descripti on Master Displays master timecode at present location. Duration Displays total duration of the sequence. In/Out Displays duration between IN and OUT points. Absolute Displays absolute time duration at present position. Remain Displays time remaining at present position.
Using the Timecode Window t Place the mouse pointer over the monitor and press Ctrl+I (Windows) or Command+I (Macintosh). The Info window opens. Only fields with data are displayed. To display information from a bin: 1. Select a clip or sequence in a bin. You can use any bin view, and you can Ctrl+click to select multiple media objects. 2. Do one of the following: t Press Ctrl+I (Windows) or Command+I (Macintosh). t Right-click the clip or sequence and select Get Info. The Info window opens.
11 Viewing and Marking Footage When you are working with a 24p or 25p project, you can display additional timecode information in the Timecode window. The output format timecodes TC 24, TC 25, TC 25P, and TC 30 are available from the Timecode menu, as are the source timecodes for clips and subclips. n You need to add the timecode track to the clip or sequence before the timecode tracking formats appear in the Timecode menu.
Playing Video to the Client Monitor 5. Click the Close button to close the Timecode window. Playing Video to the Client Monitor You might want to see your sequences and effects as they appear on an external display monitor. To do this, connect a Client monitor to your Avid system.
11 Viewing and Marking Footage Activating and Deactivating the Client Monitor Display If your Avid editing system has an Avid input/output hardware device attached and active, you can activate or deactivate the display in your Client monitor at any time. When the display is inactive, video is not visible in the Client monitor for either playback or scrubbing. Audio playback is not affected by deactivating the Client monitor.
Selecting the Video Display Settings Selecting the Video Display Settings After you connect the camera or digital deck and Client monitor to your Avid system, you might need to modify the way your Avid editing application plays video to the Client monitor and application monitors. Use the Video Display setting in the Settings list to configure these settings. To select Video Display settings: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click Video Display.
11 Viewing and Marking Footage 3. Select or modify the options for video display and click OK. n The options available vary depending on the model of your Avid editing application. For information about all options in the dialog, see “Video Display Settings” on page 1206. Some of these settings apply to playback and how effects are processed.
Playing Video to a Full-Screen Monitor Playing Video to a Full-Screen Monitor The Full Screen Playback option lets you view your video on a full-screen monitor. To enable full screen playback: 1. Make sure your system is properly set up for full-screen monitor play. For more information, see “Understanding Full Screen Playback Options” in the Help. 2.
11 Viewing and Marking Footage To adjust the offset: 1. In the Project window, click the Settings tab. The Settings list appears. 2. Double-click Video Display. The Video Display Settings dialog box opens. 3. Click the Desktop Play Delay slider to increase or decrease the amount of frame offset. You might need to readjust the frames a few times to find the correct offset. Using the Tool Palette The Tool palette provides additional buttons for editing and navigating with your Avid editing application.
Playing Selected Clips in a Loop 3. Click the Tool palette, and drag it to another location in your Avid editing application. 4. Click the Toggle Source/Record button again until the word “Sequence” appears next to the title in the monitor. To leave the Tool palette open and move it to another location: 1. Click the Fast Menu button under the Source monitor or on a pop-up monitor. 2. Click the location where you want the Tool palette to be displayed. 3.
11 Viewing and Marking Footage Loading and Clearing Footage You can use several methods to load individual or multiple clips or sequences into monitors. You can also use the Clip Name menus to display or clear clips and sequences from the monitors. n You can adjust settings to optimize playback performance in the monitors. For more information, see “Video Quality Options for Playback” on page 473 and “Setting the Video Quality for Playback” on page 475.
Loading and Clearing Footage Switching Between Loaded Clips When you have loaded multiple clips or multiple sequences into the monitor, you will see only one clip displayed at a time. You can view an alphabetical list of the loaded clips and select an alternate clip for viewing in the Clip Name menu located above the monitor. To switch between clips: 1. Click the name of the current clip or sequence displayed above the monitor to reveal the Clip Name menu.
11 Viewing and Marking Footage To clear the monitor or the clip or sequence names from the menu: 1. Click the name of the clip or sequence currently displayed above the monitor to reveal the Clip Name menu. 2. Select one of the following commands: Command Description Clear Monitor Removes the displayed clip or sequence from the screen, leaving black. The clips or sequences are still loaded. Clear Menu Deletes the list of all loaded clip or sequence names and leaves only the clip currently displayed.
Controlling Playback Blue position indicator in the monitor position bar (top) and in the Timeline (bottom), with the Timeline ruler above the Timeline. To move the position indicator in the Timeline, do one of the following: • Disable the segment tools (Lift/Overwrite and Extract/Splice-in) and click an area of the segment outside of the active trim region. • Use the Timeline ruler.
11 Viewing and Marking Footage The speed with which you drag the position indicator determines the speed at which you move through the footage. t To go directly to the beginning or end of a clip or sequence, click to the far left or far right of the position bar or the Timeline.
Controlling Playback Button Primary Default Location Function Play Monitors Plays the footage at normal speed. Changes to the Stop button when playback is taking place. Stop Play tab in Command palette Stops playback. Pause button Play tab in Command palette Pauses playback. Play Reverse button Play tab in Command palette Plays the footage backward at normal speed. Fast Forward button Play tab in Command palette Cues the footage to the next transition in the sequence.
11 Viewing and Marking Footage Button Primary Default Location Function (Continued) Step Forward 10-frames or 8-frames button Move tab in Command palette Moves the footage 10 frames forward (NTSC or PAL) or 8 frames forward (progressive formats). Step Backward One Move tab in Command palette Field button Moves the footage one field backward in field-based media. For more information, see “Stepping Forward and Backward by Field” on page 468.
Controlling Playback Playback Control Using the Keyboard Many playback functions, including most of the playback controls covered in “Playback Control Buttons” on page 466, are mapped to keys on your keyboard. You can customize the keyboard by mapping buttons or menu commands to it from the Command palette, for example to add other playback functions. Default keyboard mappings vary, depending on the type of keyboard attached to your Avid system.
11 Viewing and Marking Footage Keys Function Home, End, Left Arrow, • and Right Arrow keys J, K, and L keys Home key—move to the beginning of a clip or sequence • End key—move to the end of a clip or sequence • Left Arrow key—moves the footage 1 frame backward • Right Arrow key—moves the footage 1 frame forward Let you play, step, and shuttle through footage at varying speeds.
Controlling Playback Press the L Key To Play Footage at NTSC Rate PAL Rate 24p Rate 5 times 8x normal speed 200 fps 192 fps 240 fps t Press the J key to move backward at the same shuttle speed increments. t Press the K and L keys together for slow forward (8 fps for NTSC, 6 fps for PAL, and 6 fps for 24p projects). t Press the K and J keys together for slow backward. t Press and hold the K key and tap the L key or the J key to step through footage one frame at a time.
11 Viewing and Marking Footage Playing Back to a DV Device If you are using Adrenaline, Mojo, or Mojo SDI input/output hardware, or if you do not have Avid input/output hardware attached to your system (software-only), you can play back DV media through a DV device. Your options for playback of media to a DV device vary, depending on whether the media is played back as DV 25, DV 50, or DVCPRO HD (DV 100). • You can play back DV 25 media through a DV device attached to a 1394 port on your computer.
Video Quality Options for Playback 3. Right-click the Video Quality Menu button, select Format, and then select the native format to be sent to the DV device: Format Availability DV 25 411 Enabled in any SD project DV 25 420 Enabled only in PAL SD projects DV 50 Enabled in any SD project DVCPRO HD Enabled only in HD 720p 59.94, 1080i 50, and 1080i 59.94 projects 4. (Option) If you are in an SD project, right-click the Video Quality Menu button, and then select Realtime Encoding.
11 Viewing and Marking Footage Your Avid editing application also provides an option that improves image quality during playback of mixed-format sequences where material requires resizing. You might need to deselect this option to avoid missing frames or choppy video during real-time playback. The first of the following tables describes the video quality options. The second of the following tables lists the options available for each configuration.
Setting the Video Quality for Playback Configuration Software-only (no input/output hardware), Avid Mojo, Avid Mojo SDI Avid Adrenaline with DNxcel HD video board Available Options (single camera editing) Available Options (MultiCamera Mode) Full Quality Full Quality (SD only) Draft Quality Draft Quality (SD only) Best Performance Best Performance (SD and HD) Full Quality 10-bit (Effect Mode only) Full Quality (SD only) DNxHD Native Draft Quality (SD only) Draft Quality Best Performance (SD an
11 Viewing and Marking Footage For detailed information on the video quality options, see “Video Quality Options for Playback” on page 473. 3. (Option) Right-click the Video Quality Menu button, and select Video Display Settings. This opens the Video Display Settings dialog box and lets you select additional video display settings. For information about the Video Display settings, see “Selecting the Video Display Settings” on page 457 and “Video Display Settings” in the Help.
Marking and Subcataloging Footage For more information on the J-K-L keys, see “Playing Footage with the J-K-L Keys (Three-Button Play)” on page 470. 3. Mark an IN point by doing one of the following: t Click the Mark IN button under the monitor to mark an IN point and stop playback. t Press the Mark IN key when marking a clip in a bin. (The Mark IN key does not stop playback.) By default on United States keyboards, the Mark IN key is the I key.
11 Viewing and Marking Footage To clear the IN point, do one of the following: t Click the Clear IN Mark button. t Press the Clear IN Mark key. To clear the OUT point, do one of the following: t Click the Clear OUT Mark button. t Press the Clear OUT Mark key. To clear both the IN and OUT points: t Click the Clear Both Marks button. t Press the Clear Both Marks key. To set a new IN point: t Click the Mark IN button or press the Mark IN key when you reach a different frame.
Marking and Subcataloging Footage 4. Click the Mark Clip button. Creating Subclips When you mark footage with IN and OUT points, either you can save the entire clip along with the new marks, or you can create subclips based on the marks you set to break up longer master clips into smaller segments of selected footage. This procedure is similar to creating a pull reel of the selects or circle takes of your best footage before editing. Subclips do not directly reference the original media.
11 Viewing and Marking Footage t Press the Alt key (Windows) or the Option key (Macintosh) while you click the Make Subclip button. Your Avid editing application creates the subclip and opens a dialog box that lets you select the destination bin for the subclip. Marking Audio Clips You can mark audio and video separately for an edit by using the Audio Mark buttons. This feature is useful for creating an overlap edit for an audio clip.
Using Locators Using Locators Locators are a type of electronic bookmark. They let you find and identify specific frames during editing. Keywords that you enter in the comments attached to a locator let you use standard Find procedures to call up the clips quickly. You can display information about the locators using the Locators window. For more information about the Locators window, see “Using the Locators Window” on page 486. There are eight Add Locator buttons in the More tab of the Command palette.
11 Viewing and Marking Footage Use Description Viewing reviewer comments Use the Locators window to view reviewer comments and the specific frame. See “Using the Locators Window” on page 486. Print a list of reviewer comments Use the Locators window to print a list of changes or comments that you can distribute to other people in the production. See “Using the Locators Window” on page 486. Import and export locators Import or export locators from one sequence or clip into another sequence or clip.
Using Locators The Add Locator buttons are in the More tab of the Command palette. The Locator edit entry window opens. The locator name, color, frame, and track information appear. By default, the locator name is the user name logged onto your system. The following illustration shows the Locator edit entry window. Locator edit entry window. Top: a comment in the comment area. Bottom: button to open the Locators window 4. (Option) Type a new name in the Name text box. 5.
11 Viewing and Marking Footage 3. Map the Add Locator button to a key by doing the following: a. Open the Command Palette, click the More tab, and select Button-to-Button Reassigment. b. In the Settings list of the Project window, double-click Keyboard. c. Drag an Add Locator button to a key on the Keyboard palette. For more information about mapping buttons to keys, see “Mapping User-Selectable Buttons” in the Help. 4.
Using Locators 5. (Option) Change the color from the Color menu or change the locator name. 6. To save your information, click OK, or press the Enter key. The information is stored with the marked frame. The locator oval appears in the Timeline, in the position bar, and at the bottom of the frame in the monitor. 7. (Option) Click the Locator icon in the to edit locator information. To keep the Locator edit pane from opening: 1. Select Tools > Locators. The Locators window opens. 2.
11 Viewing and Marking Footage 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 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. • Modify and sort the display. • Display frames for easy visual reference. • Change the color of the Locator icons. • Delete a single locator or multiple locators. • Export locators to send out as a review and approval file. • Print the Locators window.
11 Viewing and Marking Footage To view locators in the Locators window: 1. Load the sequence containing the locators. 2. Do one of the following: t Right-click the Source/Record monitor and select Locators. t Select Tools > Locators. Working in the Locators Window You can perform a number of basic procedures in the Locators window.
Using Locators To display XML and Trigger columns: t Right-click, and select Show MetaSync. To sort locators: 1. Click the heading of the column that you want to sort. 2. Right-click, and select Sort Column (to sort in ascending order) or Reverse Sort Column (to sort in descending order). To change column widths: 1. Click the heading of the column that you want to resize. 2. Right-click, and select Enlarge Column or Reduce Column.
11 Viewing and Marking Footage 3. Type a file name and click Save. The locator is saved as a text file (.txt). To import locators. 1. With a sequence loaded in the Source/Record monitor, right-click and select Locators. 2. From the Locators window, right-click and select Import Locators. The Import dialog box opens. 3. Select the tab-delimited file containing the locators you want to import, and then click Open. 4.
Using Locators You can also use a text editor to cut and paste locators in the Locators window. This lets you move locators easily between clips, sequences, tracks, or different users on your system. Timecode, clip data, color, locator identification, and comments are all associated with a locator entry. You can edit the entries before pasting them into a new clip or sequence using the Locators window, or you can save the locator information as a text file and distribute it as needed.
11 Viewing and Marking Footage To copy and paste locators using the Locators window and a text editor: 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. Open a text editor application, and paste the selection into the document.
Using Locators 4. Select Tools > Console. The Console window opens. 5. Select File > Page Setup. The Page Setup dialog box opens, reflecting the specific options for your printer. 6. Select the Page Setup options. 7. Click OK. 8. Select File > Print. The Print dialog box opens, reflecting the specific options for your printer. 9. Select the Print options. 10. Click OK (Windows). The system prints the locator information displayed the Console window.
11 Viewing and Marking Footage Finding Frames, Clips, and Bins Once you have captured, viewed, marked, and subcataloged numerous clips for a project, you might have difficulty relocating specific clips or frames among several bins. Your Avid editing application provides a number of features for quickly locating and cueing footage, including conventional timecode and frame-offset techniques, text searches, and Match Frame and Find Bin commands.
Finding Frames, Clips, and Bins Example of timecode entry with the numeric keypad. The timecode appears in the monitor. In this example, the interface displays master timecode. Use one of the following formats: Format Description SMPTE timecode Use two digits each for the hours, minutes, seconds, and frames. For example, type 01230200 to enter 01:23:02:00. Current timecode To find a timecode that starts at the same hour, minute, or second as the current timecode, type only the last digits.
11 Viewing and Marking Footage 3. Using the numeric keypad, type a plus sign (+) to move forward or a minus sign (–) to move backward from the current position. If you have performed step 2 on a notebook computer or a keyboard that does not have a dedicated numeric keypad, use the standard keyboard plus (+) and minus (-) keys. 4. Type a number for the frame offset, and then press Enter on the numeric keypad.
Finding Frames, Clips, and Bins To do a text search of a loaded clip or sequence using the Find feature: 1. Load the clip or sequence into the monitor. 2. Select Edit > Find. The Find Text dialog box opens. 3. Type part or all of the text for which you are searching. If the exact text is unknown, type only a known word or portion of a word. 4. Select one or more options: Option Description Locators Causes your Avid editing application to search for matching text entered into Locator comments only.
11 Viewing and Marking Footage You can also use the Match Frame feature to locate the source clip for a traditional motion effect. n You can also locate frames in a sequence that match a selected source frame; see “Performing a Reverse Match Frame” on page 498. Match framing does not create a permanent sync relationship between clips but provides a convenient way of locating, marking, and editing matching material. To use Match Frame to locate the source clip for a selected frame or motion effect: 1.
Finding Frames, Clips, and Bins The system searches all selected tracks in the Record monitor for the frame on all selected tracks in the Source monitor. 4. Click the Reverse Match Frame button in the Other tab of the Command palette. Your Avid editing application cues the sequence to the matching frame on the record side.
11 Viewing and Marking Footage Your Avid editing application highlights the sequence in the bin. To find the bin in which a specific clip in a sequence is located: 1. Move the position indicator to the clip within the sequence. 2. Press and hold the Alt key (Windows), and click the Find Bin button. Your Avid editing application opens the bin and highlights the clip.
Sequence and Clip Information Summary Example 1: Preparing for Online Editing When you move your sequence from an offline system to an online system, you can run an effect summary and a source summary report. The Effect Summary displays a list of all effects, including a separate list of plug-ins used. The Source Summary lists all the tapes you need for recapture and all of the import paths for imported graphics.
11 Viewing and Marking Footage To generate a summary report: 1. Do one of the following: t From a bin, right-click a sequence and select Sequence Report. You can select multiple sequences for generating reports. t With a sequence loaded in a monitor, right-click the monitor and select Sequence Report. The Sequence Report dialog box opens. 2. (Option) Do the following: t If you selected specific tracks, click Enabled Tracks Only. t If you set In and Out points, click Use Marks.
Sequence and Clip Information Summary 4. Click Generate Report. The Save Summary Output File As dialog box opens. 5. Use the default file name or rename the report and choose a folder to save the report to, click Save. If you select more than 8 sequences, a dialog box asks if you want to generate sequence reports for all selected items. The application writes the report to a text file and opens a text editor.
11 Viewing and Marking Footage Summary Option Suboption Create Clip Summary or Create Source Summary 504 Description Depending on the criteria you selected, a Clip Summary displays the number of clips found, type of clip, track, offline information, clip name, and clip Mob ID. A Source Summary displays the number of tape-based sources found, project name, tape name, tape ID, and tape Mob ID. It also displays a list of import paths for any imported clips, such as graphics.
12 Creating and Editing Sequences This chapter introduces you to procedures that you use to build a sequence, as described in the following topics: • Creating a New Sequence • Making a First Edit • Creating an Instant Rough Cut • Undoing or Redoing Edits • Editing Additional Clips into the Sequence • Mixing Frame Rates and Field Motion Types • Mixing Frame Sizes and Aspect Ratios • Refreshing Sequences to Use Current Clip Attributes • Lifting, Extracting, and Copying Material • Adding Com
12 Creating and Editing Sequences Creating a New Sequence You can create a new sequence in one of two ways, depending on the requirements of your workflow: • To set specific parameters for the sequence before you start editing, you can use the New Sequence command to create and name a sequence, set the start timecode, (see “Changing the Name and Timecode for a Sequence” on page 507) and determine the numbers and types of tracks (see “Track Display for New Sequences” on page 508) to use before you make the
Creating a New Sequence n If you click anywhere in the interface after you create the new sequence, you deactivate the Name field. Click the sequence name again to rename the sequence. Changing the Name and Timecode for a Sequence To rename a new sequence and set a start timecode: 1. Do one of the following: t From a bin, right-click a sequence and select Sequence Report. You can select multiple sequences for generating reports.
12 Creating and Editing Sequences 3. Drag the pointer across the start timecode (Starting TC) to select it, and type a new timecode. You need to type only the first colon (non-drop-frame timecode) or semicolon (drop-frame timecode). For example, type 01:000000 for 01:00:00:00. For information about non-drop-frame and drop-frame timecode, see “Understanding Timecode” on page 152. 4. For 24p or 25p projects, select the start key number (Starting EC) and type a new start key number. 5. Click OK.
Creating a New Sequence Adding Filler You can add a small amount of black filler at the start of your sequence. A brief moment of black before the start of your sequence is sometimes useful during playback or when recording a digital cut. You can also add filler to another part of the sequence at any time during editing. n You cannot add filler to the end of a sequence or to an empty sequence. You can create black title media and insert it at the end of a sequence.
12 Creating and Editing Sequences Splice-in button (left) and Overwrite button (right) For more information, see “Performing an Insert or Splice-in Edit” on page 514 and “Performing an Overwrite Edit” on page 515. Making a First Edit This topic describes a method for adding a first clip to a sequence. You can use this method after you create a new sequence, as described in “Creating a New Sequence” on page 506.
Making a First Edit The Source/Record monitor displays the end of the last frame of the new edit. (You can drag the position indicator in the Timeline or the position bar beneath the monitor to review the clip.) The edit also generates a graphical display of the cut in the Timeline. Screen display for the first edit in a sequence. Top: monitor window showing the sequence. The indicator of the end of the last frame for the edit is highlighted. Bottom: the new edit in the Timeline.
12 Creating and Editing Sequences Creating an Instant Rough Cut As an alternative to creating a new sequence by editing clips one at a time, you can create a rough cut by creating a storyboard in the bin, and then load these clips directly into the Timeline. For additional information on editing directly from the bin into the Timeline, see “Bin Editing into the Timeline” on page 617. To create a rough cut from a bin: 1.
Undoing or Redoing Edits Undoing or Redoing Edits You can undo or redo up to 100 previous actions listed in the Edit menu. You can undo or redo a just completed command, or you can search through a submenu to undo or redo all commands leading back to a particular command. Undo and Redo commands in the Edit menu. Top: the Undo/Redo command for the previous edit. Bottom: the Undo/Redo List command.
12 Creating and Editing Sequences In most cases, you perform three-point edits in which you set three marks—two in the source material and one in the sequence, or the reverse. The fourth mark is determined automatically. The way you set marks depends on the type of edit you perform. Performing an Insert or Splice-in Edit An insert or splice-in edit inserts marked source material into the sequence without replacing material already in the sequence.
Editing Additional Clips into the Sequence Performing an Overwrite Edit An overwrite edit replaces a section of the sequence with the selected source material. An overwrite edit replaces existing material and does not lengthen the overall duration of the sequence unless the material used to overwrite goes beyond the end of the sequence. 4 1 1 2 2 3 4 3 An overwrite edit. Clip 4 overwrites parts of clips 2 and 3 (shaded in red) when you edit it in at the insertion point (red line).
12 Creating and Editing Sequences n By default, the Replace Edit button is located on the Edit tab of the Command Palette. You can use it from the Command Palette or map it to a monitor palette. For information about mapping buttons, see “Understanding Button Mapping” on page 94. To perform a replace edit: 1. Move the position indicator to select a sync frame in the source clip. The frame displays in the monitor.
Mixing Frame Rates and Field Motion Types How Your Avid Editing Application Handles Mixed Rate Clips Motion Adapter Effects Your Avid editing application uses Motion Adapter effects to handle: • Clips that have a different frame rate from the project’s frame rate • Clips with field motion that need adjustment to be compatible with the project • Clips with 2:3 pulldown or strobe frames Motion Adapter effects allow mixed rate clips to play at the project’s frame rate and to have the correct field moti
12 Creating and Editing Sequences User Interface Summary for Mixed Rate Clips Illustration Description In the Timeline, several visual indicators highlight mixed rate clips. For more information, see “Viewing Mixed Rate Clips in the Timeline” on page 519. In the Motion Effect Editor, you can view the parameter values for a Motion Adapter effect, and adjust the render type. To make further adjustments, you need to promote the Motion Adapter effect to a Timewarp effect.
Mixing Frame Rates and Field Motion Types Viewing Mixed Rate Clips in the Timeline Mixed rate clips that are unrendered always appear with a green dot that represents the Motion Adapter effect, the green dot appears on mixed rate clips edited into a sequence. If you use the Toggle Source/Record button to view the Timeline for a mixed rate clip loaded in the Source monitor, you also see the green dot on that clip. Mixed rate clips also display with their original frame rate appended to the clip name.
12 Creating and Editing Sequences n In some circumstances, the Adaptive Deinterlace Source option is active in the Motion Effect Editor for a Motion Adapter effect. Adaptive deinterlacing is a processing option that can improve the look of interlaced source material that is being converted to progressive frames. For more information, see “Using Adaptive Deinterlacing” in the Help. To view parameter values for a motion adapter and adjust the render type: 1.
Mixing Frame Rates and Field Motion Types To promote a motion adapter to a Timewarp effect 1. Move the position indicator to the mixed rate clip that uses the motion adapter you want to adjust. 2. Click the Motion Effect button. The Motion Effect Editor opens. 3. Click the Promote button. The motion adapter is promoted to a Timewarp effect and all standard Timewarp effect parameters are available. 4. Adjust the Timewarp parameters as necessary to create the motion that you want for the clip.
12 Creating and Editing Sequences When you change the Field Motion attribute of a clip, it updates if it is loaded in a Source or pop-up monitor, and new edits into a sequence from the clip use the new Field Motion attribute value. However, edits that you made from that clip before you change the Field Motion attribute continue to use the old value.
Mixing Frame Rates and Field Motion Types Considerations When Working with Mixed Rate Clips Playback of Mixed Rate Material with Different Frame Sizes When your mixed rate sequence includes clips of different frame sizes, consider using the High-Quality Scaling for Real-Time Decode setting. This setting improves image quality during playback of mixed-format sequences where material requires resizing. For more information, see “Video Display Settings” on page 1206.
12 Creating and Editing Sequences older than 10.3, or an older Media Composer application. You can also use transcoding for general clip conversion tasks such as removing 2:3 pulldown from 29.97i sources (to generate 23.976 sources), or generating NTSC material from a PAL source. Once the transcode process completes, you can edit with the clips directly, or you can batch capture or import if you have access to original sources at the new rate.
Mixing Frame Sizes and Aspect Ratios Working with Locators on Mixed Rate Material You should be aware of the following when you work with locators on mixed rate material: • Depending on the frame rates of your clips and your project, you might not be able to add a locator at the exact location of the position indicator. For example, if you add a locator to a 30 fps clip in a 720p/59.94 project, you can move the position indicator to a location that does not match a frame in the clip.
12 Creating and Editing Sequences You need to ensure that your project’s format settings are set correctly so that clips are reformatted properly. For more information, see “Creating a New Project” on page 38 and “Changing the Aspect Ratio for an SD Project” on page 526. When you change a format setting, for example, the aspect ratio for an SD project, all clips currently edited in a sequence immediately adapt to the new format. You do not need to re-edit any clips in your sequences.
Mixing Frame Sizes and Aspect Ratios Modifying the Reformat Attribute for a Clip Your Avid editing application uses the Reformat attribute of a clip to resize and reposition the clip so that it conforms to the current frame size and aspect ratio specified in the Project Settings. When you create a clip or subclip, the Reformat attribute is automatically set to Stretch. If you are using AMA to link to clips, then the default is set to Center Keep Size. You can modify this Reformat attribute at any time.
12 Creating and Editing Sequences For more information, see “Using Text View” on page 303. 4. Click the Reformat field for the clip or sub-clip, and select an option. Options apply only to clips that do not match the frame size and aspect ratio of the project. For more information, see “Reformatting Options Reference” on page 528.
Mixing Frame Sizes and Aspect Ratios Option Description Pillarbox/Letterbox preserve aspect ratio Scales the clip to create the largest possible image without cropping, while maintaining the original aspect ratio. The illustration shows two examples. When you edit a 16:9 clip into a 4:3 sequence (left), the resulting segment has horizontal bars at the top and the bottom. When you edit a 4:3 clip into a 16:9 sequence (right), the resulting segment has vertical bars at the sides.
12 Creating and Editing Sequences Refreshing Sequences to Use Current Clip Attributes You can change certain attribute values or settings for a clip at any time. You can change a clip’s Field Motion attribute value or its Reformat attribute value. You can also change the source settings for a RED clip that has been linked in a sequence.
Lifting, Extracting, and Copying Material Lifting, Extracting, and Copying Material Lifting, extracting, and copying let you remove or reposition material quickly in your sequence. For example, you can move a clip from the end of your sequence to the beginning; or you can remove the material from the sequence altogether. Your Avid editing application places the material you remove into the Clipboard. You can then paste the material elsewhere in the sequence or into another sequence.
12 Creating and Editing Sequences To extract material: 1. Mark In and Out points at the start and end of the material in the sequence that you want to extract. 2. Select the tracks containing the material. The system performs the function on selected tracks only. If sync locks are on, all material on all tracks is extracted. For more information, see “Understanding the Track Selector Panel” on page 619 and “Understanding Locking and Sync Locking” on page 626. 3.
Adding Comments to Sequence Clips The Clipboard lets you restore lifted or extracted segments quickly. This is useful if you have performed one or more edits since removing the material. In contrast, if you use the Undo function to restore the material, your Avid editing application also undoes all edits performed in the meantime. n Material in the Clipboard does not appear as a clip in the bin and is deleted when you close the project.
12 Creating and Editing Sequences To add comments to the clips in a sequence: 1. Click one of the Segment buttons (located in the Timeline palette), and highlight the clip to which you want to add a comment in the Timeline. Segment Overwrite button (red) and the Segment Insert button (yellow) 2. Click the Clip Name menu above the monitor, and select Add Comments. The Comments dialog box opens. 3. Type your comments in the text box, and click OK.
Playing Back a Sequence 4. Go to the start of the sequence. Click the left side of the position bar to reposition the position indicator at the beginning or press the Home key on the keyboard. 5. Use the position indicator, buttons, mouse, or keyboard to play, step, or shuttle through footage. View the sequence in the Source/Record monitor or the Client monitor. To start a playback loop: 1. Mark In and Out points in the sequence.
12 Creating and Editing Sequences Playing a Limited Duration of a Sequence Long sequences with many effects can be time-consuming to work with in the Timeline. Working with a shorter sequence can save time. The Play Length Toggle feature lets you switch between playing the entire sequence and playing a limited duration centered around the current position of the sequence. When you use the Play Length Toggle feature, the Play button and Play Length Toggle button change to white.
Understanding Sync Breaks Match frames (left) and sync breaks (right) in the Timeline You encounter sync breaks and match frames in different circumstances: • You can encounter sync breaks in one or several video tracks, audio tracks, data track, or all. Sync-break offset numbers appear by default only in the affected tracks. • You encounter match-frame cuts whenever you perform an add edit or whenever you move a segment next to footage from the same clip and the timecode is continuous across the edit.
12 Creating and Editing Sequences Task Tips Trimming Sync lock tracks to avoid breaking sync or use the Alt (Windows) or Ctrl (Macintosh) key function for adding black during trims. For more information, see “Maintaining Sync While Trimming” on page 660. You can also perform dual-roller trims, which maintain duration, instead of single-roller trims. Tips for Fixing Sync Breaks Working Mode While trimming Tips • Sync lock any additional tracks that are synced to the track you are trimming.
Understanding Sync Lock Trim the exact number of sync-break frames displayed in the Timeline to reverse the break. For more information on performing trims, see “Working with Trim Edits” on page 643. To fix sync when Segment editing: t Select and move the entire out-of-sync segment. You can move the segment forward or backward in the opposite direction of the break to reverse it. For more information on editing segments, see “Working with Segments” on page 608.
12 Creating and Editing Sequences Syncing with Tail Leader You can add tail leader to the audio or video material to provide a useful visual reference in the Timeline for tracking and fixing sync breaks across any number of tracks. Film editors traditionally use standard head and tail leaders for this purpose. You can create your own leader according to any specification, as described in “Creating Video and Audio Leaders” on page 548.
Understanding Sync Lock Example of locators in sync in the Timeline To add a note whenever you park on the locator frame (such as Music sync or Sound Effect sync): 1. Double-click the locator in the Record monitor. 2. Type your comments in the comment entry area of the Locator window. The note appears in the Record monitor. To determine if sync is broken after an edit: t Return to the segment that contains the locators and click the Focus button. If the locators are not lined up, the sync is broken.
12 Creating and Editing Sequences To use the Add Edit button while trimming: 1. Move the position indicator to the edit that you want to trim. 2. Select only the additional tracks that are in sync, and click the Add Edit button. The system adds a transition at the location of your position indicator in the Timeline. 3. Select the transition and trim (be sure to select all the synced tracks). As you trim, the system adds or removes frames from the additional tracks. 4.
Autosyncing Clips Autosyncing Clips When you capture footage that includes both audio and video, your Avid editing application automatically establishes sync when it creates clips in the bin. Autosyncing applies to audio and video clips that you capture separately, usually from two separate sources. Autosyncing creates a new subclip that displays sync breaks in the Timeline as though the audio and video were captured simultaneously.
12 Creating and Editing Sequences • If you autosync clips of different lengths, the longer clip is truncated to the length of the shorter clip; video clips override audio clips. • If you autosync according to common timecodes that are staggered (one clip starts later than the other), the later starting timecode becomes the start of the new subclip. The clip with the earlier starting timecode is trimmed accordingly. Creating an Autosynced Subclip To create an autosynced subclip: 1.
Understanding AutoSequence Option Description Collapse Audio Tracks Use this option to remove any unused audio tracks and then move the audio tracks to the next available tracks. For example, if you have 8 audio tracks but tracks A2, A4, A6 and A8 did not have audio. If you select this option, tracks A2, A4, A6 and A8 would be removed and A1, A3, A5 and A7 would move into the A1 through A4 tracks. Off by default. 4. Click OK.
12 Creating and Editing Sequences Use the following guidelines when you create a synchronized sequence: • Your original videotape must have continuous timecode. • Use only master clips, subclips, autosynced subclips, and/or group clips to create the synchronized sequence. • If you select two unrelated clips with overlapping timecodes, a message box indicates you cannot do this operation.
Working with Phantom Marks Working with Phantom Marks Phantom marks provide visual guidance when you edit according to the three-mark rules. For information on editing using three marks, see “Editing Additional Clips into the Sequence” on page 513. To enable phantom marks: 1. In the Settings tab of the Project window, double-click Composer. The Composer Settings dialog box opens. 2. In the Edit tab, select Phantom Marks., and then click OK.
12 Creating and Editing Sequences Phantom marks can help you see the results of marks you set before you complete the edit and are useful when you perform a Sync Point edit or other complicated replace edits in which two or more marks calculate automatically. Creating Video and Audio Leaders Film editors use standard head and tail leaders to cue and sync material.
Using MetaSync to Synchronize Metadata 6. Prepare the sound levels for leader that include a sync point (audio pop) by doing the following: a. Find the appropriate sync point. Step one frame backward and place an add edit before the sync frame; then step two frames forward and place an add edit after the sync frame. For information on placing add edits, see “Working with Add Edits (Match Frames)” on page 635. b. Move the position indicator before the first add edit, and open the Audio Mixer tool. c.
12 Creating and Editing Sequences 550
13 Script-Based Editing The following topics provide information about working with script-based editing: • Understanding Lined Scripts • Script Integration — Lining in the Digital Realm • Understanding the Script Window • Working with the Script Window • Working with Script Text • Working with Page or Scene Numbers and Searching in a Script • Linking Clips to a Script • Interpolating Position for Script Integration • Working with Slates in the Script Window • Working with Takes in the Sc
13 Script-Based Editing A traditional lined script is created by hand at the time of shooting. The following is an example of a scene from a lined script. 33/1 33A/1 33A/2 33B/133B/2 33B/3 33C/1 33C/2 Each vertical line drawn through the scene represents a single take from the moment the director says “Action” to the moment the director says “Cut.” Each scene might require several camera angles and positions, with one or more takes, all of which are lined and identified alphanumerically.
Script Integration — Lining in the Digital Realm Additional setups The lines for each subsequent camera setup within the scene are labeled with the scene number (33 in our example) followed by a letter for each setup, followed by a slash and the number of the take within that setup. These lines can be any length, depending upon what portion of the script is covered by the particular shot. Off-screen dialog The jagged lines in the script represent the parts of dialog where the actor is off screen.
13 Script-Based Editing 1 2 3 4 5 6 7 1 Toolbar 5 Off-screen indicator 2 Slates 6 Color indicator 3 Takes tabs 7 Script mark 4 Takes In addition to the standard lining conventions, script integration includes the following enhancements: Slates Takes are organized into slates that display a representative frame and clip name for the take that is currently selected. Takes The Takes tabs and lines extending from the bottom of each slate indicate the number of takes for that scene.
Script Integration — Lining in the Digital Realm 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: 1. The continuity person or an assistant creates the lined script in hardcopy form during shooting. 2.
13 Script-Based Editing Left to right: narration track synced to the script, B-roll shots ready to be loaded and cued (color indicates preferred shots), music cuts linked to appropriate sections of the script. Understanding the Script Window You begin the script integration process by importing a script into a project. The script appears in a script bin, and opens in a Script window.
Working with the Script Window Script Window Behavior The Script window behaves in many respects like a bin: • When you make changes in the Script window, an asterisk (Windows) or a diamond (Macintosh) appears in the title bar to indicate that the changes are not yet saved. • The Script window has the same auto-save functionality as bins, based on the auto-save options in the Bin settings.
13 Script-Based Editing For information on the settings, see “Script Settings” on page 1202. To import a new script: 1. Place the script file in a local or network directory that is available to your Avid editing system. c The imported script must be in text format. To maintain the original formatting, however, export the script from your word processor by using the “Text Only with Line Breaks” option. If you export the script as “text” only, the formatting is lost. 2.
Working with the Script Window To select text encoding: t Select Script > Text Encoding, and then select one of the following: Option Description None Your Avid editing application uses your system’s default encoding. Select this option when the text was created on a system with the same system character set you are currently using. Use this option for non-Latin-based encoding where UTF-8 was not used.
13 Script-Based Editing To adjust the left margin of an imported script: 1. Select Script > Left Margin. The Left Margin dialog box opens. 2. Type a new margin size (in pixels) in the text box, and click OK. The Script window reflects the new setting. 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 n As you enlarge font size, the available sizes for the slate frames also increase. This is useful for presentation or screening purposes, when you need to display extra-large text and slate frames for a large audience or across a room. For information on enlarging slate frames, see “Working with Slates in the Script Window” on page 567. To select a single line of script: t Click anywhere in the line to highlight it.
13 Script-Based Editing To cut or copy lines of script and then paste them: 1. Select the lines. 2. Select Edit > Cut or Edit > Copy. 3. Select the line below the location where you want to insert the text. 4. Select Edit > Paste. If you select only one line at the insertion point, a message box asks if you want to replace the selected line. If you select more than one line at the insertion point, no message box opens.
