® ® Avid Media Composer Editing Guide
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Contents Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Chapter 1 Editing Overview . . . . .
Using the Bins Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Using the Settings Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Using the Format Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Using the Usage Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Using the Info Tab. . . . . . .
Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Preparing the Hardware for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Selecting Settings for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 Configuring Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Understanding Timecode . . . . . . . . . . . .
Using the Panasonic VariCam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 Chapter 8 Importing Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Preparing to Import Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 Creating and Modifying Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 Importing Media Files . . . . . . . . . . . . . . .
Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Working with Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345 Modifying Clip Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 Working with Film Information in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362 Creating a Storyboard . . . . . . . . . . .
Viewing Media with a 100Base-T Connection to Avid ISIS. . . . . . . . . . . . . . . . . . . 442 Understanding Drive Mounting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 Mounting and Unmounting Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 Consolidating Media . . . . . . . . . . . . . . . . . . . . . . . . . . .
Video Quality Options for Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516 Setting the Video Quality for Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517 Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518 Using Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523 Finding Frames, Clips, and Bins . . . . . . . . . . . . .
Adding Audio or Video to Original Videotape Using AutoSequence . . . . . . . . . . . . 618 Resyncing Subframe Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619 Resyncing Audio for a Selected Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620 Working with Phantom Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620 Creating Video and Audio Leaders . . . . . . . . . . . . . . . . . . . . . . . . . .
Finding Black Holes and Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729 Printing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730 Activating and Deactivating I/O Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731 Chapter 17 Working with Trim Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732 Trimming with the Timeline Palette . . . . . . . . . . . . .
Using the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 788 Rendering and Unrendering Order for Audio Effects . . . . . . . . . . . . . . . . . . . . . . . 795 Audio Volume Staging and an Audio Editing Workflow. . . . . . . . . . . . . . . . . . . . . . 796 Using Clip Volume and Pan Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797 Using Volume and Pan Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Moving Through Footage with Artist Series Controllers . . . . . . . . . . . . . . . . . . . . . 905 Volume Automation and Pan on Artist Series Controllers. . . . . . . . . . . . . . . . . . . . 906 Recording Volume Automation and Pan with Artist Series Controllers. . . . . . . . . . 907 Using the Latch Mode Feature on Artist Series Controllers . . . . . . . . . . . . . . . . . . 909 Using the Artist Series Controller for Editing Media . . . . . . . . . . . . . . . . . . . . . . . .
Preparing for Output: Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1038 Selecting the Device for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1039 Selecting the Sync Source for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1039 Selecting a Video Output Signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1043 Calibrating for Video Output . . . . . . . . . . . . . . . . .
Preparations for Conforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1108 Conforming Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1113 Conforming Sequences with Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . 1122 Transferring Project and Media Files Between Avid Editing Systems . . . . . . . . . 1124 Chapter 25 Working with Avid Interplay from an Avid Editing System . . . . . . . .
Using the Disk Cache to Manage Cached Media . . . . . . . . . . . . . . . . . . . . . . . . . 1220 Uploading Media Using the Remote Upload Service . . . . . . . . . . . . . . . . . . . . . . 1221 Interplay Sphere and Dynamic Relink. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1227 Upload Queue Window Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1228 Supported Project Types and Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MultiCamera Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1295 MultiCamera Editing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1301 Selective Camera Cutting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1306 Chapter 31 The Avid Marketplace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1308 Avid Marketplace Media Libraries . . . . . . . . . .
Desktop Play Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1376 Dynamic Relink Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1376 Effect Editor Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1379 E-mail Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1381 Export Settings . . . . . . . .
Video Output Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1443 Video Satellite Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1449 Workspace Linking Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1450 Chapter 33 File Format Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1451 Specifications for Graphics (Image) Files . . . .
Working with HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1525 Understanding HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1526 HDV Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1527 Capturing and Importing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1528 Playing Back HDV 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.
If You Need Help 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.
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1 Editing Overview The topics in this chapter provide an overview of the editing workflow: • Editing Workflow • Starting a Project • Preparing to Edit • Editing a Sequence • Outputting a Sequence Editing Workflow Your editing workflow depends on a variety of factors. For example, you might work on a standard-definition video project, a film project, or an HD project.
Starting a Project For more information, see “Creating and Editing Sequences” on page 575 and “Using the Timeline” on page 667. 7. Use Trim mode, Effect mode, and Color Correction mode to fine-tune your edits and effects. For more information, see “Working with Trim Edits” on page 732 and the Effects and Color Correction Guide for your Avid editing application. 8. Add any titles you need.
Preparing to Edit 1 Turn on your system and start your Avid editing application 2 Select or create a project 3 Select the Project settings 5 Back up the project 4 Create and organize bins Preparing to Edit When you capture and organize footage before you edit, follow these basic steps: 1. Batch capture, log and capture, or capture on-the-fly your source material into your Avid editing application. For more information, see “Preparing for Capture” on page 159 and “Capturing Media” on page 223.
Editing a Sequence 2. Use bins to organize your project items. For more information, see “Working with Bins” on page 323. 3. Use the Media tool to manage media files. For more information, see “Managing Media Files” on page 439. 4. Use the bins to create storyboards. For more information, see “Creating a Storyboard” on page 365.
Editing a Sequence 2. Build your sequence in Source/Record mode in the Timeline. See “Creating and Editing Sequences” on page 575. 3. Use Segment, Trim, and Effect modes to fine-tune your edits and effects. For more information, see “Using the Timeline” on page 667, “Working with Trim Edits” on page 732, and the Effects and Color Correction Guide for your Avid editing application. 4. Use the Audio tool to adjust and mix multiple audio tracks and prepare for final playback or output.
Outputting a Sequence 4 Fine-tune audio pan, volume, and EQ 5 Screen and continue editing, repeating any or all of steps 1 through 4 as necessary Outputting a Sequence When your sequence is finished, you can output it in any of the following ways: • Export as a file or a series of files. For more information, see “Exporting Frames, Clips, or Sequences” on page 1005. • Output a digital cut in one or more formats. For more information, see “Generating Output” on page 1038.
Outputting a Sequence Finished sequence.
2 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.
Working with the Desktop 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.
Working with the Desktop Option Command To select or deselect a check box or an option in a dialog box. Press Right Arrow, Left Arrow, or the space bar. To move up or down in a menu, or increment a Press Up Arrow or Down Arrow. numeric value. 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.
Working with the Desktop 2. Select a speed from the Vertical Scroll Speed menu. Normal is the default setting. Normal scrolls one item at a time. Moderate scrolls two items at a time, and Fast scrolls four items at a time. To assign functions to additional mouse buttons: 1. In the Project window, click the Settings tab, and then double-click Mouse. The Mouse Settings dialog box opens. 2. Select Tools > Command Palette. The Command palette opens. 3.
Working with the Desktop 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. In Control Panel > System and Maintenance > System > Advanced System Settings > Performance Settings, select Adjust for best performance. • Disable Desktop compositing.
Working with the Desktop • Disable screen savers. • 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.
Starting Your Avid Editing Application (Windows) 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 Macintosh HD/Applications/Avid editing application For most users, the desktop or Dock is a more convenient location to start your Avid editing application. The installation process places a shortcut alias icon for your Avid editing application on the desktop. n c n For more information to make an alias and use the Dock, see your Macintosh documentation. Your Avid editing application does not start properly if you move the application file from the Avid editing application folder.
Working with Projects If you are working with projects created on local drives, then note the following: • A local project resides on the C: drive of the Avid editing system. • If the connection between the Avid editing system and shared storage is lost, the project and its contents are unlikely to become corrupt as a by-product. • You cannot login to the project from another workstation. The exception is if you are in an Interplay environment.
Working with Projects 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. 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.
Working with Projects Synced A Synced Project is stored locally and in your Interplay database. It can be accessed by any user who has permissions for the project. On a Windows system, a Synced Project is always stored in the machine’s Shared Documents directory and in a corresponding project folder on Interplay.
Working with Projects Avid Projects and Avid Users Folders When you create a new project or user profile, your Avid editing application creates files and folders in the Avid Projects and the Avid Users folders.
Working with Projects 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 application folder: n Windows 7 drive:\Documents and Settings\All Users\Shared Documents\Av
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 (.xml) 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.
Working with Projects 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 87. 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) Color Space 720p/23.976 For film-originated material transferred to videotape. YCbCr 720p/25 For video-originated material that can be captured, edited and output for HD broadcast. It can also be captured in DVCProHD format. YCbCr 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.
Creating a New Project The project format describes the frame size, aspect ratio, frame rate, and the color space for all sequences created within the project. You should set your project format according to the quality required for the final delivery. Read the following topics before setting your project format: • Setting the Project Format to Accommodate Variable Resolutions • Setting the Project Color Space To create a new project: 1.
Creating a New Project 5. Set the following option(s), where applicable: Option Project Format SD HD A combination of the video format (e.g. NTSC, PAL, HD), the video mode (e.g. 1080p, 720p) and the frame rate (e.g. 23.97, 24, 25 fps). Choose the most appropriate combination for your output format. Aspect Ratio The numerical ratio of the picture width to height. Set the aspect ratio for standard (SD) video and television at 4:3, and at 16:9 for HD.
Creating a New Project Option SD Matchback Available for 25i PAL, 30i NTSC, 720p, and 1080i Matchback projects only. Select Matchback, then click the Film button and select a format for film gauge tracking from the Default Film Type menu. n SearchData Folder HD The Matchback item appears only if your Avid editing application includes the Matchback option. Specifies the location for the folder to be used by PhraseFind. By default, this is set in the Projects folder.
Working with Color Spaces in HD Projects Setting the Project Format to Accommodate Variable Resolutions Regardless of the project output format, you can still work with media of different frame sizes, aspect ratios, and pixel aspect ratios in the same sequence. For example, you can mix SD 4:3, HD 16:9, and 2K+ media formats. Your Avid editing application automatically resizes and repositions these clips to match the project's format settings.
Working with Color Spaces in HD Projects Newer HD technologies can display detailed images with sharp changes in color. Because some color data is missing, YCbCr media does not take full advantage of HD display hardware. The limited color information available in YCbCr also means that the results of effects processing are not as good as they could be with RGB media. Understanding the RGB Color Space RGB produces higher quality images and effects, but takes up more space.
Working with Color Spaces in HD Projects Mixing Media of Different Color Spaces You can work with media of different color spaces in the same sequence. For example, you can mix SD YCbCr and HD RGB. When you mix media in this way, your video editing application converts media to the project’s color space when necessary. This conversion takes place internally during the processing of real-time effects and prior to output. The color space of your media depends on its format.
Working with Color Spaces in HD Projects Changing the Project Color Space for an HD Project The Color Space setting determines the color coordinate system to be used for interpreting color values in your media and transforming them to the selected color space for the editing application.The RGB color space is only available in full HD projects. 720p and NTSC/PAL projects can only use the YCbCr color space. The project color space can be changed at any time.
Opening and Closing Projects 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.
Opening and Closing Projects 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. 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 Composer window, and the Timeline open with the User settings loaded.
Deleting a Project The next time you start your Avid editing application, it opens your last project. To turn off the automatic opening of projects so that you can select another project when you start your Avid editing application: 1. Deselect “Automatically Launch Last Project at Startup,” and then click OK. 2. Quit your Avid editing application and restart it. The Select Project dialog box opens. 3. Select a project and click OK.
Quitting and Turning Off Equipment 3. Press the Delete key. 4. If you see a message asking if you want to delete the selected project and associated bins, click OK The deleted project no longer appears in the Select Project dialog box. c n Deleting a project also deletes any bins that are in that project. Media related to a deleted project is not deleted with the project folder.
Changing Project and User Names For more information, see “Using the Hardware Tool” on page 116. c Quit your Avid editing application before you turn off your equipment. To turn off your equipment: 1. Turn off the system by doing the following: For a Windows system: a. Click the Start button, and select Shut Down. The Shut Down Windows dialog box opens. b. Click the menu, and select Shut down. c. Click OK. For a Macintosh system: t Select Apple menu > Shut Down. 2.
Backing Up Your Project Information 3. Type the new name of the folder. 4. Double-click the folder with the new name to open it. The folder contains profile, settings, and project files with the old name. 5. Change the old name of each file to the new name. n Do not change the name of the file MCState in the Avid Users folder. 6. Close the windows, and restart your Avid editing application. The new project name or user name appears in the Select Project dialog box.
Avid Attic Folder 3. Drag the copies from the storage device to the appropriate folder on the internal hard drive (Windows) or Macintosh HD/Users/Shared (Macintosh). When you start your Avid editing application, the restored project and user profile appear in the Select Project dialog box. n If you restore a single bin or bins, you must relink them to the project from within the Project window. For more information, see “Opening and Closing Bins” on page 74.
Avid Attic Folder Retrieving Files from the Avid Attic Folder (Windows) To retrieve a file from the Avid Attic folder: 1. Minimize your Avid editing application. 2. From the desktop, double-click the Avid Attic folder, located in: (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application. (Windows Vista or Windows 7) drive:/Users/Public/Public Documents/Avid editing application. The Avid Attic folder opens and displays a folder for each project. 3.
Avid Attic Folder 7. Ctrl+drag the selected backup bin files to the desktop. This makes a copy of the files, leaving the original files in the Avid Attic folder. To copy backup files to a new bin: 1. Click the taskbar item for your Avid editing application to restore it. n If the taskbar is hidden, see “Using the Windows Taskbar (Windows Only)” on page 35. 2. Click the Project window to activate it, and click the Bins tab to display the Bins list. 3. Select File > Open Bin. 4.
Avid Attic Folder 7. Select the material you want to keep from the backup bin, and drag the files to the new bin. 8. Repeat steps 3 through 7 for any other backup bin files you copied to the desktop. 9. Select and delete the backup bins in the Other Bins folder. 10. Drag the backup bin files on the desktop to the Recycle Bin. Retrieving Files from the Avid Attic Folder (Macintosh) To retrieve a file from the Avid Attic folder: 1. Minimize your Avid editing application. 2.
Avid Attic Folder 5. Select View > as List, if the bin folder is not already in the List view. 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. For example, a bin named Source Clips might have backup bin files named Source Clips.1 and Source Clips.2. 6. Command+click the files you want to retrieve. 7. Option+drag the selected backup bin files to the desktop.
3 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.
Controlling Project Window Display Project window information is organized in tabs. Tab Function Bins Lets you create and open bins. See “Using the Bins Tab” on page 72. Volume Lets you create an Export Volume. See “Working with Export Volumes” on page 430. Settings Lets you view and modify settings. See “Using the Settings Tab” on page 78. 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.
Using the Bins Tab To locate and redisplay the Project window, do one of the following: t Select Tools > Project. t Click in an area of the Project window to bring it forward. To close the Project window, do one of the following: t With the Project window active, select File > Close Project. t Click the Close button in the Project window. The Select Project dialog box opens.
Using the Bins Tab Fast menu button (top) and Bins list with bin icons (bottom) in the Bins tab of the Project window. Creating a New Bin To create a new bin from the Project window: 1. Do one of the following: t Select File > New Bin. t Click the New Bin button in the Project window. A new (empty) bin opens and is given the name of the project as displayed in the title bar of the Project window.
Using the Bins Tab n n 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. Bin and project names are limited to 27 characters, not including the period and 3-character extension that the system automatically adds to a file name.
Using the Bins Tab The selected bins open either in separate windows or in a single window with tabs indicating the bins. n You can also open multiple bins by dragging them from the Bins tab in the Project window to an open bin. The bins open as tabs in the existing bin. 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.
Using the Bins Tab The Trash icon and its contents disappear until Flat View is deselected. Creating a Folder To create a folder in a project: 1. Click the Bins tab in the Project window. 2. Click the Fast Menu button, and select New Folder. A new untitled folder appears. 3. Click the untitled folder name in the Bins list and rename it. Deleting a Bin or Folder You can delete bins and folders along with their contents from the Bins list.
Using the Bins Tab 3. Double-click the bin or folder to view it. To empty the Trash in the Bins list: 1. Click the Fast Menu button, and select Empty Trash. A message box opens. 2. Click Empty Trash to delete the bins or folders from the Trash and from your hard drive. Saving Bins Your Avid editing application automatically saves changes to your work on a regular basis. You can modify the frequency of the automatic backups. You can also manually save a specific bin, selected bins, or all bins.
Using the Settings Tab Saving Bins Manually To save a specific bin: 1. Click the bin to activate it. 2. Select File > Save Bin. To save selected bins: 1. In the Bins tab, click a Bin icon to select it, and then Ctrl+click any additional bins. 2. Select File > Save All. The system saves all the selected bins. n The Save Bin command appears dimmed if there were no changes since the last time the active bin was saved. To save all the bins: 1. Click the Bins tab in the Project window. 2.
Using the Format Tab To open a setting: t Double-click the setting in the Settings list. To view Help for a setting: t Open a setting and press the F1 key (Windows) or the Help key (Macintosh). 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.
Using the Usage Tab 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/59.94 HD project, you can change the project format to 30i NTSC.
Using the Usage Tab To view and update statistics for an open project: t Click the Usage tab in the Project window. To print the Statistics file: t Select File > Print Usage. Statistics File Structure and Layout A new Statistics file is created each time you open the project. The files are stored in a Statistics folder inside each project folder. The file name has the following format: Statistics.yymmdd.
Using the Usage Tab The values in the first column indicate the content of the line: 82
Using the Usage Tab 01 title1 02 title2 03 Title Only 100 project info 101 Time Project open 102 Capture tool open 104 Capture tool active 105 Captured Media bytes used 106 Rendered Effects bytes used 110 Effects rendering time 111 Title tool open 113 Title tool active 114 Title tool rendering 115 Capture tool capturing 116 Capture tool logging 117 user comments The values in the second column indicate the type of data in the line: 01 project info 02 time used 03 bytes
Using the Usage Tab The Text Import wizard starts. 4. Select Delimited for the Original Data Type, and click Next. 5. Select Comma for Delimiters, and click Next. 6. Select General for Column Data Format. 7. Click Finish. The statistics file appears in spreadsheet format. The following illustration is the sample file from the previous section as it appears when you import it into a spreadsheet.
Using the Info Tab 3. Press Enter (Windows) or Return (Macintosh). 4. Select File > Load Media Database. After the media database is loaded, the Usage window displays the number of files and disk space used for captured media and rendered effects. To update the display: t Click the Usage tab in the Project window. To prevent recalculation: t Reenter the toggleStatSpace command.
Managing Bins and Memory Item Description Total page file The total number of bytes stored in the paging file. The paging file is used as virtual memory by the Windows system. Available page file The total number of bytes available in the paging files. Working set (minimum and maximum) The set of memory pages currently available to your Avid editing application in RAM.
Understanding User Profiles A dialog box opens asking if you want to close and save all opened bins. 3. Click OK. This operation deletes cached data for the online master clips only. Memory might also be used by other parts of your Avid editing application and will not be reduced by using the Clear Memory button. Understanding User Profiles User profiles let you switch between settings without having to log out of your system and log back in under a different user name.
Managing User Profiles to another location (a server), and then import it to a different system. Any time you change the Jennie user profile, it updates to the server and when you open the Jennie user profile on either system, it uses the most updated Jennie user profile. - When you select Group, the user profile auto-loads but it does not auto-save. Changes made to the user profile only affect the system where you made the change. The changes do not update to the server.
Managing User Profiles 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. To import user settings from another user or user profile: 1. Click the Settings tab. 2. Click the User Profile Selection menu, and select another user profile. 3.
Customizing the Avid User Interface To delete a user profile from your desktop: 1. Navigate to the Avid Users folder, and then select the user folder you want to delete. For information about the location of the Avid folders, see “Avid Projects and Avid Users Folders” on page 46. 2. Do one of the following: t (Windows) Press the Delete key, then click OK in the dialog box. t (Macintosh) Drag the folder to the Trash. 3.
Customizing the Avid User Interface c When you use the selection slider to modify interface settings, it overwrites any previous user settings. Avid recommends you save a copy of your user settings before you use the selection slider. To set the brightness and color of interface components: 1. In the Project window, click the Settings tab, and then double-click Interface. The Interface dialog box opens. 2. Click a highlight color to change button highlight colors. 3.
Customizing the Avid User Interface 5. (Option) If you want to be able to set custom background colors for bins, select Allow Custom Bin Backgrounds. For more information, see “Changing the Bin Background Color” on page 340. 6. Do one of the following: t Click Apply to apply the changes you selected. If you click Cancel after you click Apply, interface components retain the colors you applied. t Click OK to close the dialog box and put the new setting into effect.
Using Workspaces n Any font installed on the Avid system appears in the list. For information on adding fonts to your system, see the documentation for your operating system. 4. Type another point size for the font in the Size text box. 5. Click OK. The new font and point size appear in the active window. When you close the window, the last font and point size applied are saved with the window.
Using Workspaces To select a workspace, do the following: t Select Windows > Workspaces > workspacename. To customize the workspace: 1. For the workspace you want to customize, select Windows > Workspaces > workspacename. 2. Open other tools with which you want to work, and position them where you want them. 3. Select Windows > Workspaces > New Workspace. 4. Type a name for the new workspace in the Workspace Name text box. 5.
Using Workspaces The active workspace is deleted. 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 a workspace to another setting: 1.
Using Workspaces Examples of linked settings (top and center) and a linked workspace view (bottom) 7. In the Settings list of the Project window, double-click the workspace you want to link. The Workspace View Setting dialog box opens. 8. Select Link to Named settings. 9. Type the name of the custom settings to which you want to link the workspace.
Using Workspaces For more information about creating and naming custom settings, see “Working with Settings” on page 1339. n You can link workspaces only to User settings. 10. (Option) Click the Bin Layout menu and select a layout you want to link to the workspace. For more information, see “Using Bin Layouts” on page 98. 11. Click OK. The workspace is linked to the custom setting you specified. To link a workspace to an unnamed setting: 1.
Using Workspaces 3. Select Button to Button Reassignment. 4. Click a workspace button 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. To assign a bin layout button: 1. Select Tools > Command Palette. 2. Click the Workspaces tab. 3. Click the workspace menu next to the button you want to assign. Bin layouts appear in the menu below the divider line.
Using Workspaces Keyboard settings and toolbar button mappings for workspaces are user settings. Bin layouts are project settings. When you link bin layouts to workspaces, to keyboard settings, or to toolbar buttons, you can access these layout assignments only when you work in a project containing a bin layout with the same name as when you created the link. For this reason, you should be careful to maintain a consistent bin layout naming convention for your projects.
Working with Bins and Projects in an Avid Shared Storage Environment 2. Click OK. Working with Bins and Projects in an Avid Shared Storage Environment Avid ISIS let you share bins and projects across the network. When you place your bins and projects on Avid Workspaces (drive volumes), several users can work on the same project at the same time. For example, an editor creates sequences in one bin while an assistant recaptures media in another 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.
Working with Bins and Projects in an Avid Shared Storage Environment 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 100. 3. Double-click a Bin icon to open one of the bins. The bin appears with a Bin Lock Status button.
Working with Bins and Projects in an Avid Shared Storage Environment You can instruct your Avid editing application to keep a bin locked even after you close it. You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin. To open a bin without controlling the lock: t Alt+double-click (Windows) or Option+double-click (Macintosh) the bin in the Project window. To permanently lock a bin: 1.
Working with Bins and Projects in an Avid Shared Storage Environment Avid recommends that you do not use a common prefix for machine names. If you must use a common prefix, make sure all the names are the same length (ABC01, ABC02, ABC03, etc.). • Do not use Windows Explorer to examine, copy, or manipulate shared bin files or shared project folders or their contents when you use those files or folders.
Working with Bins and Projects in an Avid Shared Storage Environment Avid recommends that you institute policies where media files are deleted by the editor who created them, or if necessary, the deleting editors notify the editor who created the media files that a deletion has occurred. This editor can then switch to the desktop and back, and all other editors can see the deleted file go offline.
Working with Bins and Projects in an Avid Shared Storage Environment Drive Filtering in Networked Workflows The Drive Filtering and Indexing tab of the Media Creation Settings dialog box includes three options: • Filter by Resolution • Filter by System Drive • Filter by Launch Drive Depending on the version of your Avid editing system, the drive filtering options could be on or off by default. Avid recommends that all drive filtering options should be on by default.
4 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.
Using a Deck Controller The tab bar in the target tab window displays all tool tabs. To move a tool into separate window: t Click the tab for the tool you want to move, and drag it to a clear region of the application interface. The tool displays in a separate window. To view tool tabs that do not display in the tab bar, do one of the following: t Click the Previous Tab button or the Next Tab button to shift the tab view to the left or the right.
Deck Controller Window Reference 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 138. 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.
The Command Palette 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 following are examples of buttons you might want to map: Buttons you use to subcatalog clips. Left to right: Make Subclip, Find Bin, and Add Marker.
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 112. Modifier Keys You can add modifier keys to functions already associated with keys and buttons.
The Command Palette 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.
Using The Console Window If you enter drop-frame timecode into the calculator while non-drop-frame timecode is selected in the format menu, the calculator converts the entered timecode to a non-drop-frame equivalent (and vice-versa). Using The Console Window The Console window provides a number of features including, finding your system ID number, viewing log error messages, getting information about your sequence, displaying your networked drives, and information after you capture or import.
Using the Hardware Tool To get information with the Console window: 1. Select Tools > Console. The Console window opens. 2. Select the item about which you want information, for example: t In the Timeline, move the position indicator to the selected clip or segment and select File > Get Position Info. t In the bin, right-click and select Get Bin Info. Information about the clip appears in the Console window. To make your mapped network drives available: 1.
External Controllers as Editing Control Surfaces To check the hardware configuration of your Avid system, do one of the following: t Select Tools > Hardware. t Click the Info tab in the Project window, and then click Hardware. The Hardware tool opens. External Controllers as Editing Control Surfaces Adding a controller to your Avid system provides an alternative to using the keyboard and mouse for editing your sequence.
5 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.
Using Avid Log Exchange to Prepare Log Files for Import When you convert an ATN file that contains multiple sections to an ALE file, the system creates multiple ALE files. The Avid Log Exchange window displays only the first ALE file. The succeeding ALE files are given the same file name with incremental numbering. For example, the file Nations1.atn converts to Nations001.ale, Nations002.ale, Nations003.ale, and so on.
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 126. 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.
Using Avid Log Exchange to Prepare Log Files for Import 11. (Option) Select the original file from the Window menu if you want to convert the file again using different options. 12. Select File > Close. If you made changes in the editor, a message box opens. 13. Click Yes. The converted file is stored in the same folder as the original log file. Using Drag-and-Drop Conversion for Log Files (Windows) Use this shortcut to convert files into an ALE file.
Using Avid Log Exchange to Prepare Log Files for Import 3. Open the folder that contains the files you want to convert. Position the folder so the ALE utility Shortcut icon is visible. 4. Select the files you want to convert. 5. Drag the selected files to the Shortcut icon, and release the mouse button. 6. Depending on the type of files you convert, one of the following occurs: - If the ALE utility recognizes the file type, a message box opens indicating the conversion was successful.
Using Avid Log Exchange to Prepare Log Files for Import 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. 1 2 3 4 5 6 7 Avid Log Exchange dialog box 1 Files you can convert 5 Global Settings information 2 Files you can generate 6 Convert button 3 Clean and Relaxed options 7 Quit button 4 Track selection 2. Select the type of file you want to convert from the Input list.
Using Avid Log Exchange to Prepare Log Files for Import After you import the log into an Avid bin, the system captures all tracks shown in this column when you batch capture. The Track selection only works on non ALE files that you convert to an ALE format. When ALE is the incoming format, Track selection does not work. 5. Select the options Clean if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips.
Using Avid Log Exchange to Prepare Log Files for Import Using Drag-and-Drop Conversion for Log Files (Macintosh) Use this shortcut to convert files into an ALE file. n If the log file is a Final Cut Pro, Cinema Tools, or a Tab Delimited shot log file, you cannot use drag-and-drop conversion. Use the procedure in “Converting Log Files with Avid Log Exchange (Macintosh)” on page 122) to convert files of this type. To convert a log file by using drag-and-drop conversion: 1.
Avid Log Specifications The ASC_SOP and ASC_SAT information appears as part of the edit event. Log Formats Compatible with Avid Log Exchange The table lists the log formats that you can import directly or convert for import when you use Avid Log Exchange (ALE). Log Format Requirements File Name Extension AatonBase Conversion required .atn or .atl Avid Log Import directly .ale Cinema Tools Conversion required .txt CMX EDL Conversion required .cmx Evertz® Conversion required .
Avid Log Specifications An Avid log is composed of three sections, in this order: • Global Titles • Standard and custom column Titles • Data Titles When you create an Avid log, you must follow the order precisely. The tables in these topics follow this order. The tables use the following conventions: • A Title appears in the first column, without angled brackets or square brackets. For example, FIELD_DELIM is the first global Title. • A is surrounded by angled brackets.
Avid Log Specifications FIELD_DELIM [Tab] [Enter] or Required [Return] VIDEO_FORMAT [Tab] [Enter] or Required [Return] FILM_FORMAT <16mm> <35mm,3perf> <35mm,4perf> [Enter] or [Return] AUDIO_FORMAT [Tab] <22kHz> <24kHz> <44kHz> <48kHz> [Enter] or [Return] Audio sampling rate for catpure. You can override this for individual clips. TAPE [Tab] [Enter] or Required [Return] Name of the videotape reel you log.
Avid Log Specifications COLUMN Titles: Column Titles are case sensitive and must be spelled exactly as shown. Note that the first five Titles are required. Other Titles are optional but might be necessary for your project. This table lists only the column Titles that are relevant to shot log files. Some data, such as Creation Date, is gathered by the system. The table does not include Titles for such data. The maximum number of combined global, standard, and custom Titles in a log file is 64.
Avid Log Specifications Film TC [Tab] Title for the timecode used on the film. Ink Number [Tab] Title for the ink number used for the clip. KN Duration [Tab] Title for the length of the clip, expressed in feet and frames. KN End [Tab] Title for the ending key number for the clip. KN Start [Tab] Title for the starting key number for the clip. Labroll [Tab] Title for the lab roll ID for the clip. Lab rolls are a combination of several camera rolls.
Avid Log Specifications COMMENTS [Tab] Title for comments about clip. [Tab] Add any category of information you want. Add as many Titles as you want, but do not use more than a total of 64 global and column Titles in the file. Press the Tab key between each Title. Do not press the Tab key after the last Title. [Enter] or [Return] [Enter] or [Return] Press [Enter] (Windows) or [Return] (Macintosh) twice (do not press Tab) after the last Title.
Avid Log Specifications [Tab] Required Under End Title. Enter the video timecode for the last frame of the clip. <22kHz> <24kHz> <44kHz> <48kHz> [Tab] Under Audio Title. Enter the audio sampling rate for this clip only. If omitted, global entry applies. [Tab] Under Auxiliary Ink Number Title. Identify a second ink number for the start of the clip. [Tab] Under Auxiliary TC Title. Enter a Nagra timecode, Arri code, and so on, for the sync point.
Avid Log Specifications (matchback only) [Tab] Under Pullin Title. Identify the telecine pulldown of the first frame of the clip (pulldown phase). NTSC only. (matchback only) [Tab] Under Pullout Title. Identify the telecine pulldown of the last frame of the clip. NTSC only. [Tab] Under Reel # Title. Identify the reel, use numbers. [Tab] Under Scene Title. Identify the scene, use letters and numbers.
Avid Log Specifications Enter an additional line of data for each remaining clip. Sample Avid Log This is a sample Avid log for an NTSC video project. Formatting keys (such as [Tab] and [Enter] (Windows) or [Return] (Macintosh)) display in brackets. Heading [Enter] FIELD_DELIM [Tab] TABS [Enter] VIDEO_FORMAT [Tab] NTSC [Enter] AUDIO_FORMAT [Tab] 44kHz [Enter] TAPE [Tab] 001 [Enter] FPS [Tab] 29.
Creating an Avid Log 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 open Text Edit: t Select Go > Applications, and double-click TextEdit. 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 126. 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.
Transferring Bins from MediaLog If you log your source footage with MediaLog, you can transfer the bins directly to your Avid editing application to batch capture. You can also import the logs as described in “Importing Shot Log Files” on page 160. To transfer bins from MediaLog: 1. Save the MediaLog bins to a storage device or disk. If you use MediaLog for Macintosh, make sure that your Windows system can mount the storage device or disk correctly.
Logging Directly into a Bin Logging Directly into a Bin To log clips directly into a bin use the Capture tool in one of two ways: • Log directly into a bin with an Avid-controlled deck for semiautomated data entry. • Log manually during or after you view footage offline with a non-Avid-controlled deck or other source. Before you capture, observe the following important guidelines for preroll, timecode formats, and naming of tapes when you log.
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 139. • c It is important that you create a naming scheme for your tapes.
Logging Directly into a Bin 1 2 3 4 5 6 7 8 9 1 Capture/Log Mode button 6 Timecode display 2 Mark IN button 7 Deck controls 3 Channel Selection buttons 8 Deck Selection menu 4 Clip Name text box 9 Source Tape Display button 5 Clip Comment text box If you forget to connect and turn on the power to the deck before you open the Capture tool, click the Deck Selection menu and select Check Decks to reinitialize the deck control. 4.
Logging Directly into a Bin The Select Tape dialog box opens. Select “Show other project’s tapes” to display the tape names and associated project names for all bins. Select Tape dialog box. Top: New tape name button. Center: list of tapes. Bottom: Show other projects option. Because the media file database does not open when you start your Avid editing application, tape names of all online media files do not appear automatically.
Logging Directly into a Bin If you want to pause the deck while you enter a clip name and comments, see “Pausing the Deck While Logging” on page 143. t To cue your source tape: Use the deck controls in the Capture tool to cue your source tape to the start or end point. Click the Mark IN button or the Mark OUT button in the Capture tool.
Logging Directly into a Bin Logging controls (left) and Log Clip button (right) The clip name highlights in the bin. The system automatically names and numbers the clip, you can rename the clip. 11. (Option) Type a new name in the highlighted area to rename the clip. You can accept the clip name and proceed with the logging process and change the clip names in the bin at a later time. 12. Repeat these steps until you log all your clips.
Logging Directly into a Bin Using a Memory Mark When Logging You can add a memory mark to a particular location on a tape, then use the Go to Memory button to move through the tape to the marked location. To use a memory mark for a particular location on a tape: t Click the Mark Memory button in the Capture tool to mark the location. t Click the Go to Memory button to move through the tape to the marked location. t Click the Clear Memory button to clear the memory mark.
Logging Directly into a Bin 6. Select Tools > Capture. The Capture tool opens. 1 2 3 4 5 14 6 13 7 8 9 12 10 11 1 Capture/Log Mode button 8 Deck Selection menu 2 Channel Selection buttons 9 Source Tape Display button 3 Message bar 10 Mark Memory button 4 Clip Name text box 11 Go to Memory button 5 Clip Comment text box 12 Clear Memory button 6 Timecode display 13 Clear IN and OUT buttons 7 Deck controls 14 Mark IN and OUT buttons 7.
Understanding the Pulldown Phase 8. Click the Source Tape Display button. A dialog box opens. 9. Click Yes to open the Select Tape dialog box. 10. Double-click the name of the tape in the dialog box, or click New and enter the name of the tape. 11. Click OK. 12. Use the Channel Selection buttons to select the tracks you want to log. 13. Type the start timecode in the Mark IN text box. 14. (Option) Enter a clip name and comment in the corresponding text boxes. 15.
Understanding the Pulldown Phase Set Pulldown Phase option in the Film and 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.
Understanding the Pulldown Phase A B C D A1 .1 A2 .2 B1 .1 B2 .2 B3 .1 C1 .2 C2 .1 D1 .2 D2 .1 D3 .2 A B X C D Relationship between four film frames (left) and five NTSC video frames (right). On the right, .1 indicates an odd field and .2 indicates an even field. n This setting is not available in matchback projects. However, you can modify the pulldown phase after you log it. See “Entering Pulldown Information” on page 151.
Setting the Pulldown Phase Setting the Pulldown Phase To set the pulldown phase: 1. Determine the correct pulldown phase for 00:00:00:00 in one of the following ways: t If you capture film-to-tape transfers, check the transfer log. t If you capture tapes that have been downconverted from 1080p/24, check what pulldown frame was set for 00:00:00:00 on the deck that performed the conversion. t If you still cannot determine the pulldown phase, see “Determining the Pulldown Phase” on page 152. 2.
Film-Related Log Information Displaying Film Columns To display film columns in the bin: 1. Click the Bin View menu at the bottom of the Bin window, and select Film to display all the required film column Titles. Location of the Bin View menu 2. To log data under optional Titles (such as Ink Number, Auxiliary TC1-Auxiliary TC5, or Film TC), do the following: a. Select Bin > Choose Columns. The Bin Column Selection dialog box opens. b.
Film-Related Log Information 3. Create a custom Title to track custom information for the job. To create a new Title, type a name that describes the information in the Titles bar at the top of the bin. For more information on customizing bin views, see “Saving a Custom Bin View” on page 329. Entering Pulldown Information To accurately capture NTSC transfer tapes in 24p projects, you need to enter pulldown information into the bin. (This information is not required for PAL transfer tapes.
Film-Related Log Information n For 24p projects, you can set a default pulldown phase in the Film and 24p Settings dialog box. See “Setting the Pulldown Phase” on page 149 (24p projects only). For matchback projects, you need to log key-number information before you can log pulldown information. If you specify the pulldown phase in the Pullin column, you accomplish the following: • You ensure that clips start with the correct frame for the pulldown.
Film-Related Log Information If you have not keypunched your footage, you can determine pulldown according to clapsticks or any other distinctive frame at the beginning of the clip. It is easier to determine the pulldown if the frames depict motion. n For instructions on how to modify the pulldown phase, see “Modifying the Pulldown Phase After Capturing” on page 275. To determine the pulldown phase: 1.
Film-Related Log Information - If the timecode changes from the first to the second field, the fields came from a D frame. 5. Enter or edit the information in the Pullin column in the appropriate bin, as described in “Modifying the Pulldown Phase Before Capturing” on page 154.
Film-Related Log Information 3. Click the menu, and select the correct pulldown phase for timecodes ending in 0 or 5. 4. Click OK. The pulldown phase for each selected clip changes, based on the pulldown phase you select for 00:00:00:00. The Pulldown Phase setting also appears in the Film and 24p Settings dialog box (24p projects only). You can override that setting with the Modify Pulldown Phase dialog box. The selection in the Film and 24p Settings dialog box remains the same.
Film-Related Log Information The Avid editing application automatically calculates the ending key number (KN End), based on the timecode duration. c c Make sure the correct number appears when you press Enter (Windows) or Return (Macintosh). For key-number formats other than Keykode, you might need to type the space, hyphen (-), and plus sign (+) or ampersand (&) to format the number correctly. Modifying tape names and timecodes affect any key numbers you enter for the selected clips.
Film-Related Log Information Entering Ink Numbers To enter ink numbers: 1. In the Project window, click the Settings tab. 2. Double-click Film and 24p. The Film and 24p Settings dialog box opens. 3. Make sure the correct options are selected for ink number format and ink number display, and click OK. You can log different ink number formats in the same project as long as you change the ink number setting to the appropriate format before you log each type.
Film-Related Log Information 6. Click Options. The Export Settings dialog box opens. 7. Click the Export As menu, and select one of the following: t Select Avid Log Exchange to export the selected bin as a shot log file that complies with ALE specifications. For information about Avid Log Exchange, see “Using Avid Log Exchange to Prepare Log Files for Import” on page 118. t Select Tab Delimited to export the selected bin as a tab-delimited ASCII text file.
6 Preparing for Capture The chapter provides information on preparing your Avid editing application and your capture hardware before you capture media.
Importing Shot Log Files For film projects, most telecine and other film-to-tape transfer systems generate a log that you can import directly to the bin, after you convert it to .ale format by using the Avid Log Exchange (ALE) utility. Even if the telecine facility supplies you with an .ale file, you should process it through the ALE utility, using the Clean function. For more information, see “Using Avid Log Exchange to Prepare Log Files for Import” on page 118.
Importing Shot Log Files Look in menu (top) and Files of type menu (bottom) in the Select files to import dialog box on Windows.
Importing Shot Log Files Enable menu (top) and From menu (bottom) in the Select files to import dialog box on Macintosh. 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. For information on Import settings, see “Import Settings” on page 1414.
Preparing the Hardware for Capture When your Avid editing application finishes importing the file, the clips appear in the selected bin. Preparing the Hardware for Capture Your source material can originate from a videotape (or other recording media such as P2 memory cards), a digital audiotape (DAT), a compact disc (CD), an in-house router, a tuner, or straight off-the-air, with the proper hardware configuration.
Preparing the Hardware for Capture Item Description (Continued) 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 164. Getting Information About Striped Drives Avid maintains information about striping drives that is available through Avid online support. For more information, see “Storage Options and Drive Striping” in the Help.
Preparing the Hardware for Capture To check the sync source, do one or both of the following: 1. Check the lights on the front of the Avid Nitris. If the Avid Nitris is locked to a valid sync signal, the Lock light and either the HD REF or SD REF light are constantly on. For more information, see “Avid Nitris Front Panel” in the Help. 2. Check the Video Lock icon or the Ref Lock icon in the Capture tool. For more information, see “Setting the Video and Audio Input in the Capture Tool” on page 191.
Preparing the Hardware for Capture Digital Audio Input Digital audio inputs (ADAT, AES/EBU, S/PDIF, and SDI Embedded Audio) provide their own timing reference. If sample rate conversion is not available on your system, or you have disallowed it by selecting “Never” in the Input tab of the Audio Project settings, no other connections are required to achieve sync, so long as the source deck is genlocked.
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 settings. For reference information about all settings in the Capture Settings dialog box, see “Capture Settings” on page 1361.
Selecting Settings for Capture n Symphony performs substantially better with Avid Nitris input/output hardware when it uses MXF 1:1 video instead of OMF 1:1. The video format used in MXF 1:1 video files is the same as the native format used by the Nitris hardware, which allows the system to play more streams of video and render effects faster. 3. Click the Capture tab. 4. Click the Video Resolution menu, and select a video resolution.
