Media Station|PT Guide Version 2.
Legal Notices This guide is copyrighted ©2007 by Digidesign, a division of Avid Technology, Inc. (hereafter “Digidesign”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Digidesign.
contents Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Video Output Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Supported Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Support for Avid Interplay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 3. Basic Media Station|PT Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Starting a New Project with Media Station|PT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Changing Video Output Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Capturing Audio and Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Re-Digitizing an Existing Sequence .
chapter 1 Introduction Avid Media Station|PT software is designed exclusively for audio-related post-production work either as a standalone application or in conjunction with Pro Tools and Avid Mojo SDI, Avid Mojo, or Digidesign AVoption|V10 (referred to here as Avid video peripherals). Media Station|PT Limitations Media Station|PT has the same basic engines and components as the full line of Avid editing applications (such as Media Composer and Avid Xpress Pro).
Full-Screen Playback via DVI Output to a Computer Monitor Supported Video Resolutions With a supported video card installed, Media Station|PT provides full-screen playback of SD or HD video through a DVI port to your primary or secondary computer monitor.
• DV25p 420: DV25 progressive scan at 4:2:0 sampling (for PAL 25p and PAL 24p projects) • All standard-definition Avid Multi-Cam Resolution files • The following video resolutions created with the Avid DV, JFIF or MXF video codecs: • 1:1 (Uncompressed JFIF/MXF) • DV50 • DV25 4:1:1 • DV25 4:2:0 • DV25P 4:1:1 • DV25P 4:2:0 • 15:1s 4:2:2 • 14:1P 4:2:2 • 28:1P 4:2:2 • 35:1P 4:2:2 Supported Frame Rates and Avid Project Types Media Station|PT supports the import, capture, and playback of video at the following r
Support for Avid Interplay Both Media Station|PT and Pro Tools support integration with Avid Interplay. Avid Interplay lets Pro Tools and Avid editors integrate the complete workflow of each project by managing assets, tracking versions, and providing powerful metadata and commenting capabilities. Interplay also automates the data flow, eliminating errors and shielding users from complex import/export steps.
Avid Terminology This section provides a brief glossary of Avid terms and, where applicable, their Pro Tools counterparts. Clip A Clip references one or more media files which play in synchronization, for instance a video file and its two audio tracks. Clips are stored in bins. Subclip A Subclip in Media Station|PT is like a region in Pro Tools: it is a shorter version of the clip from which it was created. Subclips are also stored in bins.
Pro Tools and Avid Counterparts AAF, OMF, and MXF Basics Pro Tools and Avid use different terms to describe the same items. For example, a Pro Tools session is equivalent to an Avid sequence. The following table lists common Pro Tools elements and their Avid equivalents. AAF and OMF files are mechanisms for storing and retrieving media data and metadata so that projects can be freely exchanged between different applications and platforms (such as between Pro Tools and Avid video editing applications).
MXF AAF MXF is a media file format. There are MXF video files and MXF audio files, but there are no “MXF sequences.” An AAF sequence may refer to or include MXF media files, but OMF sequences cannot refer to or include MXF files. AAF sequences are the best way to exchange projects and maintain valuable metadata. An AAF sequence can refer to OMF and/or MXF media files, or have OMF and MXF media files embedded within them. There is no such thing as an AAF audio or video media file.
OMF Embedded Media OMF is both a media file and sequence format. OMF media files can be audio or video. Exporting to OMF or AAF with embedded media results in one large OMF or AAF file containing both the metadata and all associated media files. However, it is important to note that file size is limited to 2 GB.
MXF Media Data Locations On the volumes you have designated for media storage, Media Station|PT stores all MXF media: • When stored locally, MXF media is placed in the Avid MediaFiles/MXF/1 folder. Media Station|PT can also read MXF media located at Avid MediaFiles/MXF/2, Avid MediaFiles/MXF/3, and so on. • When stored in a shared environment, MXF media is placed in a folder called Avid MediaFiles/MXF/client.1 (where client represents the name of the client computer).
Frame-Rate Accurate Video Editing and Sample-Rate Accurate Audio Editing Media Station|PT edits with frame accuracy. This means that in a 30-fps project, you can edit at 30 different locations for every one second of video. Pro Tools edits with sample rate accuracy. In a 48-kHz session, there are potentially 48000 locations to edit for every second of audio. When Pro Tools exports an AAF or OMF composition destined for an Avid application, it must ensure that the audio files line up on frame boundaries.
System Requirements System requirements vary depending on how Media Station|PT is installed: • As a video satellite of a separate Pro Tools system • As a standard system, which can be installed in either of the following ways: • As a standalone application • Installed on the same computer with your Pro Tools system Requirements also vary depending upon the optional peripherals installed.
Compatibility Information Digidesign can only assure compatibility and provide support for hardware and software it has tested and approved. For a list of Digidesign-qualified computers, operating systems, hard drives, and third-party devices, as well as information about specific versions of ATTO and nVidia software, refer to the support pages at the Digidesign website (www.digidesign.com).
About www.digidesign.com The Digidesign website (www.digidesign.com) is your best online source for information to help you get the most out of your system. The following are just a few of the services and features available. Product Registration Register your purchase online. See the enclosed Digidesign Registration Information Card for instructions.
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chapter 2 Installing Media Station|PT This chapter describes how to install Media Station|PT software and related peripherals. Media Station|PT Configurations You can use Media Station|PT in three different configurations, as follows: Standalone Media Station|PT is installed on a computer without Pro Tools installed, and functions as a standalone application. When installed in this way on Windows XP, this configuration can easily be modified to become a video satellite.
To preserve user profile settings before uninstalling Avid Media Station|V10: 1 Open the project in Media Station|V10. 2 In the Project window, click the Settings tab. Uninstalling Pro Tools and AvidRelated Software on Windows XP Before upgrading, you must uninstall all earlier versions of Pro Tools and Avid-related software. To uninstall software: User Profile Selection pop-up menu 1 Choose Start > Control Panel. 2 Launch Add or Remove Programs.
Uninstalling Pro Tools and AvidRelated Software on Mac OS X Before upgrading, you must uninstall all earlier versions of Pro Tools and Avid-related software. Uninstalling Media Station|PT 1.8.2 or Lower The Media Station|PT 2.7 installer application is not the same as the installer application used with previous releases. Therefore, the 2.7 installer cannot successfully uninstall Media Station|PT 1.8.2 and lower. If you are upgrading from version 1.8.
4 In the Installer window, choose Uninstall from the pop-up menu, and click Uninstall. 5 Follow the on-screen instructions to remove Pro Tools. If this is the case, you must update the Avid Mojo firmware on a different computer. The firmware cannot be updated on the PCIe computer. (This will be true for all Avid Mojo interfaces manufactured before January 2006.) 6 When finished, click Quit to close the Installer window. 7 Restart your computer.