Working with Page or Scene Numbers and Searching in a Script n You can use the Find Bin and Find Script buttons to match back and forth between script and clips. For more information, see “Finding Clips and Script” on page 581. To add a page or scene number: 1. Select the line of the script at the beginning of the scene or page. 2. Click the Add Scene (AS) or the Add Page (AP) button in the Script window toolbar, or select Script > Add Scene or Script > Add Page. A dialog box opens. 3.
13 Script-Based Editing A dialog box opens. 3. Type a new number for the scene or page, and click OK. 4. If the renumbering affects page or scene numbers that precede or follow the current change, then repeat these steps as necessary. 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.
Linking Clips to a Script Linking Clips to a Script You can link clips to the script by hand, or, if your Avid editing application includes the ScriptSync feature, you can use ScriptSync to automatically link clips to the script. For more information about ScriptSync, see “Marking with ScriptSync” on page 577. 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.
13 Script-Based Editing 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. Interpolating Position for Script Integration Interpolate Position matches a clip to a take and lets you see where a particular line in the script would appear in the clip footage.
Working with Slates in the Script Window 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. You can: • Select one or more slates. Selecting multiple slates is especially useful when you are adding or deleting color or off-screen dialog indicators across takes, as described in “Working with Takes in the Script Window” on page 570.
13 Script-Based Editing t Select Script > Hold Slates Onscreen. To hide or show the slate frames, do one of the following: t Select or deselect Show Frames in the Script Settings dialog box before you open the Script window. For more information, see “Script Settings” on page 556. t Select or deselect Script > Show Frames. When Show Frames is enabled, a check mark appears to the left of the Show Frames command. When Show Frames is deselected, the Script window shows only the clip names for the takes.
Working with Slates in the Script Window To move a slate, do one of the following: t To move a slate horizontally, drag it to the left or the right. If necessary, resize the Script window by dragging the size box. t To move a slate vertically without moving the position of the take lines in the script, drag it up or down. The take lines remain fixed over the text to which they have been previously linked.
13 Script-Based Editing n c When you delete slates and takes from the Script window, the captured source clips remain in the source bins. You cannot undo the deletion of slates. To restore a slate after deletion, you need to re-create the slate. See “Linking Clips to a Script” on page 565. Working with Takes in the Script Window Script integration provides a number of tools and techniques for manipulating the relationship between lined takes in the Script window and their source clips.
Working with Takes in the Script Window The new take appears in the slate and is applied to the selected region of the script. You need to manually adjust the take lines if the new take covers a region different from the existing slate. See the procedure below. To delete one or more takes: 1. Select the takes in the Script window. 2. Press the Delete key. The Delete dialog box opens. 3. Select Delete Takes, and click OK. The takes are deleted. c You cannot undo the deletion of takes.
13 Script-Based Editing To load multiple takes into the Source monitor: t Select multiple takes, and then double-click any take you selected. 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.
Using Color Indicators in the Script Window 3. Click the Set Offscreen button. Using Color Indicators in the Script Window You can use color to indicate several pieces of information, including: • Preferred takes or takes used in the current active sequence. • Picture versus audio track used in the current active sequence. • Line changes in dialog. • Use of multiple cameras. To apply color to takes: 1. Select Script > Color > color. 2.
13 Script-Based Editing • Place marks in a playback loop in real time. For more information, see “Using Real-Time Screening and Marking” on page 575. • Place marks automatically using ScriptSync, if you have the ScriptSync feature in your Avid editing application. For more information, see “Marking with ScriptSync” on page 577 and “Moving or Deleting a Script Mark” on page 580. Once you have created script marks, you can load and play marked segments. You can also move or delete existing marks.
Script Marks 3. Click the Play button, or press the Play key. The take plays in the monitor. You can also 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. 5.
13 Script-Based Editing Example of real-time screening and marking: several takes are selected for automatic playback, and the current playback is highlighted in green 3. As you hear a line of dialog or see a particular clip that you want to mark, click the matching line in the Script window. A script mark appears at that location in the take, and the clip continues to play. You can scroll through the Script window without affecting playback. 4.
Script Marks To stop the playback loop: t Press the space bar. Marking with ScriptSync Some Avid editing applications include the ScriptSync feature. ScriptSync uses phonetic-indexing technology from Nexidia™ to analyze the audio portion of a clip and match it to lines of the script text. To add script marks with ScriptSync: 1. Select one or more takes that include audio. 2. Double-click any line in the take to select the take and load it into a monitor. 3. Select Script > ScriptSync.
13 Script-Based Editing 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 578 Depending on the language you select, the Acoustic model (Broadcast or Telephony) that Nexidia uses changes. Only one model applies per language. Broadcast has a higher resolution and can be more accurate than Telephony in some cases.
Script Marks Option Description 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. Skip lines indented less than dialog Select this option if action is indented less than dialog in your script.
13 Script-Based Editing Loading and Playing Marked Segments Once you place 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. To load the marked segment of a take: t Double-click the script mark at the line of dialog that you want to cue.
Finding Clips and Script To delete a script mark: 1. Click once on a script mark to select it. 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.
13 Script-Based Editing Editing From the Script Window To use the Script window most effectively during an editing session, make sure the Script window is fully prepared, including preferred takes, alternative takes (indicated with colors), and script marks for matching lines of text to sync points in the clips.
Editing From the Script Window 4. Click the Splice-in or the Overwrite button to make the first edit. Splice-in button (left) and Overwrite button (right) 5. Prepare the sequence for the next edit: a. Create new tracks, if necessary. b. Enable the appropriate source and record tracks. 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.
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14 Using the Timeline Your Avid editing application represents each edit and effect on a timeline to help you track and manipulate the elements of your sequence. The Timeline continuously updates as you work, displaying icons and information that you can customize in various ways. The Timeline also has its own set of editing tools for creating and revising edits and transitions across multiple tracks. The audio and video tracks in the Timeline play in the Source/Record monitor.
14 Using the Timeline • Manipulate the height of tracks as part of a view For more information, see “Enlarging and Reducing Timeline Tracks” on page 589. • Highlight clips in the Timeline for special purposes For more information, see “Displaying Clip Colors in the Timeline” on page 589. • Hide or display audio waveforms or pan and gain automation. For more information, see “Audio Displays in the Timeline” on page 677. • Hide or display the Track Control panel.
Customizing Timeline Views Purpose Description (Continued) Editing for online If you are editing offline with plans to generate an EDL and finish the sequence in an online videotape suite, you can track detailed clip and dupe-reel information by displaying and enabling Dupe Detection. Using the Timeline Fast Menu You can customize the appearance of the Timeline by using various options from the Timeline Fast Menu.
14 Using the Timeline Option Description (Continued) Track Panel Displays or hides the Track Selector panel. Effect Icons Switches the display of effect icons; see “Changing Timeline View Settings for Effects” in the Help. Render Ranges Indicates unrendered or partially rendered effects; see “Using Partial Render” in the Help. Dissolve Icons Switches the display of transition dissolve icons. Clip Frames Switches the display of start frames for each segment in the Timeline.
Customizing Timeline Views Option Description (Continued) Show Track Displays a submenu for displaying tracks; see “Displaying Timecode Tracks in the Timeline” on page 595. Track Control Panel Displays or hides the Track Control panel; see “The Track Control Panel” on page 600. More Detail Expands the Timeline horizontally around the position indicator. Less Detail Shrinks the Timeline horizontally around the position indicator.
14 Using the Timeline • Clips whose frame rate does not match the sequence frame rate (mixed-rate clips). • Clips that do not match the video resolution type of the project — for example, HD clips in an SD project, or SD clips in an HD project. • Clips to which you assign a local color in the Timeline. • Clips to which you assign a color in the bin. When working in a MultiRez environment, you can also use colors to track available resolutions.
Customizing Timeline Views 2. Select one or more of the following: Option Description Resolution Tracking Colors clips to indicate the availability of particular resolutions in a MultiRez environment. For more information, see “Using Clip Coloring to Show Available Resolutions” on page 1075. This option is only available if you are working in a MultiRez environment. Offline Colors clips that have offline media.
14 Using the Timeline Option Description SD/HD Colors clips that do not match the video definition type of the project format — in an HD project this option colors the SD clips, while in an SD project this colors the HD clips. n You can also display clip text that can help you to identify particular clips by selecting Clip Text > Clip Resolutions from the Timeline Fast menu. Timeline Local Colors clips to which you have assigned a local color in the Timeline.
Customizing Timeline Views To reset the display colors for the Resolution Tracking, Offline, Mixed Rates, and SD/HD options: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Click Default Colors. The Offline, Mixed Rates, and SD/HD color swatches reset to their default colors. Changing the Timeline Background or Track Color To change the background color of the Timeline: 1. Deselect all the tracks in the Timeline.
14 Using the Timeline 2. Select Timeline Local, and then click OK. 3. Select one of the segment tools in the Timeline palette, and select a clip you want to color. 4. Do one of the following: t Select Edit > Set Local Clip Color > color to select a standard color. t Select Edit > Set Local Clip Color > Pick to select a custom color from the Windows Color dialog box. The assigned local color appears in the clip in the Timeline. To remove a local clip color: 1.
Customizing Timeline Views Displaying Timecode Tracks in the Timeline You can display separate tracks for different timecodes in the Timeline. By default, the Timeline displays all the tracks. You can hide the timecode tracks by deselecting them in the Show Track submenu of the Timeline Fast menu. The master timecode also displays in the Timeline ruler above the Timeline. To customize the tracks to be displayed in the Timeline: t n Click the Timeline Fast Menu button, and select Show Track > tracks.
14 Using the Timeline n For the Timeline to page or scroll, you might need to display more detail in the Timeline to expand the sequence. Click the slider and drag it to the right to expand the Timeline. All effect icons are hidden as you scroll. To set the playback option: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens, displaying a list of your current Timeline settings. For more information, see “Timeline Settings” on page 1203. 2.
Customizing Timeline Views n If the Timeline or monitor window is hidden behind another window, select the window again from the Tools menu. To resize the Timeline window: t Click the Resize box at the lower right corner of the window, and drag it. t (Macintosh only) Click the Maximize button in the top right corner of the window. The Timeline expands to full-screen size. To restore a resized Timeline window to its default position: t Click the Timeline and select Windows > Home.
14 Using the Timeline Timeline palette, located to the left of the Timeline, with the Timeline ruler at the top of the Timeline The Timeline palette provides you with the most common tools you need for Timeline editing, as well as several buttons you can use to enable editing modes such as Effect mode or Color Correction mode. Icon 598 Tool Description Link Selection Allows you to select segments in the Timeline that are linked by common source media and timecode.
Customizing Timeline Views Icon Tool Description Effects mode Enters Effects mode, opening the Effect Editor and changing the Record monitor to the Effect Preview monitor. Color Correction mode Enters Color Correction mode, opening the color correction controls. Motion Effect Opens the Motion Effect Editor, allowing you to edit Timewarp effects. The editing tools at the top of the Timeline palette make up the Smart tool.
14 Using the Timeline • The Keyframe Selection tools lets you select and move audio keyframes when you have any of the Timeline palette editing tools selected. • The Smart tool toggle bar lets you turn off the Timeline palette editing tools. When you use the toggle bar to enable Timeline palette tools, the toggle bar enables the tools that you had previously selected.
Customizing Timeline Views Component Description Solo Allows you to monitor a single track of audio without deselecting other tracks. RTAS plug-ins Lists the RTAS plug-ins inserted on the track. Clicking the button for an existing RTAS insert opens the RTAS plug-in window so you can edit the plug-in parameters. Clicking a blank RTAS button opens the RTAS tool so you can insert a plug-in on the track. Mute Allows you to mute a single track of audio without deselecting it.
14 Using the Timeline To view multitrack source material quickly in the Timeline for selecting and marking specific tracks: t Click the Toggle Source/Record in Timeline button. By default, the Timeline displays only the available tracks for source material. Both the button and the position indicator turn green to indicate that you are viewing source material. Displaying the Timeline Top Toolbar You can display a top toolbar in the Timeline for easy access to editing buttons.
Customizing Timeline Views You can select alternate views from the View menu located in the Timeline bottom toolbar. The Timeline view is labeled Untitled until you name and save a customized Timeline view. You can replace a Timeline view with a different view, while keeping the same name. You can also restore the default Timeline setup at any time. n You can also change the name of a Timeline view or delete a view from the Settings list in the Project window.
14 Using the Timeline The Timeline View buttons are assigned to your Timeline views in the order that they appear on the View menu in the Timeline bottom toolbar and in the Settings list. For example, the T1 button is assigned to the first Timeline view that appears in the menu and the Settings list, the T2 button is assigned to the second view, and so on. Your Avid editing application sorts the Timeline views alphabetically, and the button assignments might change if you add Timeline views.
Navigating in the Timeline Navigating in the Timeline The Timeline window provides various controls for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing. You can use the position indicator, the Timeline scroll bar, the Timeline scale bar, the Zoom In and Zoom Back commands, or the Focus button. In addition, you can highlight marked sections of the sequence for visual reference.
14 Using the Timeline Timeline scroll bar with scroll slider at the bottom of the Timeline Zooming and Focusing in the Timeline You can change your view of the Timeline to focus in on particular information in the following ways: • You can use the scale bar to stretch and contract the Timeline area centered around the position indicator. This lets you either zoom in to focus on a specific area of your sequence or zoom out to display your whole sequence.
Navigating in the Timeline To zoom in the Timeline using the Zoom In and Zoom Back commands: 1. Click the Timeline Fast Menu button, and select Zoom In. The pointer arrow changes to a selection bar. 2. Position the pointer at either the start or end of the place you want to zoom in on, and drag to select the section. When you release the mouse button, the material inside the Zoom In box expands to fill the Timeline window. 3.
14 Using the Timeline Working with Segments Your Avid editing application provides editing controls for moving, deleting, marking, and editing entire segments in the Timeline. A segment is a portion of a sequence between two clip transitions. There are two basic ways to edit segments: • Select one of the segment tools on the Timeline palette (Lift/Overwrite or Extract/Splice-in).
Working with Segments Guidelines When Selecting Segments • You cannot simultaneously move segments separated along a track. You can, however, move segments separated on different tracks. • You cannot overlap the source and destination tracks. For example, you can move audio segments from A3 and A4 to A1 and A2, but you cannot move them from A3 and A4 to A2 and A3 (A3 overlaps). You can move mono audio tracks only to other mono audio tracks, and you can move stereo audio tracks only to stereo tracks.
14 Using the Timeline To select segments with the pointer: 1. Select one of the segment tools on the Timeline palette. The mouse pointer arrow changes to a large red or yellow arrow when inside the Timeline, depending on where you position the pointer or which segment tool you click. 2. Click a segment in any track to select it. Shift+click to select additional segments. You can Shift+click a selected segment to deselect it.
Working with Segments Linked Clips Media objects in bins can contain media on more than one track, such as a master clip with a video track and two audio tracks. When you add media to a sequence that come from the same source and share the same timecode, the Timeline displays the associated tracks. By default, the Avid editing application treats these tracks as linked so that when you select a segment, the application automatically selects any linked segments.
14 Using the Timeline To enable or disable link selection in the Timeline, do one of the following: t Click the Link Selection button. t Press Shift+L. To select linked clips: 1. Click a segment with linked clips. The application selects all linked segments. 2. (Option) If you want to select additional linked clips, Shift+click additional segments. 3. (Option) If you want to deselect selected segments, Shift+Alt+click (Windows) or Shift+Option+click (Macintosh) a linked segment.
Working with Segments Maintaining Sync with Segment Edits When you use the Lift/Overwrite tool, the application adds filler to the sequence to maintain sync. When you move segments in the Timeline using Extract/Splice-in, the sync might be broken. To maintain sync when you use Extract/Splice-in, select the Segment Drag Sync Locks option in the Edit tab of the Timeline Settings dialog box.
14 Using the Timeline To perform a segment edit: 1. Do one of the following: t Select both of the segment tools on the Timeline palette, and then position the mouse pointer over the top of the segment (for Lift/Overwrite operations) or the bottom of the segment (for Extract/Splice-in operations). t Select one of the segment tools on the Timeline palette.
Working with Segments By default, your Avid editing application deletes the selected segment and leaves blank space or silence in its place (a Lift segment edit). You can use In and Out points to perform a standard Extract edit. You can also delete segments by using the Cut command. See “Cutting, Copying, and Pasting in the Timeline” on page 616. To delete segments quickly: 1.
14 Using the Timeline The mouse pointer arrow changes to a large red or yellow arrow when inside the Timeline, depending on where you position the pointer or which segment tool you click. 2. Click one or more segments to highlight a section of the sequence. 3. Click the Mark Clip button. The system marks an In point at the start and an Out point at the end of the selected segments. If you selected more than one track, the In and Out points mark where the edit points across tracks line up.
Working with Segments To set the default tool used for segment editing: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens, displaying a list of your current Timeline settings. For more information, see “Timeline Settings” on page 1203. 2. Click the Edit tab, and select one of the following: t Segment Insert for Extract/Splice-In edits t Segment Overwrite for Lift/Overwrite edits 3. Click OK.
14 Using the Timeline If you do not select a segment tool, or if you select both tools, your Avid editing application defaults to the segment tool specified in the Timeline Settings dialog box. For more information, see “Setting the Default Segment Edit Tool” on page 616. 3. Drag a clip from the bin into the Timeline. You can edit only one clip at a time. The pointer changes to the selected segment icon, and the interface changes to the four-frame monitor display.
Working with Multiple Tracks Occasionally, effects editing involves a procedure known as nesting. Nesting involves stepping into existing tracks to reveal added layers for combining multiple images and digital video effects. When you apply an effect, you can step out to view and render the effect as one segment on the track. You can nest up to 24 additional tracks within each track. n For more information on nesting techniques, see “Nesting Effects” in the Help.
14 Using the Timeline The source side of the panel displays only those tracks available for the clip currently loaded. For example, a clip that has audio captured only for track A1 does not display an A2 track in the Track Selector panel. The record side of the panel displays only those tracks currently in use for the sequence. When you edit source material with a track selected that does not yet exist on the record side, by default the track appears on the record side after the edit takes place.
Working with Multiple Tracks t Drag a lasso around multiple tracks to select them at once. t With the Timeline active, select Edit > Select All Tracks to select all tracks on the record and source sides. t Click the Cycle Picture/Sound button in the Edit tab of the Command palette to cycle among selected video tracks, audio tracks, data track, or all tracks. To use a Command Palette button for track selection, do one of the following: 1.
14 Using the Timeline The following characteristics apply to audio track monitoring: • The system pans odd-numbered mono tracks to the left speaker and even-numbered mono tracks to the right speaker by default. Stereo tracks include channels for the left and right speakers, with the stereo mix panned to the center.
Working with Multiple Tracks Monitoring and Soloing Tracks The Track Monitor buttons allow you to choose which tracks to monitor in the Source/Record monitor and the speakers. You can monitor a single track or monitor multiple tracks at the same time. You can also isolate, or solo, an individual track for monitoring without having to deselect other tracks. For more information on monitoring video and audio tracks, and on the benefits of solo monitoring, see “Understanding Track Monitoring” on page 621.
14 Using the Timeline To deselect solo monitoring: t Click the Track Monitor button or the Solo button again. Patching Tracks When working with multiple tracks, you can encounter a circumstance in which you must edit source audio or video onto a track other than the parallel track displayed in the Track Selector panel. To edit the source material onto another record track above or below it, you must patch the source track to the targeted record track.
Working with Multiple Tracks Audio patch from a source track to an audio record track (left) and the new source track order identifying the patch (right). n After you patch tracks, it is helpful to display the destination track of the clips in the Timeline. Select Clip Text > Clip Tracks from the Timeline Fast menu to display the destination track. To undo a patch: 1. Click in the Record monitor or Timeline. 2. Manually repatch to the previous track.
14 Using the Timeline 3. Place clips or subclips in the Alternate Edits bin you want for your sequence. The clips swapped into the sequence start at the beginning of the clip or subclip unless you mark an In or an Out point. When Out points are used, the sequence backfills the duration on the clip being replaced, starting from the Out point. 4. Move the position indicator in the Timeline to the clip you want to replace. 5. Select Tools > Command Palette. 6. Click the Play tab. 7.
Working with Multiple Tracks Locking tracks prevents further editing from being performed on them and can help in the following workflows: n • For video or picture editing, you can lock tracks when you have completed a set of complex, multilayer edits and want to avoid making accidental changes while you work on adjacent tracks. • For audio editing, you can lock audio tracks containing sync dialog that should be maintained while you edit adjacent video tracks or audio tracks.
14 Using the Timeline To unlock tracks: 1. Select the tracks you want to unlock. 2. Do one of the following: t Select Clip > Unlock Tracks. t Right-click in the Timeline, and select Unlock Tracks. t If you want to unlock a single track, right-click the track selector button and select Unlock Track. The Lock icon disappears and the tracks are unlocked. To sync lock tracks, do one of the following: t Click a Sync Lock button to activate the Sync Lock icon for each synchronized track.
Working with Multiple Tracks t - Select Clip > New Audio Track Stereo. - Select Clip > New Meta Track. - Select Clip > New Data Track. Right-click in the Timeline, and select one of the following: - New Video Track. - New Audio Track Mono. - New Audio Track Stereo. - New Meta Track. - New Data Track. The new track appears in the Timeline. To add a new track to a sequence and customize its numbering: 1.
14 Using the Timeline One of the following occurs: - The new track appears in the Timeline and in the Track Selector panel. Stereo tracks in the Timeline display with a horizontal divider, indicating two channels of audio. - If you selected the number of an existing track in step 3, a dialog box asks if you want to insert the new track. Click Insert to add the new track below the current track with that number.
Working with Multiple Tracks a second mono track on A2 for the other stereo channel. If A2 already exists in the Timeline, the application renumbers tracks to allow for the split mono tracks. Also, the application renumbers tracks to preserve the odd and even track numbers for left and right mono channels. Renumbered tracks start at the highest track available.
14 Using the Timeline To split a stereo audio track to mono, do the following: t Right-click the stereo track you want to split, and select Split Track to Mono. t Right-click a stereo clip in a bin that you want to split, and select Split Track to Mono. The stereo track splits into two mono tracks, with the second mono track added below the original stereo track. A copy of your original sequence is saved to your bin as [sequence_name].Copy.[number].
In to Out Highlighting in the Timeline 5. Click the Overwrite button, or press the Alt key and drag the clip from the pop-up monitor to the Timeline. The source material is added to the sequence, with the synchronized ending. 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 on selected tracks in the Timeline.
14 Using the Timeline Heads view (top) and Heads Tails view (bottom) in the Timeline. Heads view shows the Head frame for each clip. Heads Tails view shows both the head and tail frames for each clip. 3. Press and hold the Alt key (Windows) or Option key (Macintosh), click the frames representing the clip you want to move, and drag the clip to its new position. The sequence is rearranged to match the changes you made.
Working with Add Edits (Match Frames) t Click the Tail button to extract footage from the position indicator to the end of the clip or segment. Working with Add Edits (Match Frames) The Add Edit function places an artificial edit point between frames of a clip. The edit appears in the Timeline as a transition between two clips, but when you play the clip, the footage appears unchanged because the frames are continuous. This form of edit is also known as a match frame.
14 Using the Timeline n By default, the match-frame indicator is white. If a change in level occurs, the match-frame indicator changes to red. 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. To remove match-frame edits: 1.
Dupe Detection Two duplicate frames marked above the clip in the Timeline by the automatic Dupe Detection feature Orange bars mark the first set of duplicate frames, green bars mark the second set, and so on. You can use Dupe Detection while you edit to locate duplicate frames, and remove them as the sequence evolves. Activating Dupe Detection n c You can change the handle size used by Dupe Detection in the Edit tab of the Timeline Settings dialog box.
14 Using the Timeline 1 2 3 Example of a splice on a safety frame. Frames 1 and 3 are still usable, but frame 2 has been cut in the middle and is lost. In 16mm film editing (using the multiple-strand method), labs sometimes use the zero-frame cutting method to avoid seeing each splice in a 35mm blowup print. In this method, the negative is conformed along with the handles so that the cuts appear as soft frame handles rather than jumps in the resulting 35mm blowup.
Editing with the Film Track Adjusting Handle Length in Dupe Detection To adjust handle lengths in Dupe Detection: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens. 2. Click the Dupe Detection Handles menu in the Edit tab, and select the number of handle frames. The typical 35mm safety frame setting is 0.5 frame (amounting to a 1-frame total with both sides of a cut). 3. Click OK. The selected value is applied to the head and tail of every event.
14 Using the Timeline To quickly view more frames as you scroll: t Drag the resize box in the lower right corner of the Timeline for a full-screen view. You can reduce the size of Timeline tracks to wrap the sequence around several times. As you continue to scroll, each strand of the Timeline wraparound is updated.
Printing the Timeline 4. Move the position indicator to the beginning of the sequence or before the part of the sequence you want to search. 5. Select Clip > Find Flash Frames. The position indicator moves to the first flash frame. To find the next flash frame: t Select Clip > Find Flash Frames again. Printing the Timeline To print the Timeline: 1. Click the Timeline to activate it. 2. Select File > Print Timeline. The Print dialog box opens.
14 Using the Timeline 642
15 Working with Trim Edits Basic editing of a sequence initially produces a rough cut, which is loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can use trim edits to 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.
15 Working with Trim Edits You can make the following basic kinds of trim edits using the Timeline palette: • Overwrite trim — single-roller trims which either add black or overwrite frames while trimming • Ripple trim — single-roller trims with no sync lock • Dual-roller trim — edits that move the transition boundary between segments without affecting the duration of the sequence Some trims, such as overwrite trim edits, maintain sync between video and audio clips.
Understanding Trim Displays Small Trim display — replaces Record monitor in two-monitor view. Outgoing and incoming frames appear side-by-side on the right, with playback loop parameter controls above them, and with frame offset counters and Trim buttons beneath them. Quick Trim Display If you display only the Record monitor (for example, as you review the final version of a sequence), you can use Quick Trim display for making quick adjustments to transitions in your sequence.
15 Working with Trim Edits n When you click the Trim Mode button with the Record monitor active, the system enters Big Trim display. If you click the Trim Mode button again, the interface switches back to the Record monitor. This toggle feature is useful if you like to trim quickly as you finish your sequence. Big Trim Display Big Trim display replaces the Source and Record monitors with displays of outgoing and incoming frames. Big Trim display also shows transition playback loop parameters.
Timeline Trim States You can also do the following: • Map trim-related buttons onto palettes or the keyboard, as described in “Understanding Button Mapping” on page 94. • Configure a Trim-mode-specific Timeline view, as described in “Customizing Timeline Views” on page 585. Timeline Trim States When you trim using the Timeline palette, the kind of edit you can perform depends on which trim tools you select and the position of the mouse pointer relative to the transition you want to trim.
15 Working with Trim Edits Icon Trim Type Trim Zone Ripple trim (outgoing) Lower right corner of the outgoing clip Ripple trim (incoming) Lower left corner of the incoming clip Dual-roller trim Transition between outgoing and incoming clips Selecting Trim Sides You can trim a transition on either the outgoing side (A-side or tail), the incoming side (B-side or head), or both sides (dual-roller).
Selecting Trim Sides To select the sides of a transition to trim, do one of the following: t Select one or both of the trim tools on the Timeline palette, and then click the outgoing (A-side) or incoming (B-side) monitor to define which side of the transition to trim. The pointer changes to an overwrite trim or an ripple trim icon over either the A-side or the B-side of the transition, depending on the position of the pointer.
15 Working with Trim Edits t Click the Step Forward button or the Step Backward button under the Source/Record monitor. Step Forward button (left) and Step Backward button (right) t Click a location in the Timecode (TC1) track at the bottom of the Timeline or the Timeline ruler at the top of the Timeline. The position indicator moves to that location.
Overwrite Trimming For example, if you select a single transition in track V1 for single-roller A-side trimming and want to add tracks A1 and A2 at the same transition, click the corresponding track selectors. You can also deselect tracks in the Track Selector panel to remove transitions on those tracks from the trim procedure. To select additional transitions for single-roller trimming in varying locations on different tracks: t Shift+click the transitions in the Timeline.
15 Working with Trim Edits and the sync relationships. This procedure either adds a black segment or overwrites frames to fill the duration of trimmed frames. For more information on preserving sync by adding black filler, see “Maintaining Sync While Trimming” on page 660. If you enable link selection, clicking a transition also selects transitions on linked segments (see “Linked Clips” on page 611). To perform and overwrite trim: 1.
Dual-Roller Trimming To perform a ripple trim: 1. Do one of the following: t Select the Ripple Trim tool on the Timeline palette, and then click a transition to select it for trimming. Shift+click to select multiple clips aligned at the same transition.
15 Working with Trim Edits Default trim selection for a straight cut (showing dual-roller icons) If you selected the option in the Trim Settings dialog box to “Auto focus when entering Trim mode,” the Timeline enlarges at the transition selected for trimming. If the transitions are not straight cuts (overlap cuts or L-edits), the dual-roller icon appears only on the transition nearest the position indicator of the topmost track, and all other tracks are deselected.
Reviewing Trim Edits - To move the transition a specific number of frames, type a plus sign (+) or minus sign (–) and the number of frames (from 1 to 99), and then press Enter. If the number of frames exceeds 99, type an f after the number to indicate frame count. For example, to enter 200 frames, type 200f and press Enter. - To move the transition to an exact point in the timecode, type a timecode number larger than 99, including frames. For example, type 102 to enter 1 second and 2 frames (1:02).
15 Working with Trim Edits Preroll length text box (top left), postroll length text box (top right), and transition effect duration text box (bottom) 4. To stop the playback loop, click the Play Loop button again. 5. To deselect trim points, click the timecode track in the Timeline or click the Toggle Source/Record button. To review footage starting from the previous transition: 1. Move the position indicator to the transition you want to review. 2. Click the Edit Review button.
Trimming During a Playback Loop n When trimming with the J-K-L keys, you cannot completely trim away all frames in a segment. Your Avid editing application always leaves one frame. To remove the remaining frame, see “Refining Trims” on page 654. To trim on-the-fly: 1. Click either the outgoing (A-side) or incoming (B-side) monitor to play in real time during the trim. 2. Select one or more transitions for overwrite trimming, ripple trimming, or dual-roller trimming.
15 Working with Trim Edits Your Avid editing application performs the trim before the next playback loop. You can then view the trimmed transition during playback and make further changes until you are satisfied with the result. 4. When you finish, exit the playback loop by doing one of the following: t Press the space bar. t Click the Play Loop button.
Extending an Edit Extending an Edit Use an extend edit to perform dual-sided (A-side and B-side) trims on selected tracks. An extend edit lets you quickly create a split edit without selecting trim sides at a transition. It also lets you establish the exact frame that you want to trim to by using the position indicator. You can extend edits backward or forward in the Timeline. In either case, like a dual-roller trim, extend edits always maintain sync relationships. To perform an extend edit: 1.
15 Working with Trim Edits Maintaining Sync While Trimming Because single-roller trims (A-side or B-side) can change the duration of the track being trimmed, any relationships that exist with other tracks downstream of the trim lose sync.
Slipping or Sliding Segments - 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.
15 Working with Trim Edits The type of trim you perform (slip or slide) determines which frames update: • In slip trimming, the two inner monitors for the head and tail frames of the clip change because this adjusts only the contents of the clip. It does not affect the frames that precede and follow the clip. 1 2 3 4 2 3 4 5 Example of a one-frame slip to the right. The head and tail frames of the segment change by one frame. The material before and after the segment remains fixed.
Slipping or Sliding Segments Slipping or Sliding Segments in a Four-Frame Display If you expand the Source/Record monitors to a two-monitor display, you can use four-frame display when trimming. For more information on expanding the Source/Record monitor, see “Resizing the Monitors” on page 447. To slip and slide segments in a four-frame display: 1. Place the position indicator on the segment you want to slip or slide. 2. Right-click in the Timeline, and then select Select Slip Trim or Select Slide Trim.
15 Working with Trim Edits Trimming in Two Directions You can select non-contiguous transitions in the Timeline and perform a trim simultaneously on all selected transitions. This allows you to trim segments without altering the duration of the sequence in cases where you cannot perform a simple dual-roller trim.
16 Working with Audio You edit audio by using many of the same techniques and tools you use to edit video. Your Avid editing application 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 as well as the frequency ranges of segments.
16 Working with Audio • Recording Voice-Over Narration • Using Automatic Voice-Over Overview of Audio Tools The following table describes the general purpose of each audio tool in your Avid editing application: Audio tool Description Audio Mixer tool This tool adjusts pan and volume levels on clips or whole tracks within a sequence. For more information, see “Using the Audio Mixer Tool” on page 689.
Overview of Audio Tools To access one of the audio effect tools: t Select Tools > tool name. To switch to another tool when one of the audio tools is already open: t Click the Effect Mode Selector menu, and select the new tool. To keep more than one tool open at the same time: t Select Tools > tool name, or click the Effect Mode Selector menu and Alt+click (Windows) or Option+click (Macintosh) a new tool.
16 Working with Audio If you do not select this option, the system reads the LTC timecode. c Information contained in the user bits of the LTC must be timecode only. Other data stored in the user bits does not appear in your Avid editing application. 4. Click the Audio Timecode Source menu, and select the audio track containing the timecode. A1 is the default. 5. Click the Destination Track menu, and select the target auxiliary timecode bin column for recording the audio timecode.
Working with Multichannel Audio Tracks If you duplicate a clip in a bin and modify the track format in the copy, your can create a sequence that contains both a stereo and a mono instance of the same master clip. This does not cause a problem with editing, playback, or any other operation. You can also split stereo tracks in the Timeline into two mono tracks. for more information, see “Splitting Stereo Tracks to Mono Tracks” on page 726. To set the multichannel audio format for audio tracks: 1.
16 Working with Audio 5. Click the Format buttons to cycle through the available options until you find the appropriate format: Option Description Mixed tracks Does not modify the audio track formats. The Mixed Format Tracks button appears only when you select more than one clip and the clips contain both mono and stereo tracks. Mono tracks Sets the paired audio tracks to two mono tracks. Stereo track Sets the paired audio tracks to one stereo track. 6. Click OK.
The Track Control Panel The Track Control Panel Timeline tracks include a Track Control panel that provides features useful when you edit audio tracks. The Track Control panel arranges components in two rows of tools, and it allows you to do the following: • Show or hide waveforms and clip gain, auto gain, and auto pan displays on individual tracks (see “Displaying Audio Waveforms” on page 678 and “Displaying Gain and Automation Pan Values” on page 680).
16 Working with Audio To show the Track Control panel, do one of the following: t Click the Timeline fast menu and select Track Control Panel. To hide the Track Control panel, deselect Track Control Panel. t Click the Track Control Panel button above the Timeline.
The Track Control Panel Solo button (green) and Mute buttons (orange) in the Track Control panel To turn off soloing for the track: t Click the Solo button again. To turn off the solo feature for all audio tracks: t Alt+click (Windows) or Option+click (Macintosh) the Solo button on any track. Making Tracks Inactive Unlike muted audio tracks, inactive or unmonitored audio tracks process no plug-in effects or automation.
16 Working with Audio To make an audio track inactive using the Audio Mixer tool, do the following: t In the Audio Mixer tool, right-click the Track Selector button and select Disable Track Monitoring. You can right-click the Track Selector button again and select Enable Track Monitoring to restore monitoring to the track. To make all audio tracks inactive, do the following: t Alt+click (Windows) or Option+click (Macintosh) any Audio Track Monitor button in the Track Control panel.
Using Audio Scrub Selecting Tracks for Audio Scrubbing By default, all monitored audio tracks are selected for scrubbing. However, as the play speed increases during audio scrubbing, some monitored audio tracks are dropped. You can select up to two tracks to ensure they play during scrubbing, even if the system has to drop some tracks. The following table shows how many tracks you can scrub at the varying speeds of play.
16 Working with Audio Performing Smooth Audio Scrub You can use three-button play with the J-K-L keys to perform smooth audio scrubbing of selected tracks of audio at variable speeds but not digital audio scrub. You can monitor while stepping (jogging) or while shuttling at fixed rates up to three times normal speed. The audio cuts out at greater than three times the normal speed and comes back in after the speed drops below three times. To monitor audio with three-button play: 1.
Audio Displays in the Timeline n The Play Buffer Size in Samples option and the Tool Buffer Size in Samples option appear only if your Avid editing application is not using Avid input/output hardware (software-only). 2. Click in a text box, and type a new number of outgoing or incoming frames in the Source Scrub area, the Timeline Scrub area, or both. The new parameters take effect. Performing Digital Audio Scrub Step Buttons.
16 Working with Audio You can also view a graph for automation pan and gain information in the Timeline. For more information, see “Displaying Gain and Automation Pan Values” on page 680. If you have a sequence with several different sample rates, you can identify a specific sample rate by color. For more information, see “Identifying Sample Rates by Color” on page 681.
Audio Displays in the Timeline To display audio waveforms for all tracks: 1. To search for a point in a known section of the tracks, zoom in and show more detail in the sequence to isolate a section of the audio. With less audio to display, the system draws the waveform plot faster. 2.
16 Working with Audio To display audio waveforms for selected tracks: 1. Click the Timeline fast menu and select Audio Data > Allow Per Track Settings. 2. Click the Timeline fast menu and select Audio Date > Allow Per Track Settings, and then click the Waveform button in the Track Control panel for the tracks you want to display audio waveform plots. The waveform appears in the selected tracks. You can turn off all waveforms on selected tracks by disabling Allow Per Track Settings.
Audio Displays in the Timeline To turn on the display of clip gain values and automation gain values for selected tracks: 1. Click the Timeline fast menu and select Audio Data > Allow Per Track Settings. 2. Click the Clip Gain button in the Track Control panel for the tracks you want to display clip or automation gain information, and select Clip Gain or Auto Gain. The gain values appear in the selected tracks. 3.
16 Working with Audio Depending on which sample rate you selected for your project, the color black is displayed on those clips. For example, if you selected 48 kHz from the Sample Rate menu in the Main tab in the Audio Project Settings dialog box, the sample plot of these clips (48 kHz) is displayed as black, and the sample plot of all other clips with different sample rates (32 kHz and 44.1 kHz) is displayed as white. Example of mismatched sample rates displaying with different colors in the Timeline.
Audio Displays in the Timeline n When the Audio meter is hidden, extra mappable buttons are available. For more information on mapping buttons, see “Mapping User-Selectable Buttons” on page 95. Adjusting Volume You can adjust your speaker or headphone volume without leaving your Avid editing application.