Selecting Settings for Capture 6. (Option) You can select drives and create a drive group. Click the Target Drive menu, and select Change Group. For more information on selecting a drive group, see “Selecting the Target Drives” on page 195. n Because no audio is associated with titles or motion effects, you can select only a video drive in the Titles or the Motion Effects tab of the Media Creation dialog box. 7.
Selecting Settings 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.
Selecting Settings 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 For more information about options, see “Media Creation Settings” on page 1424. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh). Selecting Settings for Preroll Method and for Capturing Across Timecode Breaks If the tape you are capturing contains breaks in the timecode, you can use two settings in the General tab of the Capture Settings dialog box to capture across the timecode breaks.
Selecting Settings for Capture Preroll Method Description Best Available Your Avid editing application uses the control track to determine the preroll Control Track point. If there is not enough control track for preroll, your Avid editing application adjusts the specified preroll time to accommodate the amount of valid control track available. If the adjusted preroll time is too short to sync lock at the IN point, your Avid editing application does not capture the shot and displays an error message.
Selecting Settings for Capture Capturing to multiple media files has the following advantages: c • You can create longer clips whose media files would otherwise exceed the file size limitation of 2 GB. • You can group all drives with the multiple file options. This enables your Avid editing application to capture long clips continuously, for example, satellite feeds. • Your Avid editing application makes more efficient use of drive space, particularly when capturing long clips.
Selecting Settings for 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. If the source footage is in the NTSC-EIAJ format standard (used primarily in Japan), deselect NTSC Has Setup.
Selecting Settings for Capture 177
Selecting Settings for Capture Option Description Video Pulldown Cadence Lets you specify how your Avid editing application handles pulldown frames: • 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.
Configuring Decks Option Description Audio Source TC Rate Lets you specify the digital audiotape (DAT) timecode format: either 30 fps or 29.97 fps (NTSC only). This timecode format must conform to the timecode format on your original DAT tapes. This setting is active when capturing audio only. This setting does not appear in 23.976 projects. Set Pulldown Phase of Timecode Lets you set a default pulldown phase for a 24p NTSC project. See “Setting the Pulldown Phase” on page 149.
Configuring Decks 3. Click the Add Channel button. The Channel dialog box opens. n Channel refers to the signal path for deck control, whether directly through a serial port, through a V-LAN® VLXi system connected to a serial port, or through a FireWire® connection. A direct serial port or FireWire connection allows one deck for each channel, while a V-LAN VLXi system allows multiple decks. 4.
Configuring Decks Option Description VLAN VLX Use if you are controlling decks through a V-LAN/VLXi connection 5. Click the Port menu, and select one of the following items: Option Description OHCI OHCI refers to a FireWire connection on the computer (Host 1394). COM1 Use if you selected Direct or VLAN VLX for the channel. 6. Click OK to close the Channel dialog box. A dialog box asks if you want to automatically configure the channel now. 7.
Configuring Decks 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. n When a deck is already connected to the system, you can click the Auto-configure button to bypass the Deck Settings dialog box and automatically configure a deck with the default settings. 10.
Understanding Timecode 12. Repeat the channel and deck setup process for each additional channel or deck you want to configure. 13. (Option) If you want your Avid editing application to check the deck configuration against the decks physically connected to the system, select “Verify configuration against actual decks.” Your Avid editing application checks the deck configuration after you click the Apply button in the Deck Configuration dialog box and when you start a work session.
Connecting a DV Device NTSC video, however, might use either of the following two formats: • Drop-frame timecode matches the NTSC scan rate of 29.97 frames per second (fps) by dropping two frames of timecode every minute except for the tenth minute. This does not drop any of the video frames themselves. Drop-frame timecode is indicated by semicolons between the digits, for example, 01;00;00;00.
Setting Up the Capture Tool You can connect a DV device to a 1394 port on your computer (Host 1394) For HDV media, playback directly to an HDV device is not supported. You need to export a transport stream. For more information, see “Outputting HDV” on page 1529. Setting Up the Capture Tool The Capture tool provides controls for cueing, marking, and logging footage, and specifies capturing parameters such as source and target locations.
Setting Up the Capture Tool 1 2 3 9 4 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 drive(s) 5 Target Drive menus When you are working in a 24p NTSC project, the Capture tool includes a pulldown button. For more information, see “Setting the Pulldown Switch” on page 192.
Setting Up the Capture Tool Opening the Capture Tool To open the Capture tool: 1. Ensure the deck or other playback device is properly connected to the system and is turned on. 2. Do one of the following: t Click a bin to activate it and select Bin > Go To Capture Mode. t Select Tools > Capture. 3. Set the Capture tool to either Log or Capture mode by clicking the Capture/Log Mode button until the correct mode displays.
Setting Up the Capture Tool 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 n Drop-frame timecode appears in the Timecode indicator with semicolons between hours, minutes, seconds, and frames. Non-drop-frame timecode appears with colons. For more information, see “Understanding Timecode” on page 183. 3. Provide the system with a tape name in one of the following ways: t Select the name of the tape from the list in the Select Tape dialog box and click OK.
Setting Up 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. If you deselect the TC button, the system captures with time-of-day timecode.
Setting Up the Capture Tool Audio Channel Grouping buttons in the Capture tool When you capture stereo audio, you can view the multichannel audio format in the bin in the Track Formats column. 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.
Setting Up the Capture Tool Detecting a Valid or Locked Sync Signal On systems using Avid input/output hardware, the Capture tool uses an icon to indicate if the sync source you are using is valid and locked. The icon appears in the message bar of the Capture tool. n • Video Lock icon: When you select a video track in the Capture tool, the Video Lock icon is displayed. If the current source has a valid video signal and your Avid input/output hardware can lock to it, the icon is displayed in green.
Setting Up the Capture Tool Pulldown button in the Capture tool When the pulldown switch is on a label explains that you can capture audio sampled at 0.99 percent of its recorded speed (referenced to NTSC video), to match the slowdown rate at which the footage was transferred. Film Project Pulldown and Transfer Settings The following table explains how you should set the pulldown switch and transfer settings, depending on your input media.
Setting Up the Capture Tool Pulldown Switch Setting Source Playback Speed Film to Video Transfer Settings (Set in Film Settings Dialog Box) Audio and picture both 25 fps (100%+) Picture Transfer Rate: Not applicable Audio Transfer Rate: Video Rate PAL MOS film-to-tape transfer with 24p PAL Off (1.00) separate audio. Digital audio (DAT) or (Method 2) analog audio (Nagra) to sync with video in the Avid system.
Setting Up the Capture Tool In an Avid Interplay environment, the Capture tool includes an option to capture to a local bin or a remote folder. To select a target bin: 1. (Option — systems in an Avid Interplay environment only) Do one of the following: t If you are capturing to a local bin, select Local Bins. t If you are capturing to a remote project folder in an Avid Interplay environment, select Interplay Folders.
Setting Up the Capture Tool If you are capturing high-quality resolutions, you need to select striped drives. For more information, see “Getting Information About Striped Drives” on page 164 and “Storage Options and Drive Striping” in the Help. You can filter some drives out of the available drive list. For more information, see “Setting Drive Filtering” on page 171. You can set target drives in the Media Creation dialog box. See “Selecting Video Resolutions and Media Drives” on page 167.
Setting Up the Capture Tool To create and target a drive group: 1. Click the Target Drive menu, and select Change Group. The Drive Group dialog box opens. 2. Ctrl+click (Windows) or Command+click (Macintosh) to select multiple drives to include in the capturing session, or click the All button to select all drives. 3. Click OK. Your Avid editing application creates the drive group, and it appears in the Target Drive menu.
Preparing to Capture Audio Preparing to Capture Audio Your Avid editing application provides you with a wide range of options for audio input: capturing audio with video from tape, capturing audio from a digital or analog deck, capturing through a microphone, or capturing through an external audio device such as an Mbox device, and in various formats and at various sample rates. The topics in this section describe preparations you might need to take before capturing audio.
Preparing to Capture Audio Selecting the Audio Sample Rate and Controlling Audio Sample Rate Conversion Selecting the audio sample rate in the Audio Project settings dialog box sets the audio sample rate for capturing audio and for sequences that you create in the project. You can change the sample rate for individual sequences and audio clips.
Preparing to Capture Audio Option Description When needed When this option is set, your Avid editing application automatically converts incoming audio sample rates to match the project sample rate. 5. Close the Audio Project Settings dialog box. Selecting the Audio File Format You create audio files when you: • Record audio tracks in Capture mode. • Create tone media by using the Audio tool. • Mix down audio tracks by using the Audio Mixdown tool. • Import files by using the Import dialog box.
Preparing to Capture Audio 2. Double-click Audio Project. The Audio Project Settings dialog box opens. 3. Click the Main tab. 4. Click the Audio File Format menu, and select WAVE (OMF), AIFF-C (OMF), or PCM (MXF). The default file format is AIFF-C (OMF). For more information on audio file formats, see “Audio Projects Settings: Main Tab” on page 1354. 5. Close the Audio Project Settings dialog box.
Preparing to Capture Audio ensure full compatibility between your Avid editing application and your audio hardware. In these cases, you can use the Sound Card Configuration dialog box to map audio input sources to specific audio output sources. If your system has a surround sound audio chip installed, your Avid editing application might not be able to configure the Windows Mixer properly for audio output.
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.
Preparing to Capture Audio 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 1356.
Preparing to Capture Audio 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 In Direct Mix mode, the Pan Value display and pop-up sliders at the bottom of the Passthrough Mix tool are replaced by Channel Menu buttons. 3. Select the audio channel to be adjusted by doing one of the following: t Click the Channel Selection button for the appropriate audio channel. t In Direct Out mode, click the Channel Menu button, and select a channel from the menu. You can select only channels that exist in the source audio. 4. Adjust the volume as needed.
Preparing to Capture Audio 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 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. Select the interface you want to calibrate: Analog XLR input, Analog RCA input, Analog TRS input, Monitor output, or Analog output. Options vary depending on your Avid input/output hardware.
Preparing to Capture Audio 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. Connect the tone generator to the analog inputs on the back of the Avid Nitris DX or the Avid Mojo DX. 2. Double-click Audio Project in the Settings list of the Project window. 3. Click the Hardware tab. 4. Click Open Calibration window.
Preparing to Capture Audio 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. The Audio tool changes to Calibrate mode. The scales display a range of approximately 8 dB, and the meters indicate levels within this range. 12. Repeat this procedure for each channel.
Preparing to Capture Video 11. Click Play Calibration Tone. 12. Repeat this procedure for each channel. Using the Console Window to Check Audio Levels Once you have played back audio through the Audio tool, you can use the Console window to view a list of precise information about the peak levels. To check peak levels in the Console: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the RP (Reset Peak) button to clear your system’s record of the most recent maximum peaks. 3.
Preparing to Capture 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. If you plan to make adjustments at the source deck, information in this section regarding the internal Waveform and Vectorscope monitors might be useful.
Preparing to Capture Video For information about settings in the Video Input tool, see “Video Input Tool Settings” on page 1442. Using the Factory Preset Buttons in the Video Input Tool The preset buttons in the Video Input tool show the status of each calibration setting as follows: • When you first open the Video Input tool in a new project, all preset buttons are lit (green), with the factory presets loaded for each slider.
Preparing to Capture Video 2. Select Tools > Video Input Tool. The Video Input tool opens. 3. Click the Input menu, and select the appropriate video input channel. Your options for video input depend on the model of your Avid editing application and the project you select. 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).
Preparing to Capture Video Top: full-field color bars (the leftmost bar is 100% white). Bottom: SMPTE standard split bars (the leftmost bar in the top row of bars is 75% white, the second bar in the center row of bars is 7.5 black level, and the second bar in the bottom row of bars is 100% white). 5.
Preparing to Capture Video NTSC (top) and PAL waveform values in the Video Input tool. NTSC values are measured in IRE, with the white level at 100 IRE (digital 235), the black level at 7.5 IRE (digital 16), and the 75% white level at 77 IRE (digital 180, the horizontal dotted line in the display). For NTSC-EIAJ, the black level falls at 0 IRE. PAL values are measured in volts, with the white level at 1 V (digital 235) and the black level at 0.3 V (digital 16).
Preparing to Capture Video 11. Adjust the Sat and Hue sliders (composite or S-Video) or the RY Gain and BY Gain sliders (component) until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. There is no hue adjustment for PAL video. n c You can also monitor hue with a vectorscope in the Color Correction tool. See “Working with the Waveform Monitors and Vectorscope Monitor” in the Help.
Preparing to Capture Video Capturing from Unstable Time-Base Sources Your Avid system is optimized for use with modern, broadcast-quality VTRs that contain time-base correctors (TBCs). If the input is stable, your system captures the video by using a high-quality, very-low-jitter clock reference. However, some sources do not include an internal TBC.
Preparing to Capture Video n Video Input settings do not restore the source format (Composite, Component, S-Video, DV, or SDI). The source format you select in the Video Input tool remains the default for that project until you select another format from within the project. This lets you establish a new format on a project basis when moving between systems, or from the offline to the online phase. The Video Input tool is not available on all models.
Capture Preparations Check List You must use this spelling and initial capitalization. Adjusting Video Levels for Tapes Without Color Bars Color bars are the best way to set the video levels consistently. However, if you have a tape or series of tapes with no color bars, you might need to adjust levels by using the internal Waveform and Vectorscope monitors. n Calibrate your Client monitor before making these adjustments.
Capture Preparations Check List Select options in the Media Creation Settings, Capture Settings, General Settings, and (if appropriate) Film and 24P Settings dialog boxes. See “Selecting Settings for Capture” on page 167. Configure your deck or decks using Deck Configuration and Deck Preferences settings. See “Configuring Decks” on page 179. Insert a tape into the deck, and set up the Capture tool for source tape, source deck, pulldown switch (24p projects), and other requirements.
7 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.
Capturing and Logging at the Same Time 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. If you entered log information in a bin, see “Batch Capturing from Logged Clips” on page 239.
Capturing and Logging at the Same Time You can log and capture at the same time with either a PAL or NTSC film-to-tape transfer as the source. However, when capturing an NTSC transfer, you must observe the following basic rules: • Specify the pulldown frame before capturing. See “Entering Pulldown Information” on page 151. • The mark IN must be an A frame, and you cannot capture with a mark OUT only, unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 149.
Capturing and Logging at the Same Time To name a clip and add a comment before capturing: 1. Click the arrow in the Capture tool to display the Name and Cmnt text boxes. Name and Cmnt (comment) text boxes in the Capture tool 2. Type a name for the clip. 3. (Option) Press the Tab key and type a comment. You can edit the text before capturing. 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.
Capturing and Logging at the Same Time Capturing by Setting Both Marks To capture by specifying a mark IN and a mark OUT: 1. Select the proper Capture settings and set up the capture tools, as described in “Preparing for Capture” on page 159. 2. (Option) Click the arrow in the Capture tool to display the Name and Cmnt text boxes if you plan to enter clip names or comments. You can enter this information before you capture a clip or while you are capturing a clip.
Capturing and Logging at the Same Time 6. If you did not type a clip name while capturing, type it now while the clip name is highlighted in the bin. If you return to the Capture tool and begin another clip, the default clip name remains in the bin until you change it. Capturing by Setting Only One Mark To set only one mark and enter the other mark on-the-fly: t Mark an IN point and click the Record button to begin capturing.
Capturing and Logging at the Same Time c Capturing on-the-fly can cause incorrect pulldown and stuttering playback. Do not use this method for capturing 24-fps film that has been transferred to NTSC video unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 149. In some circumstances, the captured material might exceed the 2-GB media file size limit. In such a case, set up the Capture tool to capture to multiple media files.
Capturing and Logging at the Same Time 4. To begin capturing, play the deck. When it gets up to speed, click the Record button or press the F4 key. n Make sure you clear any previous marks so the deck does not begin cueing to the previous location. Capturing begins within a few frames, and the timecode for the clip’s IN point appears. The Capture indicator, to the right of the Record button, flashes on and off. The message bar displays a message that your Avid editing application is capturing.
Capturing and Logging at the Same Time Before you begin autocapturing entire tapes, you should do the following: • Select the following settings in the Capture Settings dialog box. - Capture to multiple files (Media Files tab) - Maximum default capture time (Media Files tab). Set this to the length of your tape. Do not underestimate, because the system captures for only the specified number of minutes.
Capturing and Logging at the Same Time To autocapture: 1. Create one bin for each tape. This keeps bins to a manageable size and automatically names all clips from each tape after the name of their respective bins. 2. Name each bin after the source tape number. By default, all clips are named after the tape and are numbered incrementally beginning with .01. 3. Open the bin for the first tape and select Bin > Go To Capture Mode. 4.
Capturing and Logging at the Same Time You can select the option Show other projects to display the tape names and associated project names for all bins that were opened in the current session. n Because the media file database does not open when you start your Avid editing application, tape names of all online media files do not appear automatically. If the tape name you are searching for does not appear in the Select Tape dialog box, click the Scan for tapes button to list tape and project names. 5.
Capturing Directly from a DV Device Capturing Directly from a DV Device You can capture DV 25, DV 50, DVCPRO HD, and HDV media directly from a DV camera or deck (a DV device). You can also play and output directly to the DV device. To use a DV device, you must connect it your system correctly, as described in “Connecting a DV Device” on page 184.
Capturing Directly from a DV Device RS-422 Controlling a DV Device Configuration DV capture offset is primarily designed for configurations where an RS-422 controller is used to control a DV device and the DV stream is captured over a FireWire cable. For example, you might be working with an analog deck and a transcoder. You control the deck using RS-422, but the data moves from the deck to the transcoder, and then into your Avid editing application as a DV stream over a FireWire cable.
Frame Chase Capture Capturing DV Material with Offset To offset the sequence for capture: 1. Click the Settings tab in the Project window. 2. Double-click Deck Preferences. The Deck Preferences Settings dialog box opens. 3. Determine the approximate offset, and then enter that offset in the Capture Offset (frames) text box. 4. Click OK. The delay is reflected in the DV Capture Offset box in the Capture tool. 5. Capture your material.
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.
Frame Chase Capture 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.
Batch Capturing from Logged Clips 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.
Batch Capturing from Logged Clips Batch Capturing Clips To batch capture clips: 1. Select the proper Capture settings and set up the capture tools, as described in “Preparing for Capture” on page 159. 2. Open the bin that stores the clips you want to capture. 3. Select the clips to batch capture: n t Select Edit > Select All. t Ctrl+click to select specific clips. If you are batch capturing the original source master clips used in the sequence, the sequence is updated automatically.
Batch Capturing from Logged Clips 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 Select “All clips in a group edit” to allow capturing of each clip in a group clip.
Recapturing and Decomposing n To bypass specific clips in the process of batch capturing a particular tape, you must abort each clip manually by clicking the Trash button. Then click the Skip Clip button in the Abort window to continue. When your Avid editing application has finished batch capturing, a dialog box notifies you that the process is complete. Recapturing and Decomposing Recapturing is the process of recording previously captured source footage based on existing clips and sequences.
Recapturing and Decomposing Recapturing Master Clips and Subclips The procedure for recapturing master clips and subclips is identical to the process for batch capturing logged clips. See “Batch Capturing from Logged Clips” on page 239. Although the procedure is the same, the result is slightly different, as follows: • Master clips link to entire media files and serve as sources for subclips and sequences.
Recapturing and Decomposing Consider creating a duplicate of the original version of your sequence before recapturing. You might also want to create a new bin to store the duplicate sequence and keep the new master clips created by the recapture or decompose operations separate from existing clips. For example, duplicate a sequence that uses low-resolution clips to save storage space if you want to recapture the sequence at a higher resolution while retaining the low-resolution version.
Recapturing and Decomposing If you decompose only some of the clips in a sequence, the resulting sequence contains some clips that remain linked to existing master clips and media (the clips you did not decompose) and other clips that are linked to new offline master clips (the clips you did decompose). Once you recapture media for the new master clips, all the clips in the sequence are available in the formats you have chosen.
Recapturing and Decomposing Existing Format Target Formats Source Rate Change Edit Rate Change 30i NTSC 30i NTSC 720p/29.97 720p/59.94 1080i/59.94 1080p/29.97 No No Yes No No No No Yes No No 24p PAL 24p PAL 1080p/24 No Yes No No 25i or 25p PAL 25i PAL 25p PAL 720p/25 720p/50 1080i/50 1080p/25 No No No Yes No No No No No Yes No No Decomposing Sequences You can decompose sequences to create new master clips that you can then recapture.
Recapturing and Decomposing 3. To preserve clips that already have existing media files, select “Offline media only.” Do not select this option if you plan to decompose and recapture any material in the sequence or sequences that has available media. 4. Select other options for the types of clips to decompose: captured only, imported only, captured and imported, or all clips in a group edit. 5.
Recapturing and Decomposing 7. (Option) If you want to create a copy of each selected sequence to use for the decompose, select Create New Sequence. When the decompose process starts, your Avid editing application creates a duplicate of each of the selected sequences, named using the suffix .Decomposed.xx. For example, the duplicate of a sequence named MySequence is named MySequence.Decomposed.01. Your Avid editing application decomposes the duplicate sequences, and the original sequences remain unchanged.
Recapturing and Decomposing In the Expert Decompose dialog box, you can: • View information about the tapes/sources or clips in the sequences you are decomposing. If you select “Display tapes/sources only” in the Decompose dialog box, a line of information appears for each tape or source used in the sequences you are decomposing, and the information columns display the name of each tape or source, the original video resolution of the clip, the source frame rate, and the edit frame rate.
Recapturing and Decomposing Command Description Reverse Sort Column Sorts the information in reverse order, for example, reverse alphabetically Z to A To select or deselect a single tape/source or clip to decompose: t Click the check box for the tape/source or clip in the Decompose column. 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.
Recapturing and Decomposing To proceed with the decompose process: t Click OK. 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 243 and “Understanding Decompose and Expert Decompose” on page 245. To recapture a sequence: 1.
Alternate Source Capture Your Avid editing application prompts you to load the first tape. 11. Load the tape into the tape deck if you have not already done so. 12. Click Mounted to indicate to the system that the correct tape is loaded and ready for capturing. A dialog box opens. 13. 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.
Alternate Source Capture n For more information and additional steps to batch capture, see “Preparing for Capture” on page 159 and “Batch Capturing Clips” on page 241. 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 Clip > Batch Capture.
Using Capture Function Keys Using Capture Function Keys Several function keys are mapped to specific capture functions when the Capture tool is active. When you are not in Capture mode, these keys operate with their default keyboard shortcut mappings. For more information, see ¨Shortcuts¨ in the Help. The following table lists the default functions. You can change the functions in the Keys tab of the Capture Settings dialog box. Press To F1 Mark the beginning of the subclip while capturing.
Handling Errors During the Capture Process n The Start Capture function is not included in the key menus. F4 always starts capture. You can map an additional function to F4 to use after capture starts; End Marker Entry is the default. 4. Click OK. Handling Errors During the Capture Process You can log errors that occur during the capture process to the Console window. If you are not logging, you can respond to errors if they occur.
Creating Subclips While Capturing - If “Log errors to the console and continue capturing” is selected, when you batch capture and your Avid editing application encounters an error, it aborts the clip, enters error comments into the Console, and continues capturing the next clip. - If “Log errors to the console and continue capturing” is not selected, a message appears and your Avid editing application pauses if an error occurs while capturing. If this happens, use the last procedure below. 4. Click OK.
Creating Subclips While Capturing • If your Avid editing system is an asset manager client in an OMF workgroup, and you are capturing with shared volume segmentation (“chunking”) enabled, see your Avid shared storage documentation for details on the capture procedure. • If your Avid editing system is an asset manager client in an MXF/AAF workgroup, you cannot create subclips while capturing media using the Capture tool.
Adding Markers On-the-Fly While Capturing 3. While your Avid editing application is capturing, you can type a name for the subclip. Press the Tab key to type comments about the clip. Adding Markers On-the-Fly While Capturing You can use function keys to add markers on-the-fly while capturing. When the Capture tool is active, eight colored markers are mapped to the F5–F12 function keys on the keyboard, and the End Marker Entry key is mapped to F4.
Controlling Decks from the Keyboard To create a new tape name by using a keystroke in Capture mode: 1. Select Tools > Capture. The Capture tool opens. 2. Do one of the following: t Load a tape in the deck. t Click the Source Tape Display button. The Select Tape dialog box opens. 3. Press Ctrl+N (Windows) or Command+N (Macintosh). A new tape name text box opens. 4. Type the new tape name. 5. Press Enter (Windows) or Return (Macintosh) to register the tape name. 6.
Ejecting Tapes with a Button or Key The following restrictions apply: • You must select the Capture tool, Digital Cut tool, or Deck Controller window for the keys to be active. • Single-field stepping is not supported. • If you remap the function of the J-K-L keys, you can no longer control decks with those keys.
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.
Using Dolby E 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 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. If the Dolby E Safe button displays yellow, reset the Dolby E Safe settings in the Audio Project Settings dialog box (see “Selecting Dolby E Safe Settings” on page 262). 4.
Live Capturing with External Timecode External timecode is especially useful for live events, dramatic multicamera shows, and video material coming in on routers that do not support timecode through normal RS-422 communication. You can start editing immediately after the shoot without waiting to capture from the backup reference tapes. If you are capturing 24p film, however, you need to account for the pulldown phase, which allows for 24p capture to have the same behavior as a video rate.
Capturing to the Timeline - Auto Detect: Detects LTC input by default. If the LTC input is deactivated, the Capture tool automatically switches to internal timecode. If the LTC input is reactivated, the Capture tool switches back to 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. 7. Capture by using any of the techniques described elsewhere in this chapter.
Capturing to the Timeline 3. Load a sequence into the Record monitor. 4. (Option) Patch tracks you are capturing (source tracks) to the tracks in your sequence (record tracks): a. In the Capture tool, click and hold the Track Selector button for the track (video, data, or audio) you want to patch. There is only one data track to select, you cannot patch a data track to any other track. b. From the menu, select the track to which you want to patch the captured footage.
Capturing Video Without Pulldown into a 24p NTSC Project 10. If you did not mark the OUT point in advance, click the Record button again when the footage reaches the appropriate frame. If you already marked an OUT point, recording stops automatically. When capturing ends, the clip appears in place in the sequence, and a master clip appears in the bin. If your capture includes ancillary data, a data track appears in the Timeline.
Remote Play, Capture, and Punch-In n You must be in Deck Offline mode to use Remote Capture. For information on Deck Offline mode, see “Capturing from a Non-Avid-Controlled Deck” on page 232. To use Remote Play and Capture, you must connect a supported controller (any controller that uses Sony® serial control protocol) to your system by using a special Avid 9-pin VTR emulation cable and a serial adapter.
Remote Play, Capture, and Punch-In To enable Remote Capture: 1. Double-click Communication (Serial) Ports in the Settings list of the Project window. The Communication (Serial) Ports tool opens. 2. Select Remote Play and Capture > port. 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.
Remote Play, Capture, and Punch-In 2. Select Mode > Remote Play. 3. Select Device Code > device. 4. Select Special > Remote Play and Capture when you are ready to use your system for playing. 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.
Remote Play, Capture, and Punch-In 8. Click OK. 9. Select Clip > Remote Play and Capture when you are ready to use your system for capturing. A check mark appears next to the command to indicate that your system is ready. 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 the VTR in Local mode by default when you start your system.
Relinking Clips by Key Number Remote Punch-In does not use preroll or postroll settings, and it does not initiate a loop playback or audition playback prior to recording. Remote Punch-In begins recording audio to the selected channels as soon as you start the record operation. Relinking Clips by Key Number The film-tape-film-tape (FTFT) relinking feature lets you re-create an offline, film-originated sequence as a final finished sequence by using the key numbers of the original film footage.
Relinking Clips by Key Number 6. (Option) Batch capture the clips imported from the new log file. Select 1:1 or another high-quality resolution. For more information, see “Batch Capturing from Logged Clips” on page 239. 7. Select the duplicated sequence and the new clips. 8. Select Clip > Relink. The Relink dialog box opens. 9. Select Relink > Key Number [KN Start] - video only. 10. Select “Relink all non-master clips to selected online items.” 11.
Modifying the Pulldown Phase After Capturing 12. In most cases, select “Relink only to media from the current project.” Deselect this option if you know the new clips were captured with a different project name. Also, if the sequence does not relink to the new clips, try deselecting the option and relinking again. 13. Click OK. The new clips link to the sequence. If you duplicated the offline sequence, the offline sequence is still linked to the original clips.
Modifying the Pulldown Phase After Capturing To determine the correct pullin frame, use one of the following approaches: t If the source footage includes burn-in code with the pulldown phase, go to the start of the clip and look for the pulldown for the first frame. t If you want to maintain the start timecode for each clip, review the original tape field by field, using the procedure described in “Entering Pulldown Information” on page 151. t If you do not need to maintain the start timecode: a.
DV and HDV Scene Extraction To modify the clip information after you determine the pullin frame: 1. In a bin, select the clip you want to modify and press the Delete key. The Delete dialog box opens. 2. Deselect the option “Delete master clip(s)” and select “Delete associated media file(s).” 3. (Windows only) Select the resolutions to delete. 4. Click OK. Your Avid editing application deletes the original media file. 5. Make sure the clip is still selected.
DV and HDV Scene Extraction You should be aware of the following: • You can perform DV Scene Extraction on any existing clip or subclip in a bin that has TOD information breaks. • DVCPRO format does not provide TOD metadata. You cannot use DV or HDV Scene Extraction with DVCPRO format. • DV or HDV Scene Extraction does not work on non-DV or audio-only clips. To set up DV and HDV scene extraction before capturing: 1. Double-click Capture in the Settings list of the Project window.
Using the Panasonic VariCam 6. Select one of the following options: Option Description Add Markers Creates marker 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 marker marks where the TOD information breaks occur while capturing. 7. If you have chosen to create subclips, select the bin where you want these subclips stored. 8.
Using the Panasonic VariCam t When this option is deselected (the default), your Avid editing application observes the flags in the video stream and only captures those frames. This type of capture results in slow or fast motion depending on original recording speed. t When this option is selected, your Avid editing application captures every frame (all 60 frames), essentially ignoring the flagged frames.
8 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.
Preparing to Import 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 1451. • Determine the source for the files. Consider copying all files to a single folder before you import. See “Importing Media Files” on page 285.
Creating and Modifying Import Settings Custom setting name column in the Settings list of the Project window 3. Select the duplicated entry, click the Custom setting name column, type a name, and press Enter (Windows) or Return (Macintosh). 4. Double-click the new Import setting. The Import Settings dialog box opens.
Creating and Modifying Import Settings 5. Select the appropriate options. For more information about Import settings, see “Import Settings” on page 1414. 6. 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 1414. 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. When importing files from third-party applications, you may need to install specific codecs to convert these files into an Avid format. Consider copying all graphics files to a single folder before you import the files.
Importing Media Files 7. Click OK and close the dialog box. 8. Open the bin in which you want to store the imported files. 9. From the main menu, select File > Import. The Select Files to Import dialog box opens.
Importing Media Files 1 2 7 3 4 8 5 6 Select Files to Import dialog box (Macintosh) 1 Enable menu 5 Single/Dual Drive button 2 From menu 6 Video and Audio Drive menus 3 Options button 7 Source file list 4 Resolution menu 8 Disk Label (for XDCAM only) (Does not appear on software only or Symphony option systems) 10.
Importing Media Files Option Description (Continued) Shot Log Use to import Avid Log Exchange (.ale) files containing clip information to a bin. For more information about Avid log specifications, see “Avid Log Specifications” on page 126. Graphic Use to import one of the supported graphics file types. For more information on the file types and their import specifications, see “Specifications for Graphics (Image) Files” on page 1451. Audio Use to import one of the supported audio file types.
Importing with Multichannel Audio 12. Use the Look In menu (Windows) or the From menu (Macintosh) to locate the folder containing the source files. 13. For graphics and video files, click the Video Resolution menu (Windows) or the Resolution menu (Macintosh), and select a resolution for the imported media. The resolution matches the resolution selected on the Import tab of the Media Creation Settings dialog box.
Importing with Multichannel Audio The mappings affect all media clips created when you import your source media. If you want to use different mixes for different master clips or different projects, create a custom Import Settings template for each separate type of mix and then import your clips. For information on creating custom Import settings, see “Creating and Modifying Import Settings” on page 282.
Importing Audio Files from a Music CD 3. Click the format buttons to select one of the following audio track formats for each pair of source channels: Button Track Format Mono Stereo 5.1 Surround Sound 7.1 Surround Sound 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.
Adjusting Gain Before Importing Audio 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.
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 1418).
Setting Sample Rate Conversion Options Before Importing Audio 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 293. To set sample rate conversion options: 1.
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.
Photoshop Graphics Import You can also preserve layer effects and the original structure of the file by importing the file in two stages: Example of Multilayered Photoshop Graphics Import A multilayered Photoshop graphic might consist of a collage of still images over a background image, with a layer of text. Separate layers contain each image and the text. The goal is to edit the collage into a sequence, building it up one image at a time, and then add the text.
Photoshop Graphics Import 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 as necessary to build up to the full collage.
Photoshop Graphics Import For information on support for layer options and types, see the following tables. Layer Option Supported Notes Blending Mode No To preserve the blending mode (Dissolve, Multiply, and so on), merge the layer into another layer that does not use a special blending mode. Only normal mode is supported. Opacity Yes The imported layer’s Level is set to the opacity specified in Photoshop. You can adjust opacity levels with the Foreground Level control in the Effect Editor.
Photoshop Graphics Import To import a multilayered Photoshop file: 1. Prepare the Photoshop graphic for import. For more information, see “Support for Multilayered Photoshop Graphics Import” on page 297. 2. Follow the standard instructions for importing a graphic, as described in “Importing Media Files” on page 285. To create the matte correctly, you need to click the Options button and select Alpha: Invert Existing. 3. After you select one or more files and click Open, a message box opens. 4.
Digital Bars and Tone Digital Bars and Tone If you expect to output your final sequence as a digital cut that requires calibration before playback (a digital cut that will be broadcast, for example), in most cases you might need a clip of color bars. You can add the clip to the front of the sequence, or you can output the clip separately as an assemble or insert edit onto tape during digital cut.
Importing Color Bars and Other Test Patterns - (Macintosh) Click the Show menu, and select Graphic Documents. 5. Use the Look in menu (Windows) or the From menu (Macintosh) to locate the folder containing the test pattern file. Test pattern files are located in the following folder: - (Windows) drive:\Program Files\Avid\Avid editing application \SupportingFiles\Test_Patterns - (Macintosh) Macintosh HD/Applications/Avid editing application/ SupportingFiles/Test_Patterns 6.
Importing Editcam Files A new subclip containing bars and tone appears in the bin. 13. Rename the clip as necessary. Importing Editcam Files You can import clips recorded with Ikegami® disk-based Editcam™ or Editcam-station products. The Editcam is a digital news-gathering (DNG) camera that uses Avid's CamCutter® technology. For more information about Editcam, CamCutter technology, and how these systems operate with nonlinear editors, see the Web site www.nltek.com.
Setting XDCAM Import Options The Outakes.bin contains clips that were discarded by the Editcam operator. These clips are generally not imported. 5. Ignore the field specifying video resolution to import. 6. Ignore the field regarding video and audio drive selection. 7. Proceed with the import operation. A dialog box opens, asking you to identify the drives that contain the media files. 8. Select the FieldPak drive letters (Windows) or volume names (Macintosh) as appropriate.
Importing XDCAM Media 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 1419. Importing XDCAM Media XDCAM and XDCAM HD devices store media as MXF OP1a interleaved files. Your Avid editing application does not use these files directly. Instead, you must first import the media.
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 307. • Manually import all proxy media on all discs currently loaded on your system. See “Importing Proxy Media from an XDCAM Disk” on page 309.
Importing XDCAM EX Media First you need to export the clip from the XDCAM EX device. There are two export options to choose from, one option is to export “MXF for NLEs.” This option creates an OP1a .mxf file, and then import the file into a bin. The other option is to choose to export “Avid AAF.” This option creates an AAF composition file, and concurrently creates an OPAtom MXF media file. In the Avid AAF export options, choose a valid Avid MediaFiles folder.
Automatically Importing Proxy Media from an XDCAM Device 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.
Automatically Importing Proxy Media from an XDCAM Device 2. Click the XDCAM tab. 3. Select Automatically Import Proxies when disk is inserted. 4. Click OK. 5. Open the bin in which you want to store the imported files. If you do not select a bin, or if you have more than one bin open, a dialog box opens and directs you to select from a list of open bins or create a new bin. 6. Insert a disk into your XDCAM device. The Import XDCAM Proxy from drive: dialog box opens. 7.
Importing Proxy Media from an XDCAM Disk 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. 10. (Option) Repeat this procedure for each XDCAM disc that holds media you want to import.
Copying XDCAM Proxy Media to a Local Drive or a Server Copying XDCAM Proxy Media to a Local Drive or a Server You might want to import proxy media when the XDCAM device is not available. For example, if you want an editor to start editing the XDCAM footage while the actual XDCAM disk is at another location, you can transfer the proxy media files to an FTP server. You can then download the files from the server, and an editor can import the proxy media and begin editing.
Importing Essence Marks as Markers in XDCAM Media For more information, see “Importing Media Files” on page 285 and “Using the Drag-and-Drop Method to Import Files” on page 317. n Your Avid editing application imports XDCAM media at the native resolution of the media on the XDCAM disk. The system ignores other resolution settings — for example, in the Select Files to Import dialog box.
Editing XDCAM Proxy Media 2. Click the XDCAM tab. 3. Select Import Essence Marks as markers. 4. Click OK. Editing XDCAM Proxy Media When you import proxy media files, a new master clip is created that you can edit in the timeline just like any other clip. You can mix the clips in the Timeline with any supported resolutions, add effects or titles, or perform any other editing function available in your Avid editing application. XDCAM proxy media is single-frame resolution media.
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.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk 2. Click the XDCAM tab. 3. Select Batch Import High-resolution Video. 4. Click the Handle Length text box and type the number of additional frames you want to import at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. The default is 30 frames. 5. Click OK. 6.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk 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. You can separate video and audio onto different drives. 12. Click Import.
Editing and Finishing High-Resolution XDCAM Media Editing and Finishing High-Resolution XDCAM Media Once you import the high-resolution media, you can playback and edit your sequence with full resolution and in real-time. You can also send the sequence to a broadcast playback server using Avid Interplay Transfer. As you edit your sequence, you can move between the proxy media and the high-resolution media by relinking your clips with the corresponding media files.
Importing Sequences from Pro Tools through Interplay 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.
Reimporting Files 5. Open the folder that contains the files you want to import. 6. Select the file you want to import and drag it to the bin. To select multiple files, Ctrl+click (Windows) or Command+click (Macintosh) the files and drag them to the bin. 7. (XDCAM only) The Import file(s) from XDCAM dialog box opens. Type a name in the Disk Label text box, and then click Import.
Reimporting Files t Select Tools > Media Creation. The Media Creation dialog box opens. 3. Click the Media Type tab. 4. Click the File Format menu, and select the format (MXF or OMF). n If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. 5. Open the bin, and select the imported master clips and sequences you want to reimport. 6. Select Clip > Batch Import. A message box opens. 7.
Batch Import Dialog Box c. Navigate to the location of the source file. If you select more than one clip displayed in red, the system first attempts to find the rest of the clips in the same folder as the first clip and then in folders that maintain the same relationship with the first clip’s folder. Found clips are displayed in black. 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.
Batch Import Dialog Box Batch Import dialog box. Top: Selected Clips area. Center: Import Target area (including, top to bottom, Video Resolution menu , Video Drive menu, and Audio Drive menu). Bottom: Import Options area. 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.
Batch Import Dialog Box Area Control Description Set File Location button Lets you locate sources for files whose sources are not found automatically (displayed in red in the list). Import Target Lets you select a resolution and destination drives. Video Resolution menu Lets you select a video resolution. Video Drive and Audio Let you select a destination drive for the media files. Drive menu Import Options Contains global settings that affect all the files you are importing.
9 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.
Object Icons in Bins Icon Object Type Description Master Clips A clip that references audio and video media files formed from captured footage or imported files Stereo Master Clips A single clip generated from a left and right eye pair of master clips that were created when stereoscopic full frame material was captured or imported.
Bin Views Icon Object Type Description (Continued) AMA linked audio clip Indicates a file based audio clip that links directly into a bin through an AMA plug-in. Effects A clip that references an unrendered effect that you create.
Bin Views Text view in the bin. Top to bottom: bin column headings, Bin View button, Bin View menu 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 If you want to sort clips in a customized order in Text view, you must first rearrange the clips in Script view, and then return to Text view. For information about Script view, see “Duplicating, Copying, and Moving Clips and Sequences” on page 336. Sorting Clips and Sequences You can automatically sort clips and sequences in Text view. 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.
Bin Views t Double-click the column heading. t Select Bin > Sort. The objects in the bin sort by color. Colors sort by hue, saturation, and value. 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 bin tabs. The following table describes the default bin views that are available.
Bin Views Bin tabs (top), Fast Menu button (bottom left), and Bin View menu (bottom right) in the bin Saving a Custom Bin View To save a bin view: 1. Open a bin, click the Text View button. 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.
Bin Views 4. Click OK. Using Frame View In Frame view, each clip is represented by a single frame, with the name of the clip displayed below the frame. The system uses the head frame as the default. You can perform the following functions in Frame view: • Enlarge and reduce the sizes of the frames. You must enlarge or reduce all frames together, and you cannot change the sizes of individual frames. • Rearrange the display of the frames in the bin by moving them.
Bin Views The display size decreases each time you select this option, up to seven times. To rearrange a single frame: 1. Click the frame, and drag it to its new position. 2. Click the background area of the bin to deselect the clips. To rearrange multiple frames: 1. Do one of the following: t Shift+click the frames. t Lasso the frames by clicking the mouse pointer outside the first frame and drag it to surround the frames with a white dotted line. 2.
Bin Views n Use the Home key or End key to change the represented frame. On systems with Symphony options, use the Home key or End key on the keyboard or jog or shuttle with the mouse to change the represented frame. For more information about playing footage, see “Controlling Playback” on page 506. If you have group or multigroup clips in the bin and want to change the displayed frame, use controls in Source/Record mode.