Overview of Media Station|PT Installed as a Standalone Application When installed as a standalone application, Media Station|PT comprises the following components: • A dedicated Media Station|PT computer • Local and/or shared storage for audio and video • Avid video peripheral (required for playback to an external NTSC/PAL monitor, but not required for capture, export, or layback) To install Media Station|PT as a standalone application, do the following: 1 Install any optional hardware: See “Installing Har
• Avid video peripheral Overview of Media Station|PT Installed as a Video Satellite System (Windows XP Only) Pro Tools and a Media Station|PT video satellite are known collectively as a video satellite system, and comprise the following components: • A dedicated Pro Tools computer with: • Video reference (connected to the Avid video peripheral and the VTR if present) • Optional VTR • Ethernet connection, either directly through Ethernet hub or via a larger Ethernet network To install Media Station|PT as a
Installing Media Station|PT on the Same Computer as Pro Tools Overview of Media Station|PT Installed on the Same Computer as Pro Tools To install Media Station|PT on the same computer as Pro Tools: When installed on the same computer, Pro Tools and Media Station|PT comprise the following components: 1 Install all Pro Tools hardware. See the Getting Started with HD Guide.
Using EQ II and Dynamics II PlugIns with Media Station|PT or Pro Tools When you install Pro Tools after installing Media Station|PT on the same computer, EQ II and Dynamics II plug-ins are automatically moved to the Unused Plug-Ins folder.
your Pro Tools audio peripheral. If using digital inputs, be sure that the Pro Tools Clock Reference is set to the digital input, or pops and clicks may occur. Connecting a VTR with No Avid Video Peripheral Present Installed on the same computer as Pro Tools Use the Digidesign audio peripheral as the audio I/O for Media Station|PT.
Media Station|PT Installed as a Video Satellite or Installed on the Same Computer as Pro Tools If Media Station|PT is installed as a video satellite of Pro Tools or installed on the same computer with Pro Tools, connect the audio inputs and outputs on the VTR to the audio inputs and outputs on the primary Pro Tools|HD audio interface.
Making Ethernet Connections with Video Satellite Systems (Video Satellite System Only) To exchange transport commands and files on remotely mounted storage, the computers in a video satellite system communicate via Ethernet with the standard TCP/IP protocol using 100 Base-T or 1000 Base-T connections. The computers may either be connected directly or via a Local Area Network (LAN).
Full-Screen Playback of Video in Media Station|PT Installing Media Station|PT Software on Windows XP With a supported video card installed, you can route HD or SD video to a DVI port and play back sequences in Media Station|PT using the full screen of your primary or secondary monitor.
5 Click Next to begin installation of Avid Log Exchange. 6 If an Avid video peripheral is connected to the computer and turned on, the system prompts you to disconnect it. Turn off the Avid video peripheral. (It is not necessary to disconnect it.) 7 Choose a country, then click Next. 8 If you agree with the license agreement, click Yes. 21 Click Next to accept the default location for AVX plug-ins. 22 Select Typical for the Setup Type, then click Next to complete the installation.
28 Click Next, and the Found New Hardware Wizard will automatically search for and locate the driver for the Avid video peripheral. If the Found New Hardware Wizard cannot find the driver for the Avid video peripheral, manually locate the Flamethrower.sys file at C:\Program Files\Common Files\Avid\ SupportingFiles\WindowsXPDrivers\Win32.
Disabling Simple File Sharing Ensure that you have turned off Simple File Sharing in Windows. To turn off Simple File Sharing in Windows: Disabling the nVidia Display Driver Service To use Media Station|PT with Avid video peripherals, the nVidia Display Driver Service should be disabled. 1 Click Start, and double-click My Computer. To disable nVidia Display Driver Service: 2 In the My Computer window, choose Tools > Folder Options. 3 In the Folder Options dialog, click the View tab.
4 Set the resolution on both monitors to the same resolution (1280x1024 is recommended). 5 Click the Advanced button. 6 Click the specific nVidia tab. 7 Select nView Display Settings and choose Du- alview under nView Display Mode. Installing Media Station|PT Software on Mac OS X If you are installing Media Station|PT on the same computer as Pro Tools, install Media Station|PT before installing Pro Tools. 8 Click Apply. 9 Click Performance & Quality Settings.
Installing Optional Software on Mac OS X The Media Station|PT Installer DVD contains installers for the following optional software: • Avid EDL Manager 12 When installation is complete, click Close. See “Changing Video Output Settings for Full-Screen Playback” on page 44 for detailed information on switching between two monitors for full-screen playback.
Obtaining the Dongle Updater To obtain your updater file: 1 Install but do not start your Avid software. 2 Connect the Avid application key (dongle) to the USB port on your system. Updating the Avid Application Key (Dongle) You only need to run the updater program on one platform (Windows or Macintosh). Once the dongle has been updated it will enable both the Windows and Macintosh versions of your Avid software.
The iLok is similar to a dongle, but unlike a dongle, it is designed to securely authorize multiple software applications from a variety of software developers. This key can hold over 100 licenses for all of your iLok-enabled software. Once an iLok is authorized for a given piece of software, you can use the iLok to authorize that software on any computer. The iLok USB Smart Key is not supplied with your plug-in or software option.
Connecting and Configuring Media Station|PT to a Unity Storage System Authorizing Media Station|PT After Installing for the First Time Connecting and configuring a Media Station|PT workstation as a client of an Avid Unity ISIS or Avid Unity MediaNetwork system involves the same steps as setting up a similar Pro Tools workstation. Use the included Avid Application key (USB dongle) to authorize Avid Media Station|PT.
Avid Mojo Firmware for PCIe Macs If you attach your Avid Mojo to a PCIe-based Mac but Media Station|PT does not recognize the Mojo when launched, you need to properly update the Avid Mojo firmware. See “Updating Avid Mojo Firmware for a PCIe-Based Mac” on page 18. Selecting a Default Folder for Data Created by Media Station|PT On launching the first time, Media Station|PT prompts you to define a location where application data will be stored by default.
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chapter 3 Basic Media Station|PT Workflows Avid Media Station|PT software is designed exclusively for audio-related post-production work using Pro Tools with or without Avid Mojo SDI, Avid Mojo, or AVoption|V10 (referred to here as Avid video peripherals). This chapter describes workflows for all Media Station|PT configurations, which let you: • Start a new project and adjust any necessary settings. • Capture NTSC, PAL, or DV-based HD video directly from tape.
