® ® Avid NewsCutter Editing Guide
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This Software may contain components licensed under the following conditions: Copyright (c) 1989 The Regents of the University of California. All rights reserved.
The following disclaimer is required by Videomedia, Inc.: “Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect to its merchantability or its fitness for any particular purpose.” “This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc.
Media Reader, Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync, MicroTrack, MIDI I/O, Midiman, Mix Rack, MixLab, Moviebox, Moviestar, MultiShell, NaturalMatch, NewsCutter, NewsView, Nitris, NL3D, NLP, Nova, NRV-10 interFX, NSDOS, NSWIN, Octane, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Ozone, Ozonic, Painterly Effects, Palladium, Personal Q, PET, Pinnacle, Pinnacle DistanTV, Pinnacle GenieBox, Pinnacle HomeMusic, Pinnacle MediaSuite, Pinnacle Mobile
Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Avid Training Services . . . . . . . . . .
Using the Info Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Managing Bins and Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Understanding User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Managing User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Customizing the Avid User Interface . . . .
Preparing to Capture Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 Preparing to Capture Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Capture Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Chapter 6 Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Capturing and Logging at the Same Time . . . . .
Importing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Importing with Multichannel Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Importing Audio Files from a Music CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Adjusting Gain Before Importing Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Sample Rate Conversion and Audio Import . . . . . . . . . . . . .
Working with the SuperBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345 Creating a Storyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348 Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348 Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 Working with Restricted Material. . . .
Archiving and Restoring Media Files to Videotape. . . . . . . . . . . . . . . . . . . . . . . . . 446 Sequence and Clip Information Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 Chapter 11 Viewing and Marking Footage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Viewing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 Customizing Monitors. . . . . . . . . . . . . . . . . . . . . . . . . . . .
Undoing or Redoing Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537 Editing Additional Clips into the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537 Mixing Frame Rates and Field Motion Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540 Mixing Frame Sizes and Aspect Ratios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549 Refreshing Sequences to Use Current Clip Attributes . . . . . . . . . . . .
Editing From the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607 Chapter 15 Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609 Customizing Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610 Navigating in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629 Working with Segments . . . . . . . . . . . . . .
Chapter 17 Working with Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693 Overview of Audio Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694 Working with Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696 Displaying Track Formats in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698 The Track Control Panel . . . . . . . . . . . . . . . . .
Using a GPI Device with the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . 805 Chapter 19 Using Avid Artist Series Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . 813 Installing EuControl Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813 Configuring Avid Artist Series Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . 815 Configuring Ethernet Connections (Macintosh) . . . . . . . . . . . . . . . . . .
Exporting to XDCAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 948 Exporting Your Clip or Sequence to a P2 Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . 950 Exporting as Windows Media Using a VC1 Resolution. . . . . . . . . . . . . . . . . . . . . . 951 Using Avid Interplay Media Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 952 Chapter 22 Generating Output . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 23 Transferring Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1019 Transferring Project and Media Files Between Avid Editing Systems . . . . . . . . . 1019 Chapter 24 Using the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1025 Configuring the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1026 Starting the NRCS Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Transferring Avid Assets to a Playback Device . . . . . . . . . . . . . . . . . . . . . . . . . . 1143 Monitoring Transfers from Within the Avid Editing Application . . . . . . . . . . . . . . . 1147 Chapter 27 Using MultiRez and Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . 1151 Understanding MultiRez and Proxy Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1151 Acquiring Media at Multiple Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1233 Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1234 Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1240 Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Timeline Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1311 Transfer Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1314 Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1316 Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating a Film-Based Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1392 Editing with High-Resolution Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1396 Working with RED Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1401 Editing with Low-Res RED Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1402 Color Management with RED 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 To set the mouse scroll speed: 1. In the Project window, click the Settings tab, and then double-click Mouse. 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.
1 Starting a Project Optimum Performance (Windows XP) Background tasks can interrupt time-critical operations, such as capturing, playing, or rendering. Make sure that background tasks are not running while you work on your Avid editing system. The following list contains suggestions for ensuring optimum performance when working with your Avid editing application on a Windows XP system: • It is required to turn off File Sharing.
Working with the Desktop • Do not keep media on the same partition where you install your Avid editing application. Avid recommends external media drives. • Always use small fonts with the display driver to avoid missing characters in the dialog boxes in your Avid editing application. • After you move a drive from one system to another, restart your system. Windows does not recognize the drive until you restart. • Ensure you do not accidentally delete locked items from your desktop.
1 Starting a Project • Do not enable the Windows Display setting “Show window contents while dragging.” This setting hinders redraw performance on your Avid editing system. In Control Panel > Appearance and Personalization > Personalization > Window Color and Appearance > Effects, deselect Show window contents while dragging. • Enable setting to adjust for best performance.
Working with the Desktop • Always use small fonts with the display driver to avoid missing characters in the dialog boxes in your Avid editing application. • After you move a drive from one system to another, restart your system. Windows does not recognize the drive until you restart. • Ensure you do not accidentally delete locked items from your desktop. Right-click the Recycle Bin icon on your desktop > Properties > General tab > Display delete confirmation dialog.
1 Starting a Project Antivirus Applications Antivirus programs that contain autoscanning features can interfere with the operation of your Avid editing application. Since virus scanning is a processor-and disk-intensive activity, it can interfere with capturing and playing real-time effects in your Avid editing application. Avid recommends you do not scan files or schedule any background tasks such as virus scanning when you use your Avid editing application.
Working with Projects Working with Projects When you start the editing application, the system displays the project log in window. Amongst other settings, you can determine the location of the project. Media Composer allows you work with projects in a private location or one that can be shared with other users. The best choices for a shared structure are either Shared or External.
1 Starting a Project Private Project, under the My Documents/Avid Projects folder Shared A Shared Project is stored locally. It can be accessed by any user that can log on the editing machine. On a Windows system, a Shared Project is always stored in the machine’s Shared Documents directory.
Working with Projects External An External Project can be saved to any directory, either local or remote. Depending on the file-system permissions set on the selected folder, other users or an administrator may or may not be able to access the project. The external option is particularly useful when you want to save the project on shared network drive to make project maintenance easier. n Avid does not support sharing bins in an Interplay environment.
1 Starting a Project Locations of Avid Project Folders By default, the system installs two Avid Projects folders: Private Shared Windows drive:\Documents and Settings\Windows login name\Documents\Avid Projects drive:\Documents and Settings\All Users\Shared Documents\Shared Avid Projects Macintosh Macintosh HD/Users/Mac login name/Documents/Avid Projects Macintosh HD/Users/Shared/Avid editing application/Shared Avid Projects Locations of Avid Users Folders The Avid Users folder is located in the a
Working with Projects Files and Folders Created For User Profiles When you create a new user profile, your Avid editing application creates a folder for the user and two files that are stored within the user folder: • A user profile file (.ave) • A user settings file (.avs) 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.
1 Starting a Project Element Description (Continued) 3 User Profile Displays the name associated with the current settings. By default your Avid editing application uses the login name. The list button changes profiles or creates a new one. For more information, see “Understanding User Profiles” on page 74. 4 Project list Displays a list of the Avid projects in the currently selected folder. Double-click a project to open it. 5 Browse button Lets you navigate to a different folder.
Creating a New Project Project Type Source Footage Transfer (Continued) 720p/29.97 For video-originated material. Can be directly captured, edited, and output YCbCr for HD broadcast. 720p/50 For HDV broadcast (European broadcast). 720p/59.94 For video-originated material. Can be directly captured, edited, and output YCbCr for HD broadcast. 1080p/23.976 For film footage transferred to videotape, or high-resolution files from digital film cameras.
1 Starting a Project 4. Type the name of your new project in the text box. Project names may be given certain conventions — see “Setting Project-Naming Conventions” on page 46. 5. Click the Format menu and select a project format that matches your media and delivery requirements. The rest of the options might change depending on the project format you choose. Example of the New Project dialog box 6.
Creating a New Project Option SD HD Color Space N/A Specifies the color space for some HD project types, either RGB 709 or YCbCr 709. For more information, see “Project Types” on page 42 and “Working with Color Spaces in HD Projects” on page 69. Film Available for 23.976p, 24p, 25p, 720p, and 1080p film projects. Click the Film button and select a format for film gauge tracking from the Default Film Type menu. Audio Transfer Rate Available for 24p PAL projects.
1 Starting a Project Setting Project-Naming Conventions The system limits bins and project names to 27 characters, not including the period and 3-character extension that the system automatically adds to a file name. If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or trailing periods, when you name a project, bin, and user.
Opening and Closing Projects Use the startup project to learn how to edit with your Avid editing application, before you capture any media of your own. You can explore the sequence in the Timeline to learn how it is assembled, and use the clips to practice viewing and editing techniques described in this guide. n If a sequence that was created in an older version of an Avid editing application contains effects or color corrections, you might need to update the sequence.
1 Starting a Project Browse button in the Select Project dialog box 2. Click the Browse button. The Browse for Folder (Windows) or Project Directory (Macintosh) dialog box opens.
Opening and Closing Projects 3. Navigate to the folder that contains the project you want. 4. Click OK (Windows) or Choose (Macintosh). 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.
1 Starting a Project 3. In the Format tab of the Project window, ensure that Aspect Ratio is set to 16:9. The footage in the Avid Boston Project DV25 project is shot in 16:9 aspect ratio. 4. Use the Bins tab in the Project window to open one or both of the bins in the project: - Boston Seq DV25 contains a complete sequence - Boston Project source contains all the video and audio clips in the project For more information on opening bins, see “Opening and Closing Bins” on page 63.
Quitting and Turning Off Equipment To quit your Avid editing application and leave it immediately: t (Macintosh) Select Avid editing application > Quit Avid editing application. t (Windows) Select File > Exit. The project closes and your Avid editing application quits. To quit your Avid editing application and view the Select Project dialog box: 1. Click the Close button at the far right (Windows) or at the far left (Macintosh) of the Project window’s title bar. The Select Project dialog box opens.
1 Starting a Project 4. Turn off external storage devices. c Never remove media drives from your Avid system when it is turned on. Shut down the computer, and then remove the drives. 5. Turn off all other hardware. 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.
Backing Up Your Project Information Backing Up Your Project Information Although your Avid editing application automatically saves your bins, projects, and settings, you should back up these items frequently.
1 Starting a Project Avid Attic Folder The Avid Attic folder contains backup files of each bin in a project. You retrieve files from the Avid Attic folder in the following circumstances: • When you want to replace current changes to a sequence or clip with a previous version • When the current bin file becomes corrupted For information on retrieving files from the Avid Attic folder, see “Retrieving Files from the Avid Attic Folder (Windows)” on page 54.
Avid Attic Folder 3. Double-click a project folder, and then double-click the Bins folder. The Bins folder opens and displays a folder for each bin in the project. 4. Double-click the folder for the bin you want to retrieve. 5. If the bin folder is not already in the Details view, select View > Details. The bin folder displays the backup bin files and their creation dates. A backup bin file has the same name as the bin, with a number appended.
1 Starting a Project 5. Navigate to the desktop, select one of the backup bin files you copied, and click Open. The backup bin opens. When you open a backup bin, a link to the backup bin on the desktop is created in the Other Bins folder. n Your Avid editing application does not allow a bin and a copy of a bin to be open at the same time. You must keep all other bins closed and open the backup bins one at a time. 6. Create a new bin.
Using Toolsets Using Toolsets You can use predesigned work environments (toolsets) that are suited to your most common tasks: • NRCS • Capture • Edit • Effects Editing • Audio Editing • Color Correction 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.
1 Starting a Project To customize the toolset workspace: 1. For the toolset you want to customize, select Toolset > toolset. 2. Open other tools with which you want to work, and position them where you want them. 3. Select Toolset > Save Current. The next time you select the customized toolset, it appears with your changes. To remove your customizations: t Select Toolset > Restore Current to Default. To link a toolset to another setting: 1. For the toolset you want to link, select Toolset > toolset.
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 Project window information is organized in tabs. Tab Function Bins Lets you create and open bins. See “Using the Bins Tab” on page 61. Settings Lets you view and modify settings. See “Using the Settings Tab” on page 68. Effects Lets you access a library of effects. See “Applying Effects” in the Help. Format Lets you view information about the format of the project. See “Using the Format Tab” on page 69.
Using the Bins Tab 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. Using the Bins Tab When you create a project, your Avid editing application automatically creates a bin with the name of the new project, which displays in the Bins tab. You can rename this bin and create additional bins as you work in your project.
2 Working with 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. The new bin appears in the Bins list in the Project window with a default name highlighted and a number appended to it. 2.
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 345.
2 Working with the Project Window To open a bin from another project: 1. Select File > Open Bin. The Open a Bin dialog box opens. 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.
Using the Bins Tab To create a folder in a project: 1. Click the Fast menu button, and select New Folder. A new untitled folder appears. 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.
2 Working with the Project Window To delete a bin or folder from the Project window: t Select the bin or the folder you want to delete in the Bins list, and do one of the following: - If the SuperBin is not enabled, press the Delete key. - If the SuperBin is enabled, right-click the bin name and select Delete Selected Bins. For more information on using the Superbin feature, see “Working with the SuperBin” on page 345. A Trash icon appears in the Bins list in the Project window.
Using the Bins Tab When you work with bins, an asterisk appears before the bin name in the bin’s title bar. The asterisk indicates that the changes to the bin have not been saved. After you save the bin, your Avid editing application removes the asterisk. When an autosave occurs, any open bins update with changes made since the last autosave, and copies of these bins are placed in the project’s backup bin folder: Windows XP drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\
2 Working with the Project Window To save all the bins: 1. Click the Bins tab in the Project window. 2. Select File > Save All. The system saves all the bins for the project. 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.
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 RGB and YCbCr both separate colors into three channels, but they store color information differently. When you choose which color space to work in, you need to take several factors into consideration, including the color space of your media, your output needs, and your performance expectations for your Avid editing application while editing. The RGB color space is not available for 720p or NTSC/PAL SD projects.
Working with Color Spaces in HD Projects n RGB media requires high bandwidth. For effective playback of multiple streams of video at higher resolutions, you should distribute the video tracks as evenly as possible among available drives, and target separate drives for audio and video. Choosing a Color Space for Your Project Your choice of a color space depends on both your input/output hardware and your desired output.
2 Working with the Project Window Changing the Project Color Space for an HD Project You typically set the color space for a project when you create the project (see “Creating a New Project” on page 43). However, you can change the color space at any time. The RGB color space is only available in full HD projects. 720p and NTSC/PAL projects can only use the YCbCr color space. Changing the project color space does not affect the rendering of titles and effects or change the color space of imported media.
Using the Info Tab 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. The Memory window opens with the following information: Item Description Objects The total number of memory handles currently used by your Avid editing application. Objects include memory requirements of your Avid editing application, such as windows, clips, sequences, and other items associated with a project.
2 Working with the Project Window Managing Bins and Memory System memory usage increases depending on how many bins you have open, the number of sequences in a bin, the number of tools that are open, and the size of a sequence. Using more memory can slow system performance. In the Bin tab of the Project window, a memory usage indicator increases and updates as you open and close bins. Avid recommends that you keep memory usage below 80-85%.
Understanding User Profiles User profile folders are kept in the following folder: Windows XP drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Avid Users\UserName Windows Vista and Windows 7 drive:\Users\Public\Public Documents\Avid editing application\Avid Users\UserName Macintosh /Users/Shared/Avid editing application/Avid Users/UserName You can do the following with user profiles: • Create new user profiles • Switch between user profiles • Return to the origin
2 Working with the Project Window Managing User Profiles To create a user profile: 1. Click the Settings tab in the Project window. The User Profile Selection menu in the Settings tab of the Project window 2. Click the User Profile Selection menu, and select Create User Profile. The Create User Profile dialog box opens. 3. Type a name in the Profile Name text box, and then click OK. The new user profile appears selected in the menu, and the user profile name appears in the Project window title bar.
Managing User Profiles To import user settings from another user or user profile: 1. Click the Settings tab. 2. Click the User Profile Selection menu, and select Import User or User Profile. 3. Navigate to the user or user profile you want to import. To export user settings to another user or user profile: 1. Click the Settings tab. 2. Click the User Profile Selection menu, and select Export User or User Profile. 3. Select Personal or Group. 4.
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 1295. The Interface Settings dialog box allows you to set the highlight color for buttons.
Customizing the Avid User Interface 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. (Option) If you want to be able to set custom background colors for bins, select Allow Custom Bin Backgrounds.
2 Working with the Project Window 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. The table describes the windows you can change, and where these changes are saved.
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 8. Click Activate Settings Linked By Name. 9. Click OK. 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.
Working with Bins and Projects in an Avid Shared Storage Environment Assigning a Workspace Button To assign a workspace button: 1. Select Tools > Command Palette. Workspace buttons in the More tab of the Command Palette 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.
2 Working with the Project Window For example, an editor creates sequences in one bin while an assistant recaptures media in another bin. At the same time, other users add audio effects or titles to other bins in the project. Each user performs tasks from their own computer. Your Avid editing application provides a locking mechanism to help you keep track of who is currently working in a bin. The method allows one user to write to a bin; multiple users can read the files in that bin.
Working with Bins and Projects in an Avid Shared Storage Environment Sharing Both Bins and Projects If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). Your Avid editing application identifies information from each computer using the shared workspace as follows: n • Creates a project folder for each computer that accesses the project.
2 Working with the Project Window Opening a Shared Project To open an existing project on the shared volume: 1. Start your Avid editing application. 2. In the Select Project dialog box, navigate to the project on Avid shared storage. The Project window opens. For a description of the elements specific to Avid shared storage in the Project window, see “Sharing Bins and Projects in Avid Shared Storage” on page 86. 3. Double-click a Bin icon to open one of the bins.
Working with Bins and Projects in an Avid Shared Storage Environment Working with Locks and Shared Bins Your Avid editing application uses a locking mechanism to help you keep track of who is currently working in a shared bin. Only one user can write to the bin, but multiple users can read the files in the bin. The user who opens the bin first controls the lock and obtains write access to the bin. Bold text in the Project window also identifies bins that are locked by another user.
2 Working with the Project Window Considerations for Working with Shared Bins and Projects Suggestions for Improving Performance When Working with Shared Bins The following information is provided to improve performance when working with shared bins in an Avid shared storage environment. • Do not use the same name for your editing system machine name and your user name. Do not use the same name for security objects such as machine names, user names, group names, and domain names.
Working with Bins and Projects in an Avid Shared Storage Environment • When an Avid Interplay server is available in an Avid workgroup environment, Avid does not recommend sharing bins or projects. Use the Avid Interplay server and the Interplay Window to share media. All editing systems in a workgroup environment that includes an Avid Interplay server must have the Avid shared storage client software installed.
2 Working with the Project Window • You cannot move a bin that is locked by another user. • If you modify a locked bin, your Avid editing application does not let you save the bin to the same name, but it lets you save the bin to another name. However, this causes duplicate bin IDs and might cause system-level conflicts with the contents of the two bins. Your Avid editing application sees the duplicate contents of these bins and resolves the conflicts by newest modifications.
Working with Bins and Projects in an Avid Shared Storage Environment There are several ways to work around this issue. First, adjust the drive filtering settings when you switch environments. You can open the Media Creation Setting and switch the drive filtering settings or create multiple Media Creation Settings and switch the active setting whenever you shift environments.
2 Working with the Project Window 94
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 123. 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 99. Modifier Keys You can add modifier keys to functions already associated with keys and buttons.
3 Using Tools t Open the Keyboard palette from the Settings list in the Project window. 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 To convert your totals at any time to another format: t Click the Format menu, and select a different frame code or key number format. 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 To review errors logged to the Console window: 1. When an error occurs, close the message box and select Tools > Console. 2. Scroll through the Console window to find a log of the error to use when you contact your Avid Reseller or Avid Customer Support. To get information with the Console window: 1. Select Tools > Console. The Console window opens. 2.
3 Using Tools Using the Hardware Tool The Hardware tool provides the following information about the system’s hardware configuration: • n The Drives tab lists each online drive. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive.
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 The file appears in the Avid Log Exchange window. For specific information on the various file types, see “Log Formats Compatible with Avid Log Exchange” on page 113. 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 To convert a log file by using drag-and-drop conversion: 1. Check the options that are set in the ALE utility. See “Converting Log Files with Avid Log Exchange (Windows)” on page 106. 2. Create a shortcut for the ALE utility. 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.
4 Logging Converting Log Files with Avid Log Exchange (Macintosh) Use the ALE utility, included with your system, to convert shot logs that you create during a film-to-tape transfer. To convert a log file to an ALE file: 1. Select Go > Applications, open the ALE folder, and double-click the ALE icon. The Avid Log Exchange dialog box opens.
Using Avid Log Exchange to Prepare Log Files for Import 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. For a list of supported file types, see Log Formats Compatible with Avid Log Exchange. 3. Select the type of file you want to create from the Output list. The default output selection is the Avid Log Exchange (.ale) format.
4 Logging 12. Do one of the following: t Click This File Only button to convert only the file you select to the format you select. t Click All Files button to convert all files you select in this session to the format you select. If you click All Files, the message boxes does not open the next time you open a file. ALE stores the converted file in the same folder as the original input file. The system adds the replaces the original file name extension by the extension for the new format.
Using Avid Log Exchange to Prepare Log Files for Import To view the ASC_SOP and ASC_SAT parameters in your Avid editing application: 1. With a bin in Text view, select Bin > Headings. 2. Click to select ASC_SOP and ASC_SAT. 3. Import the ALE file. The ASC_SOP and ASC_SAT information appears in the appropriate bin column. 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).
4 Logging Avid Log Specifications Use a word processing application or a text editor to prepare an Avid log on any Windows or Macintosh computer You can use the file name extension .txt, but it is not required. To ensure accuracy, you must follow the Avid log specifications described in this section. 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.
Avid Log Specifications Global Titles The global Titles must come first in an Avid log file, and you must enter one value for each Title. 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.
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 114. 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 1250.
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 125. • c It is important that you create a naming scheme for your tapes.
4 Logging 3. Select Tools > Capture. The Capture tool opens. The Client monitor displays your video.
Logging Directly into a Bin 5. Click the Deck Selection menu, and select a deck. For more information, see “Selecting a Deck in the Capture Tool” on page 161. 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.
4 Logging 8. Use one of the following methods to set either an IN point or an OUT point for the clip you want to log: 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 129.
Logging Directly into a Bin 10. To finish logging the clip, do one of the following: t If the deck is running: Click the Mark OUT and Log button or press the F4 key. The clip logs into the bin and the deck continues to play. t To cue the remaining start or end point: Use the deck controls to locate the start or end point. Click the Mark OUT and Log button or the Mark IN and Log button to set the remaining IN point or OUT points. The clip logs into the bin.
4 Logging 4. When you reach the point where you want to end the clip, click the Mark OUT button in or press the F4 key again. The Mark OUT button changes to the Log Clip button, and the deck pauses. 5. Type a clip name and comment in the corresponding text boxes in the Capture tool. 6. Click the Log Clip button or press the F4 key. Your Avid editing application logs the clip in a bin, and the deck starts playing again.
Logging Directly into a Bin To log clips directly into a bin from a non-Avid-controlled deck: 1. If there is a deck connected to the system, eject the tape from the deck. 2. Double-click Deck Preferences in the Settings list of the Project window. The Deck Preferences dialog box opens. 3. For NTSC projects, click “When no tape in deck log as” menu, and select Non-Drop-Frame or Drop-Frame. 4. Click OK to close the dialog box. 5. Open the bin where you want to store the clips. 6. Select Tools > Capture.
4 Logging 6 Timecode display 13 Clear IN and OUT buttons 7 Deck controls 14 Mark IN and OUT buttons 7. Click the Capture/Log Mode button until the LOG icon appears. 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.
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 123. For information about logging and capturing at the same time, see “Capturing and Logging at the Same Time” on page 198. 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 135. To import shot log files into a bin: 1.
Importing Shot Log Files 3. Select File > Import. 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 139. 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 139.
5 Preparing for Capture Analog Audio Input If you are capturing audio-only from an analog source, sync is taken from the sync source, either black burst or tri-level, depending on the selection in the Video Output tool. If no sync source is connected, sync is generated from internal timing. 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.
Selecting Settings for Capture Selecting Settings for Capture Capture settings include options for capturing, batch capturing, auto capturing, capturing to multiple media files, DV or HDV scene extraction, and setting key commands. Several settings directly affect the capturing process. This section includes information on Media Creation and GPI settings. For reference information about all settings in the Capture Settings dialog box, see “Capture Settings” on page 1241.
5 Preparing for Capture To select a video resolution and media drives: 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. Click the Media Type tab, and select either OMF or MXF file format. If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default.
Selecting Settings for Capture n Avid editing applications can play and edit media that was captured using a Meridien-based Avid editing system or an Editcam™ when in a shared storage workgroup. For more information on supported resolutions, see “Resolution Specifications” on page 1343. 5. Select a video drive and an audio drive. To select the same drive for both video and audio, click the Single/Dual Drives Mode button until only a single drive menu opens.
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 1299. 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 You can capture video and audio to multiple media files across multiple drives. MXF is automatically captured to multiple files. OMF® is captured to multiple files when you set an option in the Capture Settings dialog box. 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.
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.
Configuring Decks 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 a Deck or Multiple Decks To configure a deck or multiple decks: 1. Verify that you have manually configured the appropriate hardware connections for the deck or decks. 2. Double-click Deck Configuration in the Settings list in the Project window. The Deck Configuration dialog box opens. 3. Click the Add Channel button. The Channel dialog box opens.