Bin Procedures Script view in the bin. Top to bottom: bin tabs, script text box, Script Bin View button To type text in the script box: 1. Click the text box and begin typing. 2. (Option) If the text you type extends beyond the size of the script box, you can use the Page Up and Page Down keys on the keyboard to scroll through the text. This text does not appear in sequences edited from the clips, only in printouts of the bin in Script view.
Bin Procedures 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. Using Bin Tabs When you create a new bin, the bin opens in a separate window by default. However, you can drag bins to a single window to conserve space within your Avid editing application.
Bin Procedures To view bin tabs that do not display in the tab panel, do one of the following: t Click the Previous Bin button or the Next Bin button to shift the tab view to the left or the right. The bin tab displays adjusts to display the next bin either on the left or the right. t Click the Tab menu, and then select the name of the bin you want to view. The selected bin displays in the bin window.
Bin Procedures n Selecting a single item deselects any other selections. To reverse your selection: t Select Bin > Reverse Selection. The items that you previously selected are deselected, and those items that were previously deselected are selected. Duplicating, Copying, and Moving Clips and Sequences When you duplicate a clip or sequence, your Avid editing application creates a separate clip linked to the same media files.
Bin Procedures n If the destination bin’s display has been set to show reference clips, the referenced object types do not appear until you save the bin. For more information on setting the bin display, see “Setting the Bin Display” on page 366. 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.
Bin Procedures c n • 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. If you load a clip for which a media file has been deleted, a black screen appears with the words “Media Offline.
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 (in case the media file is referenced by other clips in your project). t Select the resolutions you want to delete.
Bin Procedures n When you select a title for deletion, you might see more than one resolution. (Macintosh) To delete clips, subclips, and sequences with their media files from a bin: 1. Select the clips, subclips, or sequences you want to delete. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The Delete dialog box opens which displays information about the selected items. 3. Select the items you want to delete.
Bin Procedures To restore the default bin background color, do the following: t Activate the bin you want to change, and then select Edit > Set Bin Color to Default. 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 also 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 672.
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.
Bin Procedures 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.
Bin Procedures To identify offline items, do one of the following: t Select Bin > Select Offline Items. t Click the Bin Fast Menu button, and then select Select Offline Items. The bin highlights all items that are missing media files. To identify offline items in the Timeline, see “Displaying Clip Colors in the Timeline” on page 672.
Working with Bin Columns Selecting Sources Used by an Object in a Bin The Select Sources command identifies all the sources used by a particular object. For example, if you select a sequence as the object, the Select Sources command identifies every master clip, subclip, tape, and media file that is a source for that sequence. To identify sources for a clip or sequence: 1. Select one or more objects in a bin. 2. Select Bin > Select Sources. All sources for the selected objects in all open bins highlight.
Working with Bin Columns Moving, Aligning, and Deleting Bin Columns You can move, align, and delete columns in a bin. When you align bin columns, the system maintains the same order of columns from left to right but spaces them according to the length of their contents. This is useful to remove spaces which remain after you move or rearrange columns. When you delete a statistical column it is the same as hiding the column; you can restore the column at any time by using the Bin Column Selection option.
Working with Bin Columns Duplicating Bin Columns with Timecode Information You can duplicate existing columns containing timecode information into other compatible columns that you target. When you duplicate a timecode column (Start, TC 24, TC 25, TC 25P, or TC 30), the values for master clips and subclips convert to the appropriate timecode. For more information, see “Displaying Timecodes in a 24p or 25p Project” on page 350. To duplicate a timecode column: 1. Click the column head you want to duplicate.
Working with Bin Columns 5. Type the information, and press Enter (Windows) or Return (Macintosh) to move to the next line. Changing a Custom Bin Column Heading You can change the heading name of custom columns only. You cannot change any of the standard column headings. To change the name of a custom column: 1. Press and hold the Alt key (Windows) or Option key (Macintosh), and click the heading to highlight it. 2. Type the new text for the heading, and press Enter (Windows) or Return (Macintosh).
Working with Bin Columns 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. Use the default preset bin views.
Working with Bin Columns Shortcut Description Enter (Windows, on main Enters any new information you type in the cell and moves the pointer down to the keyboard) or Return cell in the next row. You can continue to press Enter or Return to scroll down the (Macintosh) column until the last cell in the column highlights. The next time you press Enter or Return, the first cell in the column highlights. Shift+Enter (Windows, on Moves the pointer up to the cell in the previous row.
Working with Bin Columns Adding Timecode Columns to a Bin or the Media Tool To add timecode columns to a bin or to the Media tool: 1. Select Bin > Choose Columns. The Bin Column Selection dialog box opens. 2. Ctrl+click (Windows) or Command+click (Macintosh) the timecode columns you want to display. 3. Click OK. The timecode columns appear in the bin or the Media tool. Frame Counting for Timecodes The table shows the frame count for each timecode available for your Avid editing application.
Modifying Clip Information The values for master clips, subclips, and sequences in the Start column convert to the appropriate timecode format and display in the column you selected. Modifying Clip Information You can change or modify the information in certain columns for your master clips, subclips, tapes, and other objects stored in the bin. This is useful if some of the data is incorrect or if you need to conform information for organizational purposes.
Modifying Clip Information You can modify information in bin columns. For example, you can type a new name for a clip or correct the start and end timecodes. For more information, see “Modifying Data in Bins” on page 358 and “Modify Command Options” on page 360. You can modify any data in the bin even while you log, prior to capture. After the footage is captured, however, you can modify information only in selected headings, with restrictions. For more information, see the following table.
Modifying Clip Information Bin Column Heading Description AuxInk End Ending auxiliary ink number for the clip. You cannot modify this number. AuxInk Film Film gauge for the auxiliary ink number. Ctrl+click the cell, and then select the gauge. See “Selecting a Film Gauge” on page 364. Cadence Type of pulldown present on the source NTSC tapes when in a 23.976 or 24p project. Modifiable after capture (Ctrl+click and choose from the menu).
Modifying Clip Information Bin Column Heading Description Field Motion Sets the default source parameter value for the Motion Adapter effect. Film TC Timecode you use on film. For 24p and 25p projects only. Format The format of a clip or sequence which you determine by the project type, such as 30i NTSC or 1080i/59.94. This is useful if you have both SD and HD clips in the same bin. FPS Play rate: the number of frames that display each second. The default is 29.
Modifying Clip Information Bin Column Heading Description KN Start Starting key number for the clip. Modifiable after capture only for 24p, 25p, and matchback projects. If you alter the starting key number, you also alter the KN End to maintain the duration. This causes discrepancies with any auxiliary timecode information that you enter manually. Labroll Labroll containing the clip. Lock Specifies whether the clip is locked from deletion.
Modifying Clip Information Bin Column Heading Production Description Name of the production associated with the clip. Metadata information from a P2 file. Modifiable after capture with no restrictions. Project Project under which the media was originally captured. Pullin Telecine pulldown of the first frame of the clip (pulldown phase). Pullin can have the values A, B, X (matchback only), C, or D. For 24p projects and matchback projects only.
Modifying Clip Information Bin Column Heading Description TC 24 24-fps timecode. Modifiable after capture with no restrictions. TC 25 25-fps timecode, no pulldown. Modifiable after capture with no restrictions. TC 25PD 25-fps timecode with PAL pulldown. Modifiable after capture with no restrictions. TC 30 30-fps timecode with 2:3 pulldown. Modifiable after capture with no restrictions. TC 30NP 30-fps timecode with no pulldown (frames 00 through 29). Modifiable after capture with no restrictions.
Modifying Clip Information You can apply changes with the Modify command to master clips only. You cannot alter subclips and sequences in this way. You can modify the data of captured, imported and file-based clips. In addition, you can perform modifications that only alter the end timecodes or the tracks before capture. c When you modify tape names and timecodes it affects any key numbers entered for the selected clips. To modify the clip data directly in a bin: 1.
Modifying Clip Information 5. Select an option or type information into the text boxes. For more information, see “Modify Command Options” on page 360. 6. Click OK. The modification takes effect. 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.
Modifying Clip Information Type of Modification Options Description Increment Timecode Start or End Changes either the start or end timecode. If you increment the start timecode automatically, it modifies the end timecode by the same amount. You can only alter start timecodes after capture. Timecode text box Lets you enter custom incremental timecode. Start or End Changes either the start or end timecode.
Working with Film Information in Bins Type of Modification Options Description Set Multichannel Audio Mixed, Mono, Stereo Lets you assign multichannel formats to audio tracks. For more information, see “Working with Multichannel Audio Tracks” on page 762. Active Format Description Active Format for 4x3, 16x9, or Use Project Format. Lets you set the Active Format Description (AFD) in the data track.
Working with Film Information in Bins 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 336. 3. Sort, sift, and organize the clips within each scene bin.
Working with Film Information in Bins Selecting a Film Gauge The film gauge consists of the film size and either the number of perfs per frame (for 35mm and 65mm) or the number of frames per foot (for 16mm). You specify the gauge in any of the film-gauge columns (Aux Ink Film, Ink Film, and Master Film). n You cannot modify the KN Film column.
Creating a Storyboard Selecting an Edgecode Type There is one edgecode per foot of film. You enter an edgecode type for a particular place on the film in any of the edgecode-type bin columns (Aux Ink Edge, Ink Edge, Master Edge). Select the appropriate edgecode type for a clip so you can track frames in the Timecode window, above the Source/Record monitor, or in FilmScribe. To select an edgecode type: t Ctrl+click the cell, and select the edgecode type that matches the edgecodes on the film.
Setting the Bin Display Setting the Bin Display By default, your bins display all existing media objects except source clips and rendered effects. To reduce crowding in the bin and to display only those objects that you need to organize your project, you can display selected media objects. n You can also display bins as tabs in a common bin window. For more information, see “Using Bin Tabs” on page 334.
Sifting Clips and Sequences Custom Sift dialog box. Left to right: Criterion menu, Text to Find text box, and Column or Range to Search menu 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.
Sifting Clips and Sequences Understanding Sifting Timecodes or Keycode Ranges You can sift on a timecode (or keycode) number within a specific range. For example, you can sift for all the clips that start before and end after a particular timecode. Example of a bin before a custom sift by timecode If you type a value 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.
Sifting Clips and Sequences Example of a bin after a custom sift by timecode. The detail of the Custom Sift dialog box (top) shows the query used for sifting, and the bin (bottom) shows only those clips that encompass the timecode number entered. Some column pairs explicitly define a range, for example, Start and End or Mark IN and Mark OUT. Other columns define the beginning of a range, and the end of the range is determined by the Duration column.
Sifting Clips and Sequences Keycodes contain letters, numbers, and a dash before the feet and frames; for example, KJ23 6892-0345+13. When you sift on a keycode number, you enter only the numbers after the dash (the actual counter portion). Any information before the dash is ignored. If you do enter characters before the dash, they must match the corresponding characters in the bin column exactly. The table lists all columns associated with explicit ranges and their corresponding menu choices.
Working with Restricted Material Sifting Timecodes or Keycode Ranges To sift for a timecode or keycode number within a specific range: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. 2. Type the timecode (or keycode) number for the range in which you want to sift. 3. Type the timecode number for the range in which you want to sift. 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.
Working with Restricted Material Restriction marker on a clip in the bin When you first open a restricted clip or load a sequence containing restricted clips, a warning message box opens. The warning appears every time you open or display a clip on restricted material in this session, not just on the present clip. The same warning appears when you try to perform a digital cut, send the sequence to playback, or export.
Printing Bins The changes appear in the Restriction window. Printing Bins To print entire bins: 1. Make sure your printer is correctly set up. 2. Select the Text, Script, or Frame bin view of the bin 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.
10 Acquisition of 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. File-based media can be acquired 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).
The Avid Media Access (AMA) Workflow There are two ways of browsing and editing this media: • Manually browse through the media on the third-party device, and link to selected media to create master clips in your bin, or • Move all the media from the third-party device to an Avid dynamic media folder where you have set up an automated process to create the master clips. Typical media management functions (e.g.
The Avid Media Access (AMA) Workflow Avid Media Composer External card reader Set up automated processes to move files to a local or shared folder Background Process 1 Files moved to local or shared folder Dynamic Media folder (native formats) Master clips created 2 4 Request bin update, and the clips point to source files that have been copied to the AMA media folders 3 Avid Media Files folder (MXF OP Atom formats) Media consolidated and/or transcoded New master clips created for transcoded/con
The Avid Media Access (AMA) Workflow 4. When files are ready to be pulled into a bin, you will be notified by a green light to the right of the audio meters in the timeline. Through the Dynamic Media Folders dialog, you can request a bin update which will pull the clips into a bin. Any AMA-linked clips already on the timeline will automatically point to the new location of the media in the designated AMA media folder(s).
Viewing Installed AMA Plug-ins • 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. • Avid does not support MultiCamera editing with AMA clips. • You should not mix workflows. Either use the AMA method or use the traditional import/batch import method. Viewing Installed AMA Plug-ins Once you download and install a third-party plug-in from avid.
Selecting the AMA Settings 3. Click the Volume Mounting tab. 4. If you want the system to automatically scan drives (volumes) every time, select the option “When mounting previously mounted volumes, do not check for modifications to the volume.” This option is off by default. 5.
Copying File-Based Media to a FireWire or Network Drive The Set Multichannel Audio dialog box opens. For information on setting multichannel audio options, see “Using XDCAM Multiple Resolution Clips with AMA” on page 400. 8. Click OK. Copying File-Based Media to a FireWire or Network Drive After you insert cards or a disk into your third-party device, you can copy the media to a FireWire drive or a network drive and then eject the card or disk.
Creating Dynamic Media Folders To drag and drop files directly into a bin: 1. Navigate to the folder that contains the file based media. 2. Select the files you want to drag to the bin. 3. Alt + drag (Windows) or Option + drag (Macintosh) the files to the bin. The files appear in the bin as AMA linked files. These are also managed files and appear in the Media Tool.
Creating Dynamic Media Folders 2. Create a new folder by clicking the + icon in the Dynamic Media Folders window. The Select Folder window opens. 3. Browse to the folder you want to designate as a Dynamic Media Folder. 4. Click Select Folder. 5. Click the Profile Editor button to create a profile that you want associated with the DMF folder. The Profile Editor opens. 6. Click the Menu bars to open the default profile summary and default AMA Settings and Actions.
Creating Dynamic Media Folders 7. Select AMA Settings options as described in the following table. Setting Option Description AMA Plugin Link Using Select which Plug-in you want the editing application to use when performing AMA links for the files added to the selected DMF folder. If you are linking to Volumes, Avid recommends you select the Autodetect AMA Plug-in.
Creating Dynamic Media Folders Setting Link Option Description Create a new bin When this option is selected, your Avid editing application creates a new bin to store clips linked using AMA and controls the bin name. This is the default option. Multichannel Audio • Default bin naming convention: uses the project name for the bin (bin name followed by a consecutive number). • Volume name: the name or label of the volume (for example D:). • Specify bin name: lets you enter a new bin name.
Creating Dynamic Media Folders 9. Click the Menu button on a row to access the desired copying, consolidating and/or transcoding actions you want to be performed on the files. Choose from the following options: Action Option Description Copy to Folder Copy to: Click the Set button to choose the location where you want the files copied to. Auto Relink when complete Files are automatically relinked when the copy is completed. Checkin to Interplay Checks in assets to Interplay.
Creating Dynamic Media Folders Action Transcode Option Description Convert Audio Format Select either OMF (WAVE), OMF(AIFF-C), or MXF (PCM) audio format. Video Drive Audio Drive Select the applicable drives. Transcode Video Resolution Select the applicable Project type, Color Space, Raster and Codec you want to transcode to. Apply Reformatting option (compatibility mode) Transcodes the media and applies any framing and reformatting options that have been set on the master clips.
Creating Dynamic Media Folders Action Option Description Video Drive Audio Drive Select the applicable drives. 10. You can also reorder the actions by priority by dragging one above or below the other. 11. Click Save to save the Profile. 12. Name the Profile and click OK. 13. Select Enable in the Dynamic Media Folders window to make sure that any files added to the Dynamic Media folder will have the actions set by the associated Profile.
Linking Media with AMA Linking Media with AMA The editing application will automatically link clips on a volume when you connect to your third-party device. You can also use the File > AMA Link option to manually link to a volume or file. AMA media is managed. AMA managed media means that the AMA media is tracked. The AMA media is associated with .pmr and .mdb files. Therefore the AMA media will appear in the Media Tool and can be checked into Interplay.
Linking Media with AMA 2. Navigate to the folder that contains your file-based media. For P2, navigate one level above the Contents folder. For XDCAM disks, navigate to one level above the Clip folder. For XDCAM EX, navigate to one level above the BPAV folder. For RED, navigate to the root directory of the RED card. For GFCAM, navigate to the root directory of the GFPAK. For QuickTime, navigate to the QuickTime folder that holds the QuickTime files.
Linking Media with AMA 3. Select Bin Selection options. Option Description Single Bin Based On Selected Folder Places all linked clips into one default bin. 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.
Relinking to AMA-Linked QuickTime Files 5. Click Open. The clips appear in the active bin with the default multichannel audio track formats (based on the AMA settings). A link icon appears next to the clips. 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. If you move the clip from the original drive to another drive on your system, the clip displays as offline in your bin.
Spanned Clips The clips appear linked in the bin. If all the clips you wanted to relink to do not reside in the selected folder, you will receive a dialog indicating how many files were not relinked. Open the Console window to see the name of the file or files that were not relinked. n If the new file is not compatible with the clip in the bin (it does not have the same duration, edit rate or number of tracks), the clip in the bin retains its original link.
AMA Linking with Ancillary Data When you work with spanned clips, consider the following: • If you remove a card that contains a spanned clip, for example Card 2 in the above example, and you try to play Clip 1, it plays until it reaches the portion of the clip that resides on Card 2. Media Offline appears until you reach the media on Card 3.
AMA Linking with Multichannel Audio Each stereo track requires two channels, but you can mix mono and stereo input channels for your linking operation as long as you do not exceed the maximum of 16 audio channels for each master clip. To specify the multichannel audio mix for linked AMA clips: 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 1351. 3. Click the Link Options tab.
AMA Linking with Multichannel Audio 5. 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. 6.
The AMA Plug-in Log File c. n Press Enter (Windows) or Return (Macintosh). The custom name column is the center column in the Project window. When you move the pointer over the custom name column, the pointer changes from a pointing finger to a text insertion bar. You can select this new setting whenever you link clips with 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.
Virtual Volumes and AMA Bins 2. Select the virtual volume you want to remove. 3. Click OK. The system removes the virtual volume from your system and clips linked to this virtual volume appear offline. When you restart your Avid editing application, the system scans the system for virtual volumes and the clips appear online. 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.
Using AMA Plug-Ins 3. Select the files you want to delete and press the Delete key. To delete files on a local drive in your Avid editing application: 1. In a bin, select the clips you want to delete. 2. (Option) Right-click and select Unlock Bin Selection. 3. Press the Delete key. The Delete dialog box opens. 4. Select Delete master clips and Delete associated media files. 5. Click OK. You can also choose to AMA Link if you want to open the assets as Read-only in a classic bin.
Using AMA Plug-Ins You should be aware of the following: • Playback performance from an optical disk is very slow. To create a sequence with multiple effects or layered tracks, Avid suggests that you consolidate the media to a local drive, instead of working directly from the optical disk. • Avid has turned off redrawing of waveforms in the Timeline when you link to XDCAM clips that reside on a disk. This allows for a faster linking process. When the media is consolidated, the waveforms redraw.
Using AMA Plug-Ins n For information on consolidating your sequence, see “Consolidating Media” on page 449. For information on transcoding your sequence, see “Using the Transcode Command” on page 455. 7. Remove the XDCAM disk or XDCAM EX card: t (Windows) Select Safely Remove Hardware icon in the taskbar and select Safely Remove XDCAM EX device name. t (Macintosh) Click the device icon on your desktop and drag it to the Trash.
Using AMA Plug-Ins 5. Double-click AMA. The AMA Settings dialog box appears. 6. Click the Quality tab. 7. Click the appropriate resolution for your video and audio in the AMA Link Preference section, and click OK. 8. Insert the XDCAM disk in the XDCAM device. 9. Select Bin Selection options from the Bins tab. For information on bin selection options, see “Linking Media with AMA” on page 388. 10. Select File > Link to AMA Volume. The Browse for Folder dialog box opens. 11.
Using AMA Plug-Ins 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.
Using AMA Plug-Ins 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 449. To consolidate high-resolution media: 1. In the Project window, click the Settings tab. 2. Double-click AMA. The AMA Settings dialog box appears. For information about the AMA Settings, see “AMA Settings” on page 1351. 3. Click the Quality tab. 4.
Using AMA Plug-Ins Using the P2 AMA Plug-In 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. Panasonic P2 video and audio media is recorded in MXF format.
Using AMA Plug-Ins Panasonic P2 devices write individual MXF audio and video media files for each track of each clip. For example, a P2 clip that includes one track of video and four tracks of audio is stored on the P2 card as five individual media files. Within your Avid editing application the five media files are represented as a single clip with audio and video. The following steps describe a typical workflow for editing P2 clips with AMA. n Do not mix AMA and traditional workflows.
Using AMA Plug-Ins If you work in an Avid shared storage environment, you can share sequences that contain P2 clips in an Avid shared storage workspace. However, you can share P2 clips only if you transcode or consolidate them to a workspace. • In an MXF workgroup, you can either consolidate or transcode P2 clips to a workspace. If you transcode, you must transcode P2 MXF files to another MXF resolution. • In an OMF workgroup, you must transcode P2 clips to a workspace.
Using AMA Plug-Ins The following steps describe a typical workflow for editing AVCHD clips with AMA. A typical workflow is as follows: 1. Install the AVCHD AMA plug-in on your system. 2. To link to an entire volume, attach the camera and insert a card, disc or drive. The system links the AVCHD clips automatically into a bin. n n It is highly recommended for performance reasons, that you copy the entire media volume to an external HD drive if you plan on copying media from a card.
Using AMA Plug-Ins Using the Canon XF AMA Plug-In The Canon XF305 and Canon XF300 camera records MPEG-2 media onto compact flash cards. Through the Canon XF AMA plug-in and the MXF AMA plug-in, you can link to Canon MPEG-2 media through the AMA method. Canon XF video and audio media files record in MXF format. You can edit directly from a flash card, without having to capture. You can link to a Canon XF flash card and reader attached to your system or copy a Canon XF flash card to the root of a drive.
Using AMA Plug-Ins Spanned clips are clips that extend from one card to another. Avid supports working with spanned Canon XF clips in your Avid editing application. For more information about spanned clips, see “Spanned Clips” on page 392. Using the GFCAM AMA Plug-In The Ikegami GFCAM HDS-V10 is a tapeless camera/recorder that uses flash memory instead of video tapes as a recording medium. GFCAM devices record MPEG-2 Long GOPmedia onto a GFPAK™, a removable high-speed storage medium.
Using AMA Plug-Ins A typical workflow is as follows: 1. Make sure the GFCAM AMA plug-in is installed on your system. 2. Insert the GFPAK. Your Avid editing system links the GFCAM clips automatically into a bin. The media itself remains on the disk. The clips point directly to the high-resolution media on the disk. n If you use multiple GFPAKs and you remove one of the GFPAKs, your media displays offline. 3. Use the master clips to edit the sequence. 4.
Using AMA Plug-Ins Using the RED AMA Plug-In The RED ONE camera generates a 4K (or 2K - 4.5K) full resolution REDCODE™ RAW (.R3D) file. Media is stored on a REDFlash card or a RED drive. You can link to a specific R3D file on the volume or link to the entire volume. RED ONE cameras record metadata which displays in an Avid bin. The metadata includes: edge code, timecode, lens parameters, audio settings and any video image processing information.
Using AMA Plug-Ins A typical workflow is as follows: 1. Make sure the RED AMA plug-in is installed on your system. 2. Attach the RED drive or insert a REDFlash card. Your Avid editing system links the RED clips automatically into a bin. The media itself remains on the disk. The clips point directly to the high-resolution media on the disk. All metadata information displays as columns in the bin. n If you use multiple cards and you remove one of the cards, your media displays offline. 3.
Using AMA Plug-Ins To prepare your RED clip for transcoding, mixdown or rendering: 1. Before you transcode, mixdown or render, select Tools > Media Creation. 2. Click the Mixdown & Transcode tab or click the Render tab. 3. Select the playback quality from the R3D Source Quality (Debayer) menu. t Full t Half (Best Quality) t Half (Good Quality) t Quarter t Eighth t Sixteenth 4. Click OK. 5. Transcode, mixdown or render your clip or sequence as required.
Using AMA Plug-Ins To change the RED source settings: 1. Link the RED clip through the AMA Link option. See “The Avid Media Access (AMA) Workflow” on page 374 and “Linking Media with AMA” on page 388 for information on linking. 2. Right-click the RED clip in the bin and select Set Source Settings. The Source Settings dialog box opens. The clip displays in the video area.
Using AMA Plug-Ins 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 428 4. Set the appropriate options, you can select from a menu, drag the sliders, enter values or click the eyedropper: Option Description Color Space Choose from: Camera RGB: as close to RAW REC.
Using AMA Plug-Ins Option Description Tint Adjusts the RGB color to compensate for yellow - green tinting of the scene at different color temperatures of the ambient light while you shoot. This is valuable when the ambient light source contains a significant amount of yellow or green, such as fluorescent. Click and drag the slider from -100 to 100. Default is 0.00. ISO Allows the ISO level to change from 50 to 2000. Default is 320. FLUT™ The latest color science developed by RED.
Using AMA Plug-Ins Option Description Saturation Affects the intensity of the red, green and blue channels. As the value increases color saturation increases. As the value decreases, so does the color decrease. If the value is set to high, colors might clip. If the level is set to 0.00, a monochromatic image with only gray tones appear. Click and drag the slider from 0.00 to 4.00. Default is 1.
Using AMA Plug-Ins Using RED 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.
Using AMA Plug-Ins Setting Origin 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. The settings apply to the clip and if the clip is loaded in the Timeline, the video updates and displays in a Client monitor (if one is attached) and the Source monitor. 4. Click OK to save your settings and close the window. The system updates the bin column RED metadata with the parameters.
Using AMA Plug-Ins Same as Source and Custom export settings options when you export with the Avid QuickTime codecs. This process creates an Avid compressed QuickTime media file, with a .mov extension. AMA only detects and links to Avid compressed QuickTime media. n For information about exporting a QuickTime movie, see “Exporting QuickTime Movies” on page 1024. QuickTime files use the .mov file name extension. After you link a QuickTime file through AMA, the file drops the .mov file name extension.
Using AMA Plug-Ins If any of the movies you linked to were QuickTime with Alpha channel files, they appear in your bin as a Matte Key effect. The Alpha Channel options in the Import Settings Image tab apply to the QuickTime AMA linked file. Therefore, the QuickTime file will appear in the bin as a master clip if the Ignore option is set or will appear inverted or not inverted depending on the selected options. 8. Use the linked clips to edit your sequence. 9.
Using AMA Plug-Ins Adjusting QuickTime Source Settings You can change the dynamic range of a linked AMA QuickTime movie from 601/709 video range (16-235) to RGB range (0-255) or from RGB range (0-255) to 601/709 video range (16-235). This setting is only supported with QuickTime movies that were created with a non-Avid codec, including ProRes, H.264 and Animation. When a QuickTime clip displays in the bin, the system displays the metadata columns of the clip’s color values.
Using AMA Plug-Ins 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 QuickTime Source Settings Histogram” on page 424 4. Set the appropriate options: Option Description Settings Default Custom: User created in Avid. Field Ordering Default Progressive: The image is interpreted as a progressive image.
Using AMA Plug-Ins n If you make changes in the Source Settings window and then relink the clip through AMA again, you still keep all the parameters that you set. Applying a QuickTime Source Setting Source Settings lets you choose from a Custom of Default setting. Each source setting has its own color values associated with it. To apply a source setting to a QuickTime clip: 1. Right-click a QuickTime clip in the bin (or Shift-click multiple clips), then choose Set Source Settings.
Using AMA Plug-Ins 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. The vertical lines represent the black point (left) and the white point (right), so the area between them is the safe color range. The histogram plots color values that can be represented by the image bit-depth on the horizontal axis. Therefore, the width of the histogram is the same as the width of the image.
Using AMA Plug-Ins You can select the MXF format when you capture, link, create titles, or render effects. See “Media Creation Settings” on page 1424. The MXF AMA plug-in is automatically installed when you install your editing application. A typical workflow is as follows: 1. Create a supported MXF file (create a supported MXF file from your third party application, for example: Rhozet or Omneon). 2. Move the .mxf file onto your Avid editing system. 3. Select File > AMA Link.
Using AMA Plug-Ins n Do not mix AMA and traditional workflows. Either use AMA or use the traditional import/batch import workflow. You should be aware of the following: • You can link to the ancillary data clip without an Avid input/output hardware, however, in order to view the ancillary data in a monitor, an Avid Nitris DX or Avid Mojo DX device is required.
Understanding the Source Settings Histogram 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. When you consolidate the XDCAM or MXF clip or the sequence that contains the XDCAM or MXF clip with ancillary data, the ancillary data track stays with the consolidated clip or sequence.
Adjusting the Source Settings Histogram n Pixels with color values that are out of range are grouped into either the maximum or minimum color values on the plot. Spikes in either the highest or lowest color values might indicate loss of color information due to clipping. Your Avid editing application draws separate histograms for the red, green, and blue color components. The histograms for each color stack on top of one another, with the fill color changing appropriately to indicate overlap.
Working with Export Volumes Option Result Zoom In Zooms in on the lower half of the vertical axis. Changes the scaling of the vertical axis so that the height is half that of the maximum value in the plot. You can zoom in indefinitely to display, for example, 1/4, 1/8, or 1/16 of the maximum value. Zoom Out Zooms out of the vertical axis by a factor of two. Changes the scaling of the vertical axis to be twice that of the maximum value in the plot.
Working with Export Volumes The bundle folder structure is shown below. This is for reference only. These elements will be automatically created for you when you commit an Export Volume Bin. • The Asset.mxf file is the sequence (version). • The Manifest.xml file lists the creator information, creation date, version information and a list of all the files and folders in the bundle. • The Shim.xml file is used as a template or settings file that constrains the rules for a specific facility.
Working with Export Volumes 2. Select a Volume Type, for example AS-02. 3. Click Set to select the path where you want the Export Volume to reside. 4. Enter a name for the volume. 5. Click Set to select the path to the shim template you want to use. - AS-02 supports J2K, Uncompressed 10b RGB, DNxHD, AVCI, IMX and Uncompressed 8b for SD. - All DNxHD templates are tuned to the DNxHD 220x family. That means depending on the project type, selecting a DNxHD template will export to a DNxHD 10b codec.
Working with Export Volumes Left to right: Export Volume Type, Path to Asset folder, Properties button, Commit button Moving Assets to an Export Volume You can move the desired assets to the Export Volume. To move assets to the Export Volume: 1. Open the bin that contains the sequence or sequences you want to write to the Export Volume. 2. Select and drag the sequence(s) to the Export Volume. A copy of the sequence(s) appears in the Export Volume.
Working with Export Volumes n You can only drag sequences to an AS-02 Export Volume Bin. If you try to drag master clips, effects, titles, etc, you will receive a message indicating that some assets that you selected could not be dragged to the Volume Bin. If you receive this message, open the Console Tool to see the list of items that were not written.
Working with Export Volumes Once the assets are committed, the following are written to the bundle folder: - The sequence (version) - The essence files - The manifest (a file listing the creation date, creator, version information and a list of all the files and folders in the bundle.
AS-11 Support To link to an existing AS-02 Volume: 1. Select File > Link to Volume for Export. 2. Select the folder where the AS-02 bundle resides. 3. Click OK. 4. A new volume bin opens with the AS-02 assets. You can also choose to Link to AMA Volume if you want to open the assets as Read-only in a classic bin. AS-11 Support The Avid editing application supports the Advanced Media Workflow Association (AMWA) AS-11 specification. This specification is used in broadcast environments.
AS-11 Support 3. Select File Type AS-11. 4. (Option) Select the Use Marks or Use Enabled Tracks option. t When you select Use Marks, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option or mark the entire clip or sequence. t When you select Use Enabled Tracks, your Avid editing application exports the tracks that are enabled in the Timeline.
AS-11 Support - (Windows) Program Files/Avid/EditingApplicationName/SupportingFiles - (Macintosh) MacintoshHD/Applications/EditingApplicationName/SupportingFiles The Descriptive Metadata populates in the window depending upon the shim you selected. 8. Enter the specific program information in the Descriptive Metatdata fields. This is the descriptive data stored in the AS-11 export that describes Essence data. For example, the language, series title, program title, episode title, etc. 9.
11 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.
Working with Media Files in an Avid Interplay Environment 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 ISIS System” on page 1156.
Viewing Media with a 100Base-T Connection to Avid ISIS Viewing Media with a 100Base-T Connection to Avid ISIS Avid editors can access MPEG-2 low-resolution video and MPEG-1 Layer II (or MP2) compressed audio stored on an Avid ISIS media network. This is useful if you connect to the media network with a 100Base-T connection in a Zone 3 configuration, instead of the higher bandwidth connection used for Avid ISIS clients in a Zone 1 or Zone 2 configuration.
Mounting and Unmounting Drives n c On systems with multiple media drives, unmounting unused drives can improve the performance of the Media tool. You need to unmount the drives before you open the Media tool. See “Using the Media Tool” on page 443. If you need to physically add or remove drives, see the documentation that came with your drive. You cannot physically add or remove drives from your Avid editing application. Before you physically remove or add drives, shut down your system completely.
Using the Media Tool The Media tool displays media that is stored on local drives (drives directly connected to the Avid editing system) and on unmanaged shared storage (shared storage that is part of an Avid shared storage network but is not managed by an Avid asset manager). In an Interplay environment, the Media tool displays only media that is stored on local drives, see “Using the Media Tool in an Avid Interplay Environment” on page 445.
Using the Media Tool n Media Tool views are saved as User settings and appear in the Settings list in the Project window as bin views. • You can print Media Tool data by using the same procedures for printing bins, as described in “Printing Bins” on page 373. The Media tool also has a number of unique functions: • Unlike a bin, the Media tool can display all the tracks captured for each clip as separate media files.
Using the Media Tool 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. Select the projects to load by doing one of the following: t In the Projects list, select individual projects. t Click the Current Project button.
Using the Media Tool Example of media objects in the Media tool. Top to bottom: a master clip, a precompute clip, and a media file. 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.
Using the Media Tool t Press the Delete key. The Delete Media dialog box opens. 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.
Consolidating Media Consolidating Media When you consolidate media files, your Avid editing application finds the media files or portions of media files associated with selected clips, subclips, or sequences. It then makes copies of them, and saves the copies on a target drive that you specify. There are three basic reasons to use the Consolidate feature: n • To copy media onto one drive for storage or transfer to another system.
Consolidating Media Subclips When you consolidate a subclip or group of subclips, your Avid editing application copies only the portion of the media files represented in the subclip and creates a new master clip that is the duration of the subclip and a new subclip. The file name extension .new is attached, along with incremental numbering beginning with .01. Consolidating a subclip. Left: the original master clip, the subclip created from it, and its original media file. (on, for example, drive A).
Using the Consolidate Command Consolidating a sequence. Left: the original clips and their media files — consolidating breaks the links between the sequence and these clips. Right: the new clips and their copied media files — the sequence now links to these new clips. Using the Consolidate Command To consolidate master clips, subclips, or sequences: 1. If you are consolidating a sequence, duplicate the sequence to maintain links to the original files, if necessary, and render any unrendered effects. 2.
Using the Consolidate Command 4. Select Consolidate in the upper left corner. 5. In the Target Drive(s) area, select a drive or drives. 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.
Using the Consolidate Command Option Description (Continued) 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). The handle length is the number of frames outside the IN and OUT points that you can use for dissolves and trims with the new, shorter master clips.
Using the Consolidate Command Option Description (Continued) Target Audio Format Select either OMF (WAVE), OMF(AIFF-C), or MXF (PCM) audio format. See “Audio Projects Settings: Main Tab” on page 1354. 7. Click Consolidate in the lower right corner. The Copying Media Files dialog box opens. 8. Select an option for how you want your clips to link to the new media.
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.
Using the Transcode Command 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 1251.
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.
Consolidate or Transcode AMA Clips Only 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.
Background Consolidate and Transcode Background Consolidate and Transcode Background consolidate and transcode functionality provides you with the ability to consolidate and transcode clips of any supported resolution or AMA format as a background operation, allowing you to continue working on your editing project while the transcode progresses. Once you start a consolidate or transcode operation, selected master clips, subclips, and sequences appear in your bin as offline media.
Background Consolidate and Transcode While the operation progresses, the consolidated or transcoded clips appear in your bin as offline media. When the operation completes, a new clip or sequence appears in the bin with the file name extension .new that is linked to the new media file. You can view the online media by one of the following methods, depending on your system configuration: • If you work in a standalone configuration, refresh the media database.
Background Consolidate and Transcode Element Description 3 Cancel/Resume button Changes from a Cancel button (for transcode operations) to a Resume button (for suspended transcodes). 4 Progress bar Displays the percentage of the transcode and transcode processes that have completed. 5 Priority menu Sets or modifies the priority level assigned to a transcoded clip or sequence. Options are High Priority, Normal Priority (default), Low Priority.
Background Consolidate and Transcode 2. Select Transcode, and then select Run in background, and then click Transcode. 3. Select Tools > Background Queue Window. The Background Queue Window opens and displays all current jobs.
Loading the Media Database 4. (Option) If you consolidate or transcode multiple clips and want to change the priority of one or more clips — for example, to transcode the most important clips first — click the Priority menu and select one of the following: n t High Priority t Normal Priority t Low Priority You can change the priority of your consolidate or transcode jobs at any time during the operation.
Refreshing Media Directories n The information in this topic applies only to media on local drives or on unmanaged shared storage drives. The information does not apply to shared storage managed by Avid Interplay. For more information, see the Interplay documentation. 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.
Deleting Unreferenced Clips and Media 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 443. 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.
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.
Relinking Media Files When you select subclips or sequences and select the Relink command, the system searches for master clips that contain the same material included in the selection. If you relink online media, the system searches for media clips that best match the options selected in the Relink dialog box. You can relink master clips to appropriate media files or to source tapes with compatible rates, and you can relink based on resolution.
Relinking Media Files 469
Relinking Media Files 3. Select options.
Relinking 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 high-resolution, 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. Tracks to Relink Allows you to include or exclude video, audio and/or data tracks when performing a relink operation.
Relinking Media Files 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. You can check for offline media in the Timeline by displaying offline clips in a distinct color.
Relinking Media Files name. The tape name is treated like a file name when it is compared to the source file name. For example, a clip with the tape name File1.jpg can be relinked to a clip with the source file name File1.png. Make sure that the tape name and the source filename matches exactly, minus the file extension and the version separator, before you relink.
Unlinking Media Files 3. Select “Relink offline master clips to online media files” to relink master clips to media files that share similar database information. 4. Click the “Relink to media on volume” menu, and select a specific drive volume that contains the original media files. 5. (Option) Select “Relink only to media from the current project.” 6. (Option) Select “Match case when comparing tape names.” 7. Click OK. The clips are relinked to the original media files.
Archiving and Restoring Media Files to Videotape n To enable the Right-mouse button functionality on a multi-button mouse, see your Macintosh documentation. 3. (Option) If you have similar material from different sources, you can duplicate a set of clips, unlink the duplicates, and then modify the sources of the duplicates before capturing the new source material.
Archiving and Restoring Media Files to Videotape Each archived master clip is stamped with the archive tape name and archive timecodes during the restore process. The original source information on the master clips remains unchanged. Archiving Media Files Before archiving your media files to videotape, you must stripe the record tapes (record black and timecode for approximately 15 seconds after the bars and tone on the tape).
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.
Archiving and Restoring Media Files to Videotape 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 Restoring an Archive from Videotape Restoring an archive from videotape is similar to performing a batch capture. The archiving process creates new master clips for sequences. During the restore process, each archived master clip is stamped with the archive tape name and archive timecodes. The original source information on the master clips remains unchanged.
Sequence and Clip Information Summary Your Avid editing application recaptures the archived sequences and clips, and relinks the selected clips and sequences to the new master clips. 11. Batch import any graphics and render all non-real-time effects. For information about batch import, see “Reimporting Files” on page 318. Sequence and Clip Information Summary You can generate a report to display information about the contents of a sequence.
Sequence and Clip Information Summary n If a plug-in is not loaded on your system when you generate the summary, if you select the option "Show Missing Effects Only" from the Sequence Report dialog box, the information displays "unavailable effect," in addition to the plug-in name, the plug-in ID (is this gone?), and other information associated with the effect. (Is the vendor and version number displayed). This is helpful when identifying the effect.
Sequence and Clip Information Summary 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 484. 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.
Sequence and Clip Information Summary Summary Option Suboption Create Clip Summary or Create Source Summary Description Depending on the criteria you selected, a Clip Summary displays the number of clips found, type of clip, track, offline information, clip name, and clip Mob ID. A Source Summary displays the number of tape-based sources found, project name, tape name, tape ID, and tape Mob ID. It also displays a list of import paths for any imported clips, such as graphics.
12 Viewing and Marking Footage Before you begin editing, you can review your footage, add markers 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.
Viewing Methods 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 330 and “Using Script View” on page 332.
Customizing the Composer Window and Monitors Customizing the Composer Window and Monitors The Composer window is central to the editing process, providing all the essential controls for viewing, tracking, marking, and editing source and record footage. The Composer window includes the Source and Record monitors. All monitors in your Avid editing application use a display aspect ratio that matches the aspect ratio for the project. For HD projects, this is always 16:9.
Customizing the Composer Window and Monitors Resizing the Composer Window and Monitors You can resize the monitors that display your footage in a variety of ways. You can: • n Resize any monitor to provide more area for displaying the Timeline or other windows If you are working with a multi-track Timeline, you might want to change the screen resolution to display more information on the screen. See your Windows or Macintosh documentation.