Media Station|PT software can output all frame rates of NTSC and PAL, but cannot output an NTSC master from a PAL source, or output a PAL master from an NTSC source. Getting More Information For more information about specific features and functions of Media Station|PT, search the online help. To launch online help: • Choose Help > Online Help (Windows) or Help > Avid Media Station|PT Help (Mac OS X).
To start a new project, or select an existing project: 3 Do one of the following: 1 Launch the Avid Media Station|PT software. • To display projects that only the current user profile can access, select the Private option. You will be prompted to create a new project or select an existing project. – or – • To display projects which are accessible to all users, select the Shared option. 4 Do one of the following: • Select the project and click OK.
To view and edit Project Settings: 3 Click the Capture tab. Click the Settings tab to view the Project settings, including Audio and Export settings. Creating a New User After Upgrading from Media Station|V10 Because user settings have changed from the last version of Media Station|V10, it is strongly recommended that you create a new user setting to achieve optimal performance. If you preserved certain user settings before upgrading, you can copy those settings back into your new user profile.
Media Creation settings are saved with the project. You will need to configure the Video Project Settings for each new project. To save time, you can re-use the same project for all of your audio and video capturing, and simply create new bins and sequences as needed. Configuring Audio Settings To configure the audio settings for a project: Audio Project Settings are saved with the project. You will need to configure the Audio Project Settings for each new project.
4 Do one of the following: 7 Just as you did in the Grp 1 channels, click the • If the Stereo button is visible, click the Stereo button to reveal the Mono button, then click the Mono button to reveal tracks A1 through A8 in stereo pairs with their selected channels. – or – • If the Mono button is already visible, click the Mono button to reveal tracks A1 through A8 in stereo pairs with their selected channels.
To open and import D-Command or D-Control Audio Project settings into a new project: To change Sync Lock to Reference: 1 In Media Station|PT, choose Tools > Video 1 In the Project window, click the Settings tab. Output Tool. 2 Choose File > Open Setting File. 2 In the Sync Lock pop-up menu, select Refer- 3 Navigate to the location of the setting file ence. (.avs), and select it. 4 Click Open. A window with the title of the saved D-Control or D-Command settings opens in Media Station|PT.
Changing Video Quality The Media Station|PT Timeline includes a Video Quality icon that lets you change the video quality. This setting is saved for each project.
5 You can also change the following options: Display Both Fields When combined with the Full Quality setting in the Video Quality icon (see “Changing Video Quality” on page 44), this setting provides full-resolution output to the DVI port. Flip On Vertical Sync If you notice that your video output is “tearing” (horizontal distortion on rapidly moving or heavily edited sequences), select this option.
For connections with an Avid video peripheral, do the following: 1 Connect the composite, component, S-Video, To configure the Capture Tool for manual capture: 1 Choose Tools > Capture to open the Capture Tool. SDI or FireWire cables from the desired outputs of the video deck to the corresponding inputs on the video peripheral.
4 If necessary, enable control of the tape deck by 8 Choose the resolution of video you wish to clicking the Toggle Source button so that it does not display a circle with a slash. capture from the Res pop-up menu. For example: 5 Below the Record button, click the record en- able buttons as needed to record your video, audio, and time code inputs. (V is for video, A1–A8 are for audio, and TC is the time code channel).
9 Click the Toggle Storage button so that two 12 Insert the tape into the VTR. volumes are showing, and select the volumes where the audio and video media will be stored. The available recording time for each volume displays next to it. Media Station|PT will present a list of tapes already associated with this project and ask you which tape you have inserted. Media Station|PT can play audio and video from the same volume while Pro Tools requires audio and video to be stored on separate drives.
2 To record, do one of the following: • Use the Transport Controls to queue the tape to the position at which you wish to start capturing, then click Record. The VTR will start playback, and Media Station|PT will begin capturing as soon as the tape comes up to speed. Delay Audio Source pop-up menu The flashing red light indicates recording is in progress. During recording, video will appear out of synchronization with audio. However, audio and video will be synchronized during playback.
Selecting a Portion of Video to Capture The Mark In and Mark Out controls in the Capture Tool let you select a portion of video to capture. To select a portion of video to capture: 1 In the Capture Tool, use one of the following methods to mark the position where you want the capture to begin: • Press the Spacebar (or click Play) to start playback on the VTR, and click Mark In at the desired position.
Re-Digitizing an Existing Sequence Media Station|PT can open sequences created on other Avid editing systems (such as Media Composer Adrenaline). However, you may want to re-digitize some or all of the media files because they were the wrong resolution, missing, or corrupted. To re-digitize either a sequence or individual clips: 1 Choose Tools > Capture and configure or ver- ify the settings as you would for manual capture (see “Configuring the Capture Tool” on page 46).
Digitizing from an EDL Media Station|PT includes Avid EDL Manager software, which lets you open an EDL from another editing application, create a Media Station|PT sequence from that EDL, then re-digitize the sequence. To create a sequence from an EDL, and digitize the sequence: 1 While Media Station|PT is still running, launch EDL Manager by choosing Start > All Programs > Avid > EDL Manager (Windows) or navigating to Applications/Avid EDL Manager (Mac).
To import non-OMFI media files into Media Station|PT: 1 Open the bin where you want the imported file to be stored. 2 Select File > Import. 5 Select the Audio Import Options. Unlike Pro Tools, Media Station|PT supports audio files of mixed sample rate and bit depth in the same sequence. Therefore, it is not necessary to convert all audio files to the same sample rate and bit depth on import into Media Station|PT.
Entering Full-Screen Playback Mode If you have configured one or more monitors for full-screen playback through a DVI port, you can enter full-screen playback mode. Down-converting HD video is faster than transcoding HD video or creating a video mixdown, but outputs video of lesser quality. If you see dropped frames during playback after downconverting HD video, you can remedy this by transcoding to an SD format or creating a video mixdown.
Assembling Clips in a Sequence Once you have used Media Station|PT to capture or import a clip, you can add it (or selected portions of it) into a new or existing sequence. See “Exporting Audio and Video from Media Station|PT” on page 58 for information on exporting sequences from Media Station|PT. You can export a captured clip directly from Media Station|PT without having to first add it to a new sequence. See “Exporting Audio and Video from Media Station|PT” on page 58.
The portion of the clip between the In point and the Out point is now selected for editing into the sequence. You can also click the Clear Both Marks button to clear the In and Out points. 8 Click the Record Monitor to select it, and press the Home key to move the cursor to the beginning of the new sequence. 9 Click the Overwrite button. The selected por- tion of the clip in the Source Monitor is edited over the new sequence in the Record Monitor.
6 In the existing sequence, choose any of the following methods to set the starting position at which the selection in the Source Monitor will be added: To delete clips from a sequence: 1 In the Timeline, click the clip you want to delete so that the cursor appears between its boundaries. • Drag the cursor in the Timeline to the desired position. • In the Record Monitor, use the controls (similar to the Source Monitor controls) to queue to the desired position.