Configuring Decks 4. Click the Channel Type menu, and select one of the following items, depending upon your system configuration: Option Description FireWire Use if you are controlling a DV camera or deck through a FireWire connection. Direct Use if you are controlling a deck through an RS-422 connection to the serial port. VLAN VLX Use if you are controlling decks through a V-LAN/VLXi connection 5.
5 Preparing for Capture Example of a channel (left) and a deck (right) in the display area of the Deck Configuration dialog box n You can reopen the Channel settings to change the options at any time by double-clicking the channel box in the Deck Configuration dialog box. 8. If you did not autoconfigure the deck, click the channel box to select it. 9. Click the Add Deck button to open the Deck Settings dialog box.
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 1250. 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 208. 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 The following illustrations show the Capture tool for an HD project. Some items might not be available or might have minor differences in your Avid editing application model.
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 166.
Setting Up the Capture Tool 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. Selecting a Deck in the Capture Tool The Deck Selection menu in the Capture tool contains a list of any decks that are connected to the system, powered up, and initialized when you enter Capture mode.
5 Preparing for Capture 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. For more information on V-LAN equipment, contact your Avid sales representative. Activating Playback from an Available Deck To activate playback from an available deck: t Click the Deck Selection menu, and select the deck.
Setting Up the Capture Tool 2. If you are working in an NTSC project, play the tape for a few seconds so your system can detect the timecode format of the tape (drop-frame or non-drop-frame). Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box, regardless of the format on the tape, and you might receive a message indicating a wrong tape. n Drop-frame timecode appears in the Timecode indicator with semicolons between hours, minutes, seconds, and frames.
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 Setting the Video and Audio Input in the Capture Tool The Video and Audio menus show you the current input settings for the Video Input tool and the Input tab in the Audio Project Settings dialog box. The menus also provide a convenient way to change the settings if necessary. 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.
5 Preparing for Capture Selecting a Resolution in the Capture Tool The Res (Resolution) menu contains a list of the available resolutions, depending on your project and the model of your Avid editing application. You can select the resolution in the Capture tool or in the Media Creation dialog box (see “Selecting Video Resolutions and Media Drives” on page 141). If you select a resolution in the Capture tool, the Media Creation settings change to the resolution you selected.
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.
Preparing to Capture Audio 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. Selecting a Custom Preroll The Custom Preroll option and menu in the Capture tool lets you select how many seconds the tape rolls before the capturing starts.
5 Preparing for Capture n Setting For more information, see Audio file format “Selecting the Audio File Format” on page 171. Audio input source “Selecting the Audio Input Source” on page 172. Some options depend on the audio configuration of your Avid editing system, so your system might not contain certain features and hardware that are covered in the documentation. The values you set in the Audio Project Settings dialog box are saved as Project settings.
Preparing to Capture Audio To set a preference for audio sample rate conversion during capture: 1. In the Project window, click the Settings tab. 2. Double-click Audio Project. The Audio Project Settings dialog box opens. 3. Click the Input tab. 4. Click the Sample Rate Conversion menu, and select on of the following: Option Description Never When this option is set, your Avid editing application displays a warning message if the sample rate of the incoming media does not match the project sample rate.
5 Preparing for Capture You should be aware of the following: • You can mix AIFF-C and WAVE audio media files within a project. • You should elect AIFF-C or WAVE when you need to transfer media files directly to a Pro Tools system for audio sweetening.
Preparing to Capture Audio To select the audio input source: 1. In the Project window, click the Settings tab. 2. Double-click Audio Project. The Audio Project Settings dialog box opens. 3. Click the Input tab. 4. Click the Input Source menu and select the source for the audio you want to capture. 5. Close the Audio Project Settings dialog box. The source you selected is displayed in the Capture tool. You can change the source in the Audio Project Settings dialog box or in the Capture tool.
5 Preparing for Capture 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. The Sound Card Configuration dialog box opens. Sound Card Configuration dialog box. Top left: Record/Input list and input sources. Top right: Playback/Output list and Output Source menus. Bottom left: Audio device name. 3.
Preparing to Capture Audio 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. The menu contains a list of the output sources available in Windows Master Volume control. 3. Click one or more of the output sources to override the Sound Card Configuration settings and to accept the default settings of the Master Volume control.
5 Preparing for Capture Component Description 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. Meters Dynamically track audio levels for each channel as follows: • Meters show green below the target reference level (default reference level is –20 dB on the digital scale). • Meters show yellow for the normal headroom range, above the reference level to approximately –3 dB.
Preparing to Capture Audio 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. n On software-only systems, you can adjust audio input through a slider in the Input tab of the Audio Project settings. For more information, see “Audio Project Settings: Input Tab” on page 1236.
5 Preparing for Capture 7. Click OK. After a few seconds, your Avid editing application creates the media file and a master clip appears in the target bin. The default name reflects the options you selected. You can rename the clip by typing a new name. Using the Passthrough Mix Tool The Passthrough Mix tool lets you select the mix and adjust the volume and pan values of the source audio that you monitor.
Preparing to Capture Audio To adjust audio in the Passthrough Mix tool: 1. Double-click Audio Project in the Settings list. The Audio Project Settings dialog box opens. 2. Click the Input tab. 3. Click the Passthrough Mix Tool button. The Passthrough Mix tool opens. 4. Switch the Input Mix Mode button to select a type of input: t Select Stereo Mix to mix audio channels to a stereo pair. Use the Stereo Mix Tracks menu to specify which stereo pair to use.
5 Preparing for Capture To adjust the pan values in the audio panel of the Passthrough Mix tool: t Click the Pan Value display to reveal the pop-up slider, and then drag the slider to a new position. Pan Value display (left) and pop-up slider (right) in the Passthrough Mix tool. Calibrating Audio Hardware for Avid Adrenaline By default, your Avid editing application is calibrated for analog 0 Volume Unit (VU) to be digital –20 dBFS, which matches the default calibration of the Avid Adrenaline hardware.
Preparing to Capture Audio 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. In the Audio tool, click the In/Out toggle buttons for channel 1 to display I for input. You should see a level in the meter display. 5. Select Calibrate from the PH (Peak Hold) menu in the Audio tool.
5 Preparing for Capture Calibrating Audio Hardware for Avid Nitris DX and Avid Mojo DX By default, your Avid editing application is calibrated for analog 0 Volume Unit (VU) to be digital –20 dBFS, which matches the default calibration of the Avid Nitris DX and Avid Mojo DX hardware. You can do two things to calibrate audio — make the audio adjustment to correspond to your hardware calibration setting by using the default, or refine the calibration to get to within 1/4 dB.
Preparing to Capture Audio 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. 9.
5 Preparing for Capture 11. Use the Up and Down buttons to adjust the calibration in 0.5dB increments. Depending on what you selected in the HW Calibration menu, enter the corresponding Output or Input. From HW Calibration menu Use for all Outputs Use for all Inputs -14 dBFS -6.00 +6.00 -18 dBFS -2.00 +2.00 -20 dBFS 0.00 0.00 12. Repeat this procedure for each channel. To calibrate the audio input channels: 1.
Preparing to Capture Audio 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. The meters in the Audio tool should display around 0 VU. 11. Click Calibrate from the Audio Hardware Calibration window.
5 Preparing for Capture 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 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. • When you click the slider of a lit preset button, the arrow changes to black and the slider moves to the position of the pointer.
Preparing to Capture Video 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. The Video Input tool displays the appropriate parameters for the selected video format. For a description of each parameter, click the Video Input tool and press the F1 key (Windows) or Help key (Macintosh). n Sync for video input comes from the source selected in the Video Input tool.
5 Preparing for Capture 5. If you are capturing from a consumer-grade video deck (such as a home VCR) or a deck that has no built-in time-base corrector, and you are having trouble with the incoming video quality, click the SignalLock button and select Consumer in the Video Input tool. For more information, see “Limitations When Using Consumer Decks or Decks Without Time-Base Correctors” on page 192. 6. Click the 100% Bars button if the source tape contains 100% bars for calibration.
Preparing to Capture Video 8. Adjust the Line slider located below the Waveform monitor to display the appropriate line of the test pattern, then adjust the luminance values as described in “Luminance Settings for Video Input” on page 191. 9. Open the Vectorscope monitor by clicking the Vectorscope Monitor button. 10. Adjust the Line slider to display the signal for color bars at around line 150 (this applies to all formats and all types of bars).
5 Preparing for Capture Parameter SMPTE Bars Full-Field Bars at 75% or 100% Signal Level Adjust Gain/Y Gain slider to place white level at: Adjust Gain/Y Gain slider to place white level at: • 100 IRE (for NTSC and NTSC-EIAJ) • 100 IRE (for NTSC and NTSC-EIAJ) • Not applicable for PAL • 1.
Preparing to Capture Video Green Line in VHS Video Some VHS tape decks do not output the full 240 lines of video normally included in the VHS format. As a result, after you capture from a device such as a VCR, a green line might appear at the bottom of the monitors in your Avid editing application. This line is at the bottom of the visible area of the picture, and is not seen in a standard consumer monitor in most cases.
5 Preparing for Capture To save the calibration settings for a tape: 1. After calibrating the video input, click the Settings menu in the Video Input tool, and select Save As. For more information, see “Calibrating Video Input” on page 188. The View Name dialog box opens. 2. Accept the default name (matching the tape name), or type a new name for the settings. 3. Click OK. To create a customized default Video Input Tool setting: 1. Select Tools > Video Input Tool. The Video Input tool opens. 2.
Capture Preparations Check List Color Adjustment Criteria Whites Should not be washed out or lacking detail. Find a series of frames in the footage that include white areas. Bright, well-lit regions work better than white objects. Whites should peak at around 100 IRE for NTSC-EIAJ or 1.0 V for PAL in the Waveform monitor. Skin colors Should be realistic. Find a series of frames in the footage that include skin colors.
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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 135. 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 5. Click the Record button in the Capture tool, or press the F4 key. 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 5. Click the Pause button at any time to pause play. 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.
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 135. 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 198.
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 207. 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 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 Conventional Capture A conventional capture creates media files (one for each track) in a temporary location (Avid MediaFiles\MXF\1\Creating on a media storage volume). These media files are not available for check-in to Interplay while the capture is in progress, and you cannot view 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.
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 1243.
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 Understanding Decompose and Expert Decompose Decompose creates new master clips in the bin based on the lengths of the clips edited into a sequence. You can then recapture media for the new master clips. Decompose 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.
Recapturing and Decomposing Expert Decompose is particularly useful when you need to recapture some or all of a mixed-rate sequence because you have complete control over what to decompose and which target formats to create. You can decompose to several different target formats if necessary, creating new master clips in the bin. You can then open the bin successively in projects that provide the correct format for recapturing, select the clips that match each project format, and batch capture those clips.
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 222. 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 9. Click OK. If you selected Expert Decompose in step 8, the Expert Decompose dialog box opens. For information on how to use this dialog box, see “Using Expert Decompose” on page 226. New master clips appear in the bin, named using the suffix .new.xx. You can now sort and select these clips like all other objects in the bin. 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.
Recapturing and Decomposing The following illustration shows the Expert Decompose dialog box as it might appear if you select sequences that contain clips of a variety of different formats and then select “Display clips” in the Decompose dialog box. In some cases, the edit rate for a clip differs from the source rate. For more information, see “Understanding Decompose and Expert Decompose” on page 222 and “Decomposing Sequences” on page 224.
6 Capturing Media To select or deselect multiple tapes/sources or clips to decompose: 1. In any of the information columns, click the first tape/source or clip you want to select. 2. Do one of the following: t To select a contiguous group of tapes/sources or clips, Shift+click the last tape/source or clip you want to select. Your Avid editing application selects the last tape/source or clip and all the tapes/sources or clips between the first and last.
Recapturing and Decomposing Recapturing a Sequence Without Using Decompose When you recapture a sequence without using decompose, your Avid editing application creates new master clips and captures new media in a single operation. For more information on recapturing a sequence with and without decompose, see “Understanding Recapturing” on page 220 and “Understanding Decompose and Expert Decompose” on page 222. To recapture a sequence: 1.
6 Capturing Media 11. Click Mounted to indicate to the system that the correct tape is loaded and ready for capturing. A dialog box opens. 12. Click OK to confirm the tape and deck entries. Your Avid editing application captures each clip from the tape, in start timecode order. If another source tape is needed, your Avid editing application prompts for the tape. You can stop the batch-capturing process at any time by clicking the Trash button in the Capture tool.
Alternate Source Capture To batch capture with an alternate source: 1. In a bin, select the clips you want to batch capture. 2. Select Tools > Capture to open the Capture tool. The Capture Tool opens. 3. Open the bin that stores the clips you want to batch capture. 4. Select the clips to batch capture: 5. Select Bin > Batch Capture. The Batch Capture dialog box opens. 6.
6 Capturing Media 8. Click OK. If any clips you select do not have the alternate source options you selected (for example, a clip does not have an Auxiliary timecode), a message displays and asks you if you want to skip those clips. Click Continue to continue with the batch process and skip those clips. 9. A message opens and asks you to mount the (alternate) tape. You can choose to mount the tape or skip this particular clip. 10. Load the tape into the tape deck and click Mounted.
Handling Errors During the Capture Process To change function key commands for capturing media: 1. Double-click Capture in the Settings tab in the Project window. The Capture Settings dialog box opens. 2. Click the Keys tab. 3. Click the key you want to map, and then select the new function from the menu. 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.
6 Capturing Media To enable or disable logging to the Console window during capture: 1. Double-click Capture in the Settings tab in the Project window. The Capture Settings dialog box opens. 2. Click the Batch tab. 3. Select or deselect “Log errors to the console and continue capturing.
Creating Subclips While Capturing For information about creating subclips after capturing, see “Creating Subclips” on page 491. 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.
6 Capturing Media To set the duration of a timed subclip: 1. Double-click Capture in the Settings tab in the Project window. The Capture Settings dialog box opens. 2. Click the Keys tab. 3. Enter the time in minutes and seconds to be used by the timed subclip in the Before mark (M:SS) and the After mark (M:SS) text boxes. 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.
Naming a New Tape from the Keyboard While Capturing To add a locator to a frame while capturing: 1. Start capturing. 2. Watch the playback of the footage in the monitor, and press one of the locator keys (F5–F12) when you see the shot or frame with which you want to associate a locator. A default name and number for the locator appear in the Name text box in the Capture tool. 3. While you capture, you can add comments for the locator.
6 Capturing Media Controlling Decks from the Keyboard You can use the J-K-L keys to control a deck from the Capture tool, Digital Cut tool, and Deck Controller window. Press To K Stop the deck. L Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed. J Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal speed. K+L Shuttle the deck at 0.25x normal speed. J+K Shuttle the deck at –0.25x normal speed.
Adding Extra Text Fields in the Capture Tool 4. In the Field Name text box, type the name you want to appear as a text field in the Capture tool. This is also the name that appears in the bin column heading. 5. Click OK in the New Field Name dialog box. The Field Selection list opens with your new text field selected. If you do not capture and use the new extra text field after creating it, your Avid editing application does not save the new text field in the Field Selection list or bin. 6.
6 Capturing Media To delete extra text fields: 1. Click the column heading in the bin. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. Your Avid editing application deletes the column from the view and the entry from the Field Selection list. 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.
Using Dolby E Media • Add the Dolby E clip to your sequence, and edit the video and audio. Your Avid editing application maintains synchronization between audio and video as long as you do not convert or modify the Dolby E clip. • When you finish editing, output the sequence. The Dolby E track preserves the encoded data and can be restored to the original multichannel audio.
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 158. 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 4. Do one of the following: t Type the clip name, start time, and clip duration in the appropriate columns. 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.
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 125. 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 4. Double-click Remote Play and Capture in the Settings list of the Project window. The Remote Play and Capture Settings dialog box opens. 5. Select Mode > Remote Punch-In. 6. Click the Device Code menu, and select the appropriate device. 7. (Option) Specify other settings as described in “Remote Play and Capture Settings” on page 1306. 8. Click OK. 9. Select Clip > Remote Play and Capture when you are ready to use your system for capturing.
6 Capturing Media 10. Select Tools > Audio Punch-In. The Audio Punch-In tool opens. Some of the features in the Audio Punch-In tool — such as the preroll and postroll options — do not appear when you open the tool in Remote Play and Capture mode. Input Channels buttons 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.
Remote Play, Capture, and Punch-In Using Serial Drivers with Remote Play and Capture (Windows XP Only) When your Windows XP installation occurs, two serial drivers are installed: msports.inf and serial.sys. When you install your Avid editing application, two additional serial drivers are installed: msportsAvid.inf and Avidxpserial.sys. Your Avid editing system normally uses the Avid drivers.
6 Capturing Media Modifying the Pulldown Phase After Capturing If you have captured film-originated clips (NTSC transfer only) that seem to stutter, the problem might be an incorrectly logged pulldown phase (the video frame at which the master clip starts: A, B, X, C, or D). You log this pulldown phase in the “Pullin” column of a bin. To solve the problem, you need to determine the correct pulldown cadence of the frame, modify the clip information, and recapture the clip.
Modifying the Pulldown Phase After Capturing c. Compare these digits with the last digit of the start timecode (first frame) of the clip to determine the correct pullin. For example, if the A frame ends in 0 or 5, and the start timecode ends in 4, the pullin is D. d. If the pullin for the clip is the X frame, you need to modify the timecode to produce a number you can associate with a pullin.
6 Capturing Media DV and HDV Scene Extraction While you are capturing DV or HDV footage, the DV and HDV Scene Extraction feature lets you generate subclips and locators automatically, based on time-of-day (TOD) information contained in the DV or HDV format. Discontinuities in the DV or HDV TOD metadata indicate each new take in a master clip or subclip shot on a DV or HDV camera.
DV and HDV Scene Extraction 4. 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. 5. Click OK. 6. Select Tools > Capture and then click the Record button.
6 Capturing Media 8. (Option) To cancel the process, press Ctrl+period (Windows) or Command+period (Macintosh). 9. Click OK. In the bin, your Avid editing application creates subclips with the same source clip name and the file name extension .sub.01 where TOD information breaks occurred. Locator marks appear in the master clip where TOD information breaks occurred. If you select a DVCPRO, a non-DV, or an audio-only clip, an error message appears, informing you that you selected an incompatible clip.
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 1325. • Determine the source for the files. Consider copying all files to a single folder before you import. See “Importing Media Files” on page 269. • Review the information on using import settings in “Creating and Modifying Import Settings” on page 266.
Creating and Modifying Import Settings To create a new Import setting: 1. Click the Settings tab in the Project window. The Settings list appears. Custom setting name column in the Settings list of the Project window 2. Double-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).
7 Importing Files 5. Double-click the new Import setting. The Import Settings dialog box opens. 6. Select the appropriate options. For more information about Import settings, see “Import Settings” on page 1289. 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 1289. 4. Click OK.
Importing Media Files Importing Media Files You can access files for import from any folder, disk, or drive source mounted on the desktop, such as a CD or DVD, fixed drive, removable drive, or network server. You can import more than one file or types of file at a time. Consider copying all graphics files to a single folder before you import the files.
7 Importing Files 9. Select File > Import. The Select Files to Import dialog box opens.
Importing Media Files 10. Do one of the following: t Click the Files of Type menu (Windows) and select All Files, or select the Any Documents option (Macintosh) to display all files in a selected folder, regardless of file type. Use this option if you want to batch import from multiple file types.
7 Importing Files To import a series of sequentially numbered files, select the first file in the sequence. To automatically select the entire sequence of files, you must select the Autodetect Sequential Files option in the Import Settings dialog box. For sequentially numbered files — for example, myfile_001.jpg, myfile_002.jpg, myfile_003.jpg — the system combines all of the files into one clip. 11.
Importing with Multichannel Audio Importing with Multichannel Audio You can use the Import Settings dialog box to define the audio track formats for the audio channels in your imported media, up to a maximum of 16 audio channels for the clips in your bins. This allows you to specify which source channels are treated as mono or multichannel audio tracks in your project, rather than having to modify the clips in your bin after you import the source media.
7 Importing Files 2. Click the Audio tab. The Multichannel Audio section of the Audio tab lists any multichannel audio mappings in the current Import Settings template. 3. Click Edit. The Set Multichannel Audio dialog box opens.
Importing Audio Files from a Music CD 4. Click the format buttons to select one of the following audio track formats for each pair of source channels: Button Track Format Mono Stereo You must map source audio channels in mono or stereo pairs. For example, you cannot map A1 to a mono track and A2 and A3 to a stereo track. Instead, map A1 and A2 to mono tracks, and A3 and A4 to a stereo track. If the source media does not have an audio channel on A2, the Avid editing application ignores the channel. 5.
7 Importing Files Adjusting Gain Before Importing Audio Files When you import audio files, you can set the gain on a clip without opening the Audio Mix tool. This is especially useful when you import audio from a CD or an MP3 device and you would like to lower the decibel level for all files that you import. To adjust the gain before import: 1. In the Project window, click the Settings tab. 2. Double-click Import. 3. Click the Audio tab, and then select Apply attentuation/gain effect on Import. 4.
Sample Rate Conversion and Audio Import Sample Rate Conversion and Audio Import When you import audio to your project, you have the option of converting the sample rate of the source audio files to the project sample rate. You select this option on the Audio tab of the Import settings dialog box (see “Import Settings: Audio Tab” on page 1293).
7 Importing Files Setting Sample Rate Conversion Options Before Importing Audio Files When you import audio files, you can choose to convert the sample rate of the source audio files to the project sample rate or to import the files at the source sample rate. For more information about converting sample rates when importing audio files, see “Sample Rate Conversion and Audio Import” on page 277. To set sample rate conversion options: 1. In the Project window, click the Settings tab. 2. Double-click Import.
Photoshop Graphics Import Photoshop Graphics Import You can import both single-layer and multilayered graphics created in Adobe® Photoshop®. If you import multilayered graphics, you can preserve the original layers, and then edit them individually in your Avid editing application. n Your Avid editing application supports graphics created in the following modes: RGB 8-bits/channel, RGB 16-bits/channel, and grayscale, including alpha channels.
7 Importing Files Some layer options in Photoshop are not supported for import into your Avid editing application. See “Support for Multilayered Photoshop Graphics Import” on page 282. For example, a title with a Drop Shadow and an Outer Glow effect would not keep these effects when imported. To preserve the effects in these layers, merge them in Photoshop (as described in the Photoshop documentation) and then import the file.
Photoshop Graphics Import The following illustration shows the layers as they appear in a bin. During the import, your Avid editing application creates a sequence with each layer on a separate video track. This makes it easy to edit all layers into the final sequence. This sequence preserves the names and order of the layers as created in the original Photoshop file. You can then edit the tracks to build up to the full collage.
7 Importing Files Support for Multilayered Photoshop Graphics Import You should be aware of the following requirements for multilayered graphics import and details of how your Avid editing application handles the import: • Graphics must be RGB 8 or 16 bits, or grayscale. • Importing preserve layer order and layer names. • Hidden layers are imported as matte keys. • Importing converts Opacity to Foreground level in the Matte Key effect. • Importing rasterizes text and shape layers.
Photoshop Graphics Import Special Layer Option Supported Notes Type Layer Yes — Solid Layer Yes Solid layers import as a graphic with a full-screen opaque alpha channel. Gradient Layer Yes Gradient transparency is preserved. Pattern Layer Yes — Adjustment Layer No Adjustment layers include Levels, Curves, Color Balance, Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient Map, Invert, Threshold, and Posterize.
7 Importing Files t Click Select Layers if you want to select which layers to preserve. The Select Layers dialog box opens. Select the layers you want to import and click OK. If you select more than 24 layers, your Avid editing application imports the additional layers but does not include them in the sequence. Your Avid editing application displays messages as it creates media for each layer. At the end of the process, the selected bin displays the objects. To preserve layer effects: 1.
Importing Color Bars and Other Test Patterns Importing Color Bars and Other Test Patterns Avid editing applications supply files for color bars and other test patterns. You can import 8-bit PICT files or 16-bit TIFF files. To import a test pattern from a file: 1. Open an existing bin, or create a new one for the test pattern. 2. Select the destination bin. 3. Select File > Import. The Select Files to Import dialog box opens. 4.
7 Importing Files 9. Click Open. The clip for the imported file appears in the selected bin. When you import SMPTE_Bars.pct, the file does not exactly match the SMPTE bars generated by the Video Output tool. The I and Q blocks in the bottom portion of the pattern cannot be exactly represented in the RGB color space used when importing files. 10. If you must have I and Q blocks correct in a sequence, do one of the following: t Record SMPTE bars from a signal generator.
Importing Editcam Files To import Editcam files: 1. (Option) Select File > Mount All. If you previously mounted the drive or volume, or if you inserted the FieldPak® before starting your Avid editing application, you do not need to perform this step. 2. Open a bin. 3. Select File > Import. A dialog box opens. 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.
7 Importing Files 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 1294. Importing XDCAM Media XDCAM and XDCAM HD devices store media as MXF OP1a interleaved files.
Importing XDCAM EX Media 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 292. • Manually import all proxy media on all discs currently loaded on your system. See “Importing Proxy Media from an XDCAM Disk” on page 293.
7 Importing Files 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.
Importing XDCAM EX Media 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.
7 Importing Files Automatically Importing Proxy Media from an XDCAM Device You can use this method to automate the process of importing proxy media from your XDCAM device to your Avid editing application. To import proxy media from an XDCAM device: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Automatically Import Proxies when disk is inserted. 4. Click OK. 5. Open the bin in which you want to store the imported files.