Customizing the Composer Window and Monitors To toggle between the single Record monitor and the Source/Record monitors: t Press and hold the Alt key (Windows) or Option key (Macintosh) and then click the Source/Record Mode button. 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. To hide the controls in a monitor: 1.
Customizing the Composer Window and Monitors Tracking information is updated continuously to reflect your current position in the footage. You can select which information you want to track from the Tracking Information menu (see “Tracking Format Options” on page 492). Tracking information in the Composer window. Left to right: First row of information (bottom) and second row of information (top). center duration display, and Tracking Information menu.
Customizing the Composer Window and Monitors 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 the Composer Window and Monitors Pane Description (Continued) Pane 1 example when you select Sequence > Timecode > 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.
Customizing the Composer Window and Monitors Pane Description (Continued) Example of Pane 2 in the Tracking Information menu Pane 3 Displays the timecode for the source track of a specific track (V1, A1, A2, and so on). The information is continuously updated based on the location of the position indicator. Tracking Format Options The following table describes the tracking format options. Option Description Master Displays master timecode at present location.
Using the Info Window Option Description (Continued) TC1, 24, 25, 25PD, 30D, 30ND For 24p and 25p projects only. TC1: base timecode for the project; 24: 24p project; 25: 25p project; 25PD: 25p with pulldown: 30D: 30 drop frame; 30ND: 30 non-drop frame Clip Name Displays the name of the clip. Timecode Displays tracking information as timecode (24p and 25p projects include a submenu with the various timecodes). Footage For 24p and 25p projects only. Displays tracking information as feet and frames.
Using the Timecode Window To display information from a bin: 1. Select a clip or sequence in a bin. You can use any bin view, and you can Ctrl+click to select multiple media objects. 2. Do one of the following: t Press Ctrl+I (Windows) or Command+I (Macintosh). t Right-click the clip or sequence and select Get Info. The Info window opens. Only fields with data are displayed. If you select more than 8 media objects, a dialog box asks if you want to open information windows for all selected items.
Playing Video to the Client Monitor 2. Click anywhere in the Timecode window, and select an option. Example of a Timecode menu 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.
Activating and Deactivating the Client Monitor Display n If you do not have a Client monitor connected, you can still view the video through the camera eyepiece or through a monitor attached to a deck when outputting to an external camera or deck. For details on playing video to a DV device, see “Playing Back to a DV Device” on page 514.
Selecting the Video Display Settings 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. (If the Toggle Client Monitor button has a gray monitor icon, your application is running in software-only mode and clicking the button has no effect.) The states of the Toggle Client Monitor button.
Playing Video to a Full-Screen Monitor 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 1441. Some of these settings apply to playback and how effects are processed.
Adjusting the Play Delay Offset 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. Check the Full Screen Playback Settings to ensure you have them set properly. For more information, see “Full Screen Playback Settings” on page 1407. 3. Select Special > Full Screen Playback.
Using the Tool Palette Using the Tool Palette The Tool palette provides additional buttons for editing and navigating with your Avid editing application. The Tool palette buttons can appear with or without labels, and you can “tear off” the Tool palette to display it in another screen location. You can also map other functions and buttons to the Tool palette for easy access. See “The Command Palette” on page 110. To use the Tool palette: 1.
Playing Selected Clips in a Loop Playing Selected Clips in a Loop You can view several clips one after another in a continuous loop by selecting Bin > Loop Selected Clips. This feature is useful if you want to view several versions of the same scene. While playing the loop, you can jump to the next clip by pressing the Tab key or jump to the previous clip by pressing Shift+Tab. To play several clips in a continuous loop: 1. Select the clips in the bin that you want to play in a loop. 2.
Loading and Clearing Footage t Double-click the single clip or sequence, or any one of the selected set of clips or sequences. By default, the material opens in the Source or Record monitor. If you have the “Double-click loads clip in” option in the Bin Settings dialog box set to “New Pop-up Monitor,” the material opens in a pop-up monitor. For more information, see “Bin Settings” on page 1360.
Loading and Clearing Footage 2. Select a different clip name from the menu. The selected clip replaces the current clip in the monitor display. n To see the list of clips or sequences sorted in the order in which they were loaded into the monitor, press the Alt key (Windows) or Option key (Macintosh) while opening the menu. Clearing Clips from Monitors You can use the Clip Name menu located above each monitor to clear clips from a monitor.
Controlling Playback Controlling Playback There are several ways to play, view, and cue clip and sequences: • Instantly access frames or move through footage by using the position indicator within the position bar under the monitors. • Play, step (jog), or shuttle through footage by using user-selectable buttons. • Play, step, or shuttle by using keyboard equivalents. • Step or shuttle by using the mouse.
Controlling Playback Blue position indicator in the monitor position bar (top) and in the Timeline (bottom), with the Timeline ruler above the Timeline. To move the position indicator in the Timeline, do one of the following: • Disable the segment tools (Lift/Overwrite and Extract/Splice-in) and click an area of the segment outside of the active trim region. • Use the Timeline ruler.
Controlling Playback t To move the position indicator and access the frame at the new position, click anywhere in a monitor’s position bar or in the Timeline, or drag the position indicator to the left or right in a monitor’s position bar or in the Timeline. The speed with which you drag the position indicator determines the speed at which you move through the footage. t To go directly to the beginning or end of a clip or sequence, click to the far left or far right of the position bar or the Timeline.
Controlling Playback n Button Primary Default Location Function Play Monitors Plays the footage at normal speed. Changes to the Stop button when playback is taking place. Stop Play tab in Command palette Stops playback. Changes to the Play button when you have stopped playback. Pause button Play tab in Command palette Pauses playback. Play Reverse button Play tab in Command palette Plays the footage backward at normal speed.
Controlling Playback Button Primary Default Location Function (Continued) 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). Step Forward 10-frames or 8-frames button Move tab in Command palette Moves the footage 10 frames forward (NTSC or PAL) or 8 frames forward (progressive formats).
Controlling Playback Playback Control Using the Keyboard Many playback functions, including most of the playback controls covered in “Playback Control Buttons” on page 508, are mapped to keys on your keyboard. You can customize the keyboard by mapping buttons or menu commands to it from the Command palette, for example to add other playback functions. Default keyboard mappings vary, depending on the type of keyboard attached to your Avid system.
Controlling Playback Keys Function Home, End, Left Arrow, • and Right Arrow keys J, K, and L keys Home key—move to the beginning of a clip or sequence • End key—move to the end of a clip or sequence • Left Arrow key—moves the footage 1 frame backward • Right Arrow key—moves the footage 1 frame forward Let you play, step, and shuttle through footage at varying speeds.
Controlling Playback Press the L Key To Play Footage at NTSC Rate PAL Rate 24p Rate 5 times 8x normal speed 200 fps 192 fps 240 fps t Press the J key to move backward at the same shuttle speed increments. t Press the K and L keys together for slow forward (8 fps for NTSC, 6 fps for PAL, and 6 fps for 24p projects). t Press the K and J keys together for slow backward. t Press and hold the K key and tap the L key or the J key to step through footage one frame at a time.
Playing Back to a DV Device n This applies to an Avid editing system with an Avid Nitris DX attached. To jog or shuttle by using the mouse: 1. Do one of the following: t Load a clip or sequence into the Source or Record monitor. t Open a pop-up monitor. t Select a clip in a bin in Frame view. 2. Do one of the following: t Press the N key to activate mouse control for jogging. t Press the semicolon (;) key to activate mouse control for shuttling.
Playing Back to a DV Device When you are playing back to a DV device, you have the option of enabling real-time encoding of effects and mixed resolutions. To play back to a DV device connected through a 1394 port: 1. Right-click the Video Quality Menu button and select Output to DV Device. Playback to the DV device and playback to the desktop occur simultaneously. n If you do not have a device connected to a 1394 port, these options are grayed out. 2.
Video Quality Options for Playback 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. The options available vary depending on your attached hardware. Some third party hardware might not support Draft Quality and Best Performance options.
Setting the Video Quality 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.
Marking and Subcataloging Footage 2. (Option) Right-click the Video Quality Menu button, and select Video Display Settings. This opens the Video Display Settings dialog box and lets you select additional video display settings. For information about the Video Display settings, see “Selecting the Video Display Settings” on page 499 and “Video Display Settings” on page 1441.
Marking and Subcataloging Footage t Click the Mark IN button under the monitor to mark an IN point and stop playback. t Press the Mark IN key when marking a clip in a bin. (The Mark IN key does not stop playback.) By default on United States keyboards, the Mark IN key is the I key. 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.
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.
Marking and Subcataloging 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.
Marking and Subcataloging Footage The Create Subclip icon changes to an icon of a hand pointing at a frame during the drag, and then becomes a Subclip icon when you release the frame in the intended bin. t Click the Make Subclip button in the Edit tab of the Command palette. Your Avid editing application creates the subclip and places it in the active bin. t Press the Alt key (Windows) or the Option key (Macintosh) while you click the Make Subclip button.
Using Markers For more information, see “Understanding the Track Selector Panel” on page 707. 3. Move the position indicator to the location where you want to mark the audio clip. 4. Do one of the following: t Click the Audio Mark IN button to mark an IN point. t Click the Audio Mark OUT button to mark an OUT point. The Audio Marks appear in the Timeline and in the position bar beneath the monitors.
Using Markers Use Description Color correction notations Use markers to mark clips or specify frames that require color correction, noting the specific correction to perform if someone else does the job. Visual track alignments Use markers at matching points in synchronized audio and video tracks so that if the tracks lose sync, you can visually realign the markers in the Timeline to restore sync. For more information on sync, see “Working with Multiple Tracks” on page 707.
Using Markers Example of a marker in the monitor, position bar and in the Timeline You can add markers to your source material while you are in an editing session, as described in “Adding Markers While Editing” on page 525. When you export sequences with markers as AAF files, the marker information is included. A Pro Tools editor can then choose to import the markers as Pro Tools as markers. The markers contain the same information as markers in your Avid editing system.
Using Markers The following illustration shows the Marker edit entry window. Marker edit entry window. Top: a comment in the comment area. Bottom: button to open the Markers window 4. (Option) Type a new name in the Name text box. 5. Type your comments in the comment area of the Marker edit entry window. 6. Change the color from the Color menu or change the marker name. 7. To save your information, click OK, or press the Enter (Windows) or Return (Macintosh) key.
Using Markers 5. (Option) Type a new name in the Name text box. 6. Type your comments in the comment area of the Marker edit entry window. 7. Change the color from the Color menu or change the marker name. 8. To save your information, click OK, or press the Enter (Windows) or Return (Macintosh) key. The spanned marker appears in the Timeline on the Timecode 1 track. n You cannot create overlapping spanned markers, nor can you move a spanned maker on top of another spanned marker.
Using Markers To deleted a marker, click to select the marker in the Markers window and press the Delete key. Adding Markers On-the-Fly while Playing To add markers on-the-fly while playing: 1. Load a sequence or clip. See “Loading and Clearing Footage” on page 503. 2. (Option) Select a specific track, using the Track Selector panel. See “Understanding the Track Selector Panel” on page 707. 3. Map the Add Marker button to a key by doing the following: a.
Using Markers Marker edit entry window. Top: a comment in the comment area. Bottom: button to open the Markers window 3. (Option) Type a new name in the Name text box. 4. Type your comments in the comment area of the Marker edit pane. 5. (Option) Change the color from the Color menu or change the marker name. 6. To save your information, click OK, or press the Enter key. The information is stored with the marked frame.
Using Markers Editing Marker Information You can open the Marker edit entry window directly from a monitor, from the position indicator bar, or from the Markers window. In the Marker edit entry window, you can change the color of a marker, the marker name, or the text of the comment associated with a marker. To edit Marker information in the Marker edit entry window: 1. Do one of the following: 2. Click the oval Marker icon in the Source or Record monitor. 3.
Using Markers The area between the two markers is selected. Moving to the Previous or Next Marker You can move to a frame marked by a marker by using the Go to Previous Marker button or the Go to Next Marker button. To move to the previous marker: t Click the Go to Previous Marker button in the Move tab of the Command palette. To move to the next marker: t Click the Go to Next Marker button in the Move tab of the Command palette.
Using Markers • Export markers to send out as a review and approval file. • Print the Markers window. This is especially useful for identifying and listing specific frames to be used in an effect, for example. You can also make a list of IN and OUT points for adding music. • Copy and paste markers from one clip or sequence to another. The following illustration shows a Markers window with three markers. Viewing Markers in the Markers Window The Markers window is monitor specific.
Using Markers You can also: • Export and import markers For more information, see “Exporting and Importing Markers” on page 534. • Copy and paste markers For more information, see “Copying and Pasting Markers Using the Markers Window” on page 535. • Print the contents of the Markers window For more information, see “Printing the Contents of the Markers Window” on page 536. To select a marker item: t Click anywhere in the marker item’s row except in the Comment column.
Using Markers To delete markers: 1. Click a marker item, or Ctrl+click (Windows) or Command+click (Macintosh) multiple marker items. 2. Press the Delete key. Exporting and Importing Markers You can export markers from a sequence or a clip. A text (.txt) or XML (.xml) file is created when you export the marker and a tab-delimited file or XML file displays all the information about the marker. You can then send the .txt or .xml file to those who need to review and give feedback about the sequence or clip.
Using Markers Creating a Marker Text (.txt) File You can create a Marker text file if you don’t have access to an Avid system. This lets you make timecode-specific comments offline and give them to an editor to import into a sequence. The Marker text file is a tab-delimited file which must be created with certain parameters. This file can be edited in a text editor application or in a spreadsheet program. The Marker text file can be exported from or imported into the Markers window.
Using Markers t Select Edit > Copy. t Press Ctrl+C (Windows) or Command+C (Macintosh). 3. Load a new clip in the Source monitor. 4. Click the Marker window and do one of the following: t Select Edit > Paste. t Press Ctrl+V (Windows) or Command+V (Macintosh). The marker is pasted into the new clip. To copy markers from a clip and paste them into a sequence using the Markers window: 1. Select the markers in the Markers window by doing one of the following: t Click a single marker.
Using Markers n If you select Show Images to display the frame associated with each marker and you want to print the frames, you must use the procedure for printing the current view of the Markers window. Printing the complete contents does not print the frames. To print the current view of the Markers window: 1. Make sure your printer is correctly set up. 2. Expand the view of the Markers window to display the information you want to print. 3. Select File > Page Setup.
Finding Frames, Clips, and Bins Disabling the Marker Edit Window If you want to add markers without including comments, you can modify the behavior of the Marker edit window so that it does not open each time you create a new marker. This lets you add markers quickly and then edit marker information later. n This option is selected by default if you upgraded your Avid editing application from a previous version where the “Disable Markers Popup” option was selected.
Finding Frames, Clips, and Bins The system interprets the numbers you type with the numeric keypad according to the type of tracking format you have selected from the Tracking Information menu (timecode or frames). If you have two rows of information displayed above the monitor, the system looks at the top row. For more information on selecting the display of tracking information, see “Displaying Tracking Information” on page 490.
Finding Frames, Clips, and Bins Use one of the following formats: Format Description SMPTE timecode Use two digits each for the hours, minutes, seconds, and frames. For example, type 01230200 to enter 01:23:02:00. Current timecode To find a timecode that starts at the same hour, minute, or second as the current timecode, type only the last digits. For example, if the current timecode is 1:05:12:13 and you type 425, the system finds the frame at 1:05:04:25. 5. Press Enter on the numeric keypad.
Finding Frames, Clips, and Bins Format Description Three digits Type 100 or greater to move forward or backward a specified number of seconds and frames. The results vary depending on the tracking format you have selected in the Tracking Information menu that displays information above the monitor. For example, if you type +100 and the master timecode is displayed in the top row of the tracking information above the monitor, you move forward 1 second and zero frames.
Finding Frames, Clips, and Bins • All tabs: Clips and Sequences, Script Text, and Timeline and Monitors tab apply to text find. • The system does not search and find referenced clips in a sequence. • If you make a change to a bin (or add a new clip to the bin), you must save the bin first in order for the system to find the changes. • The system searches through all available columns in your bins including metadata columns, even if they are not visible in your current bin.
Finding Frames, Clips, and Bins n The Bin Index status at the bottom of the window indicates if the data files in your bins have been indexed. A full green display indicates that your files have been indexed and are ready to search. A partial green display indicates that the index is in process and if you perform a search, your results might not be complete. If you want to stop the indexing process, click the Settings button in the Find window and click Stop Indexing.
Finding Frames, Clips, and Bins Current Bin The system searches for the text criteria in the last active bin. The system then selects the first occurrence in the bin. Press Ctrl+G (Windows) or Cmd+G (Macintosh) to take you to the next occurrence 5. If you select Script Text, then select from the following: Scripts in Project The system searches for the text criteria in all the scripts within the project regardless if the script is currently opened.
Finding Frames, Clips, and Bins A Cancel button appears and the system informs you that it is finding your text criteria. The results appear in the Results window. If you select Current Bin, the clips are selected in the bin and do not display in the Results window. The system displays the total number of items found after your search. n To select the next occurrence in your bin, press Ctrl+G (Windows) or Cmd+G (Macintosh). 12.
Finding Frames, Clips, and Bins 3. Select the Search Data Folder menu. Select either Default, Local Default, or Other. To change the location from the Default options, select Other. 4. Choose the folder where you want the SearchData folder to reside. 5. Click OK. A subfolder with the project name is created in the folder you selected in step 4. n You can also set the SearchData folder in the Settings tab of the Find Window.
Finding Frames, Clips, and Bins You can also use the Match Frame feature to locate the source clip for a traditional motion effect. n You can also locate frames in a sequence that match a selected source frame; see “Performing a Reverse Match Frame” on page 547. Match framing does not create a permanent sync relationship between clips but provides a convenient way of locating, marking, and editing matching material.
Finding Frames, Clips, and Bins For more information, see “Understanding the Track Selector Panel” on page 707 and “Selecting Tracks for Matching Frames” on page 548. The system searches all selected tracks in the Record monitor for the frame on all selected tracks in the Source monitor. 4. Click the Reverse Match Frame button in the Other tab of the Command palette. Your Avid editing application cues the sequence to the matching frame on the record side.
Finding Frames, Clips, and Bins 3. Click the Find Bin button. Your Avid editing application highlights the sequence in the bin. To find the bin in which a specific clip in a sequence is located: 1. Move the position indicator to the clip within the sequence. 2. Press and hold the Alt key (Windows) or the Option key (Macintosh), and click the Find Bin button. Your Avid editing application opens the bin and highlights the clip.
Sequence and Clip Information Summary If the tape is not in the deck (for example, you do not know which tape the footage is on), a dialog box prompts you to insert the appropriate tape. 4. Insert the tape. Your Avid editing application cues to the requested frame and displays the frame. You can recapture as necessary. Sequence and Clip Information Summary You can generate a report to display information about the contents of a sequence.
Sequence and Clip Information Summary n If a plug-in is not loaded on your system when you generate the summary, if you select the option "Show Missing Effects Only" from the Sequence Report dialog box, the information displays "unavailable effect," in addition to the plug-in name, the plug-in ID (is this gone?), and other information associated with the effect. (Is the vendor and version number displayed). This is helpful when identifying the effect.
Sequence and Clip Information Summary 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 553. 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.
Sequence and Clip Information Summary Summary Option Suboption Create Clip Summary or Create Source Summary 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.
13 PhraseFind The PhraseFind option (phonetic find) searches and finds audio dialogue throughout bins in a single project. PhraseFind starts by indexing all the audio in your bins (based on the language you choose). You then enter search criteria, and the system searches through those bins for all occurrences of the audio search criteria you enter. PhraseFind indexes and finds audio in master clips, subclips and group clips.
Purchasing and Activating PhraseFind How Do I Purchase PhraseFind? • You can purchase PhraseFind through your Avid Reseller. • You can purchase PhraseFind from your Avid editing application’s Find window. • You can purchase PhraseFind directly through the Avid web store at http://shop.avid.com, then search for PhraseFind.
Purchasing and Activating PhraseFind - If you purchased your Avid editing application from the Avid store, you can also view your System ID number by logging in to your Store account at http://account.avid.com/ If you have a dongle attached to your Avid editing application, check the License Profile tab of the Avid License Control tool or use DongleManager to obtain your System ID. See the steps below for information about this utility.
Purchasing and Activating PhraseFind Your trial is activated. Your 30-day trial of PhraseFind also includes access to all available languages during the trial. You do not need to activate any additional language packs at this time. However, you need to select your language from the Select a Language menu in the PhraseFind window. 6. In the PhraseFind window, select your language from the Select a Language menu and wait for the PhraseFind Index to turn green.
Purchasing and Activating PhraseFind To purchase PhraseFind through the Avid editing application’s Find Window: 1. Open your Avid editing application and an Avid project. 2. Press Ctrl+F or select Edit > Find. The Find window opens. 3. Type a word or phrase in the text box, then click the PhraseFind button. A dialog box opens which informs you that PhraseFind is not activated on this machine. 4. Click Buy.
Purchasing and Activating PhraseFind Activating PhraseFind with the Avid License Control Tool When you purchase PhraseFind and open the Avid License Control tool, you are ready to activate the PhraseFind feature. You can only use and activate PhraseFind on a single machine at one time. If you have an Internet connection on the machine that you will be using PhraseFind, follow the instructions “To activate PhraseFind with the Avid License Control tool and with an Internet connection:” on page 561.
Purchasing and Activating PhraseFind To activate PhraseFind with the Avid License Control tool and with an Internet connection: 1. With the Avid License Control tool open, click Activate next to PhraseFind. A dialog box opens.
Purchasing and Activating PhraseFind 2. If your computer has an Internet connection, select “I am connected to the Internet and will use this computer.” 3. Click Continue. The Avid Activation dialog box opens. 4. Enter your system identification number in the System ID text box. This number pre-displays if you have activated your Avid editing application. If the System ID does not appear, see “What Will I Need to Activate PhraseFind?” on page 556 for more information.
Purchasing and Activating PhraseFind The Activation tool confirms your system information, and the Select the default language dialog box opens. 7. Select your language. The language you choose is the one free language included with PhraseFind. You can also purchase additional language packs and select different languages to search on in the Find window.
Purchasing and Activating PhraseFind Depending on your web browser, the license.bin file could be located on your desktop or in a download folder. 9. Move the license.bin file to the system you need to activate PhraseFind. You can use a removable storage device such as a USB drive or you can transfer the data over your network. 10. Open the Avid License Control tool. 11. Click Browse and navigate to the license.bin file you moved to your system, then click Open. 12.
Purchasing and Activating PhraseFind 6. Enter your system identification number in the System ID text box. This number pre-displays if you have activated your Avid editing application. If the System ID does not appear, see “What Will I Need to Activate PhraseFind?” on page 556 for more information. n You can copy and paste your system identification number and your Activation ID from a text file to the appropriate text boxes. 7. Enter your language pack Activation ID in the Activation ID text box.
Understanding PhraseFind Understanding PhraseFind Now that you have purchased and activated PhraseFind, there are a few things that might help you understand how PhraseFind works. Things You Should Know About PhraseFind • For best results with PhraseFind, Avid recommends using Avid certified storage solutions. • You can continue to work while the system indexes your project.
Using PhraseFind Selecting a Language Avid supports several different languages. Language packs are purchased separately. You receive one free language with the purchase and activation of PhraseFind. You can purchase and have multiple languages licensed on your system, however, you can only use one language per project. Every time you choose a new language, the system re-indexes and re-populates with the new language phonetic files.
Using PhraseFind n The PhraseFind Index status at the bottom of the window indicates if the phonetic files in your bins have been indexed. A full green display indicates that your files have been indexed and are ready to search. A partial green display indicates that the index is in process and if you perform a search, your results might not be complete. If you want to stop the indexing process, click the Settings button in the Find window and click Stop Indexing.
The Results Window Current Bin The system searches for the text criteria in the current active bin. The system then selects the first occurrence in the bin. Press Ctrl+G (Windows) or Cmd+G (Macintosh) to take you to the next occurrence. (Applies to text find only.) 7. Select Ignore Case if you want the system to search for the text regardless if it is upper or lower case characters (for Current Bin only). 8. Click PhraseFind or press Enter.
The Results Window In PhraseFind, the Score column lists your results in order of importance (ranging from 100 to 50). The system displays all the results, however, the score with the higher value is more probable the audio dialogue you are searching for. 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.
The Results Window The default columns are pre-selected (Bin, Name, Duration, Video, Creation Date, Start, End, Tracks, Mark IN-OUT, IN-OUT). The Icon, Name and Bin columns always display. The Score column always display in PhraseFind. Column selections reset from search to search. The system does not remember columns you have previously selected. 2. Click the columns you want to display in the Results window. You can deselect the default columns. 3. Click OK.
Filtering Your Find Results Filtering Your Find Results You can narrow your search results to display less results. This is achieved by selecting specific columns and additional criteria. You need to perform a find before columns appear to filter. For example, if you are looking for a clip with the name of Scene 2c and a duration of 03:00:00. The initial result displays fifty items, you can filter the search by selecting Name as the column and enter 2 in the contains field.
Find Window Attributes Results Window Attributes Description Find Click this button when you enter text in the textbox and you are ready for the system to search for your alphanumeric results. PhraseFind Click this button when you enter phonetic text in the textbox and you are ready for the system to search for your audio dialogue results. Cancel The Cancel button appears once you click either the Find or PhraseFind button. This cancels the search.
Find Window Attributes Results Window Attributes Description Select Columns Opens a dialog box which allows you to select columns to display in the Results window. Language menu Allows you to select a language from the languages you have licensed on your system (language packs are purchased separately.) PhraseFind Index and Bin Index Displays the status of your indexed files. Full green indicates that your data files have been indexed and are ready to search.
14 Creating and Editing Sequences This chapter introduces you to procedures that you use to build a sequence, as described in the following topics: • Entering Source/Record Mode • 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
Entering Source/Record Mode Entering Source/Record Mode Source/Record mode is the default editing mode. It includes the screens and controls used for the Source and Record monitor. Use Source/Record mode to create new sequences from source clips. To enter Source/Record mode from another mode: t Click the Source/Record Mode button.
Creating a New Sequence - If a bin is not activated, the Select dialog box opens. Select the bin where you want to store the new sequence, or click New Bin to create and open a new bin, then click OK. An untitled sequence appears in the bin, in the Record monitor, and in the Timeline. 2. (Option) In the bin, click the Name field and rename the new sequence. Changing the Name and Timecode for a Sequence To rename a new sequence and set a start timecode: 1.
Creating a New Sequence Start timecode text box (left) and Start key number text box (right, for 24p or 25p projects only) in the Sequence Report dialog box 2. Type a new name in the Name text box. 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.
Creating a New Sequence To change the start timecode of a sequence in a bin: 1. In the bin, click the start time for the sequence in the Start column. 2. Type a new timecode. Track Display for New Sequences When you create a new sequence with the New Sequence command and no material is loaded in the Source monitor, the Timeline displays a default set of tracks—the master timecode track (TC1), at least one video track (V1), and at least two audio tracks (A1 and A2).
Creating a New Sequence The default settings are: • Auto-create New Tracks: Whenever you edit new source material from the Source monitor, the system automatically creates any new tracks in the sequence that match enabled tracks on the source side. • Auto-enable Source Tracks: Whenever you load new source material into the Source monitor, the system automatically enables all existing source tracks.
Making a First Edit t Move the position indicator for the sequence to the point where you want to add the filler. t Mark an In point at the point in the sequence where you want to add the filler. 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 584 and “Performing an Overwrite Edit” on page 585.
Creating an Instant Rough Cut As another example, if you lay down a music track first, you would select track A1 or A2 depending on where the music was recorded, and deselect V1. 4. Click the Splice-in button to add the edit to the sequence in the Record monitor. The 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.
Undoing or Redoing Edits n If no sequences are loaded in the Record monitor, the Timeline has no features. 3. Do one of the following: t Ctrl+click (Windows) or Command+click (Macintosh) the clips. t Lasso the clips by dragging left to right and down to select more than one clip. For more information, see “Selecting Clips and Sequences” on page 335. t Select Edit > Select All if there are no other clips in the bin. 4.
Editing Additional Clips into the Sequence You can limit the Undo function to undo only record actions by selecting the Undo Only Record Events option in the Edit tab of the Composer Settings dialog box. For example, you can select the Undo Only Record Events option and then mark several In and Out points in clips loaded in the Source monitor. If you decide to undo the last edit made to the sequence, then you would not lose the In and Out points in the source clips.
Editing Additional Clips into the Sequence Existing material moves beyond the spliced material, lengthening the overall duration of the sequence. 4 1 2 1 2 3 4 3 A splice-in edit. Clip 3 in the sequence moves down when you splice clip 4 in at the insertion point (red line). To perform an insert edit: 1. Load a clip into the Source monitor. 2. Mark an In point and an Out point. 3. Mark an In point in the sequence as follows: n a.
Editing Additional Clips into the Sequence To perform an overwrite edit: 1. Load a clip into the Source monitor. 2. In the monitor, mark an In or Out point, but not both, to show the start or end of the clip you want to use. 3. In the Record monitor, mark both an In point and an Out point to select the material in the sequence you want to overwrite. You can also mark an Out point and move the position indicator to the In point. 4. Click the Overwrite button (red) to complete the edit.
Mixing Frame Rates and Field Motion Types The system calculates In and Out points for the source material by using the sync frames and the existing In and Out points in the sequence for the previously edited clip that you want to replace. n When you select the tracks you want, check the durations before you perform the edit.
Mixing Frame Rates and Field Motion Types Mixed rate clips always play at the project’s frame rate, both in Source or pop-up monitors and in sequences. Audio remains synchronized with video. You can stack clips with different frame rates or field motion types on multiple video tracks, apply effects, and otherwise perform all normal editing operations.
Mixing Frame Rates and Field Motion Types 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 590. 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.
Mixing Frame Rates and Field Motion Types 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 3. Select a rendering option from the Type list. For information on the rendering types available, see “Rendering Options for Timewarp Effects” in the Help. 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.
Mixing Frame Rates and Field Motion Types Changes you make to the Field Motion attribute apply only to the individual clip or subclip. You can have several subclips derived from the same master clip, and set different Field Motion values on each of them. 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.
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 1441.
Mixing Frame Rates and Field Motion Types them into sequences in the same project type. When existing material in a sequence is transcoded across edit rates, your Avid editing application automatically removes motion adapters and adjusts Timewarp effects. Your Avid editing application creates new clips whose duration and start and end timecode matches the original clips as closely as possible and which are as compatible as possible with the project’s edit rate.
Mixing Frame Sizes and Aspect Ratios Effect Templates and Mixed Rate Material You can use effect templates that you save in bins with clips of all frame rates and in sequences of any project type. When you apply a template, your Avid editing application adjusts keyframes if necessary to account for differences in frame rate. Dynamic Relink and Mixed Rate Material You can enable the Dynamic Relink feature to work with mixed rate clips.
Mixing Frame Sizes and Aspect Ratios Changing the Aspect Ratio for a Project You typically set the aspect ratio for a project when you create the project (see “Creating a New Project” on page 50). The aspect ratio can be changed at any time, however this will affect any titles that you have created, so the titles also need to be recreated at the new aspect ratio. n For HD projects, only the 16:9 aspect ratio is available as this is the only aspect ratio allowed in the HD standard.
Mixing Frame Sizes and Aspect Ratios Modifying the Reformat Attribute for a Clip Your Avid editing application uses the Reformat attribute of a clip to resize and reposition the clip so that it conforms to the current frame size and aspect ratio specified in the Project Settings. When you create a clip or subclip, the Reformat attribute is automatically set to Stretch. If you are using AMA to link to clips, then the default is set to Center Keep Size. You can modify this Reformat attribute at any time.
Mixing Frame Sizes and Aspect Ratios 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 325. 4. Click the Reformat field for the clip or sub-clip, and select an option. Options apply only to clips that do not match the frame size and aspect ratio of the project. For more information, see “Reformatting Options Reference” on page 599.
Mixing Frame Sizes and Aspect Ratios Option Description Pillarbox/Letterbox preserve aspect ratio Scales the clip to create the largest possible image without cropping, while maintaining the original aspect ratio. The illustration shows two examples. When you edit a 16:9 clip into a 4:3 sequence (left), the resulting segment has horizontal bars at the top and the bottom. When you edit a 4:3 clip into a 16:9 sequence (right), the resulting segment has vertical bars at the sides.
Refreshing Sequences to Use Current Clip Attributes Refreshing Sequences to Use Current Clip Attributes You can change certain attribute values or settings for a clip at any time. You can change a clip’s Field Motion attribute value or its Reformat attribute value. You can also change the source settings for a RED clip that has been linked in a sequence.
Lifting, Extracting, and Copying Material Lifting, Extracting, and Copying Material Lifting, extracting, and copying let you remove or reposition material quickly in your sequence. For example, you can move a clip from the end of your sequence to the beginning; or you can remove the material from the sequence altogether. Your Avid editing application places the material you remove into the Clipboard. You can then paste the material elsewhere in the sequence or into another sequence.
Lifting, Extracting, and Copying Material To extract material: 1. Mark In and Out points at the start and end of the material in the sequence that you want to extract. 2. Select the tracks containing the material. The system performs the function on selected tracks only. If sync locks are on, all material on all tracks is extracted. For more information, see “Understanding the Track Selector Panel” on page 707 and “Understanding Locking and Sync Locking” on page 714. 3.
Lifting, Extracting, and Copying Material The Clipboard lets you restore lifted or extracted segments quickly. This is useful if you have performed one or more edits since removing the material. In contrast, if you use the Undo function to restore the material, your Avid editing application also undoes all edits performed in the meantime. n Material in the Clipboard does not appear as a clip in the bin and is deleted when you close the project.
Adding Comments to Sequence Clips Adding Comments to Sequence Clips When you add comments to sequence clips, they appear in the Timeline or in lists that you create, such as an EDL or a cut list. Comments can include instructions for color correction or for adjusting an effect. 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.
Playing Back a Sequence To play a sequence: 1. Click the Video Track Monitor icon located on the uppermost video track to display all video tracks and effects during playback. 2. Click the Active/Inactive button to ensure proper playback of the audio tracks. 3. Click the Data Track Monitor button to ensure proper playback of the data track. You can only monitor and view the data on a client monitor capable of handling ancillary data.
Understanding Sync Breaks See “Mounting and Unmounting Drives” on page 443. You can remount the drives at any time by selecting File > Mount All. • When displaying real-time effects, adjust the video quality (see “Setting the Video Quality for Playback” on page 517). • Restart your computer once a day to refresh the system memory. • Split the sequence into two or more segments, if possible.
Understanding Sync Breaks By default, the Timeline displays sync breaks whenever they occur while you edit. They appear at break points as white numbers indicating negative or positive offset values relative to zero. The Sync Breaks option also displays match-frame edits as an equal sign (=) on the edits. For more information on match frames, see “Working with Add Edits (Match Frames)” on page 723.
Understanding Sync Breaks Task Tips Perform Segment Use the Lift/Overwrite function instead of Extract/Splice-in. (Lift/Overwrite edits leaves filler behind and overwrites material at the new destination, maintaining sync in both cases.) For more information, see “Working with Segments” on page 693. Trimming Sync lock tracks to avoid breaking sync or use the Alt (Windows) or Option (Macintosh) key function for adding black during trims.
Fixing Sync Breaks Fixing Sync Breaks You fix sync breaks by eliminating the overlapping portion of out-of-sync tracks. You can do this in one of several ways, depending on the type of break and your sequence. For more information, see “Tips for Fixing Sync Breaks” on page 609. You can customize the sync breaks display in the Timeline, for example to limit the display to video tracks only. This can reduce clutter and help you focus on a particular set of fixes.
Understanding Sync Lock There are several unique aspects to sync locking: • You control sync lock by the Segment Drag Sync Locks option in the Edit tab of the Timeline Settings dialog and the Sync Lock icons in the Timeline. For more information on sync locking tracks, see “Maintaining Sync with Segment Edits” on page 700. • When trimming, sync lock applies only to single-roller trims because dual-roller trims do not break sync.
Understanding Sync Lock Syncing with Markers You can add markers to material in the Timeline to track and adjust breaks in sync between any number of tracks. You can place markers anywhere in the sequence and you can add specific notes. For more information on using markers, see “Using Markers” on page 523. To mark sync points with markers: 1. Move the position indicator to the point in the sequence where you want to maintain sync between two or more tracks. 2.
Ganging Footage in Monitors To restore sync: 1. Find the point at which the sync was lost. 2. Use the appropriate edit function to add or remove frames, as described in “Fixing Sync Breaks” on page 610. 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.
Sync Point Editing To gang footage in monitors: 1. Load a sequence into the Record monitor. 2. Load one or more clips into the Source monitor and pop-up monitors. 3. Click the Gang button for each monitor that you want to synchronize (the Record monitor is always ganged). 4. View the footage in any of the monitors. As you move through footage in one monitor, the footage in all other monitors freezes. The footage is updated when the play stops.
Autosyncing Clips t Mark an In or Out point in the Source monitor, or an In or Out point in the Record monitor. For example, if you marked an In point in the Source monitor, mark the Out point in the Record monitor. 4. Move the source position indicator to the sync frame in the clip. This establishes the source sync point. 5. Move the record position indicator to the sync frame in the sequence. 6.
Autosyncing Clips Use the following guidelines when autosyncing: • You can autosync audio clips with video clips only. To link two or more video clips or audio clips, use the Grouping option described in “Understanding Grouping and Multigrouping Clips” on page 1292. • You can create only one autosynced subclip at a time. You cannot autosync numerous pairs of audio and video clips simultaneously.
Understanding AutoSequence Option Description Auxiliary TC1–TC5 Use this option if the two clips have matching timecode in the same Auxiliary Timecode column or to Autosync multiple clips, use the Aux 1-5 timecode. Select an Aux TC, 1 through 5, from the menu. Keep audio on clip with video Use this option if you want to keep the selected video clip’s audio tracks. Specify which audio tracks you want to keep from the Start and End range. All audio tracks within this range will be kept. Off by default.
Adding Audio or Video to Original Videotape Using AutoSequence To establish sync with the original videotape, use filler to add where gaps in audio or video exist in the sequence. After you finish editing the audio or video, you can use the Digital Cut command to output only the audio, or both audio and video only the video onto the original videotape. If you do not use AutoSync and the video clip timecode does not match the audio clip timecode, you should select only video clips when you use AutoSequence.
Resyncing Subframe Audio The system creates a synchronized sequence with the clips you selected. The new sequence appears in the Record monitor and in the Timeline. The sequence also appears in the bin with the same name as the tape name (for tape-based media) or the same name as the source file name (for file-based media) with a .xx (.01, .02, .03) extension. 5. Edit the audio or video tracks. 6.
Resyncing Audio for a Selected Subclip • n From imported audio media (OMFI, AIFF-C, or WAVE format), master clips generated by AudioSuite plug-ins, or tone generator media You cannot slip at the perforation level of the imported QuickTime audio media. The batch import process does not create new clips; therefore, slipping at the perforation level is not available when you batch import audio clips from Symphony versions earlier than v3.5.3 and Avid editing application versions earlier than v10.5.3.
Working with Phantom Marks 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. When you enable phantom marks, your Avid editing application displays blue mark In or Out icons in the position bars below both the Source and the Record monitors.
Creating Video and Audio Leaders Creating Video and Audio Leaders Film editors use standard head and tail leaders to cue and sync material. You can use digital leaders in your Avid editing application to mark the beginning and end of tracks and to help you maintain sync, as described in “Syncing with Tail Leader” on page 611. You can create your own leader for video or film. Whatever you choose for specifications, make all your leader clips the same length, with common sync points.
Creating Video and Audio Leaders For information on placing add edits, see “Working with Add Edits (Match Frames)” on page 723. b. Move the position indicator before the first add edit, and open the Audio Mixer tool. c. Bring the audio level all the way down. d. Move the position indicator after the second add edit, and use the Audio Mixer tool to bring the level all the way down. After you prepare the leader, you can splice the leader while you edit onto the audio tracks that you want to keep in sync.
Understanding Lined Scripts 15 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 •
Understanding Lined Scripts 33/1 33A/1 33A/2 33B/133B/2 33B/3 33C/1 33C/2 Each vertical line drawn through the scene represents a single take from the moment the director says “Action” to the moment the director says “Cut.” Each scene might require several camera angles and positions, with one or more takes, all of which are lined and identified alphanumerically. The following table summarizes the lining techniques and numbering system shown in the example.
Script Integration — Lining in the Digital Realm Off-screen dialog The jagged lines in the script represent the parts of dialog where the actor is off screen. For example, the character Mary Sue is off camera during the action described in the second paragraph (when the waitress character enters), so a jagged line is drawn through the shots that cover Mary Sue (33A/1 and 2).
Script Integration — Lining in the Digital Realm 2 Slates 6 Color indicator 3 Takes tabs 7 Script mark 4 Takes In addition to the standard lining conventions, script integration includes the following enhancements: Slates Takes are organized into slates that display a representative frame and clip name for the take that is currently selected. Takes The Takes tabs and lines extending from the bottom of each slate indicate the number of takes for that scene. Click a Takes tab to select the take.
Understanding the Script Window Using Script Integration in Video Projects Script integration is an effective tool for editing any type of production, not just feature films and television drama. For example: • You can adapt many of the procedures described in this chapter for use in audiovisual scripts for documentaries, corporate spots, news magazine segments, and spot advertisements.
Understanding the Script Window Script Settings You use settings in the Script Settings dialog box to control how scripts display in the Script window and how the Script window behaves. You should make changes to these settings before you open a Script window. After the Script window is open, any changes you make in the Script Settings dialog box are ignored by the window. You must close the Script window and then reopen it for the new settings to take effect.
Working with the Script Window Working with the Script Window This topic describes basic procedures for working with Script windows, including importing script text, navigating through the script, displaying clip information, opening and closing windows, saving windows, and adjusting margins. For more information on the Script window, see “Understanding the Script Window” on page 628.
Working with the Script Window 5. Change the name of the script bin by clicking the title in the Bins list in the Project window, and typing a new name. 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.