16 Working with Audio 3. Release the mouse button. To adjust the volume control (models using Avid input/output hardware): t n Adjust the volume control on your Avid input/output hardware to the desired audio level. Adjusting the volume control affects the volume only while you work in your Avid editing application. Once you exit your Avid editing application, the volume control defaults to your desktop setting. To mute volume from the Timeline: t Click the Master Volume button.
Working with Surround Sound or 5.1 Audio (Avid Nitris DX and Avid Mojo DX Only) Working with Surround Sound or 5.1 Audio (Avid Nitris DX and Avid Mojo DX Only) Avid editors with certain Avid input/output hardware attached let you receive audio as channels of premixed surround sound. You can hear this audio as either mixdown stereo or as true 5.1 surround sound using six speakers. Six-channel digital surround sound systems use the 5.
16 Working with Audio Track Channel A1 Left/Right front (1-2) A2 Center/Low Frequency Effects (LFE) (3-4) A3 Left/Right Rear (5-6) To designate a project as surround sound audio: 1. Double-click Audio Project in the Settings tab of the Project window. The Audio Project Settings window opens. 2. Click the Output tab. 3. Click the Mix Mode Selection Menu button to select Direct Out. 4. Select First six tracks are 5.1 surround: L, R, C, LFE, LR, RR. A check mark appears. 5.
Working with Surround Sound or 5.1 Audio (Avid Nitris DX and Avid Mojo DX Only) Channel Spea ker TRS Channel 1 Left Front TRS Channel 2 Right Front XLR Channel 1 Center XLR Channel 2 LFE or Subwoofer XLR Channel 3 Left Rear XLR Channel 4 Right Rear To set up for an analog audio output: 1. Double-click Audio Project in the Settings tab of the Project window. The Audio Project Settings window opens. 2. Click the Output tab. 3. Click the Analog tab. 4.
16 Working with Audio If you send the HDMI output to a deck, the deck receives the channels in the Timeline in the same order as the channels set in the Direct Out Channel map in the Audio Project Settings window. If you configure your system for surround sound, the output is sent in the HDMI standard channel order as shown in the following table. Channel Spea ker 1 Left 2 Right 3 LFE or Subwoofer 4 Center 5 Left Rear 6 Right Rear To set up for a surround sound (HDMI) audio output: 1.
Adjusting the Play Buffer Size for Audio (Software-only Models) Adjusting the Play Buffer Size for Audio (Software-only Models) You can use third-party host audio devices, such as a Sound Blaster® audio card, in software-only configurations of Avid editing applications. Although most host audio devices work properly within Avid editing applications, some exhibit problems during output (for example, audio clicking).
16 Working with Audio Mode Task Description Automation Gain and Pan Lets you adjust and record volume and pan changes within a clip in the Timeline. For more information, see “Using Automation Gain and Pan” on page 706. Live Mix Lets you temporarily override any existing Automation Gain and Pan settings. You can use the controls on the Audio Mixer tool or use an external controller to change volume and pan settings without modifying the existing Automation Gain and Pan settings.
Using the Audio Mixer Tool 1 2 3 7 4 8 9 5 6 Top part of Audio Mixer tool Element Description 1 Audio Loop Play button Lets you adjust audio effects while looping over a portion of audio. This button is also available in the Play tab of the Command palette. For more information, see “Adjusting Volume While Playing a Clip Gain Effect” on page 703. 2 Render Effect button Lets you render audio effects.
16 Working with Audio Element Description (Continued) 8 Which Set of Tracks Lets you select which enabled tracks to display in the mix panes. When you display to Display in Mix 8 panes (with the Number of Mix Panes button), Grp 1 displays tracks 1-8. Click the Panes buttons Which Set of Tracks to Display in Mix Panes button to change it to Grp 2, which displays tracks 9-16.
Using the Audio Mixer Tool Element Description 1 Track Solo and Track Let you solo or mute selected tracks. The values persist when you switch to another Mute buttons group, switch to another Audio Mixer mode, and when you close the Audio Mixer tool. For more information, see “Using the Track Solo and Track Mute Buttons” on page 694. 2 Track Selection Menu buttons Let you enable tracks for mixing audio.
16 Working with Audio Track Selection in the Audio Mixer Tool and in the Timeline When you select a track in the Audio Mixer tool, your Avid editing application selects the corresponding track in the Timeline. Similarly, when you select an audio track in the Timeline, your Avid editing application selects the corresponding track in the Audio Mixer tool. You can use the audio track buttons in the Tracks tab of the Command Palette to select tracks in the Audio Mixer tool.
Using the Audio Mixer Tool Position indicator lights in the Audio Mixer tool The following table describes how to interpret the position indicator lights. Colors Description Both lights are blue. The fader matches the current Timeline volume. Only top light is blue. The fader is higher than the Timeline volume. Only bottom light is blue. The fader is lower than the Timeline volume. Both lights are gray.
16 Working with Audio Rendering and Unrendering Order for Audio Effects Your Avid editing application processes audio effects in the following order (you can also think of this as the audio gain staging): 1. Clip Gain and Pan (Audio Mixer tool in Clip Gain mode — real-time). 2. AudioSuite plug-ins (AudioSuite tool — non-real-time). 3. EQ (Audio EQ tool — real-time, can be rendered). 4. Audio Fade or Dissolve (Quick Dissolve button — real-time, can be rendered). 5.
Audio Gain Staging and an Audio Editing Workflow You can set audio volume levels with the Audio Mixer tool. When you use the Audio Mixer tool in Clip Gain mode, values set by the volume level sliders are referred to as system clip gain values. When you use the Audio Mixer tool in Automation Gain and Pan mode, values set by the Audio Mixer tool are additive to the system clip gain values. This lets you adjust the values separately.
16 Working with Audio Using Clip Gain and Pan Mode The Audio Mixer tool in Clip Gain and Pan mode lets you do the following: • Adjust volume and pan for an individual clip, a whole track, several tracks at once, or a whole sequence. • Adjust the volume, pan, or both for one track at a time. • Adjust the volume, pan, or both for multiple tracks simultaneously by ganging them together. The system uses these adjustments for all playback, including output to a digital cut.
Using Clip Gain and Pan Mode To view a source clip’s tracks in the Timeline, click the Toggle Source/Record in Timeline button. t To adjust a track in a sequence, click the Record monitor to make it active. 2. Select the track or portion of a track you want to adjust: t To adjust the track in a single edited clip in a sequence, place the position indicator in the clip. t To adjust an isolated section of audio on a track, mark In and Out points.
16 Working with Audio The keyboard can control either the Source or Record monitor, depending on which monitor was active when you opened the Audio Mixer tool. Switch your selection by clicking the appropriate monitor. 7. Decide whether to raise or lower the volume.To change an audio level value in a mix pane, do one of the following: t Click a number along the vertical edge of the Level slider. t Click the Level slider, type a value, and press Enter (Windows) or Return (Macintosh).
Using Clip Gain and Pan Mode t Alt+click (Windows) the Pan Value display for MID. If the sequence is playing, play stops when you make an adjustment. n You can adjust volume while playing the clip. For more information, see “Adjusting Volume While Playing a Clip Gain Effect” on page 703. 9. Apply the adjustments to a chosen region of the track by using the Fast Menu button located in the top bar of the tool. See “Audio Mixer Fast Menu: Clip Gain and Pan Mode” on page 701. 10.
16 Working with Audio Command Description Adjust Pan/Vols on Track Opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks. For example, when you type –1 in the Gain Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks are lowered by exactly 1 dB when you click OK.
Using Clip Gain and Pan Mode Adjusting Volume While Playing a Clip Gain Effect You can use the Audio Loop Play button to change the volume on an existing Clip Gain effect while you play the clip. The Audio Loop Play button appears in several of the audio effect tools and is also a mappable button in the Play tab of the Command palette. For more information on mapping buttons, see “Mapping User-Selectable Buttons” on page 95.
16 Working with Audio Your Avid editing application automatically saves your changes as part of a Clip Gain effect. Improving Response Time When Adjusting Volume If there is no Clip Gain effect on the clip before you start, you do not hear any changes until you click the Audio Loop Play button to stop and replay the effect. As you adjust the volume values on an existing Clip Gain effect, you might not hear the results immediately.
Using Clip Gain and Pan Mode t Click the Mix Mode Selection Menu button in the Output tab in the Audio Project Settings window, and select one of the following modes: Mode Description Stereo Uses the default pan settings and lets you create pan effects. Mono Pans all mono tracks to center during output. This mode ignores pan effects. Direct Out This mode uses the default pan settings and ignores pan/vol effects.
16 Working with Audio 3. Click the Add Edit button. This places an edit where the position indicator is parked. 4. Find the end of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker. 5. Select the appropriate track. 6. Click the Add Edit button. 7. Use the process described in “Using the Audio Mixer Tool” on page 689 to change the level or pan within this new segment.
Using Automation Gain and Pan Using Automation Gain and Pan in the Timeline To use Automation Gain and Pan to adjust volume or pan in the Timeline: 1. Select an audio track for adjusting volume or pan. 2. Click the Timeline Fast Menu button, and select Audio Data > Auto Gain or Audio Data > Auto Pan.
16 Working with Audio After you add the first keyframe to a segment, you can adjust the gain for the entire clip. After you add a second keyframe, you can adjust the gain between keyframes. 5. Adjust the automation gain or automation pan keyframes by doing one of the following: t Click a keyframe and drag it up or down to increase or decrease the gain or pan at that point. If there is a point at the same position on another enabled track, it moves also.
Using Automation Gain and Pan To delete groups of automation gain or automation pan keyframes: 1. Mark an In point and an Out point or mark the entire segment. 2. Delete any keyframes in the marked area. Automation Gain and Pan Mode This topic describes controls in the Audio Mixer tool that are active only in Automation Gain and Pan mode. In Automation Gain and Pan mode, record controls are available, as shown in the following illustration and described in the table.
16 Working with Audio Understanding Automation Gain or Automation Pan Recording You can instruct your Avid editing application to record your actions while playing the clip as you move sliders to adjust volume or turn pan knobs to adjust pan values. Your Avid editing application creates the corresponding keyframes and saves them as part of a pan/volume audio effect. After you finish the recording, you can move, add, and delete keyframes to achieve the results you want.
Using Automation Gain and Pan 4. Click the Timeline Fast Menu button and select Audio Data > Auto Gain or Audio Data > Auto Pan. n If a clip contains automation gain or automation pan data and you do not select Auto Gain or Auto Pan from the Timeline Fast menu, the system displays a pink triangle on the clip to indicate that automation data is present but not displayed. 5. (Option) Expand the audio track by pressing Ctrl+L (Windows) or Command+L (Macintosh). 6.
16 Working with Audio Points Set Description In point only Commands apply adjustments to full clips from the In point to the end of selected tracks. Out point only Commands apply adjustments to full clips from the beginning of selected tracks to the Out point. None Commands apply globally (across entire tracks). The commands in the Fast menu appear inactive until you select a track.
Using Live Mix Mode Command Description (Continued) Calibrate Hardware Sliders Takes the place of the HW (hardware) button. When you enable the Calibrate Hardware Sliders option, the Record Status light changes to gold and the external faders control the sliders in the Audio Mixer tool. This is a test mode. You cannot edit volume data when the Record Status light is gold. Select the Fast menu option again to disable the test mode.
16 Working with Audio The following illustration shows the Audio Mixer tool in Live Mix mode. Entering Live Mix Mode To enter Live Mix mode: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Live Mix Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Live mode setting. The Audio Mixer tool changes to Live Mix mode.
Using Live Mix Mode 2. Double-click Controller Settings in the Settings list and make sure that the Controller, Port, and Gain Controller Port options identify the controller you are using. The following illustration shows the controller settings for the 002. 3. Press the Mix button on the 002 or Command|8 to open and put focus on the Audio Mixer tool. The Mix button is part of the Transport and Navigational controls on the external controller.
16 Working with Audio Layout of the 002. Top: Console/channel view section (contains a pan knob for each track). Bottom left: Fader section. Bottom right: Transport and Navigational controls section (the Mix button is highlighted within this section). The following illustration shows the layout of the Command|8 and identifies the controls discussed in this section. Layout of the Command|8. Top: Console/channel view section (contains a pan knob for each track). Bottom left: Fader section.
Using Live Mix Mode 4. Enter Live Mix mode in the Audio Mixer tool (see “Entering Live Mix Mode” on page 714). 5. Play and listen to the audio. 6. While the audio plays, you can adjust the faders or turn the pan knobs on the controller. This temporarily adjusts the audio without changing the automation gain or pan settings. 7. (Option) Change to Automation Gain and Pan mode and play the audio.
16 Working with Audio The Live Mix mode settings are not tied to the sequence. If you load a different sequence into the Timeline, the Live Mix mode settings on the controller (and in the Audio Mixer tool) do not change. You can think of the Live Mix mode as an external mixer connected to the Avid editing system. Changing to another sequence has no effect on the Live Mix mode settings.
Using Live Mix Mode Live Mix Mode Example The following illustration shows the Live Mix mode settings on two tracks in the Timeline. Track A1 is at 0 dB, and the volume of track A2 is set to -45. The Live Mix mode settings are not represented in the Timeline, but you can hear the difference when you play the audio. Live Mix level settings at 0 dB and -45 dB The following illustration shows a sequence in the Timeline with Automation Gain applied.
16 Working with Audio The following illustration shows the result after choosing Set Live Mix to Automation In/Out from the Audio Mixer Fast menu. The portion of the Timeline between the In and Out on Track A1 is changed to 0 dB and the same portion of Track A2 is changed by -45 dB to match the Live Mix settings. The system adds automation gain keyframes at the In and Out points and creates ramps from the In and Out points to the new value.
Fading and Dipping Audio For an overview of when to use clip gain and when to use automation gain, see “Audio Gain Staging and an Audio Editing Workflow” on page 696. To apply a fade or crossfade: 1. Move the position indicator to a transition. 2. Click the Fast Menu button under the Source/Record monitor. The Tool palette opens. 3. Click the Quick Transition button (which appears by default in the second row of buttons below the Record monitor or in the Timeline top toolbar).
16 Working with Audio n The number of frames available for a dissolve depends on how much of the clip has been edited into the sequence. For more information, see “Using the Quick Transition Button” in the Help. 7. If you selected Custom Start, type the number of frames before the transition to begin the effect in the “Start n frames before cut” text box. Otherwise, leave the default value in the text box. 8. (Option) Click the Target Drive menu, and select a media drive other than the default. 9.
Audio Sample Rate Conversion 5. Apply a dissolve to both Add Edit points, using the techniques described in “Fading and Dipping Audio” on page 720. Be sure to click the Position menu, and select Centered on Cut or Custom Start. After rendering, the audio dips smoothly from the higher levels of the adjacent segments of the track to the lower level applied to the middle segment.
16 Working with Audio To change the sample rate for a sequence or an audio clip: 1. Select one or more sequences or audio clips in the bin. 2. Select Bin > Change Sample Rate. The Change Sample Rate dialog box opens. 3. Choose from the following options: Option Description Sample Rate Lets you choose between 32 kHz, 44.1 kHz and 48 kHz. The broadcast standard for most high-end video postproduction houses is 48 kHz. Choose the rate based on the requirements of your facility.
Mixing Down Audio Tracks 4. Select Clip > Audio Mixdown. The Audio Mixdown dialog box opens. The Source Tracks area lists the source audio tracks and the Range area lists the start and end timecodes for the section of audio you have selected to mix down. 5. Select Mono or Stereo, and select the target track to which you want to mix down the audio. A mono mixdown goes to the next available mono track in the Timeline, and a stereo mixdown goes to the next available stereo track.
16 Working with Audio Splitting Stereo Tracks to Mono Tracks You can split a stereo audio track in the Timeline into separate mono tracks if you want to edit separate audio channels or if you need to export a sequence either to an older version of the Avid editing application or to Avid Pro Tools. You can also split a clip or sequence with stereo tracks to mono from a bin. You can split individual stereo tracks to mono, or you can split all stereo tracks in your sequence.
Using the Audio EQ Tool When the Avid editing application splits a stereo track to two mono tracks, it changes some audio properties of the track: • Removes stereo track effects such as RTAS plug-in effects. • Converts stereo AudioSuite plug-in effects to mono effects. • Applies any existing gain automation to the resulting mono tracks. • Applies any existing pan automation to the resulting mono tracks, panning odd-numbered tracks to the left and even-numbered tracks to the right.
16 Working with Audio t If one of the Audio tools is already open, click the Effect Mode Selector menu, and select EQ. The Audio EQ tool opens. Audio EQ Tool Features This topic describes the basic buttons and menus on the Audio EQ tool as well as the EQ-specific items on the tool. 1 2 3 4 5 7 6 8 9 Top part of the Audio EQ tool Button Description 1 Audio Loop Play Lets you make adjustments to an EQ effect while you play the effect.
Using the Audio EQ Tool Button Description 7 Display/Hide EQ Graph Lets you display or hide the Parametric Curve display. 8 Enable/Disable Lets you enable or disable the current EQ effect. When the button is yellow, EQ Effect the effect is enabled. (The button text “In” stands for “Inline.”) 9 Bypass RT EQ Lets you instruct the system to ignore all the EQ effects. This button is also available in the Audio Mixer tool and the Output tab in the Audio Project Settings dialog box.
16 Working with Audio • The second band is the parametric midrange. This band has two bandwidth values, 1/4 octave and 2 octaves. These values control the width of the curve. For more information, see “Audio EQ Examples” on page 735. • The third band, the high shelf, has four turnover points (6 kHz, 8 kHz, 12 kHz, and 15 kHz). The high shelf affects all frequencies from the high shelf turnover point to 20 kHz. The horizontal center line of the graph is 0 (zero).
Using the Audio EQ Tool Example of shelf, parametric midrange, and turnover point information in the Audio EQ tool. The current value for all EQ parameters is 0 dB. Top: buttons that display turnover points (for the low shelf and high shelf curve) and bandwidth (in this case, 2 octaves) around the center point of the parametric curve. Bottom: EQ Range slider showing the center point of the parametric midrange curve. The Audio EQ tool lets you emphasize or de-emphasize audio frequencies.
16 Working with Audio Track Selection Menu button in the Audio EQ tool The Track Selector panel in the Timeline updates to reflect your selection. If you enable multiple tracks 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. To stop playing the loop, click the button again or click anywhere in the Timeline. 7.
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. Examples of an EQ effect icon in the bin and in the Timeline To save EQ settings in a bin: t Drag the effect icon in the Audio EQ tool to a bin.
16 Working with Audio 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. For example, because there is no EQ setting on the third audio clip in the following example, Set EQ In/Out deletes the EQ effect from the first and second audio clips. Set EQ In/Out applies only to the audio track currently selected by the Audio EQ tool.
Using the Audio EQ Tool Audio EQ Examples The following procedures are examples of two different ways to use the Audio EQ tool to remove excess bass from an audio track. Assume that a bass drum in the sound track is very pronounced. You want to use the Audio EQ tool to de-emphasize it, but there are voices on the same track as the music. The human voice covers a wide range of frequencies, and the challenge is to preserve the bass frequencies of the voices while de emphasizing the bass drum sound.
16 Working with Audio To isolate the frequency: 1. Use the ¼-octave influence range. 2. Set the midrange EQ parameter to –15 dB. 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 to de-emphasize is approximately 80 Hz. Once you locate the frequency you want, you can adjust it as needed.
Using the Audio EQ Tool Predefined EQ templates in the Audio EQ tool Fast menu 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.
16 Working with Audio 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. For more information, see “Using The Console Window” on page 98. If you create an EQ effect, you can use it again as a template in another sequence or on another track. Your Avid editing application stores predefined EQ templates in a special bin named Site_EQs_Bin.avb.
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 703. If the clip has no existing EQ effect before you start, you do not hear any changes until you click the Audio Loop Play button to stop and replay the effect.
16 Working with Audio Recording Voice-Over Narration Using the Capture Tool The Capture tool lets you record up to two channels of audio directly into the Timeline for voice-over narration. You can also use the Audio Punch-in tool to record audio directly into the Timeline. For more information, see “Recording Voice-Over Narration Using Audio Punch-in” on page 744. To capture voice-over narration using the Capture tool: 1. Mark the In and Out points in the Timeline. 2. Select Tools > Capture.
Recording Voice-Over Narration 6. Click the Record button. 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.
16 Working with Audio 1 2 3 4 8 5 6 9 10 11 12 7 13 14 Audio Punch-In Tool Feature Description 1 Play In/Out button Starts playing with the ability to perform a real-time punch-in. The play loops from the In point to the Out point but stops looping once recording completes. This button blinks bright green while playing. 2 Record button Starts and stops the recording. If you set an In point and Out point, recording automatically starts at the In point and stops at the Out point.
Recording Voice-Over Narration Audio Punch-In Tool Feature Description 9 Preroll and postroll Let you provide audiovisual cues before the recording begins and after it ends. For text boxes preroll, your Avid editing application backs up the position indicator for the prescribed number of seconds. You can hear the audio during preroll. When starting a punch-in with the Record button, a preroll lets you provide the duration, in seconds, of the audiovisual cue before the recording begins.
16 Working with Audio 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.
Recording Voice-Over Narration Audio Punch-In tool. Top, left to right: Play In/Out button, Record button, and Stop button. Center: Input Source menu. Bottom left: Input Channels buttons. Bottom right: Timeline Track menus. 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.
16 Working with Audio The Record button blinks bright red while recording, and the Play In/Out button is a steady green. The Audio Meter Channel button in the Audio tool becomes an I and changes to orange. 8. Continue to click the Record button to record additional voice-overs. During the audio punch-in process, you have the ability to record over the duration of the sequence or from the In point to the Out point. 9. Click the Stop button, or press the space bar to stop play and recording.
Using Automatic Voice-Over 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 740 or “Recording Voice-Over Narration Using Audio Punch-in” on page 744. 4. As you record, monitor the previously recorded audio tracks along with your current recording from the meters in the Audio tool and from the sound on the speakers.
16 Working with Audio To create an edited sequence by using Auto VO: 1. Open the bin that contains the sequence you want to edit. 2. Select the sequence in the bin. 3. Select Bin > Auto VO. The Auto VO dialog box opens. 4. From the Using track menu, select the audio track that you want to control the edit. 5. Select one of the following: t Extract segments, to remove all segments with audio on the track selected in step 4.
17 Using External Audio Devices Avid editing applications support the following external fader controllers or mixers for automation gain and pan recording or as control surfaces. n External fader controllers or mixers are optional. You do not need them to perform automation gain or pan recording on an Avid editing system. • 002 (Windows only) and Command|8 — These units support touch-sensitive flying faders. While recording automation gain, the faders automatically move.
17 Using External Audio Devices For more information, see “Using the Yamaha 01V/96 or the Yamaha 01V” on page 768. n The JL Cooper controllers and Yamaha mixing consoles do not support automation pan recording. The following table compares the external fader controllers and mixers.
Using an External Fader Controller or Mixer to Record Automation Gain 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 002, Command|8, or MCS-3000X, the unit passes control of the fader to you.For more information, see “Using the Latch Mode Feature on the 002 and Command|8” on page 761 or “MCS-3000X Buttons” on page 766.
17 Using External Audio Devices 5. Click the Record button to start recording your actions. 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 002 (Windows only), MCS-3000X, and Command|8 — When you want to start recording volume information, either touch or move the corresponding fader.
Adjusting the Volume or Pan of Individual Keyframes Adjusting the Volume or Pan of Individual Keyframes To edit the volume for individual keyframes using an external fader controller or mixer: 1. Check the color of the position indicator lights. Position indicator lights If the external fader controller or mixer is on and is correctly attached to the system, at least one of the position indicator lights on each enabled track is blue. 2. Click an audio gain keyframe. 3.
17 Using External Audio Devices n Avid does not support the use of the Avid 002 with Avid video editing applications on Macintosh systems. However, you can use the Avid 002 with Avid Pro Tools on Macintosh systems, The following table compares some of the features of the 002 and Command|8.
Using the 002 and the Command|8 The following table describes the 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.
17 Using External Audio Devices Configuring the 002 or Command|8 Before you configure your 002 (for Windows systems only) or Command|8 with your Avid editing application, install and configure the device as described in the documentation that comes with the 002 or Command|8. n You must start the 002 or Command|8 before you start your Avid editing application.
Using the 002 and the Command|8 Mapping Buttons and Menu Commands for the Avid 002 or Command|8 On Windows systems, you can map the buttons in the 002 Controller Settings dialog box to buttons on the Command palette and to menu commands. The buttons on the 002 (for Windows systems only) and Command|8 can have different functions depending on the modifier key you press. You can either use the keyboard or press one of the Keyboard Modifier switches on the controller surface.
17 Using External Audio Devices Groups of controls in the Command|8 Controller Settings dialog box. Top, left to right: Console View controls, Transport and Navigation controls, Display Controls and Foot Switch. Center: Keyboard Modifier switches. Bottom: Open Command Palette button. To view the different button settings on the Controller Settings dialog box: t Press the Shift, Control, Option, or Command key while viewing the Command|8 Controller Settings dialog box.
Using the 002 and the Command|8 4. Click Edit Settings. The 002 Controller Settings dialog box or Command|8 Controller Settings dialog box opens. 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.
17 Using External Audio Devices 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 makes a particular window or tool active. For example, on the 002, the F5 key is mapped to Tools > Timeline by default for Windows systems. Pressing the F5 button on the 002 makes the Timeline active. 2. (Option) To see the function of a mapped button, hold the cursor over the button to view the tooltip.
Using the 002 and the Command|8 Position indicator lights 2. Click the Timeline Fast Menu button and select Audio Data > Auto Pan. 3. Move the blue position indicator to the section of audio that you want to adjust and mark In to Out points. 4. Set Preroll and Postroll values, if necessary. 5. Click the Record button to start recording your actions. 6. Listen to the audio and turn the pan knob for the track.
17 Using External Audio Devices 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. Set In and Out points, and click the Record button. The system begins playing the section and the faders move accordingly. 3. When you want to make an adjustment, move the fader to change the volume. The system immediately begins recording. 4. When you are finished adjusting the section, release the fader.
Configuring USB-to-MIDI Software for External Controllers Testing External Fader Controller Connections To test the external fader controller connections: 1. Connect all MIDI hardware devices. For more information, see “Connecting Serial and MIDI Port Devices” in the Help. n MIDI port A is the default port used by the Avid system. To change the port configuration, see “Switching Between MIDI Connections on the USB-to-MIDI Converter” on page 764. 2.
17 Using External Audio Devices 11. To disable the hardware calibration, click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders. The Recording Status Light changes to black. 12. Move the sliders on the external fader controller. The corresponding sliders move in the Audio Mixer tool. Now you are ready to use the fader controller with your Avid editing application. For more information on using the Audio Mixer tool, see “Using Automation Gain and Pan” on page 706.
Using the FaderMaster Pro and MCS-3000X 2. Check that the MIDI cable connections are correct. Check that the cables are connected from Out to In and from In to Out. 3. Check the Controller Settings dialog box in the Settings list of the Project window. Verify that the correct Gain Controller port is selected. 4. (Macintosh only) Use the Apple System Profiler to check whether the system is recognizing the MIDI device: a. Select Apple menu > About This Mac. b. Click More Information.
17 Using External Audio Devices 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Automation Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Automation Mode setting. 3. Click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders. The box changes to blue. 4. Check the color of the position indicator lights.
Using the FaderMaster Pro and MCS-3000X Row of Buttons Description Snap Mode For information on these buttons, see “Using the Snap Mode Feature on the MCS-3000X” on page 767. Solo These buttons solo the selected tracks. Mute These buttons mute the selected tracks. Using the Snap Mode Feature on the MCS-3000X The MCS-3000X has a Snap Mode button (Snap mode is also known as Latch mode) for each track that lets you easily punch-in and punch-out small sections of automation gain information.
17 Using External Audio Devices Ganging Faders on the FaderMaster Pro You can use the features available on the FaderMaster Pro to gang faders. When the faders for two tracks are ganged, the fader sends identical volume messages for both tracks when you move one fader. This can be useful when you have stereo tracks. The ganged faders do not move together physically. For information on ganging the faders, see the FaderMaster Pro user’s manual.
Using the Yamaha 01V/96 or the Yamaha 01V 01V/96 and the Yamaha 01V, it is possible that some changes you make to the unit might cause it to stop working with your Avid editing application. If this happens, use the following procedures to reinitialize the mixer to the factory defaults. To return to factory defaults for the Yamaha 01V: 1. Turn on the mixer while pressing and holding the red Memory button. The LCD panel displays a message asking if you want to reset the system. 2.
17 Using External Audio Devices t Set Control Change RX to ON. 3. Set Port to PC-2. To configure the Yamaha 01V/96 to recognize USB control messages: 1. Press the DIO/Setup button repeatedly until the MIDI/TO HOST SETUP pane appears. The system displays the first pane of the MIDI Options window. 2. Set the following controls in the USB Options window: a. Set RX Port to USB 1. b. Set TX Port to USB 1. 3. (Windows only) Do the following to load the driver: a.
Using the Yamaha 01V/96 or the Yamaha 01V Gain Controller Port (Windows) Gain Controller Port (Macintosh) COM portnumber for Serial (01V only) Other values depend on the serial interface you are using. For example, for a Keyspan USB/Serial adapter, the value is USA28xb2p1.
17 Using External Audio Devices To access the faders for audio mixing (channels 1–16): t Press the Home (Yamaha 01V) or 1-16 or 17-32 (Yamaha 01V/96) button. When the button is lit, you can use the faders for audio mixing. For information on audio mixing, see the Yamaha 01V/96 or the Yamaha 01V documentation. 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.
Using a GPI Device with the Audio Punch-In Tool Using a GPI Device with the Audio Punch-In Tool Your Avid editing application can send signals to a V-LAN® VLXi® deck controller and a general-purpose interface (GPI) device that trigger GPI actions. These signals are sent when playback begins and ends, and also when recording with the Audio Punch-In tool begins and ends.
17 Using External Audio Devices GPI Signal Sequences GPI signal sequences differ, depending on whether or not you are using the Audio Punch-In tool with preroll and postroll. When you use the Audio Punch-In tool without any preroll or postroll, the following occurs: • Record Out is sent when recording begins. • Stop Out is sent when recording (and playback) ends.
Using a GPI Device with the Audio Punch-In Tool Connecting a V-LAN VLXi Controller and GPI The V-LAN VLXi controller and VLXi-GT GPI connect to your Avid system through a direct serial connection as shown in the following illustration.
17 Using External Audio Devices To configure the V-LAN VLXi controller and the VLXi-GT GPI: 1. In the Project window, double-click Deck Configuration. The Deck Configuration dialog box opens. 2. Click Add Channel. 3. Click the Channel Type menu, and select VLAN VLX. 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.
Using a GPI Device with the Audio Punch-In Tool 5. Select the appropriate settings. For more information about GPI Node settings option, see “GPI Settings Options” on page 778. 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. To edit 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 edit. 4.
17 Using External Audio Devices 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. Address Select the V-LAN network address to which the VLXi-GT is assigned. Valid addresses on the V-LAN network are 16 through 19.
Using a GPI Device with the Audio Punch-In Tool GPI Node Option Description Action Select an action: • Set activates a command. • Reset deactivates a command. • Pulse switches the state between active and inactive.
17 Using External Audio Devices 780
18 Using Audio Plug-Ins This chapter describes how to access and use the audio plug-ins, including the Real-Time AudioSuite (RTAS) and AudioSuite plug-ins that come with your Avid editing application. • Real-Time AudioSuite Plug-Ins • Avid AudioSuite Plug-Ins • Core Avid Audio Plug-Ins Real-Time AudioSuite Plug-Ins Your Avid editing application supports up to five RTAS plug-in inserts on each audio track.
18 Using Audio Plug-Ins Inserting an RTAS Plug-In on a Track in the Timeline You can insert up to five RTAS plug-in track effects (inserts a through e) on an audio track. When you insert a plug-in effect to a track, you select the track where you want to apply the effect, which insert location you want to use on the track, and the specific effect you want to add to your sequence. You can also insert an RTAS plug-in track effect by dragging an RTAS effect template from a bin to your sequence.
Real-Time AudioSuite Plug-Ins To insert an RTAS plug-in using the Effect Palette: 1. In the Project window, click the Effects tab. The Effect Palette appears. 2. Click an RTAS effect category, select the RTAS effect you want, and drag it to the segment or to the RTAS insert button where you want to apply the insert. You can only insert mono effects on a mono track, and stereo effects on a stereo track. The Select Insert dialog box opens. 3.
18 Using Audio Plug-Ins Editing an RTAS Plug-In on a Track in the Timeline After you insert an RTAS plug-in on an audio track, you can access the plug-in controls by using the Track Control panel or the RTAS tool. When you select an RTAS insert button in the Track Control panel or an effect in the RTAS tool, the controls for the plug-in appear in the RTAS tool window.
Real-Time AudioSuite Plug-Ins The Compressor/Limiter Dyn 3 plug-in window displayed in the RTAS too dialog box. You can also open the RTAS tool by selecting Tools > RTAS or right-clicking the Record Track button for the track where you want to edit an insert and selecting RTAS tool. You can use the buttons in the RTAS tool to select a specific insert to edit. 3. (Option) If you want to change the plug-in effect for your insert, click the Select Effect button and select a new plug-in. 4.
18 Using Audio Plug-Ins Moving and Copying RTAS Inserts You can move and copy RTAS inserts from one track to another. However, you can only move mono inserts to mono tracks and stereo inserts to stereo tracks. RTAS plug-in effects on inserts a, b, and c in the Track Control panel To move an RTAS insert from one position to another, do the following: t Click an RTAS insert button and drag it to an RTAS insert button on a new track or to a new insert button on the same track.
Real-Time AudioSuite Plug-Ins t Right-click the Record Track button for the track where you want to edit an insert and select RTAS tool. t Click the RTAS insert button for the RTAS effect. The RTAS tool opens. 2. Click the Select Track button and select the track where you want to delete an insert. 3. Click the Select Insert button and select “no insert.” Your Avid editing application removes the insert from the track. 4. Close the RTAS tool to save your changes.
18 Using Audio Plug-Ins Avid AudioSuite Plug-Ins Your Avid editing application supports AudioSuite, the Avid host-based, file-based plug-in specification. Users have access to mono and stereo audio-processing plug-ins developed by Avid and by Avid third-party developers. These plug-ins perform pitch modifications, artifact removal, audio reversal, and many other processes.
Avid AudioSuite Plug-Ins Using Avid AudioSuite Plug-Ins You can use AudioSuite plug-ins in two ways. • You can apply a plug-in to a clip in the Timeline and then create a rendered effect. For more information, see “Applying an AudioSuite Plug-in to a Clip in the Timeline” on page 789. • You can use the controls in the AudioSuite window to create a new master clip. This method lets you process more than one channel at a time and to create new media with a duration longer or shorter than the source media.
18 Using Audio Plug-Ins n 5 Effect icon 6 Display/Hide Master Clip Controls button 11 Target Drive menu 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 793. 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.
Avid AudioSuite Plug-Ins Common Buttons in the AudioSuite Plug-In Dialog Box The contents of the plug-in dialog boxes vary, but the top six buttons are always visible. Buttons unavailable for a plug-in appear dimmed. The following illustration shows the Gain plug-in. Common buttons in the AudioSuite Plug-In dialog box The following table describes the six common buttons: Button Description OK Saves the effect and closes the dialog box. Cancel Closes the dialog box and does not save the effect.
18 Using Audio Plug-Ins AudioSuite Fast Menu The AudioSuite Fast menu lets you do the following: • Apply an existing AudioSuite template. See “Using AudioSuite Effect Templates” on page 797. • 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 The segment has no In points. The command affects all the plug-ins on the enabled tracks.
Avid AudioSuite Plug-Ins Creating New Master Clips with AudioSuite Plug-Ins You can use AudioSuite plug-ins to create new master clips. This lets you 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 at the same time. For example, a plug-in might let you process two separate tracks as a stereo pair.
18 Using Audio Plug-Ins The following table describes the controls in the AudioSuite window. Control Description 1 Clip Selection menu Lets you 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. 2 Input Source Track selectors Let you choose the input source tracks for the effect. The system automatically chooses a preview track and displays a blue Speaker icon on the track.
Avid AudioSuite Plug-Ins Control Description 7 Handle Length for End of Lets you add filler at the end of a master clip. The value represents the number Master Clip (seconds) text of seconds to add. For example, use this feature to add filler at the end of a box 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. 8 Load In Source Monitor button Loads the current source master clip into the Source monitor.
18 Using Audio Plug-Ins For stereo and multichannel processing of mono audio clips, the plug-in creates a master clip with the number of tracks equal to the number of output tracks from the plug-in. For example, a plug-in that operates on stereo pairs creates a two-track master clip. A plug-in that operates on multiple tracks creates a master clip with the same number of tracks that were selected in the AudioSuite window.
Avid AudioSuite Plug-Ins 8. Click the Activate Current Plug-In button to open the plug-in’s dialog box. For more information, see “Common Buttons in the AudioSuite Plug-In Dialog Box” on page 791. 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 792.
18 Using Audio 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 Avid Audio Plug-Ins AudioSuite Plug-in Limitations The following limitations apply to the AudioSuite plug-ins: • Avid does not support some plug-ins that perform analysis passes on the audio data. 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 793.
18 Using Audio Plug-Ins n Other audio plug-ins might get installed on your system for use with Pro Tools, or you might download plug-ins. Avid does not recommend using unsupported plug-ins with Avid editing applications. Avid supports other RTAS and AudioSuite plug-ins that do not install with your Avid editing application. You can use these plug-ins on a trial basis and then purchase them through Avid. These plug-ins have their own detailed documentation.
Core Avid Audio Plug-Ins Audio Plug-Ins (Continued) Plug-In Description Duplicate Creates a new master clip from a selected audio clip. The plug-in uses the In and Out points on the selected clip to define the boundaries of the new clip. For more information, see “Duplicate (AudioSuite)” on page 812. EQ Lets you adjust frequency equalization on individual audio clips. Four EQ plug-ins are available: 1-Band EQ II, 4_Band EQ II, 1-Band EQ III, and 7-Band EQ III.