Importing Proxy Media from an XDCAM Disk 7. Type a name in the Disk Label text box. Your Avid editing application uses the disk label for operations such as Batch Import, where you are prompted to insert a specific XDCAM disc that holds the files you want to import. A disk label is required in order to import XDCAM media. 8. Click the Single/Dual Drives button, and select a destination drive for the imported file from the menu. 9. Click Import.
7 Importing Files 6. Click Import. When the import finishes, the clips appear in the selected bin. Your Avid editing application imports XDCAM media at the native resolution of the media on the XDCAM disc. Your Avid editing application ignores other resolution settings — for example, in the Select Files to Import dialog box. 7. (Option) Repeat this procedure for each XDCAM disc that holds media you want to import.
Manually Importing XDCAM Media from the XDCAM Disk Manually Importing XDCAM Media from the XDCAM Disk Use the standard Import function to import XDCAM media into your Avid editing application. Set the default XDCAM import options in the XDCAM tab of the Import Settings dialog box. For more information on import options, see “Import Settings: XDCAM Tab” on page 1294.
7 Importing Files To import Essence Marks as locators: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Import Essence Marks as locators. 4. Click OK. Editing XDCAM Proxy Media When you import proxy media files, a new master clip is created that you can edit in the timeline just like any other clip.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk To set the playback options for XDCAM media: 1. Right-click the Video Quality menu button, and select Draft Quality (yellow/green) or Best Performance (yellow/yellow). Some effects, such as IllusionFX and FluidMotion effects, do not playback in real time when you select Draft Quality. For these effects, you must also select the Progressive Source button in the Effect Editor before you render. 2.
7 Importing Files To batch import high-resolution XDCAM media: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Batch Import High-resolution Video. 4. Click the Handle Length text box and type the number of additional frames you want to import at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. The default is 30 frames. 5. Click OK. 6.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk 10. Click the All Clips button. The Batch Import dialog box opens. 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.
7 Importing Files 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.
Importing Sequences from Pro Tools through Interplay 4. Click OK. A progress box appears as the clips import. When the import is complete, the clips appear in the active bin. You can play and edit the clips; the media resides on the P2 card. If you leave 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.
7 Importing Files Using the Drag-and-Drop Method to Import Files To import one or more files by using the drag-and-drop method: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click Import. 3. Select either the default Import setting or one you have created. To view or modify the parameters, double-click the setting. For more information, see “Creating and Modifying Import Settings” on page 266. 4. Open the bin in which you want to store the imported files. 5.
Reimporting Files Reimporting Files If you are working with master clips or sequences that contain imported material, you can use the Batch Import command to reimport the imported files. For example, you might want to do the following: c • Upgrade the video resolution of the imported files to an online resolution for distribution. • Create new media files when the media files are lost or accidentally deleted. Reimporting requires your original source file.
7 Importing Files 6. Select Bin > Batch Import. A message box opens. 7. Click one of the following: Option Description Offline only Reimports only the selected imported master clips that are missing their media files. All clips Reimports all the selected imported master clips. For example, click this button if you need to change the video resolution of the imported master clips. The message box closes and the Batch Import dialog box opens.
Reimporting Files 10. Click the Video Resolution menu, and select a video resolution for all the reimported files. n OMFI and AAF files do not convert DV 25 to DV 50 or DV 50 to DV 25. 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 by clicking the Single/Dual Drives button. 12.
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 303. 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 308
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 310 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 212.
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 To enter Script view: t Click the Script tab in the bin. 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.
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 appears before the bin name in the bin’s title bar. The asterisk indicates that the changes to the bin have not been saved. Once you save the bin, the asterisk is removed.
8 Working with Bins 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. You can move, rename, and manipulate this clip without affecting the original clip.
Bin Procedures 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. Press and hold the Alt key (Windows) or Option key (Macintosh) and drag the clips or sequences to the destination bin, and release the mouse button. The copies appear in the destination bin, and the originals remain in the source bin.
8 Working with Bins Deleting Items from a Bin You can delete the following items from a bin: c n • 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 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 (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. Select the items you want to delete.
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 614. Also, you can reset the clip color to the default color for your Interface settings.
Bin Procedures 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. Click a clip, subclip, or sequence to select it. Ctrl+click (Windows) or Cmd+click (Macintosh) additional clips, if necessary. 2. Select Clip > Lock Bin Selection.
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 Example of finding media relatives. In the bin on the right, objects are highlighted if they relate to the sequence selected in the bin on the left. Selecting Unreferenced Items in a Bin When you select unreferenced clips, your Avid editing application highlights all clips not currently referenced by clips or sequences that are in the open bins. Any master clips, subclips, or effect clips you edited into sequences in the bins do not highlight.
8 Working with Bins Working with Bin Columns The topics in this section describe how to work with the columns of information that appear in the bin when you are in Text view. For more information on Text view, see “Using Text View” on page 311. For information on modifying the information that appears in bin columns, see “Modifying Clip Information” on page 336. Moving, Aligning, and Deleting Bin Columns You can move, align, and delete columns in a bin.
Working with Bin Columns 2. Do one of the following to delete a column: t Click the column heading in a bin, and then select Edit > Delete. t Click the column heading in a bin, and then press the Delete key. The column disappears from the view, and surrounding columns close to fill the space. 3. When you delete a custom column, a confirmation dialog box opens. Select OK to delete the column or HIde to hide the column and save the custom information.
8 Working with Bins To add a new custom column: 1. Click an empty area to the right of the current headings in the headings box. 2. Move any existing column to the right or left to create an empty area. 3. Type the column heading you want, and press Enter (Windows) or Return (Macintosh). Column headings must contain a maximum of 14 characters, including spaces. This places the pointer in the data box, beside the first clip in the bin. 4.
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 Displaying Timecodes in a 24p or 25p Project When you work with 24p and 25p projects (PAL with pulldown), you can add timecode columns to bins or the Media tool to enter and display starting timecodes in several timecode formats for master clips, subclips, and sequences. n For information to display timecodes in the Timeline and the Tracking Information display, see “Displaying Timecode Tracks in the Timeline” on page 619 and “Displaying Tracking Information” on page 460.
8 Working with Bins Adding Timecode Values to the Timecode Columns To add timecode values to the timecode columns: 1. Open a bin or the Media tool. 2. Add the Start column and the timecode column with the format you want to use. 3. Select the Start column. 4. Select Edit > Duplicate. The Select dialog box opens. 5. Select the timecode heading from the list. 6. Click OK.
Modifying Clip Information Bin Column Headings You can select individual or multiple headings to display or hide in a bin. For information on how to select column headings, see “Moving, Aligning, and Deleting Bin Columns” on page 330. Your Avid editing application provides the ability to track multiple film gauges within a bin and within a sequence.
8 Working with Bins Bin Column Heading Aux TC 24 Description Original HDTV sources (1080p/24) or audio DATs created for PAL feature film productions that use in-camera timecode. Auxiliary TC1 through You can enter an auxiliary timecode, such as Aaton® or Arri, or another TC5 timecode for editing film or audio timecode for film. (Not restricted to film projects.) Modifiable after capture with no restrictions. Cadence Type of pulldown present on the source NTSC tapes when in a 23.976 or 24p project.
Modifying Clip Information Bin Column Heading Description IN-OUT Length of the marked segment. Journalist First and last name of a person associated with the clip. Metadata information from a P2 file. Modifiable after capture with no restrictions. Mark IN Timecode for the IN point, if you set one for the clip. Modifiable after capture — altering the mark IN also alters the IN to OUT duration. This replaces any previous mark. Mark OUT Timecode for the OUT point, if you set one for the clip.
8 Working with Bins Bin Column Heading Description Video File Format Clip video file format (OMF, AAF, MXF, or none). VITC Vertical interval timecode. 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.
Modifying Clip Information 3. Click the cell again to enter text. If the pointer does not change to an I-beam, you might be selecting a column that cannot be directly modified. 4. Type the new information, and press Enter (Windows) or Return (Macintosh). 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.
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 288. 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 62. 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 320. 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 If you type 01:08:32:00 in the Text to Find text box in the Custom Sift dialog box, click the Column or Range to Search menu, and select Start to End Range. 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.
8 Working with Bins The table lists all columns associated with explicit ranges and their corresponding menu choices. 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 4. Click the Column or Range to Search menu, and select a range; for example, Start to End Range or Mark In to Out Range. 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.
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 XDCAM and XDCAM EX Media The Sony® XDCAM™ decks and camcorders use an optical disk with either a capacity of 23.3 or 50 GB to store recorded media. The XDCAM devices record media in high-resolution MPEG IMX™, DVCAM™, and XDCAM HD formats or corresponding low-resolution or compressed (proxy) media (MPEG-4).
XDCAM and XDCAM EX Media XDCAM and XDCAM EX Formats and Resolutions Number of Audio Channels (maximum) Resolution/Bit Rate Frame Rate/Raster XDCAM HD: 1080i/59.94, 1080i/50, 1080p/23.976, 2 or 4 720p/50, 720p/59.94*, 1440 x 1080, 2 or 4 1280 x 720 (25/35mb) 2 or 4 2 or 4 XDCAM HD 17.5 Mbits XDCAM HD 25 Mbits XDCAM HD 35 Mbits XDCAM HD 50 Mbits (24-bit audio) 1080i/59.94, 1080i/50, 1080p/23.976, 8 1080p/25, 1080p/29, 720p/59.94, 720p/50, 1920 x 1080, 1280 x 720 XDCAM EX 25Mbits* 1080i/59.
9 File Based Media - AMA Working with XDCAM HD Media Your Avid editing application supports linking of both low-resolution (proxy) and high-resolution XDCAM HD media. XDCAM HD media is recorded in one of the following resolutions: • XDCAM HD LP (long play) (17.
XDCAM and XDCAM EX Media Connecting the XDCAM or XDCAM EX Device Use an IEEE-compliant 1394 (i.LINK) port on your computer to connect the XDCAM device to your system, or use a USB port on your computer to connect the XDCAM EX device to your system. The XDCAM interface is configured to use the SBP2 protocol so you can access the XDCAM device as a disk volume on your system.
9 File Based Media - AMA 3. To use the card again, unplug and then plug-in the XDCAM EX device from your system using the USB cable. This allows your Avid editing application to read the XDCAM EX card. Ejecting an XDCAM EX Card (Macintosh only) If you attempt to eject an XDCAM EX card from the XDCAM EX device, you can eject the card however, you might receive an error message from the operating system. To properly eject an XDCAM EX card, you need to remove the drive from the Macintosh desktop.
P2 Media P2 Media Panasonic’s P2 equipment records DV, DVCPRO, and DVCPRO 50 media on compact, solid-state memory cards (P2 cards). Avid editing applications support editing of media directly from these memory cards, without the need to capture. You can also write your sequence back to the P2 card. The following are recognized as P2 cards by your Avid editing application: • Panasonic P2 cards in an attached reader or camera or in a laptop PC Card slot. • Synthetic P2 cards.
9 File Based Media - AMA P2 Files and Folders Panasonic P2 video and audio media is recorded in MXF format, one of the two media file formats you can use in Avid editing applications. Each P2 card stores MXF files in two folders: • (Windows) drive:\Contents\Audio (Macintosh) Macintosh HD/Contents/Audio • (Windows) drive:\Contents\Video (Macintosh) Macintosh HD/Contents/Video Examples of MXF audio and video files contained in the Audio and Video folders. Top: four audio tracks for a single clip.
P2 Media To install Panasonic P2 drivers: t n Follow the instructions included with your P2 equipment. Download the most up-to-date driver from the Panasonic website, www.panasonic.com. Preparing to Mount P2 Cards as Drives You can mount P2 cards as drives on your desktop. To your Avid editing application, these mounted cards function as individual media drives. n P2 cards can function as media drives even though the MXF files are not contained in an Avid MediaFiles folder.
9 File Based Media - AMA 5. Open Windows Explorer, right-click a drive letter, and select Autoplay from the menu. 6. In the Autoplay dialog box, select “Take no action” and then “Always do the selected action.” 7. Repeat the last two steps for each drive letter associated with the reader. Mounting P2 Cards as Drives If you don’t have enough cards to fill all the slots, you can reuse a card in multiple slots to perform the following drive letter setup.
P2 Media To unmount a P2 drive: 1. Select File > Unmount. The list displays all drives currently available. 2. Select the P2 drive you want to unmount. 3. Ctrl+click (Windows) or Command+click (Macintosh) to select additional drives. 4. Select Unmount. The drives are no longer available to your Avid editing application and you can safely eject the P2 card from the reader on your Windows or Macintosh system.
9 File Based Media - AMA Changing P2 Cards in the Card Reader You can change (“hot-swap”) cards while you work in your Avid editing application. To change one or more cards in the P2 card reader: 1. Remove the old card or cards and insert the new ones. 2. Select File > Mount All. Sharing P2 Clips and Sequences If you work in an Avid shared storage environment, you can share sequences that contain P2 clips in an Avid shared storage workspace.
P2 Media 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. The following illustration shows how clips can span multiple cards. Example of spanned P2 clips. The white rectangles represent P2 cards and the gray rectangles represent clips. The first and third clips span multiple cards.
9 File Based Media - AMA • P2 and XDCAM EX spanned media covers multiple drives, but the bin displays only one drive letter. The drive letter in the bin might be any of the drives, but is usually the highest lettered drive where the media exists. • If necessary, copy all spanned clips to another drive to ensure a clip’s integrity before you swap out the cards. Canon XF Media The Canon XF305 and Canon XF300 camera records MPEG-2 media onto compact flash cards.
Canon XF Media 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.
9 File Based Media - AMA 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.
GFCAM Media 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.
9 File Based Media - AMA 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.
RED Media 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. In the AMA method, Shot Marks are brought over automatically and appear as locators in your Avid editing application.
9 File Based Media - AMA RED Formats and Resolutions The following table lists the formats and resolutions available when you work with RED media: Media Type Resolution RED R3D 2K 2:1 2K 16:9 2K ANA 3K 2:1 3K 16:9 3K ANA 4K 2:1 4K 16:9 4K ANA 4.5K Number of Audio Channels (maximum) 4 RED Files and Folders The RED Camera records a unique clip name and additional files that include the REDCODE RAW files and an optional QuickTime reference file placed in a clip folder (.RDC).
RED Media Connecting the RED ONE Drive or Card Connect the RED Drive directly through an industry-standard USB or FireWire port on your computer, or insert the RED Card into the RED camera and connect to your computer. The drive or card mounts as individual media drives on your desktop and then link to your Avid editing system through AMA. n See RED documentation for specific information about the RED ONE camera, REDFlash card and RED drive.
9 File Based Media - AMA 4. Do one of the following: t Copy and paste the contents of the folder to the folder on the other drive. t Click the drive or card folder and drag it to the folder on the other drive. 5. Remove the drive. Adjusting RED Source Settings When you link to R3D (RED) files, the Avid editing system reads each REDCODE RAW file directly. You can then change the clip’s color values: color balance, exposure, and contrast in the Source Settings window.
RED Media 3. Drag the video slider to the frame you want to view. The new frame displays and the histogram updates. The histogram is a tool that helps you more precisely adjust Source Settings. For more information about the histogram, see “Understanding the Source Settings Histogram” on page 384 4. Set the appropriate options: Option Description Color Space Choose from: Camera RGB: as close to RAW REC.
9 File Based Media - AMA 380 Option Description 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 2.2 curve REDLog: maps the 12-bit sensor data on to a 10-bit curve with minimal loss REDSpace: based on REC.
RED Media Option Description Brightness Adjusts the overall brightness of the image. Lifts blacks without affecting the white level. Click and drag the slider from -10.00 to 10.00. Default is 0.00. Contrast Adjusts the tonal range of the image, which usually improves sharpness and detail. When you increase the Contrast, it increases tonal separation between adjacent gray levels but decreases the total number of discreet gray levels in the image. Click and drag the slider from -1.00 to 1.00.
9 File Based Media - AMA Using Source Settings Source Settings lets you choose from a selection of preset templates or you can create your own look. Each source setting has its own color values associated with it.
RED Media 2. Select a setting (template) from the Source Settings menu. Source Settings vary depending on the files or templates loaded on your system. Setting Origin Camera Metadata Settings Default Default Settings Default Grade (RSX) Settings RED Alert! filename RLX Setting RED Alert! Grade (RMD) Setting REDCINE-X Custom User created in Avid 3. Click Apply.
9 File Based Media - AMA 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. The histogram plots color values on the horizontal axis and the percentage or proportional number of pixels on the vertical axis.
RED Media 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.
9 File Based Media - AMA 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.
QuickTime Media 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. These codecs automatically install on your Avid editing system.
9 File Based Media - AMA 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. MXF is designed to be flexible enough for use in all stages of content creation, from acquisition, to authoring, to distribution.
MXF Media MXF Formats and Resolutions The following table lists the formats and resolution by vendor that have been qualified with the MXF plug-in: 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 1080i59, 1080i50 4 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.
9 File Based Media - AMA Number of Audio Channels (maximum) Company Resolution/Bit Rate Raster/Frame Rate Canon DVCPRO 50: DV 50 SD NTSC 30i and PAL 25i 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 Sony, Ikegami n 4 4 or 8 4 1080i/59.94, 1080i/50, 4 1080p/23.
The Avid Media Access (AMA) Workflow 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 332. The following considerations and limitations apply: • When the AMA setting is activated, the non-AMA method does not appear in the File menu.
9 File Based Media - AMA To set up AMA: 1. In the Project window, click the Settings tab. 2. Double-click AMA. The AMA Settings dialog box appears. 3. Click the Volume Mounting tab. 4. 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.
The Avid Media Access (AMA) Workflow 7. To customize your bin, click the Bins tab. By default, the system links your clips into a new bin using the same name as your project name. If you want to change the bin name or want to use an already existing bin, you can make these changes in the Bins tab. For more information on Bins options, see “AMA Settings: Bins Tab” on page 1232.
9 File Based Media - AMA AMA Linking with Multichannel Audio You can use the AMA Settings dialog box to define the audio track formats for the audio channels in your linked media, up to a maximum of 16 audio channels for the clips in your bins. This allows you to specify which source channels are treated as mono or multichannel audio tracks in your project, rather than having to modify the clips in your bin after you link to the AMA media.
The Avid Media Access (AMA) Workflow 4. Click Edit. The Set Multichannel Audio dialog box opens. 5.
9 File Based Media - AMA You must map source audio channels in mono or stereo pairs. For example, you cannot map A1 to a mono track and A2 and A3 to a stereo track. Instead, map A1 and A2 to mono tracks, and A3 and A4 to a stereo track. If the source media does not have an audio channel on A2, the Avid editing application ignores the channel. 6. Click OK to close the Set Multichannel Audio dialog box, and then click OK to close the AMA Settings dialog box.
The Avid Media Access (AMA) Workflow To automatically link clips on a volume with AMA: 1. Connect the drive or card reader through a USB or FireWire port on your computer, insert a card or disk. The system scans the device and links the clips into the default bin and with the default multichannel audio track formats (based on the AMA settings). The clips highlight in yellow.
9 File Based Media - AMA 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.
The Avid Media Access (AMA) Workflow 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 with the default multichannel audio track formats (based on the AMA settings). The clips are highlighted in yellow. If the system cannot link a file, an error message displays informing you to open the Console window for more information about the file(s) in error.
9 File Based Media - AMA To link to low-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 1232. 3. Click the Quality tab. 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.
The Avid Media Access (AMA) Workflow Switching Between Multiple Resolution Media Once you link to the low-resolution or high-resolution media and complete your edits, you can easily switch from low to high and high to low-resolution media. When you switch to a different resolution, the system replaces the clip in the bin with the new clip and resolution. The steps below highlight switching from low-resolution to high-resolution media. You can also switch from high-resolution to low-resolution.
9 File Based Media - AMA Consolidating Multiple Resolution Media When you are ready to move your media to shared storage, you can link to your resolution and consolidate at the same time. The steps below highlight consolidating high-resolution media. You can also consolidate low-resolution media. For information on why you should consolidate, see “Consolidating Media” on page 425. To consolidate high-resolution media: 1. In the Project window, click the Settings tab. 2. Double-click AMA.
The Avid Media Access (AMA) Workflow The resolutions you select in the Consolidate Preference area of the AMA Settings Quality tab displays in the Transcode/Consolidate dialog box when you consolidate or transcode. Relinking to AMA Files After you link AMA QuickTime files into your sequence, you have the option to make changes (in a third party applications, such as Adobe After Effects) to that file.
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. The Canon XF AMA plug-in and the MXF AMA plug-in should be 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 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. 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. If your high-resolution media is on a shared storage device and Avid DS has access to the device, Avid DS automatically relinks to the RED files. 8. Remove the RED drive or card.
Workflows for Editing with AMA 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. If you change the number of tracks, change the duration of the clip or change the clips file name, when you relink through AMA, the system creates a new clip and will not overwrite or replace the existing clip in the bin.
9 File Based Media - AMA Workflow for Editing MXF Clips with AMA A typical workflow is as follows: 1. The MXF AMA plug-in should be 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 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. For information on mounting workspaces, see “Mounting Workspaces on an Avid Unity MediaNetwork System” on page 1120 and “Mounting Workspaces on an Avid ISIS System (Version 2.
10 Managing Media Files To enable the client to recognize LANshare workspaces: 1. Open a bin. 2. Double-click PortServer in the Settings list of the Project window The Port Server Settings dialog box opens. 3. Select “Auto-connect to LANshare at Launch.” 4. Click Connect, and then click OK. The dialog box closes, and auto-connect is set.
Mounting and Unmounting Drives This is useful in several circumstances: n c • 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 420. 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 425. 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 1234. 7. Click Consolidate in the lower right corner. The Copying Media Files dialog box opens. 8.
Using the Transcode Command 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. If you have a sequence composed of clips that use different resolutions, you can use the Transcode feature to create a sequence in which all clips use a single resolution. The Transcode option also lets you convert from OMF to MXF, and from MXF to OMF, except in HD projects where MXF is the only available format.
10 Managing Media Files The Consolidate/Transcode dialog box opens. 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 1157.
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 You should refresh the media directories after you add or remove media from the media drives. For example, after you have physically moved drives). If you physically add a drive, use the Mount All command. See “Mounting and Unmounting Drives” on page 419. 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.
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 438
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 To relink master clips, subclips, or sequences: 1. Select the unlinked object or objects in the bin. 2. Select Clip > Relink. The Relink dialog box opens.
Relinking Media Files 3. Select options.
10 Managing Media Files Option Description Video Relink Parameters Relink to: Video format of current project only: Restricts relinking to the current video format (listed in the menu option). Any HD video format: Restricts relinking to HD formats only. Relinking searches for any available HD formats. Any SD video format: Restricts relinking to SD formats only. Relinking searches for any available SD formats. Any video format: Relinks to any available HD and SD formats.
Relinking Media Files Option Description If no match is found: Use Existing Media: Your Avid editing application displays the media to which the clips are currently linked. Unlink (Take Offline): Your Avid editing application unlinks the clip and displays the message Media Offline. Create new sequences Leaves existing sequences alone and relinks only to copies with .relinked appended to their names. This option is selected by default. 4. Click OK.
10 Managing Media Files 7. If you selected Specific Resolution as your Relink method, Select one of the following: t Use Existing Media — displays the media to which the clips are currently linked t Unlink (Take Offline) — unlinks the clip and displays the message Media Offline If you are working in an offline resolution and want to capture in a higher resolution, select Unlink to ensure that you recapture all the media at the higher resolution.
Relinking Media Files Relinking Consolidated Clips If the appropriate media exists online, you can reconnect consolidated clips, subclips, or sequences to the new or old media files. For example, if you consolidated a sequence and forgot to create a duplicate, and later decide to use the original media files instead of the consolidated media files, you can break the new link and reestablish the old link to the original files.
10 Managing Media Files Unlinking Media Files You can use the Ctrl and Shift keys to modify the Relink command for unlinking clips from their media files. n Because subclips and sequences do not point directly to the media files, you can perform this procedure only by using the source master clips. To unlink master clips from their current links: 1. Select the master clips to unlink. 2.
Archiving and Restoring Media Files to Videotape You can use the archiving process to: • Archive completed projects that you can restore at a later date if you need to reedit the project. • Provide more space on the media drives for a new project. • Create backups of your project files. • Move a project to another workstation. When you archive a project, the source media files are archived to videotape, and then you save the project files.
10 Managing Media Files To archive a video project’s media files: 1. Set up the Digital Cut tool as follows: a. Select Clip > Digital Cut. The Digital Cut tool opens. b. Click the Deck Selection menu, and select a deck. c. If the Select Tape dialog box opens, click Cancel to leave Tape Name unspecified. d. (Option) Select the Custom Preroll option, and select the number of seconds to indicate how many seconds the tape will roll before the archiving process starts.
Archiving and Restoring Media Files to Videotape 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.
10 Managing Media Files The Archive Length area displays the calculated length of time required for archiving the media files. The archiving process might require more time than indicated because individual clips are not divided between tapes. 9. Under the “Enter the quantity of tapes available for the archive” area, do one of the following: t Type the number of blank videotapes needed for the archive next to the length of time of your blank tapes.
Archiving and Restoring Media Files to Videotape To restore an archive from videotape: 1. Copy the project files to the Avid Projects folder. For information about the location of the Avid Projects folder, see “Avid Projects and Avid Users Folders” on page 39. 2. Open the project in your Avid editing application. 3. Open the archived bin. 4. Select Tools > Capture, and set the following options in the Capture tool: a. Click the Deck Selection menu, and select a deck. b.