Working with Script Text t To open existing Script window (.ave) files and add them to the Other Bins folder in the Bins list in the Project window, select File > Open Bin. t To close Script windows, select File > Close. t To save changes, select File > Save Script. t To save a copy of the Script window, select File > Save a Script Copy As. To explore the Script window: t Use the bar on the right to scroll up or down. t Resize the window by dragging the size box in the lower right corner.
Working with Script Text c You cannot undo cut, copy, or paste operations in the Script window. To change the font and font size of imported script: 1. Select Edit > Set Font. The Set Font dialog box opens. 2. Click the Font menu, and select a new font. The menu includes all fonts currently installed on your system. 3. Type a new font size in the text box, and click OK. The Script window reflects the new settings. n As you enlarge font size, the available sizes for the slate frames also increase.
Working with Script Text Example of a lasso to select a portion of a script t Click the first line of the selection, and then Shift+click the last line. The entire block of text is highlighted. t Press Ctrl+A (Windows) or Command+A (Macintosh) to select all the text and takes. To extend an existing selection: t Shift+click a line of text preceding or following the existing selection. To cut or copy lines of script and then paste them: 1. Select the lines. 2. Select Edit > Cut or Edit > Copy. 3.
Working with Page or Scene Numbers and Searching in a Script t Click Insert After to insert the text below the selected line. The text is pasted into the script. To remove lines of script: 1. Select the lines of script you want to delete. 2. Select Edit > Cut. Unlike a normal deletion, the text remains in the Windows Clipboard or Macintosh Clipboard until the next time you copy or cut a selection.
Working with Page or Scene Numbers and Searching in a Script The scene number appears in the left margin. The page number appears in the right margin next to the first line of the selected region. Scene and page numbers both appear in the status bar at the bottom of the Script window and reflect your current position within the script. Each scene or page number continues throughout the script until you mark another line as the beginning of a new scene or page. Top left: new scene number.
Linking Clips to a Script To search for a page or scene number: 1. Select Script > Go To Page or Script > Go To Scene. You can also click in the page or scene display in the status bar at the bottom of the Script window. The Go To Scene/Page dialog box opens. 2. Type the number of the scene or page, and click OK. The Script window scrolls to the page or scene, and the first line is highlighted. If you type a page or scene number that is not in the script, then no action occurs.
Linking Clips to a Script t If you are not working with scene and take information (for example, in a video documentary project), you can provide your own numbering for the clips in a custom column, or you can sort the clips manually in Frame view according to their order in the script. For more information on adding a custom column, see “Adding Customized Columns to a Bin” on page 347. 4. Select the portion of the script that is covered by the first clip or clips. 5.
Interpolating Position for Script Integration Alternatively, you can create slates one at a time, place script marks, and fine-tune the lining of each scene before proceeding to the next portion of the script. Interpolating Position for Script Integration Interpolate Position matches a clip to a take and lets you see where a particular line in the script would appear in the clip footage.
Working with Slates in the Script Window • Show only one take for each nonactive slate to minimize screen clutter. • Adjust the position of slates to make room for more slates, to avoid blocking words, or to display takes over specific lines. • Delete slates, for example, if you find that you no longer need the takes in the slate. To select slates, do one of the following: t Click a slate to select it. t Shift+click additional slates to select all the active takes.
Working with Slates in the Script Window To control the number of takes that display for a nonactive slate, do one of the following: t Select or deselect Show All Takes in the Script Settings dialog box before you open the Script window. For more information, see “Script Settings” on page 629. t Select or deselect Script > Show All Takes. When Show All Takes is enabled, a check mark appears to the left of the Show Frames command.
Working with Takes in the Script Window To delete a slate: 1. Select all the takes in the slate by pressing the Shift key and clicking the tab for each take. 2. Press the Delete key. The Delete dialog box opens. 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.
Working with Takes in the Script Window All takes within the lasso are selected. 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.
Indicating Off-Screen Dialog in a Script 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 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. To remove one or more off-screen indicators: 1. Select the range of script containing the off-screen indicators. 2. Select only those takes that display the indicators. 3. Click the Set Offscreen button.
Script Marks 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 3. Click the Play button, or press the Play key. The take plays in the monitor. You can also step (jog) or shuttle through the footage, place the position indicator on the exact frame, or scrub the audio to find the exact line of dialog. The clip does not have to be playing. 4. When the playback reaches the selected line of dialog, click the Add Script Mark button or press the Add Script Mark key. The line is marked in the Script window with a small horizontal bar, and play stops.
Script Marks 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. Select one or more takes. 2. Click the Record button in the Script window toolbar.
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.
Script Marks 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. 3. Select Script > ScriptSync. The ScriptSync dialog box opens.
Script Marks 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.
Script Marks Option Description Skip text before colon ‘:’ Select this option to skip all text before the first colon in a line of text. For example, select this option if your script uses the convention of placing a character’s name before a colon when the character begins to speak. Skip lines indented less than dialog Select this option if action is indented less than dialog in your script.
Script Marks Purchasing and Activating ScriptSync The ScriptSync option is sold separately from your Avid editing application. Once you purchase ScriptSync, you will receive a ScriptSync Activation ID that you use to activate the ScriptSync feature. You activate the ScriptSync feature with the Avid License Control tool. To find out the benefits of the ScriptSync feature, you can try out ScriptSync for a free 30-day trial period before you purchase.
Script Marks What Will I Need to Activate ScriptSync? • The ScriptSync Activation ID (obtained after you purchase ScriptSync) If you purchased through an Avid Reseller, the ScriptSync Activation ID is on a sticker adhered to your Instruction letter. If you purchased through the Avid web store, you receive your ScriptSync Activation ID through an Avid e-mail or you can also view your Activation ID by logging in to your Store account at http://account.avid.com/.
Script Marks n If you are running the Avid editing application trial version, you do not need to run the trial version of ScriptSync. The ScriptSync feature is included with the trial version of the Avid editing application. To run ScriptSync for a 30-day trial period: 1. Open your Avid editing application and an Avid project. 2. Create a script, File > New Script. 3. Browse to your script then click Open. 4. In the script, click the section where you want to place the clip (take).
Script Marks The system opens the Avid web store, allowing you to purchase ScriptSync. Once you purchase ScriptSync and obtain your ScriptSync Activation ID, you can activate ScriptSync. A dialog box opens informing you that Activation will quit your Avid editing application and launch the Avid License Control tool. 8. Click Continue. The Avid License Control tool opens. To activate ScriptSync, see “Activating ScriptSync with the Avid License Control Tool” on page 657 to continue.
Script Marks The Avid License Control tool is installed with your Avid editing application and is located in the Utilities folder. To open the Avid License Control tool: 1. Open the Avid License Control tool from your Avid editing application. Go to the following location: (Windows) Start/All Programs/Avid/Utilities/License Control (Macintosh) Applications/Utilities/Avid Utilities/License Control The Avid License Control tool opens.
Script Marks 2. Click Copy. The information copies to your Clipboard. You can cut and paste from the clipboard to an e-mail or create a text file, if you need to send system information to Avid Customer Support. To activate ScriptSync with the Avid License Control tool and with an Internet connection: 1. With the Avid License Control tool open, click Activate next to ScriptSync. A dialog box opens.
Script Marks 2. If your computer has an Internet connection, select “I am connected to the Internet and will use this computer.” 3. Click Continue. The Avid Activation dialog box opens.
Script Marks 4. Enter your system identification number in the System ID text box. This number pre-displays if you have activated your Avid editing application. If the System ID does not appear, see “What Will I Need to Activate ScriptSync?” on page 654 for more information. n n If you have a dongle attached to your system, the system should pre-display your System ID. You can copy and paste your system identification number and your Activation ID from a text file to the appropriate text boxes. 5.
Script Marks The system creates a license.bin file. This file contains license information needed to activate ScriptSync. If you entered an e-mail address, the .bin file will be sent to you as an attachment. You can also download the .bin file directly from the site. 8. Click Download to download the license.bin file to your system. Depending on your web browser, the license.bin file could be located on your desktop or in a download folder. 9. Move the license.
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.
Finding Clips and Script To delete a script mark: 1. Click once on a script mark to select it. You can select multiple script marks for removal by highlighting an entire region of text and selecting the takes containing the script marks you want to remove. 2. Press the Delete key. The Delete dialog box opens. 3. Select Delete 1 mark(s), and click OK. The mark is deleted.
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. Consider using the Single Mark Editing option, which lets you skip several steps by performing edits on-the-fly while playing back clips (without marking OUT points).
Editing From the Script Window Assembling a Rough Cut From the Script Window To quickly assemble a rough cut from the Script window: 1. Open the Script window for the current cut. 2. Double-click the first preferred take to load it into the Source monitor. Your Avid editing application automatically marks and cues to the IN point. 3. Play the take until the appropriate OUT point is reached, and stop play. 4. Click the Splice-in or the Overwrite button to make the first edit.
Editing From the Script Window The marked section of the clip is spliced into the sequence.
16 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 Record monitor.
Customizing Timeline Views 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 670 and “Timeline Fast Menu Options” on page 670.
Customizing Timeline Views Purpose Description (Continued) Complex audio work If you are doing advanced audio work with multiple tracks or fine-tuning difficult audio edits, you can hide video tracks and enlarge audio tracks while displaying waveform plots. If you enable per track settings in the Track Control panel to display waveforms on specific tracks, these settings are not saved in custom Timeline views.
Customizing Timeline Views Purpose Description (Continued) Basic trimming If you are fine-tuning and trimming simple edits at the early stages of a project, you can view the sequence in Heads and Tails view to see a display of the first and last frame of every clip. You cannot use Trim mode in this view. Using the Timeline Fast Menu You can customize the appearance of the Timeline by using various options from the Timeline Fast Menu.
Customizing Timeline Views Option Description (Continued) Clip Text Displays a submenu of clip text display options. Sync Breaks Displays a submenu of sync break display options; see “Fixing Sync Breaks” on page 610. Dupe Detection Enables color-coded dupe material display for V1 track; used in 24p projects and matchback projects. See “Dupe Detection” on page 724. Color Correction Displays indicator lines to show which segments have Source or Program color correction.
Customizing Timeline Views 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 709. 2. Do one of the following: t Select Edit > Enlarge Track or Edit > Reduce Track.
Customizing Timeline Views You can control which types of clip coloring to enable, and customize the colors themselves. Clip color options are saved when you save a customized Timeline View, so you can set up several coloring schemes and then switch between them. For more information, see “Managing Customized Timeline Views” on page 686. Displaying clip colors overrides any track color you assign from the Timeline Fast menu. n For HD and SD projects, DVCPRO HD clips are colored light red.
Customizing Timeline Views 2. Select one or more of the following: Option Description Resolution Tracking Colors clips to indicate the availability of particular resolutions in a MultiRez environment. For more information, see “Using Clip Coloring to Show Available Resolutions” on page 1275. 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.
Customizing Timeline Views Changing the Track Color To change the color of the selected tracks in the Timeline: 1. Click in the Timeline to activate it. 2. Select the tracks whose color you want to change. 3. Click the Timeline Fast Menu button, and select Track Color > color. 4. (Option) If you want to choose a custom color for the tracks, press the Alt key (Windows) or Option key (Macintosh) while performing this procedure.
Customizing Timeline Views 2. Select Timeline Local, and then click OK. 3. Select one of the segment tools in the Timeline palette, and select a clip you want to color. 4. Do one of the following: t Select Edit > Set Local Clip Color > color to select a standard color. t Select Edit > Set Local Clip Color > Pick to select a custom color from the Windows Color dialog box. The assigned local color appears in the clip in the Timeline. To remove a local clip color: 1.
Customizing Timeline Views To change the display of markers in the Timeline: 1. Load a sequence that contains markers into the Record monitor. 2. Click the Timeline Fast Menu button, select Show Markers, and then select the colors of the markers you want to display in the Timeline. The Timeline displays only those markers with the colors you selected.
Customizing Timeline Views To disable the Smart tool using the Timecode ruler or the Timecode track: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens, displaying a list of your current Timeline settings. For more information, see “Timeline Settings” on page 1436. 2. Click the Edit tab, and select Clicking the TC Track or Ruler Disables Smart Tools. 3. Click OK.
Customizing Timeline Views 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 Extract/Splice-in Inserts marked source material into the sequence without replacing material already in the sequence. 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.
Customizing Timeline Views 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 693.
Customizing Timeline Views Track Control panel Component Description Waveform Turns on or off the waveform display for individual tracks. Clip Gain/Pan Turns on or off the clip gain, auto gain, and pan display for individual tracks. Inactive Removes a track from audio monitoring so you can play back your sequence without process the plug-in effects or automation for the inactive track. Solo Allows you to monitor a single track of audio without deselecting other tracks.
Customizing Timeline Views 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. This feature is useful when you edit with a sequence or subclip created from a sequence. You can also use it to look at the contents of any source clip in a Timeline display. n Heads and Tails view is disabled when you are displaying material from the Source monitor.
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 112. 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.
Customizing Timeline Views Managing Customized Timeline Views You can save a customized Timeline view. Timeline views appear in the Settings list in the Project window. You can save, rename, and copy multiple views. Your Avid editing application saves the Timeline information from the Timeline Fast menu with each view. You can select alternate views from the View menu located in the Timeline bottom toolbar. The Timeline view is labeled Untitled until you name and save a customized Timeline view.
Customizing Timeline Views Using Timeline View Buttons The More tab of the Command Palette contains eight Timeline View buttons that you can use to switch between Timeline views. You can map these buttons to any mappable button location or to the keyboard, or you can use them directly in the Command Palette. You must create at least one Timeline view to use the Timeline View buttons. For more information, see “Managing Customized Timeline Views” on page 686.
Navigating in the Timeline t In the More tab of the Command Palette, select Active Palette, and then click the Timeline View button. Navigating in the Timeline The Timeline window provides various controls for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing. You can use the position indicator, the Timeline scroll bar/position bar, the Timeline scale bar, the Zoom In and Zoom Back commands, or the Focus button.
Navigating in the Timeline When you move the position indicator in the Timeline, the smaller position indicator within the Record monitor’s position bar also moves. By default, the Timeline scroll bar appears on the right side of the Timeline bottom toolbar. You can drag the scroll slider to reposition yourself within the Timeline, or click the arrows to scroll left or right.
Navigating in the Timeline Switching to the Timeline Position Bar To switch to the Timeline position bar: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens. 2. Select the Show Position Bar option in the Display tab. A check mark appears in the box. To deselect an option, click it again. 3. Click OK. The scroll bar changes to a position bar. n For information on all Timeline settings, see “Timeline Settings” on page 1436.
Navigating in the Timeline To zoom in the Timeline using the scale bar: 1. Click the scale slider, and drag it to the right. The Timeline expands horizontally and shows more detail. The position indicator splits into a solid blue line and a dotted blue line (or “shadow”), marking the beginning and end of the current frame. You can click either the line or the shadow to move exactly one frame forward or back. 2. To shrink the Timeline to its original size, drag the scale slider back to the left.
Navigating in the Timeline Controlling Movement in the Timeline While working in the Timeline window, you can use modifier keys to control the movement of both the position indicator and any segments that you move. The motion mode indicator in the Timeline toolbar displays a specific icon, depending on the keys you press to facilitate your movement within the Timeline. Motion Mode Icon Description Snaps the position indicator to head frame. Snaps the position indicator to tail frame.
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).
Working with Segments Guidelines When Selecting Segments • 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. • With a group or with linked clips, you can click any selected segment to drag the entire group to a new position.
Working with Segments 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. If you have Link Selection enabled, all segments linked to your selection are selected in the Timeline. If you Shift+click a selected segment, all segments linked to your selected are deselected as well. 3.
Working with Segments Avid editing application treats these tracks as linked so that when you select a segment, the application automatically selects any linked segments. You can select linked clips for both segment editing and trim editing. The following apply to linked clip selection: • Track linking affects segments. If you use the same master clip in more than one place in your sequence, each segment maintains its own linking relationship unless the segments overlap in the Timeline.
Working with Segments To select linked clips: 1. Click a segment with linked clips. The application selects all linked segments. 2. (Option) If you want to select additional linked clips, Shift+click additional segments. 3. (Option) If you want to deselect selected segments, Shift+Alt+click (Windows) or Shift+Option+click (Macintosh) a linked segment.
Working with Segments To select segments on enabled tracks using the multiple segment selection buttons: 1. Move the position indicator to the first or last segment you want to select. 2. Select Tools > Command Palette, and click the Edit tab. 3. Do one of the following: t Click the Select Left button to select segments under the position bar and all segments to the left. t Click the Select Right button to select segments under the position bar and all segments to the right.
Working with Segments Four-frame display. The two outer frames indicate ending and beginning frames of clips before and after the segment. The two inner frames represent the start and end frames of the segment. The offset counter is highlighted. When you drag the segments, the original highlighted segment remains in place, while a “ghost” segment enclosed in a dotted white box moves along with the pointer until you release it at a new edit point.
Working with Segments As you drag the segment, the monitors maintain their Source/Record configuration rather than shift to the four-frame display or two-frame display. 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.
Working with Segments Top: before segment drag sync lock, showing the segment that will move. Bottom: after segment drag sync lock, showing the moved segment and filler added after the move (left), and the filler left in the original location (right). Moving Segments with Drag and Drop You cannot move segments to locked tracks. If you attempt to drop a selection on a locked track, the move fails and all selected segments return to their original position in the Timeline.
Working with Segments If you used the Lift/Overwrite method, the system lifts the selected segment from its old position, leaving black filler, and then overwrites the material onto the sequence at the newly selected location. n If the segment contains transition effects, and you move or extract the segment, the transition effect remains. For information about how the system preserves transition effects, see “Transition Effect Preservation” in the Help.
Working with Segments By default, your Avid editing application deletes the selected segment and leaves blank space or silence in its place (a Lift segment edit). You can use In and Out points to perform a standard Extract edit. You can also delete segments by using the Cut command. See “Cutting, Copying, and Pasting in the Timeline” on page 704. To delete segments quickly: 1.
Working with Segments The mouse pointer arrow changes to a large red or yellow arrow when inside the Timeline, depending on where you position the pointer or which segment tool you click. 2. Click one or more segments to highlight a section of the sequence. 3. Click the Mark Clip button. The system marks an In point at the start and an Out point at the end of the selected segments. If you selected more than one track, the In and Out points mark where the edit points across tracks line up.
Working with Segments 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 For information on editing multiple clips directly from the bin into the RecordSource/Record monitor, see “Creating an Instant Rough Cut” on page 582. 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.
Working with Multiple Tracks t Press the B key to perform an overwrite edit, which causes the clip to overwrite material of the same length in the sequence while maintaining the same duration of the sequence. The Timeline reflects the new edit. 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.
Working with Multiple Tracks Track Selector and Track Control panels, with Source tracks (left) and Record tracks (right). See the following table for a list of Track Selector buttons. 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 5.1 Surround Track Monitor button Audio 7.
Working with Multiple Tracks Selecting Tracks You can select tracks on the source side or the record side of the Track Selector panel to control your options for editing. For example, you might select the source and record tracks for V1, A1, and A2 to edit picture and audio from the source clip into the sequence. To edit the picture without sound, select only V1 source and record tracks. To edit the sound without the picture, select only A1 and A2 source and record tracks.
Working with Multiple Tracks To use a Command Palette button for track selection, do one of the following: 1. Click the appropriate button in the location to which you have mapped it. 2. Press the key on the keyboard that you have associated with the track button. 3. In the Tracks tab of the Command Palette, select Active Palette, and then click the track button. To deselect a track: t Click the Track button of any active track.
Working with Multiple Tracks The following characteristics apply to audio track monitoring: • The system pans odd-numbered mono tracks to the left speaker and even-numbered mono tracks to the right speaker by default. Stereo tracks include channels for the left and right speakers, with the stereo mix panned to the center.
Working with Multiple Tracks Monitoring and Soloing Tracks The Track Monitor buttons allow you to choose which tracks to monitor in the Source monitor, the Record monitor, and the speakers. You can monitor a single track or monitor multiple tracks at the same time. You can also isolate, or solo, an individual track for monitoring without having to deselect other tracks.
Working with Multiple Tracks To deselect solo monitoring: t Click the Track Monitor button or the Solo button again. Patching Tracks When working with multiple tracks, you can encounter a circumstance in which you must edit source audio or video onto a track other than the parallel track displayed in the Track Selector panel. To edit the source material onto another record track above or below it, you must patch the source track to the targeted record track.
Working with Multiple Tracks Audio patch from a source track to an audio record track (left) and the new source track order identifying the patch (right). n After you patch tracks, it is helpful to display the destination track of the clips in the Timeline. Select Clip Text > Clip Tracks from the Timeline Fast menu to display the destination track. To undo a patch: 1. Click in the Record monitor or Timeline. 2. Select Special > Restore Default Patch, or manually repatch to the previous track.
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 715. 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.
Working with Multiple Tracks 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 also add a data track, which is used for ancillary data. For more information, see “Preserving HD Closed Captioning and Ancillary Data” on page 1091.
Working with Multiple Tracks 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. (Option) Select the type of track you want to add (for example, a video or an audio stereo track) by clicking the Track Type menu, and selecting that option. 3.
Working with Multiple Tracks 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.
In to Out Highlighting in the Timeline All stereo tracks in the Timeline split into two separate mono tracks, with the new mono tracks added below each original stereo track. . A copy of your original sequence is saved to your bin as [sequence_name].Copy.[number]. 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.
Editing in Heads or Heads Tails View 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. To turn the highlighting feature on and off: t Select the Show Marked Region option in the Display tab of the Timeline Settings dialog box.
Performing a Quick Edit Using the Top and Tail Commands Heads view (top) and Heads Tails view (bottom) in the Timeline. Heads view shows the Head frame for each clip. Heads Tails view shows both the head and tail frames for each clip. 3. Press and hold the Alt key (Windows) or Option key (Macintosh), click the frames representing the clip you want to move, and drag the clip to its new position. The sequence is rearranged to match the changes you made.
Working with Add Edits (Match Frames) t Click the Tail button to extract footage from the position indicator to the end of the clip or segment. Working with Add Edits (Match Frames) The Add Edit function places an artificial edit point between frames of a clip. The edit appears in the Timeline as a transition between two clips, but when you play the clip, the footage appears unchanged because the frames are continuous. This form of edit is also known as a match frame.
Dupe Detection n By default, the match-frame indicator is white. If a change in level occurs, the match-frame indicator changes to red. To add an edit to filler clips at the position indicator: 1. Move the position indicator to the selected frame. 2. Alt+click (Windows) or Option+click (Macintosh) the Add Edit button. The edit appears on all tracks with filler in the sequence at the position indicator. To remove match-frame edits: 1.
Dupe Detection Two duplicate frames marked above the clip in the Timeline by the automatic Dupe Detection feature Orange bars mark the first set of duplicate frames, green bars mark the second set, and so on. You can use Dupe Detection while you edit to locate duplicate frames, and remove them as the sequence evolves. Activating Dupe Detection n c You can change the handle size used by Dupe Detection in the Edit tab of the Timeline Settings dialog box.
Dupe Detection 1 2 3 Example of a splice on a safety frame. Frames 1 and 3 are still usable, but frame 2 has been cut in the middle and is lost. In 16mm film editing (using the multiple-strand method), labs sometimes use the zero-frame cutting method to avoid seeing each splice in a 35mm blowup print. In this method, the negative is conformed along with the handles so that the cuts appear as soft frame handles rather than jumps in the resulting 35mm blowup.
Editing with the Film Track Adjusting Handle Length in Dupe Detection To adjust handle lengths in Dupe Detection: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens. 2. Click the Dupe Detection Handles menu in the Edit tab, and select the number of handle frames. The typical 35mm safety frame setting is 0.5 frame (amounting to a 1-frame total with both sides of a cut). 3. Click OK. The selected value is applied to the head and tail of every event.
Tracking Color Frame Shifts To quickly view more frames as you scroll: t Drag the resize box in the lower right corner of the Timeline for a full-screen view. You can reduce the size of Timeline tracks to wrap the sequence around several times. As you continue to scroll, each strand of the Timeline wraparound is updated.
Finding Black Holes and Flash Frames Example of color-framing boxes. Top: color sync signals are in phase and the boxes align horizontally. Bottom: color-sync signals are out of phase. 3. Trim one frame at a time on one side of the transition or the other until the green boxes align and the color-frame phase bars stop blinking. If you pay attention to color framing while editing, you do not need to think about it when assembling your master tape.
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.
Activating and Deactivating I/O Hardware Activating and Deactivating I/O Hardware The editing application includes a hardware toggle button in the Timeline. This allows you to switch between hardware and software editing modes. The hardware toggle button appears in the Timeline if I/O hardware is attached when you launch the editing application. This includes Avid Nitris DX and Mojo DX hardware and 3rd party Open I/O hardware.
17 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.
Trimming with the Timeline Palette 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 Small Trim display — replaces Record monitor in two-monitor view. Outgoing and incoming frames appear side-by-side on the right, with playback loop parameter controls above them, and with frame offset counters and Trim buttons beneath them. Quick Trim Display If you display only the Record monitor (for example, as you review the final version of a sequence), you can use Quick Trim display for making quick adjustments to transitions in your sequence.
Setting Small Trim Display n When you click the Trim Mode button with the Record monitor active, the system enters Big Trim display. If you click the Trim Mode button again, the interface switches back to the Record monitor. This toggle feature is useful if you like to trim quickly as you finish your sequence. Big Trim Display Big Trim display replaces the Source and Record monitors with displays of outgoing and incoming frames. Big Trim display also shows transition playback loop parameters.
Trim Settings Overview Trim Settings Overview You can customize how trimming works from the Trim Settings dialog box. The Trim Settings dialog box has two tabs: Features and Play Loop. The Play Loop feature continuously replays the last trim you performed for review purposes. You can learn about specific Trim settings as follows: • For setting some default behavior for trimming, see “Dual-Roller Trimming” on page 744.
Selecting Trim Sides As you move the pointer back and forth across a transition, notice that the roller icon changes from an A-side roller (facing left), to a dual roller, to a B-side roller (facing right) to indicate the type of trim. Trim icons for the outgoing frames of the A-side clip (left) and the incoming frames of the B-side clip (right) The following table describes the kinds of trim you can perform in each zone adjacent to your transition.
Selecting Trim Sides Single trim rollers: Overwrite trim selected (left), Ripple trim selected (center), Dual-roller trim selected (right) • Your Avid editing application highlights one or both of the frame counter indicators below the monitors to reflect the active trim sides: A-side, B-side, or both. The number indicates the frames added to or subtracted from the transition. When you clear your trim selections, the trim tools remain active.
Selecting Trim Sides t Shortcut Key Selection S Next transition Use the Trim Counter frame indicators located below the monitors. Click the A-side or B-side of a frame indicator to select single-roller trimming, or Shift+click both frame indicators to select dual-roller trimming. The Trim Counter frame indicators: A-side (left) and B-side (right). The counter is purple when the side is active.
Selecting Trim Sides To change only the trim rollers on the video tracks: t Alt+click (Windows) or Option+click (Macintosh) either the outgoing monitor or incoming monitor, or either the A-side or the B-side. The trim rollers change only on the video tracks. To return to the last position of the trim rollers: t Press the Alt key when you click the Trim Mode button. Selecting Additional Transitions You can select additional transitions for trimming in different contexts.
Overwrite Trimming You can select and trim two heads or tails simultaneously, in any combination, for each track in the sequence. All selected transitions are trimmed the same number of frames. This lets you save time and, in some cases, maintain sync by performing a single-trim procedure across multiple tracks and transitions. Tail frames on two clips selected for simultaneous trimming across an overlap edit To select transitions on clips linked by common source and timecode: 1.
Overwrite Trimming If you enable link selection, clicking a transition also selects transitions on linked segments (see “Linked Clips” on page 695). To perform and overwrite trim: 1. Do one of the following: t Select the Overwrite Trim tool on the Timeline palette, and then click a transition to select it for trimming. Shift+click to select multiple clips aligned at the same transition. t Select the Overwrite Trim tool on the Timeline palette, and then lasso the transitions in the Timeline.
Ripple Trimming 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. However, ripple trims can change the duration of your sequence if you select all tracks, and it can break synchronization with any unselected track.
Dual-Roller Trimming Dual-Roller Trimming Using a dual-roller trim allows you to move the transition point between segments without changing the duration of the sequence. This adds frames to one side of the transition and subtracts them from the other side. There are several ways to select a transition for dual-roller trimming. Which method you use depends on your editing workflow.
Refining Trims If the transitions are a straight cut, the system selects all selected tracks. If the nearest transition is an overlap edit with staggered transition points, the system selects the next transition where all selected tracks have transitions at the same point. t Click the Play Loop button on a palette twice, or press the Play Loop key on the keyboard twice. When you click the Play Loop button once, the system plays the transition in a playback loop.
Reviewing Trim Edits For greater control while performing a trim, do one of the following: t Press Ctrl+Alt (Windows) or press the Command+Option key (Macintosh) as you drag one frame at a time. t Press the Ctrl key (Windows) or Command key (Macintosh) to snap to other transition points. As you trim, all selected transitions in the Timeline move in unison.
Trimming On-the-Fly n You must display two rows of buttons in the Composer window to see the trim controls. For more information, see “Composer Settings” on page 1367. 4. To stop the playback loop, click the Play Loop button again. 5. To deselect trim points, click the Source/Record Mode button. To review footage starting from the previous transition: 1. Move the position indicator to the transition you want to review. 2. Click the Edit Review button.
Using Dual-Image Playback During Trims The monitors and the Timeline update to reflect the trim. Using Dual-Image Playback During Trims Dual-image playback lets you view A-side and B-side frames in real time while performing a trim. You can play through the transition by using the J-K-L keys or the Play and Trim buttons. n Using the Dual Image Play option disables real-time effects. To use dual-image playback during trims: 1. Double-click Trim in the Settings list in the Project window.
Creating Overlap Edits If you are having difficulty determining which side of the transition to trim (for example, during a difficult audio edit), use the Go to In and Go to Out keys to review only one side. Your Avid editing application performs the trim before the next playback loop. You can then view the trimmed transition during playback and make further changes until you are satisfied with the result. 4. When you finish, exit the playback loop by doing one of the following: t Press the space bar.
Extending an Edit 3. (Option) You can also create an overlap edit for an audio track by using the Audio Mark buttons (see “Marking Audio Clips” on page 522). Extending an Edit Use an extend edit to perform dual-sided (A-side and B-side) trims on selected tracks. An extend edit lets you quickly create a split edit without selecting trim sides at a transition. It also lets you establish the exact frame that you want to trim to by using the position indicator.
Maintaining Sync While Trimming Maintaining Sync While Trimming Because single-roller trims (A-side or B-side) can change the duration of the track being trimmed, any relationships that exist with other tracks downstream of the trim lose sync.
Slipping or Sliding Segments If you trim the B-side of the transition in the same direction, the additional sync-locked segments slide back in the sequence to maintain sync until they encounter another segment in the same track. At this point, you can trim no further and the system emits a warning sound. - When you trim back the A-side of a transition, additional segments locked in sync move back as well.
Slipping or Sliding Segments The type of trim you perform (slip or slide) determines which frames update: • In slip trimming, the two inner monitors for the head and tail frames of the clip change because this adjusts only the contents of the clip. It does not affect the frames that precede and follow the clip. 1 2 3 4 2 3 4 5 Example of a one-frame slip to the right. The head and tail frames of the segment change by one frame. The material before and after the segment remains fixed.
Slipping or Sliding Segments Four-frame display for slip and slide trimming. Left to right: outgoing video at position indicator, head and tail frames of the selected clip, incoming video at position indicator. Selecting Segments for Slip or Slide Trimming To select segments for slip or slide trimming by dragging a lasso: 1. In Source/Record mode, select a segment for slipping or sliding. 2. Drag a lasso from right to left around a segment (two or more transitions).
Slipping or Sliding Segments To select segments for slip or slide trimming: 1. Position the mouse pointer over one of the transitions for the segment you want to trim so the pointer changes to a trim icon, and double-click the transition to select the segment for slip trimming. 2. To select a segment for slide trimming, double-click the transition.
Trimming in Two Directions To slip a shot in Source/Record mode: 1. Select the tracks for the clips to be slipped. 2. Move the position indicator within the shot that you want to slip. 3. Slip the shot by doing one of the following: t Click the Slip Left button to slip the shot one frame left (revealing later material from the source clip). t Click the Slip Right button to slip the shot one frame right (revealing earlier material from the source clip).
Using the Transition Corner Display 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.
Using the Transition Corner Display To trim a transition using the Transition Corner Display: 1. Select a transition effect for trimming by doing 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 Lasso the effect in the Timeline from right to left.
18 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.
Overview of Audio Tools • Splitting Multichannel Tracks to Mono Tracks • Using the Audio EQ Tool • Recording Voice-Over Narration 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 788.
Overview of Audio Tools You can arrange these tools in a single, tabbed tool window to make it easy to switch to another tool. To access one of the audio effect tools: t Select Tools > tool name. To keep more than one tool open at the same time: t Select Tools > tool name, and then drag the tool to a tabbed tool window. To prevent confusion, your Avid editing application allows only one copy of an audio effect tool to be open at a time. For example, you can open only one copy of the Audio EQ tool.
Working with Multichannel Audio Tracks 5. Click the Destination Track menu, and select the target auxiliary timecode bin column for recording the audio timecode. Auxiliary TC1 is the default selection. 6. Do one of the following: t Select Fill Undecodeable Frames to instruct the system to fill in any timecode breaks with continuing timecode. This is the default. t Deselect Fill Undecodeable Frames if you do not want to fill timecode breaks.
Working with Multichannel Audio Tracks a 5.1 or 7.1 surround sound clip uses six or eight voices. You can monitor up to 64 voices with your Avid editing application — for example, 16 mono tracks, 8 stereo tracks, or two 7.1 surround sound tracks. You can edit multichannel audio tracks in the same way you edit mono audio tracks. Your Avid editing application supports the following audio track formats: • Mono • Stereo • 5.1 surround sound • 7.
Working with Multichannel Audio Tracks If you duplicate a clip in a bin and modify the track format in the copy, you can create a sequence that contains both a multichannel and a mono instance of the same master clip. This does not cause a problem with editing, playback, or any other operation. You can also split multichannel tracks in the Timeline into mono tracks. for more information, see “Splitting Multichannel Tracks to Mono Tracks” on page 837.
The Track Control Panel t Click the Format menu on a Format button and select the appropriate multichannel 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 multichannel tracks. Mono tracks Sets the paired audio tracks to two mono tracks. Stereo tracks Sets the paired audio tracks to one stereo track. 5.1 Surround Sets the selected tracks to one 5.
The Track Control Panel Component Description Waveform Turns on or off the waveform display for individual tracks. Clip Volume/Pan Turns on or off the clip volume and pan display for audio tracks. Inactive Disables a track so you can play back your sequence without processing the plug-in effects or automation for the inactive track. Solo Allows you to monitor a single track of audio without deselecting other tracks. RTAS plug-ins Lists the RTAS plug-ins inserted on the track.
The Track Control Panel Soloing Audio Tracks You can solo multiple tracks in the Timeline, which lets you do the following: • Listen to several tracks at once without deactivating or deselecting the other audio tracks off or reducing volume. • Isolate audio tracks for audio scrubbing without having to deselect monitoring of all other audio tracks. For more information about audio scrubbing, see “Using Audio Scrub” on page 768. n You can also use the Track Solo buttons in the Audio Mixer tool.
Using Audio Scrub Icon State Description Primary active track — Audio information in these tracks is not dropped when the play speed increases during scrubbing. Active track — Audio information in these tracks might be dropped when the play speed increases during scrubbing, depending on your settings and track effects. Inactive track — Voices and audio plug-ins are not processed for these tracks during playback.
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.
Using Audio Scrub 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.
Using Audio Scrub (outgoing frames) as you scrub. You should avoid increasing the number of sampled frames on both sides at once because this can make it difficult to isolate an edit point or trim point based on the location of the position indicator. To adjust the parameters for digital scrub: 1. Double-click Audio in the Settings list in the Project window. The Audio Settings dialog box opens.
Audio Displays in the Timeline Step Buttons. Left to right, top to bottom: 1 frame backward, 1 frame forward, 10 frames (8 frames for 24p) backward, or 10 frames (8 frames for 24p) forward 4. When you find the correct frame, mark the location, trim the transition, or perform any other function you choose. When you sample incoming frames (with the default scrub parameters, for example), the system places the position indicator at the head of the last sampled audio point.
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. The editing application saves cached waveforms for projects. This allows the waveform to draw faster the next time you open the project.
Audio Displays in the Timeline 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). t To reduce the height of selected audio tracks and subsequently the waveform display, press Ctrl+K (Windows) or Command+K (Macintosh).
Audio Displays in the Timeline Displaying Volume and Pan Values You can view the volume and pan automation values in the Timeline, including surround sound pan values for sequences using a surround sound mix. If you choose to view volume and pan on individual tracks rather than on the entire sequence, you can view volume values on one track and pan values on another. When you display pan information in surround sound sequences, you can select which speaker layout you want to view.
Audio Displays in the Timeline 2. If you want to view pan values for individual tracks, click the Clip Volume/Pan button in the Track Control panel for the tracks you want to display pan information, and select the appropriate pan option: t Pan t Pan L > [speaker layout] t Pan R > [speaker layout] The pan values appear in the selected tracks. 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.
Audio Displays in the Timeline Using Audio Meters in the Timeline The Audio meters in the Timeline let you view and adjust audio levels without opening the Audio tool. The Meter menu options are the same options as those available in the Audio tool. For more information, see “Understanding the Audio Tool” on page 203. 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.
Audio Displays in the Timeline (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.
Displaying Audio Formats in Bins 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.
Working with Surround Sound Audio Mixing Format Surround Format Stereo n Speaker Layout Left, Right 5.1 Film Left, Center, Right, Left surround rear, Right surround rear, LFE 5.1 SMPTE Left, Right, Center, LFE, Left surround rear, Right surround rear 7.1 Pro Tools Left, Center, Right, Left surround side, Right surround side, Left surround rear, Right surround rear, LFE 7.
Working with Surround Sound Audio The Output tab in the Audio Project Settings dialog box lets you select which surround sound option you want to use when you export a sequence with surround sound audio. You can also use the Output tab to select the 5.1 or 7.1 option to designate a project with surround sound audio even if you do not have surround tracks in your sequence.
Working with Surround Sound Audio Surround sound audio tracks contain an individual channel for each signal in the track (for example, a 5.1 track has six channels, one each for left, center, right, left surround, right surround, and LFE). You can add surround sound master clips to your project in different ways: • You can capture the audio from your source (see “Selecting Source Tracks and Audio Channels” on page 189).
Working with Surround Sound Audio Sequence format Speaker Layout Mono Mono: Audio channels panned to center Stereo Mono: L and R channels panned to center Stereo: L and R channels panned to Left/Right 5.1 Mono: All channels panned to center Stereo: C and LFE channels panned to center; L and R channels panned to Left/Right; Lr and Rr channels panned to Left/Right and volume lowered by 3dB 5.1: All channels panned to the appropriate speakers, depending on 5.1 format of the sequence 7.
Working with Surround Sound Audio L C R (-3 dB) Lsr Rsr LFE (-3 dB) L C R Top: 5.1 Film sequence format; bottom: stereo speaker layout, with center pan indicated by the double arrow In addition to monitoring your audio through your speakers, you can monitor surround sound audio as it plays by watching the channel faders in the Audio Mix tool and in the Audio tool. When playing a sequence in the Timeline, the Audio Mix tool matches the default 5.1 Film surround sound format or the default 7.
Working with Surround Sound Audio Audio Mixer tool: Monitor Mix Format button 2. Click the Monitor Mix Format button and select one of the following: t 5.1 Film: L C R Ls Rs Lfe t 5.1 SMPTE: L R C Lfe Ls Rs t 7.1 Pro Tools: L C R Lss Rss Lsr Rsr Lfe t 7.1 SMPTE: L R C Lfe Lsr Rsr Lss Rss When you play a clip in the Source monitor, the monitor mix respects the channel order used when you captured the audio.
Working with Surround Sound Audio Channel Speaker XLR Channel 3 Left Rear XLR Channel 4 Right Rear To set up for an analog audio output: 1. Double-click Audio Project in the Settings tab of the Project window. The Audio Project Settings window opens. 2. Click the Output tab. 3. Click the Analog tab. 4. Depending on your setup, select Use as Output to Tape Deck or Use as Desktop Surround Monitors. 5. Click the Mix Mode Selection Menu button to select Direct Out. 6.
Adjusting the Play Buffer Size for Audio (Software-only Models) Channel Speaker 1 Left 2 Right 3 LFE or Subwoofer 4 Center 5 Left Rear 6 Right Rear To set up for a surround sound (HDMI) audio output: 1. 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 Direct Out, then select First six tracks are 5.1 surround: L, R, C, LFE, LR, RR. 4. Click the HDMI tab. 5.
Using the Audio Mixer Tool Avid strongly recommends that you use the default “recommended sample” setting, which is determined by the host audio device connected to your system. For more information on the Buffer Size in Samples sliders, see “Audio Settings” on page 1353. To adjust the samples in the play buffer or tools buffer: 1. Double-click Audio in the Settings tab of the Project window. The Audio Settings window opens. 2.
Using the Audio Mixer Tool Accessing the Audio Mixer and Audio Mixer Modes To open the Audio Mixer tool, do one of the following: t If one of the Audio tools is already open, click the Effect Mode Selector menu, and select Audio Mixer. t Select Tools > Audio Mixer. The Audio Mixer tool opens. To select the Audio Mixer mode, do one of the following: t Click and hold the Audio Mixer mode button, and select the mode from the menu.
Using the Audio Mixer Tool 2 Element Description (Continued) Monitor Mix button Controls how your system interprets audio values during playback: • Stereo: Mixes the currently monitored audio tracks into a stereo pair. Depending on your Avid input/output hardware, you can customize the mix using the Stereo Mix Tracks option. • Mono: Pans all the currently monitored tracks to center and ignores pan effects. • 5.