4 Do one of the following: • Click the Extract button (Scissors) to remove the clip and shuffle the following clips earlier to close the gap (analogous to a shuffle edit in Pro Tools). – or – • Click the Lift button to remove the clip and leave the following clips at their current time code location.
Choose this option for a scenario in which Pro Tools will link to the same media files as the current Media Station|PT sequence. Use this setting if the media files are currently stored on volumes that are suitable for Pro Tools media playback. Choose this option when exporting a sequence for a Pro Tools system that does not have an Avid video peripheral attached.
Manually Exporting an AAF Sequence Manually exporting an AAF sequence from Media Station|PT involves more steps than using the Send To templates, but it provides more flexibility. You will need to render all video effects before manually exporting the sequence. Rendering All Effects Though it is not possible to add or edit video or audio effects in Media Station|PT, you may need to export a sequence with effects that were created on another Avid editing system.
8 Choose Clip > Render In/Out (if the command 2 Click the Track Enable button to select the appears grayed out, click in the Timeline again). track that holds the effect. 9 In the Render Effects dialog, choose Effect Track Enable button Source Drive from the Drive pop-up menu. This will write the rendered effect to the same volume as the original files. 3 Click the Remove Effect button. Render Effects dialog This selection keeps audio files on audio storage and video files on video storage.
3 Type a name and select a location for the ex- 6 In the Video Details tab, select one of the fol- ported sequence. lowing from the Export Method pop-up menu: 4 Select Export to Pro Tools from the Export Set- Link to (Don’t Export) Media The Pro Tools session will link to the same video files as the current Media Station|PT sequence. Use this setting if the video files are currently stored on a volume suitable for Pro Tools video playback. tings menu at the bottom of the Export As dialog.
Transcode Video To Use this only if you need to change the video resolution. Pro Tools supports most SD resolutions supported by Media Station|PT, and even supports mixed resolutions in the Pro Tools Timeline, so in most cases there is no need to spend extra time transcoding the video.
The following settings may also appear under the Audio Details tab, depending on the selected export method: Render All Audio Effects Select the Render All Audio Effects option so that all audio effects are rendered before export. If you already manually rendered effects, selecting this option will not create new files. It is highly recommended that all effects be rendered before exporting the sequence. (See “Rendering All Effects” on page 60.
When the export is complete, you are ready to import the file into Pro Tools. For more information on opening and importing AAF sequences in Pro Tools, see “Importing Audio and Video into Pro Tools” on page 71. For more information on the Import Session dialog, see the Pro Tools Reference Guide. 4 Use the controls underneath the Source Monitor to locate the first frame of the portion of the clip that you want to edit into the sequence.
9 Click the Overwrite or Splice-In button. The selected portion of old sequence is edited into the empty sequence in the Record Monitor. Transcoding an HD sequence to SD video is a slower process than down-converting an HD project in real-time, but yields better video quality. See “Down-Converting an HD Project to SD Video” on page 54 for details. Splice-In Overwrite Overwrite and Splice-In buttons 10 Follow the preceding steps for exporting the new sequence (see “Exporting a Sequence” on page 61).
5 Choose Clip > Consolidate/Transcode. Creating a Video Mixdown Video mixdown combines a sequence (or portion of a sequence) into one video file that reflects all edits and effects. You can mix down multiple video tracks or a single track. For mixdowns of multiple tracks, the selected track and all tracks under it are combined into one file that always reflects the topmost visible track.
3 Do one of the following: 5 Under the Record Monitor, click the Mark In • To combine multiple video tracks into the mixdown, select a video track, then click the Record Track Monitor button next to the track. Video tracks above the selected track will not be included in the mixdown. button to mark the In point at the beginning of the sequence. Mark In Record Track Monitor Mark Out Record Monitor controls 6 Drag the cursor to the position at which you want the sequence to end.
11 Choose a file resolution for the video mix- down from the Resolution pop-up menu. 12 Click OK. A progress bar displays as Media Station|PT saves the video mix to the location and resolutions you have specified. Checking In a Sequence to Interplay for Pro Tools 2 Do one of the following: • Select the sequence, and choose File > Check In to Interplay for Pro Tools. – or – • Right-click the sequence, and choose Check In to Interplay for Pro Tools.
• Determines whether the current resolution matches the Transcode resolution in the Editor Export Settings for Pro Tools plug-in in the Interplay Administrator. Depending on whether the settings match, one of the following occurs: • If the settings either match or have not been created for the check-in folder, the system creates a sequence that links to the existing media and does not create a video mixdown or render any video effects.
• Checks in a Pro Tools sequence to the Pro Tools folder. Importing Audio and Video into Pro Tools This section explains the basic steps of importing an AAF sequence into a Pro Tools session. The name matches the name in the Media Station|PT application bin Location of the Avid sequence and its associated Pro Tools folder The first time the sequence is exported, the system appends the text “_v1_forPT” to the sequence name in the Pro Tools folder.
6 Select the I/O Settings to use for the session. Several pre-configured I/O Settings are included with your system, or you can select a custom I/O Setting that you have created. 7 Click Save. The Import Session Data dialog appears. 8 From the Audio Media Options pop-up menu, choose how you want to import audio files into Pro Tools: • If the audio files reside on a volume from which Pro Tools can play back audio, select Link to Source Media (Where Possible).
Importing an AAF Sequence into an Existing Session You can import an AAF sequence containing audio and video into an existing Pro Tools session. Any video imported into Pro Tools must be the same frame rate as video already placed in the Timeline. To open and import audio and/or video tracks from an AAF sequence: 1 Open an existing Pro Tools session. 2 Choose File > Import > Session Data, and choose the AAF sequence that you wish to import.
Drive Selection When Importing Session Data When using the Import Session Data dialog to import audio files with Copy or Consolidate Source selected in the Audio Media Options pop-up menu, all new audio files are stored on the volumes designated for their respective target tracks in the Disk Allocation dialog. Importing Avid Video into Pro Tools You can import an OMF or MXF video file into Pro Tools. You might do this, for example, to import a video mixdown created in Media Station|PT.
Importing a Sequence into Pro Tools from Interplay 3 Navigate to the Pro Tools folder containing the sequence you want to import. (Avid Interplay System Only) This section describes how to locate a sequence that has been exported to the Interplay database from Media Station|PT and import it into Pro Tools. This section assumes that you have already configured the Pro Tools Import settings in the Interplay Administration tool. For more information, see the Pro Tools Avid Interplay Guide.