10 Managing Media Files Sequence and Clip Information Summary You can generate a report to display information about the contents of a sequence. For example, you can generate a list of the types of effects in your sequence or the location of a particular effect. You can also create a clip summary or a source summary. This allows you to display a list of clip names, tape names, offline clips, and path locations of imported clips contained in your selection.
Sequence and Clip Information Summary Creating a Summary of Effects and Source Information Before you use the Sequence Report dialog box to create a summary of effects, source information, or clip information, you might want to do the following: n • Determine if you want the report to cover specific tracks or a section of the sequence between In and Out points.
10 Managing Media Files 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 455. 4. Click Generate Report.
Sequence and Clip Information Summary 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. If you have selected individual tracks or selected IN and OUT points, only those effects that fall within those parameters appear.
10 Managing Media Files Summary Option Suboption Create Clip Summary or Create Source Summary 456 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.
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 Methods You can work with clips and sequences in several ways, depending on your needs and preferences. Each method has its own uses and advantages, as described in the following table: 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 315 and “Using Script View” on page 317.
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 Description 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 Info Window To display information from the Source/Record monitor: 1. Do one of the following: t Right-click the monitor and select Get Info. 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.
11 Viewing and Marking Footage Using the Timecode Window Each monitor has two lines available to display timecode as described in “Displaying Tracking Information” on page 460. The Timeline also displays one line of timecode. In addition, the Timecode window lets you display up to 48 lines of timecode in a separate window. When you are working with a 24p or 25p project, you can display additional timecode information in the Timecode window.
Playing Video to the Client Monitor The window displays the timecode you have chosen. The Timecode menu contains the same options as the Tracking Information menu. For a description of the Timecode options, see “Displaying Tracking Information” on page 460. 3. To add an additional line of timecode, click Add Line, then click the new line and select an option. 4. To change the size of the font displayed in the Timecode window, select Size > font size. 5. Click the Close button to close the Timecode window.
11 Viewing and Marking Footage If you are using the Play Length Toggle button to limit the length of the material in the Timeline, the Play button is highlighted in white. You should check the color of the Play button, and if necessary turn off the Play Length function, before an important play and review session, such as when you want to play the entire sequence to the Client monitor. For more information on the Play Length function, see “Playing a Limited Duration of a Sequence” on page 561.
Selecting the Video Display Settings To enable or disable Client monitor display: t Click the Toggle Client Monitor button in the Timeline bottom toolbar. Client monitor display becomes active or inactive. The Toggle Client Monitor button has a blue monitor icon when the Client monitor is active, and has a black monitor icon with a red diagonal line when the Client monitor is inactive.
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 1316. 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 n You can adjust settings to optimize playback performance in the monitors. For more information, see “Video Quality Options for Playback” on page 486 and “Setting the Video Quality for Playback” on page 488.
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 Using Position Bars and Position Indicators You can quickly access frames or move within loaded footage by using the position indicators that appear in the position bars under the monitors (and in the Timeline when you are viewing a sequence). The position bars represent the length of the clip or sequence, and the position indicator marks your current position in the clip or sequence.
11 Viewing and Marking Footage To access frames in or move through loaded footage, do one of the following: 1. If you want to use the position indicator in the Timeline to view footage, do one of the following: t Deselect the segment tools on the Timeline palette, or click the Smart tool toggle bar to deselect all edit tools on the Timeline palette. t Position the mouse pointer over the Timeline ruler or the Timecode (TC1) track to move through the sequence. 2.
Controlling Playback Playback Control Buttons You can use the buttons that appear below the Source/Record monitor and in the pop-up monitors to play and step through your footage. You can also use additional buttons available in the Command palette to control playback. You can remap Command palette buttons onto some existing button locations (for example, in the Tool palette) or to the keyboard. For more information about mapping user-selectable buttons, see “Understanding Button Mapping” on page 98.
11 Viewing and Marking Footage Button Primary Default Location Function (Continued) Step Forward button Monitors Moves the footage one frame forward. • Press and hold the Alt key (Windows) or Option key (Macintosh) while clicking the button to move 10 frames (NTSC and PAL) or 8 frames (24p) forward. Step Backward 10-frames or 8-frames button Move tab in Command palette Moves the footage 10 frames backward (NTSC or PAL) or 8 frames backward (progressive formats).
Controlling Playback To use single-field step: 1. Click the Step Forward One Field button or the Step Backward One Field button. A number 2 displays in the upper right corner of the monitor to indicate you are parked on field 2 of a frame. (The absence of the number 2 indicates you are parked on field 1 of the frame.) Subsequent single-frame steps are based on this field. 2. Continue to click the Step Forward One Field or Step Backward One Field button to view each field of a frame.
11 Viewing and Marking Footage The following table describes the default keyboard mappings for basic playback control for a keyboard used in the United States: Keys Function • Left quote or tilde Start and stop playback key (above Tab key) • Tab key • 5 key • Space bar 1, 2, 3, and 4 keys • 1 key—moves the footage 10 frames backward (NTSC or PAL) or 8 frames backward (progressive formats) • 2 key—moves the footage 10 frames forward (NTSC or PAL) or 8 frames backward (progressive formats) •
Controlling Playback To shuttle through the footage using the J-K-L keys on the keyboard: 1. Do one of the following: t Load a clip or sequence into the Source/Record monitor. t Open a pop-up monitor. t Select a clip in a bin in Frame view. 2. Use the following keys to shuttle at varying speeds: t Press the L key to move forward through the footage at normal speed.
11 Viewing and Marking Footage For example, you are shuttling backward with the J key at 2x normal speed. Press and hold Alt and tap the L key once. Play slows to backward at normal speed (1x speed). Hold Alt (Windows) or Option (Macintosh) and tap L once again. Play stops. Continue to hold Alt (Windows) or Option (Macintosh) and tap L once again. Play goes forward at normal speed. Continue to hold Alt (Windows) or Option (Macintosh) and tap L once again. Play goes forward at 2x normal speed.
Playing Back to a DV Device To play back to a DV device connected through a 1394 port: 1. If you are using Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following to instruct your Avid editing application to play out through the 1394 port: t Click the DNA/1394 button in the Timeline top toolbar to display DNA or 1394, depending on how the DV device is connected.
11 Viewing and Marking Footage Video Quality Options for Playback Your Avid editing application provides a range of video quality options for playback. Depending on your system configuration and the complexity of your sequence, you might need to switch to a lower quality option to avoid missing frames or choppy video during real-time playback.
Video Quality Options for Playback Video Quality Name and Icon Description (Continued) Draft Quality Processes and plays a subsample of the full image raster for the project that uses 1/4 of the image information. Uses a bit depth of 8 bits. This option subsamples 50% of the raster width. For interlaced projects, this option uses one field. For progressive projects, this option uses 50% of the scan lines.
11 Viewing and Marking Footage Setting the Video Quality for Playback To set the video quality for playback: 1. If you are using Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following, depending on how your external device is connected: t Click the DNA/1394 button above the Timeline to display either DNA or 1394. t Select Special > Device, and then select Avid DNA or IEEE 1394. 2.
Marking and Subcataloging Footage You can mark IN and OUT points for your clips while in the bin, which provides several advantages: • You can quickly build a sequence by splicing the marked clips into place one after another. • You can use the process of rough-cut or storyboard editing, which lets you instantly splice several prepared clips into a sequence, as described in “Creating an Instant Rough Cut” on page 536.
11 Viewing and Marking Footage In the monitor, a Sawtooth icon appears on the left to indicate the mark IN frame. Sawtooth icon in the frame, and marked IN point, in the monitor 4. Continue moving through the material. 5. Mark an OUT point by doing one of the following: t Click the Mark OUT button under the monitor to mark an OUT point and stop playback. t Press the Mark OUT key when marking a clip in a bin. By default on United States keyboards, the Mark OUT key is the O key.
Marking and Subcataloging Footage 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. To set a new OUT point: t Click the Mark OUT button or press the Mark OUT key when you reach a different frame.
11 Viewing and Marking Footage Subclips do not directly reference the original media. Subclips remain linked to the master clips from which they are created, and the master clips, in turn, reference the captured media files located on your media drives. As a result, none of the original footage is lost. In most projects, subclips do not limit your access to the original, captured master clip material when trimming.
Using Locators 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. You can map the Audio Mark buttons from the Edit tab of the Command palette. For information on mapping buttons, see “Understanding Button Mapping” on page 98. To mark IN and OUT points on audio tracks: 1. Load a clip or sequence into a monitor. 2.
11 Viewing and Marking Footage There are eight Add Locator buttons in the More tab of the Command palette. Each Add Locator button is a different color, which lets you group locators by color. For example, you can use the red Add Locator button to identify color correction frames and use the blue Add Locator button to identify cutaway shots. You can map Add Locator buttons, as described in “Understanding Button Mapping” on page 98.
Using Locators Use Description Import and export locators Import or export locators from one sequence or clip into another sequence or clip. See “Exporting and Importing Locators” on page 502. When you insert a locator, it appears as an oval in the Timeline, in the position bar, and at the bottom of the frame in the monitor. The color of the oval corresponds to the color of the locator button you used.
11 Viewing and Marking Footage 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. Type your comments in the comment area of the Locator edit entry window. 6.
Using Locators 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” on page 99. 4.
11 Viewing and Marking Footage 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.
Using Locators 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. Moving to the Previous or Next Locator You can move to a frame marked by a locator by using the Go to Previous Locator button or the Go to Next Locator button.
11 Viewing and Marking Footage 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.
Using Locators 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.
11 Viewing and Marking Footage 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.
Using Locators To export locators: 1. From the Locators window, right-click and select Export Locators. A dialog box opens, asking if you want to export only the selected locators or export all locators. 2. Click All or Selected. The Choose location for Exported Locators dialog box opens. 3. 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.
11 Viewing and Marking Footage Copying and Pasting Locators Using the Locators Window You can use the Locators window to copy a single locator or multiple locators and then paste them into another clip or a sequence. The copied locator is placed in the same frame position when it is pasted into the new clip. If the frame position does not exist in the new clip, then the paste does not occur. You can also use a text editor to cut and paste locators in the Locators window.
Using Locators 3. Load a sequence into the Source/Record monitor or into the Timeline. 4. Click the Locator window and do one of the following: t Select Edit > Paste. t Press Ctrl+V (Windows) or Command+V (Macintosh). The locator is pasted into the sequence. 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.
11 Viewing and Marking Footage To print the complete contents of the Locators window: 1. Make sure your printer is correctly set up. 2. Click the Locators window to make it active. 3. Press Ctrl+Alt+P (Windows) or Command+Option+P (Macintosh) to place the locator information in the Console window. 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.
Finding Frames, Clips, and Bins To keep the Locator edit window from opening: 1. Select Tools > Locators. The Locators window opens. 2. Select Disable Locator Popup Always from the Fast menu. The Locator edit window now does not open even if you double-click a locator. 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.
11 Viewing and Marking Footage This lets you enter timecode using standard keys on the keyboard, such as the number keys and the Enter key (Windows) or Return key (Macintosh). 4. Enter the timecode for the frame by using the numeric keypad on the right side of the keyboard. If you have performed step 3 on a notebook computer or a keyboard that does not have a dedicated numeric keypad, use the standard keyboard number keys. Example of timecode entry with the numeric keypad.
Finding Frames, Clips, and Bins To cue a frame using frame offset timecode: 1. Click the monitor that is displaying the clip or sequence that you want to search. 2. (Option) If you are using a notebook computer or a keyboard that does not have a dedicated numeric keypad, press and release the left Control key twice quickly. This lets you enter timecode using standard keys on the keyboard, such as the number keys and the Enter key (Windows) or Return key (Macintosh). 3.
11 Viewing and Marking Footage Searching for a Clip or Sequence with Text Find Text Find allows you to enter text or timecode (alphanumeric) and search bins, Scripts and the Timeline for the information you enter. You can customize your search by selecting to only search within the current project or search all bins across a single project. The Text find feature is included with your Avid editing application. PhraseFind (the phonetic find feature) is purchased as a separate option.
Finding Frames, Clips, and Bins 3. Select to search in Clips and Sequences, Script Text, or Timeline and Monitors. 4. If you select Clips and Sequences, then select from the menu: Bins in Project Bins and Scripts in Project The system searches for the text criteria in all the bins/scripts within the project regardless if the bin/script is currently opened. Current Bin The system searches for the text criteria in only the bin/script that is opened and selected. 5.
11 Viewing and Marking Footage Searching for a Clip or Sequence with Text Find Text Find allows you to enter text or timecode (alphanumeric) and search bins, Scripts and the Timeline for the information you enter. You can customize your search by selecting to only search within the current project or search all bins across a single project. The Text find feature is included with your Avid editing application. PhraseFind (the phonetic find feature) is purchased as a separate option.
Finding Frames, Clips, and Bins To use Match Frame to locate the source clip for a selected frame or motion effect: 1. Load a sequence into the Source/Record monitor. 2. Move the position indicator to the frame or motion effect that you want to match. 3. In the Track Selector panel, select the track for the frame that you want to match. For more information, see “Understanding the Track Selector Panel” on page 644 and “Selecting Tracks for Matching Frames” on page 514. 4.
11 Viewing and Marking Footage Selecting Tracks for Matching Frames Track selection determines the match frame. If you select a video track, your Avid editing application m matches a frame from the video. If you enable several tracks, your Avid editing application matches the frame from the highest selected track level, in descending order: V1, A1, A2, and so on. You can match frame a single track without having to turn off all other tracks.
Sequence and Clip Information Summary Locating a Master Clip from a Subclip in a Sequence You can use the Match Frame and Find Bin buttons together to find the original clip in the bin for a subclip that was edited into a sequence. n For this operation, you must have the monitors in the two-monitor display and the Match Frame button must be mapped below both the Source and Record monitors. To locate a master clip from a subclip: 1. Cue to the subclip in the sequence. 2.
11 Viewing and Marking Footage Example 2: Finding Specific Effects You use the Effect Summary and Effect Location List to find a particular effect. When you output the summary to a text editor, you can search the report to find all occurrences of the particular effect. In addition, you can type the start or end timecode value for each occurrence into the Source/Record monitor to go to the start of the effect in the Timeline.
Sequence and Clip Information Summary 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.
11 Viewing and Marking Footage 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.
Sequence and Clip Information Summary Summary Option Suboption Description Show Missing Effects Select this option if you want to only display the Only plug-in effects missing from your sequence. Plug-in effects that are missing in your sequence display as “Unavailable Effect,” but also lists the type of effect and other important information which help you identify the type of effect. This option is helpful when you move your sequence to a system that does not have the plug-in installed.
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12 PhraseFind The PhraseFind option (phonetic find) finds audio dialogue throughout your bins in a single project. PhraseFind indexes all the audio in your bins (based on the language you choose) and then based on text criteria you enter. The system searches through all available columns in your bins for that specific criteria. The database returns the results of your find in the Results window. You can then filter those results to find exactly what you are looking for.
12 PhraseFind To select a language: 1. Press Ctrl+F (Windows) or Cmd+F (Macintosh), or select Edit > Find. The Find window opens. 2. Select your language from the Language menu. n Languages only appear in the menu if you have purchased additional language packs. The system indexes the data files. If you change the language, a dialog box opens asking if you are sure you want to change your language.
Starting an Audio (Phonetic) Find n The system creates a SearchData folder located in your Projects folder when you index text or phonetic searches. 2. Make sure a language is selected. 3. Type a word or phrase that describes the dialogue you are looking for in the text box. 4. Click the Clips and Sequences tab. n The Script Text tab and Timeline and Monitors tab do not apply to PhraseFind. 5.
12 PhraseFind The Results Window The results of your find display in the Results window for both Text Find and PhraseFind.You can then filter your findings to narrow your results. You can also choose to display specific columns, and sort or move columns. The system displays the total number of items Found after your search and the system also displays the number of items found After filtering. The system clears the Result window when you close the project.
Filtering Your Results To load a clip in the Source monitor: t Click Load into monitor. When you double-click a clip in the Results window, the clip opens in the Source monitor. If you select multiple clips, the system opens that many Source pop-up monitors. n Loading the clip in the Source monitor is dependant on the option you have chosen for “Double-click loads object in” in your Bin Settings. Filtering Your Results You can narrow your search results to display less results.
12 PhraseFind Find Window Attributes The following table describes the attributes available in the Find window for PhraseFind and Text Find. 526 Results Window Attributes Description Find: Allows you to enter your search text criteria. Find Click this button when you enter text in the textbox and you are ready for the system to search for your alphanumeric results.
Find Window Attributes Results Window Attributes Description Whole words only Available when you select Current Script. Select this option when you only want to find that word. For example with this option selected, if you enter “eat,” the system will only find eat. Not eating, eats, neat. Select Columns Opens a dialog box which allows you to select columns to display in the Results window.
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13 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
13 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 531) and determine the numbers and types of tracks (see “Track Display for New Sequences” on page 532) to use before you make the
Creating a New 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. t With a sequence loaded in a monitor, right-click the monitor and select Sequence Report. The Sequence Report dialog box opens. Start timecode text box in the Sequence Report dialog box 2. Type a new name in the Name text box.
13 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 156. 4. For 24p or 25p projects, select the start key number (Starting EC) and type a new start key number. 5. Click Apply Changes. 6.
Creating a New Sequence The following illustration shows the default Timeline for a new sequence, with no material loaded in the Source monitor. 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.
13 Creating and Editing Sequences 4. Click the Splice-in or Overwrite button to edit the filler into the sequence. Splice-in button (left) and Overwrite button (right) For more information, see “Performing an Insert or Splice-in Edit” on page 538 and “Performing an Overwrite Edit” on page 539. 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 530.
Making a First Edit 4. Click the Splice-in button to add the edit to the sequence in the Source/Record monitor. 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.
13 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 642. 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.
13 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).
13 Creating and Editing Sequences 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. The sync frame can be an In point, Out point, or any frame in between that you want to sync to a frame in the existing clip in the sequence. 2. Move the position indicator to select the sync frame in the sequence for the edited segment that you want to replace. 3. Click the Replace Edit button (blue).
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
13 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 543. 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.
13 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.
13 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 1316.
13 Creating and Editing Sequences Transcoding Mixed Rate Material You can transcode clips of any edit rate, including clips that you have edited into a sequence, to any resolution available within your current project. You might need to transcode mixed-rate material as part of common workflows like offline/online conversion or creation of a QuickTime reference movie.
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.
13 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 43 and “Changing the Aspect Ratio for a Project” on page 550. 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 To recreate titles at the new aspect ratio: 1. After you have switched to the new aspect ratio, select a clip on the Timeline that has a title that you need to recreate. 2. From the main menu, select Clip > Recreate Title Media. A new title will be recreated in the bin with the new aspect ratio. 3. Continue recreating all other titles on your timeline using the same steps.
13 Creating and Editing Sequences To set the Reformat value for an individual clip or subclip: 1. Open the bin containing the clip or subclip you want to modify. For more information, see “Opening and Closing Bins” on page 63. 2. Click the Text tab. 3. (Option) If it is not already visible, display the Reformat bin heading. For more information, see “Using Text View” on page 311. 4. Click the Reformat field for the clip or sub-clip, and select an option.
Mixing Frame Sizes and Aspect Ratios Option Description Stretch Scales the clip to match the width and height dimensions of the sequence. If the clip’s aspect ratio does not match the sequence’s aspect ratio the image is distorted (stretched or squeezed). The illustration shows an example where a 4:3 clip is placed in a 16:9 sequence. The clip is stretched horizontally to accommodate the width of the sequence.
13 Creating and Editing Sequences Option Description Center crop, preserve aspect ratio Scales and crops the clip to be the smallest size possible while filling the entire frame. The resulting image is centered in the frame. The illustration shows two examples. When you edit a 16:9 clip into a 4:3 sequence (left), the resulting segment is cropped at the sides. When you edit a 4:3 clip into a 16:9 sequence (right), the top and the bottom of the segment are cropped.
Lifting, Extracting, and Copying Material To refresh a sequence, do one of the following: t Load the sequence into the Record monitor and then, with either the Composer window or the Timeline window active, select Clip > Refresh Sequence > refresh command. t Right-click the sequence in the bin, and then select Refresh Sequence > refresh command.
13 Creating and Editing Sequences Lifting removes selected material from a track in the sequence and leaves black filler or silence to fill the gap. You can later move or fill this gap with other footage. When you lift material, the overall duration of the track (or sequence) remains the same. Extracting removes selected material from a track in the sequence and closes the gap left by its removal. When you extract material, you shorten the duration of the track or sequence.
Lifting, Extracting, and Copying Material To copy material to the Clipboard: 1. Mark In and Out points at the start and end of the material in the sequence that you want to copy. 2. Select the tracks containing the material. The system performs the function on selected tracks only. For more information on track selection, see “Understanding the Track Selector Panel” on page 644. 3. Click the Copy to Clipboard button.
13 Creating and Editing Sequences To place a marked section of the sequence into the Clipboard at any time: t Click the Lift, Extract, or Copy to Clipboard buttons. Left to right: Lift, Extract, and Copy to Clipboard buttons To keep the Clipboard contents throughout a session, do one of the following: t Press Alt key (Windows) or Option key (Macintosh) when you copy, lift, or extract the material. The contents appear as a clip in the Source monitor, and the name “Sequence name.
Playing Back a Sequence 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.
13 Creating and Editing Sequences 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.
Understanding Sync Breaks 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.
13 Creating and Editing Sequences 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.
Fixing Sync Breaks Task Tips Trimming Sync lock tracks to avoid breaking sync or use the Alt (Windows) or Option (Macintosh) key function for adding black during trims. For more information, see “Maintaining Sync While Trimming” on page 687. 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.
13 Creating and Editing Sequences To restore frames to sync while Trimming: t Perform one or more single-roller trims on the out-of-sync tracks. 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 669. 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.
Understanding Sync Lock • You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. • Sync lock affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you add, move, trim, or remove material anywhere in the sequence.
13 Creating and Editing Sequences To mark sync points with locators: 1. Move the position indicator to the point in the sequence where you want to maintain sync between two or more tracks. 2. Select all tracks where you want the locators to appear. 3. Click an Add Locator button. The system adds a locator to the enabled tracks in the Timeline and in the Record monitor.
Ganging Footage in Monitors Using Add Edit When Trimming When you trim with several audio tracks in sync, you can create an edit in the silent or black areas of the synced tracks. They occur in line with the track you trim, and they trim all the tracks at once to maintain sync. n You can also add an edit to filler. For more information, see “Working with Add Edits (Match Frames)” on page 661. To use the Add Edit button while trimming: 1. Move the position indicator to the edit that you want to trim. 2.
13 Creating and Editing Sequences As you move through footage in one monitor, the footage in all other monitors freezes. The footage is updated when the play stops. Simultaneous full-motion playback is not possible, although the system maintains sync at all times. 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 Clips • 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.
13 Creating and Editing Sequences 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.
Adding Audio or Video to Original Videotape Using AutoSequence 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.
13 Creating and Editing Sequences 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 537. 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.
Creating Video and Audio Leaders 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.
13 Creating and Editing Sequences 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 661. b. Move the position indicator before the first add edit, and open the Audio Mixer tool. c.
14 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
14 Script-Based Editing Understanding Lined Scripts The conventional lined script evolved during decades of trial and error in Hollywood. It provides assistant editors and chief editors with a road map that helps them find the coverage they need to edit scenes in a film or television show. The script-based editing feature in your Avid editing application lets you adapt the lined script to the digital realm for use in any type of production, from drama to documentary to spot advertising.
Understanding Lined Scripts The following table summarizes the lining techniques and numbering system shown in the example. Master shot The line labeled 33/1 is the master shot that usually covers all the action in a wide shot. The first number in the label indicates the scene number as written on the script (scene 33). The number following the slash indicates that this is the first take captured on film for the master shot. A second take of the master shot, for example, would be labeled 33/2.
14 Script-Based Editing Script Integration — Lining in the Digital Realm Script integration in your Avid editing application enhances the traditional lined script system described in “Understanding Lined Scripts” on page 576. Unlike the traditional lining of a script, digital script integration usually happens after the shoot. For example, the assistant editor uses the notes of the continuity person as the basis for script integration.
Script Integration — Lining in the Digital Realm 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. Click a Takes tab to select the take.
14 Script-Based Editing The following is an example of an audiovisual script for a news magazine piece imported into the Script window, with the basic features of script integration applied. 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.
Working with the Script Window You can also specify the text encoding of the script from the Script menu. This ensures that diacritical marks and multibyte character sets appear correctly in your script. Script Window Behavior The Script window behaves in many respects like a bin: • When you make changes in the Script window, an asterisk appears in the title bar to indicate that the changes are not yet saved.
14 Script-Based Editing To set Script settings: 1. Double-click Script in the Settings list in the Project window. The Script Settings dialog box opens. 2. Make the changes to settings that you need, and then click OK. For information on the settings, see “Script Settings” on page 1310. 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.
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.
14 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 To select a single line of script: t Click anywhere in the line to highlight it. To select several lines of script, use one of the following methods: t Lasso the first line of the selection, drag through the text, and release the mouse button when you finish lassoing the lines you want to select. As you drag, a box outlines your selection. After you release the mouse button, the text is highlighted.
14 Script-Based Editing 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. When you select Edit > Paste, the system replaces the selected lines with the text you cut or copied in step 2. You cannot use the Undo command after performing this step. 5. Do one of the following: t Click Replace to overwrite the selected line.