Using the Audio Mixer Tool Element Description (Continued) 8 Display/Hide Sliders Lets you switch between hiding and displaying the Volume Level sliders. button 9 Which Set of Tracks Lets you select which enabled tracks to display in the mix panes. When you display to Display in Mix 8 panes (with the Number of Mix Panes button), Grp 1 displays tracks 1-8. Click the Panes buttons Which Set of Tracks to Display in Mix Panes button to change it to Grp 2, which displays tracks 9-16.
Using the Audio Mixer Tool Element Description 1 Pan value and knobs Displays the pan value and lets you adjust it. These controls appear only when you select a surround sound format using the Sequence Mix Format menu or when you set Stereo, 5.1 Surround, or 7.1 Surround as output in the Audio Project settings. 2 Track Solo and Track Lets you solo or mute selected tracks.
Using the Audio Mixer Tool To add or remove items such as faders, legends, effect buttons, and the solo and mute buttons: 1. Right-click in the Audio Mixer tool and select Set Display Options. The Mix Tool Display Options dialog opens 2. Select the items you want to appear in the Audio Mixer Tool. 3. Click OK. To switch between displaying four tracks and eight tracks: t Click the Number of Mix Panes button. To show or hide the Volume Level sliders: t Click the Display/Hide Sliders button.
Using the Audio Mixer Tool 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. On Symphony systems, 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. (Symphony) You do not have to reposition the faders on the 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.
Audio Volume Staging and an Audio Editing Workflow Audio Volume Staging and an Audio Editing Workflow You can adjust the volume of an audio clip at several points during an editing session. For example, you can adjust volume using the Audio Mixer tool in Clip Volume mode and Volume and Pan Automation mode. Also, the EQ tool and many of the AudioSuite and RTAS plug-in effects let you modify the volume of the clip.
Using Clip Volume and Pan Mode In this workflow, the Audio Mixer tool in Volume and Pan Automation 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 788. Using Clip Volume and Pan Mode The Audio Mixer tool in Clip Volume 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.
Using Clip Volume and Pan Mode Adjusting Clip Volume and Pan for Audio Tracks To adjust clip volume 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 Volume and Pan Mode The keyboard can control either the Source or Record monitor, depending on which monitor was active when you opened the Audio Mixer tool. Switch your selection by clicking the appropriate monitor. 7. Decide whether to raise or lower the volume.To change an audio level value in a mix pane, do one of the following: t Click a number along the vertical edge of the Level slider. t Click the Level slider, type a value, and press Enter (Windows) or Return (Macintosh).
Using Clip Volume and Pan Mode t Alt+click (Windows) or Option+click (Macintosh) the Pan Value display for MID. t If you are working with a stereo sequence, two Pan controls appear in the Audio Mix tool for each track. Click the Pan control, and then drag the control to a new position. Drag left or up to pan to the left, or drag right or down to pan to the right.
Using Clip Volume and Pan Mode The following illustration shows the Pan grid and the Advanced Panner for mono tracks. Stereo tracks include a second Pan grid and Advanced Panner. 3 4 1 2 5 6 7 8 9 10 11 12 13 14 The following table describes the Pan grid and Advanced Panner controls: Element Description 1 Pan Grid Allows you to input pan information by dragging the Pan Location cursor anywhere within the grid. 2 Advanced Panner button Opens the Advanced Panner.
Using Clip Volume and Pan Mode Element Description 5 LFE slider Indicates the amount of the audio signal routed to the LFE channel. Scale is 0 - 100. 6 Speaker icon Allows you to snap the Pan Location cursor to the selected speaker. This pans the audio fully to that speaker position. 7 Volume Level sliders Lets you adjust the volume level of the clip. 8 Audio meter Displays the volume level for each channel in a track.
Using Clip Volume and Pan Mode 3. In the Audio Mixer tool, select the audio track to be adjusted by doing one of the following: t Click the Track Selection button for the appropriate audio track. t Alt+click (Windows) or Option+click (Macintosh) the Track Selection button, and then select a track. 4. 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 pan adjustments. 5.
Using Clip Volume and Pan Mode 4. 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 pan adjustments. 5. Click the Advanced Panner button. The Advanced Panner opens. 6. (Option) If you are working with a stereo track, click the Stereo Link button if you want to link the two Pan controls so that when you move one control the other moves correspondingly.
Using Clip Volume and Pan Mode You can snap the Pan Location cursor to one speaker position by double-clicking a speaker icon. This pans the audio fully to that speaker position. For example, if you click the upper left speaker icon, the Pan Location cursor moves to the upper left corner of the grid and pans the audio fully to the left speaker position. 8. When you finish adjusting pan with the Advanced Panner, click the Close button to return to the Audio Mixer tool.
Using Clip Volume and Pan Mode t Alt+click (Windows) or Option+click (Macintosh) the Track Selection button, and then select a track. 4. 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 pan adjustments. 5. Click the Advanced Panner button. The Advanced Panner opens. 6. Turn the Center Percentage control as needed. 7.
Using Clip Volume and Pan Mode 2. Select Clip Volume and Pan mode by doing 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 Mixer mode settings to Auto. 3. In the Audio Mixer tool, select the audio track to be adjusted by doing one of the following: t Click the Track Selection button for the appropriate audio track.
Using Clip Volume and Pan Mode 7. When you finish adjusting the LFE with the Advanced Panner, click the Close button to return to the Audio Mixer tool. Audio Mixer Fast Menu: Clip Volume 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.
Using Clip Volume and Pan Mode Command Description Set Display Options Opens a dialog that allows you to add or remove items such as the faders, legends, effect buttons, and the solo and mute buttons in order to save space in the Audio Mixer Tool. Note the following: • The commands in the Fast menu appear dimmed until you select a track. • Levels set in master clips carry across to the sequence after you edit the clips.
Using Clip Volume and Pan Mode For more information on the Audio tool, see “Understanding the Audio Tool” on page 203. For information on improving response time, see “Improving Response Time When Adjusting Volume” on page 810. n For additional ways to change the volume while playing audio, see “Understanding Volume or Pan Automation Recording” on page 817. To adjust volume while playing a Clip Volume effect: 1. Do one of the following: t Select an existing Clip Volume effect.
Using Clip Volume and Pan Mode You can also do any of the following: • Monitor as few audio tracks as possible. • Deselect the video track, if practical. • Use In and Out points to select a narrow interval to adjust. Modifying How Your Avid Editing Application Interprets Pan The way you record footage in the field and capture it with your Avid editing application affects the way sound pans between the speakers.
Using Clip Volume and Pan Mode Using the Center Pan Command You can use the Center Pan command on source material in bins. Use it prior to editing or at any time during the editing process. Instead of adjusting pan on individual clips by using the Audio Mixer tool, Center Pan lets you create a standard distribution of audio between left and right speakers. You can adjust the pan on selected clips or all clips with a single command.
Using Volume and Pan Automation Using Volume and Pan Automation Volume and pan automation lets you change the volume or pan values of a segment by adding and manipulating volume or pan automation keyframes in the Timeline. The following illustration shows an expanded audio track containing volume keyframe information. Example of the graphic representation of keyframes and volume ramps in the Timeline. Volume values in decibels are highlighted on the left.
Using Volume and Pan Automation Sequence Format Audio Track Format Volume and Pan Parameters Surround Sound 7.1 Mono None, Clip Volume, Volume, Pan (Front, Rear, FrontRear, Center %, Side Center %), LFE Volume Stereo None, Clip Volume, Volume, Pan L (Front, Rear, FrontRear, Center %, Side Center %), Pan R (Front, Rear, FrontRear, Center %, Side Center %), LFE Volume 5.1 None, Clip Volume, Volume 7.
Using Volume and Pan Automation 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. If you add a keyframe for pan, the keyframe applies only to the automation value displayed in the Timeline. For example, if you are working with pan left automation, the keyframe is added to the pan left automation values. A straight line appears in the selected audio track.
Using Volume and Pan Automation t Move several keyframes vertically on a track at the same time by placing In and Out points to select the area you want. When you move one keyframe up or down within the marked area, all keyframes within the marked area move in relation to each other. This works for all enabled audio tracks. This procedure is similar to grouping sliders on an audio mixing board or in the Audio Mixer tool. To delete a single volume automation or pan keyframe: 1.
Using Volume and Pan Automation Feature Description (Continued) Postroll text box Lets you provide the same kind of visual cue at the end of the recording The volume slider areas appear blue in Volume and Pan Automation mode. For descriptions of other controls in the Audio Mixer tool, see “Audio Mixer Tool Controls” on page 789.
Using Volume and Pan Automation To record volume automation or 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 Volume and Pan Automation You should remove as many excess keyframes as possible while still maintaining the volume changes. You can move, add, and delete keyframes individually or as groups to further adjust the volume or pan. For details on how to adjust the keyframes, see “Using Volume and Pan Automation in the Timeline” on page 814.
Using Volume and Pan Automation Command Description (Continued) Adjust Volume/Pan on Track Opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks. For example, if you type –1 in the Volume Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks are lowered by exactly 1 dB when you click OK.
Copying, Pasting and Moving Audio Keyframes To use the Fast Forward and Rewind keys when editing volume automation or pan keyframes: 1. Click the Audio Mixer tool to make it active. 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 the appropriate track or tracks. 4. Press the Fast Forward key or the Rewind key.
Copying, Pasting and Moving Audio Keyframes 3. Press Ctrl+C (Windows) or Command+C (Macintosh) to copy the audio keyframes to the clipboard. 4. Either Mark IN or Mark OUT or move the blue bar to the area in the audio track where you want to paste the audio keyframes. You can also select another audio track where you want to paste the keyframes. 5. Press Ctrl+V (Windows) or Command+V (Macintosh) to paste the individual keyframes.
Copying, Pasting and Moving Audio Keyframes 3. Either Mark IN or Mark OUT or move the blue bar to the area in the audio track where you want to paste the audio keyframes. You can also select another audio track where you want to paste the keyframes. 4. From the Edit Menu select Paste Audio Keyframes or use the shortcut Shift+Ctrl+V (Windows) or Shift+Command+V (Macintosh). A dialog opens asking you to choose the type of keyframes to paste. 5. Select either Automation Gain or Automation Pan.
Copying, Pasting and Moving Audio Keyframes To move a range of keyframes in time: 1. Lasso the range of keyframes or Shift+click the range of keyframes you want to move. 2. Press Option+drag (Macintosh) or Alt+drag (Windows) to move the entire group of keyframes horizontally in the Timeline. Removing Hidden Keyframes When you edit or trim an audio track that contains keyframes, there may be keyframes that are hidden to the left or right of the remaining part of the clip.
Using Live Mix Mode Using Live Mix Mode Live Mix mode lets you temporarily override existing volume and pan automation settings currently applied to a sequence. The most common way to use Live Mix mode is with a 002 or Command|8 attached as a control surface. When you use an external controller you can play the audio and override existing volume and pan automation settings in real time.
Using Live Mix Mode Entering Live Mix Mode To enter Live Mix mode: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Live Mix Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Live mode setting. The Audio Mixer tool changes to Live Mix mode. Using Live Mix Mode with an External Controller To use a control surface in Live Mix mode: 1. Connect and configure the control surface.
Using Live Mix Mode The faders jump back to the volume automation settings and automatically move with any volume automation keyframes on the track. 8. (Option) Change back to Live Mix mode and play the audio. The faders jump back to the settings you last used in Live Mix mode and the audio plays at the Live Mix mode setting. You cannot save the Live Mix mode settings between editing sessions.
Using Live Mix Mode Points Set Description In point only Commands apply adjustments to full clips from the In point to the end of selected tracks. Out point only Commands apply adjustments to full clips from the beginning of selected tracks to the Out point. None Commands apply globally (across entire tracks).
Using Live Mix Mode Live Mix level settings at 0 dB and -45 dB The following illustration shows a sequence in the Timeline with volume automation applied. 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.
Fading and Dipping Audio After changing the levels in this way, you might enter Volume and Pan Automation mode and further adjust the volume between the In and Out points. Fading and Dipping Audio In traditional analog editing, you manually change volume levels to smooth audio transitions between elements in an edited sequence by doing any of the following: • Fading audio up or down. • Crossfading between audio elements on two separate channels. • Dipping audio to a lower level.
Fading and Dipping Audio 3. Click the Add menu, and Select Dissolve. Only dissolves work with audio tracks. 4. Click the Position menu, and select the location for the dissolve. 5. Select a duration for the dissolve by doing one of the following: t Type a duration, measured in frames (30 frames equals 1 second of NTSC footage; 25 frames equals 1 second of PAL footage), in the Duration text box. t Click either the left or right edge of the Dissolve Effect icon, and drag it to change the duration.
Adjusting Audio Clip Gain in the Timeline n The Skip Existing Transition Effects option is useful when you want to add a number of dissolves to a sequence that already has transition effects. Do one of the following: t Select Apply to All Transitions (In -> Out) to overwrite all existing transition effects between the In and Out points. t Select both options to avoid overwriting any existing transition effects. 9. Click Add to move the effect to the transition point without rendering.
Adjusting Audio Clip Gain in the Timeline t Select Audio Data > Clip Gain from the Timeline Fast Menu. A fader icon appears for each audio clip. Clip gain values appear in the Timeline for each clip that has clip gain set. Fader icon and Clip Gain value in the Timeline 3. Click the fader icon. A mini fader opens. 4. Slide the fader to adjust the value of the clip gain or enter a value in the fader text box.
Audio Sample Rate Conversion n You can also move the position bar to the clip you want to adjust, select Alt + Shift and the Up and Down arrows to adjust the clip in one decibel increments. Audio Sample Rate Conversion The following options are available for audio sample rate conversion: • You can perform sample rate conversion on a clip or sequence, as described in “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 834.
Mixing Down Audio Tracks 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, (and 88.2_kHz and 96_kHz if attached to Nitris DX or Mojo DX). The broadcast standard for most high-end video postproduction houses is 48 kHz. Choose the rate based on the requirements of your facility. Quality Lets you choose the conversion quality: High, Medium, and Low.
Mixing Down Audio Tracks 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, Stereo, 5.1, or 7.1 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 or surround sound mixdown goes to the next available stereo or surround sound track.
Splitting Multichannel Tracks to Mono Tracks Splitting Multichannel Tracks to Mono Tracks You can split a multichannel 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 multichannel tracks to mono from a bin.
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 volume 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.
Using the Audio EQ Tool t If one of the Audio tools is already open, click the Effect Mode Selector menu, and select EQ. The Audio EQ tool opens. Audio EQ Tool Features This topic describes the basic buttons and menus on the Audio EQ tool as well as the EQ-specific items on the tool. 1 2 3 4 6 5 7 Top part of the Audio EQ tool Button Description 1 Effect icon Lets you create an EQ template. Drag the icon to an open bin to create the template.
Using the Audio EQ Tool 7 Button Description Bypass RT EQ Lets you instruct the system to ignore all the EQ effects. This button is also available in the Audio Mixer tool and the Output tab in the Audio Project Settings dialog box. If you select this feature in one place, it is selected in the others as well.
Using the Audio EQ Tool • The second band is the parametric midrange. This band has two bandwidth values, 1/4 octave and 2 octaves. These values control the width of the curve. For more information, see “Audio EQ Examples” on page 846. • The third band, the high shelf, has four turnover points (6 kHz, 8 kHz, 12 kHz, and 15 kHz). The high shelf affects all frequencies from the high shelf turnover point to 20 kHz. The horizontal center line of the graph is 0 (zero).
Using the Audio EQ Tool Example of shelf, parametric midrange, and turnover point information in the Audio EQ tool. The current value for all EQ parameters is 0 dB. Top: buttons that display turnover points (for the low shelf and high shelf curve) and bandwidth (in this case, 2 octaves) around the center point of the parametric curve. Bottom: EQ Range slider showing the center point of the parametric midrange curve. The Audio EQ tool lets you emphasize or de-emphasize audio frequencies.
Using the Audio EQ Tool Track Selection Menu button in the Audio EQ tool The Track Selector panel in the Timeline updates to reflect your selection. If you enable multiple tracks in the Timeline, plus signs (+) appear next to the enabled tracks in the Audio EQ tool. 6. Click the Audio Loop Play button to play the currently selected audio clip within the current In to Out range. To stop playing the loop, click the button again or click anywhere in the Timeline. 7.
Using the Audio EQ Tool Saving Audio EQ Effects Your Avid editing application treats an EQ setting as an effect. You can save EQ settings in a bin just as you save any other effect template. This makes it easy to save EQ settings and apply them whenever you need them. The following illustration shows an EQ Effect icon in a bin and in the Timeline. Examples of an EQ effect icon in the bin and in the Timeline To save EQ settings in a bin: t Drag the effect icon in the Audio EQ tool to a bin.
Using the Audio EQ Tool 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 t In Effect mode, press the Delete key. 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.
Using the Audio EQ Tool 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.
Using the Audio EQ Tool 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 115. If you create an EQ effect, you can use it again as a template in another sequence or on another track. Your Avid editing application stores predefined EQ templates in a special bin named Site_EQs_Bin.avb.
Recording Voice-Over Narration Adjusting EQ While Playing an Audio Effect You can use the Audio Loop Play button to create or change an EQ effect while a clip is playing. Use the same procedure as described in “Adjusting Volume While Playing a Clip Volume Effect” on page 809. 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.
Recording Voice-Over Narration Audio Punch-in Tool Features You can use the Audio Punch-in tool to record voice-over narration directly into the Timeline. However, you can only record to mono tracks when you use the Audio Punch-In tool. You can “rehearse” the voice-over while listening to the sequence. The voice-over is not recorded while you rehearse. You can continue to rehearse until you get it right. While recording, you can watch and listen to the sequence and hear the playback of edited sound tracks.
Recording Voice-Over Narration Audio Punch-In Tool Feature Description 4 Go to Mark In button Moves the position indicator to the In point. If there is no In point, your Avid editing application goes to where the position indicator was previously located or to the start of the sequence. 5 Cancel button Stops a recording without saving the recorded data. 6 Audio Tool button Opens the Audio tool so you can monitor and adjust the audio levels during recording.
Recording Voice-Over Narration Audio Punch-In Tool Feature Description 13 Timeline Track menus Allow you to specify where your Avid editing application places the audio in the Timeline. Select either New Track or an existing track. When you select an existing track, your Avid editing application overwrites the audio on that track and silences that portion during playback. You can only use mono audio tracks for punch-in. You cannot select stereo tracks or locked tracks.
Recording Voice-Over Narration 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 851. 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.
Recording Voice-Over Narration During the audio punch-in process, you have the ability to record over the duration of the sequence or from the In point to the Out point. 9. Click the Stop button, or press the space bar to stop play and recording. Your Avid editing application automatically names the voice-over and saves it as an audio clip. You can change the clip name as you would for any other clip. The position indicator stops to get ready for your next voice-over. 10.
Recording Voice-Over Narration 4. As you record, monitor the previously recorded audio tracks along with your current recording from the meters in the Audio tool and from the sound on the speakers. Audio Punch-In Support for Open I/O Devices If your Open I/O device allows you to record and play simultaneously, you can perform an Audio Punch-In. Check with your 3rd party vendor to see if they support simultaneous record and play.
Recording Voice-Over Narration For more information about Peak Hold, see “Understanding the Audio Tool” on page 203.
19 Using External Audio Devices Avid editing applications support the following external fader controllers or mixers for volume automation and pan recording or as control surfaces. n External fader controllers or mixers are optional. You do not need them to perform volume automation or pan recording on an Avid editing system. • 002 (Windows only) and Command|8 — These units support touch-sensitive flying faders. While recording volume automation, the faders automatically move.
Feature Digi 002 (MC/NC only) Command|8 MC Control MC Mix MC Transport Provides audio play, input, and output Yes No No No No Record volume automation Yes Yes Yes Yes No Record pan Yes Yes Yes Yes No Flying faders Yes (8) Yes (8) Yes (4) Yes (8) No Touch-sensitive faders Yes Yes Yes Yes No Touch-sensitive panners No No Yes Yes No Solo/mute Yes Yes Yes Yes No Supports audio mixing Noa No No No No Latch mode Yes Yes Yes Yes No 1024 1024 1024 Not appl
Configuring an External Controller Configuring an External Controller Some fader controllers require specific configuration procedures before you can use the devices with your Avid editing application. For more information, see the following topics: • “Configuring the Command|8” on page 866 • “Configuring the Mbox Device” on page 873 • “Using Avid Artist Series Controllers” on page 890 For information about using third-party devices, see the documentation that came with your fader controller.
Configuring External Controller Settings Position indicator lights in the Audio Mixer tool 5. Move the faders on the external fader controller. The corresponding fader should move in the Audio Mixer tool. Configuring External Controller Settings You use the Controller Settings dialog box to configure your system so that it can communicate with supported fader controllers.
Configuring External Controller Settings 2. Click the Port menu, and do one of the following, depending on your operating system, to select the appropriate port: t (Windows) Select COM1 or COM2 t (Macintosh) Select Port #1, #2, #3, or #4 3. Select Controller > [controller]. 4. Click Edit Settings. The Controller Settings dialog box for your controller opens. For information on the layout of the dialog box and the default button mappings, see the documentation that came with your controller.
Using an External Fader Controller or Mixer to Record Volume Automation t If your controller uses shifted functions, press and hold the Shift key on your keyboard, click the function in the Command palette, and drag it to the button in the Controller Settings dialog box whose function you want to program. As you drag between the Command palette and dialog box, the pointer changes to the hand pointer. The new function appears on the controller button.
Adjusting the Volume or Pan of Individual Keyframes 8. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and select Filter Volume Automation on Track — In/Out. (Click the Track Selection button for a track to enable Filter Automation.) If you delete too many keyframes, use the Undo command to restore them. 9. Repeat the previous step until you have decreased the number of keyframes to an acceptable level.
Using the 002 and the Command|8 For information on connecting a fader controller or mixer, see “Using an External Fader Controller or Mixer to Record Volume Automation” on page 863. n The position indicator lights do not apply to pan. Using the 002 and the Command|8 You can use the Command|8 as a control surface for your Avid editing application as well as a controller for volume automation and pan recording.
Using the 002 and the Command|8 Configuring the Command|8 Before you configure your Command|8 with your Avid editing application, install and configure the device as described in the documentation that comes with Command|8. n You must start Command|8 before you start your Avid editing application. If you start your Avid editing application when the controller is turned off, you must exit your Avid editing application, turn the controller on, and then start your Avid editing application.
Using the 002 and the Command|8 The buttons on the 002 (for Windows systems only) and Command|8 can have different functions depending on the modifier key you press. You can either use the keyboard or press one of the Keyboard Modifier switches on the controller surface. n For the 002 and the Command|8, pressing the Option key on a Macintosh system is equivalent to pressing the Alt key on a Windows system. Pressing the Command key on a Macintosh system has no equivalent on a Windows system.
Using the 002 and the Command|8 Groups of controls in the Command|8 Controller Settings dialog box. Top, left to right: Console View controls, Transport and Navigation controls, Display Controls and Foot Switch. Center: Keyboard Modifier switches. Bottom: Open Command Palette button. To view the different button settings on the Controller Settings dialog box: t Press the Shift, Control, Option, or Command key while viewing the Command|8 Controller Settings dialog box.
Using the 002 and the Command|8 4. Click Edit Settings. The 002 Controller Settings dialog box or Command|8 Controller Settings dialog box opens. 5. Click Open Command Palette. The Command palette opens. 6. Click Menu to Button Reassignment on the Command palette. As you move the mouse over a button, the cursor changes to a menu icon. 7. Click the button on the dialog box that you want to change. The system highlights the button. 8. Select a menu command. For example, select Tools > Audio Punch-In.
Using the 002 and the Command|8 To ensure that you perform the correct operation when you press a button on the control surface: 1. Map some buttons to menu commands that makes a particular window or tool active. For example, on the 002, the F5 key is mapped to Tools > Timeline by default for Windows systems. Pressing the F5 button on the 002 makes the Timeline active. 2. (Option) To see the function of a mapped button, hold the cursor over the button to view the tooltip.
Using the 002 and the Command|8 Position indicator lights 2. Click the Timeline Fast Menu button and select Audio Data > Pan. 3. Move the blue position indicator to the section of audio that you want to adjust and mark In to Out points. 4. Set Preroll and Postroll values, if necessary. 5. Click the Record button to start recording your actions. 6. Listen to the audio and turn the pan knob for the track.
Using Mbox Family Audio Devices To use Latch Mode: 1. Click the Latch Mode button for the appropriate tracks on the controller. You can click the button before or during a recording session. 2. Set In and Out points, and click the Record button. The system begins playing the section and the faders move accordingly. 3. When you want to make an adjustment, move the fader to change the volume. The system immediately begins recording. 4. When you are finished adjusting the section, release the fader.
Using Mbox Family Audio Devices Device Connection Type Input/Output Types Mbox 2 Mini USB Analog Mbox 2 Micro USB Analog (monitor audio only; no input/output available) Mbox (3rd Generation) USB Analog, S/PDIF, MIDI Mbox Pro (3rd Generation) 1394 Analog, S/PDIF, MIDI, Word Clock In Mbox Mini (3rd Generation) USB Analog Mbox (3rd Generation) devices support audio sample rates up to 96 KHz. For a full description of MBox specifications, see the documentation that came with your device.
Using Mbox Family Audio Devices 6. Click the Peripheral menu, and then select your Mbox device. 7. Close the Audio Project Settings dialog box. Once you configure the Mbox device, you can select the audio input interface in the Capture tool and the Audio Punch-in tool. For more information, see “Preparing to Capture Audio” on page 198 and “Recording Voice-Over Narration” on page 850. You can also use your device to monitor output audio by connecting headphones or speakers to the Mbox device.
Configuring USB-to-MIDI Software for External Controllers t (Windows XP) Click Avid Mbox Pro. The Mbox Pro Control Panel opens. 4. Select your headphone output, and then click the Audio Source menu and select Stereo Mix 1. 5. Close the Mbox Pro Control Panel.
Configuring USB-to-MIDI Software for External Controllers Testing External Fader Controller Connections To test the external fader controller connections: 1. Connect all MIDI hardware devices. MIDI port A is the default port used by the Avid system. To change the port configuration, see “Switching Between MIDI Connections on the USB-to-MIDI Converter” on page 877. 2.
Configuring USB-to-MIDI Software for External Controllers 11. To disable the hardware calibration, click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders. The Recording Status Light changes to black. 12. Move the sliders on the external fader controller. The corresponding sliders move in the Audio Mixer tool. Now you are ready to use the fader controller with your Avid editing application.
Avid HD Native and Pro Tools|HD Hardware Configuration for Avid Editing Systems 3. Check the Controller Settings dialog box in the Settings list of the Project window. Verify that the correct Gain Controller port is selected. 4. (Macintosh only) Use the Apple System Profiler to check whether the system is recognizing the MIDI device: a. Select Apple menu > About This Mac. b. Click More Information. The Apple System Profiler opens. c. Click the Devices and Volumes tab.
Avid HD Native and Pro Tools|HD Hardware Configuration for Avid Editing Systems With Pro Tools|HD or HD Native hardware installed on a supported Avid editing system, you can perform the following: • Play back audio through up to 8 audio outputs. You can also play back audio with a SYNC HD or SYNC I/O device connected. The Avid editing application does not control the clock settings for these devices.
Avid HD Native and Pro Tools|HD Hardware Configuration for Avid Editing Systems 4. Click the Control Panel button. The ASIO Control Panel opens. 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.
Avid HD Native and Pro Tools|HD Hardware Configuration for Avid Editing Systems 8. Select the options you want for your audio input/output operations. For more information on the settings in the Hardware Setup dialog box, see the 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 Pro Tools|HD or HD Native hardware. 9. Click OK to close the Hardware Setup dialog box. 10.
Avid HD Native and Pro Tools|HD Hardware Configuration for Avid Editing Systems To configure the CoreAudio driver: 1. Do one of the following: t If your Avid editing application is running and you have an audio sequence loaded in the Source/Record monitor, click Play and then click the CoreAudio Manager icon in the dock. t Double-click the CoreAudio Manager file (located in /Applications/Digidesign/). The CoreAudio Manager opens. 2. (Optional) Click the Buffer Size menu and select a buffer size.
Using a GPI Device with the Audio Punch-In Tool 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 the 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 Pro Tools|HD or HD Native hardware. 5. Click OK to close the Hardware Setup dialog box.
Using a GPI Device with the Audio Punch-In Tool If you have a V-LAN VLXi deck controller and a GPI device connected to your Avid system and they are configured correctly, you can use the GPI to control additional external hardware while you are working with the Audio Punch-In tool. For example, you might want to control an indicator light in a recording studio to provide a visual cue for performers or a control light outside the studio that indicates when recording is in progress.
Using a GPI Device with the Audio Punch-In Tool 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. When you use the Audio Punch-In tool with preroll and postroll, the following occurs: n • Play Out is sent when preroll begins (the position indicator begins moving in the Timeline, and the Play In/Out button in the Audio Punch-In tool blinks green).
Using a GPI Device with the Audio Punch-In Tool IN OUT IN OUT IN OUT IN OUT IN OUT IN OUT SERIAL LAN CF AC 1 SERIAL PARALLEL REF 2 SERIAL A 3 TIMECODE A IN OUT 4 5 SERIAL B 6 TIMECODE B IN OUT LAN CF AC VLX TRANSMITTER VLX 2R DUAL RECEIVER Top left: GPI terminals on the VLXi-GT GPI (for connections to external hardware). Top right: V-LAN connection (from VLXi-GT to V-LAN VLXi controller) and terminator (required when cable length is more than 50 feet (15.24 meters).
Using a GPI Device with the Audio Punch-In Tool 5. Click OK. The Autoconfigure message box opens. 6. Click Yes. The connected GPI is automatically detected and appears in the Deck Configuration dialog box. Working with GPI Settings You must create a separate GPI setting for each trigger signal you want the GPI to recognize. For example, you would need one setting for the Record Out signal and another for the Stop Out signal.
Using a GPI Device with the Audio Punch-In Tool 3. Select the name of the GPI you want to edit. 4. Click Edit. 5. Make the applicable changes to the setting. 6. Click OK. 7. Click Apply. The GPI setting is updated. To delete a GPI setting: 1. In the Project window, double-click Deck Configuration. The Deck Configuration dialog box opens. 2. Click the VLXi-GT text box. 3. Select the name of the GPI you want to delete. 4. Click Delete. 5. Click OK. 6. Click Apply. The GPI setting is deleted.
Using a GPI Device with the Audio Punch-In Tool GPI Option Description Delete Click to delete an existing GPI node setting. Add Click to add another GPI node setting. GPI Node Option Description Function Select one of the three active functions: • Record Out • Play Out • Stop Out Seven options are listed, but only the three signals described in “Understanding GPI Trigger Signals” on page 884 are active. Node Click the Node menu, and select a node.
20 Using Avid Artist Series Controllers This section includes topics that provide information on configuring and using the Avid Artist Series controllers with your Avid editing application: Avid Artist Control, Avid Artist Transport, and Avid Artist Mix. These controllers employ the EUCON™ (Extended User Control) protocol, which allows for integrated control of your Avid editing application and EUCON-compatible devices.
Installing EuControl Software If you want to connect your Artist Series controller to an Avid editing system that is part of an Avid ISIS shared storage environment, the following requirements apply: • (Macintosh only) Avid recommends that you connect your Artist Series controller to the built-in Ethernet 1 port on your Macintosh system.
Configuring Avid Artist Series Controller Settings EUCON icon in the notification area t (Macintosh) Click the EUCON icon in the dock, and then select Window > EuControl Settings. The EuControl Settings dialog box opens. b. Click the Surfaces tab, and then click Update Firmware. If there is updated firmware for your Artist Series controller, EuControl automatically downloads it. c. Follow the on-screen instructions to install the new firmware. 4. Shut down your system. 5.
Configuring Ethernet Connections (Macintosh) 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. Configuring Ethernet Connections (Macintosh) You can connect your Artist Series controller to either the Ethernet 1 or Ethernet 2 port on your Macintosh system.
Setting the IP Address 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.
Setting the IP Address connect a controller to a system using an Ethernet cable. You can override these methods of obtaining IP addresses by supplying a static IP address, which the devices use in all cases when turned on. n Avid does not recommend setting up static IP addresses unless you have experience in configuring network properties. To set a static IP address (Avid Artist Control): 1. Press and hold the Page Left and Page Right keys while you press and release the Power button.
Setting the IP Address 3. Touch the first box of the IP Address field to select it, and then adjust its value by turning any of the eight knobs or the Jog wheel. 4. Repeat the previous step to adjust all values of the IP Address and the Subnet Mask fields. 5. Touch OK to save this static IP address. Turn off the controller and then turn it on to use the new IP address. You can touch Cancel at any time to discard changes made to the IP address. To set a static IP address (Avid Artist Transport): 1.
Configuring EuControl Settings To set a static IP address (Avid Artist Mix): 1. Press and hold the Page Left and Page Right keys while you press and release the Power button. The Use DHCP screen appears in the channel display for fader strip 1. 2. Turn the knob underneath the display clockwise to change the Use DHCP value from yes (default) to no. You can use the SEL and ON keys instead of the knob to decrease or increase the value, respectively. 3.
Configuring EuControl Settings The EuControl application starts when you start your computer and runs in the background. Avid recommends that you make sure EuControl is running before you start your Avid editing application. For a full description of configuration procedures and options, see the documentation that came with your Artist Series controller. To connect an Artist Series controller to your system: 1. Connect your Artist Series controller to your system and turn on the power for the device. 2.
Configuring EuControl Settings 4. 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.
Artist Series Controller Button Mappings 7. (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. A check mark appears in the Attached column in the My Workstations list. The workstation can now access the Artist Series controllers connected to EuControl. 8. Close the EuControl Settings application.
Artist Series Controller Button Mappings Artist Control and Artist Transport can control multiple applications, each with its own soft key assignments. Since the EuControl application responds dynamically as you move between applications, soft key assignments might change in the Soft Keys tab as the active application changes. Changing the focus to the desired application and then to the EuControl application restores the current assignments.
Customizing Avid Artist Series Controls 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 3. Do one of the following: 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.
Customizing Avid Artist Series Controls 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. 5.
Moving Through Footage with Artist Series Controllers - 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. Moving Through Footage with Artist Series Controllers You can use your Artist Series controller to control how you move through footage.
Volume Automation and Pan on 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 Volume Automation and Pan with Artist Series Controllers assignments by the number of available faders — for example, shifting assignments from tracks 1 – 8 to tracks 9 – 16. The Nudge button changes track assignments by one track — for example, shifting assignments from tracks 1 – 8 to tracks 2 – 9. Artist Mix provides buttons and indicator lights mapped to standard audio editing functions: Button Function SEL Controls and indicates pan recording.
Recording Volume Automation and Pan with Artist Series Controllers 3. Attach the Artist Series controller to your system. (See “Configuring Avid Artist Series Controller Settings” on page 892.) The position indicator lights in the Audio Mixer tool change to blue when the fader controller or mixer is on and correctly attached to the system. Position indicator lights 4. Click the Timeline Fast Menu button and select Audio Data > Auto Gain or Audio Data > Audio Pan. 5.
Using the Latch Mode Feature on Artist Series Controllers t To move the track assignments to the left or right by one track, click the Nudge Left or Nudge Right button. 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 volume automation and pan information.
Controller Application Sets • Lift and Extract edits • Trim edits • Multicamera edits These functions allow you to edit and trim clips in your sequences using the controller rather than the buttons and tools in your Avid editing application. For example, you can use the Jog wheel to navigate to a transition in the Timeline, and then you can use the Soft Key functions to activate Trim mode, and then perform a single- or dual-roller trim.
Controller Application Sets MONI TOR CONTR OL R OOM POWER SOLO ON SOLO ON SOLO ON SOLO ON WOR K S TAT I ON TOP AP P LI CAT I ON B ACK CFG CFG 12 AUTO R EC N AUTO R EC N 12 12 AUTO AUTO 12 PAGE PAGE MIXER CLOSE R EC N R EC N 6 6 6 6 0 0 0 0 AS S I GN AS S I GN AS S I GN 5 5 5 5 NUDGE NUDGE AS S I GN S EL Y S EL Y S EL Y S EL Y 10 10 20 20 20 20 30 30 30 30 40 40 40 40 60 60 60 60 BANK 8 8 8 8 HOME SOFT KEYS END OP ST REC 10
Controller Application Sets Control Function Soft keys Provide editing and navigation functions specified in the soft key pages in the display. Moving through the soft key pages with the soft key navigation buttons changes the functions assigned to the soft keys. Volume Adjusts the volume. Power Turns the controller on or off. Back Moves the knob set functions up one level if the knob set in the display is a submenu.
Controller Application Sets Control Function Zoom Vert (Shift+Zoom Horz) Allows you to use the Jog wheel to zoom vertically in the Timeline. Jog Allows you to use the Jog wheel to jog through media in the Timeline or a monitor. Shuttle (Shift+Jog) Allows you to use the Jog wheel to adjust playback. You can alter the speed of playback depending on how far you turn the Jog wheel. Rew Moves to the previous transition in the sequence. FF Moves to the next transition in the sequence.
Controller Application Sets Avid Artist Transport: Display, Soft keys, Numeric keypad (Show/Redo/Undo), Transport keys, Application change key, Shift key Control Function Display Displays functional information including timecode, active application, and soft key labels. Soft keys Provide editing and navigation functions specified in the soft key pages in the application set. You can view the soft key functions by pressing the Show button.
Controller Application Sets Control Function Show+soft key Shows the label for the selected soft key in the display. You can lock the Show key by pressing the key and then quickly pressing a soft key. Press the Show key again to unlock it. Redo (Shift+period) Redoes the last undone edit. Undo (Shift+asterisk) Undoes the previous edit. Transport keys Allow you to perform navigation and editing functions specified in the application set.
Controller Application Sets POWER SEL SEL SEL SEL SEL SEL SEL SEL ON ON ON ON ON ON ON ON MIXER CLOSE TOP BACK CFG NUDGE CFG SOLO PAGE ON SOLO ON SOLO ON SOLO ON SOLO ON SOLO ON SOLO ON SOLO PAGE R TZ FLIP CHAN PREV NE XT R EW FF STOP PLAY 12 12 12 12 12 12 12 6 6 6 6 6 6 6 6 AUTO AUTO R EC N AUTO R EC N AUTO R EC N AUTO R EC N AUTO R EC N AUTO R EC N AUTO R EC N END BANK BANK REC 12 R EC N NUDGE HOME ON WOR K STATION A
Controller Application Sets Control Function Solo button Solos the selected track. On button Unmutes and mutes the selected track. Chan Enables channel mode. Flip (Shift+Chan) Switches control between the fader controls to the knobs. A vertical double arrow appears in the display when the faders and knobs are flipped. Insert Allows you to select the plug-in effect listed in the display. Press the soft knob for a track to select the plug-in.
21 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.
Real-Time AudioSuite 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 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, stereo effects on a stereo track, and surround sound effects on a surround sound track. The Select Insert dialog box opens. 3. Do one of the following: t If you want to add a new insert, click an [Empty] insert button.
Real-Time AudioSuite 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 tool 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.
Real-Time AudioSuite Plug-Ins 7. To save your changes, do one of the following: t Click the Save Effect icon in the RTAS tool. t Close the RTAS tool. Moving and Copying RTAS Inserts You can move and copy RTAS inserts from one track to another. However, you can only move mono inserts to mono tracks and stereo inserts to stereo tracks.
Real-Time AudioSuite Plug-Ins Removing RTAS Inserts on a Track Removing an insert deletes the effect from the track. To remove an RTAS insert: 1. Do one of the following: t Select Tools > RTAS. t Right-click the Record Track button for the track where you want to edit an insert and select RTAS tool. t Click the RTAS insert button for the RTAS effect. The RTAS tool opens. 2. Click the Select Track button and select the track where you want to delete an insert. 3.
Avid AudioSuite Plug-Ins The RTAS effect is applied to the track. Avid AudioSuite Plug-Ins Your Avid editing application supports AudioSuite, the Avid host-based, file-based plug-in specification. Users have access to mono and stereo audio-processing plug-ins developed by Avid and by Avid third-party developers. These plug-ins perform pitch modifications, artifact removal, audio reversal, and many other processes.
Avid AudioSuite Plug-Ins Using Avid AudioSuite Plug-Ins You can use AudioSuite plug-ins in two ways. • You can apply a plug-in to a clip in the Timeline and then create a rendered effect. For more information, see “Applying an AudioSuite Plug-in to a Clip in the Timeline” on page 926. • You can use the controls in the AudioSuite window to create a new master clip. This method lets you process more than one channel at a time and to create new media with a duration longer or shorter than the source media.
Avid AudioSuite Plug-Ins n If you want to use plug-ins that operate on stereo pairs or that change the length of the audio clip, use the methods described in “Creating New Master Clips with AudioSuite Plug-Ins” on page 929. To apply an AudioSuite plug-in to a clip in the Timeline: 1. Open the AudioSuite window by doing one of the following: t Select Tools > AudioSuite. t If an audio tool is already open, click the Effect Mode Selector menu, and select AudioSuite. 2.
Avid AudioSuite Plug-Ins Common buttons in the AudioSuite Plug-In dialog box The following table describes the six common buttons: Button Description OK Saves the effect and closes the dialog box. Cancel Closes the dialog box and does not save the effect. 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 The following commands appear in the menu: Command Description Global The segment has no In points. The command affects all the plug-ins on the enabled tracks. IN/OUT The segment has In to Out points. The command affects the plug-ins on the enabled tracks within the marked region. From IN The segment has an In point but no corresponding Out point. The command affects all plug-ins on enabled tracks, starting with the In point.
Avid AudioSuite 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 2 Control Description Input Source Track selectors Let you choose the input source tracks for the effect. The system automatically chooses a preview track and displays a blue Speaker icon on the track. To change the preview track, Alt+click (Windows) or Option+click (Macintosh) the appropriate source track. If the source track used as the current preview track is deselected, the system chooses the lowest available track.