18 Using Audio Plug-Ins Audio Plug-Ins (Continued) Plug-In Description Reverse Rewrites the selected audio in reverse. For more information, see “Reverse (AudioSuite)” on page 831. Sci-Fi Adds effects such as ring modulation, resonation, and sample & hold, that are typically found on older, modular analog synthesizers. For more information, see “Sci-Fi (RTAS and AudioSuite)” on page 831. Signal Generator Produces audio test tones in a variety of frequencies, waveforms, and amplitudes.
Core Avid Audio 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.
18 Using Audio Plug-Ins Parameter Description Mix Lets you 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 Avid Audio Plug-Ins n Limiting is used to remove only occasional peaks because gain reduction on successive peaks would be noticeable. If audio material contains many peaks, the threshold should be raised and the gain manually reduced so that only occasional, extreme peaks are limited.
18 Using Audio Plug-Ins Parameter Description Side-Chain panel The side-chain is the split-off signal used by the plug-in’s detector to trigger dynamics processing. The Side-Chain panel lets you toggle the side-chain between the internal input signal or an external key input, and tailor the equalization of the side-chain signal so that the triggering of dynamics processing becomes frequency-sensitive.
Core Avid Audio 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.
18 Using Audio Plug-Ins D-Verb (RTAS and AudioSuite) Digital reverberation processing can simulate the complex natural reflections and echoes that occur after a sound has been produced. Reverberation can take relatively lifeless mono source material and create a stereo acoustic environment that gives the source a perceived weight and depth in a mix. In addition, digital signal processing can be used creatively to produce reverberation characteristics that do not exist in nature.
Core Avid Audio Plug-Ins Parameter Description Decay Controls the rate at which the reverberation decays after the original direct signal stops. The value of the Decay parameter is affected by the Size and Algorithm parameters. You can set this parameter to infinity on most algorithms for infinite reverberation times. Pre-Delay Lets you determine the amount of time that elapses between the original audio event and the onset of reverberation.
18 Using Audio 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.
Core Avid Audio 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.
18 Using Audio Plug-Ins The following table lists the Delay plug-in parameters. Parameter Description Input Controls the input volume of the delay to prevent clipping. Mix Lets you control the balance between the delayed signal and the original signal. If you use a delay for flanging or chorusing, you can control the depth of the effect somewhat with the Mix setting. LPF (Low-Pass Filter) Controls the cutoff frequency of the low-pass filter.
Core Avid Audio Plug-Ins EQ (AudioSuite) EQ plug-ins provide a set of high-quality options for adjusting the frequency spectrum of audio material: • 1-Band EQ III • 4-Band EQ III • 7-Band EQ III 1-Band EQ III Parameters The following table lists the 1-Band EQ III plug-in parameters. Parameter Description Input Sets the input gain of the plug-in before EQ processing, letting you make up gain or prevent clipping at the plug-in input stage.
18 Using Audio Plug-Ins 4-Band EQ III Parameters The following table lists the 4-Band EQ III plug-in parameters. Parameter Description In and Out meters Show peak signal levels before and after EQ processing. Green indicates nominal levels. Yellow indicates pre-clipping levels, starting at –6 dB below full scale. Red indicates full scale (clipping) levels. The clip indicators to the right of each meter indicate clipping at the input of output stage of the plug-in. Click a clip indicator to clear it.
Core Avid Audio Plug-Ins Parameter Description Type selectors The HPF, LPF, LF, and HF band sections have type selectors that toggle between the two available filter types for that section, as follows: Q • High-Pass Filter (HPF band) — Attenuates all frequencies below the Frequency setting at the selected slope while letting all frequencies above pass through. • Low-Notch EQ (HPF band) — Attenuates a narrow band of frequencies centered around the Frequency setting.
18 Using Audio Plug-Ins 7-Band EQ III Parameters The following table lists the 7-Band EQ III plug-in parameters. Parameter Description In and Out meters Show peak signal levels before and after EQ processing. Green indicates nominal levels. Yellow indicates pre-clipping levels, starting at –6 dB below full scale. Red indicates full scale (clipping) levels. The clip indicators to the right of each meter indicate clipping at the input of output stage of the plug-in. Click a clip indicator to clear it.
Core Avid Audio Plug-Ins Parameter Description Type selectors The HPF, LPF, LF, and HF band sections have type selectors that toggle between the two available filter types for that section, as follows: Q • High-Pass Filter (HPF band) — Attenuates all frequencies below the Frequency setting at the selected slope while letting all frequencies above pass through. • Low-Notch EQ (HPF band) — Attenuates a narrow band of frequencies centered around the Frequency setting.
18 Using Audio Plug-Ins Expander/Gate III — Dynamics III (RTAS and AudioSuite) 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 Avid Audio 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.
18 Using Audio 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 Avid Audio Plug-Ins Parameter Description Sum Inputs button When you use the Flanger plug-in in Stereo mode, a Sum Inputs button appears next to the right channel Input Level slider. Clicking the Sum Inputs button sums the source input signals (regardless of whether the input is mono or stereo) before processing them. The source signal then appears in the center of the stereo field, and the processed signal is output in stereo.
18 Using Audio Plug-Ins You can specify the desired gain level in several ways: • Enter a numeric decibel value. • Enter a percentage value. • Drag the slider. • Press and hold the Ctrl key (Windows) or the Command key (Macintosh), then drag the slider to fine-adjust. • Use the rms and peak buttons to switch the calibration of gain adjustment between RMS and Peak modes. Peak adjusts the gain of the signal to the maximum possible level without clipping.
Core Avid Audio Plug-Ins The following table lists the Lo-Fi plug-in parameters: Parameter Description Sample Rate The Sample Rate slider adjusts an audio file’s playback sample rate in fixed intervals from 700 Hz to 33 kHz in sessions with sample rates of 44.1 kHz, 88.2 kHz, or 176.4 kHz; and from 731 Hz to 36 kHz in sessions with sample rates of 48 kHz, 96 kHz, or 192 kHz. Reducing the sample rate of an audio file has the effect of degrading its audio quality.
18 Using Audio Plug-Ins Parameter Description Distortion/Sat The Distortion and Saturation sliders provide signal clipping control. uration The Distortion slider determines the amount of gain applied and lets clipping occur in a smooth, rounded manner. The Saturation slider determines the amount of saturation added to the signal. This simulates the effect of tube saturation with a roll-off of high frequencies. Output Meter The Output Meter indicates the output level of the processed signal.
Core Avid Audio Plug-Ins Parameter Description Sum Inputs button When you use the Multi-Tap Delay plug-in in Stereo mode, a Sum Inputs button appears next to the Mix sliders. Clicking the Sum Inputs button sums the source input signals (regardless of whether the input is mono or stereo) before processing them. The source signal then appears in the center of the stereo field, and the processed signal is output in stereo.
18 Using Audio Plug-Ins You can select one of two display options by clicking the corresponding button in the Options area of the plug-in window. Display Option Description Phase Meter The Phase Meter indicates the phase coherency of two channels of a multi-channel signal. The Phase Meter is green when the channels are positively out of phase (values from 0 to +1) and red when the channels are negatively out of phase (values from 0 to –1).
Core Avid Audio Plug-Ins You can select the following meter types: Meter Description Peak (Default meter type) Uses the metering scale in DigiRack EQ III and Dynamics III plugins. RMS (Root Mean Square) was used in previous versions of the Avid SurroundScope plugin and uses the same “true” RMS metering scale. n The “true” RMS meter scale is not the same as the AES 17 RMS scale. For a sine wave with a peak value of –20 dBFS, the “true” RMS meter will show a value of –23 dBFS.
18 Using Audio Plug-Ins Ping-Pong Delay (AudioSuite) 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 Avid Audio Plug-Ins The following table lists the Pitch Shift plug-in parameters. Parameter Description Gain The Gain controls set the input level, in tenths of a decibel. Set the input level so that the plug-in can adequately handle amplitude peaks in the selection. Dragging the slider to the right increases gain, and dragging the slider to the left decreases gain. Coarse and Fine Adjust the pitch by dragging either of the two faders, or by typing values in the Coarse and Fine text boxes.
18 Using Audio 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.
Core Avid Audio Plug-Ins Parameter Description Rectification • Positive Rectification — This rectifies the waveform so that its phase is 100% positive. The audible effect is a doubling of the audio signal’s frequency. • Negative Rectification — This rectifies the waveform so that its phase is 100% negative. The audible effect is a doubling of the audio signal’s frequency.
18 Using Audio Plug-Ins The following table lists the Sci-Fi plug-in parameters: Parameter Description Input Level Input Level attenuates signal input level to the Sci-Fi processor. Since some Sci-Fi controls (such as Resonator) can cause extreme changes in signal level, adjusting the Input Level is particularly useful for achieving unity gain with the original signal level. The range of this control is from –12 dB to 0 dB.
Core Avid Audio Plug-Ins Parameter Description Envelope Follower Causes the selected effect to dynamically track the input signal by varying with the amplitude envelope of the audio signal. As the signal gets louder, more modulation occurs. This can be used to produce a very good automatic wah-wah-type effect. When you select the Envelope Follower, the Mod Amount slider changes to a Mod Slewing control.
18 Using Audio Plug-Ins Option Description Signal Lets you select the waveform: • Sine • Square • Sawtooth • Triangle • White Noise • Pink Noise Use the rms and peak buttons to switch the calibration of the generated signal between RMS and Peak modes. Peak generates the signal at the maximum possible level without clipping. RMS generates the signal at levels consistent with the root-mean-square value, or the effective average level of the signal.
Core Avid Audio Plug-Ins The following table lists the Time Compression Expansion plug-in parameters. Parameter Description Source and Destination The Source text boxes display the length of the current selection before processing in each of the listed formats. All the text boxes in both columns update dynamically, so a change made to one value is immediately reflected in the values displayed in the other text boxes.
18 Using Audio Plug-Ins Parameter Description Min Pitch The Min Pitch slider lets you select the minimum (lowest) pitch that is used in the plug-in’s calculations during the time compression and expansion process. The slider has a range of 40 Hz to 1000 Hz. By controlling the minimum pitch, you can focus the time compression and expansion process for maximum efficiency depending on the audio’s spectral shape.
Core Avid Audio 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.
18 Using Audio Plug-Ins Parameter Description Time You use the Time parameter controls to specify the amount of time compression or expansion you want to apply. The Original column displays the Start and End times, and Length of the edit selection. Times are displayed in units of the timebase selected in the Units menu. The Processed column displays the target End time and Length of the processed signal. Times are displayed in units of the timebase selected in the Units menu.
Core Avid Audio 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 select 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.
18 Using Audio Plug-Ins Trim (RTAS) The Trim plug-in can be used to attenuate an audio signal from -[Infinity] dB to +6 dB or [Infinity] dB to +12 dB. For example, using a multi-mono Trim plug-in on a multi-channel track provides simple, DSP-efficient muting control over the individual channels of the track. This capability is useful, since Mute buttons mute all channels of a multi-channel track and do not allow muting of individual channels within the track.
19 Exporting Frames, Clips, or Sequences This chapter describes how to export files for use with another system, application, or platform.
19 Exporting Frames, Clips, or Sequences c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.
Preparing to Export a Sequence Preparing to Export a Sequence When you export part or all of a sequence — for example, to create an OMFI file, an AAF file, a QuickTime file, an AVI file, or a graphic sequence — you might want to prepare the sequence in advance in one or more of the ways described in the following table. These preparation tasks can speed the export process or otherwise help with your workflow. Preparation Task Description Make sure all media for the sequence is online.
19 Exporting Frames, Clips, or Sequences Preparation Task Description Consider consolidating the sequence before You cannot export OMFI files that are larger than 2 GB. OMFI export. Consolidating the sequence to create smaller source clips saves time and disk space. In addition to consolidating in advance, you can also consolidate as part of the export. For more information, see Using the Consolidate Command and Guidelines for Exporting OMFI and AAF Files.
Exporting With the Send To Templates The last three options are only available when you send to Pro Tools over an Avid Unity™ system using Send To > Pro Tools on Avid Unity. Option Description Avid Video Consolidate Audio Select this option to send to a Avid Pro Tools system that supports playback of Avid standard definition (SD) video using a video peripheral. Your Avid editing application creates a video mixdown of the tracks at DV 25, consolidates the audio, and saves the audio into the AAF file.
19 Exporting Frames, Clips, or Sequences 4. (Option) Type a new file name in the Filename text box. 5. (Option) If you are sending to Sorenson Squeeze, click the Options button to select Sorenson Squeeze settings. For more information, see the Sorenson Squeeze documentation. 6. Click Set to browse to the drive and folder where you want to store the exported file. Whenever you return to a Send To dialog box, the destination folder that you set last appears in the destination field. 7.
Exporting With the Send To Templates 8. Review the current Export settings to ensure that they meet your needs. The Export Setting Summary area at the bottom of the dialog box lists all the settings that affect the current export. 9. (Option) If you need to make any Export settings changes, click the appropriate Options button, make the changes, and click Save. Avid recommends that you use the default options in the Send To templates wherever possible.
19 Exporting Frames, Clips, or Sequences Your DVD is burned. Send To Templates Reference The following table describes the Send To templates that Avid supplies. If you create custom Send To templates, they also appear as Send To menu commands. n If you are running an Avid Studio package, an Avid Studio products Send To submenu might appear in your Avid editing application. Template Description DigiDelivery You can export a sequence directly to DigiDelivery®, the file-exchange service from Avid.
Creating a Custom Send To Template for Exporting to Third-Party Applications Template Description Avid DS You can send a sequence to Avid DS as an AFE file (Windows) or an AAF file (Macintosh). The Avid DS Send To template does not auto-launch Avid DS by default. If you have Avid DS installed on your system and want to launch it automatically, you can select Auto Launch and browse for Avid DS.
19 Exporting Frames, Clips, or Sequences 3. (Option) Type a new file name in the Filename text box. 4. Click Set to browse to the drive and folder that you want to be the default location for storing the exported file. Whenever you return to a Send To dialog box, the destination folder you set last appears in the destination field. 5. (Option) Do the following if you want the third-party application to automatically launch after you export. 850 a.
Exporting With the Export Command or the Drag-and-Drop Method d. Select Auto Load Exported File(s) if you want the files you export to automatically load in the third-party application. e. Select Reveal file if you want the system to search available drives, open Windows Explorer or the folder (Macintosh), and highlight related media files. 6. Make any changes to the Export settings that you need by clicking the appropriate Options button, making the changes, and then clicking Save. 7.
19 Exporting Frames, Clips, or Sequences n Your Avid editing application saves an intermediate file in a temporary folder as part of the export process. Ensure that the temporary folder is on a drive with plenty of space. You can view and change the location of the temporary folder in the General Settings dialog box. To save time when exporting with the drag-and-drop method, locate the temporary folder on the drive where you want to store the exported file.
Exporting With the Export Command or the Drag-and-Drop Method To export a frame, clip, or sequence by using the Export menu command: 1. Identify and select the material you want to export as described above. 2. Do one of the following: t Select File > Export. t Right-click the clip or sequence, and then select Export. The Export As dialog box opens with a default file name in the File name text box (Windows) or the Save As text box (Macintosh), based on the file type. 3.
19 Exporting Frames, Clips, or Sequences 6. (Option) Change the file name. In most cases, keep the file name extension the same. 7. Click Save. Your Avid editing application exports the file. To export a frame, clip, or sequence by dragging and dropping: 1. Identify and select the material you want to export as described above. 2. In the Settings list in the Project window, select the setting you want to use for export.
Guidelines for Exporting OMFI and AAF Files 5. Double-click the new Export setting. The Export Settings dialog box opens. 6. Select the appropriate file type and options based on the descriptions in “Export Settings” on page 1151. 7. Click OK. You can select this new setting whenever you export. To modify an Export setting or create a new Export setting while performing an Export by using the Export menu command: 1. Click Options in the Export As dialog box. The Export Settings dialog box opens.
19 Exporting Frames, Clips, or Sequences Understanding OMF Interchange OMF Interchange® (OMFI) is a platform-independent file format that stores both the digital media (video, audio, graphics, animation) and the information describing how the media is edited together to form a final sequence. This editing information, called a composition, is the OMFI representation of the sequence created in your Avid editing application.
Guidelines for Exporting OMFI and AAF Files OMFI and AAF Export Method 1: Compositions with Linked Media Avid editing applications can export an OMFI or an AAF file that contains only the editing information about a selected master clip or sequence. The file also contains links to the media used in the clip or sequence. You transfer the OMFI or AAF file to the other system, and also either transfer the media files or recapture the media.
19 Exporting Frames, Clips, or Sequences 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 lets you add a video track that shows the video edits.
Exporting Projects and Bins Using AFE Files (Windows Only) Exporting Projects and Bins Using AFE Files (Windows Only) AFE (Avid File Exchange) files are an efficient way to transfer project information between Avid applications. For example, you can use AFE files to transfer projects and bins from an offline system to an Avid DS finishing system. AFE files are based on AAF (Advanced Authoring Format) technology.
19 Exporting Frames, Clips, or Sequences Exporting the AFE File to Avid DS Once the edits are completed in the Avid Media Composer, export the sequence as an AFE to Avid DS for finishing. You can import an AFE file into Avid DS v6.0 or later only.
Exporting QuickTime Movies Option Description Same as Source This option is available when you select QuickTime Movie from the Export Settings dialog box. When you select this option, your Avid editing application copies the media files directly with no resolution change. This method is fast and creates output that uses the same quality as your source files. Same as Source is the best method to use if you plan to process the video on another system, using a third-party application.
19 Exporting Frames, Clips, or Sequences You might install additional QuickTime Export formats on your system. These formats appear in the Export As menu of the Export Settings dialog box with tildes (~) before their names. These formats have not been qualified and are not supported by Avid. Timecode Preservation With QuickTime Import and Export Avid supports the import and export of QuickTime movies while preserving their timecode information.
Installing or Copying the Avid Codecs for QuickTime on Other Systems 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.qtx QTAvidOneToOneXCodec Avid 1:1x codec (Uncompressed MXF 8-bit or 10-bit) AvidAVd1Codec.qtx QTAvidDV100Codec Avid DVCPRO codec (MXF) AvidAVdnCodec.qtx QTAvidDNXHDCodec Avid DNxHD codec (MXF) AvidAVdvCodec.
19 Exporting Frames, Clips, or Sequences 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. Ensure the applicable codec is installed on the system. See “Installing or Copying the Avid Codecs for QuickTime on Other Systems” on page 862. 2.
Creating a Custom Profile for Windows Media Export (Windows Only) Creating a Custom Profile for Windows Media Export (Windows Only) To create a custom profile for Windows Media: 1. Select the sequence or clips you want to export. 2. Select File > Export. The Export As dialog box opens. 3. Click Options. The Export Settings dialog box opens. 4. In the Export As menu, select Windows Media. 5. (Option) Select Use Marks.
19 Exporting Frames, Clips, or Sequences When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7. Click the Add button and select either Video or Audio. 8. Choose your custom profile settings. For more information, see “Export Settings: Windows Media (Windows Only)” on page 1166. 9. Click Save As Custom Profile. 10. Browse to the location where you want to save the .prx file. 11.
Exporting to XDCAM See “XDCAM and XDCAM EX Formats and Resolutions” on page 350 for the formats and resolutions you can export to the XDCAM device. 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).
19 Exporting Frames, Clips, or Sequences 6. (Option) Select Use Enabled Tracks. 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.
Exporting as Windows Media Using a VC1 Resolution To export a a clip or a sequence to a P2 card: 1. Make sure your system is connected to a writable P2 device. 2. Select the clip or the sequence in the bin. 3. Select Clip > Export to Device > P2. The P2 Export Settings dialog box opens. 4. Select options as described in “Export Settings: P2” on page 1175. If you do not connect to a P2 device or camera, the options are not available. 5.
19 Exporting Frames, Clips, or Sequences 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 sequence or clip determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline.
Using Avid Interplay Media Services Using Avid Interplay Media Services The Media Services Settings dialog box lets you connect to an Avid Interplay Media Services Broker. Broker services are used in an Avid Interplay environment where dedicated computers automate time-consuming operations. The following table describes the broker services that you might use.
19 Exporting Frames, Clips, or Sequences 872
20 Generating Output Your Avid editing application provides tools that let you generate output for individual tracks or entire sequences to various videotape or audiotape formats.
20 Generating Output • Set audio output levels and other output options, as described in “Preparing for Audio Output” on page 888. • Mix down multiple audio tracks, if necessary, as described in “Mixing Down Audio Tracks” on page 724. • Prepare the record tapes, as described in “Preparing Record Tapes” on page 894. • (Option) Record reference bars and tone to tape, as described in “Recording Bars and Tone” on page 895.
Selecting the Sync Source for Output Selecting the Sync Source for Output You can use one of the following sources as sync for output: • Black burst or house sync through the reference input (REF or REF SYNC) of your Avid input/output hardware • Tri-level sync through the HD Tri-Level Sync input or the REF SYNC input on some Avid input/output hardware devices • Internal timing from your Avid input/output hardware. The source that you use depends on your production environment and your project needs.
20 Generating Output Sequence Format Tri-level Frame Rate Setting Black Burst 1080p/24 1080p/24sF — 1080p/25 1080p/25sF PAL n If 1080p/25sF is not available, you can use 1080i50. 1080i/50 1080i/50 PAL 1080i/59.94 1080i/59.94 NTSC Using LTC Timecode for Output You can use LTC (longitudinal or linear timecode) for output from your Avid editing application through some Avid input/output hardware devices.
Selecting the Sync Source for Output To add LTC Out During Preroll 1. Load your sequence in the Record monitor. 2. Select Clip >Digital Cut. 3. Select the LTC out during preroll option. 4. Press the Play Digital Cut button. LTC Output During Digital Scrub (When Using Nitris DX only) LTC timecode will be output when the blue bar in the record monitor is moved, that is, during “digital scrub.
20 Generating Output Selecting a Video Output Signal Use the Video Output tool to select an analog video output signal. The options that are displayed depend on your hardware configuration. n • If you are using an Avid Adrenaline, Avid Nitris DX, or Avid Mojo DX input/output hardware, all outputs on the hardware are active. Select an analog signal from the Output menu to calibrate for output. See “Calibrating for Video Output” on page 878.
Calibrating for Video Output Method (Continued) Description (Continued) Calibrate/sync output signals in Advanced users and house engineers should follow the steps for adjusting and a production facility conforming output signals to house standards, as described in “Calibrating the System with Passthrough Signals” on page 883.
20 Generating Output Basic Video Output Calibration You can perform basic output calibration when working with a standalone editing workstation or in a production environment that does not require advanced calibration of horizontal phase or use of test patterns according to specific house standards. n c Calibrating video output requires external Waveform and Vectorscope monitors. If you do not have external Waveform or Vectorscope monitors, keep the Video Output tool preset values.
Calibrating for Video Output 2. Click the Options tab. 3. Click the Sync Lock menu and select Internal, Reference, or TriLevel (if available) to lock your output connection to the appropriate signal. Some input/output hardware configurations automatically detect TriLevel sync and do not display it as an option. n Sync for output comes from the reference input (REF) or HD TriLevel Sync input on the Avid input/output hardware or from internal timing.
20 Generating Output Some monitors only support one SD HDMI format. See your monitor documentation for more information. 5. (Option) Click the VBI menu (if available) and select Preserve to preserve 5 lines above each field in NTSC or 8 lines above each field for PAL. 6. Display color bars for calibrating: - If you edited digital bars and tone into the sequence, go to the head of the bars and tone and click Play.
Calibrating for Video Output - R Gain and B Gain sliders (HD component RGB output — Avid Adrenaline only) 11. If you want to save this setting, click the Settings menu and select Save As, then type a name, and click OK. n Output settings are Project settings, available to all users and all projects on the system. For information on connections on the Avid input/output hardware, see “Using the Avid Input/Output Hardware” in the Help.
20 Generating Output 7. Select Tools > Capture. With the Capture tool active, the input signal passes through to the output channels. 8. Select an output format in the Video Output tool. You can precisely match only one output format at a time in phase with the reference signal. In most cases, you should select either Composite or Serial Digital. 9. Calibrate any of the available controls in the Video Output tool while checking the external Waveform and Vectorscope monitors.
Preparing for Converting HD Formats Video Standard Level NTSC-EIAJ 0.0 IRE PAL 0.3 V (not applicable for SMPTE bars) For White level (gain), adjust the Y Gain slider to place the white level at the following settings: Video Standard Level NTSC 100 IRE NTSC-EIAJ 100 IRE PAL 1.0 V (not applicable for SMPTE bars) Adjusting Phase Controls The Video Output tool provides controls for adjusting horizontal phase globally for output.
20 Generating Output To set options for crossconverting a sequence: 1. Select Tools > Video Output Tool. 2. Click the Options tab. 3. Click the Downconvert menu, and select OFF. 4. Click the Crossconvert menu, and select the format that you want to output. To set options for downconverting a sequence: 1. Select Tools > Video Output Tool. 2. Click the Options tab. 3. Click the Crossconvert menu, and select OFF. 4. Click the Downconvert menu, and select the format that you want to output.
Preparing for Converting HD Formats Crossconversion and Downconversion Formats The following table lists the available crossconversion and downconversion formats for each HD format. Not all formats are available for all Avid editing configurations. n Raster Type selection does not affect the conversion options for HD projects, with the exceptions noted in the table. HD Sequence Format Crossconverted HD Format Downconverted SD Format 720p/59.94 1080i/59.94 30i NTSC 720p/23.976 1080i/59.
20 Generating Output Considerations for Crossconversion and Downconversion You should be aware of the following when crossconverting or downconverting HD formats: • You can select an HD crossconvert format for output or an SD downconvert format for output, but you cannot output both at the same time. • Avid recommends using crossconverted sequences for preview or reference only. When using digital cut to output the HD master sequence to tape, use the native frame rate of the sequence.
Preparing for Audio Output The Set Calibration Tone dialog box opens. 3. Type new values for the tone level and frequency text boxes, and click OK. To play back the tone: t Click the PH (Peak Hold) menu, and select Play Calibration Tone. To check the adjusted tone level in the meters: t Switch the In/Out toggle buttons to O for Output. Calibrating Global Output Levels You can use the meters in the Audio tool to monitor the global output level of your sequence.
20 Generating Output The Audio tool opens. Left to right: Reset Peak button, In/Out toggle buttons, and Peak Hold Menu button in the Audio tool 4. Click the In/Out toggle buttons above the meters to display O for Output. 5. Play back one of the following sources of reference audio by doing one of the following: t Click the Peak Hold (PH) Menu button, and select Play Calibration Tone. t Play back a representative sequence or clip containing audio. 6.
Preparing for Audio Output Audio Project Settings dialog box: Mixed Mode Selection Menu button (top), All or Timeline Track Maps menu and Which Set of Track Maps button (left), Output Track Maps (right), Output Format and Channels options (bottom) 3. Click the Mix Mode Selection Menu button, and select a type of output. - Select Stereo to mix the monitored audio tracks into a stereo pair (two paired mono channels) with applied pan effects.
20 Generating Output - If you select Direct Out, you can select All or Timeline from the “All or Timeline Track Maps” menu - All lets you preset values for all possible audio tracks, with each track treated as a mono track. - Timeline lets you assign output channels to the tracks monitored in the Timeline, with multichannel stereo pairs mapped by default to channel pairs. Click the Reset button to reassign the tracks to the default channels that are currently available.
Preparing for Audio Output 3. Click the Mix Mode Selection menu button, and select Direct Out. 4. Click the “Allow 16 channel output” button. 5. Select the tab representing the output format to which you want to assign the additional output channels. 6. Select “On outputs 9–16.” 7. Select Grp 2 from the “Which Set of Track Maps” menu. 8. (Option) Use the Channel menus to match tracks in the timeline to output channels.
20 Generating Output The way to prevent the automatic conversion is to turn off the SDI output. Then you can change to 96 kHz and output an Analog or AES/EBU signal without any conversion. You can change to SDI output later and output a 48 kHz embedded audio signal using hardware sample rate conversion. Using an XLR Adapter for Consumer-Level Analog Output When you select Consumer level for Analog Output, analog outputs are attenuated by 6 dB.
Preparing Record Tapes For complete instructions on recording a frame-accurate digital cut, see “Using the Digital Cut Tool” on page 898. n Some Avid input/output hardware supports LTC output for recording onto tapes. For more information, see “Using LTC Timecode for Output” on page 876. DV cameras or decks controlled through a 1394 connection do not support commands for frame-accurate recording.
20 Generating Output Enabling Assemble-Edit Recording Insert editing is the default setting for the Digital Cut tool. You can also use Assemble-Edit settings in your Avid editing application, along with the assemble-editing capabilities of your record deck, to quickly record frame-accurate digital cuts without striping entire tapes in advance.
Using ExpertRender to Prepare Effects for a Digital Cut Using ExpertRender to Prepare Effects for a Digital Cut Real-time effects might exceed the capabilities of your system and cause dropped frames during a digital cut. You can choose to have your Avid editing application select and render effects that might cause dropped frames. To prepare effects for a digital cut: 1. Load the sequence you want to output. 2. Select the entire sequence or mark IN and OUT points for the area you want to output. 3.
20 Generating Output Using the Digital Cut Tool The Digital Cut tool provides controls when you record a sequence to tape. The Digital Cut tool has the following operating modes: • Remote mode lets you control the record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. See “Recording a Digital Cut to Tape (Remote Mode)” on page 901.
Using the Digital Cut Tool In Remote mode, the Digital Cut tool includes its own deck controls for: • Cueing a record deck from the Digital Cut tool. • Cueing the tape and adding an IN point. This capability applies when you click the menu in the deck control area, and select Mark In Time. The Mark OUT button does not appear in the deck controller section of the Digital Cut tool because it has no effect on digital cuts. Also, the Mark OUT and Duration text fields are read-only. You cannot alter them.
20 Generating Output Selecting a Deck in the Digital Cut Tool The Deck Selection menu in the Digital Cut tool contains a list of all decks that were connected to the system, turned on, and initialized when you opened the Digital Cut tool. n Device templates from Meridien-based Avid systems are not compatible with current Avid editing systems. Do not copy Meridien templates to current systems, and do not copy current system templates to Meridien systems.
Using the Digital Cut Tool 2. Select Remote or Local in the Deck Control options area. 3. Select the options you want for the digital cut. 4. Select the audio tracks, data track, and topmost video track you want represented in the digital cut preview by using the Sequence Track buttons. The track display in the Digital Cut tool varies according to the tracks existing in the sequence. 5. Click the yellow Preview Digital Cut button.
20 Generating Output 6. Click the Digital Cut Safe Mode button (selected by default) to allow your Avid editing application to notify you of conditions that might cause dropped frames. During a digital cut, real-time effects or HD clips in an SD sequence can drop frames. Digital Cut Safe Mode analyzes and identifies real-time effects that might cause dropped frames during the digital cut and lets you render them. It also identifies HD clips in an SD sequence and gives you the opportunity to transcode them.
Using the Digital Cut Tool 12. Click the menu in the Deck Control options area, and select an option to indicate where to start recording on the tape. Option Description Sequence Time Starts the recording at a timecode existing on tape that matches the start timecode of the sequence. If you intend to record several sequences to tape one after another, this option requires resetting the start timecode on each sequence to match appropriate IN points on the tape.
20 Generating Output n t Press the space bar. t Click the Halt Digital Cut button. After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending upon the record deck model. This provides several frames of overlap for the next IN point before the control track and timecode break up.
Using the Digital Cut Tool Recording a Digital Cut to Tape (Local Mode) Recording in Local mode lets you manually control your record deck by using the controls on the deck. This mode is useful when you need to use non-Avid-controlled decks, such as consumer-grade VHS or Hi8. To record a digital cut to tape: 1. Make sure you selected the appropriate device for the material you are recording. See “Using the Digital Cut Tool” on page 898. 2. Load a sequence into the Source/Record monitor.
20 Generating Output When you select this option, if the system detects a dropped frame during output, the digital cut stops. You can fix the frame with ExpertRender and then continue. For more information, see “Using ExpertRender to Prepare Effects for a Digital Cut” on page 897. 8. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of the digital cut. 9. Select Local in the Deck Control options area. 10.
Output Mode Resolution Options Output Device display (top), Output Mode menu (bottom left), and Bit Depth menu (bottom right) in the Digital Cut tool The following table provides information on the output resolutions. Output Mode Description RT DNA Provides 1:1 uncompressed SD output through an Avid Adrenaline, Avid Mojo, or Avid Mojo SDI. DNxHD Provides DNxHD output through an Avid Adrenaline with HD input/output capability. All media must be DNxHD. Does not support real-time effects playback.
20 Generating Output Output Mode Description 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. 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. All media must be DV 25. Does not support real-time effects playback.
Selecting Output and Timecode Formats for 23.976p and 25p Projects 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. For more information, see “Using the Digital Cut Tool” on page 898. 6. Perform the digital cut.
20 Generating Output 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 23.976, you tell your Avid editing application to slow down the play rate to match the play rate used during an NTSC telecine transfer.
Output Format Reference for 23.976p and 25p Projects Output Format Reference for 23.976p and 25p Projects The following table provides reference information for the Output formats (play rates) available in the Digital Cut tool for 23.976p and 25p projects. Digital Cut Tool Output Format (Play Rate) Target Project or System, and Recording Media 23.
20 Generating Output Digital Cut Tool Output Format (Play Rate) 24 (PAL) Target Project or System, and Recording Media Audio for film projection; DAWs (video for reference only) Picture and sound to PAL tape; sound to DAT or mag tape Description Plays back the sequence at 24 fps. This play rate tells your Avid editing application to record audio at the film rate. For 25p projects, audio is slowed down 4 percent.
Selecting the Timecode Format for Output The following table summarizes the change in audio rates for 23.976p output options. Output Play Rate Source Output Audio Rate 23.976 NTSC 23.976 fps 48 kHz (no change) 24 NTSC 23.976 fps 48.048 kHz (0.1% speedup) 29.97 NTSC 23.976 fps 60 kHz (25% speedup) 24 PAL 23.976 fps 48.048 kHz (0.1% speedup) 25 PAL 23.976 fps 50.016 kHz (4.
20 Generating Output Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding You can output drop-frame and non-drop-frame NTSC timecode simultaneously from a 23.976p or 25p project. A broadcast production company might need to output drop-frame timecode for a broadcast master while outputting non-drop-frame timecode to track NTSC film pulldown.
Selecting the Video Pulldown Cadence The value you select also sets the rate for LTC output, if any, without changing the play rate of the media being output (24 NTSC). n Your Avid editing application can generate LTC at 29.97 fps only. No LTC will be output if you select 30.00. To indicate the destination timecode rate: 1. Select Clip > Digital Cut. 2. Click the Dest. TC Rate menu, and select 29.97 fps or 30.00 fps.
20 Generating Output n You cannot control some analog audio decks from the Digital Cut tool. If the deck does not have a serial control port, you need to select Local when you record the digital cut. Your output choice in the Digital Cut tool automatically sets the pulldown switch. If you perform an audio-only digital cut, your Avid editing application plays the video tracks in the Client monitor to ensure the most accurate audio sync. A message appears at the bottom of the Digital Cut tool.
Understanding DV Digital Cut Delay To change the default pulldown phase for a sequence: 1. Open the bin that holds the sequence. 2. Check if the Pullin column appears. If not, do the following: a. Click the Bin Fast Menu button, and select Title Onlys. b. Ctrl+click (Windows) or click (Macintosh) Pullin. 3. Type A or B in the Pullin column. - Pullin A: The first frame of the sequence plays back as two fields, the second frame as three fields, the third frame as two fields, and so on.
20 Generating Output For example, suppose the DV digital cut delay is set to 0 frames. The digital cut is expected to begin with the first frame of the sequence being recorded on the IN point designated on the tape. In this example, the IN point is set to frame number 6. This is where the recording would begin on the tape. However, due to the behavior of the particular DV device, the digital cut does not perform as expected. The first frame of the sequence recorded on the tape is actually the fourth frame.
Vertical Blanking Information When you click the Play Digital Cut button, passthrough stops. You see the sequence in the Timeline that you are outputting to digital cut. Passthrough resumes when the digital cut playback is complete. Vertical Blanking Information Avid editing applications using Avid input/output hardware let you work with vertical blanking information in some SD material.
20 Generating Output Displaying and Preserving Vertical Blanking Information Avid editing applications using Avid input/output hardware automatically preserve the extra lines of vertical blanking information when you capture footage. You can choose whether to display the lines and whether to retain the lines when you output your sequence as a digital cut.
Vertical Blanking Information VBI menu in the Video Output tool 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. If you perform a digital cut, any VBI information that is in your sequence will be output.
20 Generating Output 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. Often, the tape is recaptured so that the sequence can be repurposed for another market. The VBI option in the Video Output tool lets you display the VBI information and maintain the information when you output the repurposed sequence.
Vertical Blanking Information 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.
20 Generating Output Feature Meridien Current Is VBI information preserved when you apply effects? Not always Yes (see “Editing a Sequence with Vertical Blanking Information” on page 922.) 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.
Preserving HD Closed Captioning and Ancillary Data Your Avid editing application can capture and preserve any of the following four types of ancillary data by default: • Closed Captioning (CEA 608, CEA 708): Closed captioning ancillary data packets are captured from the HD-SDI source according to the SMPTE 334M standard. • Program Description (AFD): AFD ancillary data packets are captured from the HD-SDI source according to the SMPTE 334M standard.
20 Generating Output • At this time, the following resolutions/projects are not supported with a data track: RGB, 720p/23, 720p/25 and 720p/29.94. • Data tracks are supported when you export a sequence to a playback device through the Transfer > Send to Playback option (exporting a sequence with Data tracks to an Avid Interplay Transfer environment). For information about Send to Playback with a Data track, see your Avid Interplay documentation.
Preserving HD Closed Captioning and Ancillary Data The system adds the Data track with the clip to the Timeline. The clip in the bin displays D1 in the Track column. n To playback the D1 track, you must have the ancillary data turned on in the Media Creation Settings > Capture tab. See “Controlling Ancillary Data through a Settings Window - Data Track Method” on page 929.