Working with Page or Scene Numbers and Searching in a Script 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. Type the number for the scene or page, and click OK. The scene number appears in the left margin.
14 Script-Based Editing 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 602. 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.
14 Script-Based Editing A slate frame appears above the text, with one or more of the takes covering the scene as lines. 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.
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 594.
14 Script-Based Editing 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 580. 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.
14 Script-Based Editing 3. Select Delete Takes, and click OK. The slate and all its takes are deleted from the script. 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 589.
Working with Takes in the Script Window To add another take to an existing slate: 1. Select the region of the script that the take covers. 2. Open the bin that contains the clip for the take. 3. Drag the clip to the slate. 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.
14 Script-Based Editing To change the representative frame that appears in the slate for a take: 1. Select the Takes tab in the Script window. 2. Press the appropriate arrow keys or step keys on the keyboard to advance the footage displayed in the slate forward or backward to the frame you want. You can also select multiple takes and advance them all at once. To load individual takes into the Source monitor: t Double-click any Takes tab.
Using Color Indicators in the Script Window To indicate off-screen dialog: 1. Select the range of script containing the off-screen dialog. 2. Select one or more takes that you want to mark with the off-screen indicator. 3. Click the Set Offscreen button in the Script window toolbar. The off-screen indicator appears, superimposed on the selected takes of the highlighted range of the script. You can switch the indicators on or off by clicking the button repeatedly.
14 Script-Based Editing Script Marks Script marks let you synchronize individual lines of script with matching points in captured clips. When you place a mark in the script, an IN point also appears in the clip when you load it into a monitor for editing. This provides line-by-line control over alternative takes that the editor can instantly load and edit into the sequence. You can place script marks in several ways. You can: • Place marks manually, one take at a time.
Script Marks Placing Script Marks Manually To place script marks manually: 1. Map the Add Script Mark button from the Other tab in the Command palette to a user-customizable palette or to the Keyboard palette. For more information, see “Mapping User-Selectable Buttons” on page 99. 2. Double-click in the Script window at the intersection of a take and the line of dialog that you want to mark.
14 Script-Based Editing 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. Repeat these steps to add more script marks. Using Real-Time Screening and Marking The Script window provides controls for automating the process of screening and placing script marks for a single take or across multiple takes. To use real-time screening and marking: 1.
Script Marks 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.
14 Script-Based Editing Marking with ScriptSync Some Avid editing applications include the ScriptSync feature (purchased separately). 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.
Script Marks 3. Select Script > ScriptSync. The ScriptSync dialog box opens. 4. Select options as described in the following table. Option Description Language Select the language of your script (this setting is for both the audio and the text). n 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.
14 Script-Based Editing Option Description Skip text in parentheses ‘()’ or brackets ‘[]’ Select this option if parenthetical expressions in your script are not spoken. Skip text before colon ‘:’ Select this option to skip all text before the first colon in a line of text. For example, select this option if your script uses the convention of placing a character’s name before a colon when the character begins to speak.
Script Marks 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.
14 Script-Based Editing 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.
Editing From the Script Window 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.
14 Script-Based Editing 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. 8.
15 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.
15 Using the Timeline Customizing Timeline Views You can customize your view of the Timeline to display a variety of information about your sequence as well as the clips and transitions it contains. You can do the following: • Use options in the Timeline Fast menu to change the display in a variety of ways For more information, see “Using the Timeline Fast Menu” on page 612 and “Timeline Fast Menu Options” on page 612.
Customizing Timeline Views Examples of Customized Timeline Views The following table describes several examples of custom timeline views that you might find useful while editing: Purpose Description Effects Editing If you are editing complex visuals with multiple tracks and effects, you can display Effect contents, Effect and Dissolve icons, Clip Frames, and Clip Transition Durations within enlarged video tracks in the Timeline.
15 Using the Timeline Using the Timeline Fast Menu You can customize the appearance of the Timeline by using various options from the Timeline Fast Menu. To use the Timeline Fast menu: t Click the Fast Menu button, and select or deselect an option from the menu. For information on the options, see “Timeline Fast Menu Options” on page 612. Timeline Fast Menu Options The following table describes the options available in the Timeline Fast Menu. Selected options have check marks next to them in the menu.
Customizing Timeline Views Option Description (Continued) Audio Data Displays a submenu for customizing audio tracks with waveforms or volume gain automation; see “Displaying Audio Waveforms” on page 707 and “Displaying Gain and Automation Pan Values” on page 709. Clip Color Displays and controls the color coding assigned to clips. For more information, see “Displaying Clip Colors in the Timeline” on page 614.
15 Using the Timeline Enlarging and Reducing Timeline Tracks You can enlarge or reduce the height of one or more tracks to improve visibility and display more information within the tracks. To enlarge or reduce the height of tracks: 1. Select the tracks in the Timeline that you want to resize. For more information, see “Selecting Tracks” on page 645. 2. Do one of the following: t Select Edit > Enlarge Track or Edit > Reduce Track.
Customizing Timeline Views The following illustration shows a typical example of clip coloring. In this example, an SD clip in an HD project is colored using the default SD/HD color. n For HD and SD projects, DVCPRO HD clips are colored light red. You cannot customize this color, which is an indicator that DVCPRO HD media plays by skipping frames. To avoid skipped frames, use the Transcode command and select a compatible resolution. To display clip colors in the Timeline: 1.
15 Using the Timeline 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 1182. This option is only available if you are working in a MultiRez environment. Offline Colors clips that have offline media.
Customizing Timeline Views To change the display colors for the Resolution Tracking, Offline, Mixed Rates, or SD/HD options: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Click the color swatch for the option you want to change. A color picker grid opens. 3. Click a color in the grid. The color you select becomes the display color for that option. To reset the display colors for the Resolution Tracking, Offline, Mixed Rates, and SD/HD options: 1.
15 Using the Timeline Assigning Local Colors to Clips in the Timeline You can assign local colors to clips in the Timeline — for example, to indicate clips that you want to group together or to make clips stand out while you work in the Timeline. For more information on clip colors in the Timeline, see “Displaying Clip Colors in the Timeline” on page 614. To assign a local clip color: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2.
Customizing Timeline Views To remove a local clip color: 1. Select one of the segment tools in the Timeline palette, and select the clip whose color you want to remove. 2. Select Edit > Set Local Clip Color > None. The assigned local color no longer appears in the clip in the Timeline. 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.
15 Using the Timeline Setting the Playback Option for the Timeline You can control how the Timeline displays during playback by setting a preference in the Timeline Settings dialog box:. n • The Timeline display can page to the next section of your sequence when the position indicator gets to the end of the visible section of the Timeline as you play.
Customizing Timeline Views Using the Full-Screen Timeline As an alternative to constantly scrolling through the Timeline window or resizing tracks to get a view of the material, you can resize the Timeline window to full-screen display. You can also enlarge the tracks to view complex audio or video layers in greater vertical detail. A Timeline with reduced tracks wraps around to show more of the sequence.
15 Using the Timeline The Timeline Palette Your Avid editing application provides a quick way to edit sequences in the Timeline without having to enter a specific editing mode such as Trim mode.
Customizing Timeline Views Icon Tool Description Overwrite Trim Creates a single-roller trim and adds a black segment to fill the duration of trimmed frames. Ripple Trim Creates a single-roller trim with no sync lock and maintains the duration of all other clips. Transition Manipulation Allows you to modify transition effects without using the Quick Transition dialog box. Trim Mode Allows you to enter traditional Trim Mode without selecting a trim tool.
15 Using the Timeline When you combine functions on the Timeline palette, you modify how the mouse pointer functions in the Timeline: • When you select the Lift/Overwrite or Extract/Splice-in button, the mouse pointer changes to a segment edit pointer for either Lift/Overwrite or Extract/Splice-in edits. If you select both buttons, the segment edit depends on which region of the segment in the Timeline that you activate. For more information, see “Working with Segments” on page 633.
Customizing Timeline Views 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 707 and “Displaying Gain and Automation Pan Values” on page 709).
15 Using the Timeline 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. Track Control panel, with the Track Control Panel button above the Timeline Displaying Source Material in the Timeline You can display source material in the Timeline.
Customizing Timeline Views Displaying the Timeline Top Toolbar You can display a top toolbar in the Timeline for easy access to editing buttons. You can also map additional buttons to the Timeline top toolbar. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 99. To show the Timeline top toolbar: 1. In the Project window, double-click the Timeline Setting. The Timeline Settings dialog box opens. 2. Select Show Toolbar in the Display tab. 3. Click OK.
15 Using the Timeline To name a Timeline view or to change a view’s name: 1. Click the View Menu button, and select Save As. The View Name dialog box opens. 2. Type a name for the view, and click OK. 3. Press and hold the Alt key (Windows) or Option key (Macintosh) while you click the View Menu button to display the list of saved view names, each appended with the Replace command. 4. (Option) If you want to replace a Timeline view, select a view name from the list that you want to replace.
Navigating in the Timeline To map a Timeline view button: 1. Select Tools > Command Palette. 2. Click the More tab. Timeline View buttons in the More tab of the Command Palette 3. Select Button to Button Reassignment. 4. Click a Timeline view button (T1 – T8), and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard settings window. For more information, see “Mapping User-Selectable Buttons” on page 99. The Timeline view button appears in the new location.
15 Using the Timeline The following illustration shows the Timeline window. Timeline window: (left to right) Timeline palette, Track Control panel, Position indicator, with the Timeline bottom toolbar under the Timeline (left to right: Timeline Fast Menu, Focus, Toggle Source/Record in Timeline, Video Quality, DNxHD Native, Step In, Step Out, Scale bar Timeline scroll bar) Understanding the Timeline Position Indicator and Scroll Bar The position indicator in the Timeline marks your place in the sequence.
Navigating in 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. This feature is especially useful when you have a lengthy sequence with many edits.
15 Using 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.
Working with Segments 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).
15 Using the Timeline 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.
Working with Segments 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.
15 Using the Timeline 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.
Working with Segments 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.
15 Using the Timeline 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.
Working with Segments 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.
15 Using the Timeline Deleting Segments You can use the segment tools in the Timeline palette to delete whole segments in the Timeline quickly without having to mark In and Out points. You can also select multiple segments in separate tracks anywhere along the Timeline to delete them all at once. 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.
Working with Segments To mark segments in the Timeline: 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.
15 Using the Timeline Setting the Default Segment Edit Tool When you perform a segment edit without first selecting a segment edit tool, the Avid editing application uses the default segment tool for the edit. You can use the Timeline Settings dialog box to define which tool to use by default. Selecting a specific segment edit tool in the Timeline palette overrides the default tool. To set the default tool used for segment editing: 1. Double-click Timeline in the Settings list in the Project window.
Working with Segments To activate bin editing: 1. Double-click Bin in the Settings list in the Project window. The Bin settings dialog box opens. 2. Select the “Enable edit from bin (Splice, Overwrite)” option. 3. Click OK. To perform a direct edit from a bin into your Timeline: 1. (Option) For a more accurate edit, mark In and Out points for each clip or create subclips. Otherwise, the entire clip is edited into the sequence. 2.
15 Using the Timeline Working with Multiple Tracks Your Avid editing application lets you edit up to 24 tracks of video and 24 tracks of audio, including multichannel audio tracks, and one data track. While working with multiple tracks, you can use the Track Selector panel to select, manipulate, delete, lock, patch, and monitor your tracks. You can use multiple tracks to layer audio effects and sound or to add video titles and other effects.
Working with Multiple Tracks Icon Button Video Track Monitor button Video Track, Source and Record Sync Lock button Audio Mono Track Monitor button Audio Stereo Track Monitor button Audio Track, Source and Record Timecode button 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.
15 Using the Timeline The Tracks tab of the Command Palette contains buttons for all available Timeline tracks. You can map these buttons to any mappable button location or to the keyboard, or you can use them directly in the Command Palette. For more information, see “Mapping User-Selectable Buttons” on page 99 and “Activating Commands from the Command Palette” on page 101.
Working with Multiple Tracks Monitoring Video The Video Track Monitor button determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing. When there are multiple video tracks, all tracks below the monitored track are active during playback. The Video Track Monitor button displays a Monitor icon when the track is monitored for playback and output.
15 Using the Timeline • By default, all monitored audio tracks are selected for scrubbing. To isolate specific audio tracks for scrubbing, see “Soloing Audio Tracks” on page 700. • By default, Direct Out maps all audio tracks in numerical sequence to existing output channels. • You can customize the output of audio tracks, as described in “Setting Audio Output Options” on page 971.
Working with Multiple Tracks To activate or deactivate monitoring for a track: t Click the Track Monitor button for the track on either the source-side or the record-side. Track Selection panel, with video and audio tracks selected for monitoring To select a track for solo monitoring: 1. Ctrl+click (Windows) or Command+click (Macintosh) the Track Monitor button for the video track you want to solo monitor. 2. Click the Solo button for the audio track you want to solo monitor.
15 Using the Timeline You can perform only one patch per edit, but there is no limit on the number of times you can patch from the same source track. Audio can patch only to audio, and video only to video. Also, you can only patch multichannel audio tracks to multichannel audio tracks, or mono tracks to mono tracks. Your Avid editing application dims the track selector buttons on tracks with unsupported track formats when you patch tracks.
Working with Multiple Tracks To undo a patch: 1. Click in the Record monitor or Timeline. 2. Manually repatch to the previous track. The selected source track moves beside the record track to which it is patched as soon as you draw the arrow and release the mouse. The patched track remains highlighted in preparation for your edit. You can proceed to select any other tracks required for the edit. After you make the edit, you can continue to work on the same track or patch to a different track as necessary.
15 Using the Timeline 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. Click the Alternate Edit button. The system replaces the clip and performs an Edit Review command.
Working with Multiple Tracks The Sync Lock and Lock buttons of the Track Selector panel display different icons for sync-locked and locked tracks. For more information on applying the locks, see “Locking and Sync Locking Tracks” on page 653. Locking and Sync Locking Tracks The following illustration shows the location of the Sync Lock and Lock buttons in the Track Selector panel, and the icons that appear on these buttons.
15 Using the Timeline To resume editing on individual tracks: t Click a Sync Lock button or the Sync Lock All button to remove the Sync Lock icon. Adding and Deleting Tracks Your Avid editing application lets you create up to 24 video and 24 audio tracks in the Timeline when building a sequence. (You can monitor 16 audio tracks at a time.) You can add meta tracks, which are used with the MetaSync application. For more information, see “MetaSync Guide” in the Help.
Working with Multiple Tracks To add a new track to a sequence and customize its numbering: 1. Press and hold the Alt key (Windows) or Option key (Macintosh) and select the type of track you want to add: t Select Clip > New Video Track. t Select Clip > New Audio Track Mono. t Select Clip > New Audio Track Stereo. t Select Clip > New Meta Track. t Select Clip > New Data Track. The Add Track dialog box opens. 2.
15 Using the Timeline To remove a custom track name: 1. Right-click the Track Selector button, and select Rename Track. The Comments window opens. 2. Click Remove. The track name returns to the default track name, such as V1. To delete one or more tracks from a sequence: 1. Click one or more Track Selector buttons to select the tracks you want to delete. 2. Press the Delete key. The Delete Track(s) dialog box opens. 3. Click OK. The tracks are deleted.
Working with Multiple Tracks Stereo track A4 (left) split into mono tracks A4 and A5 (right) 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.
15 Using the Timeline Backtiming Edits Backtiming an edit is effectively the reverse of the process you normally use for marking footage: instead of marking from the In points forward, you mark according to the Out points. For example, you might have a track of audio (music or voice) that ends at a specific point, and you want to synchronize a video clip to end on a particular clip. You can backtime the edit to match the end points of the tracks.
In to Out Highlighting in the Timeline 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. Marked region highlighting in the Timeline This visual guide helps you monitor track and segment selection more carefully when mixing or applying effects across multiple tracks and segments.
15 Using the Timeline To edit in Heads view or Heads Tails view: 1. Click the Track buttons to select the tracks to be edited. 2. Click the Timeline Fast Menu button, and select View Type > Heads or Heads Tails. The Timeline changes to one of the following displays. 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.
Working with Add Edits (Match Frames) To edit using the Top and Tail commands: 1. Load a sequence into a monitor. 2. Select the track or tracks you want to edit, and deselect all other tracks. 3. Move the position indicator to the location where you want to perform an edit. 4. Do one of the following: t Click the Top button to extract footage from the start of the clip or segment to the position indicator.
15 Using the Timeline To add a match-frame edit: 1. Move the position indicator to the selected frame. 2. Select the tracks where you want to add the edit. 3. Click the Add Edit button. The edit appears in the sequence with an equal sign to indicate a match frame. 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.
Dupe Detection Dupe Detection When you edit offline with plans to generate an EDL, the Dupe Detection feature lets you visually track duplicate frames of footage while editing so that you can eliminate or manage the requirements of an online dupe reel. n The Dupe Detection feature works only for track V1. When you activate Dupe Detection, each set of duplicate frames is tagged with a different color. (Up to 10 color sets can be distinguished during a single detection process.
15 Using the Timeline Methods for Changing Handle Length in Dupe Detection In 35mm film editing (using the single-strand method), one extra frame, known as the safety frame, provides tabs for the negative cutter to use when cutting two segments of film together. However, this frame is always lost during the negative conform. 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.
Editing with the Film Track Adding specific handle lengths to dupes (as they appear both in the sequence and in film lists) has the following advantages: • In 35mm single-strand conforming — Editors can better track duplicate frames and provide the negative cutter with more than one safety frame to avoid losing specific frames.
15 Using the Timeline Film track in the Timeline To adjust your view of the Timeline quickly for frame-by-frame viewing and editing: t Click the Timeline Fast Menu button, and select Show Every Frame. The film track displays frames for the topmost video track only. You cannot display more than one film track at a time. 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.
Printing the Timeline To find flash frames: 1. Set the maximum frame length that you want to detect: a. In the Project window, double-click the Timeline Setting. The Timeline Settings dialog box opens. b. Click the Edit tab. c. In the option Find Flash Frames Shorter Than, type the maximum number of frames you want to detect. The default is 10, which indicates the system will detect clips with 9 or fewer frames. d. Click OK. 2. Click the Timeline to activate it. 3.
15 Using the Timeline 668
16 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.
16 Working with Trim Edits Trimming with the Timeline Palette You can perform trim edits by using the trim tools on the Timeline palette. This lets you create trims quickly in your sequence which you can later fine-tune by using the advanced functionality of trimming.
Understanding Trim Displays Understanding Trim Displays Different trim displays provide unique sets of controls for fine-tuning edits with various trim procedures. You can perform many of the same functions from any of these trim displays, such as removing and adding frames or slipping and sliding segments. For information about accessing these modes, see “Trim Settings Overview” on page 673.
16 Working with Trim Edits 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. Like Small Trim display, Quick Trim display replaces the Record monitor with smaller displays of outgoing and incoming frames. Quick Trim display — replaces Record monitor in single monitor view.
Trim Settings Overview 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. Big Trim display — replaces both monitors in two-monitor view. Outgoing frames appear on the left and incoming frames appear on the right. Bottom, left to right: Playback loop parameter controls, frame offset counters, and Trim buttons.
16 Working with Trim Edits You can also do the following: • Map trim-related buttons onto palettes or the keyboard, as described in “Understanding Button Mapping” on page 98. • Configure a Trim-mode-specific Timeline view, as described in “Customizing Timeline Views” on page 610. 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.
Selecting Trim Sides The following table describes the kinds of trim you can perform in each zone adjacent to your transition.
16 Working with Trim Edits When you clear your trim selections, the trim tools remain active. You can turn off the trim tools by clicking the trim tool buttons in the Timeline palette or by clicking the Smart tool toggle bar. You can use different methods to select a transition for trimming. The optimal selection method depends on your workflow.
Selecting Trim Sides To clear trim selections, do one of the following: t Click the Smart tool toggle bar to turn off the Timeline palette Smart tools. t Click the Trim mode button. 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.
16 Working with Trim Edits Selecting Additional Transitions You can select additional transitions for trimming in different contexts. To quickly select additional transitions on contiguous tracks for trimming on the same side: t Click the corresponding Record track buttons in the Track Selector panel. For more information, see “Selecting Tracks” on page 645.
Overwrite Trimming Overwrite Trimming If you want to trim one side of a transition but still maintain synchronization between video and audio, you can create an overwrite trim on either the A-side (outgoing frames) or the B-side (incoming frames) of a transition while maintaining the overall duration of the track and the sync relationships. This procedure either adds a black segment or overwrites frames to fill the duration of trimmed frames.
16 Working with Trim Edits Ripple Trimming If you make a single-roller trim on either the outgoing or the incoming frames of your transition on an unlocked track, you can move the rest of the your sequence in the direction of the trimmed segment while maintaining the duration of all other clips. Ripple trims “ripple” the effects of your trim along the sequence.
Refining Trims To select a transition for dual-roller trimming, do one of the following: t Position the mouse pointer over the transition you want to trim so the pointer changes to a dual-roller icon, and click the transition. t Click the Trim Mode button. Your Avid editing application selects the transition nearest the position indicator for dual-roller trimming. The dual-roller icon appears on all highlighted tracks.
16 Working with Trim Edits To refine a trim, do one of the following: t Use the Trim buttons to trim forward or backward by 1-frame or 10-frame (NTSC or PAL) or by 1-frame or 8-frame (24p) increments. Left to right: Trim Backward 10 Frames (or 8 Frames) button, Trim Backward 1 Frame button, Trim Forward 1 Frame button, Trim Forward 10 Frames (or 8 Frames) button t Use the J-K-L keys to trim forward or backward in the sequence.
Trimming with the J-K-L Keys To review the most recent trim edit or to play the currently selected transition: 1. (Option) To see the Timeline in a closer view while you review the trim, click the Focus button. (To return to your original view of the Timeline, click the Focus button again.) 2. Click the Play Loop button. The system enters a playback loop. This loop begins at a preroll point before the transition and ends at a postroll point. 3.
16 Working with Trim Edits To trim with the J-K-L keys: 1. Double-click Trim in the Settings scroll list in the Project window, and then click the Features tab. 2. Select J-K-L Trim. Trimming On-the-Fly You can use the J-K-L keys on the keyboard to play outgoing or incoming material and mark trim points. This is similar to the procedure for marking footage on-the-fly, as described in “Marking and Subcataloging Footage” on page 488.
Creating Overlap Edits To trim during a playback loop: 1. Select a transition for trimming. For more information, see “Selecting Trim Sides” on page 675. 2. Click the Play Loop button to repeatedly play the selected transitions. n To make adjustments to the playback loop for preroll, postroll, or intermission intervals, see “Reviewing Trim Edits” on page 682. 3. Press a keyboard equivalent to perform a Trim function.
16 Working with Trim Edits To create an overlap edit: 1. Perform a straight-cut edit between two clips, including audio and video tracks: t If the timing of the video edit is crucial, mark edit points according to video. t If the timing of the audio transition is crucial, mark edit points according to audio. 2.
Maintaining Sync While Trimming 4. Click the Extend button. The Extend button appears in the Trim tab of the Command palette. You can map the Extend button to a custom location. For information on the Command palette and button mapping, see “Understanding Button Mapping” on page 98. The adjustment appears in the Timeline. After the Extend edit. The edit point on the video track moves backward to the location of the Mark In point.
16 Working with Trim Edits To trim with sync-locked tracks: 1. Do one of the following: t Click the Sync Lock button in the Track Selector panel for the track you want to keep in sync. The Sync Lock icon appears. t Click the Sync Lock All button to switch sync lock on and off for all tracks. Sync Lock icon (top) and Sync Lock All button (bottom) in the Track Selector panel 2.
Slipping or Sliding Segments Slipping or Sliding Segments Slip and slide procedures constitute two unique trim techniques that let you make frame-accurate adjustments to a selected segment. They do not affect the overall duration of the sequence or the sync relationships between multiple tracks. Slip or Slide trimming lets you do the following: • Slip or slide the video and audio segments together. • Slip or slide a single segment of video or audio independently from the rest of the segment.
16 Working with Trim Edits Selecting Segments for Slip or Slide Trimming To select segments for either slip or slide trimming, do one of the following: t Use one of the segment tools on the Timeline palette to select a segment for slip trimming. t Select one of the trim tools on the Timeline palette, and then Alt+double-click a segment to select it for slide trimming. You can also select two or more segments on different tracks for simultaneous slip or slide trimming.
Trimming in Two Directions t Use the trim keys or buttons to shift the selection by 1-frame or 10-frame (8-frame for 24p) increments. t Use the J-K-L keys. 2. Monitor the progress of the trim by using the monitors, the Trim counters, and the Timeline. When you reach the end of available material while slipping a shot, the trim stops. Similarly, when you reach the next transition while sliding a shot along a track, the trim stops. A red bracket at the transition indicates the limit.
16 Working with Trim Edits To trim in two directions: 1. 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 a ripple trim icon over either the A-side or the B-side of the transition, depending on the position of the pointer. 2. Shift+click the other transitions in the Timeline you want to trim. 3.
17 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.
17 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 719.
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.
17 Working with Audio 3. Select User Bit Timecode to read timecode stored in the user bits of the LTC. 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.
Working with Multichannel Audio Tracks You use the Modify command to set or change the multichannel formats for your audio tracks. For example, this lets you create a stereo track from two associated mono tracks or to split a stereo track into two separate audio tracks. You can set the multichannel format for multiple master clips at the same time.