Avid AudioSuite Plug-Ins Control Description 10 Mark IN to OUT indicators These lights change to green when a mark In or mark Out exists on the current master clip. 11 Find Source From Effect button Lets you find the master clip associated with an AudioSuite template. When you drop an AudioSuite effect template into the AudioSuite window, the system activates this button. Click the button to load the master clip into the AudioSuite window as the active master clip.
Avid AudioSuite Plug-Ins Most AudioSuite plug-ins automatically select the appropriate processing mode and label the values in the Processing Mode Selection menu. For example, the Normalize plug-in offers two choices: Level On Each Chan-Track and Levels On All Chans-Tracks (default). You select the processing mode from a menu in the AudioSuite window as described in the next section. Using AudioSuite Plug-ins to Create New Master Clips To create new master clips using the AudioSuite plug-ins: 1.
Avid AudioSuite 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 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.
Working with Dolby E Surround Sound Plug-ins In most cases, you should click Cancel and open the AudioSuite window. If you have not installed the plug-in when you go to render a plug-in effect, your Avid editing application displays an error message informing you which plug-in you must install. At that time, you can cancel or bypass the rendering process. 2. To cancel a render operation, press Ctrl+period (Windows) or Command+period (Macintosh). Be careful not to press these keys multiple times.
Core Avid Audio Plug-Ins Dolby E plug-in effect from your sequence. This allows you to continue to monitor and edit the surround sound audio. Alternately, you can leave the effect in the Timeline as long as you do not perform either a render or mixdown of the sequence. For more information, see the documentation that came with your Dolby E plug-in. Core Avid Audio Plug-Ins A set of core audio plug-ins installs with your Avid editing application.
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description AIR Ensemble Creates fluid, shimmering modulation effects. For more information, see “AIR Ensemble (RTAS)” on page 945. AIR Filter Gate Breaks the audio signal into staccato rhythmic patterns with variable filtering, amplitude, and panning. For more information, see “AIR Filter Gate (RTAS)” on page 946. AIR Flanger Applies a short modulating delay. For more information, see “AIR Flanger (RTAS)” on page 947.
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description AIR Vintage Filter Applies a modulating, resonant filter to the audio signal. For more information, see “AIR Vintage Filter (RTAS)” on page 965. BF Essential Clip Remover Repairs clipped audio recordings. For more information, see “BF Essential Clip Remover (AudioSuite)” on page 966. Bomb Factory BF76 Provides compression modeled after the 1176 studio compressor.
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description Funk Logic Mastererizer Provides low-fidelity sound design capabilities for the creative degredation of audio. For more information, see “Funk Logic Mastererizer (AudioSuite)” on page 985. Gain Same as Normalize, but allows positive or negative gain adjustment. For more information, see “Gain (AudioSuite)” on page 985. Invert Inverts the polarity (phase) of the audio file. For more information, see “Invert (AudioSuite)” on page 986.
Core Avid Audio Plug-Ins AIR Chorus (RTAS) You can use the AIR Chorus plug-in to apply a short modulated delay to give depth and space to the audio signal. The following table lists the AIR Chorus plug-in parameters: Parameter Description Rate Lets you adjust the rate of the low frequency oscillator (LFO) applied to the delayed signal as modulation. The higher the setting, the more rapid the modulation.
Core Avid Audio Plug-Ins Parameter Description Output Lets you lower the Output level of the distorted signal from 0–100%. At 0%, no distorted signal passes through the output. At 100%, the distorted signal passes through the output at full volume. Tone Lets you shape the timbral quality of the distortion. Clipping • Pre Shape — Lets you increase or decrease a broad gain boost (or attenuation) of treble frequencies in the processed signal.
Core Avid Audio Plug-Ins Parameter Description Sync When you enable Sync, the delay time synchronizes to the tempo of your audio sequence. When you disable Sync, you can set the delay time in milliseconds independently of the tempo. The Sync button is lit when it is enabled. 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).
Core Avid Audio Plug-Ins Parameter Description Delay Section • EQ Env Mod Feedback Mode Mix L/R Ratio — Lets you set the ratio of left to right delay times. If you move the control all the way to the left (50:100), the left channel delay time equals half the right channel delay time. If you move the control all the way to the right (100:50), the right channel delay time equals half the left channel delay time. • Stereo Width — Lets you adjust the width of the delay effect in the stereo field.
Core Avid Audio Plug-Ins Parameter Description High Gain Adjusts the frequency to boost the high end. Low Gain Adjusts the frequency to boost the low end. Tune Lets you set the center frequency for low and high-end enhancement. Harmonic Generation Output • 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.
Core Avid 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.
Core Avid 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 (
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.
Core Avid 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.
Core Avid Audio Plug-Ins Parameter Description Anti-Alias Provides control over anti-aliasing filters that you can use before and after downsampling to reduce aliasing in the resampled audio signal. • On — Lets you enable or disable the Anti-Alias filter. Disabling the filter creates a much grittier sound. • Pre — Lets you adjust the anti-aliasing filter cutoff applied to the audio signal before resampling. The filter is applied as a multiplier of the sample frequency (Fs) between 0.12 Fs and 2.
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.
Core Avid 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.
Core Avid 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.
Core Avid 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.
Core Avid 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.
Core Avid Audio Plug-Ins The following table lists the AIR Spring Reverb plug-in parameters: Parameter Description Pre-Delay Determines the amount of time (0–250 ms) that elapses between the original audio event and the onset of reverberation. Reverb Provides control over the diffusion and stereo width of the reverb signal. • Diffusion — Changes the rate at which the sound density of the reverb tail increases over time. Higher Diffusion settings create a smoother reverberated sound.
Core Avid Audio Plug-Ins Parameter Description Mode Lets you specify the method by which the Stereo Width plug-in will create the artificial stereo field. • Adjust — Adjusts the existing stereo width of the signal by M-S encoding, equalizing the S component with the Low/Mid/High controls and boosting/attenuating it with the Width control, then M-S decoding back to stereo. The Delay control delays the right signal relative to the left for an additional widening effect (known as “Haas panning”).
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.
Core Avid 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.
Core Avid 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 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. If you recorded your source audio close to peak level, this +3 dB default setting might cause clipping. Use this control to reduce the input level. Sum Inputs button When you use the Chorus plug-in in Stereo mode, a Sum Inputs button appears next to the right channel Gain slider.
Core Avid Audio Plug-Ins Compression reduces the dynamic range of signals that exceed a chosen threshold by a specific amount. Limiting prevents signal peaks from ever exceeding a chosen threshold, and is generally used to prevent short-term peaks from reaching their full amplitude. Used judiciously, limiting produces higher average levels, while avoiding overload (clipping or distortion), by limiting only some short-term transients in the source audio.
Core Avid Audio Plug-Ins Parameter Description Graph display Shows a curve that represents the level of the input signal (on the x–axis) and the level of the output signal (on the y–axis). The orange vertical line represents the threshold. Use this graph as a visual guideline to see how much dynamics processing you are applying. Side-Chain panel The side-chain is the split-off signal used by the plug-in’s detector to trigger dynamics processing.
Core Avid Audio Plug-Ins Parameter Description Ratio Sets the compression ratio, or the amount of compression applied as the input signal exceeds the threshold. For example, a 2:1 compression ratio means that a 2 dB increase of level above the threshold produces a 1 db increase in output. Values range from 1:1 (no compression) to 100:1 (hard limiting). Limiting generally begins with the ratio set at 10:1 and higher.
Core Avid 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.
Core Avid Audio Plug-Ins Parameter Description Levels panel Input/Output level meters Show peak signal levels before and after processing. • Green indicates nominal levels • Yellow indicates pre-clipping levels, starting at –6 dB below full scale • Red Indicates full scale levels (clipping) n Unlike scales on analog compressors, metering scales on a digital device reflect a 0 dB value that indicates full scale (fs)—the full-code signal level. There is no headroom above 0 dB.
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.
Core Avid Audio Plug-Ins Parameter Description 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. This parameter lets you attenuate the high-frequency content of the feedback signal. The lower the setting, the more high frequencies are attenuated.
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.
Core Avid 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.
Core Avid Audio Plug-Ins 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.
Core Avid 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.
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. 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.
Core Avid Audio Plug-Ins You can specify the desired gain level in several ways: • Enter a numeric decibel value. • Enter a percentage value. • Drag the slider. • Press and hold the Ctrl key (Windows) or the Command key (Macintosh), then drag the slider to fine-adjust. • Use the rms and peak buttons to switch the calibration of gain adjustment between RMS and Peak modes. Peak adjusts the gain of the signal to the maximum possible level without clipping.
Core Avid Audio Plug-Ins Parameter Description Sample Rate The Sample Rate slider adjusts an audio file’s playback sample rate in fixed intervals from 700 Hz to 33 kHz in sessions with sample rates of 44.1 kHz, 88.2 kHz, or 176.4 kHz; and from 731 Hz to 36 kHz in sessions with sample rates of 48 kHz, 96 kHz, or 192 kHz. Reducing the sample rate of an audio file has the effect of degrading its audio quality.
Core Avid Audio Plug-Ins Parameter Description Distortion/Sat The Distortion and Saturation sliders provide signal clipping control. uration The Distortion slider determines the amount of gain applied and lets clipping occur in a smooth, rounded manner. The Saturation slider determines the amount of saturation added to the signal. This simulates the effect of tube saturation with a roll-off of high frequencies. Output Meter The Output Meter indicates the output level of the processed signal.
Core Avid Audio Plug-Ins Parameter Description Sum Inputs button When you use the Multi-Tap Delay plug-in in Stereo mode, a Sum Inputs button appears next to the Mix sliders. Clicking the Sum Inputs button sums the source input signals (regardless of whether the input is mono or stereo) before processing them. The source signal then appears in the center of the stereo field, and the processed signal is output in stereo.
Core Avid 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 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.
Core Avid 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 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.
Core Avid 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.
Core Avid 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.
Core Avid 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.
Core Avid 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 Parameter Description Audio You use the Audio parameter controls to select the most appropriate time compression and expansion mode for the type of material you want to process, and to attenuate the gain of the processed audio to avoid clipping.
Core Avid 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.
Core Avid Audio Plug-Ins The following table lists the Trim plug-in parameters: Parameter Description Phase Invert Inverts the phase (polarity) of the input signal to change the frequency response characteristics between multi-miked sources or to correct for miswired microphone cables. Gain Provides -[Infinity] dB to +6 dB or +12 dB of gain adjustment, depending whether the Gain toggle is set to +6 or +12.
22 Exporting Frames, Clips, or Sequences This chapter describes how to export files for use with another system, application, or platform.
Understanding Export c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.
Preparing to Export a Sequence Preparing to Export a Sequence When you export part or all of a sequence — for example, to create an OMFI file, an AAF file, a QuickTime file, an AVI file, or a graphic sequence — you might want to prepare the sequence in advance in one or more of the ways described in the following table. These preparation tasks can speed the export process or otherwise help with your workflow. Preparation Task Description Make sure all media for the sequence is online.
Exporting With the Send To Templates Preparation Task Description Consider consolidating the sequence before You cannot export OMFI files that are larger than 2 GB. OMFI export. Consolidating the sequence to create smaller source clips saves time and disk space. In addition to consolidating in advance, you can also consolidate as part of the export. For more information, see Using the Consolidate Command and Guidelines for Exporting OMFI and AAF Files.
Exporting With the Send To Templates The last three options are only available when you send to Pro Tools over an Avid shared storage using Send To > Pro Tools on Avid Unity. Option Description Avid Video Consolidate Audio Select this option to send to a Avid Pro Tools system that supports playback of Avid standard definition (SD) video using a video peripheral. Your Avid editing application creates a video mixdown of the tracks at DV 25, consolidates the audio, and saves the audio into the AAF file.
Exporting With the Send To Templates 4. (Option) Type a new file name in the Filename text box. 5. (Option) If you are sending to Sorenson Squeeze, click the Options button to select Sorenson Squeeze settings. For more information, see the Sorenson Squeeze documentation. 6. Click Set to browse to the drive and folder where you want to store the exported file. Whenever you return to a Send To dialog box, the destination folder that you set last appears in the destination field. 7.
Send To Templates Reference 8. Review the current Export settings to ensure that they meet your needs. The Export Setting Summary area at the bottom of the dialog box lists all the settings that affect the current export. 9. (Option) If you need to make any Export settings changes, click the appropriate Options button, make the changes, and click Save. Avid recommends that you use the default options in the Send To templates wherever possible.
Creating a Custom Send To Template for Exporting to Third-Party Applications Template Description Pro Tools, Pro Tools on Avid Unity You can export a sequence to Avid Pro Tools® by sending it to movable storage and then taking the storage to a Pro Tools system, or you can export it directly to Pro Tools over an Avid shared storage system. Sending the sequence to movable storage lets you assemble all the media in one location for moving to a Pro Tools system.
Creating a Custom Send To Template for Exporting to Third-Party Applications 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. 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.
Exporting With the Export Command or the Drag-and-Drop Method 5. (Option) Do the following if you want the third-party application to automatically launch after you export. a. (Option) Click the Auto Launch button, and select Add Item. b. (Option) Browse to find the third-party application. c. Click Open. d. Select Auto Load Exported File(s) if you want the files you export to automatically load in the third-party application. e.
Exporting With the Export Command or the Drag-and-Drop Method n Your Avid editing application saves an intermediate file in a temporary folder as part of the export process. Ensure that the temporary folder is on a drive with plenty of space. You can view and change the location of the temporary folder in the General Settings dialog box. To save time when exporting with the drag-and-drop method, locate the temporary folder on the drive where you want to store the exported file.
Exporting With the Export Command or the Drag-and-Drop Method To export a frame, clip, or sequence by using the Export menu command: 1. Identify and select the material you want to export as described above. 2. Do one of the following: t Select File > Export. t Right-click the clip or sequence, and then select Export. The Export As dialog box opens with a default file name in the File name text box (Windows) or the Save As text box (Macintosh), based on the file type.
Exporting With the Export Command or the Drag-and-Drop Method 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 1382. For information on creating custom settings, see “Customizing Export Settings” on page 1018. 4.
Customizing Export Settings Your Avid editing application exports the file. To export a frame, clip, or sequence by dragging and dropping: 1. Identify and select the material you want to export as described above. 2. In the Settings list in the Project window, select the setting you want to use for export. You can select the default Export setting, the preset templates, or any additional Export setting you have created.
Guidelines for Exporting OMFI and AAF Files 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. For complete information on using the Export menu command, see “Exporting With the Export Command or the Drag-and-Drop Method” on page 1014. 2.
Guidelines for Exporting OMFI and AAF Files When you export audio to OMFI, the export option splits stereo audio tracks to separate mono tracks (for more information, see “Splitting Multichannel Tracks to Mono Tracks” on page 837). The operation also removes any Real-Time AudioSuite track effects. c n To avoid errors and incompatibilities when you import and export OMFI files, observe the recommendations in “File Format Specifications” on page 1451. You cannot export OMFI files that are larger than 2 GB.
Guidelines for Exporting OMFI and AAF Files OMFI and AAF Export Method 2: Compositions with Embedded Media Avid editing applications can export an OMFI or an AAF file that contains all the editing information for the selected master clip or sequence along with the video and audio media files for that master clip or sequence. See “Export Settings: OMFI, AAF, and AFE” on page 1385.
Exporting Projects and Bins Using AFE Files (Windows Only) Setting Guidelines Export Method: Video • Mixdown (Video Details tab) The Mixdown with Video Edits option is only compatible with Pro Tools v7.2 or later, and takes advantage of the fact that Pro Tools v7.2 or later can display multiple video tracks. This lets you add a video track that shows the video edits.
Exporting Projects and Bins Using AFE Files (Windows Only) AFE files are based on AAF (Advanced Authoring Format) technology. AFE files, however, are especially designed for sharing project information among Avid applications. AFE files let you transfer one or more bins, their contents, and information about the contents, including master clips, subclips, titles, and sequences. To create an AFE file: 1.
Exporting QuickTime Movies 5. Click the button after the Export Settings 1, and select Avid DS from the drop-down list. 6. Click the Options button. The Export Settings - Avid DS dialog box opens. 7. Select AFE from the Export As drop-down list and click Save. 8. In the Send To: Avid DS dialog box, click OK. Exporting QuickTime Movies You can export a sequence as a QuickTime movie for final distribution or for further processing in another application.
Exporting QuickTime Movies Option Description Same as Source Select this option if you intend to use the Quicktime movie on an Avid system. When you select this option, your Avid editing application uses an Avid codec and puts a QuickTime wrapper around the media files (with no resolution change). This method is fast and creates output that uses the same quality as your source files.
Exporting QuickTime Movies Option Description QuickTime Reference QuickTime Reference is available from the Export As menu in the Export Settings dialog box. This option is similar to Same as Source, but your Avid editing application links to the original media files. This is the fastest method of export, but the movie can only be run or processed on your local system or in an Avid shared storage workgroup environment.
Installing or Copying the Avid Codecs for QuickTime on Other Systems Avid supports the import and export of QuickTime movies while preserving their timecode information. When you export a QuickTime clip or sequence from your Avid editing application, the timecode information of the clip or sequence is embedded in the QuickTime movie. If you move these QuickTime movies to another Avid editing application and import them, the timecode information is included in the clip or sequence information.
Exporting from a Third-Party QuickTime or AVI Application Codec (Windows) Codec (Macintosh) Description AvidAV1xCodec.qtx QTAvidOneToOneXCodec Avid 1:1x codec (Uncompressed MXF 8-bit or 10-bit) AvidAVd1Codec.qtx QTAvidDV100Codec Avid DVCPRO codec (MXF) AvidAVdnCodec.qtx QTAvidDNXHDCodec Avid DNxHD codec (MXF) AvidAVdvCodec.qtx QTAvidDVCodec Avid DV codec (DV 25 and DV 50, OMF and MXF) AvidQTAVjiCodec.
Exporting as Windows Media (Windows Only) 2. Conduct the export according to the procedures used by the particular software, selecting the applicable Avid compressor from the Export settings. For QuickTime exports, most applications have format options similar to those described in “Export Settings: QuickTime Movie Export Options” on page 1390. Make sure you select settings that are compatible with your existing media on the Avid system.
Creating a Custom Profile for Windows Media Export (Windows Only) 4. In the Export As menu, select Windows Media. 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7.
Exporting Media to XDCAM Devices 12. Do one of the following: t If you want to continue with the export of the sequence, click Save, and complete the export in the standard way. For more information, see “Exporting With the Export Command or the Drag-and-Drop Method” on page 1014. t If you do not want to complete the export, click Cancel. Exporting Media to XDCAM Devices XDCAM decks and camcorders from Sony use an optical disk with a capacity of either 23.3 GB or 50 GB of media.
Exporting to XDCAM 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. Select Output > Export to Device > XDCAM. If you have a sequence loaded in the Record monitor, the sequence exports when you select Export to Device.
Exporting XDCAM OP1a Media 8. Select a video format: - For SD projects, select DV-25, IMX30, IMX40, or IMX50. For SD, a disk cannot have mixed formats. For example, a disk that contains IMX40 material can only have IMX40 media added to it, unless you reformat the disk. - For HD projects, 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).
Exporting Your Clip or Sequence to a P2 Card Option Description Video Format Lists all XDCAM codecs supported by your project type. Audio Bit Depth Defines bit depth, based on the sample rates supported by your project type. You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box. For more information, see “Audio Project Settings for Capture” on page 198.).
Exporting as Windows Media Using a VC1 Resolution To export a a clip or a sequence to a P2 card: 1. Make sure your system is connected to a writable P2 device. 2. Select the clip or the sequence in the bin. 3. Select Output > Export to Device > P2. The P2 Export Settings dialog box opens. 4. Select options as described in “Export Settings: P2” on page 1405. If you do not connect to a P2 device or camera, the options are not available. 5.
Using Avid Interplay Media Services The Export Settings dialog box opens. 4. In the Export As menu, select Windows Media. 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected sequence or clip determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option.
Using Avid Interplay Media Services Service Description Avid Interplay Let you automate the process of encoding a sequence into formats that are suitable ProEncode for distribution on the Web, on DVD, or on CD-ROM. The ProEncode services use other computers in the Avid Interplay environment to automatically perform the encoding tasks. This lets you quickly send a sequence to be processed and then continue with your editing.
23 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.
Selecting the Device for Output • Set audio output levels and other output options, as described in “Preparing for Audio Output” on page 1053. • Mix down multiple audio tracks, if necessary, as described in “Mixing Down Audio Tracks” on page 835. • Prepare the record tapes, as described in “Preparing Record Tapes” on page 1059. • (Option) Record reference bars and tone to tape, as described in “Recording Bars and Tone” on page 1060.
Selecting the Sync Source for Output hardware and on the external equipment. For more information, see “Synchronizing Audio and Video Equipment” for your input/output hardware in the Help. Sync is not required for DV output. To select the sync source: 1. Select Tools > Video Output Tool. 2. Select the sync source from the Sync Lock menu: Reference, Tri-Level, or Internal.
Selecting the Sync Source for Output 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. The LTC OUT connector on the hardware provides SMPTE or EBU timecode you can use as a sync source for decks with built-in synchronizers or to stripe a destination tape. You can also use LTC to record non-drop-frame timecode for downstream encoding.
Selecting the Sync Source for Output To add LTC Out During Preroll 1. Load your sequence in the Record monitor. 2. Select Output >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.
Selecting a Video Output Signal 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. • If you are using an 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 1043.
Calibrating for Video Output Method (Continued) Description (Continued) Set Vertical Blanking Interval If this option is available for your input/output configuration, you can instruct the system to preserve 5 lines above each field in NTSC and 8 lines above each field for PAL. These lines can be used to store additional encoded information such as closed captioning, edgecodes or keycodes for film projects, or various interactive or enhanced TV codes.
Calibrating for Video 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.
Calibrating for Video Output 4. If you are using an HDMI-compliant Avid input/output device, click the HDMI Color Space menu and select a color space (YCbCr or RGB), and then select either an SD or an HD format from the HDMI Format menu. Some monitors only support one SD HDMI format. See your monitor documentation for more information. 5. (Option) Click the VBI menu (if available) and select Preserve to preserve 5 lines above each field in NTSC or 8 lines above each field for PAL. 6.
Calibrating for Video Output - Pr Gain and Pb Gain sliders (HD component YPbPr output — with supported input/output hardware) 11. If you want to save this setting, click the Settings menu and select Save As, then type a name, and click OK. n Output settings are Project settings, available to all users and all projects on the system. For information on connections on the Avid input/output hardware, see “Using the Avid Input/Output Hardware” in the Help.
Calibrating for Video Output 7. Select Tools > Capture. With the Capture tool active, the input signal passes through to the output channels. 8. Select an output format in the Video Output tool. You can precisely match only one output format at a time in phase with the reference signal. In most cases, you should select either Composite or Serial Digital. 9. Calibrate any of the available controls in the Video Output tool while checking the external Waveform and Vectorscope monitors.
Preparing for Converting HD Formats Video Standard Level PAL 0.3 V (not applicable for SMPTE bars) For White level (gain), adjust the Y Gain slider to place the white level at the following settings: Video Standard Level NTSC 100 IRE NTSC-EIAJ 100 IRE PAL 1.0 V (not applicable for SMPTE bars) Adjusting Phase Controls The Video Output tool provides controls for adjusting horizontal phase globally for output.
Preparing for Converting HD Formats To set options for crossconverting a sequence: 1. Select Tools > Video Output Tool. 2. Click the Options tab. 3. Click the Downconvert menu, and select OFF. 4. Click the Crossconvert menu, and select the format that you want to output. To set options for downconverting a sequence: 1. Select Tools > Video Output Tool. 2. Click the Options tab. 3. Click the Crossconvert menu, and select OFF. 4. Click the Downconvert menu, and select the format that you want to output.
Preparing for Converting HD Formats Crossconversion and Downconversion Formats The following table lists the available crossconversion and downconversion formats for each HD format. Not all formats are available for all Avid editing configurations. n Raster Type selection does not affect the conversion options for HD projects, with the exceptions noted in the table. HD Sequence Format Crossconverted HD Format Downconverted SD Format 720p/59.94 1080i/59.94 30i NTSC 720p/23.976 1080i/59.
Preparing for Audio 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 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. To check the adjusted tone level in the meters: t Switch the In/Out toggle buttons to O for Output.
Preparing for Audio Output Output Gain slider (master attenuator) in the Output tab of the Audio Project Settings dialog box 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.
Preparing for Audio Output 5. Play back one of the following sources of reference audio by doing one of the following: t Click the Peak Hold (PH) Menu button, and select Play Calibration Tone. t Play back a representative sequence or clip containing audio. 6. Watch the levels in the meters, and adjust the master attenuator to the level that you want. n To adjust levels for individual tracks, use the Audio Mixer tool. See “Using the Audio Mixer Tool” on page 788. 7. Close the Audio tool. 8.
Preparing for Audio 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 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. For more information, see “Audio Project Settings: Output Tab” on page 1357. 6.
Preparing Record Tapes 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. In this example you can switch the project to 96 kHz, but if the SDI outputs are enabled, the system will convert all audio output to 48 kHz. c This affects all audio outputs, not just the SDI outputs. That means AES/EBU output will be converted and any Analog output will also be converted.
Preparing Record Tapes Striping Record Tapes (Recording Black with Timecode) Before you can record a frame-accurate digital cut, you must prepare the record tapes in advance by using one of the following options: • To perform insert-edit recording, stripe the record tapes (record black with timecode for the entire duration of the tape) in advance (prestriped tape).
Enabling Assemble-Edit Recording For information on creating your own tone media, see “Creating Tone Media” on page 205. Enabling Assemble-Edit Recording Insert editing is the default setting for the Digital Cut tool. You can also use Assemble-Edit settings in your Avid editing application, along with the assemble-editing capabilities of your record deck, to quickly record frame-accurate digital cuts without striping entire tapes in advance.
Using ExpertRender to Prepare Effects for a Digital Cut Using ExpertRender to Prepare Effects for a Digital Cut Real-time effects might exceed the capabilities of your system and cause dropped frames during a digital cut. You can choose to have your Avid editing application select and render effects that might cause dropped frames. To prepare effects for a digital cut: 1. Load the sequence you want to output. 2. Select the entire sequence or mark IN and OUT points for the area you want to output. 3.
Using the Digital Cut Tool Using the Digital Cut Tool The Digital Cut tool provides controls when you record a sequence to tape. The Digital Cut tool has the following operating modes: • Remote mode lets you control the record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. See “Recording a Digital Cut to Tape (Remote Mode)” on page 1066.
Using the Digital Cut Tool In Remote mode, the Digital Cut tool includes its own deck controls for: • Cueing a record deck from the Digital Cut tool. • Cueing the tape and adding an IN point. This capability applies when you click the menu in the deck control area, and select Mark In Time. The Mark OUT button does not appear in the deck controller section of the Digital Cut tool because it has no effect on digital cuts. Also, the Mark OUT and Duration text fields are read-only. You cannot alter them.
Using the Digital Cut Tool 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 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.
Using the Digital Cut Tool To preview a digital cut: 1. Select Output > 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 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. Click the Digital Cut Safe Mode button (selected by default) to allow your Avid editing application to notify you of conditions that might cause dropped frames. During a digital cut, real-time effects or HD clips in an SD sequence can drop frames.
Using the Digital Cut Tool 12. Click the menu in the Deck Control options area, and select an option to indicate where to start recording on the tape. Option Description Sequence Time Starts the recording at a timecode existing on tape that matches the start timecode of the sequence. If you intend to record several sequences to tape one after another, this option requires resetting the start timecode on each sequence to match appropriate IN points on the tape.
Using the Digital Cut Tool t n n Click the Halt Digital Cut button. After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending upon the record deck model. This provides several frames of overlap for the next IN point before the control track and timecode break up.
Using the Digital Cut Tool Recording a Digital Cut to Tape (Local Mode) Recording in Local mode lets you manually control your record deck by using the controls on the deck. This mode is useful when you need to use non-Avid-controlled decks, such as consumer-grade VHS or Hi8. To record a digital cut to tape: 1. Make sure you selected the appropriate device for the material you are recording. See “Using the Digital Cut Tool” on page 1063. 2. Load a sequence into the Record monitor.
Output Mode Resolution Options 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 1062. 8. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of the digital cut. 9. Select Local in the Deck Control options area. 10.
Output Mode Resolution Options Output Device display (top), Output Mode menu (bottom left), and Bit Depth menu (bottom right) in the Digital Cut tool The following table provides information on the output resolutions. Output Mode Description Real-Time Provides 1:1 uncompressed SD or HD output through an Avid Nitris DX or Avid Mojo DX. DVCPRO HD Provides DVCPRO HD output through a Host 1394 connection. All media must be DVCPro HD. Does not support real-time effects playback.
Outputting DV 50 and DVCPRO HD Media Directly to a DV Device Output Mode Description DV25 Provides DV25 output through a Host 1394 connection. All media must be DV 25. Does not support real-time effects playback. Outputting DV 50 and DVCPRO HD Media Directly to a DV Device You can output DV 50 or DVCPRO HD sequences directly to a DV device. This lets you output without any loss due to compression and decompression.
Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects When you are working in a 23.976p, 24p, or 25p project, you can output multiple formats from the same progressive media.When you are working in a 23.976p, 24p, or 25p project, you can output multiple formats — NTSC video, PAL video, and audio — all from the same progressive media.
Selecting Output Formats for 23.976p, 24p, and 25p Projects Selecting Output Formats for 23.976p, 24p, and 25p Projects To output a particular format: 1. Select Output >Digital Cut. 2. Click the Output Format menu, and select a play rate. A brief description of each output format is displayed in the Digital Cut tool. The play rate you select determines how the digital cut is recorded. For example, if you select 23.
Output Format Reference for 23.976p, 24p, and 25p Projects Digital Cut Tool Output Format (Play Rate) Target Project or System, and Recording Media 23.976 (NTSC) NTSC TV; video screenings; digital audio workstations (DAWs) that support pulldown Picture and sound to NTSC tape; sound to video-referenced audiotape 24 (NTSC) Audio for film projection; DAWs (video for reference only) Picture and sound to NTSC tape; sound to DAT or mag tape Description Plays back the sequence at 23.976 fps (film rate).
Output Format Reference for 23.976p, 24p, 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.
Selecting the Timecode Format for Output The following table summarizes the change in audio rates for 23.976p output options. Output Play Rate Source Output Audio Rate 23.976 NTSC 23.976 fps 48 kHz (no change) 24 NTSC 23.976 fps 48.048 kHz (0.1% speedup) 29.97 NTSC 23.976 fps 60 kHz (25% speedup) 24 PAL 23.976 fps 48.048 kHz (0.1% speedup) 25 PAL 23.976 fps 50.016 kHz (4.
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 23.976, 24p, or 25p project. A broadcast production company might need to output drop-frame timecode for a broadcast master while outputting non-drop-frame timecode to track NTSC film pulldown.
Selecting the Video Pulldown Cadence 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 Output> Digital Cut. 2. Click the Dest. TC Rate menu, and select 29.97 fps or 30.00 fps. Selecting the Video Pulldown Cadence Depending on your Avid input/output hardware, you might have the option to select whether to use standard or advanced pulldown for output when you select 23.
Digital Cuts and Audio 3. Deselect the Entire Sequence option. 4. Select Remote in the Deck Control options area. 5. Select Sequence Time to start the recording at a timecode existing on tape that matches the start timecode of the sequence. 6. Click the menu, and select Insert Edit. This menu only appears if you enabled assemble editing in the Deck Preferences dialog box. For more information about this option, see “Enabling Assemble-Edit Recording” on page 1061. 7.
Changing the Default Pulldown Phase for Sequences If you perform an audio-only digital cut, your Avid editing application plays the video tracks in the Client monitor to ensure the most accurate audio sync. A message appears at the bottom of the Digital Cut tool. Information on connecting decks and cabling varies depending on the Avid input/output hardware you use. For more information, see “Connecting Cameras, Decks, and Monitors” in the Help.
Understanding DV Digital Cut Delay - Pullin B: The first frame of the sequence plays back as three fields, the second frame as two fields, the third frame as three fields, and so on. Now you can perform a digital cut to append the new sequence. Understanding DV Digital Cut Delay DV digital cut delay affects the timing of the DV data sent to the DV device for a digital cut.
Delaying the Sequence for a Digital Cut Delaying the Sequence for a Digital Cut You can delay the sequence stream being sent to a DV device during a digital cut. This can help you to ensure that the first frame recorded is the first frame of your sequence. For more information, see “Understanding DV Digital Cut Delay” on page 1083. To delay the sequence for a digital cut: 1. Click the Settings tab in the Project window. 2. Double-click Deck Preferences. The Deck Preferences dialog box opens. 3.
Using FilmScribe Using FilmScribe The FilmScribe application, available with some Avid editing applications, provides tools for creating frame-accurate cut lists and change lists from 23.976p, 24p, 25p, and matchback projects. You can use these lists to conform a work print, a film negative, audio tracks, or videotape transfers. For information on how to use FilmScribe, see the FilmScribe Help. To start FilmScribe: t Select Output > FilmScribe.
Vertical Blanking Information For example, with a ratio of 24 film frames to 30 video frames, a 7-frame video edit corresponds to approximately 5.6 film frames. However, film cuts cannot include partial frames, so the edit must be rounded to 5 or 6 frames. To make these adjustments, the following occurs during matchback: • If the total video-sequence duration at the end of each cut is a frame longer than the film, the system subtracts a frame from the last video edit.
Vertical Blanking Information c You can preserve VBI information for JFIF, uncompressed, and MPEG IMX resolutions. You cannot preserve VBI information for DV resolutions. n In the majority of cases, you should not preserve these extra lines when you perform a digital cut. Only do so if you have a special need for the information. Vertical Blanking Interval Line Ranges Your Avid editing application can capture 248 lines per field in NTSC or 296 lines per field in PAL.
Vertical Blanking Information n Your Avid editing application does not interpret the vertical blanking information (the encoded data). It treats the coded values simply as pixels in the video frame. If you want to read the vertical blanking information during editing, you must connect an external vertical blanking information reader to the Avid system. To display vertical blanking information and preserve it for a digital cut: 1. Select Tools > Video Output Tool. The Video Output tool opens.
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.
Vertical Blanking Information The following problems may occur: • If the frame contains vertical blanking information, the picture quality of the entire frame might be slightly degraded due to the added entropy or complexity from the vertical blanking lines. The higher the compression ratio, the greater the number of artifacts that might be visible. For a compression ratio of 2:1, the number of artifacts might not be noticeable at all.
Preserving HD Closed Captioning and Ancillary Data Feature Meridien Current Can VBI information affect compression quality? Yes Yes Can compression affect VBI quality? Yes Yes For details on how Meridien systems support VBI, see the Preserving Information in the Vertical Blanking Interval white paper on the Avid Knowledge Base.
Preserving HD Closed Captioning and Ancillary Data Data Track Method The Data Track method stores ancillary data as a separate MXF file. A D (Data) track is added to your sequence, along with the video and audio track. You can edit clips on the D track, just as you would any other clip.
Preserving HD Closed Captioning and Ancillary Data of a data track in the Avid EDL Manager’s Track Selector panel with the D track button. Events which contain a Data track appear in an EDL with a “D” where the “V” appears for video tracks. Adding a Data Track You can add one Data track directly to the Timeline or you can extract the ancillary data from a video clip to create the Data track.
Preserving HD Closed Captioning and Ancillary Data Adding the Active Format Description to the Data Track Active Format Description (AFD) is a standard set of codes that can be sent in the video stream that carries information about the aspect ratio and the active picture characteristics. AFD information allows you to display the video of one aspect ratio on a display with another aspect ratio. When in an HD project, you can choose to add the AFD information to the data track.
Preserving HD Closed Captioning and Ancillary Data 3. Select the Active format information you want to include with the data track. The active format options change depending upon the selected Coded Frame. A graphical representation of the active format is displayed in the Modify window to show you how the active format area will be displayed.
Preserving HD Closed Captioning and Ancillary Data The table below shows the selectable active format options. Option Description Active Format • 0000 Undefined • 0100 Box >16:9 (center) • 1000 Center • 1001 4:3 (center) • 1010 16:9 (with complete 16:9 image protected) • 1011 14:9 (center) • 1101 4:3 (with alternative 14:9 center) • 1110 16:9 (with alternative 14:9 center) • 1111 16:9 (with alternative 4:3 center) 4. Click OK.
Preserving HD Closed Captioning and Ancillary Data If you consolidate the XDCAM or MXF clip or the sequence that contains the XDCAM or MXF clip with ancillary data, the ancillary data track stays with the consolidated clip or sequence. In addition, the Ancillary Data bin column populates with the DID and SDID numbers once you consolidate or transcode the clip with the ancillary data. In order to AMA link to the XDCAM ancillary data clip, you need to install the latest XDCAM AMA plug-in.
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.
Preserving HD Closed Captioning and Ancillary Data Transcode Data Track Method Legacy Method Not Applicable Not Applicable Yes (with Avid Nitris DX or Avid Mojo DX 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 or Avid Mojo DX only) Yes (with Avid Nitris DX or Avid Mojo DX only) Export (AAF with embedded media) Not Applicable Not Applicable
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.
Preserving HD Closed Captioning and Ancillary Data Controlling Ancillary Data through a Settings Window - Legacy Method This feature is only available with an Avid Nitris DX or an Avid Mojo DX. 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.
Preserving HD Closed Captioning and Ancillary Data n Data Packet DID SDID CEA 708 61 01 CEA 608 61 02 AFD 41 05 ATC 60 60 The slot 3 default has changed from DTV to AFD, which is different from previous releases. To set options for ancillary data preservation for a single slot: 1. Select Tools > Console. 2.
Preserving HD Closed Captioning and Ancillary Data Capturing Ancillary Data with a Data Track While you capture video and audio clips, if your Avid editing system has an Avid Nitris DX or an Avid Mojo DX attached, you can also capture clips with ancillary data. You perform the same steps included in “Preparing for Capture” on page 159 and “Capturing Media” on page 223 to capture video and audio media. Make sure you select the Data track (D) Channel Selection in the Capture tool.
Preserving HD Closed Captioning and Ancillary Data The Data Mixdown dialog box opens. 4. Select a target bin and target drive for storing the new master clip, and then click OK. A progress indicator appears. When the data mixdown finishes, a new clip appears in the bin along with the sequence, and a new media file is created on the target drive.
Preserving HD Closed Captioning and Ancillary Data 5. (Option) Select Use Marks. When Use Marks is selected, the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7. Select an XDCAM HD disk from the Target XDCAM Disk list.
Preserving HD Closed Captioning and Ancillary Data Sony applies its own file-naming convention. All exported clips are given a new sequential name of Cxxxx.mxf, for example, C0019.mxf. A progress bar appears displaying the new Sony XDCAM HD sequential clip name. The sequence is exported.
24 Conforming and Transferring Projects This chapter contains information about conforming and transferring projects. • Understanding Conforming • Preparations for Conforming • Conforming Workflow • Conforming Sequences with Color Correction • Transferring Project and Media Files Between Avid Editing Systems Understanding Conforming You can move projects and media from one Avid editing system to another and preserve your edits and effects.
Preparations for Conforming Transferring to Avid DS You can find specific information for transferring projects to Avid DS in the Avid DS Conform Guide (available from the Avid DS Support Center or the Avid Customer Support Knowledge Base.) To access the Knowledge Base, go to www.avid.com/onlinesupport. c Do not include mixed rate clips in sequences that you intend to finish on an Avid DS system.
Preparations for Conforming HD Online SD Offline Notes 720p/23.976 23.976p NTSC You cannot change between these project formats because the edit rates are different. See “Converting a 23.976p NTSC Sequence to 720p/23.976” on page 1518. 720p/25 25p PAL or 25i PAL Change the project format and modify the sequence. 720p/50 25p PAL or 25i PAL You cannot change between these project formats because the edit rates are different. 720p/59.
Preparations for Conforming Frame Rates Ensure that both editing systems support the same frame rates. For example, some offline systems support 24p projects and some do not. You might require a 24p project to deliver multiple output formats.
Preparations for Conforming AVX Plug-Ins If your project contains AVX™ plug-in effects and you are moving across platforms, make sure the same plug-ins are available on both the Macintosh and Windows systems. If the same AVX plug-in effect is not available, you can mix down or render the effect to a high-quality resolution and then transfer it using an OMFI or an AAF file. However, you cannot change the parameters of the effect.
Preparations for Conforming Aspect Requirement Notes File field order Odd (Upper field first) For interlaced media, your Avid editing application uses the Even (Lower field following order: first) • NTSC (601 and DV): lower field first • PAL 601: upper field first • PAL DV: lower field first • HD Interlaced: upper field first If the field order of the graphic is not correct, select the field order of the graphic during import and your Avid editing application reverses the fields appropriately.
Conforming Workflow n If you are working in 23.976p, 24p, or 25p projects, you can output your project in both NTSC and PAL video formats, and in both 4:3 and 16:9 aspect ratios. You need to save a title at each aspect ratio you need for your output requirements, but video format conversion is handled automatically by your system’s hardware. For more information, see “Working with Multiple Title Formats” in the Help.
Conforming Workflow Step 1: Transfer Files Transferring Project Information Only Project information includes the components of your project (such as settings, bins, master clips, edited sequences, and so on), but does not include the media for these components. This project information is sometimes called metadata.
Conforming Workflow Transfer Option Description Create an OMFI or an AAF file that This option lets you work within your Avid editing application, but is references a removable media drive. limited to a single sequence or master clip. You can link to media files that you have copied or consolidated to a single drive. See “Guidelines for Exporting OMFI and AAF Files” on page 1019. Create an OMFI or an AAF file with This option lets you create a single OMF or AAF file, which you can embedded media.
Conforming Workflow If you are finishing an HD project, and the offline project was done in SD, change the project format and then change the sequence format. For more information, see “Changing the Project Format” on page 1514 and “Changing the Sequence Format” on page 1515. For information about working with shared projects and media in an Avid shared storage environment, see “Transferring a Project Using Shared Storage” on page 1129.
Conforming Workflow Recapture Option Description Use the Show Reference Clips option This option lets you reveal the source clips of a sequence in a single bin by selecting the “Show reference clips” option in the Bin Display dialog box, and then recapturing the source clips. This method can be faster than recapturing a sequence or decomposing if the lengths of the new audio and video clips created differ from the original master clips.