20 Generating Output Data Track Method Legacy Method Consolidate Yes No Mixdown Yes No Import (AAF) Yes Yes Export (AAF) Yes No How Ancillary Data Embedded in DNxHD Media Is Handled in the Data Track Method and the Legacy Method Data Track Method Legacy Method Create a D track Not Applicable Not Applicable Play Not Applicable Yes (with Avid Nitris DX, Avid Mojo DX or Avid Adrenaline only) Edit Not Applicable Not Applicable Capture Not Applicable Yes (with Avid Nitris DX, Avid Moj
Preserving HD Closed Captioning and Ancillary Data n Even though Avid preserves ancillary data, if you move a sequence with a data track to and from different systems (with and without supported Avid input/output hardware), be aware that when you perform the editing functions listed in the above tables, ancillary data might not always be preserved the way you expect.
20 Generating Output To switch the ancillary data feature on and set options for ancillary data in a Settings window: 1. Do one of the following: t Double-click Media Creation in the Settings list. t Select Tools > Media Creation. 2. Click the Capture tab. 3. From the Ancillary Data Mode Setting, select SMPTE 436M or Legacy. The system enables all four slots. 4. Select a Data Type for each slot you want to display ancillary data for. The default DID and SDID number displays for that slot. 5.
Preserving HD Closed Captioning and Ancillary Data To set options for ancillary data preservation: 1. Double-click Media Creation in the Settings list. 2. Click the Capture tab. 3. Select Capture Ancillary Data. A check mark appears. 4. Select a Data Type for each slot you want to display ancillary data for. The default DID and SDID number displays for that slot. n The DID and SDID information captured with the data clip displays in the bin. 5. Select Enabled next to the appropriate slot. 6.
20 Generating Output n Data Packet DID SDID CEA 708 61 01 CEA 608 61 02 AFD 41 05 ATC 60 60 The slot 3 default has changed from DTV to AFD, which is different from previous releases. To set options for ancillary data preservation for a single slot: 1. Select Tools > Console. 2.
Preserving HD Closed Captioning and Ancillary Data Capturing Ancillary Data with a Data Track While you capture video and audio clips, if your Avid editing system has an Avid Nitris DX or an Avid Mojo DX attached, you can also capture clips with ancillary data. You perform the same steps included in “Preparing for Capture” on page 131 and “Capturing Media” on page 193 to capture video and audio media. Make sure you select the Data track (D) Channel Selection in the Capture tool.
20 Generating Output To perform a data mixdown: 1. Select the Record Track Monitor button in the Track Selector panel for the data track. 2. Mark an In point and an Out point around the area to mix down, or clear the In and Out points to mixdown the entire sequence. 3. Select Special > Data Mixdown (or Clip > Data Mixdown). The Data Mixdown dialog box opens. 4. Select a target bin and target drive for storing the new master clip, and then click OK. A progress indicator appears.
Preserving HD Closed Captioning and Ancillary Data The XDCAM Export Settings dialog box opens. 5. (Option) Select Use Marks. When Use Marks is selected, the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7.
20 Generating Output Sony applies its own file-naming convention. All exported clips are given a new sequential name of Cxxxx.mxf, for example, C0019.mxf. A progress bar appears displaying the new Sony XDCAM HD sequential clip name. The sequence is exported.
21 Transferring Projects This chapter contains information about transferring projects to another Avid editing system. Transferring Project and Media Files Between Avid Editing Systems There are two basic methods for transferring projects: • Moving project folders, settings, and media files between the systems. • Moving project folders and settings between the systems, and then recapturing the media. For information on recapturing, see “Recapturing and Decomposing” on page 215.
21 Transferring Projects Transferring Files Between Windows Systems The following table shows the available methods for transferring files between Windows systems. Method Requirements Restrictions All Files (can be used as media drives) External SCSI drive None For compatibility information, see the Avid Drive Striping Tables, which are available by searching for “drive striping” on the Avid Customer Support Knowledge Base.
Transferring Project and Media Files Between Avid Editing Systems Transferring a Project Using Shared Storage If you are using your Avid editing system in an Avid Unity environment, you can use Avid Interplay to share media files, projects, and bins between systems. For more information, see your Avid Unity and Avid Interplay documentation. You can also share bins and projects in an Avid Unity environment that does not use Avid Interplay.
21 Transferring Projects n When editing in an Avid Interplay environment, you must consolidate your media files before checking them in to the asset manager. c Do not rename the folders named OMFI MediaFiles or Avid MediaFiles located on the media drive. The target system uses the folder names to locate the media files. 2. Select the project folder, user folder, or Site Settings file you want to transfer (the folder uses the project name or user name you provide).
Transferring Project and Media Files Between Avid Editing Systems The folder locations might be slightly different, depending on the product and how it was installed. Ignore any Resource folders or files that appear. 8. Start your Avid editing application. The new project appears in the Project window. New user settings appear in the Users list. Site settings are active for all projects at the new location. c Do not open a project directly from the transfer device.
21 Transferring Projects 942
22 Using the NRCS Tool The Newsroom Computer System (NRCS) tool lets you use one computer to view stories and rundowns located on an Avid iNEWS® server or on an Electronic News Production System (ENPS®) server and to edit sequences in your Avid editing application. You use the NRCS tool to connect to an iNEWS server to access story scripts and to edit stories on Avid NewsCutter.
22 Using the NRCS Tool n • Sending and Receiving NRCS Mail (iNEWS Only) • Disconnecting from Your NRCS Server Your iNEWS or ENPS user permissions define how many of these procedures you can perform. If you are unsure of your permissions, consult your system administrator. Configuring the NRCS Tool You must configure the NRCS settings before you can connect to an iNEWS or an ENPS server.
Configuring the NRCS Tool 5. Fill in the following columns in the MOS Configuration window. Column Description Description Type the description of the new client — for example, Avid editor. IP Address Type the IP address for the Avid editing system client. Repeater ID Select the Repeater ID (ENPS MOS Repeater Name). To configure the running order: 1. Click the news group folder. Typically, this should be the third folder. Do not click the Rover. The group folder lists the running orders. 2.
22 Using the NRCS Tool n The NRCS Settings dialog box also appears when you connect to a server if the active NRCS setting lists no name in the Server text box. 3. Type the name of the server. 4. (iNEWS only) If you selected the iNEWS server, type a default user name. 5. (Option) Select “Logout when NRCS Tool is closed” if you want to terminate the connection to the server every time you close the NRCS tool. 6.
Configuring the NRCS Tool 8. (iNEWS only) Configure the Message-of-the-Day (MOTD) settings, Mail Directory, and Story Field Assignment values: a. b.
22 Using the NRCS Tool 9. (iNEWS only) Select the default metadata used when creating a sequence with the NRCS tool: a. Clicking the Build Sequence button in the NRCS tool creates a new sequence with a duration determined by the value in the specified Story Form field. Enter a Story Form field name in the Duration text box. The default is the iNEWS tape-time field. The iNEWS server provides the Story Form headings in the NRCS tool.
Starting the NRCS Tool c. If you want to list running order names, including the Editorial Start date and time, select Show running order start date/time. d. If you want to list story names, including the page number, select Show story page number. e. In the Sequence Creation area, type the default time you want for the duration of new sequences in the Default Duration text box. f. Select Show MOS ID if you want the MOS identification to display below MOS object cues in the Production panel. 13.
22 Using the NRCS Tool (ENPS only) The NRCS tool connects to the ENPS server. (A login dialog box does not appear for the ENPS server.) 3. (iNEWS only) If you did not set a default name in the NRCS Settings dialog box, type a user name. 4. (iNEWS only) Type the password. 5. (iNEWS only) Click OK. If you selected Every Connection or First Connection in the NRCS Settings dialog box, the Message-of-the-Day dialog box opens. n The iNEWS administrator enters the Message-of-the-Day (MOTD). 6.
NRCS Tool Components 1 2 3 4 15 5 6 7 16 8 9 17 10 11 12 13 14 18 1 Connect/Disconnect button 7 Cue Marking buttons 13 Post to Web button 2 Send Mail button 8 Formatting buttons 14 Read Time display 3 Show/Hide Story Form opener 9 Story form 15 Directory panel 4 Save button 10 Mark IN/OUT button 5 Story Name text box 11 Build Sequence button 17 Production Cue text box 6 Cancel button 12 Find Sequence button 16 Production panel 18 Story panel The following illustra
22 Using the NRCS Tool 2 1 3 9 n 10 1 Connect/Disconnect button 7 Post to Web button 2 MOS media item 8 Read Time display 3 Story Name text box 9 Directory panel 4 Mark IN/OUT button 10 Production panel 5 Build Sequence button 11 Story panel 6 Find Sequence button 4 5 6 7 8 11 Many of the concepts and options in the NRCS tool are similar to those of the iNEWS or the ENPS client application.
NRCS Tool Components Component Server Support Description (Continued) Send Mail button iNEWS Opens a dialog box for sending mail to others in the iNEWS workgroup. Show/Hide Story Form triangular opener iNEWS Opens and closes the Story Form display. Story Name text box iNEWS and ENPS Shows the directory path and name of the story. Post To Web button iNEWS and ENPS Opens a dialog box for creating Web content from an iNEWS or an ENPS story.
22 Using the NRCS Tool Component Server Support Description (Continued) Read Time display iNEWS and ENPS Displays the amount of time to read the selected text on air, based on the read rate. Production panel iNEWS and ENPS Displays production information: Story panel n iNEWS and ENPS • (iNEWS) Displays production cues and timing markers scripted into a story. • (ENPS) Displays MOS media items and anchors read-rate markers. Displays the text of a story.
Using the Directory Panel To open a story: 1. Navigate through the directories to the file you want to open. The panel organizes directories in a tree hierarchy, with stories as the base item in the tree. n (ENPS only) A small green light flashes on the Disconnect button as the tool receives stories from the server. Directory stories first display gray in the list, then display black when they become available. Directories and stories in the Directory panel.
22 Using the NRCS Tool Using Shortcuts with Directories (iNEWS Only) You can save time accessing directories you use often by creating shortcuts to directories in the Directory panel. To create a shortcut to a directory: 1. Navigate to the directory. 2. Right-click the directory name, and select Make Shortcut. The NRCS tool creates the shortcut, which appears in italic above the server name in the Directory panel.
Changing the Text Display Changing the Text Display You can change the screen display of the entire text of a story without entering Edit mode. The shortcut menu that opens when you right-click in the Story panel lets you change the font and point size of the text. You save the font and point size with the current NRCS settings, but the changes apply only to the local client. Settings on the iNEWS or the ENPS server do not change.
22 Using the NRCS Tool Rearranging Text in a Story (iNEWS Only) The shortcut menu provides commands for cutting, copying, pasting, and deleting text. To rearrange the text in a story: 1. Select the text you want to cut, copy, or delete. 2. Right-click the text, and select the appropriate command. 3. Position the cursor in the story where you want to paste the text. 4. Right-click, and select Paste.
Editing Story Text (iNEWS Only) The text changes to green, indicating closed captions. To mark text as Presenter Instructions: 1. Select the text you want to mark. 2. Do one of the following: t Click the Presenter Instructions button. t Right-click the text, and select Presenter Instructions. The text changes to red, indicating Presenter Instructions. Formatting Text (iNEWS Only) You use a combination of the formatting buttons and the shortcut menu to change the format of story text.
22 Using the NRCS Tool Adding a Production Cue (iNEWS Only) Production cues are playback instructions for devices such as video machines, still stores, and character generators. When you insert production cues, they appear in the Production panel. In addition, a Production Cue marker appears in the story text to indicate where each production cue belongs in the story. n If you want to delete a production cue, you must delete the Production Cue marker, not just the text within the Production Cue text box.
Editing Story Text (iNEWS Only) t Right-click the marker, and select Delete. Using Loaded Cues (iNEWS Only) You can create links to clips and sequences directly from your story. These links, called loaded cues, act as pointers within the script to master clips stored in bins. Using loaded cues, you can move clips or sequences between your script and bins as you edit your story. You must be in Edit mode to add a loaded cue to your story.
22 Using the NRCS Tool To view a head frame of a loaded cue: t Right-click the clip icon in the Production Cue text box and select Show HeadFrames. To change the size of the head frame, do one of the following: t Select Edit > Enlarge HeadFrames or Edit > Reduce HeadFrames.
Sequences and Stories n The NRCS tool does not include Closed Caption or Presenter Instructions text in the read time. Only text marked as Normal (including bold, italic, or underlined text) is calculated. To calculate the read time of a story: 1. Move the pointer to the Story panel. 2. Do one of the following: t Right-click, and select Select All. t Select a portion of the text with the mouse. The read time appears in the upper right corner of the NRCS tool.
22 Using the NRCS Tool n (iNEWS) The Tape-Time text box in the story form of the NRCS tool corresponds to duration in your Avid editing application’s Timeline. (ENPS) The first MOS media item in the story determines the sequence duration. Consider the following when you place clips in the new sequence: • The NRCS tool processes loaded cues in the order they appear in the story text. The tool edits only those that appear before the end of the text (and before the end of the sequence) into the sequence.
Sequences and Stories (iNEWS) If you select a story from the Directory panel, NewsCutter creates a sequence even if the Tape-Time text box is blank or zero. If the Tape-Time text box for the story is blank, the duration of the sequence defaults to 30 seconds. If the Tape-Time text box is set to 0:00, the duration of the sequence created is 0 seconds. (ENPS) The new sequence is built from the first media item in the story.
22 Using the NRCS Tool Script-Based IN and OUT Points You can use the Mark IN/OUT button to place IN and OUT points in the Timeline based on text highlighted in the NRCS tool. You can then use the IN and OUT points as a guide to build a sequence. NewsCutter bases the length of the created sequence on an assigned duration, associated with the story. NewsCutter bases the position of the IN and OUT points on an approximate calculation, depending on the word count and the assumed read time.
Associating a Sequence with a Story n You can use the Timecode pop-up menu to compare the IN and OUT points. For more information on using the Timecode display, see “Using the Timecode Window” on page 453. Associating a Sequence with a Story In addition to using the NRCS tool to create a new sequence, you can associate an existing sequence with an iNEWS or an ENPS story. This lets you create a video sequence in NewsCutter, and then later associate it with a story in the iNEWS or ENPS database.
22 Using the NRCS Tool Information from Story Column Heading in Bin or Interplay Folder n Video ID Tape ID Slug (Story) name Name (of sequence) Full story path NrcsID (iNEWS only) You cannot undo this action. If you want to associate a different sequence with your story, select a new sequence and repeat the procedure. The new sequence becomes an associated sequence, which lets you open it by using the Find Sequence button in the NRCS tool (see “Using Associated Sequences” on page 970).
Adjusting the Story Timing (iNEWS Only) 3. Click OK. A Time Marker cue appears in the story text, and a corresponding production cue appears with an equal sign (=) and the specified time value. Any read-time calculations now take the Time Marker cue into account. Adjusting the Story Timing with a Time Pad (iNEWS Only) Because the calculated story timing might not exactly match the required sequence or clip duration, you can specify the duration of the media clip by adding a Time Pad cue to the sequence.
22 Using the NRCS Tool A Time Pad cue appears in the story text, and a corresponding production cue appears with a plus sign (+) and the specified time value. Any read-time calculations now take the assigned time into account. Using Associated Sequences The NRCS tool lets you locate sequences associated with NRCS stories or, conversely, to locate stories from their associated sequences.
Using the Post to Web Feature If more than one person accesses a story at the same time, the NRCS tool only saves changes made by the first person to save the story. n Your iNEWS user permissions define whether you can save changes to a story. If you are unsure of your permissions, consult your system administrator. To save changes: 1. In Edit mode, click the Save button. A message box opens. 2. Do one of the following: t Click Modify to save the changes to the original story.
22 Using the NRCS Tool Processing the Script for Post to Web Traditionally, broadcast scripts utilize uppercase letters to make them display clearly in a prompter. Post to Web can automatically change a story’s script to lowercase letters, with the exception of the first letter of each sentence. Additionally, Post to Web deletes text elements designed specifically for broadcast stories, such as Presenter Instructions and Closed Caption.
Using the Post to Web Feature t Cut or copy text from another document and paste it into the Story text box. t Type the text of your story in the Story text box. Linking Clips for Post to Web Post to Web lets you link additional clips to the text of your story for inclusion in a Web page. (iNEWS only) When you post a story to the Web, loaded cues in the iNEWS story become links to clips stored on your Web server.
22 Using the NRCS Tool t n Select the text in the Story text box that you want to associate with a clip, right-click in the story text, and select Link > clip. The Link submenu lists loaded cues and any sequences associated with your story. The menu updates whenever you add clips to the Story text box. The selected text is highlighted in blue and becomes a link to the clip. The Link submenu in the Post to Web dialog box t Click a clip and drag it from an open bin to the Story text box.
Using the Post to Web Feature Templates provide a way to organize features common to all Web stories. For example, a template can place headlines in the same place relative to the text of a story, using the same font and style as similar stories on a Web page. Post to Web arranges these features into fields where you can enter necessary information before producing the finished content for your Web site. n The template descriptions in this section refer to HTML coding only as an example.
22 Using the NRCS Tool The Story tag uses the $TEXT$ placeholder, which is replaced by the text of your story from the Story text box in the Post To Web dialog box. n If you do not include any format elements, $TEXT$ is assumed—for example, . Using the Text Tag in Post to Web Templates You use the Text tag to position headlines, headings, subheadings, captions, or other text elements on your Web page.
Using the Post to Web Feature The Label (left) and the user-supplied text (right) that replaces the $TEXT$ placeholder The HTML code showing the Post to Web output: Student Protests Strike Paris Using the Clip Tag in Post to Web Templates You use the Clip tag to create links to media files stored on a server. When you link a video clip to your story (see “Linking Clips for Post to Web” on page 973), Post to Web automatically creates a Uniform Resource Locator (URL) for the clip.
22 Using the NRCS Tool n If you do not include any format elements, $URL$ is assumed—for example, . If you do not specify a clip for one of the video fields, the corresponding clip tag in the template will not be included in the output page. This includes any page formatting code in the format elements. The following examples show a Clip tag as it appears in a template, in the template fields in the Post To Web dialog box, and in the HTML code generated by the template.
Using the Post to Web Feature n If a format label matches a setting name, it is selected by default. The Videoformat tag takes the following form: < ! - - VIDEOFORMAT n = “Label” [n = “Label”] - - > In this tag, n is an integer (1 to 9) which identifies the video format that displays in the left column of the Export Settings field in the Post tab. This number is used by a placeholder ($URLn$) inside the Clip tag to associate a video format with a specific clip.
22 Using the NRCS Tool Using the Hyperclip Tag in Post to Web Templates You use the Hyperclip tag to include information and formatting for any linked clips in your story. When you link a video clip to your story (see “Linking Clips for Post to Web” on page 973), Post to Web lets you add HTML formatting (for example, table tags), JavaScript code, text, or other elements.
Using the Post to Web Feature t Click the Template menu, and select a template. The menu lists the most recently used templates. t Click the Browse button, and select a template from the appropriate folder. t Use Windows Explorer to locate a template file, then click the template file and drag it to the Template text box. 5. Click the Text Fields tab. 6. For any display fields, click in the text column to the right of the field name and type any text you want displayed on the Web page.
22 Using the NRCS Tool You can also export clips through Avid editing systems with the Direct Export option. In this case, you set export options through the Export Settings dialog box. For more information on export settings, see “Exporting With the Export Command or the Drag-and-Drop Method” on page 851 and “Customizing Export Settings” on page 854. To post a story to the Web: 1. Load a story into the Story panel. 2. Click the Post To Web button. The Post To Web dialog box opens. 3. Click the Post tab.
Sending and Receiving NRCS Mail (iNEWS Only) 6. In the Image area, click the Format menu, and select a graphics format for the images associated with the video clips. 7. (Option) Click the Options button, and select options as described in “Transferring Project and Media Files Between Avid Editing Systems” on page 937. If the format you want for your images does not appear in the menu, click the Options button, and select a format from the Export Settings dialog box. 8.
22 Using the NRCS Tool 2. Type an address in the To text box. 3. (Option) Type an address in the CC text box. 4. (Option) Type a subject in the Subject text box. 5. Type your message in the message area. 6. Do one of the following: t Click OK to send the message. t Click Cancel to close the dialog box without sending the message. Receiving NRCS Tool Mail (iNEWS only) To receive NRCS tool mail: 1. Navigate to and open the PEOPLE directory in the Directory panel. 2.
Disconnecting from Your NRCS Server Disconnecting from Your NRCS Server When you have finished using the NRCS tool, you should disconnect from the iNEWS or the ENPS server. n If you selected “Logout when NRCS Tool is closed” in the NRCS Settings dialog box, the NRCS tool automatically disconnects from the server whenever you close the tool or switch to a workspace that does not include the NRCS tool. To disconnect from the iNEWS or the ENPS server: t Click the Disconnect button.
22 Using the NRCS Tool 986
23 Working with Avid Interplay from an Avid Editing System Avid Interplay is an asset management system that provides a central database of assets (such as master clips, subclips, sequences, and graphics) that you use during your production process. If you are working on an Avid editing system, you can think of these assets as remote assets.
23 Working with Avid Interplay from an Avid Editing System The following illustration shows the Project window alongside an opened bin from an Avid editing project, and the corresponding folder in the Interplay Window. Top: the Project window and opened bin from an Avid editing application. Bottom: the corresponding folder in the Interplay Window.
Administrator Settings for Avid Editing Clients You can work directly with assets in the Interplay Window, or you can copy (check out) assets to a bin in an Avid editing project. The bin then contains local copies of the remote assets. You can modify the local copy of an asset, but the changes remain local until you save the changes (check in) to the database.
23 Working with Avid Interplay from an Avid Editing System - Can modify locators: If yes, allows the selected user or group to modify or delete locators. If no, a user of an Avid editing application can still modify locators on an asset, but can check in only the asset, not the locator metadata (an error message is displayed). In most cases, if an administrator wants a user to create locators, select “yes” for both “Can create locators” and “Can modify locators.
Using the Interplay Window The Interplay Window on a Macintosh OS X system (top) and on a Windows system (bottom) There are some differences between working from Interplay folders and working from bins. For instance, you cannot edit a sequence in an Interplay folder. To edit a sequence, you copy it to a bin, edit it, and then you copy the modified sequence to the Interplay database for sharing.
23 Working with Avid Interplay from an Avid Editing System Connecting to the Avid Interplay Database Before you can connect to the Avid Interplay database and access remote assets, you need to configure the Interplay settings in your Avid editing application. You also need be connected to the Avid Unity media network. If you are working in a shared-storage workgroup, your Avid Unity system administrator needs to configure your system for proper access to the Avid Unity workspaces.
Connecting to the Avid Interplay Database It is important to type the correct computer name or IP address. This is the location where the editing system looks to access the database and to check in and check out Avid assets. 5. In the Settings list, double-click Interplay User. 6. In the User Name text box, type a user name. This name must be a known user on your workgroup system. 7.
23 Working with Avid Interplay from an Avid Editing System 11. Click the Set button, and a directory tree is displayed for the Interplay database that you logged in to. 12. Select a folder to use as the default Interplay Root Folder for your project and click OK. The Interplay Folder setting defines where assets are checked into the Interplay database when you use menu commands, automatic checkin, or Frame Chase capture.
Connecting to the Avid Interplay Database n You must be logged in to the Interplay database to work with remote assets. For information on configuring your login and other workgroup settings, see “Configuring Interplay Settings on the Editing Workstation” on page 992. To log in and open the Interplay Window: 1. If your Interplay User settings are not configured to log in when you start a project, do the following: a. In the Settings list, double-click Interplay User. b.
23 Working with Avid Interplay from an Avid Editing System Verifying the Interplay Checkin Folder To ensure that the objects that you check in are checked in to the correct Interplay folder, the first time you check in from a bin, a message box asks you to verify the folder into which the objects will be checked in. The path displayed is based on the path that is set in the Interplay Folder Settings.
Editing with Remote Assets 4. Click OK. Editing with Remote Assets When you edit with remote assets in a workgroup environment, you need to keep in mind that other users might share the clips and sequences in your project. When you first set up your project, you can load the assets you want to work with to the Source monitor, mark In and Out points, and add them to your sequence in the Timeline where you can create your effects and edit your footage.
23 Working with Avid Interplay from an Avid Editing System 5. Click the assets you want to check out, and drag them to your bin. The bin displays the clips and sequences.
Editing with Remote Assets This message could also appear if another user has checked in a modified version of the asset after you checked it out. Click “Update anyway” to overwrite the local version with the version on the database, or click “Keep local modifications” to preserve the local version.
23 Working with Avid Interplay from an Avid Editing System Checking Avid Assets Out Using Interplay Access When you are working with an Avid editing application, you might want to use the advanced search in Interplay Access to look for particular Avid assets. After finding the assets, you can drag them from Interplay Access into a bin (checking out the assets), which creates local copies of the assets (but not the media).
Editing with Remote Assets Method Description Check in assets by You can check in assets to a bin using the Bin > Check In Bin to Interplay command or the checking in a bin Bin > Check in All Open Bins to Interplay command. These commands check in the following items: • Items that have been modified since they were last checked in or out • Items that have been added to a bin.
23 Working with Avid Interplay from an Avid Editing System 3. Do one of the following: t To check in all Avid assets in a bin, select the bin and then select Bin > Check In Bin To Interplay or File > Check In All Open Bins to Interplay, or right-click the Bin Fast menu and select Check In Bin To Interplay. t To check in Avid assets in all open bins, select Bin > Check In All Open Bins to Interplay or right-click the Bin Fast menu and select Check In Bin To Interplay.
Editing with Remote Assets 4. (Option) Right-click the Projects folder in the Interplay Window, select Create a New Folder, and then type a name for the folder. 5. Select one or more items in the bin and drop them in a folder in the Interplay Window. Automatically Checking In Avid Assets You can automatically check in media assets by setting the appropriate option in the Avid Interplay Administrator.
23 Working with Avid Interplay from an Avid Editing System Automatic checkin is optimized to work more quickly than the menu commands described in “Checking Avid Assets In to the Interplay Database” on page 1000. If a bin contains any new or modified items, it is processed exactly as when you use the menu commands. If there are no new or modified items in a bin, no items in the bin are checked in. In this case, automatic checkin will not detect that items have been deleted from the bin’s database folder.
Editing with Remote Assets a sequence in the Timeline just as you would any other media clip. You then save your sequence to a bin, and you drag it to an Interplay folder in the Interplay Window, which checks in the sequence to the database. n You cannot edit a sequence directly from an Interplay folder. To edit a sequence, copy it to a bin (check out), edit it, and copy the modified sequence to the Interplay database (check in).
23 Working with Avid Interplay from an Avid Editing System t Drag the clip or sequence from the Interplay Window into the Source monitor. t Double-click the clip or sequence in the Interplay Window. The Source monitor displays the remote asset. Understanding In-Progress Clips If your Avid editing application is part of a workgroup environment managed by Avid Interplay, you can edit using in-progress clips.
Editing with Remote Assets 4. Create a sequence in a bin. 5. Use standard editing techniques to build a sequence incorporating any parts of the in-progress clip that you can view in the Source monitor. 6. (Optional) To get updated information about the clip (metadata), select Bin > Update Bin from Interplay. For more information, see “Updating Remote Assets in Bins” on page 1004. 7. When the clip is completely captured, select Bin > Update Bin from Interplay.
23 Working with Avid Interplay from an Avid Editing System Function Description Trimming The right-side trim limit of an in-progress clip is determined by the currently available media. When you trim an in-progress clip to the end of available media, the trim functions as if it had reached the end of the clip. As more media is captured, the trim limit increases. Performing the trim at a later time might allow more trimming because more media might become available.
Managing Remote Assets with the Interplay Window Managing Remote Assets with the Interplay Window You access remote assets through the Interplay Window. This lets you see all of the Avid assets available to your project, manage your assets, and access the Avid assets stored in Interplay folders so you can edit the clips in your sequence.
23 Working with Avid Interplay from an Avid Editing System Assets can carry two different kinds of markers: • Reservations: Reservations protect assets from deletion and moving. Assets protected by a reservation are marked by a Reservation icon in Avid Interplay Access. For more information on reservations, see “Understanding Reservations” on page 1010. • Restriction locators: Restrictions indicate limitation warnings on the use of media assets.
Managing Remote Assets with the Interplay Window Only the owner of a reservation or the Administrator can remove the reservation or delete or move the contents of a reserved folder. Since folders can have reservations set by multiple users with multiple end dates, you might not be able to move or delete the asset even if you placed a reservation on it. Unless one of the reservations expires or is revoked by the user that created it, only your Interplay administrator can move or delete the asset.
23 Working with Avid Interplay from an Avid Editing System Understanding Access Control for Avid Assets Access control protects assets in a workgroup environment. The Interplay administrator uses the Avid Interplay Administrator application to assign access levels to groups and to particular folders. For example, you might have permission to read, write, and delete some assets, but only have permission to read other assets.
Managing Remote Assets with the Interplay Window You cannot delete assets that carry reservations. Reservations can only be applied to folders and they apply only to Avid assets (clips and sequences). Also, you cannot delete a relative of a reserved asset. For example, if a master clip is not reserved, but it is used in a reserved sequence, you cannot delete the master clip until the reserved sequence is unreserved. For information on reservations, see “Understanding Reservations” on page 1010.
23 Working with Avid Interplay from an Avid Editing System 4. (Option) Delete the associated media files for master clips and effect clips. You can select both clips and media files for deletion, or you can select only the media files if you want to retain the clips for recapture later. 5. Click OK. If you choose to delete media files, a message box opens and asks you to confirm the deletion. 6. Click Delete.
Managing Remote Assets with the Interplay Window The shortcut is removed. Modifying the Appearance of the Interplay Window You can modify the appearance of the Interplay Window to hide the Media Directory panel or to split the tool horizontally (so the Media Directory panel and the Research panel display on the left and right sides of the tool) or vertically (so they display at the top and bottom of the tool). You can also specify which media objects you want to display in the Interplay Window.
23 Working with Avid Interplay from an Avid Editing System Understanding Column Display in the Interplay Window You can modify the display of columns in the Interplay Window in a variety of ways. You can: • Sort the information in all of the columns in the media tabs in the Research panel except the Frame column The Type column sorts alphabetically based on the type of media object (audio clip, master clip, sequence, subclip).
Managing Remote Assets with the Interplay Window To move a column in the Interplay Window: t Click the heading of the column in the Research panel that you want to move, then drag the column to the position you want and release the mouse button. The column appears in the new position, and the other columns shift to make room. To hide a column: t Right-click the column heading and select Hide this Column. When you hide columns, they are listed on the menu below the Hide this Column option.
23 Working with Avid Interplay from an Avid Editing System For MultiRez clips, you can select a column for each resolution (1:1, DV 25, and so on). See “Single Clip, Multiple Resolutions” on page 1052. 3. Click OK. The new columns appear to the right of the existing columns in the Research panel. To create a new column: 1. Right-click a column heading and select New Column. 2. Type a name for the new column. The new column appears to the left of the active column in the Research panel.
Managing Remote Assets with the Interplay Window 3. Navigate to the new custom column heading, select it, and click OK. 4. Locate the custom column in the Research panel and click it in the cell for the asset you want to label. The list of values for the property appears.
23 Working with Avid Interplay from an Avid Editing System 5. Select a value. The value appears in the cell. 6. Select values for additional assets.
Managing Remote Assets with the Interplay Window Selecting Asset Types To select asset types and reference clips to display: 1. Right-click the Type column heading in the Research panel and select Set Type Filter. n You need to right-click the column heading. If you right-click elsewhere in the column, the option does not appear in the context menu. The Set Type Filter dialog box opens. 2. Select the asset types you want to display. 3.
23 Working with Avid Interplay from an Avid Editing System Media Object Description Group Clips (For MultiCamera editing) Clips containing two or more grouped clips, strung together sequentially according to common timecodes Show reference clips Clips and other objects that are referenced by sequences, even if these objects were not previously displayed in the bin.
Managing Remote Assets with the Interplay Window The Directory panel and the Research panel update to the latest content. In the Research panel, this includes only the tab in front if you have more than one tab. Tabs that are behind the active tab don’t update. If you try to update before a previous update operation has completed, your Avid editing application ignores the second attempt. Search result tabs are also not updated.
23 Working with Avid Interplay from an Avid Editing System For example, someone else who accessed a clip in Interplay Access after you loaded the same clip in the Research panel might have changed the name of the clip on the server; when you then try to rename that clip, the Property Merge dialog box opens. The change could have been made in any Interplay application, including Assist, Instinct, Interplay Access, or the Interplay Window.
Managing Remote Assets with the Interplay Window Using Custom Layouts for the Interplay Window Any time you modify a column, the Interplay Window maintains the custom layout for the individual folder during your current work session. When you quit your session, the customized layout is lost unless you save it. You can apply saved layouts to any display in the Interplay Window. Your Avid editing application uses the last saved layout to display assets in the Interplay Window.
23 Working with Avid Interplay from an Avid Editing System To change to another saved layout: t Click the Layout menu, and select a saved menu from the menu list. If you select Default, the Interplay Window reverts to the layout that appears when you first open your Avid editing application. To delete a layout: 1. Click the Layout menu, and select the layout you want to delete from the menu list. 2. Click the Layout menu, and select Delete Current Layout. A confirmation box opens. 3. Click Yes.
Managing Remote Assets with the Interplay Window To close a tab in the Interplay Window: t On the tab you want to close, click the Close button. Selecting Font Options from the Context Menu in the Interplay Window You can change the default fonts and font sizes in the Research panel and the Directory panel from a context menu. Font changes are saved as user settings and do not affect other systems. To change the font from the Research Panel context menu: 1.
23 Working with Avid Interplay from an Avid Editing System 2. Select a font and a size, and then click OK. The font in the panel changes. To change the font from the Directory panel context menu: 1. Right-click in the Directory panel and select Set Directory Panel font. The Select Directory Panel Font dialog box opens. 2. Select a font and a size, and then click OK. The font in the panel changes. Finding Remote Assets You find Avid assets stored in the Interplay database by searching Interplay folders.
Finding Remote Assets n You can have multiple searches running at the same time. Typically, you conduct database searches for Avid assets based on their associated attributes. For example, you could find all master clips modified in the last hour, all sequences in a particular project, or all subclips in a particular project that have the word “feature” in their names. n Interplay Access includes an extended search with additional features for searching the Interplay database.
23 Working with Avid Interplay from an Avid Editing System 2. In the Text field, type a search term. You can specify words or characters for your search. Search terms are not case-sensitive and apply to all searchable text attributes of the Avid assets in your search. 3. Expand the Text Fields field and select the kinds of text fields to search in 4. Expand the Search In field and navigate to the folder you want to search.
Finding Remote Assets Search Attributes for the Interplay Window The following table describes the search attributes available in the Media Search tab in the Interplay Window.
23 Working with Avid Interplay from an Avid Editing System Keeping Search Results in the Interplay Window If you want to keep the results of your search when you perform another search, you must “pin” the search tab to keep it open before you start a new one. To keep your search results: t Click the Pin button. The search is kept open as a tab in the Research panel.
Connecting to Avid Unity and Mounting Workspaces The Interplay Folders selection button (top) and the Bin menu (bottom) in the Capture tool 4. Set up the Capture tool as described in “Capturing Media” on page 193. 5. Click the Interplay Folders selection button. 6. Click the Bin menu, and select an open Interplay folder. 7. Start capturing as usual.
23 Working with Avid Interplay from an Avid Editing System Mounting Workspaces on an Avid Unity MediaNetwork System If your system is connected to an Avid Unity MediaNetwork, you can mount Avid Unity MediaNetwork workspaces before you begin your editing session by using Avid Unity Connection Manager. For complete information, see the Avid Unity MediaNetwork client documentation. To connect to Avid Unity MediaNetwork and mount workspaces: 1. Make sure your Avid editing application is not running. 2.
Connecting to Avid Unity and Mounting Workspaces Workspaces that are already mounted appear selected in the workspace list. 5. In the workspace list, select the workspace or workspaces you want to mount. To select all workspaces, click the Select All button. To deselect all workspaces, click the Clear All button. 6.
23 Working with Avid Interplay from an Avid Editing System To connect to the Avid Unity ISIS network: 1. Do one of the following: t (Windows) If the Client Manager icon is not available in the Windows taskbar, select Start > All Programs > AvidUnityISIS > ClientManager. t (Windows) Click the Client Manager icon in the Windows taskbar. t (Windows) Right-click the Client Manager icon and select Unity ISIS Client Manager.
Connecting to Avid Unity and Mounting Workspaces 4. Do one of the following: t (Windows) If your ISIS system is configured to use the Windows user name and password for your local system, select OS Login. By default, the Username and Password text boxes are inactive when you select this option.
23 Working with Avid Interplay from an Avid Editing System A Workspaces list in the Avid Unity ISIS Client Manager. Top to bottom: the Menu panel, the Workspaces list, the Sort menu, and the Filter menu. 3. In the Workspaces list, select the workspace you want to mount. 4. Click the Mount button. The Client Manager mounts the selected workspace on your client and the Mount button changes to green. The Workspaces list displays the drive the workspace is mounted to.
Connecting to Avid Unity and Mounting Workspaces To connect to the Avid Unity ISIS network: 1. Do one of the following: t (Windows) If the Client Manager icon is not available in the Windows taskbar, select Start > All Programs > AvidUnityISIS > ClientManager. t (Windows) Click the Client Manager icon in the Windows taskbar. t (Windows) Right-click the Client Manager icon and select Unity ISIS Client Manager.
23 Working with Avid Interplay from an Avid Editing System 3. Do one of the following: t (Windows) Type your account name in the Username text box, and type your password in the Password text box. t (Windows) If your ISIS system is configured to use the Windows user name and password for your local system, select OS Login. By default, the Username and Password text boxes are inactive when you select this option.
Dos and Don’ts for Editors Working with Avid Interplay To mount multiple Avid Unity ISIS workspaces on your system: 1. Open the Client Manager. The Workspaces list opens. The Online field displays a green ball for workspaces that are already mounted. You can filter the Workspaces list by Workspace name. 2. Do one of the following: t Select multiple non-contiguous workspaces with Control+click.
23 Working with Avid Interplay from an Avid Editing System The main purpose of the Interplay server is to provide a central database of all the Avid and non-Avid assets that you use during your production process. This database is used as the central “share point” for material in use in your facility. It is also used by media managers as the primary tool for deletion of material from shared storage. If you do not log in to Interplay and check in your work, Interplay has no way of tracking your work.