17 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 707 and “Displaying Gain and Automation Pan Values” on page 709).
17 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 To solo an audio track: t Click the Solo button in the Track Control panel for the track you want to solo. The Solo button turns green, and Mute buttons on all other audio tracks turn orange. 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.
17 Working with Audio To make an audio track inactive, do the following: t Deselect the Audio Track Monitor button in the Track Control panel. You can click the Audio Track Monitor button again to restore monitoring to the track. 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.
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.
17 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.
Using Audio Scrub 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 To locate an audio edit point by using digital scrub: 1.
17 Working with Audio Audio Displays in the Timeline You can display audio waveforms in the Timeline to help you visually locate points in an audio track for editing or trimming. Waveforms for stereo tracks in the Timeline display waveforms for both channels within a single track, separated by a horizontal divider. For more information, see “Displaying Audio Waveforms” on page 707. You can also view a graph for automation pan and gain information in the Timeline.
Audio Displays in the Timeline Displaying Audio Waveforms Audio waveforms in the Timeline display a sample plot of the entire amplitude of the track. This is the same as the sample voltage values seen on an analog oscilloscope waveform. You can display waveform plots for all audio tracks in the Timeline or you can select individual tracks for waveform display. Audio waveform plots can slow your navigation through the Timeline.
17 Working with Audio 3. (Option) Maximize the visibility of your waveform display using one of the following procedures: t Continue to expand or shrink your view of the Timeline by using the scale bar, spreading out the waveform plots to show detailed variations in the audio levels. t To enlarge the height of selected audio tracks and subsequently the waveform display, press Ctrl+L (Windows) or Command+L (Macintosh).
Audio Displays in the Timeline Displaying Gain and Automation Pan Values You can view the clip gain and the automation gain values in the Timeline at the same time. You can also view automation pan values by selecting Auto Pan from the Timeline Fast menu. n You cannot display Auto Gain and Auto Pan values at the same time in the Timeline.
17 Working with Audio Identifying Sample Rates by Color To apply a color coding to a sample rate: 1. Load a sequence with multiple sample rates into the Timeline. 2. Do one of the following: t To display waveforms for all tracks, click the Timeline Fast Menu button, and select Audio Data > Waveform. t To display waveforms for a single track, click the Waveform button in the Track Control panel. 3. In the Project window, double-click Audio Project. The Audio Project Settings dialog box opens. 4.
Audio Displays in the Timeline To display the Audio meters in the Timeline: t Click the Meter Menu button, and select Show Audio Meters. The Audio meters display in the Timeline. Audio meters display in the Timeline. Left to right: Master Volume button, Tracks indicators, In/Out Toggle buttons, Meter menu button When you load a sequence in the Timeline and press the Play button, the Audio meter displays the audio levels of the audio tracks in your sequence.
17 Working with Audio (Windows) To adjust the volume control (software-only models): 1. From the Timeline, click and hold the Master Volume button. Master Volume button (left) and Audio Meter menu button (right) in the Timeline If you do not see the Master Volume button, click the Audio Meter menu button, and then select Show Audio Meters. The Master Volume button displays with the Audio Meters. The Windows Mixer appears. 2. On the Windows Mixer, drag the volume control to the audio level you prefer.
Displaying Audio Formats in Bins To mute volume from the Timeline: t Click the Master Volume button. A line appears through the button, and you cannot hear audio through your speakers or headphone. The Mute buttons on individual tracks do not change when you use the Master Volume button to mute audio. n This does not apply to software-only models using Windows Vista and later. To mute an individual audio track: t Click the Mute button in the Track Control panel for the track you want to mute.
17 Working with Audio 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 5.1 speaker format and constitute a standard in major motion pictures, music, and digital television.
Working with Surround Sound or 5.1 Audio (Avid Nitris DX and Avid Mojo DX Only) Stereo tracks use the following default mapping: 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.
17 Working with Audio When the analog output is marked for use as desktop surround monitors, you should set the audio connectors as shown in the following table. Channel Speaker 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.
Working with Surround Sound or 5.1 Audio (Avid Nitris DX and Avid Mojo DX Only) In order to use HDMI for audio, the HDMI device attached to your system must receive at least two channels of PCM (uncompressed) audio at the project sample rate and receive 6 channels or more of PCM 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.
17 Working with Audio 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). You might also encounter audio latency issues when adding audio effects such as automation gain.
Using the Audio Mixer Tool Using the Audio Mixer Tool The Audio Mixer tool has three modes that let you perform the following tasks: Mode Task Description Clip Gain and Pan Lets you adjust the overall volume and pan values for a clip, in a bin or in the Timeline. For more information, see “Using Clip Gain and Pan Mode” on page 727. Automation Gain and Pan Lets you adjust and record volume and pan changes within a clip in the Timeline.
17 Working with Audio Audio Mixer Tool Controls The following illustrations and tables identify the controls of the Audio Mixer tool in Clip Gain and Pan mode, including controls common to all three modes. The elements described in the following tables appear in all Audio Mixer modes unless otherwise noted. For specific information on Automation Gain and Pan mode, see “Using Automation Gain and Pan” on page 735. For specific information on Live Mix mode, see “Using Live Mix Mode” on page 742.
Using the Audio Mixer Tool Element Description (Continued) 6 Number of Mix Panes Lets you display four or eight panes. For more information, see “Resizing the Audio Mixer Tool” on page 723. 7 Display/Hide Sliders Lets you switch between hiding and displaying the Volume Level sliders. button 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.
17 Working with Audio 7 1 2 3 8 4 5 6 Bottom part of Audio Mixer tool Element Description 1 Track Solo and Track Lets 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 723. 2 Track Selection Menu buttons Lets you enable tracks for mixing audio.
Using the Audio Mixer Tool Resizing the Audio Mixer Tool You can change the number of mix panes that display in the Audio Mixer tool, or hide the volume level sliders altogether. Both of these customizations can reduce the amount of space that the Audio Mixer tool occupies. You can continue to adjust levels by typing values when the sliders are hidden. To switch between displaying four tracks and eight tracks: t Click the Number of Mix Panes button.
17 Working with Audio You can also use the buttons above each fader on the external fader controller or mixer to solo or mute an individual audio track as follows: • Some EUCON devices have solo and mute buttons above the fader. Additionally, some devices include an On key, which indicates that a specified track is unmuted. • 002, Command|8® and MCS-3000X have separate buttons for solo and mute.
Rendering and Unrendering Order for Audio Effects You do not have to reposition the faders on the 002, MCS 3000X, Command|8, Yamaha 01V, and Yamaha 01V/96 because the units automatically reset the faders to match the volume data in the Timeline. For more information on fader controllers or mixers, see “Using External Audio Devices” on page 779.
17 Working with Audio Audio Gain Staging and an Audio Editing Workflow You can adjust the volume or gain of an audio clip at several points during an editing session. For example, you can adjust volume using the Audio Mixer tool in Clip Gain mode and Automation Gain and Pan mode. Also, the EQ tool and many of the AudioSuite and RTAS plug-in effects let you modify the volume of the clip. When you can adjust the volume in a signal chain at several points, the process is referred to as audio gain staging.
Using Clip Gain and Pan Mode In this workflow, the Audio Mixer tool in Automation Gain and Pan mode acts like the level faders on a console for final mixing of the audio material. For more information, see “Using the Audio Mixer Tool” on page 719. 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.
17 Working with Audio Adjusting Clip Gain and Pan for Audio Tracks To adjust clip gain and pan for audio tracks: 1. Load a clip or sequence, and activate the appropriate monitor: t To adjust a track in a source clip, click the Source monitor to make it active. 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.
Using Clip Gain and Pan Mode 6. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the keyboard) to play, shuttle, or step through the audio to check for necessary volume or pan adjustments. 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.
17 Working with Audio 8. Decide if you want to adjust pan values. To adjust the pan values in a mix pane, do one of the following: t Click the Pan Value display to reveal the pop-up slider, and then drag the slider to a new position. t Alt+click (Windows) or Option+click (Macintosh) 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.
Using Clip Gain and Pan Mode The following table describes the Audio Mixer tool Fast menu commands for Clip Gain and Pan mode: Command Description Set Level on Track, Set Pan on Track Applies the same pan or volume levels currently set in the Audio Mixer tool to all segments in the marked regions of the tracks. 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.
17 Working with Audio To restore the previous settings: t Click the Bypass button or the Clip Gain button again. 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.
Using Clip Gain and Pan Mode 3. Adjust the volume as necessary. 4. Click the Audio Loop Play button to stop. 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.
17 Working with Audio To modify the way the system interprets pan during playback: t Set the default pan values in the Audio Settings dialog box, which you access from the Settings list in the Project window. By default, the mono audio tracks for clips alternate with track 1 on the left speaker and track 2 on the right speaker for monitoring and output. The All Tracks Centered option instructs the system to center the pan of all tracks between the two speakers for monitoring and output.
Using Automation Gain and Pan Isolating Clip Portions for Audio Adjustment When making audio level and pan adjustments, your Avid editing application looks at either an individual clip in the Source/Record monitor, a segment in the sequence, or entire tracks. To change level or pan settings in an area not defined by a discrete clip or group of clips, use the Add Edit function to define your own custom area. To isolate clip portions for adjustment: 1.
17 Working with Audio Your Avid editing application uses a linear ramp to change the volume or pan from one keyframe to the next. You adjust automation gain and pan directly in the Timeline or by using the Audio Mixer tool. 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.
Using Automation Gain and Pan 4. Click the Add Keyframe key on the keyboard (“) or the Add Keyframe button on the Tool palette to add keyframes along the Timeline. Your Avid editing application adds a keyframe to each enabled track. A straight line appears in the selected audio track. The line shows the current gain level for that track in the Audio Mixer tool. After you add the first keyframe to a segment, you can adjust the gain for the entire clip.
17 Working with Audio To delete a single automation gain or automation pan keyframe: 1. Move the pointer over the keyframe. 2. When the pointer changes to the hand pointer, press the Delete key. n Don’t press the mouse button. If you press the mouse button, you might change the gain. If there are identical keyframes in other active tracks, your Avid editing application deletes them also. To delete groups of automation gain or automation pan keyframes: 1.
Using Automation Gain and Pan The volume slider areas appear blue in Automation Gain and Pan mode. For descriptions of other controls in the Audio Mixer tool, see “Audio Mixer Tool Controls” on page 720. 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.
17 Working with Audio To record automation gain or automation pan information by using the Audio Mixer tool sliders: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Auto Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Auto mode setting. 3. Select an audio track for adjusting volume or pan. 4.
Using Automation Gain and Pan Audio Mixer Tool Fast Menu: Automation Gain and Pan Mode The commands in the Audio Mixer tool Fast menu operate differently, depending on the types of points you set within the clip or sequence, as described in the following table: Points Set Description Both In and Out points Commands apply adjustments to selected tracks between the points. In point only Commands apply adjustments to full clips from the In point to the end of selected tracks.
17 Working with Audio Command Description (Continued) Remove Auto Gain/Pan on Track Deletes all automation gain and pan adjustments applied to segments in the marked regions of selected tracks and restores each audio clip to its previous pan and volume settings. 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.
Using Live Mix Mode track while you concentrate on the other tracks. You could mute the track that contains the dialog, but it might be more useful to simply lower the volume of the track without changing any existing automation gain or pan settings. The volume slider areas appear red in Live Mix mode. 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.
17 Working with Audio Using Live Mix Mode with an External Controller To use the 002 or Command|8 as a control surface in Live Mix mode: 1. Connect and configure the control surface. For more information, see “Using the 002 and the Command|8” on page 784. 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.
Using Live Mix Mode The following illustration shows the layout of the 002 and identifies the controls discussed in this section. 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).
17 Working with Audio 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. Bottom right: Transport and Navigational controls section (the Mix button is highlighted within this section). 4. Enter Live Mix mode in the Audio Mixer tool (see “Entering Live Mix Mode” on page 743). 5. Play and listen to the audio. 6.
Using Live Mix Mode Using Live Mix Mode Without an External Controller You can use Live Mix mode without an external controller but you cannot change the volume or pan sliders in real time. To use the controls in the Audio Mixer tool: t Move the volume sliders or change the pan settings, and then play the audio. When you play the audio, the system uses your new settings without saving any automation gain information.
17 Working with Audio The following table describes the Audio Mixer tool Fast menu options in Live Mix mode: Command Description Set Live Mix to Default Sets the active tracks to 0 dB and does not modify any existing automation gain keyframes. Set Live Mix to Automation Sets the Live Mix mode settings to match the gain and pan settings where each track crosses the Position bar in the Timeline.
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.
17 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 726. 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).
17 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 750. 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.
17 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.
17 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.
17 Working with Audio To access the Audio EQ tool, do one of the following: t Select Tools > Audio EQ. 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.
Using the Audio EQ Tool Button n Description If you enable more than one track in the Timeline, the tracks are designated by plus signs (+) indicating the effect is applied to more than one track. 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.
17 Working with Audio The Audio EQ tool provides three bands of control: • The first band, the low shelf, has four turnover points (50 Hz, 80 Hz, 120 Hz, and 240 Hz). A turnover point is the point at which the curve starts to return to 0. A shelf affects all frequency values within the range of the shelf. The low shelf affects all frequencies from 20 Hz to the low shelf turnover point. For more information, see “Audio EQ Examples” on page 765. • The second band is the parametric midrange.
Using the Audio EQ Tool The following illustration shows the Audio EQ tool with the frequency response curve displayed and identifies the related areas of the tool. 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.
17 Working with Audio 5. Click and hold the Track Selection Menu button in the Audio EQ tool, and select a track to be adjusted. Track Selection Menu button 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.
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.
17 Working with Audio For example, the following illustration shows a segment with one EQ effect applied to the second audio clip on the first audio track. If you select Set EQ In/Out, the current EQ effect is also applied to the first and third audio clips on the first audio track. If there is no EQ setting on the currently selected clip, selecting Set EQ In/Out deletes the EQ settings on all clips within the In to Out range.
Using the Audio EQ Tool 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.
17 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.
17 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 102. 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 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 732. 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.
17 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 774. 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.
17 Working with Audio The following illustration shows the features of the Audio Punch-In tool. The following table describes the features of the tool. 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.
Recording Voice-Over Narration Audio Punch-In Tool Feature Description 8 Passthrough Mix Tool button Opens the Passthrough Mix tool so you can monitor the audio levels during recording. 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.
17 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 To use the Audio Punch-In tool: 1. Load a sequence into the Timeline. 2. Select Tools > Audio Punch-In. The Audio Punch-In tool opens. For information on the buttons and other controls in the Audio Punch-In tool, see “Audio Punch-in Tool Features” on page 771. 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.
17 Working with Audio 6. Click the Play In/Out button or press the V key. Loop play begins over the entire sequence. If you set an In point and an Out point, loop play begins from the In point to the Out point. The Play In/Out button blinks bright green while playing. 7. When you are ready to start the voice-over, click the Record button or press the B key. The Record button blinks bright red while recording, and the Play In/Out button is a steady green.
Using Automatic Voice-Over Monitoring Previously Recorded Tracks While Recording Voice-Over Narration You can monitor previously recorded audio tracks while you record a voice-over narration. To monitor other audio tracks: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the Output Options menu, and select Mono. 3. Record your voice-over as described in “Recording Voice-Over Narration Using the Capture Tool” on page 770 or “Recording Voice-Over Narration Using Audio Punch-in” on page 774. 4.
17 Working with Audio To remove selected segments from a sequence, do one of the following: t Extract all the segments whose audio appears on the selected track. t Extract all other segments from the sequence, leaving only those segments whose audio appears on the selected track. Your Avid editing application creates a new sequence with a .vo file name extension that contains only the material remaining after the Auto VO process. The original sequence is retained and is unaffected.
18 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.
18 Using External Audio Devices n • JL Cooper FaderMaster Pro MIDI automation controller — This device lets you make fine adjustments to audio clips. This unit does not support flying faders, which means that the faders do not move automatically as you record audio gain information and they must be zeroed manually prior to recording. For information on setting the faders manually, see “Interpreting Position Indicator Lights” on page 724.
Feature Digi 002 (MC/NC only) Command|8 MC Control MC Mix MC Transport Latch mode (also known as Snap mode) Yes Number of steps of 1024 fader accuracy Yes Yes Yes No 1024 1024 1024 Not applicable a. The Digi 002 can be used as a standalone audio mixer but not at the same time as it is being used as an automation gain or automation pan controller or control surface. The following table compares supported third-party external controllers and mixers.
18 Using External Audio Devices 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 793. On the Yamaha 01V/96 or on the Yamaha 01V, you must press the On button to gain control of a moving fader.
Adjusting the Volume or Pan of Individual Keyframes 5. Listen to the audio, and when you want to start recording volume information either touch or move the corresponding fader. Depending on the fader controller or mixer, you might have to click the fader’s On button before moving the fader. 6. Click the Record button again to stop recording. 7. Click the Audio Loop Play button to play the clip and test your results. 8.
18 Using External Audio Devices To edit the pan values for individual keyframes using a 002 or Command|8: 1. Click an audio gain keyframe. 2. Activate the track on the 002 (Windows only) or Command|8. 3. Move the corresponding pan knob to adjust the pan for the keyframe. Your Avid editing application displays the values in the Pan Value display for the corresponding track in the Audio Mixer tool.
Using the 002 and the Command|8 Using the 002 with Avid Input/Output Hardware (Windows Only) Windows systems with Avid Adrenaline, Avid Mojo, and Avid Mojo SDI input/output hardware can use the 002 as an external audio device. This means you can use the 002 to play, record, and output audio. This option is not available for systems with Avid Nitris DX and Avid Mojo DX hardware. When you attach the 002 to your Avid editing system, all of its audio input and output connections are live.
18 Using External Audio Devices Avid input/output Device Audio/Video Sync Connection Avid Mojo Connect one end of an RCA cable to the analog audio output connectors labeled Clk on the Avid Mojo (white audio output) and connect the other end to the S/PDIF input on the 002. This allows the 002 to receive video sync from the Avid Mojo and the optional black burst generator.
Using the 002 and the Command|8 To set the correct ports in the Controller Settings dialog box. 1. Connect the 002 (Windows only) or Command|8 to your Avid editing system and turn on the unit. 2. Start your Avid editing application. 3. Click the Settings tab in the Project window. 4. Double-click Controller Settings. The Controller Settings dialog box opens. The Controller menu, Port menu, and Edit Settings button apply to the control surface. For Windows systems, you can use either an 002 or a Command|8.
18 Using External Audio Devices To display the dialog box for mapping buttons and menu commands: t Click the Edit Settings button in the Controller Settings dialog box. The 002 Controller Settings or Command|8 Controller Settings dialog box opens. The following illustration shows the 002 Controller Settings dialog box. Groups of controls in the 002 Controller Settings dialog box. Top left: Console View controls, Display Controls and Foot Switch. Center left: Keyboard Modifier switches.
Using the 002 and the Command|8 The following illustration shows the Command|8 Controller Settings dialog box. 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.
18 Using External Audio Devices To map a menu command to a button on a Controller Settings dialog box: 1. Click the Settings tab on the Project window. 2. Double-click Controller Settings. The Controller Settings dialog box opens. 3. From the Controller menu, select either 002 Controller (Windows only) or 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.
Using the 002 and the Command|8 Using 002 or Command|8 Buttons to Change Focus in your Avid Editing Application Interface Many buttons perform different functions depending on which window in the Avid interface is active. For example, if the Timeline is active, pressing Play plays the sequence in the Timeline. If a bin is in Frame view and a clip is selected, pressing Play plays the footage in the clip. n c You cannot assign a function to the F1 key on a Command|8.
18 Using External Audio Devices Switching Between the 002 and Command|8 The button mappings for the 002 for Windows systems carry over to the Command|8. The button-mapping dialog boxes for the 002 and Command|8 are set up differently to match the layout of the controllers, but the same settings are used for both controllers.
Using the 002 and the Command|8 9. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and select Filter Automation Pan on Track — In/Out. (Click the Track Selection button for a track to enable Filter Automation.) 10. (Option) If you delete too many keyframes, use the Undo command to restore them. 11. Repeat step 9 until you have decreased the number of keyframes to an acceptable level.
18 Using External Audio Devices Using Mbox Family Audio Devices You can use the Mbox® family of audio input/output hardware as external audio devices for your Avid editing application. This means you can use the Mbox devices to record source audio and to monitor output audio. When you attach the Mbox device to your Avid editing system, all of its audio input and output connections are live.
Using Mbox Family Audio Devices Configuring the Mbox Device You must start the Mbox device before you start your Avid editing application. If you start your Avid editing application when the audio device is turned off, you must exit your Avid editing application, turn the device on, and then start your Avid editing application. n (Macintosh only) S/PDIF inputs appear in the Capture tool as Tracks 3-4. To select the Mbox device in the Audio Project Settings dialog box. 1.
18 Using External Audio Devices Setting Up the Mbox Pro for Passthrough Monitoring (Windows Only) If you use the Mbox Pro to monitor source audio, you must set the source for your headphone output in the Mbox Pro Control Panel to Stereo Mix 1. This allows you to monitor audio with your Avid editing application using the Passthrough Mix tool. To set your Mbox Pro to monitor passthrough audio: 1. Make sure your Avid editing application is not running. 2. Click the Start button, and select Control Panel. 3.
Configuring USB-to-MIDI Software for External Controllers Configuring USB-to-MIDI Software for External Controllers Once you have connected a fader controller to your Avid editing system, you can install USB-to-MIDI software and configure the software to recognize your fader controller. For information on connecting a fader controller, see “Connecting Serial and MIDI Port Devices” in the Help.
18 Using External Audio Devices 8. 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. 9. Click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders.
Configuring USB-to-MIDI Software for External Controllers 4. Click OK. 5. Select Tools > Audio Mixer. 6. Do one of the following: t Click and hold the Audio Mixer Mode button and select Automation Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Automation Mode setting. If the fader or mixer is on and correctly configured, the indicator lights on the Audio Mixer tool should change to blue.
18 Using External Audio Devices Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems Avid Pro Tools v8.5 and later supports Native audio hardware, and Pro Tools v9.0 supports both Native and HD hardware. If you install your Avid editing application on a system with Pro Tools|HD Native, you can use the same audio hardware for both applications. The Avid editing application installs the necessary audio drivers.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems To configure the ASIO driver: 1. In the Avid editing application, click the Settings tab in the Project window. 2. Double-click Audio Project in the Settings list. The Audio Project Settings dialog box opens. 3. Click the Hardware tab. 4. Click Edit. The ASIO Control Panel opens.
18 Using External Audio Devices 5. (Optional) Click the Buffer Size menu and select a buffer size. Generally, smaller buffer sizes are preferable. However, if you experience any problems with performance (such as clicks and pops during recording or playback), try increasing the Buffer Size setting. 6. Click the Device menu and select the audio device connected to your HD or Native hardware. 7. Click Advanced. The Hardware Setup dialog box opens. 8.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems Configuring the CoreAudio Driver (Macintosh) You can configure the CoreAudio driver using CoreAudio Manager. The CoreAudio Manager application launches automatically the first time your Avid editing application accesses the CoreAudio driver — for example, the first time you play audio on a system with an HD or Native card installed. If the CoreAudio Manager icon is hidden when first launched, click the icon in the dock.
18 Using External Audio Devices 3. Click HW Setup. The Hardware Setup dialog box opens. 4. Select the options you want for your audio input/output operations. For more information on the settings in the Hardware Setup dialog box, see “Configuring Your Pro Tools|HD Native System” in the Pro Tools|HD Native User Guide that came with your Pro Tools system. Your Avid editing application uses only 8 channels of audio output. Also, the application controls the audio sample rate, not your HD or Native hardware.
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.
18 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.
18 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 810. 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.
18 Using External Audio Devices GPI Settings Options The following tables describe the GPI settings and GPI Node settings options. 810 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 Function Select a function for a particular node: • Capture in (Satellite mode) • Play in • Cue to first frame • Stop in • Capture out (Satellite mode) • Play out • Stop out Node Click the Node menu, and select a node. Nodes 1 through 6 correspond to the physical connectors on the back of the VLXi-GT GPI device. Action Select an action: • Set activates a command. • Reset deactivates a command.
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Installing EuControl Software 19 Using Avid Artist Series Controllers This section includes topics that provide information on configuring and using the Avid Artist Series controllers: Avid Artist Control, Avid Artist Transport, and Avid Artist Mix with your Avid editing application. These controllers employ the EUCON™ (Extended User Control) protocol, which allows for integrated control of your Avid editing application and EUCON-compatible devices.
19 Using Avid Artist Series Controllers than your other Ethernet connection. For more information on configuring your Ethernet connections, see “Configuring Ethernet Connections (Macintosh)” on page 815. You can change port assignments in the EuControl Settings application if necessary. • Avid also recommends that you disable the network interface you use for your Artist Series controller in the ISIS Client Manager preferences.
Configuring Avid Artist Series Controller Settings Configuring Avid Artist Series Controller Settings You use the Controller Settings dialog box to configure your Avid editing application so that it can communicate with your Artist Series controllers. To configure your Avid editing application for an Artist Series controller: 1. Double-click Controller Settings in the Settings list of the Project window. The Controller Settings dialog box opens. 2. Select Controller > EUCON Controller. 3. Click OK.