3 Choose File > Import > Sequence from Avid 9 In the Interplay Engine Browser, locate and se- Interplay. lect the sequence that you want to import. The Interplay Engine Browser appears. Interplay database Interplay Engine Browser 4 In the Interplay Engine Browser, expand the Interplay database by clicking the plus sign (+) next to it. 5 Expand the root folder of the database—usu- ally titled AvidWG or a variation thereof—by clicking the plus sign (+) next to its name.
12 If the Pro Tools Import Session Data dialog appears, select the appropriate options and click OK. Pro Tools imports the sequence, copies any media (if the settings require copying), and displays the imported sequence within the Pro Tools session. If the sequence was linked to media files on unmounted volumes, the system provides a warning and asks you to mount those volumes before you proceed with copying or linking to media.
Exporting Audio from Pro Tools for Media Station PT In Pro Tools, you can export audio tracks for use in Media Station|PT using any of the following methods: • Exporting selected tracks as an AAF sequence • Bouncing to disk 3 Under OMF/AAF Options, choose AAF from the Export As pop-up menu. 4 Select Enforce Avid Compatibility. Enforce Avid Compatibility creates frame-accurate edits, wraps the files as OMFI (unless you choose MXF), and limits the sample rate options to 44.1 or 48 kHz.
7 In the Publishing Options dialog, type the Pro Tools Comment and Sequence Name. 11 In the Please Choose a Folder for Converted Audio Files dialog, do one of the following: • If you are exporting to the same storage that Media Station|PT will be accessing, navigate to the OMFI MediaFiles folder (AIFF or WAV files) or the Avid MediaFiles folder (MXF files). Publishing Options dialog 8 Click OK. Pro Tools will create a sequence with the name you supply.
13 Do one of the following: 3 Choose File > Bounce to > Disk. • If you are using Media Station|PT on the same computer as Pro Tools and are ready to use it to import the files you just exported Media Station|PT, exit Pro Tools.
8 Choose the Target Project Time Code Format. 9 Click OK. 3 In the Export Comment dialog, type a com- ment and click OK. 10 In the Save Bounce As dialog, navigate to the volume you will use for audio playback in Media Station|PT. • For MXF audio files, ensure the file is saved to the Avid MediaFiles/MXF/1 folder. • For all other audio files, ensure the file is saved to the OMFI MediaFiles folder. Export Comment dialog 11 Click Save.
5 Click OK. A confirmation message box appears. 6 Click OK. The sequence in the Avid Interplay database is now ready to be checked out and imported by Media Station|PT. The Media Tool Display lets you scan all media files in both the OMFI MediaFiles and Avid MediaFiles folders. 4 Select the Master Clips and the Media Clip op- tions. 5 Under the Media Drives list, do one of the following: • Select the drives that contain media files for your project.
11 Close the Media Tool. 12 To preview the contents of the imported au- dio clip, double-click the audio clip in the bin. The audio clip will open in a pop-up monitor.
Importing Pro Tools Audio Files Back into Media Station|PT from Avid Interplay (Avid Interplay System Only) After you have checked the completed audio stems from Pro Tools back into the AAF sequence on the Interplay server, you must import the sequence back into Media Station|PT. To import the sequence into Media Station|PT: 1 In Media Station|PT, open the Interplay Win- dow and navigate to the location of the checked-in Pro Tools sequence.
The following illustration shows the audio tracks cut into the original sequence. In this example, the original tracks are overwritten. The following illustration shows Sample accurate edit files in the Interplay Window. Sample-accurate edit audio files Sequence in the Avid Timeline after overwrite 6 Now you can use Media Station|PT to make any adjustments to the sequence and do the following: • Create a digital cut. • Perform a Send to Playout operation.
In order to export frame accurate audio clips, Pro Tools splits the audio media on frame boundaries and fills any gaps with silence. The following illustration shows the resulting audio clips that are exported to Media Station|PT. 2 Drag the original sequence to the Record Monitor to see all elements in the Timeline.
4 Use the controls underneath the Source Monitor to locate the first frame of the portion of the clip that you want to edit into the sequence. Step Forward 1 Frame You can also click the Clear Both Marks button to clear the In and Out points. Mark In Rewind Fast-Forward The portion of the audio source between the In point and the Out point is now selected for editing into the sequence.
10 If the original audio tracks still display yellow 13 Under the Record Monitor, click the Clear speaker icons, click the speaker icons in the Track Enable button to mute them. The speaker icons for the original tracks will disappear, and the speaker icons should appear yellow in the new tracks, indicating that they will be heard. Both Marks button to remove any In and Out points (if present).
15 If you want to display audio waveforms in the Timeline, click the Fast Menu (located on the lower left hand corner of the Timeline), and choose Audio Data > Energy Plot. Ensure that the new audio tracks appear synchronized with the originals.
2 Do one of the following: • Select one of the displayed tape names and click OK. 4 Set the In and Out points in the Timeline as desired. 5 Choose Output > Digital Cut. The Digital Cut Tool appears. – or – • Click New to add a new tape to the list. 3 Ensure that the Device setting is set to Avid DNA (if you are outputting through an Avid video peripheral) or IEEE 1394 (if you are outputting through FireWire) by doing one of the following: • Click the DNA/1394 button in the Timeline.
9 Do one of the following: • To record the entire sequence to tape, select the Entire Sequence option. – or – • To record the portions of the sequence you marked with In and Out points to tape, ensure that the Entire Sequence option is deselected.
To export to an XDCAM device: 1 Connect your XDCAM device. 2 Select the appropriate mode on your XDCAM device that corresponds to the video format that you will be exporting. For example, set your XDCAM device to 1080i 59.94 if you want to export a clip or sequence at XDCAM-35 1080I/59.94. 3 Select the sequence or clips to export. 4 With an XDCAM device connected to your system, do one of the following: • Choose Output > Export to Device > XDCAM.
chapter 4 Media Station|PT Video Satellite Workflows This chapter describes the following workflows for using Pro Tools with Media Station|PT configured as a video satellite: 1 Cross-mounting media storage on remote systems 2 Opening Avid sequences that have been deliv- ered to you in an Avid bin 3 Opening AAF sequences that have been ex- ported from another Avid application or Pro Tools 4 Connecting Pro Tools to a satellite 5 Linking Pro Tools to a satellite 6 Capturing audio and video 7 Batch capturing
Choosing a Storage Configuration While it is possible to cross-mount both the audio and video storage on both systems at the same time, the workflows in this chapter only require that you cross-mount one or the other. Mounting the video storage on the Pro Tools system is the preferred configuration for most common satellite workflows. To share a Windows XP volume that resides on a domain: 1 On the Windows XP computer containing the volume you want to share, double-click My Computer.