Dos and Don’ts for Editors Working with Avid Interplay n • Check in your sequence to Interplay at regular intervals, and particularly before you finish your editing session, either by using the correct Interplay Folder setting or by dragging-and-dropping to the correct folder. • Depending on your facility’s workflow, check in your bin to Interplay at regular intervals and particularly before you finish your editing session.
23 Working with Avid Interplay from an Avid Editing System • Don’t share projects: that is, do not work on a project which is already being used by another editor • Don’t ignore the contents of your UIAA folder. If you do, you will be taking up valuable shared storage space. Sample Checklist for Editors The following checklist is an example of tasks in a typical workflow. You can adapt these tasks to your own workflow.
24 Using MultiRez and Dynamic Relink This chapter provides information about using MultiRez and dynamic relinking. MultiRez is available only on Avid editing systems that have the Avid Interplay Media Indexer installed.
24 Using MultiRez and Dynamic Relink Proxy editing is a workflow where you edit with a low-resolution version of media and then conform the edits into a composition that refers to an equivalent high-resolution version of the same content. This workflow is similar to the offline/online model that is common in a post-production workflow.
Acquiring Media at Multiple Resolutions Acquiring Media at Multiple Resolutions In an Avid Interplay environment, you can keep multiple resolutions of the same media. After creating a master clip, you can acquire multiple resolutions in several ways. When your hardware permits it, you can re-capture full resolution clips as low-res proxies. In some cases where batch capturing is not supported, such as with 720p, you must use your Avid software to transcode to a low-res proxy.
24 Using MultiRez and Dynamic Relink n You can only create one new resolution at a time using batch capture. To capture multiple resolutions at the same time (ie: high-res and a proxy simultaneously), use the Interplay Low-Res Encoder. See the Interplay documentation for more information. To batch capture a different resolution: 1. Prepare your system for batch capturing, as described in the Help for your Avid editing application.
Acquiring Media at Multiple Resolutions 9. Click OK to confirm the tape and deck entries and to begin the capture process. Your Avid editing application captures each clip from the tape, in start timecode order. c When you batch capture, make sure to accept the original tape name so that the new media files are associated with the same source as the original media files. Batch capture does not create any new master clips.
24 Using MultiRez and Dynamic Relink 4. Click All Clips to import new resolutions for media that is already online, in addition to offline media. The message box closes and the Batch Import dialog box opens. 5. In the Import Target area, select the desired resolution and storage location. 6. In the Import Options area, select “Keep existing local media” and any other options. 7. Click Import. Your Avid editing application imports the files and creates media in the resolution you specified.
Understanding How Clips are Associated with Multiple Resolutions Understanding How Clips are Associated with Multiple Resolutions In a MultiRez environment, relinking is source based. That is, your Avid editing application relinks a clip to its media according to the source of the clip rather than the name of the clip. Whenever you create a new tape or import a file, your Avid editing application creates a unique source ID that is used by your Avid editing application and is not visible to users.
24 Using MultiRez and Dynamic Relink n Avid CaptureManager also uses a source ID to associate a master clip with any media created at the same time, such as a clip captured with two resolutions in a dual-ingest configuration. However, instead of associating all clips from the same tape with the same source ID, CaptureManager creates a new source ID every time it captures a new clip.
Options for Clip and Media Association This information also appears in the Interplay Window. For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on page 1080. n You can batch capture the clip in additional resolutions; there is no limitation to the number of media files associated with a clip.
24 Using MultiRez and Dynamic Relink n When the Avid Interplay Transcode transcodes a clip, it associates the new resolution with the original clip. It does not create a new clip. The following illustration shows a clip captured in 1:1 and transcoded to 15:1s. Your Avid editing application associates each clip with both resolutions because they share a source ID and a timecode span.
Options for Clip and Media Association Partial Clips, Multiple Resolutions MultiRez also supports association of clips that share only part of a timecode span. For example, after capturing a clip at 15:1s, you might need to recapture only part of the clip at 1:1. Because both clips share a source ID and a timecode span, your Avid editing application associates both clips with the same resolutions and lets you dynamically relink the shared section. The following illustration shows these associations.
24 Using MultiRez and Dynamic Relink Understanding Dynamic Relink Dynamic relink is a feature that lets you select which media you want to use when you are working in a MultiRez environment. Typically, you use low-res media for offline editing and high-res media for a final master. For instance, you can edit in SD and output in HD. Dynamic relink lets you control how your Avid editing application links your clips to the appropriate media.
Understanding Dynamic Relink The following illustration shows a bin and a sequence. The first version of the sequence shows the clip in the working resolution (15:1s) and the second version shows the same clip in the target resolution (1:1). The clip name is the same in both cases, but the resolution of the clip (as shown in the text on the clip) is different.
24 Using MultiRez and Dynamic Relink Left: clip associated with working and target resolutions. Top right: sequence with clip in working resolution (15:1s). Bottom right: sequence with clip in target resolution (1:1). n To display the clip resolution for each clip in the Timeline, click the Timeline Fast Menu button and select Clip Text > Clip Resolutions.
Workflow: Editing a Film or HD Project using MultiRez To create a Film or HD Project: 1. When you create the project, make sure it supports the resolution you want to use. For 24p Film and HD projects, select 1080p/24 or 1080p/23.976 depending on the rate at which your footage was shot. If your source media is film-based, check the Film box and select the Film Type. The following illustration shows the Project selection for a 24p Film project used in this example. 2.
24 Using MultiRez and Dynamic Relink High-res and low-res media both online (filled circles) for the clip in the bin 3. Open the Dynamic Relink dialog box and set the working resolution to the low-res proxy. The following illustration shows the Dynamic Relink values used in this example to link to the low-res media.
Workflow: Editing a Film or HD Project using MultiRez 4. Edit the media into a sequence. By default, whenever you load clips into a monitor or the Timeline, they are linked to media that matches the working settings. The following illustration shows the bin after the sequence is created. In this example, the administrator has already archived and deleted the high-res material. The MultiRez bin columns show that the high-res media is completely offline.
24 Using MultiRez and Dynamic Relink The high-res media is now offline (empty circle in the bin) 5. (Skip this step if the administrator did not archive the high-res media) When you are finished editing the sequence, restore the portions of high-res material used in the sequence from the archive. The following illustration shows the bin after the partial restore operation is completed.
Workflow: Editing a Film or HD Project using MultiRez The following illustration shows the Dynamic Relink values used to link to the high-res video and audio. In this example, a specific resolution was chosen. 9. Render effects in the target resolution if necessary. n You can use the MultiRez button and MultiRez clip coloring to give you the necessary indications that you may not have media that matches the target settings. 10.
24 Using MultiRez and Dynamic Relink c When you use the Send to Playback command, make sure you are using the target settings required by the playback device or Send to Playback fails. Considerations When Working with Dynamic Relink Consider the following when you are working with dynamic relink: • If you connect to an Avid Unity ISIS media network with a 100Base-T connection in a Zone 3 configuration, you can access MPEG-2 low-resolution video and MPEG-1 Layer II (or MP2) compressed audio.
Using the Dynamic Relink Settings Dialog Box Opening the Dynamic Relink Settings Dialog Box To open the Dynamic Relink Settings dialog box, do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink. t Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink Settings. Enabling Dynamic Relink To enable dynamic relink: 1. Do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink.
24 Using MultiRez and Dynamic Relink To apply working and target settings: 1. Do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink. t Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink Settings. 2. Select Enable Dynamic Relink. 3. Click the Working Settings tab, and then select your working settings. For information on available settings, see “Dynamic Relink Settings” on page 1145. 4.
Using the Dynamic Relink Settings Dialog Box Working Settings The working settings in the following illustration instruct your Avid editing application to link to the specific video resolution of 15:1s MXF. If it cannot find this resolution for a particular clip, it should display a “Media Offline” slide. Specific parameters are also set for audio: 44.1 kHz and 16-bit.
24 Using MultiRez and Dynamic Relink Similarly, for audio, your Avid editing application should use media with a sample rate less than or equal to 44.1 kHz/16 bit. If your Avid editing application finds no match for this rule, it should use the closest media that is available.
Using the Dynamic Relink Settings Dialog Box Top to bottom: Relink to offline media if no match is found, specific format and video resolution to match, specific audio sample rate and bit depth to match Dynamically Relinking to the Target Settings You need to dynamically relink to the target settings when: • You need to do color correction or apply another effect that requires viewing media in the target resolution.
24 Using MultiRez and Dynamic Relink In this case, you override the working settings, render effects, and output the digital cut. (When you use the Send To Playback command, your Avid editing application automatically links clips to media in the target resolution.) For information on establishing target settings, see “Applying Working and Target Settings for Dynamic Relink” on page 1065. c Render effects in the target resolution only as the last step before output.
Relinking in Frame Chase Editing When using dynamic relink with mixed rate clips, your Avid editing application tries to link your clips to media with the appropriate frame rate. However, unlike clips with the same frame rate as your project, dynamic relink always uses the lowest and nearest resolution to your project frame rate when it does not find an exact match.
24 Using MultiRez and Dynamic Relink For more information about Frame Chase editing, see Avid Interplay Best Practices. Using the Relink Dialog Box in an Avid Interplay Environment Relinking through the Relink dialog box is different from dynamic relink. In an Avid Interplay environment, relinking through the Relink dialog box is limited to non-master clips (subclips and sequences). You can relink these only through source timecode and tape. Other options are unavailable.
Displaying Whether Media Is Available for Dynamic Relinking Relink dialog box options available in an Avid Interplay environment For complete information on relinking, see “Relinking Media Files” on page 427. Displaying Whether Media Is Available for Dynamic Relinking You can display a visual indication of whether media is available in the resolution or sample rate specified in the Dynamic Relink settings.
24 Using MultiRez and Dynamic Relink Using the MultiRez Button to Show Available Media The MultiRez button in the Timeline bottom toolbar lets you display two types of information: • Whether the media currently linked to a clip matches the working or target settings (Show Mismatches display) • Whether media for a clip is available in the target settings (Show Target Availability display) Clicking the MultiRez button changes only the display — it does not perform a dynamic relink, and it does not update
Displaying Whether Media Is Available for Dynamic Relinking t Right-click the MultiRez button and select one of the following: - Show Mismatches - Show Target Availability Using Clip Coloring to Show Available Resolutions You can determine if clips are available in a particular resolution by coloring clips in the Timeline. For examples of clip coloring in the Timeline, see “Examples of MultiRez Clip Coloring” on page 1076.
24 Using MultiRez and Dynamic Relink If no match is found option Default color if clip does Default color if not match current settings clip is offline Use Closest Media Blue Red If you click the MultiRez button to show availability in the target resolution (top half of diamond black), clips are colored as follows: - No color change: The clip is available in the target settings - Color changes (to yellow by default): The clip is not available in the target settings This button provides the same in
Displaying Whether Media Is Available for Dynamic Relinking If you select Keep Existing Media or Use Closest Media (in the Working Settings tab of the Dynamic Relink Settings dialog box) and enable clip coloring, clips that are not in the working resolution are colored blue by default. Your Avid editing application is warning you that the DV 25 clips do not match the working resolution but are linked to a different resolution (a mismatch).
24 Using MultiRez and Dynamic Relink The next example shows the Timeline after you click the MultiRez button to view the target resolution availability. The MultiRez button is yellow, indicating that there are clips that are not available in the target resolution, and the clip that is not available in DV 25 (the target resolution) is also colored yellow by default.
MultiRez Button Menu MultiRez Button Menu The following table describes the options in the MultiRez button menu: Option Description Enable Clip Coloring When this option is selected, clips that are linked to media that does not match the specified Dynamic Relink settings are colored. Your Avid editing application uses the following colors by default for clips in the Timeline: • No color change: In the Show Mismatches display, the clip is linked to media that matches the working settings.
24 Using MultiRez and Dynamic Relink Option Description (Continued) Show Target Availability Indicates whether media is available that matches the target settings (Show Target Availability display). If media is not available, the MultiRez button turns yellow. If Enable Clip Coloring is selected, clips for which media is not available in the target settings are yellow.
MultiRez Bin Headings Your Avid editing application creates the list of headings from the resolutions that are compatible with the current project format. This list varies by project format and model. For example, if you are working in a 30i NTSC project, the list includes all resolutions that are compatible with 30i NTSC and 1080i/59.94 formats. These headings appear at the bottom of the Bin Column Selection list. You need to select which columns you want to appear in the Text tab of the bin.
24 Using MultiRez and Dynamic Relink Empty circle Offline or Not Available The following illustration shows three different icons in a bin. The following bin columns display special behavior when you are using MultiRez and dynamic relink: • Video format: This column displays the resolution of the media files to which the clips in the Timeline are currently linked, so it changes, depending on which resolution is currently displayed, either working or target.
Understanding Options for Deleting MultiRez Clips and Media For example, if you transcode a clip from DV 25 to 15:1s, and create a new master clip, both resolutions are associated with the original clip in the bin. However, if you select the original clip (DV 25) for deletion, you see only DV 25 listed in the Delete dialog box. For clips that were batch captured, captured in a dual-ingest configuration, or transcoded without a new clip, you see both resolutions listed in the Delete dialog box.
24 Using MultiRez and Dynamic Relink Type of Clip Resolutions Displayed for Deletion Clip created through dual ingest All associated resolutions Clip created through batch capture or batch import All associated resolutions Transcoded clip, one clip All associated resolutions Transcoded clip, multiple clips Original resolution only Clips that share timecode and source Original resolution only Deleting MultiRez Clips and Media from a Bin For more information on your options when deleting MultiRez c
Working with Partially Online Files Working with Partially Online Files There are several cases where you might be working with MultiRez clips that are partially online: • Consolidating and transcoding a portion of a clip or a subclip. • Consolidating and deleting original media. • Partially restoring from an archive. Clips that are partially online are marked in a bin by a half circle.
24 Using MultiRez and Dynamic Relink After consolidating and transcoding, the new master clip is shown in the bin as having media in both DV 25 and 15:1s, while the original master clip is shown as having full media in DV 25 and partial media for 15:1s. Transcoded clip (top) and original master clip (bottom) in the bin If you trim the original sequence to expose more of the DV 25 clip, the Timeline displays as offline frames in the portions that are not available in 15:1s.
Working with Partially Online Files In the following example, the MultiRez button is blue, indicating that your Avid editing application is in the Show Mismatches display. The original master clip is displayed in the Timeline, with a working resolution set to 15:1s. Two portions of the clip are colored red, which is the default color indicating that these portions of the clip are offline and thus are not available in the working resolution.
24 Using MultiRez and Dynamic Relink Partially Restoring from an Archive A clip might be displayed as partially online when you perform a partial restore from an archive. To perform a partial restore from an archive: 1. Assume you have a 10-minute master clip and you have both 15:1s and DV 25 versions of the media. 2. Archive the DV 25 version of the media. 3. Delete the online DV 25 media and keep the low-resolution, 15:1 media online. 4.
Quality Matching n • For the audio relink method, you can select Highest Sample Rate, Highest Bit Depth, or Specific Quality. • For the audio relink quality, if you select Specific Resolution as a relink method, you can select “Greater than or equal to,” or “Less than or equal to” as a filter for the audio relink quality. Your Avid editing application looks for an exact match.
24 Using MultiRez and Dynamic Relink If you select one of the above options, your Avid editing application uses the following queries to perform a dynamic relink: 1. Is there media with the same tape name (source ID) and timespan? 2. Is there media of the same size (NTSC, PAL, 1080HD, 720 HD)? 3. Is there media with the same field order (topness)? 4. Is there media in the same compression family? 5. Is there media of the same or similar compression value or audio sampling? 6.
Quality Matching Video Resolutions for Quality Matching The following table lists video resolutions supported by Avid editing applications, grouped in resolution families, from least compressed to most compressed (queries 4,5, and 7 from the list in “Quality Matching” on page 1088). This order is used by your Avid editing application to match a request. n Some resolutions might not be available in your Avid editing application.
24 Using MultiRez and Dynamic Relink 96 kHz/24 bit 48 kHz/16 bit 96 kHz/16 bit 44.1 kHz/24 bit 88.2 kHz/24 bit 44.1 kHz/16 bit 88.2 kHz/16 bit 32 kHz/24 bit 48 kHz/24 bit 32 kHz/16 bit Example of Quality Matching This example is typical of a newsroom offline session. In this workflow, clips are usually captured simultaneously in MPEG-2 and DV 25, but sometimes the MPEG-2 clips are not available.
Quality Matching Answer: Yes, there is more than one. 4. Query: Do any of these media files match the media family (MPEG-2)? Answer: Yes, one media file matches all the criteria. Your Avid editing application links the clip to that media file. What if the MPEG-2 media doesn’t exist? Your Avid editing application looks for the next most compressed media, finds one media file in DV 25 that matches the criteria, and links to it.
24 Using MultiRez and Dynamic Relink 1094
25 MultiCamera Editing The Avid MultiCamera editing features let you incorporate multiple camera angle sources into the nonlinear editing process.
25 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.
25 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 The basic features of Full-Monitor display: • Provides source-oriented control of multicamera material. You can switch camera angles, cue, and mark material without affecting the sequence. • Provides the same Source monitor controls that are available when you edit other clips. • Provides the same MultiCamera editing features that are available in Quad Split Source view, Nine Split Source view, and MultiCamera mode.
25 MultiCamera Editing Quad Split Source view, with the four camera angle views in the Source monitor and the sequence or linecut in the Record monitor. The location of the Group Menu icon is highlighted. The basic features of Quad Split Source view: • Provides source-oriented control of multicamera material. You can switch camera angles, play back (one camera angle at a time), cue, and mark material without affecting the sequence.
MultiCamera Displays Nine Split Source view, with the nine camera angle views in the Source monitor and the sequence or linecut in the Record monitor. The location of the Group Menu icon is highlighted. The basic features of Nine Split Source view: • Provides source-oriented control of multicamera material. You can switch camera angles, play back (one camera angle at a time), cue, and mark material without affecting the sequence.
25 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: • 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.
25 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 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. The angle selection switches in either the Source monitor (source material) or in the Record monitor (sequence material), whichever is active.
25 MultiCamera Editing Using the Add Edit Button During Multicamera Editing You can use the Add Edit button like a hot key to add edits while stepping through a sequence during playback. The only difference is that you are not switching camera angles until after you set the edit points. This method is especially useful when editing to music because it lets you concentrate on the beats and ignore camera angles until the edits are placed.
MultiCamera Editing Techniques Group menu and Group Menu icon You can select the Audio Follow Video option from the Group menu to instruct the system to switch both audio and video for each camera angle or selective camera style. The Group Menu icon changes to green when you select the Audio Follow Video option. Audio Follow Video overrides the track selection beside the Timeline and switches audio in track A1 only.
25 MultiCamera Editing Select additional angles from the Multi-angle View menu 3. Select the clip you want to display from the Multi-angle View menu. The new clip appears in the multi-split display. Using Match Frame in MultiCamera Editing You can use the Match Frame button to display the matching clip within the group when match framing from the sequence, or you can display the original clip when match framing from the source group.
Selective Camera Cutting 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.
25 MultiCamera Editing 1110
26 Settings This chapter provides information on how to use settings. • Understanding Settings • Working with Settings • Options for Moving User Settings Files This chapter also provides reference information for all settings categories.
26 Settings • Interplay Folder, Interplay Server, and 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
Understanding Settings The following illustration shows the Settings tab in the Project window. Top to bottom: Settings tab, Settings Fast menu, Settings list (with setting names in the left column and setting types in the right column) Types of Settings There are three types of settings: • User settings are specific to a particular editor and reflect individual preferences for adjusting the user interface in your Avid editing application. User settings are stored in each user folder.
26 Settings Site settings are stored in a separate Settings folder: - (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Settings - (Windows Vista and Windows 7) drive:\Users\Public\Public Documents\Avid editing application\Settings - (Macintosh) Macintosh HD/Applications/Avid editing application/ Settings For more information, see “Using Site Settings” on page 1120.
Working with Settings Working with Settings You can open a dialog box for most settings that lets you view the current settings and to change them if necessary. You can also duplicate, rename, copy, and move settings among files or systems. Viewing and Modifying Settings You can view most settings in a dialog box or window that also lets you change the settings. You cannot modify the following types of settings: • Settings that require the presence of standalone peripherals.
26 Settings 2. Click the Fast Menu button, and select a settings group. The selected settings group has a check mark in the Settings menu, and the Settings list displays only the settings in that group. The following table describes the different Settings display groups. Option Description Active Settings Displays currently active settings. All Settings Displays all settings available. Base Settings Displays Project, User, and Site settings only. Does not display views.
Working with Settings Duplicating Settings To create a new version of a setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the setting you want to copy. Ctrl+click (Windows) any additional settings you want to copy. 3. Select Edit > Duplicate. A copy of each selected setting appears in the Settings list.
26 Settings Deleting Settings You can delete settings from the Settings list in the Project window at any time. For example, you might choose to delete one or more versions of a particular setting, or you might want to delete all but a few settings for transfer into another Settings window. c You cannot undo a deletion. You can, however, restore the default settings or copy settings from other files.
Working with Settings Copying Settings Between Settings Files You can copy selected settings: • Between existing settings files. • Into a new settings file for use in other projects. • Into the Settings folder to establish standard system settings for all new projects and users. For more information, see “Using Site Settings” on page 1120. • To change one type of setting to another type. You can also transfer settings files to another Avid system. To copy settings between setting files: 1.
26 Settings Using Site Settings When your Avid editing application opens a new project, it first searches the Site_Settings file and loads site settings and any other settings you have placed there. Your Avid editing application then proceeds to load any Project and User settings not included in the Site_Settings file.
Summary of Settings Experienced Avid users, however, are accustomed to moving user settings around manually on their systems. If you choose to take this approach, make sure you copy the entire user or user profile folder, not just the individual settings files, and place the copied folder in your user folder. Summary of Settings The following table briefly describes each item in the Settings list and where you can find additional information on a particular item.
26 Settings Setting Name Description Reference Topic Deck Preferences “Deck Preferences Settings” on page 1144 Sets preferences that affect all decks configured into the system. Dynamic Relink Sets options that control how clips link to media files “Dynamic Relink Settings” on when you are working in a MultiRez environment. page 1145 Effect Editor Sets options for how controls appear and behave in the Effect Editor.
Summary of Settings Setting Name Description Reference Topic Mouse Lets you set the speed of scrolling with the mouse wheel within your Avid editing application. For more information, see “Using the Mouse Scroll Wheel for Navigating” on page 30. “Mouse Settings” on page 1194 NRCS Defines the name of the Newsroom Computer System “NRCS Settings” on page 1195 server and the default user name. Sets Message of the Day and Mail options for the NRCS tool.
26 Settings Setting Name Description Workspace Reference Topic Lets you associate settings and windows with a “Workspace Settings” on page 1212 workspace. For more information, see “Linking User Settings and Workspaces” on page 81. AMA Settings AMA Settings: Bins Tab Option Description Display imported headframe When this option is selected, your Avid editing application displays the device-defined headframe.
Audio Settings Audio Settings Option Description Source Scrub Defines the number of outgoing and incoming frames you hear as you scrub the source. Timeline Scrub Defines the number of outgoing and incoming frames you hear as you scrub in the timeline. Default Pan Controls the way you want sound to pan between speakers: • Alternating L/R: Sends the odd tracks to the left channel and the even tracks to the right channel.
26 Settings 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 does not display in an inactive setting because you cannot save it 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 DV Audio Pattern Controls whether variation in the audio sample rate is allowed. Select the option expected by your device. • Unlocked Audio: Allows some imprecision in the audio sample rate, with a variation of up to +/– 25 audio samples per frame. • Locked Audio: Keeps the audio clock locked precisely to the video clock, so exactly the same number of audio samples and video frames are recorded or transmitted in each cycle of the phase relationship.
26 Settings Option Description Input Source Controls the type of audio input. The types available depend on the audio hardware installed in or connected to your system. n If you select IEEE 1394 as your input device, this option is automatically set to Host-1394. For more information, see “Connecting a DV Device” on page 153. Passthrough Mix Tool Opens the Passthrough Mix tool to let you adjust the mix of tracks for monitoring audio input.
Audio Project Settings Option Description Mix Mode Selection button Controls how your system interprets audio values during playback: Stereo Mix Tracks • Stereo: Mixes the currently monitored audio tracks into a stereo pair. Depending on your Avid input/output hardware, you can customize the mix using the Stereo Mix Tracks option. • Mono: Pans all the currently monitored tracks to center and ignores pan effects.
26 Settings Option Description Output type option tab: Analog Turns analog output on or off. Output type option tab: SD SDI This option is available depending on your Avid input/output hardware. Use the On or Off option to control whether to embed the audio with the video in SDI output.
Audio Project Settings Option Description Sync Mode Sync ensures that the audio sample clock is always in sync with the video clock for audio input and output. This prevents long-term drift between audio and video. When you are working with video and digital audio simultaneously, set your digital audio equipment to the same video reference signal as your video equipment.
26 Settings Option Description Dissolve Midpoint Attenuation Controls the method your Avid editing application uses for audio dissolves: • Const Power –3dB: Uses constant power to maintain a consistent sound level through the midpoint of the dissolve. • Linear –6dB: Uses a linear gradient to maintain a consistent amplitude through the midpoint of the dissolve. Bin Settings Option Description Auto-Save interval n minutes Defines the interval between attempts to auto-save project files.
Capture Settings Option Description Double-click loads object in Determines what happens when you double-click an object in the bin: • New Pop-up Monitor: Creates a new Source pop-up monitor and automatically loads the clip when you double-click an object in the bin. • Source or Record Monitor: When you have the Source/Record monitor stretched into two monitors, loads the clip into the Source monitor or the sequence into the Record monitor.
26 Settings Option Description Capture across timecode breaks When this option is selected, your Avid editing application captures sections of discontinuous timecode on a tape as separate clips. When this option is deselected, your Avid editing application stops capturing and reports an error when it encounters a timecode break. Stop capture if a bad frame is detected When this option is selected, your Avid editing application stops capturing if a corrupt frame is detected.
Capture Settings 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.
26 Settings Option Description Use the video compression logged for each clip When this option is selected, your Avid editing application uses the video compression logged for each clip. Capture Settings: Edit Tab Option Description Enable edit to timeline When this option is selected, Splice-in Edit and Overwrite Edit buttons display in the (splice, overwrite) Capture tool.
Capture Settings Capture Settings: MXF Media Files Tab The MXF Media Files tab is available in the Capture Settings dialog box when you select MXF in the Media Type tab of the Media Creation dialog box. Option Description Maximum (default) capture time n minutes Determines how much space your Avid editing application preallocates on the target drive or drives before a capture begins. The default capture time is 30 minutes.
26 Settings Capture Settings: DV & HDV Options Tab Option Description DV&HDV Scene Extraction When this option is selected, you can automatically generate subclips and locators based on time-of-day (TOD) information contained in the DV video format. For more information, see “DV and HDV Scene Extraction” on page 257. • Add Locators: Creates locator marks where the TOD information breaks occur while capturing.
Controller Settings Controller Settings Option D Controller escription Defines the controller to use. Select one of the following: • No Controller • JL Cooper MCS3 Controller • 002 Controller • Command|8 Port Defines the port you use to connect your controller. Edit Settings If you have selected a port and controller, select this option to map the controller functions. Gain Controller Defines a port for a fader or a mixer to record audio gain information.
26 Settings Correction Settings For more information, see “Customizing Color Correction Mode Settings” in the Help. Correction Settings: Features Tab Option Description Saved Color Labels Controls how custom colors are named in bins: • None: When this option is selected, your Avid editing application does not supply a name. • RGB: When this option is selected, your Avid editing application uses the 8-bit values for the red, green, and blue components as the name.
Correction Settings Correction Settings: AutoCorrect Tab Option Description When applying Color Defines the first, second, and third automatic color correction that your Avid editing correction from the application makes when you apply the Color Correction effect from the Effect Effect Palette, perform Palette: the following operations: • Nothing: Makes no adjustment.
26 Settings Deck Configuration Settings Option Description Configuration name Type a name for the configuration. Add channel Click to add a new channel box. Opens the Channel dialog box. Add deck Click to add a deck or DV device. Opens the Deck Settings dialog box. For information on the Deck Settings options, see “Deck Settings” on page 1142. Delete Click to delete a deck or DV device.
Deck Settings Option Description Device Defines the device manufacturer and model. If your device does not appear in the list, click the Manufacturer menu and select Generic, and then click the Model menu and select the type of device. If you continually see a message box that reads “Fail to find preroll” while you are capturing, click the Model menu, and select GenericDVBasicDevice-NTSC or GenericDVBasicDevice-PAL Address For VLXi use only. See your VLXi documentation.
26 Settings Deck Preferences Settings Option Description When the deck contains no tape or drop frame cannot be detected set timecode to Sets the timecode format (Drop Frame or Non-drop Frame) for logging clips when no tape is in the deck or when your Avid editing application cannot detect drop frame or non-drop frame. When a tape is in the deck, your Avid editing application automatically uses the existing timecode format on the tape. For more information, see “Understanding Timecode” on page 152.
Dynamic Relink 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): Defines the number of frames by which you want to offset while you capture. For more information, see “Understanding DV Capture Offset” on page 205. This option only appears when Host 1394 capture is available.
26 Settings Dialog Box Area Option Description (Continued) Working settings tab and Target settings tab If no match is found Defines 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: Your Avid editing application displays the media to which the clips are currently linked.
Dynamic Relink Settings Dialog Box Area Option Description (Continued) Relink if quality Available when Specific Resolution is the Relink method. Defines a relational operator and a resolution to compare against.
26 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 lets you use one criteria and ignore the other. For example, you could select sample rate equal to 44.1 kHz and bit depth to “Any”.
Effect Editor Settings Option Description Real Time Update When this option is 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 real-time updating. Set Position To Keyframe When this option is selected, your Avid editing application moves the position indicator to the keyframe when you click a keyframe indicator.
26 Settings Email Settings The Email Settings dialog box lets you configure your Avid editing application so that it can notify you by email when a render operation completes. n Some mobile telephone services can deliver email as a text message or notify you by text message when an email has been received. If your service includes this feature, consider using it as a convenient way to receive your render notification.
Export Settings Option Description Send Email Events Render Complete When this option is selected, your Avid editing application sends an email notification when a render operation completes. You must have the Server Settings and Email Settings options configured correctly, and the Enable Sending of Email option selected. Master Email Control Enable Sending of Email When this option is selected, your Avid editing application is able to send email notifications.
26 Settings Option Description QuickTime Reference When this option is selected, your Avid editing application creates a QuickTime reference movie. A QuickTime reference movie contains pointers (links) to movie files. This is similar to exporting as composition only. For more information, see “Exporting QuickTime Movies” on page 860. HDV When this option is selected, your Avid editing application creates a transport stream. For more information, see “Exporting an HDV Transport Stream” on page 1297.
Export Settings Option Description Avid Log Exchange When this option is selected, your Avid editing application exports the selected bin as a shot log file that complies with Avid Log Exchange (ALE) specifications. For information about Avid Log Exchange, see “Converting Log Files with Avid Log Exchange (Windows)” on page 102. n Tab Delimited ALE and tab-delimited files include information for master clips and subclips only.
26 Settings Export Settings: OMFI, AAF, and AFE Option Description Export As: Defines the export format: • AAF: Select this option if the application to which you are exporting supports AAF • OMF 1.0: Select this option if the application to which you are exporting does not support OMFI Version 2.0 • OMF 2.0: Select this option if the application to which you are exporting supports OMFI Version 2.0. If you are not sure, select OMF 1.0.
Export Settings Option Description Export Method: Defines an export method. Other options change depending on which method you choose. This option appears in both the Video Details tab and the Audio Details tab. • Link to (Don’t Export) Media: Select this option when you want to export an AAF or an OMFI composition with links to the media in its current location. Your Avid editing application does not embed media in the file or export media.
26 Settings Option Description Add Audio Mixdown When you select this option, your Avid editing application adds an audio mixdown track. Track(s) Select the type of track you want, either Mono or Stereo. For more information about audio mixing, see “Using Live Mix Mode” on page 713. Convert Audio Sample Rate to: Defines the audio sample rate for the export. Select this option if your sequence has a mix of sample rates and you need to create a single sample rate.
Export Settings Option Description Folder Defines the destination folder for newly created or copied media. If you deselect Use Same Folder as AAF File, a path name appears. Click Select Folder to navigate to a different folder. Embedded in AAF/OMF When this option is selected, your Avid editing application embeds media files in the exported AAF or OMFI file specified in the Export dialog box.
26 Settings Option Description Display Aspect Ratio Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you control the display format without modifying the source file. This option creates metadata that is stored with the QuickTime movie. Some applications, such as the QuickTime Player, can interpret this metadata and scale the image at display time. This option is useful for QuickTime reference movies because you do not modify the source files of referenced movies.
Export Settings Option Description Add Shares for Media Drives When this option is selected, your Avid editing application creates a new drive share for referenced media files stored on unshared network drives. The drive share is hidden, so other users do not see the shared drive when browsing your computer. You do not need to select this option when media is stored on the same drive as the QuickTime reference movie.
26 Settings Option Description Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Video Format The following options might be available, depending on your other settings: Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project.
Export Settings Option Description Display Aspect Ratio Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you control the display format without modifying the source file. This option creates metadata data that is stored with the QuickTime movie. Some applications, such as the QuickTime Player, can interpret this metadata and scale the image at display time. This option is useful for the Same as Source option because that option also preserves the original format.
26 Settings Option Description Prepare for Internet Streaming • Fast Start: The movie can begin playing over the Internet without having to download completely first. This method of playing movies over the Internet is referred to as progressive download or HTTP streaming. It does not require a streaming video server. • Fast Start - Compressed Header: This option is a better choice for progressive downloading. It works the same as Fast Start, but compresses the header information.
Export Settings Codec Description Avid 1:1x For high quality, 8-bit or 10-bit, lossless compression (in which no picture information is lost). Available for use with MXF media files. Meridien-based systems cannot use this format. Current Avid editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling. Avid DNxHD™ Codec For DNxHD encoding with 8-bit and 10-bit resolutions. Available for use with MXF media files. Meridien-based systems cannot use this format.
26 Settings Export Settings: DV Stream Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1153. Format Options Opens the DV Export Settings dialog box, which lets you select the DV format, video format, and audio format options you want. If you select DV as the DV format, you can choose to provide locked or unlocked audio. For compatibility with DV cameras that require unlocked audio, deselect Locked.
Export Settings Export Settings: AVI Through QuickTime Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1153. Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project.
26 Settings Option Description Key Frame Every n frames When this option is selected, your Avid editing application uses keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. Limit Data Rate n KB/sec Defines a limit to the data rate for the compressed file, in kilobytes per second.
Export Settings Windows Media Video Settings The following table describes options available when you select Windows Media from the Windows Media menu in the Export Settings dialog box and then select a video track. Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1153. Width, Height, FPS Set the width, height, and frame-per-second (fps) rate of the clips for export. Video Type Defines the video type, either Progressive or Interlaced.
26 Settings Option Description Codec (not available when you select Uncompressed.) Choose one of the following codecs: • Windows Media MPEG-4 Video V3: This codec creates high-quality video for streaming, download, and play. Enables playback of interlaced content on televisions. • ISO MPEG-4 Video V1: This codec delivers DVD (MPEG-2) quality video at lower data rates and smaller file sizes.
Export Settings Option Description Buffer Size Defines 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 Values for this option range from 0 to 100, with 100 being the highest quality.
26 Settings Option Description Passes (not available Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content when you select passes through the encoder once, and compression is applied as the content is Uncompressed) 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. 2 Pass encoding might result in better quality but takes longer.
Export Settings Option Description Audio Format Defines the audio format: • Project: When this option is selected, your Avid editing application exports the audio format that you selected as the project default in the Audio Project Settings: Main tab. • WAVE: Select this option to export audio tracks in the WAVE format (.wav file name extension). Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format.
26 Settings Option Description File Field Order Defines which field is the upper field during export. For 23.976p, or 25p projects, these options do not appear, and all fields are automatically exported as progressive (still) frames. • Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become the even-numbered lines.
Export Settings Format Options and Other Notes (if applicable) JPEG Quality: Controls the output file size and quality. Higher values produce better images but larger file sizes, while 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 for your JPEG-supported applications.
26 Settings Format Options and Other Notes (if applicable) SGI® The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image. Softimage SunRaster™ TARGA® Color Depth: The 5-bit option saves data in Targa 16 format. The 8-bit option saves data in Targa 24/32 format. Compression: Controls the size of the file on disk. Disabling compression creates larger files on disk.
Export Settings Export Settings: P2 To open the P2 Export Setting dialog box, select Clip > Export to Device > P2. For more information, see “Exporting Your Clip or Sequence to a P2 Card” on page 868. Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1153. P2 Device Defines the connected P2 device to which you want to export. Video Format Defines a video format. You can upconvert or downconvert.
26 Settings Full Screen Playback Settings For information on using Full Screen Play, see “Playing Video to a Full-Screen Monitor” on page 459. Option Description Scaling Determines how images are scaled for full-screen playback: Full Screen • Project: Uses the actual project type and aspect ratio to determine the scaling.
General Settings Option Description Expand Luminance When this option is selected, the video image is represented more accurately when using For Computer Full Screen Play on a standard computer monitor. If you are driving a studio quality Displays monitor through either component, DVI or HDMI inputs you might want to run with this option deselected. This option is deselected by default. Current Monitor Position Defines which monitor displays the full screen playback.
26 Settings Option Description Default Starting TC Defines the timecode value you want your Avid editing application to use as the default starting timecode for each new sequence. For more information, see “Understanding Timecode” on page 152. Effect Apertures Controls the number of horizontal lines of an image that your Avid editing application uses to create an effect. NTSC Has Setup • DV25: Select this option when you are using DV media exclusively.
Grid Settings Grid Settings Grid Settings: Coordinates Tab Option Description Scale Mode Lets you 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. Select one of the following options depending on the current and target formats you need. When you do not specifically need a grid that represents another format, use the Normal option, which is the default.
26 Settings 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. The following options are available: Square, Standard Film, Academy, Super 35, Anamorphic. Color Defines a color for the grid axes and the grid points. Show Safe Title Displays the safe title area.
Import Settings Import Settings Import Settings: Image Tab Option Description Image Size Adjustment Controls the dimensions of imported images. The following options are available: • Image sized for current format: Select this option if the image is properly sized and formatted for the current project format, or to maintain field data when you import two-field media that follows exact NTSC or PAL dimensions.