19 Using Avid Artist Series Controllers The Euphonix dialog box opens. 4. Click the Network Interfaces menu and select either Ethernet 1 or Ethernet 2, depending on which Ethernet port you want to use for your Artist Series controller. 5. Close the Euphonix dialog box. 6. Select the Apple menu > System Preferences. 7. In the Internet & Wireless area, click Network. The Network dialog box opens. 8. Click the Action menu and select Set Service Order. The Service Order dialog box opens. 9.
Configuring EuControl Settings (Macintosh) Configuring EuControl Settings (Macintosh) Before you can use an Artist Series controller with your Avid editing application, you must configure the EuControl settings. You can connect your Artist Series controller to the EuControl application on your system so you can use it as a controller, connect additional workstations so they can access the controllers, and assign functions to buttons and keys on the Artist Series controller.
19 Using Avid Artist Series Controllers 3. Click the Automatically add: menu, and select one of the following: t To add all controllers listed in the All Surfaces list — which lists all devices available on your subnet — select All Surfaces. This setting is useful when you are the only person running EuControl on your network. t To add only those controllers listed in the My Surfaces, select My Surfaces Only.
Configuring EuControl Settings (Macintosh) 5. Click the Workstation tab. The Workstations tab opens. The All Workstations list displays all systems on your subnet that have been configured for access to the available Artist Series controllers. 6. (Option) If you want more than one workstation to access your Artist Series controllers, do the following: a. Select the workstation in the All Workstations list and click Add. b. Select the workstation in the My Workstations list and click Attach.
19 Using Avid Artist Series Controllers Artist Series Controller Button Mappings When EuControl opens for the first time, it includes a set of default Avid editing functions mapped to the Artist Series controller buttons. To modify the button mappings, see “Customizing Avid Artist Series Controls” on page 822. The Soft Keys tab controls Surface and Touchscreen soft key assignments.
Artist Series Controller Button Mappings The Soft Keys tab displays the name of the active application above the option menus and the soft key assignments. EuControl Settings: active application, option menus, soft key display buttons The default EuControl button mappings include the following: • Surface — The Surface keys control the functions assigned to the 12 buttons located below the Touchscreen on Artist Control. The Surface section organizes the buttons in 6 pages.
19 Using Avid Artist Series Controllers Customizing Avid Artist Series Controls You can modify the default Soft Key functions of the controls on your Artist Series controller by mapping them to buttons and keyboard shortcuts in your Avid editing application. You can also add custom key sequences, EUCON commands, pages to the surface controls or the touchscreen, and jog and shuttle wheel functions for some devices. The following procedure provides a generic description of how to customize your controller.
Customizing Avid Artist Series Controls t Select a button whose function you want to customize, and click Command. t Double-click a button whose function you want to customize. The Soft Key Command Editor opens. 4. Specify the action you want to associate with the control button. The Soft Key Command Editor organizes the default commands as they appear in the Command palette or in menus. 5. Close the Soft Key Command Editor. The Soft Key tab updates and displays the new function. 6. Click Save. 7.
19 Using Avid Artist Series Controllers The Artist Transport controls for the Touchscreen. 3. If the display does not include any blank keys, click the Page menu and select a new page. You can also click the Add button to add a new page. 4. Do one of the following: t Select a blank key and click Command. t Double-click a blank key. The Soft Key Command Editor dialog opens.
Moving Through Footage with Artist Series Controllers 5. Click Add and select one of the following: - Key - EuCon - Page - MC - Wheel 6. In the Details column, select the function you want to associate with the new soft key. EUCON commands automatically label the button but do not select an icon. 7. Close the Soft Key Command Editor. The Soft Key tab updates and displays the new function.
19 Using Avid Artist Series Controllers • The track selection buttons on your Artist Series controller allow you to select and deselect tracks in the Timeline. Selecting tracks in the Timeline or in the Audio Mixer tool updates the track selection display in your Artist Series controller. • You can solo and mute tracks on your Artist Series controller to isolate tracks as you monitor the audio playback.
Recording Automation Gain and Pan with Artist Series Controllers Artist Mix provides buttons and indicator lights mapped to standard audio editing functions: Button Function SEL Controls and indicates automation pan recording. SOLO Controls and indicates when a track is set to solo. ON Controls and indicates when a track is unmuted or muted. The indicator is on when the track is not muted. REC N Controls and indicates automation gain recording.
19 Using Avid Artist Series Controllers 4. Click the Timeline Fast Menu button and select Audio Data > Auto Gain or Audio Data > Audio Pan. 5. Move the blue position indicator to the section of audio that you want to adjust and mark In to Out points. 6. Set Preroll and Postroll values, if necessary. 7. Click the Record button to start recording your actions. 8. Listen to the audio and adjust the slider or the pan control on the Artist Series controller for the track.
Using the Latch Mode Feature on Artist Series Controllers Using the Latch Mode Feature on Artist Series Controllers Some Artist Series controllers have an Auto REC button for each track that lets you enable or disable latch mode for recording automation gain and pan information. When a track is not in latch mode, it automatically stops recording as soon as you release it. When you release the fader, it begins moving again as it follows the volume information in the Timeline.
19 Using Avid Artist Series Controllers 830
20 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.
20 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.
20 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.
20 Using Audio Plug-Ins 6. (Option) Click the Bypass button if you want to play audio without processing the track effect. This lets you compare the audio with or without the plug-in effect. If you click Ctrl+Bypass (Windows) or Cmd+Bypass (Macintosh), you can disable RTAS effects on all tracks in the Timeline. The Bypass button and the RTAS insert buttons on the selected track change to blue. 7. To save your changes, do one of the following: t Click the Save Effect icon in the RTAS tool.
Real-Time AudioSuite Plug-Ins Ordering RTAS Inserts on a Track When you combine RTAS plug-ins on an audio track, the order in which you insert them affects how your Avid editing application applies the effects. This can produce different results for your sequence. Your Avid editing application processes RTAS effects in order from left to right as they appear in the Track Control panel (insert a through insert e).
20 Using Audio Plug-Ins Using RTAS Effect Templates If you apply an RTAS track effect and make a set of adjustments to it, you can quickly recreate the same sound on other tracks in your sequence or project. You can save an RTAS effect with its parameter settings to a bin as an effect template. You can then apply the template to other audio tracks at any time.
Avid AudioSuite Plug-Ins For information on Avid and third-party plug-ins, go to the Avid Web site at www.avid.com. For information on plug-ins that are not supported by your Avid editing application, see “AudioSuite Plug-in Limitations” on page 849. AudioSuite Plug-Ins Installation The installer for your Avid editing application automatically creates a Plug-Ins folder that stores AudioSuite plugins in the following location: (Windows) drive:\Program Files\Common Files\DSM\DAE (Macintosh) Macintosh HD/Lib
20 Using Audio Plug-Ins Applying an AudioSuite Plug-in to a Clip in the Timeline The following illustration shows the default layout of the AudioSuite window.
Avid AudioSuite Plug-Ins 3. (Option) To select multiple tracks, press the Shift key while you select additional tracks from the Track Selection menu. Plus signs (+) mark the additional tracks and indicate that the effect is applied to more than one track. 4. Click the Plug-In Selection menu, and select a plug-in. Your Avid editing application automatically applies the plug-in effect to the track or tracks in the Timeline. It applies stereo effects to stereo tracks and mono effects to mono tracks. 5.
20 Using Audio Plug-Ins 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. Preview Plays back a portion or all of the currently selected audio clip with processing. Some plug-ins can preview in real time and some cannot.
Avid AudioSuite Plug-Ins Rendering AudioSuite Plug-in Effects You need to render all AudioSuite plug-ins before you can play back the effect. If you do not render the effect manually, your Avid editing application automatically renders the effect before it creates an audio mixdown or audio dissolve containing the effect. n When you render an audio effect on an AMA media clip, all audio media files are written as PCM (MXF), regardless of what you set for the audio file format.
20 Using Audio Plug-Ins AudioSuite Controls for Creating New Master Clips When you drag a master clip onto the AudioSuite window, the window automatically expands to display additional controls. You can also click the Display/Hide Master Clip Controls button to display or hide the additional parameters. The following illustration identifies the controls in the expanded AudioSuite window.
Avid AudioSuite Plug-Ins Control Description 3 Processing Mode Selection Displays the current processing mode of the AudioSuite effect on a given clip. menu For more information, see “Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins” on page 846. 4 Target Bin for New Master Lets you choose the target bin. The system places the new media and a Clip menu corresponding AudioSuite effect template in the bin. The template lets you modify the effect at a later time.
20 Using Audio Plug-Ins Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins AudioSuite plug-ins let you select the following types of processing: • Mono processing only — This option is available for plug-ins that operate on only one mono audio track at a time. The other option (Stereo) appears dimmed. The plug-in applies the effect to each source track individually, in a serial manner.
Avid AudioSuite Plug-Ins Using AudioSuite Plug-ins to Create New Master Clips To create new master clips using the AudioSuite plug-ins: 1. Drag one or more master clips or subclips into the AudioSuite window. Your Avid editing application automatically enters Master Clip Processing mode and expands the AudioSuite window, if necessary. 2. (Option) You can click the Display/Hide Master Clip Controls button to display or hide the controls for processing a master clip.
20 Using Audio Plug-Ins Using AudioSuite Effect Templates When you create a new master clip, your Avid editing application also creates an AudioSuite effect template in the bin. This effect template contains a reference to the original master clip to which you applied the effect. Template names take the following format: • (Windows) Your Avid editing application combines the original clip name with the effect name — for example, Test Audio clip - AudioSuite Plug-In Effect: Normalize.
Avid AudioSuite Plug-Ins 6. If you have not already done so, name the template by clicking the text and typing a name. 7. Close the bin. Your Avid editing application does not save the effect to the bin until you close the bin. 8. Click the AudioSuite Fast Menu button to locate your new template. Using AudioSuite Plug-Ins in Stereo You can use some AudioSuite plug-ins on either mono or stereo tracks.
20 Using Audio Plug-Ins To respond to error messages: 1. Do one of the following: t Select Cancel to stop the rendering process. This lets you open the AudioSuite tool and then start rendering again. t Select Bypass to continue the rendering process. The plug-in effect does not render. In most cases, you should click Cancel and open the AudioSuite window.
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description AIR Chorus Gives depth and space to the audio signal.by applying a short modulated delay. For more information, see “AIR Chorus (RTAS)” on page 854. AIR Distortion Modifies the audio signal with various types of distortion. For more information, see “AIR Distortion (RTAS)” on page 855. AIR Dynamic Delay Creates a delay line that can synchronize to the tempo of your audio sequence.
20 Using Audio Plug-Ins Audio Plug-ins Plug-In Description AIR Reverb Creates a sense of room or space by applying a reverb to the audio signal. For more information, see “AIR Reverb (RTAS)” on page 873. AIR Spring Reverb Creates a classic analog, spring reverb sound. For more information, see “AIR Spring Reverb (RTAS)” on page 876. AIR Stereo Width Lets you enhance the stereo presence for mono audio signals. For more information, see “AIR Stereo Width (RTAS)” on page 877.
Core Avid Audio Plug-Ins Audio Plug-ins 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 892. 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.
20 Using Audio Plug-Ins Audio Plug-ins Plug-In Description Reverse Rewrites the selected audio in reverse. For more information, see “Reverse (AudioSuite)” on page 911. 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 911. Signal Generator Produces audio test tones in a variety of frequencies, waveforms, and amplitudes.
Core Avid Audio Plug-Ins Parameter Description LFO • Waveform — Selects a triangle or a sine wave for the LFO. This affects the character of the modulation. The sine wave has a gentler ramp and peak than the triangle wave. • L/R Phase — Sets the relative phase of the LFO’s modulation in the left and right channels. 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.
20 Using Audio Plug-Ins Parameter Description Stereo When you enable Stereo, the control processes the left and right channels of the incoming stereo signal separately. When you disable Stereo, the control sums and processes the incoming stereo signal as mono. Mix Lets you balance the amount of dry signal with the amount of wet (distorted) signal. At 50%, the output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it is all wet.
Core Avid Audio Plug-Ins Parameter Description Delay When you enable Sync, the Delay control lets you select a rhythmic subdivision or multiple of the beat for the delay time (based on the tempo).
20 Using Audio Plug-Ins Parameter Description EQ • Low Cut — Lets you adjust the frequency for the Low Cut filter. For less bass, raise the frequency. • High Cut — Lets you adjust the frequency for the High Cut filter. For less treble, lower the frequency. Env Mod The Dynamic Delay plug-in provides Envelope Modulation (an envelope follower) to control various parameters in real time.
Core Avid Audio Plug-Ins Parameter Description Tune Lets you set the center frequency for low and high-end enhancement. Harmonic Generation • Low — Sets the center frequency for the bass boost. • High — Sets the center frequency for the treble boost. Lets you generate additional high-frequency harmonics, which can brighten up dull signals. Output • Depth — Generates additional high frequency harmonics in the signal (0.0–12.0 dB).
20 Using Audio Plug-Ins AIR Filter Gate (RTAS) You can use the Filter Gate effect to chop up the audio signal into staccato rhythmic patterns with variable filtering, amplitude, and panning. The following table lists the AIR Filter Gate plug-in parameters: Parameter Description Pattern Lets you select from a number of preset rhythmic patterns that the gate will follow. Gate • Attack — Lets you adjust the duration of the attack as a percentage of the step duration.
Core Avid Audio Plug-Ins AIR Flanger (RTAS) You can use the Flanger plug-in to apply a short modulating delay to the audio signal. The following table lists the AIR Flanger plug-in parameters: Parameter Description Sync Synchronizes the modulation rate to the audio sequence tempo. When you enable Sync, you can select a rhythmic subdivision or multiple of the beat for the Flanger modulation rate. When you disable Sync, you can set the delay time in milliseconds independently of the sequence tempo.
20 Using Audio Plug-Ins Parameter Description Rate Lets you select from the following rhythmic values: • 16 (sixteenth note) • 8T (eighth-note triplet) • 16D (dotted sixteenth-note) • 8 (eighth note) • 4T (quarter-note triplet) • 8D (dotted eighth-note) • 4 (quarter note) • 2T (half-note triplet) • 4D (dotted quarter-note) • 2 (half note) • 1T (whole-note triplet) • 3/4 (dotted half note) • 4/4 (whole note) • 5/4 (five tied quarter notes) • 6/4 (dotted whole note) • 8/4 (d
Core Avid Audio Plug-Ins Parameter Description EQ Provides controls for cutting lows from the Flanger signal, and inverting phase. • Phase Invert — When enabled, Phase Invert flips the wet signal’s polarity, which changes the harmonic structure of the effect. • Low Cut — Lets you adjust the Low Cut frequency for the Flanger, to limit the Flanger effects to higher frequencies. Feedback Lets you adjust the amount of delay feedback for the Flanger. At 0%, the delay repeats only once.
20 Using Audio Plug-Ins AIR Fuzz-Wah (RTAS) You can use the Fuzz-Wah plug-in to color the audio signal with different types and varying amounts of transistor-like distortion. The following table lists the AIR Fuzz-Wah plug-in parameters: Parameter Description Fuzz Turns the distortion effect on and off. Drive Sets the level of gain in the Fuzz algorithm. Mix (Fuzz) Lets you balance the amount of dry signal with the amount of wet (distorted) signal.
Core Avid Audio Plug-Ins Parameter Description Mix (overall) Lets you balance the amount of fuzz-processed signal with the amount of wah-processed signal. At 50%, there are equal amounts of fuzz and wah signal. At 0%, the output is all fuzz, and at 100% it is all wah. AIR Kill EQ (RTAS) You can use the Kill EQ plug-in to remove the Low, Mid, or High broadband frequency range from an audio signal.
20 Using Audio Plug-Ins AIR Lo Fi (RTAS) You can use the Lo Fi effect to bit-crush, down-sample, clip, rectify, and mangle the input signal. The following table lists the AIR Lo Fi plug-in parameters: Parameter Description Sample Rate Lets you resample the audio signal at another sample rate. Anti-Alias Provides control over anti-aliasing filters that you can use before and after downsampling to reduce aliasing in the resampled audio signal.
Core Avid Audio Plug-Ins Parameter Description LFO Lets you apply a Low Frequency Oscillator to modulate the Sample Rate. • Sync — Synchronizes the LFO Rate to the audio sequence tempo. When you enable Sync, you can select a rhythmic subdivision or multiple of the beat for the LFO Rate. When you disable Sync, you can change the modulation rate independently of the sequence tempo.
20 Using Audio Plug-Ins Parameter Description Env Mod Provides Envelope Modulator control over an envelope follower that can affect the sample rate. You can use this for accentuating and enhancing signal peaks (such as in drum loops) with artificially generated high-frequency aliasing. Distortion • Attack — Sets the time it takes to respond to increases in the audio signal level. • Release — Sets the time it takes to recover after the signal level falls.
Core Avid Audio Plug-Ins Parameter Description Mod • Pre Delay — Sets the Pre-Delay in milliseconds. • Waveform — Selects a triangle or a sine wave for the LFO. This affects the character of the modulation. The sine wave has a gentler ramp and peak than the triangle wave. Voices Sets the number of layered chorus effects that are applied to the audio signal. The more voices you use, the thicker the effect.
20 Using Audio Plug-Ins Parameter Description Delay Taps Provides five Taps (delay lines). Each tap provides the same set of controls. You can edit the controls for each tap independently of the other taps. • On — Turns the selected tap’s signal on or off. • Delay — Sets the length of delay for the tap, relative to the main Delay setting. • Level — Changes the output level of the tap. • Pan — Pans the audio signal from the tap left or right in the stereo field.
Core Avid Audio Plug-Ins Parameter Description EQ Provides tonal control over the reverb signal. • Low Cut — Adjusts the frequency for the Low Cut filter. For less bass, raise the frequency. • High Cut — Adjusts the frequency for the High Cut filter. For less treble, lower the frequency. Reverb Time Changes the length of the reverberation’s decay. Mix Lets you balance the amount of dry signal with the amount of wet (processed) signal.
20 Using Audio Plug-Ins Parameter Description Rate When you enable Sync, the Rate control lets you select a rhythmic subdivision or multiple of the beat for the Phaser Modulation Rate. When you disable Sync, you can change the phaser rate independently of the sequence tempo.
Core Avid Audio Plug-Ins Parameter Description Phaser Provides control over the effect’s center frequency and number of phaser stages (or poles). LFO • Center — Lets you change the frequency center (100 Hz to 10.0 kHz) for the phaser poles. • Poles — Lets you select the number of phaser poles (stages): 2, 4, 6, or 8. The number of poles changes the character of the sound. The greater the number of poles, the thicker and more sweeping the sound.
20 Using Audio Plug-Ins Parameter Description Early Reflections Changes the perceived location of the reflecting surfaces surrounding the audio source. Reverb simulates early reflections by using multiple delay taps at different levels that occur in different positions in the stereo spectrum (through panning). Long reverberation generally occurs after early reflections dissipate.
Core Avid Audio Plug-Ins Parameter Description Room Controls the overall spatial feel of the simulated room. High Frequencies Low Frequencies • Ambience — Affects the attack of the reverb signal. At low settings, the reverb arrives quickly, simulating a small room. At higher settings, the reverb ramps up more slowly, emulating a larger room. • Density — Changes the rate at which the sound density of the reverb tail increases over time. Higher Density settings create a smoother reverberated sound.
20 Using Audio Plug-Ins AIR Spring Reverb (RTAS) You can use the Spring Reverb effect to apply a classic spring reverb sound. The analog spring reverb feeds a signal to a transducer at the end of a suspended metal coil spring. The transducer causes the spring to vibrate so that the signal reflects from one end of the spring to the other.
Core Avid Audio Plug-Ins AIR Stereo Width (RTAS) You can use the Stereo Width effect to create a wider stereo presence for mono audio signals. The following table lists the AIR Stereo Width plug-in parameters: Parameter Description Mode Lets you specify the method by which the Stereo Width plug-in will create the artificial stereo field.
20 Using Audio Plug-Ins AIR Talkbox (RTAS) You can use the Talkbox effect to add voice-like resonances to audio signals. The following table lists the AIR Talkbox plug-in parameters: Parameter Description Vowel Lets you choose the shape of the formant filter, by the vowel sound that is simulated (OO/OU/AU/AH/AA/AE/EA/EH /EE/ER/UH/OH). Env Depth Creates a positive or negative offset in the setting of the Vowel control, effected by the envelope follower. At its center, the knob has no effect.
Core Avid Audio Plug-Ins Parameter Description LFO Provides controls that let you apply a Low Frequency Oscillator to modulate the Formant setting. Sync — Synchronize the LFO Rate to the audio sequence tempo. When you enable Sync, you can select a rhythmic subdivision or multiple of the beat for the LFO Rate. When you disable Sync, you can change the modulation rate independently of the sequence tempo.
20 Using Audio Plug-Ins Parameter Description Envelope Modulates the Formant setting by using an envelope follower. This allows you to accentuate and enhance signal peaks in rhythmic material. Mix • Thresh — Sets the amplitude threshold at which the Formant setting begins to be modulated by the envelope follower. • Attack — Sets the time (10.0 ms to 10 seconds) it takes to respond to increases in the audio signal level. • Release — Sets the time (10.
Core Avid Audio Plug-Ins Parameter Description Envelope Provides an envelope follower for controlling the Cutoff frequency, which allows you to control the envelope’s shape and depth of modulation. LFO Mode Output • Attack — Sets the time (10.0 ms to 10 seconds) it takes to respond to increases in the audio signal level. • Release — Sets the time (10.0 ms to 10 seconds) it takes to recover after the signal level falls.
20 Using Audio Plug-Ins Bomb Factory BF76 (RTAS and AudioSuite) The Bomb Factory BF76 plug-in is a compressor modeled after the solid-state (transistor) 1176 studio compressor. Introduced in the late 1970s, the 1176 offers a much different compression sound than other compressors.
Core Avid Audio Plug-Ins Chorus (AudioSuite) The Chorus plug-in modifies an audio signal by combining a time-delayed, pitch-shifted copy with the original signal. You can use it to thicken and add a shimmering quality to guitars, keyboards, and other instruments. The following table lists the Chorus plug-in parameters: Parameter Description Gain Lets you adjust the input volume of the chorus to prevent clipping or to increase the level of the processed signal. This slider is set to a default of +3 dB.
20 Using Audio Plug-Ins Parameter Description LFO Waveform Selects a sine wave or triangle wave for the LFO. This affects the character of the modulation. The sine wave has a gentler ramp and peak than the triangle wave. Compressor/Limiter III — Dynamics III (RTAS and AudioSuite) The Compressor/Limiter III plug-in applies either compression or limiting to audio material, depending on the ratio of compression used.
Core Avid Audio Plug-Ins The following table lists the Compressor/Limiter III plug-in parameters: Parameter Description Levels panel Phase invert button Inverts the phase (polarity) of the input signal, to help compensate for phase anomalies that can occur either in multi-microphone environments or because of mis-wired balanced connections. Input/Output level meters Show peak signal levels before and after processing.
20 Using Audio Plug-Ins Parameter Description Compressor/Limiter panel (COMP/LIMIT) Knee Sets the rate at which the compressor reaches full compression once the threshold has been exceeded. As you increase this control, it goes from applying “hard-knee” compression to “soft-knee” compression. Values range from 0dB (hardest response) to 30dB (softest response). With hard-knee compression, compression begins when the input signal exceeds the threshold. This can sound abrupt and is ideal for limiting.
Core 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.
20 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.
20 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.
20 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.
20 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.
20 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.
20 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.
20 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.
20 Using Audio Plug-Ins Gain (AudioSuite) Gain lets you boost or lower amplitudes in a file or selection by a specified amount. Use Gain for smoothing out undesirable peaks and other dynamic inconsistencies. 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.
Core Avid Audio Plug-Ins Lo-Fi Plug-In (RTAS and AudioSuite) Lo-Fi down-processes audio by reducing its sample rate and bit resolution. It is ideal for emulating the grungy quality of 8-bit samplers. 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.
20 Using Audio Plug-Ins Parameter Description Noise Generator The Noise slider mixes a percentage of pseudowhite noise into the audio signal. Noise is useful for adding grit into a signal, especially when you are processing percussive sounds. This noise is shaped by the envelope of the input signal. The range of this control is from 0 to 100%. When noise is set to 100%, the original signal and the noise are equal in level.
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.
20 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 multichannel 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.
20 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.
20 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.
20 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.
20 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.
20 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.
20 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.
20 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 multichannel 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 multichannel track and do not allow muting of individual channels within the track.
21 Exporting Frames, Clips, or Sequences This chapter describes how to export files for use with another system, application, or platform.
21 Exporting Frames, Clips, or Sequences Understanding Export You can export material directly from your Avid editing application to many supported file types. You can export an individual frame, a selected region of footage, or an entire clip or sequence. 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 Depending on how you choose to export, you can: • Use the Export setting or Send To template you select without modification. • Modify the options in the setting or template for use in the current export only. • Modify the Export setting and save the modifications to that setting. • Modify the setting or template and save the modifications as a new Export setting or a new custom Send To template.
21 Exporting Frames, Clips, or Sequences Preparation Task Description Make sure all audio clips have the same sample rate. For more information, see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 753. You can also use OMFI or AAF to change the sample rate. For more information, see Guidelines for Exporting OMFI and AAF Files. Check and adjust all pan and audio levels. All current Pan and Level settings in the sequence are carried to the exported media.
Exporting With the Send To Templates To export by using a Send To template: 1. Select a clip or sequence in a bin. 2. Do one of the following: t Select File > Send To > template. t Right-click the clip or sequence in the bin, and select Send To > template. If you are sending to DigiDelivery® or to Avid Pro Tools®, a template options dialog box opens. Otherwise, the Send To dialog box opens. 3.