4 Select the Share this Folder option. 5 Type a name in the Share Name field to iden- tify this share. This name can be anything, but it is probably easiest if you use the name of the shared volume. You should share the entire volume if possible and not just individual folders. This makes it easier for you to re-link files in your Pro Tools session. To share a Windows XP volume that resides on a workgroup: 1 On the Windows XP computer containing the volume you want to share, double-click My Computer.
4 If you agree, click the option called, “If you understand the risk but still want to share the root of the drive, click here.” 5 Select Share This Folder on the Network. 6 Type a name in the Share Name field to iden- tify this share. This name can be anything, but it is probably easiest if you use the name of the shared volume. You are now ready to mount this shared volume on another computer. See “Cross-Mounting Shared Media Storage on a Remote System” on page 98.
3 In the Mac Finder, copy the SharePoints appli- 4 Click Accounts (or Enable Accounts). cation to a convenient location on the computer (such as the Applications/Utilities folder). 5 In the accounts sheet, select the users who To set up shared volumes: 1 Open Mac OS X System Preferences. need to log into the shared folders. (In order for a user to have these privileges, they must have an account on the Mac, or at least the username and password for a common account.
10 Ensure the “Normal” Shares tab is selected. 16 If prompted, type the username and pass- word for the Mac OS X account with administrative privileges, and click OK. Authenticate dialog in Mac OS X The new share appears in the share list. Portion of Sharing window 11 Type a name in the Share Name field to iden- tify this share. This name can be anything, but it is probably easiest if you use the name of the shared volume. Make a note of this share name.
To mount the shared volume on Windows XP: 1 In Windows XP, right-click My Computer and choose Map Network Drive. 2 From the Drive pop-up menu, select the drive letter you want to assign to the volume from the other computer. (In order for files to relink correctly, all volumes mounted on a Windows XP system must be assigned a letter. For example, e:\shared volume\media files.). Windows Explorer displays the root folder of the volume you have just mounted on the Windows XP computer.
3 In the Server Address field, type 7 In the volume select dialog, select the volume SMB://computer, where computer represents the name of the computer that contains or is connected to the desired volume. you want to mount on the Mac OS X desktop. To learn the name of the Windows machine: on the Windows computer, rightclick My Computer and select Properties, then click the Computer Name tab in the Properties window.
To open a native Avid sequence, see one of the following sections: • “Opening an Avid Sequence from a Volume Supporting Direct Playback” on page 101 • “Opening an Avid Sequence from a Volume Not Supported for Playback” on page 105 To open an AAF sequence, see “Opening an AAF Sequence for Playback on a Video Satellite System” on page 110.
To open a sequence in Media Station|PT using this workflow, see “Exporting an Avid Sequence as an AAF Sequence with Audio Storage Mounted on the Satellite” on page 106. 5 In the Export As dialog, click Options. Opening an Avid Sequence with Pro Tools Playing from Unity (Windows Only) This section describes how to open a sequence with the following configuration: • Media Station|PT will open the sequence from a Unity system. • Pro Tools will play the audio directly from the Unity system.
9 Click Save. You can also click Save As to save the Export settings you just created. See “Saving, Recalling, and Using Export Settings to Export AAF Sequences” on page 109 for details. 10 In the Export As dialog, locate the desired folder on the dedicated Unity audio workspace. 11 Click Save. 12 In Pro Tools, choose File > Open Session, and select the AAF in the Unity audio workspace. 13 In the Import Session Data dialog, do the fol- lowing: • Under Audio Media Options, select Link to Source Media.
5 In the Export As dialog, click Options. 9 Click Save. You can also click Save As to save the Export settings you just created. See “Saving, Recalling, and Using Export Settings to Export AAF Sequences” on page 109 for details. 10 In the Export As dialog, locate any folder on the Unity workspace that is accessible to the Pro Tools system. 11 Click Save.
The AAF sequence opens in Pro Tools. Audio files are copied in the background to the session's Audio Files folder. This workflow involves the following steps: 1 Copy the Avid bin to the desired Project folder. 2 Copy the media to the video storage. Opening an Avid Sequence from a Volume Not Supported for Playback This section describes how to open a sequence stored on a volume that is not suitable for playback in Media Station|PT (such as a DVD or Ethernet-mounted network volume).
3 Do one of the following: • From within an Avid project, choose File > Open Bin, and select the bin you wish to open. – or – • Copy the bin containing the sequence to the desired project folder (the location of which depends on where you keep your project and whether the project is shared or private). OMF video files have the .omf file extension and are usually stored in the OMFI MediaFiles folder. OMF-wrapped audio files have the .wav or .aif extension and are also stored in the OMFI MediaFiles folder.
Consolidate Media This option is faster and uses less storage because only those parts of the audio files which are actually used in the sequence are copied. You have the option to add “handles” on either end of the files in case you need to extend them once in Pro Tools. Copy All Media This option is slower and uses more storage, but allows you access to the full file once in Pro Tools.
Exporting an Avid Sequence as an AAF Sequence with Video Storage Mounted on the Pro Tools System 7 Click the Video Details tab, and select Link to (Don’t Export) Media from the Export Method pop-up menu. This section describes how to export an AAF sequence for Pro Tools when the video storage is mounted on the Pro Tools system.
13 Do one of the following: • If you have not opened a session in Pro Tools, navigate to the AAF sequence in the Workspace browser, and double-click it to open it. • If you are creating a new session into which to import the AAF, select the file format, sample rate and bit depth matching those properties in the original files referenced by the AAF sequence. Name the Session and save it to your dedicated audio storage.
Opening an AAF Sequence for Playback on a Video Satellite System You can open an AAF sequence for playback on a video satellite system from volumes that do or do not support direct playback. If your Pro Tools session contains video regions of one frame rate, you cannot import a satellite video track that refers to video of a different frame rate—regardless of the fact that you're not playing the actual video. You must first delete the existing video regions.
Importing an AAF Sequence into Media Station|PT from Volumes Not Supporting Direct Playback This section describes how to import an AAF sequence stored on a volume that is not suitable for playback in Media Station|PT (such as a DVD or Ethernet-mounted network volume).
4 Under the Source Tracks section of the Import 4 Under the Source Tracks section of the Import Session Data dialog, do the following: Session Data dialog, do the following: • To import the metadata (cuts and clip names) exported from a video satellite into a new video track, select New Satellite Track. (The video itself will not be imported.) • To import the metadata (cuts and clip names) exported from a video satellite into a new video track, select New Satellite Track.
2 Export the AAF sequence from Media Station|PT to the Pro Tools audio storage, as described in “Exporting an Avid Sequence as an AAF Sequence with Audio Storage Mounted on the Satellite” on page 106.