26 Settings Option Description Field Ordering in File Controls 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, and all fields are automatically imported 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 your Avid editing application handles the alpha channel in imported images. The following options are available: • Invert on import (white = opaque): Select this option to reverse the black and white elements of the alpha channel if they differ from the matte key requirements of your Avid editing application. Avid applications use a white background, a black foreground, and a gray transparency blend between the two.
26 Settings Import Settings: OMFI/AAF Tab Option Description Resolution Use the source file’s resolution. When this option is selected, your Avid editing application maintains the source file’s resolution. Your Avid editing application disregards the resolution setting in the Select Files to Import dialog box as well as the resolution set in the Import tab of the Media Creation dialog box. Use the current import resolution.
Import Settings Import Settings: Audio Tab Option Description Convert source sample Controls sample rate conversion during audio import. rate to project sample When this option is selected, your Avid editing application converts incoming media to rate the sample rate of the current project. This option is selected by default. When this option is deselected, your Avid editing application imports audio media at the source sample rate.
26 Settings Import Settings: XDCAM Tab Option Description Force import of both Proxy & High-resolution When this option is selected, your Avid editing application imports both proxy and high-resolution versions of the selected file or files. When this option is deselected, your Avid editing application imports only the selected files (proxy or high-resolution). Your Avid editing application imports proxy files first.
Interface Settings Interface Settings Option Description Interface Brightness Controls the brightness of the user interface. Preview Displays a preview of the foreground color as you move the Interface Brightness slider. Highlight Color Lets you select the color of button highlighting from available presets. Default Timeline V Tracks Selecting this option sets the color of all Timeline video tracks to the default. If you change the track color for a video track, this option changes to deselected.
26 Settings Option Description Windows Standard Alt Key Switches between standard Windows and Avid application Alt key behavior. Behavior (Windows only) When this option is selected, pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Windows actions (for example, opening menus). When this option is deselected, pressing and releasing the Alt key and then pressing another key works as the Windows keyboard shortcut.
Interplay Folder, Interplay Server, and Interplay User Settings Interplay Folder, Interplay Server, and Interplay User 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. Interplay Folder Settings Option Description Interplay Root Folder for Defines the default directory for your workgroup project (where the asset this Project manager checks in media assets).
26 Settings Keyboard Settings The following illustration displays the default keyboard settings. To view the name of a button in the Keyboard settings window, move the mouse pointer over the button. To get help for the button, right-click and select What’s This? For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 95. When you open the Keyboard palette from the Settings list and select Map Foreign Keyboard, you can map user-selectable buttons to the keyboard.
Media Creation Settings Option Description Promote Title Tool Controls whether your Avid editing application promotes classic Title Tool titles to titles to Marquee Marquee when you open the title for editing from a bin or from within a sequence: Backup Title on Promote • Yes: Your Avid editing application always promotes a Title Tool title to a Marquee title. For more information, see “Promoting Title Tool Titles to Marquee” in the Marquee Help.
26 Settings Option Description On indexing failure Determines how your Avid editing application reports indexing failure messages. For information on using the Console, see “Using The Console Window” on page 98. Media Creation Settings: Common Options in Capture, Titles, Import, Mixdown & Transcode, Motion Effects, and Render Tabs Option Description Video Resolution Select a resolution.
Media Creation Settings Option Description Ancillary Data Mode Setting (Avid Nitris DX or Avid Mojo DX) This option varies depending on your Avid input/output hardware: or (Avid Nitris DX or Avid Mojo DX only) Choose between SMPTE 436M or Legacy. To capture to a data track, select SMPTE 436M or to capture ancillary data to a DNxHD video file, select Legacy Ancillary Data Enabled (Avid Adrenaline only) (Avid Adrenaline only) Select this to turn on or off the ancillary data option for all slots.
26 Settings Media Services Settings (Windows Only) The Media Services Settings dialog box lets you connect to a Media Services Broker. You use the services provided by Avid Interplay Media Services Broker 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. Option Description Media Services are available Ensures that you are connected to the Media Services Broker.
NRCS Settings NRCS Settings For more information about options in the NRCS Settings dialog box, see “Configuring the NRCS Tool” on page 944. NRCS Settings: NRCS Tab Option Description Server Defines the name of the server. Server menu Defines the type of NRCS server (iNEWS or ENPS) you want to connect to. The second tab in the NRCS Settings dialog box changes to match the selection. Default User Name Defines a default iNEWS user name.
26 Settings Option Description Browser Fields When this option is selected, the Labels text boxes list the column headings available for display in the Directory panel of the NRCS tool. If you want to change the default label, type a new name in the appropriate text box. n The Page (page-number) and Name (title) fields are always available and do not need to be set in this dialog box. The Field text boxes display the default fields from the iNEWS server.
PortServer Settings Option Description Add paragraph tags (
) at the start of new lines Converts line breaks into paragraph breaks, so each line is displayed as a separate paragraph on the Web page. n Web formatting ignores line breaks that are the result of the text wrapping within the Story text box. It converts only those line breaks created when the user enters a new line.
26 Settings Remote Play and Capture Settings Remote Play and Capture lets you use your Avid editing application like a videotape recorder (VTR) or edit controller, giving you access to some of the features of an external editing suite through your Avid editing application interface. Option Description Mode When Remote Capture is selected, your Avid editing application captures the media being sent to it immediately without setting up parameters like IN and OUT points.
Render Settings Render Settings Option Description Render Completion Defines a sound that your Avid editing application plays once the rendering process is Sound complete. This is useful when you are rendering multiple effects. The following options are available: Motion Effects Render Using • None: Disables the rendering completion sound. This is the default. • System Beep: Sets the rendering completion sound to match the sound set for your operating system.
26 Settings Option Description • Interpolated Field: Creates a second field for the effect by combining scan line pairs from the first field in the original media. This option calculates the motion effect at the field level rather than the frame level. Because your Avid editing application considers all fields and does not disturb the original order of fields, the smoothest effect results. Effects that render using this option take the longest amount of time to render.
Safe Colors Settings Option Description Effects Quality Render Using Defines 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: Effects render at the quality determined by the HQ setting in the individual effects. This is the default.
26 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. The following options are available: • Ignore: Your Avid editing application does not limit based on these settings. This is the default setting. • Warn: Your Avid editing application provides warnings when an image exceeds these limits.
Sound Card Configuration Settings (Windows Only) Sound Card Configuration Settings (Windows Only) Sound Card Configuration Settings are 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.
26 Settings Option Description Highlight Suggested Render Areas After Playback When this option is selected, thin colored indicator lines display in the Timecode track of the Timeline. These lines provide 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.
Trim Settings Option Description Segment Drag Sync Locks When this option is selected and you click the Sync Lock buttons in the Track Selector panel, your Avid editing application maintains audio and video synchronization when you drag clips in Segment mode. Your Avid editing application adds filler where necessary. For more information, see “Maintaining Sync with Segment Edits” on page 613.
26 Settings 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: Desktop Play Delay • 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. • Format: This option is available only if you have Output to DV Device selected and a device connected.
Video Input Tool Settings Option Description High-Quality Scaling for Real-Time Decode When this option is selected, image quality is improved during playback of mixed-format sequences where material requires resizing. This option is selected by default, and only affects playback with the Full Quality or the Full Quality 10-bit video quality setting. For more information, see “Setting the Video Quality for Playback” on page 475.
26 Settings Option Description Sliders Let you change the value for each setting. Preset buttons These buttons are highlighted when the factory preset levels are displayed. SignalLock Lets you switch between the following: • Professional: preset sync using a wider bandwidth for non-TBC sources. • Consumer: automatic sync using time-base correctors (TBC) internal to the video source Settings menu Lets you save the settings for an individual tape each time you calibrate bars.
Video Output Tool Settings Option Descripti HDMI Format on • SDInterlaced • SDProgressive • HD Crossconvert Defines a format to output an HD format from an HD sequence with a compatible frame rate. The options are specific formats (choices depend on the format of the sequence) or OFF. Downconvert Defines how downconverted SD video is resized. The options are Anamorphic, Letterbox, Center Cut, or OFF.
26 Settings Video Output Tool Settings: SD Cal Tab Option Description Output menu Lets you select either Component, Composite, S Video. On some systems, all outputs on the input/output hardware are active. Select an analog signal from the Output menu to calibrate for output. For more information, see “Calibrating for Video Output” on page 878. H Phase Lets you adjust the horizontal blanking interval used to synchronize the timing of two or more video signals.
Video Output Tool Settings Option (Continued) Description Y Gain, RY Gain, BY Gain, Pr Gain, Pb Gain Available for Component output only in some Avid input/output hardware configurations. • Y Gain: Lets you adjust Y Gain, a measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Use color bars to set the white level. • RY Gain: Lets you adjust the red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard.
26 Settings Option (Continued) Description Pb Gain In some Avid input/output hardware configurations, lets you adjust the gain of the Pb color difference output, scaled from BY using the BT. 709 color space in HD component systems. Available for HD Component YPbPr output. R Gain In some Avid input/output hardware configurations, lets you adjust the red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard.
Workspace Settings Option D Manually Update This Workspace escription When this option is selected, your Avid editing application saves the workspace in its current arrangement when you click Save Workspace Now (which appears only after you select this option). Future changes to the arrangement of the tool windows are disregarded unless you return to the Workspace Settings dialog box and click Save Workspace Now again.
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27 File Format Specifications This chapter contains specifications and notes that are useful when you are importing or exporting specific file formats.
27 File Format Specifications Format and Default File Name Extension Bit Depth Support Alpha Channel Support Notes Alias (.als) 24-bit color, 8-bit grayscale No BMP (.bmp) 1-, 4-, 8-, and 24-bit No Four-bit BMP files saved with RLE compression are not supported. Photoshop does not support four-channel BMP files. Chyron (.chr) 32-bit Yes Cineon (.cin) 10-bit (logarithmic) Not applicable Framestore (.fs) 24-bit No Pixel aspect information saves with image data.
Specifications for Graphics (Image) Files Format and Default File Name Extension Bit Depth Support Photoshop (.psd) Alpha Channel Support Notes RGB 8-bits/channel, RGB16 Yes bits/channel, grayscale, indexed color, and duotone variations Your Avid editing application can import multilayered graphics. For more information, see “Photoshop Graphics Import” on page 271. Duotone files are loaded as grayscale. Multichannel (greater than four channels) files and CMYK files are not supported. PICT (.
27 File Format Specifications Format and Default File Name Extension Bit Depth Support Alpha Channel Support Notes TIFF (.tif) 8-bit color-mapped; 8-bit or 16-bit grayscale; 24- and 48-bit color; 24-bit color plus 8-bit alpha; 36-bit color plus 12-bit alpha; 42-bit color plus 14-bit alpha; 48-bit color plus 16-bit alpha Yes Wavefront (.rla) 32-bit and 64-bit Yes XWindows (.xwd) 1-, 2-, 4-, 8-, 16-, 24-, and 32-bit No YUV (.
Specifications for Graphics (Image) Files Aspect Requirement Notes Color mode RGB ITU-R 601 ITU-R 709 Other formats, including CMYK, can cause import errors. ITU-R 601 is used for SD and ITU-R 709 is used for HD. In HD projects, your Avid editing application automatically converts the media. File format Various Your Avid editing application accepts many file formats for input. TIFF (.tif), PICT (.pct), and PNG (.png) are commonly used formats.
27 File Format Specifications Frame Size for Imported Graphics The table in this topic shows the frame sizes to use when creating and importing graphics and sequences. The table includes sizes for both square and non-square pixels. Computer displays, most graphic and animation programs, and most HD video formats use square pixels. 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.
Specifications for Animation Files Specifications for Animation Files This topic describes the animation file formats that your Avid editing application supports. In addition to the specific formats described in the table below, your Avid editing application also supports sequences of image files. You must name image file sequences appropriately for your Avid editing application to handle them correctly on import. Name each file in the sequence NameN.
27 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 Working with BWF Files Avid editing applications support any BWF files that adhere to the BWF specification. The following information from BWF information always appears in bin columns. Bin Column BWF Source Clip name Imported file name. If scene and take information is provided, the clip name is created as scene/take. Tape ID Imported file name. Start The start timecode specified in the file. Shoot date The origination date specified in the file.
27 File Format Specifications Syntax Definition u Letter code of the manufacturer. Use the letter u unless otherwise instructed by Avid. KEYWORD Designation of the bin column. = Terminates the keyword. data Information to include in the bin column. [CR/LF] (carriage return/line feed) Terminates the data. For example, the keyword/value pair uSCENE=1A[CR/LF] displays “1A” in the Scene column of the bin into which you import it.
Working with BWF Files Importing, Syncing, and Reimporting BWF Files You can import BWF files into an Avid editing application approximately 10 to 12 times faster than capturing in real time. The files maintain pure digital quality for all audio post processing. For basic information on importing audio files, see “Importing Media Files” on page 264. During import of NTSC BWF files, if no frame rate is specified in the file, a dialog box appears and asks if the conversion should use 29.
27 File Format Specifications Currently, some BWF files use the format 2009/10/03 as the Shoot Date while some ALE files use 2009-10-03. This field is used as part of the AutoSync process to guarantee the uniqueness of the timecode. To fix this problem, do one of the following: - Manually change the format of one set of clips to match the other.
Field Ordering in Graphic Imports and Exports n Your Avid editing application might skip some audio track labels (A1, A2, A3) because there is no file for that track. For more information about importing, see “Importing Files” on page 261. Field Ordering in Graphic Imports and Exports Graphic images consist of one or more image files, each of which contains a full frame.
27 File Format Specifications .2 .1 .1 .2 Preventing a Spatial Field Mismatch on Import The following table shows the proper spatial field position for each of the common interlaced 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.
Field Ordering in Graphic Imports and Exports Spatial Field Relationship on Export The default export operation is automatically carried out as shown in the preceding table. The fields are properly interleaved in the export frames (one frame per file). If your Avid editing application corrects an import with a spatial mismatch as described in the preceding section, you might want to prevent a shift up or down by a line when you export.
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28 Resolutions and Storage Requirements This chapter describes the different resolutions available in your Avid editing application and lists their specifications.
28 Resolutions and Storage Requirements You can use lower resolutions when your work does not require very high image quality (for example, in offline work, or in CD-ROM or Web authoring projects), and higher resolutions when you need excellent image quality. You can also mix different resolutions within the same project as long as those resolutions are compatible with one another. (see “Mixing Resolutions” on page 1243).
Resolution Specifications Resolution Specifications 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. The tables in the following topics list specifications for the various resolutions. For information on resolutions to use when importing graphics or sequences from a third-party application, see “Frame Size for Imported Graphics” on page 1220.
28 Resolutions and Storage Requirements 1234 Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 8 10 8 8 8 8 720p/50 1280 x 720 50 879 704 175 175 115 110 50 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DVCPRO HD XDCAM HD 50 10 8 10 8 8 8 8 720p/59.94 1280 x 720 59.94 1105 884 220 220 145 100 50 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DNxHD 36 10 10 8 10 8 8 8 1080p/23.976 1920 x 1080 23.
Resolution Specifications Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 10 8 10 8 8 8 8 8 1080i/50 1920 x 1080 25.00 1659 1037 829 185 185 120 120 100 50 10 10 8 10 8 8 8 8 8 1080i/59.94 1920 x 1080 29.
28 Resolutions and Storage Requirements Resolution Specifications: JFIF Interlaced Avid JFIF 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.
Resolution Specifications 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. Frame Size (Pixels) Quality 35:1 720 x 486 (NTSC) 720 x 576 (PAL) Offline — provides maximum storage with enough image detail to make basic editing decisions.
28 Resolutions and Storage Requirements Resolution Frame Size (Pixels) Quality 10:1m interlaced 720 x 486 (NTSC) 720 x 576 (PAL) Offline 8:1m progressive 720 x 486 (NTSC) 720 x 576 (PAL) Offline 4:1m interlaced 720 x 486 (NTSC) 720 x 576 (PAL) Online 3:1m progressive 720 x 486 (NTSC) 720 x 576 (PAL) Online Resolution Specifications: Digital Video (DV) Digital video (DV) is an international standard created by a consortium of 10 companies to serve as a consumer digital video format.
Resolution Specifications Resolution Frame Size Color Sampling Megabits per second (Mb/sec) 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 specifically intended to support the SMPTE Type D-10 bit stream produced and recorded by devices such as Sony MPEG IMX VTRs. They use 4:2:2 sampling. The following table provides MPEG resolution specifications.
28 Resolutions and Storage Requirements 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 your Avid editing application. The following limitations apply to VC1: • For Macintosh systems, the VC1 codec is limited to playback only. • The VC1 codec is only available for Windows media.
Resolution Specifications Edit Project Rate 1080p 23.976 Stored Resolution Max Bit Raster Size Name Rate (WxHxFields) Playback Fast Copy Transcode Import Render VC1-APL3 6Mbit 1920x540x2 No No No No VC1-APL3 45Mbit 1920x1080x1 Yes Yes Yes Yes VC1-APL3 6Mbit 1920x1080x1 No No No No No No No No 29.
28 Resolutions and Storage Requirements Resolution Specifications: AVC-Intra Avid editing applications support 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 provides AVC-Intra specifications by project type. Project Edit Rate Resolution Name MB/Sec Raster Size 1080i 59.
Mixing 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 using the Best Performance (yellow) and Draft Quality (yellow/green) video quality settings. Playback of uncompressed HD media through the Avid input/output hardware as Full Quality (green) is not supported.
28 Resolutions and Storage Requirements Resolution Groups and Image Quality In general, a lower compression ratio means higher image quality. However, 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 t Calculate by dividing the duration of your material (number of minutes) by the estimated minutes per gigabyte. t Calculate by combining storage figures from the “Drive Space Needed for x Minutes of Media” columns as necessary to match the number of minutes of material you have. 5. Compare the gigabytes available on your drives with the result of step 4. If your needs are greater than your drive space, select a lower resolution and recalculate.
28 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 XDCAM HD 50 10 8 10 8 8 8 8 720p/25 0.33 0.41 1.59 1.59 2.39 2.60 2.67 3.30 2.64 0.68 0.68 0.45 0.41 0.37 33.0 26.4 6.75 6.75 4.50 4.13 3.75 99.0 79.2 20.3 20.3 13.5 12.4 11.
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 RGB HD 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DNxHD 36 10 10 8 10 8 8 8 1080p/24 0.08 0.14 0.18 0.81 0.81 1.23 3.97 11.94 6.95 5.56 1.22 1.22 0.81 0.25 119.4 69.5 55.6 12.2 12.2 8.1 2.5 358.3 208.6 166.9 36.9 36.9 24.4 7.
28 Resolutions and Storage Requirements Estimated Storage Requirements: JFIF Interlaced Resolution Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media 15:1s 0 48.5 20.6 MB 206 MB 618 MB 1 38.6 25.9 MB 259 MB 777 MB 2 32.1 31.2 MB 312 MB 936 MB 3 28.2 35.5 MB 355 MB 1.07 GB 4 24.5 40.8 MB 408 MB 1.22 GB 8 16.1 62.0 MB 620 MB 1.86 GB 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.
Storage Requirements Resolution 10:1 3:1 2:1 1:1 SD (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 4 12.3 81.3 MB 813 MB 2.44 GB 8 9.8 103 MB 1.03 GB 3.09 GB 0 8.3 120 MB 1.20 GB 3.60 GB 1 7.9 126 MB 1.26 GB 3.78 GB 2 7.6 131 MB 1.31 GB 3.93 GB 3 7.3 136 MB 1.36 GB 4.08 GB 4 7.2 140 MB 1.40 GB 4.20 GB 8 6.2 161 MB 1.61 GB 4.
28 Resolutions and Storage Requirements Resolution 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 4 0.8 1.24 GB 12.4 GB 37.2 GB 8 0.8 1.26 GB 12.6 GB 37.8 GB 0 0.6 1.53 GB 15.3 GB 45.9 GB 1 0.6 1.54 GB 15.4 GB 46.2 GB 2 0.6 1.54 GB 15.4 GB 46.2 GB 3 0.6 1.55 GB 15.5 GB 46.5 GB 4 0.6 1.55 GB 15.5 GB 46.5 GB 8 0.6 1.
Storage Requirements Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 28:1 0 29.1 (NTSC) 24.3 (PAL) 34.4 MB 41.2 MB 344 MB 412 MB 1.03 GB 1.23 GB 1 25.2 (NTSC) 21.5 (PAL) 39.7 MB 46.5 MB 397 MB 465 MB 1.19 GB 1.39 GB 2 22.2 (NTSC) 19.3 (PAL) 45.0 MB 51.8 MB 450 MB 518 MB 1.35 GB 1.55 GB 3 19.9 (NTSC) 17.5 (PAL) 50.3 MB 57.1 MB 503 MB 571 MB 1.51 GB 1.71 GB 4 18.0 (NTSC) 16.0 (PAL) 55.6 MB 62.4 MB 557 MB 624 MB 1.67 GB 1.87 GB 8 13.
28 Resolutions and Storage Requirements Resolution 2:1 1:1 SD (Uncompressed) 1252 Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 3 3.4 (NTSC) 2.9 (PAL) 294 MB 349 MB 2.94 GB 3.49 GB 8.81 GB 10.5 GB 4 3.3 (NTSC) 2.8 (PAL) 299 MB 355 MB 2.99 GB 3.55 GB 8.97 GB 10.6 GB 8 3.1 (NTSC) 2.7 (PAL) 320 MB 376 MB 3.20 GB 3.76 GB 9.61 GB 11.3 GB 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.
Storage Requirements Resolution 1:1 10b SD (10-bit Uncompressed) Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 0 0.8 (NTSC) 0.7 (PAL) 1.25 GB 1.44 GB 12.5 GB 14.4 GB 37.5 GB 43.2 GB 1 0.8 (NTSC) 0.7 (PAL) 1.26 GB 1.44 GB 1.26 GB 14.4 GB 37.9 GB 43.2 GB 2 0.8 (NTSC) 0.7 (PAL) 1.26 GB 1.45 GB 12.6 GB 14.5 GB 37.8 GB 43.5 GB 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.
28 Resolutions and Storage Requirements Estimated Storage Requirements: MPEG 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.
Considerations for Managing Storage • For more effective playback of multiple streams of video at higher resolutions without drive striping, distribute the video tracks as evenly as possible among available drives, and target separate drives for audio and video. • Try to target one volume per reel.
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29 Working in High-Resolution Projects Avid editing applications include support for high-resolution media (HD, 2K and above). A full list of the video formats supported for capture, linking, editing, rendering and output is available on the Avid web site. n Depending on the model of your Avid editing application and on your Avid input/output hardware, some of these resolutions might not be available for capture in their uncompressed form.
29 Working in High-Resolution Projects Delivery Methods for Film & Video Media originates either from film or video cameras in the form of film reel, video tape or digital high-resolution files. This media can be converted into different formats for the post-production process and final delivery. Avid applications provide support for universal mastering which means that you can edit once and deliver to multiple film, HD and SD formats.
Film Workflows: Editing Footage from Film Reel Film Workflows: Editing Footage from Film Reel When footage is shot on film, it can be digitized in one of two ways. It can be scanned to DPX files to preserve the 2K or 4K film resolution, or it can be transferred to tape in HD 4:4:4 format. Through a telecine transfer to HD digital videotape, Avid editing applications capture and store film frames as 24-fps progressive media, or 24p.
29 Working in High-Resolution Projects Step 1: Transfer of film to video The telecine process is the most common practice used for transferring the film dailies to videotape. For the offline editing, you may transfer to either SD or HD format.
Checklist: Editing Film Reel Footage in Media Composer Final output can be SD, HD or in the case of film out, you can output a series of DPX or Cineon images with the proper LUT (look-up table) for the film recorder. Checklist: Editing Film Reel Footage in Media Composer A 24p or 25p project is one that uses 24p or 25p media, which is created and stored in your Avid editing application. In most cases, the source footage is film shot at 23.
29 Working in High-Resolution Projects " Step Refer to this section Use the low-res media to edit at 24/25/23.976 fps. “Viewing Video Dailies” on page 1271. “Displaying 24p and 25p Media” on page 1283. " If a retransfer is needed, use Avid FilmScribe to create an OCN (original camera negative) pull list for another telecine process, to retransfer footage used in the final edit. " Perform the offline edit to produce the final sequence. “Editing with High-Resolution Media” on page 1282.
Transferring Film to Tape Step Refer to this section " Review the offline sequence, then modify the format of the sequence to create a new 1080p/23.976 sequence. “Changing the Sequence Format” on page 1286. " Batch capture in the desired resolution, based on the new ALE shot log file. " Relink by KeyKode: relink the sequence and clips by key numbers (FTFT) and complete any other finishing. If necessary, batch capture clips as HD media, using an HD resolution.
29 Working in High-Resolution Projects Element Supported Formats Notes Film type 16mm Use Standard 16mm or Super 16mm. Super 16’s aspect ratio closely matches 16:9. 35mm: 2, 3, 4, and 8 perf 16mm, 35mm 4 perf, and 35mm 3 perf are supported as projects in the Avid system. The remaining formats are supported through ink numbers and auxiliary ink numbers. 65mm: 5, 8, 10, and 15 perf Film wind B-wind Always use camera rolls with key numbers in ascending order.
Transferring Film to Tape n • PAL transfers do not require pulldown, so you can use either a telecine or a film chain. However, quality is much better on a telecine. • Transfer all of the project’s source film footage to disk or tape by using either the NTSC or PAL method. - For NTSC projects, you can mix footage transferred at 24 fps (23.976 fps) or 30 fps (29.97 fps), and mix sound transferred at 1.0 or 0.99. Do not mix 24-fps and 30-fps transfers on the same transfer tape.
29 Working in High-Resolution Projects Film-to-Tape Transfer Quality Options and Production Aids The quality of the film-to-tape transfers depends upon several options for the telecine transfer. The following table describes common transfer-quality options available from a telecine facility: Option Description One-light This transfer involves a single setting of color correction values, resulting in the simplest, fastest, and least-costly type of transfer.
Transferring Film to Tape Aid Description A keypunch at the head Ask the lab or transfer house to keypunch the head of each camera roll at the zero of each camera roll frame and give you a list of the corresponding key numbers. After you have captured, you can match this list with your captured material to check for potential transfer errors.
29 Working in High-Resolution Projects to 23.976 fps. The telecine process makes this correction automatically, slowing NTSC video 0.1 percent from the original film speed, so that the video plays at 99.9 percent of its original speed. The following table describes the film to video ratio: Film Video 24 fps 30 fps 4 frames 5 frames (10 fields) 23.976 fps (0.999 x 24) 29.97 fps (0.
Transferring Film to Tape There are two approaches to synchronizing sound, which are often referred to as PAL Method 1 and PAL Method 2. PAL Method 1 With PAL Method 1, you synchronize sound with picture during the telecine process. As with an NTSC film-to-tape transfer, the telecine process creates two video fields for each film frame. However, because the film rate of 24 fps is close to the PAL video rate of 25 fps, most PAL film-to-tape transfers involve simply speeding up the frame rate.
29 Working in High-Resolution Projects PAL Method 2 With PAL Method 2, you capture sound and picture separately using the same telecine process for picture (create a video frame of two fields for each film frame, speed up rate by 4.1 percent). The difference is that you do not synchronize sound as part of the telecine process.. n Some PAL film-to-tape transfers use pulldown. This method is not currently supported in Avid editing applications.
Transferring Film to Tape Viewing Video Dailies The video dailies method relies on videotape transfers from negative for screening, transferring, and creating conformed cuts during editing. The advantage of working with video dailies and film negative is that you can avoid the cost of work print until the finishing stages, or altogether. The disadvantage is you are limited to the aspect ratio, resolution, and contrast range of video previews.
29 Working in High-Resolution Projects Description 1 Prepare film negative for the circled (selected) takes. 2 Transfer reels of negative synced to audio in telecine. Generate a simultaneous online transfer, or create the online transfer from selects after editing the sequence. 3 Screen the videotape dailies before telecine transfer. 4 Import existing key numbers and timecode information into the Avid system, then capture.
Film Workflows: Editing Footage from Digital Files Step 1: Group high-res files into MXF files If you need to work with high-res file formats that cannot be read by Media Composer (such as DPX/ARI), start by using Avid MetaFuze to transcode these files into MXF files with an HD resolution. MetaFuze merges consecutive single-frame files (with metadata contained as part of the format) into an MXF file that can be read by Avid Media Composer®.
29 Working in High-Resolution Projects Step 4: Output to tape or file In Media Composer, you can output any SD or HD formats as required. In Avid DS, for a film out, you can output the final sequence to master as a series of DPX or Cineon™ images (with an appropriate LUT) for recording to film. Checklist: Editing Digital Film Footage in Media Composer The following checklist explains how to link and edit high-resolution RED media in Media Composer.
Checklist: Editing Digital Film Footage in Media Composer Step " Refer to this section If you need to finish your sequence in another editing “Exporting the AFE File to Avid DS” on system such as Symphony or Avid DS, export an AFE page 860. of your final project or sequence from Media Composer. If your high-resolution media is on a shared storage device where Avid DS also has access, Avid DS automatically relinks to the files.
29 Working in High-Resolution Projects Step Refer to this section " If you have multiple MXF files, export an edit “Exporting an ALE from MetaFuze” in list of all these clips via an ALE. the Supporting Applications Guide. " Import the MXF file(s) into Avid Media Composer. “Importing MXF Files into Avid Media Composer” in the Supporting Applications Guide. " Edit the sequence.
HD Workflow: Video-Based Television 1080i/59.94 HD 1 HD VTR 7 30i NTSC SD Avid Media Composer 2 33 5 6 4 9 OMFI/AAF 10 8 Avid Pro Tools 1080i/59.94 HD To create a video-based HDTV program: 1. Use an HD VTR to downconvert the source tape to 30i NTSC, 25i PAL, or 25p PAL. 2. Open a project that is suitable for HD finishing. When you start the online session, you can create a new project in the final format, or use the original project and change the project format.
29 Working in High-Resolution Projects 5. If you started the project in a different format, change the project format to the corresponding HD online format — see “Changing the Project Format” on page 1284. 6. Duplicate the final sequence, and then modify the format of the sequence to create a new sequence in the corresponding HD format — see “Changing the Sequence Format” on page 1286. 7. Decompose the new HD sequence and batch capture from the source tape. 8. (Option) Import the final audio mix. 9.
Creating a Film-Based Project To create a new film-based project: 1. Start your Avid editing application. 2. In the Select Project dialog box, select the folder in which you want to create the project: Private, Shared, or External. 3. Click New Project. 4. Type the name of your new project in the text box. 5. Click the Format menu and select the most appropriate project type.
29 Working in High-Resolution Projects Format Source Output 1080i/50 High-resolution interlaced files coming from digital film cameras such as RED (shot at 50 fps). HD Broadcast, PAL Broadcast Further options might change depending on the format that you chose. 6. Select Film if your source material originated on film reel. This will give you access to film options such as Perf Slip and Film and 24p settings. 7.
Creating a Film-Based Project The Project window, the Source/Record monitor, and the Timeline open with the User settings loaded. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box. Selecting a Project Format during Capture Before you capture film reel footage into your editing system, make sure you select the correct project format.
29 Working in High-Resolution Projects Project Format HD Source footage During the output process 25 fps For NTSC, the system inserts 2:3 pulldown and slows down the audio by 4%. No adjustment is needed for PAL. 23.976 fps For NTSC video, the Symphony system reinserts pulldown. 24 fps Creates a 24p EDL for use in an online suite. 25 fps Creates a 25p EDL for use in an online suite. 23.976 fps Creates a 24p EDL for use in an online suite. Use the Digital Cut tool to output a 1080p/23.
Editing with High-Resolution Media To increase your performance when working with high-res media, you can edit with proxy media. When working with proxy media, you can edit with compressed media and recapture the clips at high resolution for final finishing and output. This can be accomplished using the Dynamic Relinking feature in Avid Interplay. For more information, refer to the Avid Editors on Interplay Workflow Guide.
29 Working in High-Resolution Projects • On a PAL monitor, the system does one of two things: - If playing at 24 fps, the system duplicates two fields per second to display the interlaced media at 25 fps. - If playing at 25 fps, the system performs a 4.1 percent speedup, maintains 1:1 transfer of film frames to video frames, and displays the interlaced media at 25 fps. For 25p projects, 25 fps is the only playback rate. The playback rate is 1:1 with no speed change.
Editing with High-Resolution Media When you change the project format, the following changes take place: • The hardware changes to support input and output for the new project. • The available resolutions and, for some configurations, raster dimensions change to those of the new project. • Any new sequences you create use the format of the new project. If necessary, you can then modify the format of an existing sequence, see “Changing the Sequence Format” on page 1286.
29 Working in High-Resolution Projects Changing the Sequence Format When your Avid editing application creates a sequence, it uses the format of the current project. You may not always need to change the edit rate of the sequence. For example, you can change an NTSC 30i sequence to 1080i/59.94 or to 720p/59.94. In other cases, you do change the edit rate, and the modified sequence uses motion adapter effects and contains other adjustments necessary to allow the sequence to play at the new edit rate.
Editing with High-Resolution Media Converting a 23.976p NTSC Sequence to 720p/23.976 Because the source edit rates are different for these formats, you cannot simply change the project and sequence format. The following sequence is based on source material shot or transferred to 720p/23.976 and edited offline in a 23.976p NTSC project. 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.
29 Working in High-Resolution Projects Linking to RED Files Avid Media Access (AMA) is a plug-in architecture that allows you to link directly to clips on a storage device without importing the media directly on your system. AMA allows you to be more productive by browsing and editing directly from the storage device or volume. To link to RED media, you need the RED AMA plug-in installed on your system. When you link to RED files, the images are scaled to the frame size of the sequence.
Linking to RED Files 3. Select Bin Selection options. Option Description Single Bin Based On Selected Folder Places all linked clips into one default bin. n Single Bin Named Lets you create a new bin and type in a new bin name. Places all linked clips into that bin. Bin(s) Based on Current AMA Setting Places the clips in the bin(s) you set up in the AMA Settings Bins tab. Bin(s) Based on Subfolders Places the clips in bin(s) based on their subfolders.
29 Working in High-Resolution Projects 3. From the AMA Plugin Filter menu, select the type of file. Option Description All AMA Plugins Files Searches and displays all files. QuickTime Searches and displays only QuickTime files. MXF Searches and displays only MXF files. RED R3D Searches and displays only RED files. 4. Select the file(s) you want to link. Ctrl+click or Shift+click to select multiple files. 5. Click Open. The clips appear in the active bin, they highlight in yellow.
Understanding HDV Avid editing applications capture and process DVCPRO HD media and HDV media in its native format, through a 1394 port on your computer. On a Windows system with an Avid Adrenaline or an Avid Mojo, the 1394 port must be on an optional IEEE-1394 card installed on a bus separate from the one used by the Avid Adrenaline or Avid Mojo. You can capture from an HDV device, edit in native HDV, and export to an HDV device using these project types.
29 Working in High-Resolution Projects HDV uses MPEG-2 video encoding and MPEG-1 audio encoding. 1080i records at about 25Mbps and 720p records at about 19Mbps. Sony provides HDV cameras that record at 1080i/59.94 and 1080i/50. JVC® cameras record at 720p/29.97 and 720p/23.976.
Capturing and Importing HDV 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 1298. Capturing and Importing HDV You can import an HDV transport stream file (.m2t). Transport streams combine video and audio for transmission through an IEEE-1394 port. Your Avid editing application separates the transport stream after import or capture into the video and audio for editing.
29 Working in High-Resolution Projects Your Avid editing application automatically selects the correct resolution for native HDV. 4. Select other options, and start to capture. For more information about capturing, see “Capturing Media” on page 193. To import an HDV transport stream: 1. Select File > Import. The Import As dialog box opens. 2. Select Files of Type > HDV files (*.m2t). 3. Select the target drive (no other import options are needed). 4. Click Open.
Outputting 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 render and transcode the sequence. You cannot render to an HDV resolution. However, you can render or transcode the HDV sequence to an HD compressed format (see “Outputting HDV through Avid Input/Output Hardware” on page 1297).
29 Working in High-Resolution Projects To export the HDV material to an HDV device: 1. 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. 2. Select the sequence or marked section. 3. Select Clip > Export to Device > HDV. The Export to HDV Device dialog box opens. 4.
Outputting HDV The transport stream file is created (or saved, if you used an existing transport stream). Outputting HDV through Avid Input/Output Hardware You can use Avid input/output hardware to output a sequence created with HDV media, but you must transcode the sequence and then use the standard Digital Cut tool. To perform a digital cut on a system using Avid input/output hardware: 1.
29 Working in High-Resolution Projects See “Exporting With the Export Command or the Drag-and-Drop Method” on page 851 or “Exporting With the Send To Templates” on page 844. Exporting HDV as Windows Media Use the following samples as a guide when exporting an HDV sequence as Windows Media for use on the Web or for use in DVD authoring: To export HDV as Windows Media for use on the Web: 1. Select the sequence or clips you want to export. 2. Select File > Export. The Export As dialog box opens. 3.
Outputting HDV To export HDV as Windows Media for use in DVD authoring: 1. Select the sequence or clips you want to export. 2. Select File > Export. The Export As dialog box opens. 3. Click the Options button. The Export Settings dialog box opens. 4. Select Export As > Windows Media. 5. Set the following: Setting Value Width 1440 Height 1080 FPS 60 Video Type Progressive Pixel Aspect Ratio 16:9 Codec Windows Media 9 VBR Enabled and set to Quality Audio Settings Leave set at defaults 6.
29 Working in High-Resolution Projects Raster Dimensions Some earlier versions of Avid editing applications allowed you to create projects based on some device-specific HD compression formats, including 1080i 59.94 HDV and 1080i 50 HDV. Some versions allowed you to set specific raster types for your HD projects — for example, DVCPro HD.
Raster Dimensions • HDV 1080i MXF • XDCAM HD 35Mbits MXF You can open an existing HD project (for example, a 1080i 50 HDV project) created either with an earlier version of an Avid editing application or with a version that does not support Raster Dimension selection. You can also create a new project using Raster Dimension selection that has the same size used in an existing project. Use the following guidelines when switching between existing and new project types.
29 Working in High-Resolution Projects Raster Sizes The following tables list the raster dimensions available for each compression format and project type. You should select a format depending on your workflow and playback mode. (For information on video quality playback modes, see “Video Quality Options for Playback” on page 473.) Availability of Raster Dimensions for Full Quality Playback 1302 Project type 1280 x 720 960 x 720 1920 x 1080 1440 x 1080 1280 x 1080 720p 23.