21 Exporting Frames, Clips, or Sequences The Send To dialog box opens. The Filename text box displays the name of the sequence or clip you chose. The following illustration shows the Send To dialog box when you are sending to DigiDelivery. 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.
Exporting With the Send To Templates 7. (Option) If the template you are using can automatically launch the application that handles the exported file, an Auto Launch option appears in the Send To dialog box and is selected. Auto Launch might also have sub-options. You typically do not change these settings, but you can deselect Auto Launch if you do not want the application to launch automatically, and you can change the selection of sub-options. 8.
21 Exporting Frames, Clips, or Sequences 14. (Option) If you are sending to DVD One Step, select the capacity of your DVD medium from the Capacity menu, and then click OK. The capacity of your DVD medium must match the size you select from the Capacity menu. For information about the other options in the Burn to DVD dialog box, see the Sonic documentation. Your DVD is burned. Send To Templates Reference The following table describes the Send To templates that Avid supplies.
Send To Templates Reference 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. Select Auto Load Exported File(s) if you want the files you export to automatically load in the Avid DS application.
21 Exporting Frames, Clips, or Sequences Creating a Custom Send To Template for Exporting to Third-Party Applications To create a custom Send To template: 1. Select a clip or a sequence in a bin. 2. Do one of the following: t Select File > Send To > Make New. t Right-click the clip or sequence in the bin, and select Send To > Make New. The Send To dialog box opens with a default export template.
Creating a Custom Send To Template for Exporting to Third-Party Applications 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. a.
21 Exporting Frames, Clips, or Sequences Exporting With the Export Command or the Drag-and-Drop Method You can export frames, clips, or sequences using the Export menu command. This method lets you modify the Export settings as part of the export process. You can also export most types of files by dragging and dropping. This method is a quick and simple way to perform the actual export, but it requires you to set up the Export setting you want to use in advance.
Exporting With the Export Command or the Drag-and-Drop Method To identify and select the material you want to export: 1. Identify the portion of the clip or sequence you want to export. Option Description To export specific tracks in a clip or sequence: Enable the tracks in the Track Selector panel, and disable all others. Ensure that Use Enabled Tracks is selected in the Export Settings dialog box.
21 Exporting Frames, Clips, or Sequences 3. Click the Export Setting menu, and select a setting. This setting determines the format of the exported file. The default setting is labeled Untitled. Any settings that appear in the Settings list in the Project window appear in the menu. For information on the standard settings, see “Common Export Settings” on page 1259. For information on creating custom settings, see “Customizing Export Settings” on page 935. 4.
Customizing Export Settings 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. You can select the default Export setting, the preset templates, or any additional Export setting you have created.
21 Exporting Frames, Clips, or Sequences 6. Select the appropriate file type and options based on the descriptions in “Export Settings” on page 1259. 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.
Guidelines for Exporting OMFI and AAF Files 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.
21 Exporting Frames, Clips, or Sequences 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.
Guidelines for Exporting OMFI and AAF Files 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.
21 Exporting Frames, Clips, or Sequences 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. AFE files, however, are especially designed for sharing project information among Avid applications.
Exporting QuickTime Movies 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. n If you are editing an offline sequence that you want to finish on Avid DS, make sure to consult the conform information in the Avid DS documentation, which contains important information about the most efficient way of preparing a sequence for the conform process.
21 Exporting Frames, Clips, or Sequences 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.
Installing or Copying the Avid Codecs for QuickTime on Other Systems A set of Avid codecs for QuickTime are installed automatically when you install your Avid editing application. You can use these codecs to export QuickTime files from your Avid system, or to export QuickTime files from third-party applications for fast import into an Avid system.
21 Exporting Frames, Clips, or Sequences To copy the Avid QuickTime Codecs from one system to another system: 1. On your Avid system, open one of the following folders: (Windows) drive:\Program Files\QuickTime\QTComponents (Windows) drive:\Windows\System32 (Macintosh) MacintoshHD/Library/QuickTime 2. Copy the codecs you need to a removable device or network server. The following table describes the codecs: Codec (Windows) Codec (Macintosh) Description AvidAV1xCodec.
Exporting from a Third-Party QuickTime or AVI Application 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 943. 2.
21 Exporting Frames, Clips, or Sequences 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.
Exporting Media to XDCAM Devices 6. (Option) Select Use Enabled Tracks. 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 1274. 9. Click Save As Custom Profile. 10.
21 Exporting Frames, Clips, or Sequences For information on connecting your XDCAM device, see “Connecting the XDCAM or XDCAM EX Device” on page 361. See “XDCAM and XDCAM EX Formats and Resolutions” on page 359 for the formats and resolutions you can export to the XDCAM device. Exporting to XDCAM You can export NTSC and PAL projects.
Exporting to XDCAM 5. (Option) Select Use Marks. 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. 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.
21 Exporting Frames, Clips, or Sequences Exporting Your Clip or Sequence to a P2 Card If you have a P2 card writer, you can export a clip or sequence to your P2 card. The writer can be a P2 device or a camera enabled for P2 writing. You can export to one card or multiple cards. n If you connect to more than one P2 device, make sure only one is turned on. If more than one device is turned on, you cannot control which device you export to. To export a a clip or a sequence to a P2 card: 1.
Exporting as Windows Media Using a VC1 Resolution Exporting as Windows Media Using a VC1 Resolution To export media as VC1: 1. Select the sequence or clip 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. 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.
21 Exporting Frames, Clips, or Sequences 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.
22 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.
22 Generating Output • Set audio output levels and other output options, as described in “Preparing for Audio Output” on page 968. • Mix down multiple audio tracks, if necessary, as described in “Mixing Down Audio Tracks” on page 754. • Prepare the record tapes, as described in “Preparing Record Tapes” on page 975. • (Option) Record reference bars and tone to tape, as described in “Recording Bars and Tone” on page 975.
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.
22 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 You can select the LTC Out during preroll option in the Digital Cut tool to add filler at the start of a sequence. 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.
22 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 958.
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 963.
22 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.
22 Generating Output n The Video Output tool does not display basic calibration controls for Serial Digital, DV, or HD-SDI. All basic levels remain in digital form and cannot be adjusted from within your Avid editing application. For H-phase adjustment of a Serial Digital output signal, see “Calibrating the System with Passthrough Signals” on page 963. The Video Output tool displays the appropriate parameters for the selected video format, as described in “Video Output Tool Settings” on page 1319. 9.
Calibrating for Video Output Calibrating the System with Passthrough Signals If you work in a production environment in which house standards are used to synchronize a number of devices including the source decks connected to your Avid system, you can calibrate the system one time to conform to existing standards with the least amount of alteration of the signal. This method involves the use of a passthrough signal (a signal that gets sent directly from an input source through to the output channels).
22 Generating Output 11. Make any necessary adjustments to H phase, SC phase, and Hue by using the sliders in the Video Output tool while checking the external Waveform and Vectorscope monitors. Whenever the Capture tool is active, hue, horizontal phase (H phase), and subcarrier phase (SC phase) are set to values determined by the input circuitry and are not available to control the outputs. These controls appear dimmed during passthrough. 12. Save this setting with an appropriate name: a.
Preparing for Converting HD Formats Adjusting Phase Controls The Video Output tool provides controls for adjusting horizontal phase globally for output. Horizontal phase, or H Phase, is the horizontal blanking interval used to synchronize the timing of two or more video signals. SC Phase (subcarrier phase) controls are also available for timing two or more signals based on the color burst portion of a composite or S-Video signal.
22 Generating 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. The options are Anamorphic, Letterbox, Center Cut. The following illustrations show how a high-definition image is adjusted for downconvert. Example of downconversion formats. Top: the HD image.
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.
22 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 To change the parameters for the calibration tone: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the PH (Peak Hold) menu, and select Set Calibration Tone. 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.
22 Generating Output To calibrate global output levels: 1. Double-click Audio Project in the Settings list in the Project window. The Audio Project Settings dialog box opens. 2. Click the Output tab. 3. Select Tools > Audio Tool. 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.
Preparing for Audio Output Setting Audio Output Options The Audio Project Settings dialog box contains options for audio output, such as how audio tracks in the sequence are mapped to output channels. To set audio output options: 1. Double-click Audio Project in the Settings list in the Project window. The Audio Project Settings dialog box opens. 2. Click the Output tab.
22 Generating Output 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. - Select Mono to map all the monitored tracks to a pair of mono channels, with all channels panned to center and pan effects bypassed.
Preparing for Audio Output n If you want to map output channels to audio tracks not listed in the Output Track Maps area, click the Which Set of Track Maps button to display other available audio tracks. The maximum number of available tracks is 24. 5. Select the output format and assign the output channels in the tabbed interface at the bottom of the dialog box. Options vary depending on the type of input/output hardware you have attached to your system.
22 Generating Output Embedded Audio and Output Sample Rate Conversion The format for embedded audio must be 48 kHz. If you attempt to set the sample rate to a different value while SD SDI or HD SDI output is enabled, the system displays the following message: For example, if you have 8 channels of HD SDI output enabled and attempt to change the sample rate to 96 kHz, the system displays the message.
Preparing Record Tapes Preparing Record Tapes There are two basic methods of recording to tape: • Frame-accurate recording by using the Digital Cut tool to record your sequence onto either a prestriped tape (a tape with prerecorded control track and timecode) or a partially striped tape • Manual recording by using controls on the record deck Each of these methods requires different treatment of the record tapes.
22 Generating Output To manually record bars and tone: 1. Select Tools > Video Output Tool and Tools > Audio Tool. 2. In the Video Output tool, click the Test Patterns menu, and select a color bars pattern. 3. In the Audio tool, click the PH (Peak Hold) menu, and select Play Calibration Tone. See “Setting the Calibration Tone” on page 968. 4. Set the record deck to Local for manual recording. 5.
Using ExpertRender to Prepare Effects for a Digital Cut To enable assemble editing: 1. Double-click Deck Preferences in the Settings list in the Project window. The Deck Preferences dialog box opens. 2. Select the “Allow assemble edit & crash record for digital cut” option. 3. Click OK. 4. Make sure the record deck has the following settings: - The free run/rec (record) run switch should be set to record run. - The Ext (external)/Int (internal) sync switch should be set to internal.
22 Generating Output 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. Open the ExpertRender dialog box by doing one of the following: t Select Clip > ExpertRender In/Out. t Right-click in the Timeline, and select ExpertRender In/Out. The ExpertRender dialog box opens. 4. Select “Prepare effects for Digital Cut,” and then click OK.
Using the Digital Cut Tool You can manually record a digital cut, but the recording is not frame accurate. See “Recording a Digital Cut to Tape (Local Mode)” on page 986. n n Sync for output comes from black burst or tri-level sync input to the Avid input/output hardware or from internal timing. For more information, see “Selecting the Sync Source for Output” on page 955.
22 Generating Output 1 2 3 4 5 6 9 7 10 8 980 1 Sequence Tracks menu 6 Audio Track Selection buttons 2 Enable Video Track buttons 7 Deck controls 3 Play Digital Cut button 8 Deck Selection menu 4 Halt Digital Cut button 9 Deck control area 5 Preview Digital Cut button 10 Timecode text boxes
Using the Digital Cut Tool 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.
22 Generating Output To preview a digital cut: 1. Select Clip > Digital Cut. The Digital Cut tool opens. 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.
Using the Digital Cut Tool 5. Select or deselect the Entire Sequence option based upon the following: t Select the Entire Sequence option if you want the system to ignore any IN or OUT points and to play the entire sequence from start to finish. t Deselect the Entire Sequence option if you have established an IN point, an OUT point, or both for recording a portion of the sequence. 6.
22 Generating Output 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.
Using the Digital Cut Tool 18. (Option) To stop the recording at any time, do one of the following: 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.
22 Generating Output 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 978. 2. Load a sequence into the Source/Record monitor.
Output Mode Resolution Options 7. (Option) Select Stop on Dropped Frames. 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 977. 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.
22 Generating Output 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.
Outputting DV 50 and DVCPRO HD Media Directly to a DV Device 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.
22 Generating Output To output DV 50 or DVCPRO HD media directly to a DV device: 1. Select the DV 50 or DVCPRO HD sequence you want to output. 2. Render all effects. 3. If you are using Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following: t Click the DNA/1394 button above the Timeline to display the 1394 label. t Select Special > Device > IEEE 1394. The 1394 icon displays above the Timeline, and a check mark appears next to IEEE 1394 in the Device menu. 4.
Selecting Output Formats for 23.976p and 25p Projects Depending on the format you select, you also need to: • Select the timecode to output. See “Selecting the Timecode Format for Output” on page 994. • Indicate the destination timecode rate. See “Indicating the Destination Timecode Rate” on page 995. • Select the video pulldown cadence. See “Selecting the Video Pulldown Cadence” on page 996. Selecting Output Formats for 23.976p and 25p Projects To output a particular format: 1.
22 Generating Output 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.
Output Format Reference for 23.976p and 25p Projects 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.
22 Generating 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.
Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding 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.
22 Generating Output 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.
Changing the Default Pulldown Phase for Sequences 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.
22 Generating Output 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 Command+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.
Delaying the Sequence for a Digital Cut 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.
22 Generating Output 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.
Vertical Blanking Information 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.
22 Generating Output To display vertical blanking information and preserve it for a digital cut: 1. Select Tools > Video Output Tool. The Video Output tool opens. VBI menu 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.
Vertical Blanking Information 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.
22 Generating Output Effects of Preserving Vertical Blanking Information on Compressed Video Quality For resolutions other than 1:1, preserving vertical blanking information when you capture can affect the video quality in the rest of the frame. For example, depending on the compression ratio, a video frame might look more blocky with vertical blanking information included. Your Avid editing application performs the following operations when capturing a frame: 1.
Preserving HD Closed Captioning and Ancillary Data Feature Meridien Current Is VBI supported for DV resolutions? No No Is VBI supported for MPEG IMX? No Yes Does NewsCutter support VBI? No Yes Is VBI supported for JFIF and uncompressed resolutions? Yes Yes Is VBI information preserved when you apply effects? Not always Yes (see “Editing a Sequence with Vertical Blanking Information” on page 1003.
22 Generating Output For both methods, you can only monitor and view the data on a client monitor capable of handling 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.
Preserving HD Closed Captioning and Ancillary Data • You must output through the HD-SDI port of your Avid input/output hardware. Ancillary data is only supported through the HD-SDI input/output of your Avid hardware. • There is no support for a Data track in the Avid FilmScribe application. • At this time, the following resolutions/projects are not supported with a data track: RGB, 720p/23, 720p/25 and 720p/29.94.
22 Generating Output To add a Data Track through extracting ancillary data from a clip: 1. Select the clip (that includes ancillary data) in the bin. 2. Choose Clip > Extract DNxHD Data, or Right-click the clip in the bin and choose Extract DNxHD Data. The Confirm dialog box appears. If the clip does not meet all the requirements to extract an ancillary data clip, a dialog box appears that informs you of the problem. Open the Console window (Tools > Console) to get more information about the problem. 3.
Preserving HD Closed Captioning and Ancillary Data Ancillary Data and Avid Editing Functions The table below describes if you can use a particular editing function with the new Data Track method or with the Legacy method.
22 Generating Output Transcode Data Track Method Legacy Method Not Applicable Not Applicable Yes (with Avid Nitris DX, Avid Mojo DX, or Avid Adrenaline and source and destination media must be DNxHD) n Consolidate Not Applicable Yes Mixdown Not Applicable Yes Import (AAF with embedded media) Not Applicable Not Applicable Yes (with Avid Nitris DX, Avid Mojo DX or Avid Adrenaline only) Yes (with Avid Nitris DX, Avid Mojo DX or Avid Adrenaline only) Export (AAF with embedded media) Not Appli
Preserving HD Closed Captioning and Ancillary Data • You can control which types of ancillary data you capture through the Capture Settings tab in the Media Creation tool or by using Console commands. The data you capture is the same as the data you output. • Four data slots are available, and the maximum size of the four data slots combined is 256 bytes, of which 7 bytes per enabled slot is for Avid control data.
22 Generating Output Controlling Ancillary Data through a Settings Window - Legacy Method This feature is only available with an Avid Adrenaline. You can turn the ancillary data option on and off and set the slots through the Media Creation Settings. To switch the ancillary data feature on and off through 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. Select Ancillary Data Enabled.
Preserving HD Closed Captioning and Ancillary Data Controlling Ancillary Data with a Console Command (Legacy Method only) You can turn the ancillary data option on and off and set the slots with Console Commands. To switch the ancillary data feature on and off with a Console command: 1. Select Tools > Console. 2. Type the following command: Embeddnxcc To set the default for ancillary data preservation for all four slots: 1. Select Tools > Console. 2.
22 Generating Output The following table describes the options you can set in the command: Option Description Slot A value from 1 to 4 that specifies a data slot On/Off A value of 1 or 0 DID A hex number (for example, 0x61) SDID A hex number (for example, 0x60) For example: - To turn off data slot 1, type Embeddnxccoptions 1 0 To set data slot 2 to hold CEA 708 data, type Embeddnxccoptions 2 1 0x61 0x01 - To set data slot 4 to hold a custom data type, type Embeddnxccoptions 4 1 0xaa 0xbb where
Preserving HD Closed Captioning and Ancillary Data 3. Decide on your method of capture, see “Capturing Media” on page 197 for more information. Depending on the options you select, ancillary data clips along with the video and audio clips you selected to capture, appear in the bin. Performing a Data Mixdown With the Data Track method, a data mixdown lets you combine several clips into one new master clip. You can use data mixdown after you finish building your sequence and want to make it into one piece.
22 Generating Output To export to an XDCAM device: 1. Connect your XDCAM HD device. 2. Select the appropriate mode on your XDCAM HD device that corresponds to the video format that you will be exporting. For example, set your XDCAM device to 1080i 59.94 if you want to export a clip or sequence at XDCAM-35 1080I/59.94. 3. Select the sequence or clips to export, or select the data track. 4. With an XDCAM device connected to your system, select Clip > Export to Device > XDCAM.
Preserving HD Closed Captioning and Ancillary Data 8. Select a video format. Select XDCAM-50, XDCAM-35, XDCAM-25, or XDCAM-17. For HD, a single disk can have clips with mixed bit rates (17.5, 25, and 35 Mbits). Additionally, a sequence that is being exported to an HD XDCAM disk can have mixed bit rates, as well. If you use the Sony PDW HD1500 or the Sony PDW 1500 XDCAM device, export of up to 8 tracks of audio is supported for the MPEG IMX and XDCAM HD 50 Mbits formats.
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23 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 219.
23 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.
23 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 7. Copy the folders or files to the appropriate folder. 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.
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24 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.
24 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.
24 Using the NRCS Tool The options that appear depend on the server selection. n The NRCS Settings dialog box also appears when you connect to a server if the active NRCS setting 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 7. Click the iNEWS or the ENPS tab to make additional changes to the NRCS settings. 8. (iNEWS only) Configure the Message-of-the-Day (MOTD) settings, Mail Directory, and Story Field Assignment values: a. b.
24 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.
Configuring 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.
24 Using the NRCS Tool Starting the NRCS Tool To start the NRCS tool after it has been configured: 1. Select Tools > NRCS Tool. The NRCS tool opens. 2. Click the Connect button. (iNEWS only) The NRCS Login dialog box opens for the iNEWS server. The iNEWS server name appears as part of the title bar text. (ENPS only) The NRCS tool connects to the ENPS server. (A login dialog box does not appear for the ENPS server.) 3.
NRCS Tool Components NRCS Tool Components The following illustration shows the components of the NRCS tool that appear when NewsCutter connects to an iNEWS server.
24 Using the NRCS Tool The following illustration shows the components of the NRCS tool that appear when NewsCutter connects to an ENPS server.
NRCS Tool Components The following table describes the components of the NRCS tool. Component Server Support Description Connect/Disconnect iNEWS and ENPS button Establishes or cancels the connection to the iNEWS or the ENPS server. 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.
24 Using the NRCS Tool Component Server Support Description (Continued) Find Sequence button iNEWS and ENPS Locates a sequence associated with a story. 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.
Using the Directory Panel You can also use the NRCS tool settings dialog box to change the form fields that display in the Directory Panel. See “Configuring the NRCS Settings” on page 1027. 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.
24 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.
24 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) 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.
24 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) 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. For information on entering edit mode, see “Editing Story Text (iNEWS Only)” on page 1039.
24 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.
Finding the Read Time of a Story 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.
24 Using the NRCS Tool Sequences and Stories The NRCS tool lets you create a new sequence with a length that corresponds to a particular story. This feature makes it very easy to edit in shots and to create a sequence quickly according to the duration of the story. 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.
Sequences and Stories (iNEWS only) The Tape-Time text box determines the duration of the sequence. If you want to build a sequence with a different duration, you must first edit the Tape-Time text box and save the story. The video-ID field of the story provides the value for the sequence’s tape ID bin column. n Sequences created with any of these methods have a fixed minimum length. You can lengthen the sequences (by adding clips) but not shorten them.
24 Using the NRCS Tool Top: NRCS tool showing (left to right) the Story name, the Build Sequence button, and the Tape-Time text box. Center: the new sequence generated from the story in a bin. Bottom: the Timeline with a duration time equal to the tape time of the story. 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.
Sequences and Stories Setting Timeline IN and OUT Points Based on Story Timing The NRCS tool can use its calculated story timing to set IN and OUT points in the sequence loaded in the Timeline. To set IN and OUT points based on the story timing: 1. Load the appropriate sequence in the Timeline. 2. Select a portion of the text in the Story panel. The read time of the selected text appears in the upper right corner of the NRCS tool. Example of a selected portion of story text.
24 Using the NRCS Tool 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. You can associate only one sequence with a story, which then transfers metadata — such as the information in the fields of the iNEWS story form — from the story to the existing sequence.
Adjusting the Story Timing (iNEWS Only) Adjusting the Story Timing (iNEWS Only) You might want to adjust the story timing in cases where you use the Mark IN/OUT button to set In and Out points in the Timeline based on the story text timing. For example, if your story has introductory text that you do not want included in the sequence, you can set In and Out points in the sequence so that the extra text offsets the computed times. You must be in Edit mode to insert timing cues in a story.
24 Using the NRCS Tool Adjusting the Story Timing with a Time Pad (iNEWS Only) Because the calculated story timing might not exactly match the required sequence or clip duration, you can specify the duration of the media clip by adding a Time Pad cue to the sequence. The Time Pad cue inserts cues in the text, based on the In and Out points. For example, if part of the story has a video clip but no corresponding text, this creates an offset of the timing of any following text.
Using Associated Sequences Using Associated Sequences The NRCS tool lets you locate sequences associated with NRCS stories or, conversely, to locate stories from their associated sequences. This makes it easier to find stories on your iNEWS or ENPS server (for example, when the tape ID is unknown) or to load sequences for NRCS scripts directly into the Timeline. n (iNEWS) Only sequences created with the NRCS tool and which have valid identifiers in the NrcsID bin column can be associated with a story.
24 Using the NRCS Tool 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. If someone has already modified the story or if you do not have the proper permissions, you cannot modify it. In this case, when you click Modify, the action saves your changes to a new story. t Click New to save the changes to a new story. The NRCS tool creates a new story with the same name as the original story.
Using the Post to Web Feature n Post to Web processing does not recognize proper nouns, acronyms, or terms that require special formatting. Stories require manual editing of the text before you can use the finished file as a Web page. You can control how the NRCS tool converts a story for Web display by selecting options in the NRCS Settings dialog box. For more information on processing the script, see “Configuring the NRCS Tool” on page 1026 and “Creating a Web Page for Post to Web” on page 1055.
24 Using the NRCS Tool 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. However, you might have other footage for your story that you want to add for viewing on the Web. Post to Web provides a way to link these clips to the Web page generated from your story. To create a linked clip: 1.
Using the Post to Web Feature n 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. Post to Web creates a link wherever you place the selection cursor.
24 Using the NRCS Tool n The template descriptions in this section refer to HTML coding only as an example. The Web page templates used by Post to Web can be in any formatting language, for example XML. Templates include tags that Post to Web uses to convert your story into a Web page: n • < ! - - STORY - - > • < ! - - TEXT - - > • < ! - - CLIP - - > • < ! - - VIDEOFORMAT - - > • < ! - - HYPERCLIP - - > Do not include HTML comment tags within the format elements.
Using the Post to Web Feature 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. The Text tag takes the following form: < ! - - TEXT “Label” format elements $TEXT$ - - > Labels appear in the Field column of the Template tab in the Post To Web dialog box.
24 Using the NRCS Tool 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 1056), Post to Web automatically creates a Uniform Resource Locator (URL) for the clip. The Clip tag inserts the URL into the Web page. You can also include text, such as captions, to accompany the media.
Using the Post to Web Feature The Label (left), the clip name (center) that is the basis for the URL, 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 Videoformat Tag in Post to Web Templates You use the Videoformat tag to link encoding formats to video clips.24 Using the NRCS Tool The following example shows a Videoformat tag as it appears in a template, in the Post field in the Post To Web dialog box, and in the HTML code generated by the template.
Using the Post to Web Feature n If you do not include any format elements, $URL$ is assumed—for example, creates a link to a clip without providing any formatting or other information for the clip. The following examples show a Hyperclip tag as it appears in a template and in the HTML code generated by the template. Clip tag in a template ($URL$ is the placeholder for a URL reference to a clip and $TEXT$ is the placeholder for text):