5 From the Satellite pop-up menu, do one of the following: Caveats for Connecting Pro Tools and a Video Satellite • To connect to a video satellite, select the name of the computer on which the Media Station|PT is installed. The following caveats apply to connections between Pro Tools and video satellites: – or – • To disconnect from a video satellite without connecting to another, select None. • Only one Pro Tools system can connect to a satellite at a time.
Troubleshooting the Satellite Connection If the satellite does not appear in the Satellite pop-up menu, verify the following: 1 Ensure that Media Station|PT is fully launched. 2 In Media Station|PT, ensure that Video Satel- lite Mode is enabled in the Special menu. (See “Connecting Pro Tools and a Video Satellite” on page 113.) 3 In the Satellite page of the Pro Tools Peripher- als dialog, select a different Ethernet port from the Interface menu.
Matching the Media Station|PT Project Type to Pro Tools Time Code Rate, Clock Reference, and Video Ref Format This section explains how to match the Media Station|PT Project Type to the Pro Tools Time Code Rate, Clock Reference, and Video Format (described in Table 1 on page 117). To ensure that your video satellite system will play back or capture using the proper settings: 1 In Media Station|PT, click the Format tab in the Project window.
Compatibility Table The following table describes compatibility between Avid Project Format and Edit Play Rate, and Pro Tools Time Code Rates, Audio Pull Up/Down Rate, Clock Reference, and Video Format. Table 1. Compatibility between Media Station|PT Project Types and Pro Tools Time Code Rates, Clock Reference, and VIdeo Format, Avid Project Format Avid Edit Play Rate Pro Tools Time Code Rate Pro Tools Audio Rate Pull Up/Down Pro Tools SYNC Clock Reference Pro Tools SYNC Video Ref Format 23.
To change audio pull up/down settings in Pro Tools: 1 In Pro Tools, choose Setup > Session. 2 From the Time Code Settings section of the Session Setup window, select a rate from the Audio Rate Pull Up/Down pop-up menu. Pull Up/Down section of the Session Setup window In some project formats, Media Station|PT can be configured for Drop Frame or NonDrop Frame, while the corresponding Pro Tools time code rate can only be set to Non-Drop Frame.
Matching Media Station|PT Starting TC Time Code Setting and Pro Tools Session Start In almost all cases, the first frame of video is located at the start of the Media Station|PT sequence. However, Pro Tools sequences often have silence at the head to create countoffs or silence. For example, a Media Station|PT sequence may start at 1:00:00 while the matching Pro Tools session starts at 00:55:00—allowing five seconds of silence before the audio starts.
2 If needed, re-size the bin window so that you can see the Start column of the bin window. Start column Compensating for MonitorInduced Output Delay Many monitors add a delay to the video output of one or more frames. You can compensate for this delay by advancing the video output by the necessary number of frames. To set the number of frames to offset video output: 1 Choose Setup > Set Video Sync Offset.
When linked, Pro Tools and Media Station|PT support the following transport operations: • With audio playback: • Play • Half-speed Play • Loop Play • Scrub • Record • Loop Record • Without audio playback: • Locate • FF/REW • Shuttle • Nudge If Shift-Alt-L does not function correctly, ensure that the Windows Standard Alt Key Behavior option is unselected in the Media Station|PT Interface dialog settings (Project window > Settings tab > Interface setting).
For connections with an Avid video peripheral, do the following: 1 Connect the composite, component, S-Video, SDI or FireWire cables from the desired outputs of the video deck to the corresponding inputs on the video peripheral. 2 Connect the audio source to the inputs of your primary Pro Tools audio interface For connections without an Avid video peripheral, do one of the following: For FireWire-based connections, connect the FireWire cable directly to the Firewire port on the Media Station system.
3 Record enable the audio tracks to which you want to capture audio. 4 Click the Record Enable button in the Transport. You are now ready to configure Media Station|PT for capturing into a new or existing sequence. Configuring Media Station|PT for Capturing into an Existing Sequence To configure a Media Station|PT video satellite for capturing into an existing sequence: 1 In Media Station|PT, open the existing se- quence into which you want to capture new media.
2 In the Project window, click the Settings tab Configuring the Capture Tool and then double-click the General setting. 3 In the Default Starting TC field, do one of the following to set the default start time for a new sequence: • If you want the sequence to begin capturing at the same time code location as the beginning of the Pro Tools session, set the start time of the capture to be equal to the Session Start in Pro Tools (Setup > Session in Pro Tools).
2 To open the Capture Tool, choose Tools > Capture. 6 Below the Record button, click the record en- able buttons for the video and time code inputs. (V is for video and TC is the time code channel). The TC (time code) button should always be enabled, even though no time code is being recorded. Reveal triangles Do not record enable the audio inputs unless you want to use Media Station|PT instead of Pro Tools to capture audio.
10 From the Res pop-up menu, choose the resolution of video you wish to capture. 11 Click the Toggle Storage button so that one volume is showing, and select the volume where the video media will be stored. The available recording time for each volume displays next to it. 12 If the VTR is not correctly identified in the Source pop-up menu, choose Auto-Configure from the source pop-up menu, then click Yes to auto-configure the VTR with the Capture Tool and display the name of the VTR.
3 Use the Mark In and Mark Out controls to se- lect a specific portion of video you want to capture from tape, and click Record. (See “Selecting a Portion of Video to Capture” on page 127.) Mark Out Mark In Go to Out After you click Record, Media Station|PT cues the VTR. Media Station|PT and Pro Tools drop into record mode at the appropriate moment. The flashing red light indicates recording is in progress. During recording, video may appear out of synchronization with audio.
To select a portion of video to capture: 1 In the Capture Tool, use one of the following methods to mark the position where you want the capture to begin: • Press the Spacebar (or click Play) to start playback on the VTR, and click Mark In at the desired position. 3 You can also do the following: • To automatically queue the tape to the Mark In point, click Go to In. • To automatically queue the tape to the Mark Out point, click Go to Out.
Re-Digitizing an Existing Sequence Laying Back Audio and Video to Tape Media Station|PT can open sequences created on other Avid editing systems (such as Media Composer Adrenaline). However, you may want to re-digitize some or all of the media files because they were the wrong resolution, missing, or corrupted. While Pro Tools video output is intended for monitoring purposes only and is not suitable for professional layback or broadcast, video output from Media Station|PT is full broadcast quality.
When using Media Station|PT in Satellite mode for 24p and 23.976 projects, only the 24 and 23.976 Output Formats are supported. The 29.97 Output Format (+25% playback speed with no pulldown) is not supported in Satellite mode for 24p and 23.976p projects. • Select Special > Device > Avid DNA or IEEE 1394. 2 Insert a video tape into your VTR.