30 International Character Support (ICS) in Avid Editing Applications This chapter provides information on international character support (ICS) in your Avid editing application.
30 International Character Support (ICS) in Avid Editing Applications On Windows systems only, if you are using a language other than English, French, Italian, German, or Spanish, you might need to adjust the mapping for the keyboard so the keys in the Keyboard palette match the keys on your physical keyboard. See “Using Foreign Keyboard Mapping (Windows)” on page 1311.
Non-English Character Support (Macintosh) The Get Info dialog box makes use of files known as language resource files to specify the language and regional code to use. The Avid software installation program automatically installs a set of language resource files for supported languages. If the language resource file that you want to use is not in this set, it might not be currently supported by this version of the Avid software. To set the language in the International window: 1.
30 International Character Support (ICS) in Avid Editing Applications To add your language’s keyboard layout, input method, and character set palette to the operating system’s Input menu (Flag icon): 1. Select Apple menu > System Preferences > International. The International window opens to the Language tab. 2. Click the Input Menu tab. 3. Select the language or languages in which you want to type. 4. Select “Show input menu in menu bar.” 5. Click the Close button. 6.
Non-English Character Support (Windows) 3. Click the triangular opener for Languages. 4. Locate your language in the list and select it if it is not already selected. 5. Close the Get application Info dialog box. The next time you start your Avid editing application, you can use the language character set that you specified in the International window. System menus and dialog boxes appear in your selected language.
30 International Character Support (ICS) in Avid Editing Applications 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. 5. Click the Languages tab.
Non-English Character Support (Windows) 6. Select the option you want in the Supplemental Language Support area. 7. In the “Text services and input languages” area, click Details. The Text Services and Input Languages dialog box opens.
30 International Character Support (ICS) in Avid Editing Applications 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. Follow the instructions and click OK. 11.
Using Foreign Keyboard Mapping (Windows) A keyboard icon appears in the taskbar to let you switch keyboard layouts. 15. Restart your system. Using Foreign Keyboard Mapping (Windows) On Windows systems, when you start your Avid editing application under a new locale, your Avid editing application automatically creates a Keyboard setting for your language. You can view the keyboard layout by clicking the appropriate Keyboard setting in the Settings list.
30 International Character Support (ICS) in Avid Editing Applications Considerations for International Character Support This topic provides recommendations, tips, and information on limitations for using international character support in your Avid editing application. Use One Locale When Sharing Files Make sure that your projects do not contain characters from more than one locale. File sharing might not work correctly.
Considerations for International Character Support should avoid. You might have to set your Web browser to display characters in Unicode format to see all the characters in these documents correctly. For example, in Internet Explorer 7, select View > Encoding > Unicode (UTF-8). Character Limitations for EDL Manager You can display diacritical marks and Chinese characters in EDL Manager but those characters are not preserved when you save and reopen an EDL.
30 International Character Support (ICS) in Avid Editing Applications Creating Vertical Text To create a title with vertical lettering, such as on Japanese and Chinese Windows systems, use the Marquee title tool, and use one of the fonts with an “@” symbol at the beginning of its name. You can create a style or template for this kind of text box to make the titles easier to create. 1. Create a Text Box, then exit Text mode. 2. Select a font with an @ sign at the start of the name for the text box. 3.
Considerations for International Character Support • Do not use fonts that have an “@” sign at the start of the font name when naming Avid elements. These fonts are intended for text that displays vertically. Letters or characters might appear on their side in elements such as bin and clip names. • When you are using diacritical marks, exporting a bin as AFE with the default name might cause MediaLog to freeze. The resulting files have incorrect filenames.
30 International Character Support (ICS) in Avid Editing Applications 1316
31 Using the MCS3 Controller This chapter provides information on configuring a JL Cooper Media Control Station3 (MCS3) controller within your Avid editing application so that you can use it for navigation and common editing functions. It also explains how to use the MCS3 and troubleshoot problems.
31 Using the MCS3 Controller To configure your Avid editing application for an MCS3 controller and open the MCS3 Settings dialog box: 1. Double-click Controller Settings in the Settings list of the Project window. The Controller Settings dialog box opens. 2. Click the Port menu, and do one of the following, depending on your operating system, to select the appropriate port: t (Windows) Select COM1 or COM2 t (Macintosh) Select Port #1, #2, #3, or #4 3. Select Controller > JL Cooper MCS3 Controller. 4.
Configuring MCS3 Settings 4. Do one of the following: t To map an unshifted function, click the function in the Command palette and drag it to the button in the MCS3 Controller Settings dialog box whose function you want to program. t To map a shifted function, press and hold the Shift key on your keyboard, click the function in the Command palette, and drag it to the button in the MCS3 Controller Settings dialog box whose function you want to program.
31 Using the MCS3 Controller Option Description Normal The jog speed corresponds to how fast you turn the wheel. This is the default option. 2x speed The jog speed does not exceed twice the recorded speed. 4x speed The jog speed does not exceed four times the recorded speed. To customize the maximum shuttle speed: t Click the Maximum Shuttle Speed menu in the MCS3 Controller Settings dialog box, and select an option. Option Description 1x The recorded frames per second.
Default MCS3 Button Mappings Default MCS3 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. Function buttons (top) and navigation buttons (bottom) in the MCS3 Controller Settings dialog box Navigation Buttons The navigation buttons at the bottom of the MCS3 Controller Settings dialog box provide standard navigation functionality (Rewind, Fast Forward, Stop, Play, and Record).
31 Using the MCS3 Controller MCS3 Button Command Palette Function W1 Go to IN W2 Mark IN W6 Mark OUT W7 Go to OUT Moving Through Footage with the MCS3 Controller The jog/shuttle wheel controls how you move through footage. You toggle between Jog and Shuttle modes by pressing the wheel. When the two red arrow lights above the wheel are on, you are in Shuttle mode.
Using the MCS3 for Editing Footage 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 wheel to the right to advance the footage. Turn the wheel fully to the right to view footage at the maximum shuttle speed set in the MCS3 Controller Settings dialog box.
31 Using the MCS3 Controller • You selected the wrong port from the Port menu in the Controller Settings dialog box. • You did not select JL Cooper MCS3 Controller from the Controller menu in the Controller Settings dialog box. Verify that the correct options are set in the Controller Settings dialog box and that the cable connections between your system and the MCS3 controller are correct. If you continue to see the message, contact Avid Customer Support.
32 Setting Up the Matrox MX02 Mini The Avid® Media Composer® and Avid NewsCutter® editing applications have been qualified for use with the Matrox® MX02™ Mini device. This device has been qualified for use with the editing application for video monitoring and audio monitoring only. The Avid editing application does not support using the input connectors on the MX02 Mini. Note the following when working with the editing application and the Matrox MX02 Mini: • There is no support for monitoring 10-bit media.
32 Setting Up the Matrox MX02 Mini 4. Set your video monitoring options according to the following: Option Description Active analog output Set main channel format to Allows you to select the video output format that you want for the main channel. Follow application matches the main channel output to the project’s video output format. 1326 Analog output Sets the video channel that you want for analog outputs. HDMI output Sets the video channel that you want for HDMI outputs.
Option Description Scrub and pause Lets you set First field, Second field, or Both fields from the Scrub and pause option. The Avid editing application sends single fields to the MX02. These options will have no effect. Set HDMI output to Lets you select YUV or RGB to set the type of video that is sent from the MXO2’s HDMI output. HDMI monitor calibration Lets you select the Calibrate button to display proc amp controls to calibrate the HDMI monitor for video. 5. Click the Audio Output option.
32 Setting Up the Matrox MX02 Mini 6. Set the audio monitoring options according to the following: Option Description Enable audio mapping Select or clear this option. If this option is cleared, the application’s audio track outputs will be routed to the corresponding MXO2 audio outputs by default. For example, when you output audio tracks as Pair 1/2 from your application, the audio will be routed to the corresponding 1/2 MXO2 audio outputs.
2. Set your video monitoring options according to the following: Option Description Editing Video Format Analog Output Format: Allows you to select the video format that you want for output. . Pulldown: Sets the pulldown method to apply to the video output. Setup: Lets you set the relative lightness and darkness of images. Aspect Ratio Conversion: Allows you to select the aspect ratio conversion to be used when downconverting.
32 Setting Up the Matrox MX02 Mini 3. In the editing application, click the Settings tab in the Project window. 4. Double-click Audio Projects Settings in the Settings list. 5. Click the Output tab. 6. Set the audio monitor options according to options. See “Audio Project Settings” in the Help. To monitor audio or video output: 1. Start your Avid editing application. 2. Verify the MX02/1394 button in the Timeline top toolbar displays MX02. (This is automatically set when an MX02 is connected.
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Numerics 1 Pass encoding 1166 1:1 video defined 1231 1394 capturing HDV through 1293 capturing through 202, 203 connecting devices 153 1394 button playback to DV device with 472 selecting DV device with 204 selecting output device with 874 setting video quality with 475 16:9 format 134, 1263 16-channel audio enabling 892 2 Pass encoding 1166 2:3 pulldown transferring film to video with 1267 23.976p projects converting NTSC sequence to 720p/23.
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ for maintaining sync 541 for MultiCamera editing 1106 Add Edit function for maintaining sync 541 using 635 Add Filler at Start command (Clip menu) 509 Add Keyframe button commands 1148 Add Locator button 481 Add New Column dialog box (Interplay Window) 1016 Add Option Key button (Command palette, Other tab) 94 Add Page button (Script window) 562 Add Scene button (Script window) 562 Add Scene/Page dialog box 562 Adding bin columns 324 clip names during capturing 195 color i
ABCDEFGHIJKLMNOPQRSTUVWXYZ Alternate Edit button 625 Alternate edits creating 625 Alternate source capture 226 AMA 349, 354, 361, 363, 366, 378, 379 QuickTime 378, 386, 1289 supported QuickTime codecs 378 virtual volumes 392, 393 Workflow 381 AMA Plug-in Canon 361 GFCAM 363 MXF 379 P2 354 QuickTime 378 RED 366 XDCAM 349 XDCAM EX 349 AMA settings described 1124 Ancillary data Legacy Method 929 ancillary data 924 Animation file formats described 1221 Animation files importing 1221 Annotate feature 195 Anti-al
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ digital scrub, described 674 digital scrub, performing 677 dipping 720 dissolves 720, 1126 editing workflow 696 embedded, and sample rate conversion 893 fading 720, 1126 file format, selecting 168 file formats (Audio Project settings) 1126 fine-tuning transitions 705, 720 HDMI 685, 687 identifying sample rates 681 input levels, adjusting 1126, 1126 input, adjusting levels 173 input, selecting source 169 keyboard shortcuts for keyframing 713 levels, adjusting 698 Live Mix m
ABCDEFGHIJKLMNOPQRSTUVWXYZ configuring USB-to-MIDI software 762 Audio hardware calibration 178 Audio hardware options project settings 1126 Audio IN and OUT points removing 480 Audio input levels adjusting 1126, 1126 calibrating for audio I/O device 176, 178 calibrating with a tone generator 178 Audio Mark IN button 480 Audio Mark OUT button 480 Audio Meter menu button 683 Audio Mixdown command (Special menu) 724 Audio Mixdown dialog box 724 Audio Mixer command (Tools menu) 666, 698 710 Audio Mixer tool adj
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Audio Transfer Rate (Film and 24p Settings dialog box) 146 Audio-only output 915 AudioSuite command (Tools menu) 666 AudioSuite plug-ins applying 789 BF Essential Clip Remover 802 Bomb Factory BF76 802 Chorus 803 Compressor/Limiter III (Dynamics III) 804 core plug-ins 799 creating new master clips with 793 DC Offset Removal 809 DeEsser III (Dynamics III) 809 Delay 811 described dialog box 791 Duplicate 812 D-Verb 808 EQ 813 Expander/Gate III (Dynamics III) 818 Fast menu 79
ABCDEFGHIJKLMNOPQRSTUVWXYZ automatically checking in to asset manager 1003 checking in and checking out 1000 checking in to asset manager 1000 checking out from asset manager 997 checking out from Interplay database 1000 defined 987 local bins 987 permissions 1012 reservations 1010 restrictions 1011 Avid Attic files setting (Bin settings) 1132 Avid Attic folder described 64 retrieving files from 50 Avid Calculator tool 97 Avid clients 944 Avid Clipboard See Clipboard Avid Codecs for QuickTime copying to ano
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Avid Unity workspaces 83 Avid Users folder described 47 location 47 renaming 49 Avid-controlled deck logging 121 B Background color changing in the Timeline 593 changing in bins 317 Backing up automatically to Avid Attic folder 50 media files 425 Title Tool titles when promoting to Marquee 1190 Backtiming edits 632 Backup options (Bin settings) 1132 Bandwidths in Audio EQ tool 728 Bars and tone preparing for capturing 277 recording to tape 895 Batch capture alternate sour
ABCDEFGHIJKLMNOPQRSTUVWXYZ display views 303 displaying audio formats in 670, 684 displaying in Project window 59 displaying objects in 340 editing from, in Segment mode 617 exporting as AFE files 859 extra text fields 234 finding 499 finding from the Script window 581 Frame view 307 headings for MultiRez 1080 highlights for mixed resolutions 340 Info display 71 information in the Console 98 list of, viewing 59 listing timecodes in 326 locking items in 319 logging directly into 119 moving columns 322 moving
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Go to Next Locator 486 Go to Previous Locator 486 in the MCS3 Controller Settings dialog box 1321 mapping 95 mapping user-selectable to MCS3 controller 1317 Mark Locators 486 Next In Group 1105 Nine Split 1098 Play (Script window) 570 Post To Web (NRCS tool) 972 Previous In Group 1105 Quad Split 1098 Save Story (NRCS tool) 950 Send Mail (NRCS tool) 950 Set Color (Script window) 573 Set Offscreen (Script window) 572 Tail 634 Toggle Source/Record in Timeline 601 Top 634 Butt
ABCDEFGHIJKLMNOPQRSTUVWXYZ Interplay Folders option 1032 logging with 121 resizing 212 resolution, selecting 161 setting up 154 subclip status in 230 timed recording 245 capture video and audio 1126 Capturing See also Autocapturing See also Batch capturing See also Recapturing across control track breaks 212 across timecode breaks 143 adding clip names during 195 adding comments (annotating) during 195 ancillary data 933 audio sample rate conversion 166 bad frames 1133 bars and tone 277 Capture Tool setup 1
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Check lists capture preparations 192 preparing hardware before capturing 134 check marks GFCAM 366 Checking in Avid assets 1000 confirmation message 996 Checking out Avid assets 1000 Choosing a locale (Windows) 1303 Choosing a locale (Macintosh) 1304 Choosing a locale (Windows) 1303 Chorus AudioSuite plug-in 803 Chrominance settings adjusting for video input 184 adjusting for video output 880 Chunking 1133 Chyron file format import specifications for 1216 Cineon file forma
ABCDEFGHIJKLMNOPQRSTUVWXYZ exporting 851 finding from the Script window 581 finding names 496 finding with Match Frame 497 in-progress, capture overview 208 in-progress, duration of 208 in-progress, editing overview 1006 in-progress, editing workflow 1006 in-progress, limitations 1007 in-progress, sending sequences to playback 1006 linking to script 565 linking to script with ScriptSync 577 loading 1022 loading into monitors 462 locating master clip from subclip 500 locking in a bin 319 marking 478 marking
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Track buttons 620 Command palette activating commands from 97 assigning functions to mouse buttons 30 described 93 mapping buttons 95 mapping buttons to MCS3 controller 1317 mapping menu commands 96 Command Palette command (Tools menu) 30 Command|8 710 configuring 756 recording automation gain 751 using with Avid editing systems 755 Command|8 controller 100 Commands See listings by menu command name Comments adding during capturing 195 adding to Research panel (Interplay W
ABCDEFGHIJKLMNOPQRSTUVWXYZ Copying clips and sequences 312, 313 Ikegami GFCAM files 362, 365 information between bin columns 326 Panasonic P2 files 353, 358 RED files 368 remote assets 1012, 1022 segments in Timeline 616 text from the Info window 452 text in the Script window 560 to Clipboard 531 Copying XDCAM files 287 Core AudioSuite plug-ins 799 Correction Mode settings Features tab 1140 Correction settings AutoCorrect tab 1140 described 1140 Crash recording 904 Creating a folder in a project 63 Avid log
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Add Channel options 148 adjusting 148 Deck settings 1142 deleting elements in 152 described 1142 Deck controller 91 in Digital Cut tool 900 Deck Preferences dialog box enabling assemble-edit recording 896 Deck Preferences settings described 1144 for assemble-edit recording 896 Deck Selection menu (Capture tool) 157 Deck Selection menu (Digital Cut tool) 900 Deck settings described 1142 Fast Cue option 1142 options 1142 Preroll option 1142 Deck Settings options (Deck Config
ABCDEFGHIJKLMNOPQRSTUVWXYZ selecting 162 Destination drives selecting 163 Destination timecode rate 914 Details command (View menu in Windows Explorer) 51 Device Code option (Remote Play and Capture settings) 1198 Device commands (Special menu) 204, 472, 874 Devices for transferring files 937 Dialog in the lined script 551 Dialog boxes Add Scene/Page 562 Archive to Videotape 435 audio export settings 1170 Change Scene/Page 562 Controller Settings 756 Custom Sift 341 Delete (script integration) 562, 570 Expo
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Disabling available resolutions 139 Disconnect button (NRCS tool) 950 Disconnecting from the iNEWS server (NRCS tool) 985 Displaying audio pan and gain automation 677 audio waveforms 678 bin column headings 328 changing fonts 1027 column headings (Interplay Window) 1016 locator comments 486 sync breaks 536 take numbers in slates 570 tracking information 448 Displaying 24p and 25p media during a digital cut 1283 while editing 1283 Dissolve effects audio 720 Skip Existing Tr
ABCDEFGHIJKLMNOPQRSTUVWXYZ DV capturing 203 capturing, overview 202 devices, connecting 153 devices, selecting 204 devices, selecting for output 874 DV 25 software codec 202 DV 25, capturing 202 playing back 472 DV audio pattern 1126 DV capture offset described 205 DV Codec 1157, 1159 DV digital cut delay described 917 procedure for 917 DV resolutions Avid DV Codec for QuickTime 860 described 1238 specifications 1238 storage requirements 1253 DV Scene Extraction described 257 setting up 257 DV Stream files
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Effects Audio EQ 727 finding information about 439, 500 location 439, 500 nesting described 618 rendering AudioSuite plug-in 792 rendering, for digital cut 897 Ejecting drives See Unmounting drives Ejecting tapes with a button or key 236 Embedded audio and sample rate conversion 893 Empty Trash command (Bin display Fast menu) 64 Enable Clip Coloring command (MultiRez menu in Timeline) 1075 Enable Confidence View video display setting 1206 Enable Track buttons (Digital Cut
ABCDEFGHIJKLMNOPQRSTUVWXYZ frames 851 from a third-party QuickTime or AVI application 864 graphic files 1171 OMFI files 855 preparing sequences for 843 procedure for 851 projects as AFE files 859 QuickTime movies 860 QuickTime movies procedure 860 QuickTime reference movie 860 reasons for 841 sequences 851 settings for, creating 854 TARGA files 1172 to Avid DS 844 to Avid DVD by Sonic 844 to DigiDelivery 844 to Digidesign Pro Tools 844 to DVD 844, 844 to HDV device 1295 to HDV settings 1163 to Sorenson Sque
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Field dominance described 1229 Field dominance, Import Settings options 1181 Field Motion bin column 521 Field Motion clip attribute overriding 521 Field motion types mixing and matching 516 Field ordering described 1227 FieldPak importing files from 279 Field-stepping mixed rate clips in draft qualities 523 File formats animation 1221 File management 403 File names for Avid Projects folder 47 for Avid Users folder 47 Files batch import 298 exporting using drag-and-drop me
ABCDEFGHIJKLMNOPQRSTUVWXYZ selecting channel type 148 Flanger AudioSuite plug-in 820 Flash frames 640 Flat View command (Bin display Fast menu) 62 Focus button (Timeline) 606, 655 Focusing Timeline 606 Folders Avid Projects 47 Avid Users 47 creating in projects 63 deleting 1022 navigating to from a selected asset 1023 Fonts changing in the Script window 560 changing in user interface 78 Fonts, changing 1027 Footage finding 494 loading into monitors 462 marking 476 marking IN and OUT 476 subcataloging 476 vi
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Gang button 542 Ganging footage in monitors 542 multiple tracks on an external fader controller 768 General settings described 1177 General Settings dialog box 146 General-purpose interface (GPI) device configuring with VLAN-VLXi controller 775 trigger signals 773, 774 using 773 using with V-LAN VLXi controller 775 Get Bin Info command (File menu) 98 Get Position Info command (File menu) 98 Get Sequence Info command (File menu) 507 GFCAM AMA plug-in 363 files and folders 3
ABCDEFGHIJKLMNOPQRSTUVWXYZ capturing 1293 capturing through IEEE port 1293 described 1291 exporting to HDV device 1295 exporting to HDV settings 1163 exporting transport stream 1297, 1297 finishing on Avid DS Nitris 1299 importing 1293 Long GOP splicing 1295 outputting digital cut by transcoding 1297 raster type 1300 rendering 1295 transcoding 1295 Head frames 961 Headings (Interplay Window) adding 1016 creating 1016 Headings command (Bin menu) 303, 318 Heads and Heads Tails views in the Timeline 633 Hide V
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ sample rate conversion options 270 shot log files 131 test patterns 277 XDCAM media 281, 286, 287 Importing clips and media from P2 card 293, 293 Importing files EditCam 279 Photoshop files 271 preparing for 1215 specifications for graphics files 1215 specifications for OMFI files 1222 XDCAM 281, 287 IMX resolutions See MPEG resolutions IN and OUT points dragging 476 marking 476 moving 476 using to define segment relationships 1140 In/Out buttons (Audio tool) 172 Indent Ro
ABCDEFGHIJKLMNOPQRSTUVWXYZ described 1189 Interplay Server Settings dialog box 992 Interplay settings 992 Interplay Transfer 937 Interplay User specifying settings 992 Interplay User settings described 1189 Interplay User Settings dialog box 992, 994 Interplay User, specifying settings 404 Interplay Window checking in assets to the Interplay Root Folder 1000 column display options 1016 connecting to database 992 creating new columns 1016 defined 987 described 1009 Interplay folders 987 local bins 987 Media
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ objects 311 segments 609 Launch 35 Layer effects, preserving 276 Layout (Interplay Window) changing 1025 custom 1025 deleting 1025 saving 1025 Layout button (Interplay Window) 1015 L-cut edit (Overlap edit) described 658 for audio clips 480 Leader creating 548 for managing sync breaks 540 Left Arrow key moving through footage with 469 Left Margin command (Script menu) 557 Left Margin dialog box 557 Less Detail command (Timeline Fast menu) 587 Lift button 531 Lifting materi
ABCDEFGHIJKLMNOPQRSTUVWXYZ Lock icon (Track Selector panel) 626 Lock Tracks command (Clip menu) 627 Locking and unlocking bin items 319 shared bins 86 tracks 626 Lo-Fi AudioSuite plug-in 822 Log files importing from film-to-tape transfer systems 306 See Shot log files Logging 101, 131 automatic, during film transfer 1263 automatically with DV 257 bypassing by autocapturing 201 directly into a bin, with a non-Avid-controlled deck 126 directly into a bin, with an Avid-controlled deck 121 errors during capturi
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ importing from P2 card 293 locating from subclips 500 locking 319 moving 312 recapturing 216 searching remote assets 1031 selecting 311 sifting 341 Master shot, in the lined script 551 Master Volume button 683 Match Frame described 497 reverse 498 tracks 499 Match Frame button 497, 500 Match Frame feature for MultiCamera editing 1108 Match Frame Track command (Timeline context menu) 499 Match framing (adding edits) 635 Matchback options for 38 Matching frames 497 Maximizin
ABCDEFGHIJKLMNOPQRSTUVWXYZ in an Interplay environment 409 opening 410 summary of features 408 Media Tool command (Tools menu) 410 Memory information 71 Memory marks adding 126 Memory usage system 72 Memory window for checking system performance 535 for viewing memory 71 Menu commands Add Comments (Clip Name menu) 533 Align to Grid (Bin menu) 322 Audio EQ (Tools menu) 727 AutoSync (Bin menu) 544 Calculator (Tools menu) 97 Calibrate (Peak Hold Menu button) 176 Capture Tools (Tools menu) 121 Color (Script men
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ adjusting volume with 753 connecting 762 described 749 using 751, 760 using the Yamaha 01V and O1V/96 768 Mixing video resolutions 1243 Mixing and matching field motion types 516 frame rates 516 Mixing and monitoring audio 171 Mixing down audio 724 Mode option (Remote Play and Capture settings) 1198 Moderate command (Vertical Scroll Speed menu in Mouse Settings dialog box) 30 Modify command changing sequence format 1286 Modifying data in bin headings 328 Import settings 26
ABCDEFGHIJKLMNOPQRSTUVWXYZ MultiCamera Nine Split Edit 1098 MultiCamera Quad Split Edit 1098 Nine Split Source view 1098 Quad Split Source view 1098 selective cutting in 1109 switching camera angles in 1105, 1105 techniques 1104 video quality 1103 Multicamera resolutions specifications 1237 Multichannel audio 668 Multigroup clips creating 1097 Multilayered files, importing 276 Multilevel sorting of columns 305 Multiple text fields 234 Multiple tracks 618 MultiRez bin and column headings for 1080 clip colori
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ simultaneous output with drop-frame 914 Non-English character support (Macintosh) 1304 Non-English characters recommendations and restrictions 1312 using only one locale 1312 Non-English keyboard layout 1307 Non-square pixels 1215 Normal command (Vertical Scroll Speed menu in Mouse Settings dialog box) 30 Normalize AudioSuite plug-in 825 NRCS Settings ENPS tab 1196 iNEWS tab 1195 NRCS tab 1195 Post to Web tab 1196 NRCS tool adding loaded cues 961 adding production cues 960
ABCDEFGHIJKLMNOPQRSTUVWXYZ capturing media files 144 Media Files tab 144 Media Files tab (Capture Settings dialog box) 1133 OMF file format 137 preparing to export a sequence as 843 transcoding to MXF 419 OMF Interchange files additional export options for 1172 described 855 exporting 855 import specifications 1216, 1222 methods for exporting 855 OMFI MediaFiles folder backing up 425 transferring media 939 One-light transfers 1263 Online support 24 Open Bin command (File menu) 51, 61 Open Selected Bins comm
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ spanned clips 353, 360, 362 P2 card importing clips from 293 writing sequences to 868 Page and scene numbers (Script window) adding 562 changing 562 deleting 562 searching for 562 Page column (NRCS tool) 954 Page Setup command (File menu) 347 PAL (Phase Alternating Line) video logging and capturing 194 luminance values 884 transferring film to 1268 waveform values 184 PAL Method 1 described 1268 PAL Method 2 described 1268 Pan adjusting for individual keyframes 753 adjusti
ABCDEFGHIJKLMNOPQRSTUVWXYZ square and non-square for import 1215 Play button 466 Play button (Script window) 570 Play Calibration Tone command (Peak Hold menu in Audio tool) 888, 889, 895 Play Delay, adjusting 459 Play Digital Cut button (Digital Cut tool) 901, 905 Play IN to OUT button 534 Play Loop button 655 Play Reverse button 466 Play Standby button 466 Playback changing speed of 470 controlling with buttons 466 controlling with position bars and indicator 464 full screen 459 improving performance of 5
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ using control track for 143 Preroll option (Deck settings) 1142 Presenter Instructions (NRCS tool) marking text 958 Preserving clipboard contents 532 Preset buttons in Video Input tool 184 Preset buttons (Video tools) 879 Prestriped tapes 894 Preview Digital Cut button (Digital Cut tool) 900 Previewing a digital cut 900 Previous In Group button 1105 Print Bin command (File menu) 347 Print Frame command (File menu) 347 Print Timeline command (File menu) 641 Printing bins 34
ABCDEFGHIJKLMNOPQRSTUVWXYZ Properties selecting from a custom list 1018 Property Merge dialog box (Interplay window) 1023 Proxy editing described 1045 Proxy media editing 289 importing 284, 286 XDCAM 284, 866 Pulldown capturing without 249 converting sample rates on import 269 described 1267 output for downstream encoding 914 Pulldown frame changing the default 916 Pulldown phase modifying after capturing 255 option in Film and 24p Settings dialog box 128, 128 Pullin changing 916 Pullin frame modifying 255
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ overview 216 sequences 216 using Decompose 217, 220 without Decompose 224 Receiving mail (NRCS tool) 984 Record Deck Time option (Digital Cut tool) 901 Record monitor described 446 displaying information in 452 Record tool extra text fields 234 quick record 240 Recording assemble-edit 896 automation gain information 710 digital cuts 898 digital cuts, using Local mode 905 digital cuts, using Remote mode 901 preparing tapes 894 Recording voice-over narration 739 Recovering m
ABCDEFGHIJKLMNOPQRSTUVWXYZ enabling 250 Remote Play enabling 251 Remote Play and Capture Avid serial driver 254 command (Clip menu) 252 command (Special menu) 250, 251 Device Code option 1198 Inhibit Preloading option 1198 Mode type option 1198 Runup option 1198 setting ports for 1198 Remote Play and Capture settings described 1198 Removable media saving work on 49 Removable storage, sending to Pro Tools on 844 Remove Auto Gain/Pan command (Audio Mixer Tool Fast menu) 711 Remove Automation Gain command (Aud
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Restoring default settings 1118 default Timeline view 602 files from backup 49 media files from videotape 438 Restricted characters in project names 38 Restricting available resolutions 139 Restrictions 1009, 1011 Retrieving files 50 Reveal File command (File menu) 425 Reverse AudioSuite plug-in 831 Reverse Match Frame button 498 Reverse Selection command (Bin menu) 311, 424 Reviewing edits 655 trim edits 655 Revising scripts 582 Rewind button 466 moving between audio keyf
ABCDEFGHIJKLMNOPQRSTUVWXYZ Saving settings in Video Input tool 190 SC phase adjusting for output 880 Scale bar (Timeline) 606 Scanning for tapes 121, 241 Scene and page numbers (Script window) adding 562 changing 562 deleting 562 searching for 562 Schedule, satellite feed 245 Sci-Fi AudioSuite plug-in 831 Screen resolutions NTSC, PAL, HD 1232 Screenings interactive, in Script window 582 Script box in Script view 309 Script integration described 553 elements of 553 for video projects 553 holding slates on sc
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ linking clips to 565 linking clips to with ScriptSync 577 Post to Web options 972 processing for Web 972 revising 582 ScriptSync 577 linking clips to script with 577 Scroll bar in Timeline 605 Scroll bar/position bar in Timeline 605 Scroll wheel mouse, using 30 setting up 30 Scrubbing audio 674 displaying markers during 1203 SDI embedded audio and sample rate conversion 893 Search tab (Interplay Window) 1009 Searches Category attribute 1031 Interplay Window 1028 keeping op
ABCDEFGHIJKLMNOPQRSTUVWXYZ Send To DigiDelivery 844 Digidesign Pro Tools 844 DVD 844 DVD authoring 844 DVD One Step 844 Sorenson Squeeze 844 using predefined templates 844 Send To dialog box 844, 849 Send to Playback command with MultiRez 1074 Sending mail (NRCS tool) 983 Sequence Info dialog box 507 Sequence information displaying, in a Script window 557 summary 439, 500 sequence information effect summary 439, 500 Sequence Time option (Digital Cut tool) 901 Sequence Track buttons (Digital Cut tool) 898 Se
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Set Pan commands (Audio Mixer Tool Fast menu) 701 Set Position To Keyframe command 1148 Set Type Filter dialog box 1021 Setting a language (Macintosh) 1304 Setting the bin display 340 Settings AMA 1124 asset manager 404 Audio 1125 Audio export 1170 audio pan defaults 704 Audio Project 166, 1126 Audio Project, DV audio pattern 1126 audio transfer 1268 Bin 1132 Capture 1133 Communication (Serial) Ports Tool 1138 Controller 714, 1139 copying between files 1119 Correction 1140
ABCDEFGHIJKLMNOPQRSTUVWXYZ SGI file format additional export options for 1172 import specifications for 1217 Shared volume segmentation (chunking) 1133 Shift Key Button option MCS3 controller 1317 Shortcut menus 29 Shortcuts creating in Media Directory panel 1014 making (NRCS tool) 956 removing (NRCS tool) 956 removing from Media Directory panel 1014 Shot log files Avid log file specifications 109 converting with Avid Log Exchange (Macintosh) 105 converting with Avid Log Exchange (Windows) 102 importing 131
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ to transitions in Timeline 607 Softimage file format import specifications for 1217 Software DV25 codec 1133 Solo track monitoring in Timeline 623 in Trim mode 651 Soloing audio tracks 672 tracks 623 tracks, advantages of 621 Sonic authoring DVDs in 844 burning DVD in one step 844 Sony XDCAM loading drivers 352 workflow 282 Sony XDCAM and XDCAM EX workflow 394 Sony XDCAM low-resolution workflow 395 Sorenson Squeeze exporting to 844 Sorting clips 305 columns (Interplay Wind
ABCDEFGHIJKLMNOPQRSTUVWXYZ planning 1245 Storage estimates in minutes per gigabyte 1245 Storage requirements DNxHD 1245 DV resolutions 1253 JFIF interlaced 1248 JFIF progressive 1250 MPEG resolutions 1254 Stories adjusting timing (NRCS tool) 968 associating sequences with (NRCS tool) 967 building a sequence (NRCS tool) 963 deleting (NRCS tool) 956 editing (NRCS tool) 957 finding read time (NRCS tool) 962 saving (NRCS tool) 970 saving changes to (NRCS tool) 970 Storing 24p and 25p media 1283 Story body chang
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ trimming 651 trimming with sync-locked tracks 660 video input 184 Sync Breaks command (Timeline Fast menu) 538 Sync Lock All button (Track Selector panel) 660 Sync Lock button (Track Selector panel) 660 Sync Lock icon (Track Selector panel) 626 Sync Lock menu (Video Output tool) 875 Sync locking tracks in the Timeline 626, 627 Sync mode 1126 Sync Selection dialog box 544 Synchronized sound maintaining 1268 Synchronizing video and audio subclips 543 Sync-locked tracks 539 S
ABCDEFGHIJKLMNOPQRSTUVWXYZ pasting (NRCS tool) 958 rearranging (NRCS tool) 958 Text editors creating Avid logs with 109 for Avid logs 118 Text fields in the Record tool 234 Text in the Script window changing font of 560 cutting, copying, and pasting 560 linking clips to 565 linking clips to with 577 removing 560 searching through 562 selecting 560 Text tag (Post to Web) 976 Text view (bin display) described 303 in the Media tool 408 Three-button play (J-K-L keys) 470, 656 Three-point editing with phantom ma
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ scroll bar/position bar in 605 scrolling option 595 Segment mode 597, 608 selecting segments 609 selecting tracks 620 setting the scroll bar 605 settings, Start Filler Duration option 509 soloing audio tracks 672 soloing tracks 623 source material, displaying 601 top toolbar 602 Track Control panel 600, 671 track selection behavior 694 Track Selector panel 619 viewing footage 445 views, replacing 602 views, restoring default 602 views, saving 602 window, summary of element
ABCDEFGHIJKLMNOPQRSTUVWXYZ using 619 Track Solo and Track Mute buttons (Automation Gain and Pan) 694 Tracking frames with frame numbers 324 Tracking information clip duration 450 displaying 448 options 450 Tracking Information menu displaying 448 Tracks adding 628 audio, adjusting in Audio Mixer tool 698 audio, mixing down 724 cycling through 620 deleting in Segment mode 628 deleting with Media tool 411 enlarging and reducing 589 ganging on an external fader controller 768 locking 626, 627 matchframing 499
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Trim Mode button (Timeline) 650 Trim pots adjusting 176 Trim settings described 1205 Trimming adding filler during 660 basic procedure 654 during a playback loop 657 J-K-L keys 656 maintaining sync during 660 on-the-fly 656 reviewing 655 selecting sides 648, 656 single roller trim 651, 652 Timeline palette 643 trim states 647 two heads or tails 650 video tracks 650 with sync-locked tracks 660 Troubleshooting 24 vertical blanking interval information problems 922 Turning of
ABCDEFGHIJKLMNOPQRSTUVWXYZ updating 74 User settings described 1112 linking with workspaces 81 selecting a user from 1116 Users folder See Avid Users folder User-selectable buttons Add Locator 484 V Variable-speed play 470, 656 Varicam support for Panasonic camera 259 VBI (Vertical Blanking Interval) 919, 1208 preserving information 878 VC1 (Windows Media option) 869, 1239 Vectorscope monitor using 184 Vertical Blanking Interval and effects 922 and video quality 922 line ranges in 919 preserving informatio
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ specifications 1233 storage in minutes per gigabyte 1245 storage requirements for 1244 Video test patterns 883 Videoformat tag (Post to Web) 978 VideoID column (NRCS tool) 954 Videotape archiving media files with 434 capturing bars and tone from 277 guidelines for naming 119 restoring media files from 438 Videotape decks See Decks Videotapes See Tapes View mode (NRCS tool) editing in 957 View Name dialog box (bin) 306 View Type command (Timeline Fast menu) 633 View, bin cu
ABCDEFGHIJKLMNOPQRSTUVWXYZ Windows power schemes 154 Windows taskbar 28 Word processor creating Avid logs with 109 workflow AMA 381 Workflows AMA 384 audio editing 696 film scene 335 film source 1259, 1259 GFCAM 398, 399 graphics for HDTV 1278 MXF 402 Panasonic P2 397, 398 QuickTime 400 script integration 553 Segment mode 597, 608 Sony XDCAM 282 Sony XDCAM and XDCAM EX 394 Sony XDCAM low-resolution 395 video-based HDTV 1276 Workgroup environment working with Avid Interplay 404 working with media files 404 W
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ YUV file format additional Export options for 1172 import specifications for 1218 Z Zoom Back command (Timeline Fast menu) 606 Zoom In command (Timeliine Fast menu) 606 1388
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