10 Do one of the following: • Select the Entire Sequence option to record the entire sequence. – or – • Deselect the Entire Sequence option and set the In and Out points in the Timeline.
19 Do one of the following: See “Cross-Mounting Media Storage on Remote Systems” on page 93. • To record using Local mode, press play and record on the VTR. When ready, click the Record button in the Digital Cut window. 2 Export audio files from Pro Tools using one of – or – the following methods: • To record using Remote mode, press Record in the Digital Cut window. Media Station|PT will queue the tape, play, then drop in at the appropriate location. • Bounce the audio tracks to disk.
index Symbols A “ghost” files 95 AAF sequences creating from exported Pro Tools tracks 78 definition of 7 export settings for 109 exporting from Media Station|PT manually 60 to Interplay 69 using Send To Templates 58 exporting from Media Station|PT (satellite only) w/audio drive mounted on satellite 106 w/video drive mounted on Pro Tools 108 exporting from Pro Tools to Interplay 81 using Bounce to Disk 80 using Export Selected Tracks 78 importing into Media Station|PT from Interplay 84 into a bin 83 imp
accuracy audio when output from satellite 120 compensating for client monitor delay 120 frame rate 10 sample rate 10 Activation Card and iLok 33 Add Selected Tracks option 81 adding clips to a new sequence 55 to an existing sequence 56 artifacts 2, 45 aspect ratio, and down-converted HD video 54 audio and mixed sample rates or bit depths 72 exporting selected tracks as an AAF sequence 78 to Interplay from Pro Tools 81 using Bounce to Disk 80 importing into Media Station|PT from Interplay 84 into a bin 82 mo
Avid sequences adding clips to a new sequence 55 to an existing sequence 56 after check-in to Interplay for Pro Tools 70 artificially extending in the Timeline 123 assembling clips into a sequence 55 capturing into an empty sequence 123 into an existing sequence 123 changing the start time of existing 119 checking in to Interplay for Pro Tools 69 copying to satellite video storage 105 creating a video mixdown from 67 definition of 5 deleting 58 deleting clips from a sequence 57 digitizing from an EDL 52 exp
configuring the Capture Tool for a satellite system 124 for a standard system 46 connecting hardware 46 controls for 49 re-digitizing an existing sequence 51 setting the video resolution 47 CAT5e Ethernet cables requirements for video satellite systems 25 caveats DVI signal distance limitations 30 for satellite capturing 122 installing more than one FireWire device 22 interlaced HD projects 3 video frame rates vs.
creating a new user (after upgrading from Media Station|V10) 40 video mixdown 67 cross-mounting choosing a configuration for 94 definition of 93 Mac OS X media storage on Windows XP 98 reasons for 93 Windows XP media storage on Mac OS X 99 on Windows XP 98 D data selecting a default folder for 35 DBHelper.
drive selection when importing session data 74 drivers installing for nVidia 29 Drop frame matching settings on a satellite system 115 DV codec 3 DV25 video 2 and a blank client monitor 126 capturing 47 DV50 video 2 DVC Pro 25 video 2 DVCPRO HD video 2 DVI and playback limitations 2, 45 and signal distance limitations 30 Dynamics II plug-ins manually moving after installation 22 E Edit Decision List digitizing from 52 Edit Play Rate setting changing 116 matching to Audio Pull Up setting 115 editing frame-r
fixing invisible files in the Media Tool 83 Flip On Vertical Sync option 45 Folder option for audio 64 for video 63 Format tab (Project window) 54, 66 formatting video storage 33 frame rates accuracy with Avid video editing 10, 85 requirements for video placed in Timeline 73 supported frame rates 3 vs.
Media Station|PT as a standalone application 19 as a video satellite system 20 on Mac OS X 30 on the same computer with Pro Tools 21 on Windows XP 26 nVidia drivers 29 optional software 31 QuickTime 7.
Mac OS X System Preferences 97 MachineControl configuring with a VTR 24 effects of satellite on 120 Map Network Drive dialog 99 Mark In button 60 Mark Out button 60 master clips vs.
installing Avid video peripherals for 22 on Mac OS X 30 on Windows XP 26 with Pro Tools 21 Interplay support for 4 LAN connection 25 launching the first time 34 laying back to tape from on a satellite system 129 on a standard system 89 linking to Pro Tools 120 main window 55, 65 matching settings to Pro Tools 115 monitor output delay 120 MXF support for 7 Non-Drop Frame setting 115 OMF support for 8 playback to an external monitor 1 possible configurations for 15 preserving user settings before upgrading 15
N Name the AAF File to Export dialog 79 Name the Session dialog 76 native HDV support 2 New Session dialog 71 New track buttons 86 Non-Drop frame matching settings for a satellite system 115 non-OMF and non-MXF media files importing into Media Station|PT 52 NTFS and Media Station|PT requirements 33 NTSC Audio Pull-Up and Edit Play Rate 116 black burst generator 11 capturing 37 changing Project Type of 54 compatibility table 117 exporting to XDCAM 91 frame rates 2, 3 limitations on output from PAL source 38
Please Choose a Folder for Converted Audio Files dialog 79 plug-ins vs.
Record Track monitor 68 red dots (meaning of) in Interplay 71 re-digitizing existing sequence 51 Reference changing from Sync Lock 43 refresh rates vs. video frame rates 45 regions truncated names 74 vs.
Splice-In button 57, 66, 88 standalone system definition of 15 monitoring audio from 22 overview of system 19 system requirements 11 standard system definition of 11 system requirements 11 start time changing for an existing sequence 119 starting a new Media Station|PT project 38 Starting TC Time Code setting matching to Session Start setting 115 storage configuration choosing for cross-mounting 94 storage systems Unity 4 stutter definition 45 subclips definition of 5 vs.
Timeline audio tracks 87 clip boundaries in 57 definition of 5 enabled tracks 60 layered video tracks in a video mixdown 67 sequence after overwrite 85 Track Enable buttons 57 tracks exporting as an AAF sequence 78 exporting to Interplay from Pro Tools 81 exporting using Bounce to Disk 80 Transcode Video To option for video 63 transcoding HD sequences for use in Pro Tools 66 reasons for 1, 66 troubleshooting satellite connections 115 truncations region names 74 U uninstalling software 16 Unity connecting t
cross-mounting remote storage 93 definition of 15 effects on MachineControl 120 exporting Avid sequence as AAF w/audio drive mounted on satellite 106 w/video drive mounted on Pro Tools 108 importing AAF sequence into Pro Tools from a non-mountable volume 112 from a non-playback volume 112 from a playback volume 111 laying back to tape 129 limitations with 114 linking Pro Tools and a video satellite 120 making Ethernet connections for 25 matching Pro Tools to satellite settings 115 monitoring audio from 22 o
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