Conforming Workflow Step 6: Batch Import Graphics If you are working with master clips or sequences that contain imported material, you can use the Batch Import command to reimport the source files. For example, you might want to: c • Upgrade the video resolution of the imported files to an online resolution. • Replace low-quality material with high-quality material finished with other applications. • Create new media files when the media files are lost or accidentally deleted.
Conforming Workflow You should be aware of the following when re-creating title media: • For best results, use OpenType fonts, which reduce problems when transferring projects from one platform to another. • If you are moving across platforms and the transferred title text uses a single style (the same font and type size), the title text aligns as closely as possible to its original position.
Conforming Workflow To redefine a font replacement: 1. Open a title in the Title tool. 2. Select Object > Font Replacement. The Font Replacement dialog box opens. 3. Click the Unknown Fonts menu on the left, and select the original font. 4. Click the Available Fonts menu on the right, and select the replacement font you want to use. When you select a font from the Available Fonts menu, a preview of that font appears in the text boxes. 5. Click OK.
Conforming Workflow You should be aware of the following considerations when conforming on Symphony using effects created on other Avid editing systems: • Chroma and luma keys conform in Symphony as they were created in the offline system. However, you might find problems with the keys, especially when working in an uncompressed resolution. For maximum options in adjusting keys, promote 2D keys to 3D. The 3D Warp effect in Symphony includes parameters for the SpectraMatte effect.
Conforming Sequences with Color Correction Your Media Composer editing application offers you a range of output formats you can use for your final master. The output formats that are available depend on the format of your source footage. • You can use the Reformat effect or the Pan and Scan effect to create 4:3, 14:9, and 16:9 versions of the sequence. In addition, the Digital Cut tool includes the option to automatically output titles as 4:3 or 16:9 to match your sequence. If your source footage is 23.
Conforming Sequences with Color Correction In an Avid editing application that works with Media Composer or Avid Xpress Pro, if you open a Symphony sequence, you see the following behavior with color corrections: • All color corrections (whether relationship or Color Correction effect) that use color correction controls available in Media Composer or Avid Xpress Pro conform as Color Correction effects.
Transferring Project and Media Files Between Avid Editing Systems t To apply all of the adjustment values stored in the template, drag the Color Correction template icon that you created in step 2 from the bin, and drop it on the monitor containing the current segment.
Transferring Project and Media Files Between Avid Editing 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 on the Avid Customer Support Knowledge Base. Fibre Channel drive None For compatibility information, see the Avid Drive Striping Tables. External 1394 (FireWire) drive HFS+ format Cannot be used as a media drive for Symphony.
Transferring Project and Media Files Between Avid Editing 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. Fibre Channel drive None For compatibility information, see the Avid Drive Striping Tables.
Transferring Project and Media Files Between Avid Editing Systems Method Requirements Restrictions All Files (can be used as media drives) Macintosh external drive (SCSI or Fibre Channel) HFS+ format and an See “Nonshared Storage Issues for Cross-Platform application that enables Collaboration” on page 1132. the Windows system to For compatibility information, see the Avid Drive Striping read Macintosh drives. Tables, which are available on the Avid Customer Support Knowledge Base.
Transferring Project and Media Files Between Avid Editing Systems Method Requirements Restrictions DigiDelivery Installation of None. See the DigiDelivery product page on www.avid.com. DigiDelivery hardware and software Transferring Audio Files You might need to transfer audio separately from video. For example, you might send audio from an offline system to a Pro Tools system for sweetening, and then send the finished audio to a Symphony system for syncing with final video.
Transferring Project and Media Files Between Avid Editing Systems n DigiTranslator v2.0 is required on the Pro Tools system for import and export of OMF and AAF files. For information about working with Sound Designer II audio files, see “Transferring and Working with Sound Designer II Audio Files from Macintosh Systems” on page 1129. For information on working with ProTools in an Interplay environment, see “Using Pro Tools and Interplay” in Avid Interplay Best Practices.
Transferring Project and Media Files Between Avid Editing Systems Transferring Project Files and Media Files Using Nonshared Storage You can use removable nonshared storage devices to transfer media files between Avid editing applications. You can move the project and user files you need to open projects, bins, or user profiles on another Avid system by copying them to the same drive that holds the media files, or to some other removable device or network location.
Transferring Project and Media Files Between Avid Editing Systems The default locations for application folders are listed in the following table. The exact location on your system depends on your Avid editing application, its version, and how it was installed on your system. For example, older versions store projects in an Avid Projects folder that is located in the same folder as the application.
Transferring Project and Media Files Between Avid Editing Systems c Do not open a project directly from the transfer device. You must copy the folder to the system drive first. 9. Select a user, open the project, and resume work. n Your Avid editing application reconstructs the MediaFiles database the first time you start to incorporate the new media into the system’s internal directory. Do not rename the project folder. The project settings do not link to the project if you rename the project folder.
Transferring Project and Media Files Between Avid Editing Systems For more information about working with Media Composer v7.2, Avid Xpress v2.1, and other versions of Avid editing products released before July, 2001, see the Avid Products Collaboration Guide, which is available on the Avid Customer Support Knowledge Base. To transfer video media from v7.2 or Avid Xpress v2.1 to a later release: t In the Export Format dialog box, select OMFI Composition Standard -AIFC, Video Only, OMFI 1.0, With Media.
25 Working with Avid Interplay from an Avid Editing System Avid Interplay is an asset management system that provides a central database of assets (such as master clips, subclips, sequences, and graphics) that you use during your production process. n This section is primarily for editing systems within an Interplay workgroup.
Dos and Don’ts for Editors Working with Avid Interplay The following topic is particularly useful if you are new to working with Interplay: • Dos and Don’ts for Editors Working with Avid Interplay Dos and Don’ts for Editors Working with Avid Interplay The following information is useful for editors who are working with Avid Interplay. It includes guidelines for working with Interplay and a list of dos and don’ts. Also see “Checklist for Editors Working with Interplay” on page 1137.
Dos and Don’ts for Editors Working with Avid Interplay When an Avid Interplay server is available in an Avid shared-storage system in the workgroup environment, Avid strongly encourages not sharing bins or projects. Use the Avid Interplay Window and the check-in process to share media. Similarly, you should not use the File > Open Bin command.
Checklist for Editors Working with Interplay • Regularly clean up the contents of your bins: anything that you don’t need can be deleted. It’s a good idea to delete unwanted media before you check in a bin. If you choose to leave material in your bin without checking it in to Interplay, the material will go to the UIAA folder and sit there until deleted, taking up space on your Avid shared-storage system. • Use reservations to protect material against accidental deletion.
Checklist for Editors Working with Interplay Step Refer to If you are saving media to a locally-connected storage, then make sure it is properly connected and configured for indexing. Before you begin editing: Create a project in the appropriate location, using the proper “Creating Avid Editing Projects in an Interplay naming convention. Environment” on Before you open a project, make sure that Interplay page 1150. supports the media format which you intend to edit.
Checklist for Editors Working with Interplay Step Refer to When editing HD formats, make sure that you acquire your media in a format supported by Interplay. “Interplay Support for Native HD 23.976p and 24p Formats” in the Avid Interplay Help”. If you are working on an audio production using Avid Pro Tools, refer to the documentation for specific requirements on Interplay. Pro Tools Avid Interplay Guide on the Avid web site.
Working with Interplay and Remote Assets Working with Interplay and Remote Assets With Avid Interplay, users can share assets through folders that are managed by the Interplay database and accessible to all workstations in the Interplay environment. If your workflow includes checking in bins from an Avid editing application, you can set up your editing project so that checkins you perform automatically create corresponding folders on Interplay.
Working with Interplay and Remote Assets Top: the Project window and opened bin from an Avid editing application. Bottom: the corresponding folder in the Interplay Window. The project folder and its subfolders also contain project settings that primarily govern media acquisition — for example, frame rates, formats, and target workspaces. For more information about creating and managing projects in an Interplay environment, .
Administrator Settings for Avid Editing Clients You can check assets in and out in several different ways: n • Check assets out by dragging them from the Interplay Window or from Interplay Access (see “Checking Avid Assets Out Using the Interplay Window” on page 1159 or “Checking Avid Assets Out Using Interplay Access” on page 1162).
Using the Interplay Window Using the Interplay Window The Avid Interplay Window is a tool that you open from the Tools menu of your Avid editing application. The Interplay Window provides you with access to the Interplay database. You can copy (check out) assets to your local bin and work with them like any other bin objects.
Connecting to the Avid Interplay Database You also need be connected to the Avid shared-storage network. If you are working in an Avid shared-storage workgroup, your Avid system administrator needs to configure your system for proper access to the Avid shared-storage workspaces. If you need to log in to Avid shared storage and mount workspaces, see “Connecting to Avid Shared Storage and Mounting Workspaces” on page 1156.
Connecting to the Avid Interplay Database 6. In the User Name text box, type a user name. This name must be a known user on your workgroup system. 7. Select “Automatic Login at Project Selection” if you want to log in to the Interplay database automatically every time you open a project. If you do not select this option, you must open this dialog box when you want to access the database. 8. Click Login to establish the connection to the Interplay database.
Connecting to the Avid Interplay Database 11. Click the Set button, and a directory tree is displayed for the Interplay database that you logged in to. 12. Select a folder to use as the default Interplay Root Folder for your project and click OK. The Interplay Folder setting defines where assets are checked into the Interplay database when you use menu commands, automatic checkin, or Frame Chase capture.
Connecting to the Avid Interplay Database Logging in to Interplay and Opening the Interplay Window If you configured the Interplay User settings to log in to the database when you select your project, the Interplay Login dialog box opens when you start your Avid editing application. If you did not select this option, then you must open the Interplay User settings before logging in to the database. After you log in, you have the option of opening the Interplay Window.
Connecting to the Avid Interplay Database n You can override the Host Name and User Name settings in the Interplay Login dialog box. 3. If an Interplay Folder path is not set, the Interplay Folder Settings dialog box is displayed. Set the path and other options and click OK. See “Configuring Interplay Settings on the Editing Workstation” on page 1144. (Option) You can set an option to display a message box that asks you to confirm the Interplay Folder path, if it is already set.
Connecting to the Avid Interplay Database 4. Select options to verify the directory path. - On login: If this setting is selected, a message box asks you to confirm the directory path after you log in to Interplay. Select “for new projects only” if you want this message box displayed only after you create a new project. When the message is displayed after login, click OK to accept the directory path, or click Change Setting to open the Interplay Folder Settings dialog box.
Creating Avid Editing Projects in an Interplay Environment Creating Avid Editing Projects in an Interplay Environment One of the biggest decisions you will make regarding your workflow is the location of the projects and bins created by the editing applications.
Creating Avid Editing Projects in an Interplay Environment 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.
Interplay Settings in the Editing Application 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.
Defining the Interplay Folder Setting Option Description Interplay Server (Site Setting) Specify the name of the Interplay Engine for the environment. If the site has an Interplay Engine Cluster, this is a virtual name that will log in to the active node. Interplay User (User Setting) Specify the name of the default Interplay user (if applicable) and check the Automatic Login at Project Selection checkbox.
Defining the Interplay Folder Setting The Project folder selected. Click the Append project checkbox. The following illustration shows a folder for a project named “The Big Swell” created in the Projects folder. The folder was created automatically when the editor checked the first bin into Interplay using the Check in Bin to Interplay command. The system automatically created both folders and checked in the assets into the folder. Folders created by checking in the bin. Checked in assets.
Defining the Media Creation Settings To instruct the system to automatically check in bins when the editor closes the application, select the Bins option in the Editor Database Settings window in the Avid Interplay Administration tool. The default is to ask the editor before checking in the bin. Defining the Media Creation Settings Use the Media Creation dialog box to define the video resolution and the drives where you want the Avid editing application to store newly created media.
Connecting to Avid Shared Storage and Mounting Workspaces Connecting to Avid Shared Storage and Mounting Workspaces If you need to manually connect to your Avid shared-storage system and mount workspaces, use one of the procedures in this section. For complete information, see your Avid shared-storage documentation. Mounting Workspaces on an Avid ISIS System If your system is connected to an Avid ISIS media network, you can use the Client Manager to mount a workspace before you begin your work session.
Connecting to Avid Shared Storage and Mounting Workspaces The Avid ISIS Client Manager. The three panels contain the Connections list (top), the Workspaces list (center), and messages (bottom). Highlighted on the left is the Workspaces filtering area. Highlighted on the right are the Retrieve Details buttons and the toolbar. 2. Select the System Director you want to connect to from the Connections list. 3.
Connecting to Avid Shared Storage and Mounting Workspaces To mount an Avid ISIS workspace on your system: 1. Open the Client Manager. The Workspaces list opens. The Online field displays a green ball for workspaces that are already mounted. You can filter the Workspaces list by Workspace name. 2. Do one of the following: n t Click (mount) in the Online column for the selected workspace. t Click to select a workspace, then right-click, and select Mount.
Editing with Remote Assets The Client Manager mounts the selected workspaces on your client and the Online icons for the mounted workspaces change to green. The Workspaces list displays the drives the workspaces are mounted to. If you use letterless drive mappings, the Workspaces list displays “UNC path” next to the Online icons. 4. (Option) If you want the selected workspaces remounted the next time you log in, right-click, and select “Enable auto mount”.
Editing with Remote Assets The Interplay Window displays the Avid assets in the selected folder. 5. Click the assets you want to check out, and drag them to your bin. The bin displays the clips and sequences.
Editing with Remote Assets This message could also appear if another user has checked in a modified version of the asset after you checked it out. Click “Update anyway” to overwrite the local version with the version on the database, or click “Keep local modifications” to preserve the local version.
Editing with Remote Assets Checking Avid Assets Out Using Interplay Access When you are working with an Avid editing application, you might want to use the advanced search in Interplay Access to look for particular Avid assets. After finding the assets, you can drag them from Interplay Access into a bin (checking out the assets), which creates local copies of the assets (but not the media).
Editing with Remote Assets Method Description Check in assets by You can check in assets to a bin using the Bin > Check In Bin to Interplay command or the checking in a bin Bin > Check in All Open Bins to Interplay command. These commands check in the following items: • Items that have been modified since they were last checked in or out • Items that have been added to a bin.
Editing with Remote Assets 3. Do one of the following: t To check in all Avid assets in a bin, select the bin and then select Bin > Check In Bin To Interplay or File > Check In All Open Bins to Interplay, or right-click the Bin Fast menu and select Check In Bin To Interplay. t To check in Avid assets in all open bins, select Bin > Check In All Open Bins to Interplay or right-click the Bin Fast menu and select Check In Bin To Interplay.
Editing with Remote Assets 4. (Option) Right-click the Projects folder in the Interplay Window, select Create a New Folder, and then type a name for the folder. 5. Select one or more items in the bin and drop them in a folder in the Interplay Window. Automatically Checking In Avid Assets You can automatically check in media assets by setting the appropriate option in the Avid Interplay Administrator.
Editing with Remote Assets Automatic checkin is optimized to work more quickly than the menu commands described in “Checking Avid Assets In to the Interplay Database” on page 1162. If a bin contains any new or modified items, it is processed exactly as when you use the menu commands. If there are no new or modified items in a bin, no items in the bin are checked in. In this case, automatic checkin will not detect that items have been deleted from the bin’s database folder.
Editing with Remote Assets You can also edit files that have been checked into Interplay from Pro Tools. For more information, see “Using Pro Tools and Interplay” in Avid Interplay Best Practices. For more information about using and customizing the Interplay Window, see “Managing Remote Assets with the Interplay Window” on page 1171. To view Avid assets in the Source monitor: 1. Start your Avid editing application, and either create a new project or open an existing project. 2.
Editing with Remote Assets Understanding In-Progress Clips If your Avid editing application is part of a workgroup environment managed by Avid Interplay, you can edit using in-progress clips. In-progress clips are created using Frame Chase capture capabilities, either on another Avid editing application or with a line feed or ingest device such as an Avid AirSpeed®. In-progress clips are available for viewing and for use in editing while the capture is still in progress.
Editing with Remote Assets 4. Create a sequence in a bin. 5. Use standard editing techniques to build a sequence incorporating any parts of the in-progress clip that you can view in the Source monitor. 6. (Optional) To get updated information about the clip (metadata), select Bin > Update Bin from Interplay. For more information, see “Updating Remote Assets in Bins” on page 1166. 7. When the clip is completely captured, select Bin > Update Bin from Interplay.
Editing with Remote Assets Function Description Trimming The right-side trim limit of an in-progress clip is determined by the currently available media. When you trim an in-progress clip to the end of available media, the trim functions as if it had reached the end of the clip. As more media is captured, the trim limit increases. Performing the trim at a later time might allow more trimming because more media might become available.
Managing Remote Assets with the Interplay Window Managing Remote Assets with the Interplay Window You access remote assets through the Interplay Window. This lets you see all of the Avid assets available to your project, manage your assets, and access the Avid assets stored in Interplay folders so you can edit the clips in your sequence.
Managing Remote Assets with the Interplay Window Assets can carry two different kinds of markers: • Reservations: Reservations protect assets from deletion and moving. Assets protected by a reservation are marked by a Reservation icon in Avid Interplay Access. For more information on reservations, see “Understanding Reservations” on page 1172. • Restriction markers: Restrictions indicate limitation warnings on the use of media assets. Assets that include a restriction are marked by a Restriction icon.
Managing Remote Assets with the Interplay Window For more detailed information on reservations, see the Avid Interplay Access User’s Guide. Understanding Restrictions Restrictions are placed on Avid assets by adding the restrictions to markers in Avid Interplay Assist. A restriction can represent material that should not be used.
Managing Remote Assets with the Interplay Window Each individual link to an asset has its own access control. This means that it is possible to have read/write/delete access to an asset in folder A, but only read access to another instance of the asset in folder B. For example, if a master clip is visible in two folders, one with a reservation and one without, when you delete the master clip in the non-reserved folder, the master clip in the reserved folder (and the related media) is not deleted.
Managing Remote Assets with the Interplay Window To move clips or sequences from one folder to another: 1. In the Research panel, select the clip or sequence that you want to move. 2. Drag the clip or sequence to the destination folder in the Media Directory panel, and release the mouse button. To copy clips from one folder to another: 1. In the Research panel, select the clip or sequence that you want to copy. 2.
Managing Remote Assets with the Interplay Window Creating Folders and Shortcuts in the Interplay Window If you have the appropriate rights, you can create folders in the Avid Interplay database to help organize your projects. You can also save time accessing remote assets you use often by creating shortcuts to Interplay folders and catalogs in the Media Directory panel. To create a new folder in the Interplay Window: 1.
Managing Remote Assets with the Interplay Window Location of the Layout button in the Interplay Window To modify the display properties of the Interplay Window, do one of the following: t Click the Layout button until the layout you want displays in the Interplay Window. t Press Ctrl+L (Windows) or Command+L (Macintosh) until the layout you want displays in the Interplay Window.
Managing Remote Assets with the Interplay Window Added columns appear only for the selected folder and for the current work session. If you want to use the same columns the next time you log in to your Avid editing application, you must save a custom layout. See “Using Custom Layouts for the Interplay Window” on page 1186. • Create new column headings in the Research panel. New column headings (custom properties) are added to the database. Be careful when creating custom properties.
Managing Remote Assets with the Interplay Window To add columns to the Research panel: 1. Right-click a column heading and select Select Working Set of Columns. The Select Working Set of Columns dialog box opens. The dialog box displays four sections of properties as defined in the Interplay Administrator, separated by dotted lines: System, Custom, Video Resolutions and Audio Resolutions. 2. Select the columns you want to display.
Managing Remote Assets with the Interplay Window To enlarge or to reduce the size of columns: t Click the border of a column in the Research panel, and drag it to the right or the left to resize it. Selecting Values for a Custom Property You can select a property value from a list for a custom property rather than typing it in. You can select this value from a column in the Research Panel.
Managing Remote Assets with the Interplay Window 3. Navigate to the new custom column heading, select it, and click OK. 4. Locate the custom column in the Research panel and click it in the cell for the asset you want to label. The list of values for the property appears.
Managing Remote Assets with the Interplay Window 5. Select a value. The value appears in the cell. 6. Select values for additional assets.
Managing Remote Assets with the Interplay Window Selecting Asset Types To select asset types and reference clips to display: 1. Right-click the Type column heading in the Research panel and select Set Type Filter. n You need to right-click the column heading. If you right-click elsewhere in the column, the option does not appear in the context menu. The Set Type Filter dialog box opens. 2. Select the asset types you want to display. 3.
Managing Remote Assets with the Interplay Window Renaming Clips in the Interplay Window You can rename a clip in a folder directly by modifying the information displayed in the Research panel. n This action also renames copies of these clips. It does not rename duplicated clips. To change the name of a clip: 1. Click the cell in the Name column that you want to modify. The clip row is highlighted. 2. Click the cell again to enter text. The pointer changes to an I-beam. 3.
Managing Remote Assets with the Interplay Window The Refresh button on a tab in the Research panel To update a search result tab: t Execute the search again. Navigating to a Folder that Contains a Selected Asset You can use a command to navigate (go to) to a folder that contains a selected asset. To navigate to a folder that contains a selected asset: 1. Right-click an asset in the Research panel (any tab) and select Open Enclosing Folder.
Managing Remote Assets with the Interplay Window For example, someone else who accessed a clip in Interplay Access after you loaded the same clip in the Research panel might have changed the name of the clip on the server; when you then try to rename that clip, the Property Merge dialog box opens. The change could have been made in any Interplay application, including Assist, Instinct, Interplay Access, or the Interplay Window.
Managing Remote Assets with the Interplay Window To save a layout: 1. Open a folder. 2. Modify the display or the columns according to preference. 3. Click the Layout menu, and select Save Layout As. The initial layout name is “Default.” Once you save a layout, the Layout menu displays the saved layout name. If you want to save changes to an existing layout, click Save Layout. Location of the Layout menu in the Interplay Window The Enter Column Layout Name dialog box opens. 4.
Managing Remote Assets with the Interplay Window 3. Click Yes. Opening Multiple Tabs in the Interplay Window When you open a new Interplay folder, its contents replace the current contents displayed in the Interplay Window. If you want to keep the contents of more than one folder open at a time, you can save the Research panel display as a tab in the Interplay Window and then open the contents of the new folder as a separate tab. This way, you can keep multiple folders open at once.
Managing Remote Assets with the Interplay Window To change the font from the Research Panel context menu: 1. Right-click and select Set Research Panel font. The Select Research Panel Font dialog box opens. n On Windows XP, the dialog box lets you select and preview options other than Font and Size, but those options do not affect the font in your Avid editing application. You can change only Font and Size. 2. Select a font and a size, and then click OK. The font in the panel changes.
Finding Remote Assets To change the font from the Directory panel context menu: 1. Right-click in the Directory panel and select Set Directory Panel font. The Select Directory Panel Font dialog box opens. 2. Select a font and a size, and then click OK. The font in the panel changes. Finding Remote Assets You find Avid assets stored in the Interplay database by searching Interplay folders. The most common method of finding remote assets is to perform a search based on attributes.
Finding Remote Assets To perform a search: 1. Click the Media Search tab. To open an additional search tab, do one of the following: - Press Ctrl+F (Windows) or Command+F (Macintosh). - Right-click an Interplay folder and select Search. The folder you select is displayed in the Search In field. 2. In the Text field, type a search term. You can specify words or characters for your search. Search terms are not case-sensitive and apply to all searchable text attributes of the Avid assets in your search.
Finding Remote Assets 8. Click Search. The Interplay Window performs the specified search and returns all matching records in the Research panel. The name of the search tab changes to the text that you searched for. 9. (Option) To start a new search, click Reset or open a new search tab. Then repeat steps 2 through 8. If necessary, click the show/hide arrow in the upper left of the tab to show the Reset button and the search fields.
Capturing Media to Interplay Folders Attribute Options Description Category Examples: Weather Sports Local News Lets you specify which category to search. The specific categories listed for this attribute are defined by the system administrator.
Using the Interplay Central Messages Window The Interplay Folders selection button (top) and the Bin menu (bottom) in the Capture tool 4. Set up the Capture tool as described in “Capturing Media” on page 223. 5. Click the Bin menu, and select an open Interplay folder. 6. Start capturing as usual. Using the Interplay Central Messages Window Avid Interplay Central accommodates a number of workflows and gives users the freedom to write, edit, produce, and manage media through a Web-based interface.
Using the Interplay Central Messages Window The Interplay Central messaging system allows you to share Interplay Production assets between Interplay Central users within your workgroup. Once you to log in to Interplay using the Interplay User Settings dialog box, you can then log in to Interplay Central using the Interplay Central Messages window.
Using the Interplay Central Messages Window If you have signed into Interplay, the Interplay Central Messaging pane attempts to log in to the Interplay Central portal associated with your Interplay workgroup using your Interplay credentials. If your Interplay and Interplay Central credentials are different, you must log in to Interplay Central before using the message window. 2. If required, type your Interplay Central user name and password, and then click Sign In.
Using the Interplay Central Messages Window 4. If the message includes a media asset, do one of the following: t Double-click the head frame in the asset area to view the media. You can view master clips, subclips, group clips, and sequences. t Drag the head frame from the message to a bin. The clip opens in the Source monitor or displays in a bin. To log out of Interplay Central, do the following: t Close the Interplay Central Messages window.
Using the Interplay Central Messages Window To write a new message and share media assets: 1. Select Tools > Interplay Central Messages The Interplay Central Messages window opens. If you have signed into Interplay, the Interplay Central Messaging pane attempts to log in to the Interplay Central portal associated with your Interplay workgroup using your Interplay credentials.
Using the Interplay Central Messages Window 3. In the address text box at the top of the Messages pane, start typing the name of the recipient for your message. A list of Interplay Central users displays as you type. Online users are indicated by a green dot next to the name. A red dot indicates an offline user. n If you type an invalid name, the name changes to red and you receive an error message. You can only send messages to recipients on the Interplay Central user list. 4.
Using the Interplay Central Messages Window Asset area of the message, with the Remove button 6. In the message text box, type your message. A character count below the message displays the number of characters allowed in your message. You can type a total of 256 characters. 7. Click Send. The message is sent to the Interplay Central users listed in the address text box and displays as a sent message at the top of your message list. Messages sent by you display with a blue background.
Performing a Send-to-Playback as a Background Process from an Avid Editing Application A character count below the message displays the number of characters allowed in your message. You can type a total of 256 characters. If you share an asset, a head frame of video clip or a clip icon for an audio clip displays in the message 4. Click Send. The message is sent to the Interplay Central users listed in the address text box and displays as a sent message at the top of your message list.
Performing a Send-to-Playback as a Background Process from an Avid Editing Application t (Option) Select Overwrite, to overwrite the tape ID name in the Interplay Transfer if the same name exists. t Select Use STP Encode to use the STP Encode provider for processing the send-to-playback operation. The system immediately starts the send to playback operation.
26 Interplay Synced Projects Interplay Synced Projects provide you with a way to link your bins and projects in Media Composer or NewsCutter with the folder structure for assets stored in your Avid Interplay database. When you make changes in your project, the changes are saved to Interplay. Other users can work on the same synced project and update their bins and folders by updating them from Interplay.
Synced Projects Updating and saving a project in Media Composer or NewsCutter updates the asset folders in Interplay. When you add bins to your project, corresponding folders are created in the Interplay database as subfolders within your project. Clips in your synced project are checked in to Interplay automatically, avoiding the need for using the Unchecked-in Avid Assets folder.
Enabling Interplay Synced Projects Synced project asset folders in Interplay Access, with the synced project icon Changes to a bin — for example, moving assets, importing master clips, or creating new sequences — are automatically saved to Interplay folders. You can also update the Interplay folder by saving or checking in a bin. When other users make changes to a synced project, you can update a bin or update the entire project.
Working with Synced Projects For more information on using the Interplay Administrator, see Avid Interplay Engine and Avid Interplay Archive Engine Administration Guide. To enable synced projects: 1. Do one of the following: t Click the Start button and then select All Programs > Avid > Avid Interplay Access Utilities > Avid Interplay Administrator. t From Interplay Access, select Tools > Open Interplay Administrator. The Avid Interplay Administrator Server Login screen appears. 2.
Creating a New Synced Project To create a synced project, you must have write permissions in Interplay. If you have Read/Write or Read/Write/Delete privileges, you can create synced projects. If you have Read Only permission, you cannot create an Interplay project in the Select Project dialog box.Your Interplay administrator can grant access to the Interplay synced project folder for other users.
Creating a New Synced Project 2. If you are not already signed in to Interplay, do the following: a. In the Host Name text box, type the computer name or IP address of your Interplay server. b. In the User Name text box, type a user name. This name must be a known user on your workgroup system. c. In the Password text box, type your password, and click Login. When the blinking yellow light turns green and the Login button changes to the Logout button, you are connected to the Interplay database. 3.
Opening an Existing Synced Project The Project window, the Composer window, and the Timeline open with your User settings loaded. Interplay creates a synced project folder. To view the folder structure in Interplay, open the Interplay Window. Opening an Existing Synced Project When you open an Interplay synced project that you have not opened before, your Avid editing application creates a new project based on the settings saved for the project in Interplay.
Opening an Existing Synced Project A list of synced projects displays, depending on your permissions. Synced projects you have opened before are stored on your local system and appear at the top of the project list. Synced projects that you have not opened on your system are listed in the Select Project dialog box as “add [project name].” 4. Do one of the following: t Select a project in the Select Project dialog box, and then click OK. t Double-click a project name in the Projects list.
Deleting Synced Projects - When you open a synced project for the first time on your system, a dialog box opens and asks if you want to create a local project synced to the Interplay project. Click OK to create a local copy of the synced project. Deleting Synced Projects If you delete a synced project, a dialog box provides you with the following options: • You can delete the project and its folder on your local system.
Updating a Synced Project 4. Do one of the following: t To delete the synced project from your local system but keep the project in Interplay, click Local. This moves the project to the bottom of the project list and changes the project name to “add [project name].” t To delete the synced project from Interplay but keep the project on your local system, click Interplay. A dialog box asks you to move the local project or delete it.
Updating a Synced Project When you update your synced project, changes made to the settings and the bin and folder hierarchies are updated. When you sync bins, changes to the clips and sequences in the bin are updated. When updating bins in your synced project, keep in mind the following: • Local bins update to match the media assets in Interplay when you open the bins. This update might include adding, modifying, deleting, or renaming items in the bin.
27 Using Your Avid Editing Application with Interplay Sphere When you use Avid Interplay Sphere, you can edit media either stored locally on your system or stored on an Interplay server back at your production facility or broadcast station. With Interplay Sphere, you connect to your Interplay server by way of a Virtual Private Network (VPN) using either a Wi-Fi or a wireless connection.
Working with Remote Editing • Check in of consolidated sequence to Interplay. Clips are transferred to the Interplay system using a local transfer manager service that runs in the background without the need of additional configuration. The remote upload service can first upload clips at a proxy resolution, and then upload the full-resolution clips when time and bandwidth allow. The clips are automatically checked in to Interplay • Check out the uploaded clips at the broadcast or production facility.
Working with Remote Editing 4. In the Interplay Server Name text box, type the computer name or IP address of your Interplay server, and then click OK. It is important to type the correct computer name or IP address. This is the location where the editing system looks to access the database and to check in and check out Avid assets. 5. In the Settings list, double-click Interplay User. The Interplay User Settings dialog box opens. 6. In the User Name text box, type a user name.
Working with Remote Editing 9. In the Interplay Login dialog box, select Remote Client, and then type your password, and click OK. When the blinking yellow light in the upper left of the dialog box turns green, you are connected to the Interplay database and the dialog box closes. 10. In the Project Settings, double-click Interplay Folder. The Interplay Folder Settings dialog box opens. 11. Click the Set button, and a directory tree is displayed for the Interplay database that you logged in to. 12.
Working with Remote Editing - On login: If this setting is selected, a message box asks you to confirm the directory path after you log in to Interplay. Select “for new projects only” if you want this message box displayed only after you create a new project. - On first checkin: If this setting is selected, a message box asks you to confirm the directory path the first time you check in from a project. This message is displayed once each time you work in a project. 14. Click OK.
Working with Remote Editing Using Remote Media Once you configure the Interplay settings on your Avid editing application, you can remotely view, play, and edit media checked in to Interplay. When you access Interplay assets remotely, audio and video master clips are streamed to your remote system using the Interplay Common Services (ICS) server.
Using the Disk Cache to Manage Cached Media The following limitations also apply to remote playback: • Remote sequences that include rendered effects play back on the remote client without the rendered media. However, sequences maintain the data for the effects. To view an effect, you can render it on your system. You then need to render any locally-rendered effect again once you relink your uploaded media to the source media back at the station or production facility.
Uploading Media Using the Remote Upload Service 3. If you want to change the default folder for cached media files, click Browse and navigate to the appropriate folder on your system. 4. If you want to modify the maximum size of the cache folder, click the Disk Cache Size text box and enter a new number. The default size is 2 GB. To clear the disk cache of cached media: 1. Click the Settings tab in the Project window. 2. Double-click Sphere Playback. The Sphere Playback Settings dialog box opens. 3.
Uploading Media Using the Remote Upload Service their upload status. For example, if you use a clip called ClipA in a sequence stored in Bin1, enable Remote Sync, and then save Bin1, ClipA is uploaded to the subfolder Bin1/Upload with the clip name ClipA,upload, n, where n is incremented each time Bin1 is saved and ClipA is uploaded during the Remote Sync operation. This prevents your bin folder in Interplay from filling up with multiple versions of your uploaded clip.
Uploading Media Using the Remote Upload Service The following limitations apply to remote upload: • You cannot transcode or upload effects and precomputes for rendered effects and titles. You must render all effects and sequences at the production facility that includes your Interplay environment. • You cannot transcode and upload titles. However, if you have a sequence with title media, checking in the sequence to Interplay does upload metadata for the title with the sequence.
Uploading Media Using the Remote Upload Service 3. Select the appropriate options for your upload, including the upload quality, the local volume used for creating the proxy media, a priority for upload jobs, and the Interplay destination for your media. For a description of upload options, see “Sphere Upload Settings (Window Only)” on page 1430. 4. Click OK.
Uploading Media Using the Remote Upload Service 6. (Option) If you upload multiple clips and want to change the upload priority of one or more clips — for example, to upload the most important clips first — click the Priority menu and select one of the following: n t High Priority t Normal Priority t Low Priority You can change the priority of your upload at any time during the transcode and upload operation. Changing the priority does not affect an upload operation currently in progress.
Uploading Media Using the Remote Upload Service To sync a sequence with Avid Interplay: 1. Do one of the following: t Right-click the sequence in the bin, and then select Start Remote Sync Sequence. t Click the Start Remote Sync Sequence button in the Timeline. The Sphere Upload Settings dialog box opens.
Interplay Sphere and Dynamic Relink 2. Select the appropriate options for your remote sync operation. For a description of upload options, see “Sphere Upload Settings (Window Only)” on page 1430. 3. Click OK. The Remote Upload Service begins to sync your sequence with the clips already checked in to Interplay, and the Remote Sync Progress button changes to a revolving icon to indicate the sync is in progress. 4. To view the progress of the sync operation, select Tools > Upload Queue Window.
Upload Queue Window Dialog Box n To use dynamic relink, you need to transfer you remote media to your Interplay environment using a standard Ethernet connection. Because the clips in your sequence initially link to the source clips’ original location and not to the uploaded media, they might display as offline when you open your sequence back at the station or production facility, or when you open the sequence from another remote system, unless you first enable dynamic relink.
Upload Queue Window Dialog Box 1 2 3 4 5 6 Element 1 Tool menu Description Provides options for the Upload Queue Window: • Clear Inactive Jobs — clears the Upload Queue Window of all jobs not currently transcoding or uploading. • Show Job Groups — allows you to display or hide specific job groups listed in the menu. 2 Clip or Sequence name Lists either the name of the uploaded sequence above the clips within the sequence or the name of the uploaded clip.
Supported Project Types and Formats Supported Project Types and Formats The remote editing feature and check in to Interplay support the following project formats when transcoding local clips for remote upload: • 25i PAL • 30i NTSC • 720p 50 • 720p 59.94 • 1080i 50 • 1080i 59.94 You can use media with mixed frame rates in your remote sequence, but you can transcode only those source clips with the same format as your project.
28 Using Interplay Transfer to Export Media Avid Interplay Transfer lets you transfer Avid assets to and from another workgroup, send finished sequences to a configured playback device, and capture media from a configured ingest device. You can also use Interplay Transfer in a standalone environment (an environment other than Avid shared storage) to move Avid assets between workstations. When you use Interplay Transfer in a workgroup environment, you can use several types of transfers.
Setting Transfer Settings in the Avid Editing Application For more information on Interplay Transfer, see the Avid Interplay Transfer Setup and User’s Guide. To install the Interplay Transfer client software on an Avid editing system: 1. Insert the Avid Interplay Installer DVD and double-click autorun.exe. 2. Click Clients on the Main Menu page. The Client Support page opens. 3. Click Avid Editor Support. The Install Avid Editor Support page opens. 4. Click Avid Interplay Transfer Client. 5.
Setting Transfer Settings in the Avid Editing Application 4. In the Standalone/Incoming Requests area, do one of the following: t Select “Refuse All Requests,” if you do not want to receive files from another workgroup. t Select “User Dialog To Accept/Refuse,” and one of the following methods for accepting transfers: - Wait for User Action (No Timeout) — You receive a message request for a transfer. You must click OK for the transfer to occur.
Setting Transfer Settings in the Avid Editing Application - In the Timeout (seconds) text box, type the amount of time you want to set for the timeout. 5. In the Status Window area, do the following: a. In the text box, type the number of seconds you want the status window to update. b. (Option) Select “Bring up window if error occurs” if you want errors to display. 6.
Setting Transfer Settings in the Avid Editing Application 10. In the Other Workgroups area, click Add. The Add Workgroup To List dialog box opens. If you want to edit the names of any of the Interplay Transfer servers or workstations listed in the Other Workgroups area, select the name, click Edit, and make the changes. 11.
Setting Transfer Settings in the Avid Editing Application Send to Playback with Multichannel Audio Tracks This section describes a best practice for sending a sequence containing multichannel audio tracks to playback when using Direct Out mode. For information on sending multichannel audio to playback using Multiple Mixes, see “Mapping Audio Tracks to Output Channels” on page 1236. When using Direct Out mode, keep the multichannel audio tracks at the bottom of your audio tracks.
Setting Transfer Settings in the Avid Editing Application 3. Click the Settings tab. 4. In the Output Audio Mix area, select Multiple Mixes, and then click Edit. The Multiple Mix Editor dialog box opens.
Setting Transfer Settings in the Avid Editing Application 5. Click the Format buttons to cycle through the available options until you find the appropriate format: Option Description Mono tracks Maps audio tracks to mono channels, with any assigned stereo tracks mixed down to a mono channel. Stereo tracks Maps audio tracks to a single stereo channel, using the pan information on the input tracks to generate stereo output. 6.
Setting Transfer Settings in the Avid Editing Application 8. Repeat steps 5 through 8 to map additional audio tracks to output channels. 9. When you finish assigning tracks to output channels, click OK to save your mixdown sequence. The Multiple Mix Editor closes. 10. In the Transfer Settings dialog box, click OK. To save a custom map of output audio channels as a settings template: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click Transfer. 3. Select Edit > Duplicate.
Transferring Avid Assets from an Avid Editing Application You can select this new setting whenever you send a sequence to playback using Interplay Transfer. Transferring Avid Assets from an Avid Editing Application If Interplay Transfer is properly installed and enabled on your Avid editing system, it starts automatically whenever you start the Avid editing application.
Transferring Avid Assets to a Playback Device To send a finished sequence to a playback device: 1. (Option) If you want to use a Transfer setting template, select the custom Transfer setting in the Settings tab in the Project window. For more information on creating a custom map for sending sequences to Interplay Transfer, see “Mapping Audio Tracks to Output Channels” on page 1236. 2. Open the bin that contains the clips or sequences you want to send. 3. Select a clip or sequence in a bin.
Monitoring Transfers from Within the Avid Editing Application Transcoding of Mixed Resolution Clips During a Send to Playback When you perform a Send to Playback operation, the application automatically renders effects and relinks your sequence to the target resolution. You can use the Send to Playback command with sequences that contain clips of different resolutions.
Monitoring Transfers from Within the Avid Editing Application 2. Right-click the status of a particular transfer to display the status options. See “Transfer Status Window Options” on page 1243. A plus sign in the PWT column indicates the clip or sequence has been set to a high priority. Transfer Status Window Options The following table lists the status options available when you right-click a transfer displayed in the Transfer Status window during a transfer.
Monitoring Transfers from Within the Avid Editing Application To sort a transfer status column: 1. From the Transfer Status window or Interplay Transfer tab, right-click the column to display the Sort options. 2. Select either Sort, Sort Reversed, or No Sort. Sort lists the information in alphabetical order.
29 Using MultiRez and Dynamic Relink This chapter provides information about using MultiRez and dynamic relinking. MultiRez is available only on Avid editing systems that have the Avid Interplay Media Indexer installed.
Understanding MultiRez and Proxy Editing Proxy editing is a workflow where you edit with a low-resolution version of media and then conform the edits into a composition that refers to an equivalent high-resolution version of the same content. In a post-production workflow, you capture material at a low resolution and perform what is referred to as offline editing, then batch capture the same clips at a higher, online resolution and relink the sequence to the higher resolution.
Acquiring Media at Multiple Resolutions Acquiring Media at Multiple Resolutions In an Avid Interplay environment, you can create and store multiple resolutions of the same media. These can be acquired in several ways. You can configure a workgroup to ingest both high and low-res media simultaneously. You can also first create master clips with high-res media, and if your hardware permits it, you can re-capture these clips as low-res proxies.
Acquiring Media at Multiple Resolutions n You can only create one new resolution at a time using batch capture. To capture multiple resolutions at the same time (ie: high-res and a proxy simultaneously), use the Interplay Low-Res Encoder. See the Interplay documentation for more information. To batch capture a different resolution: 1. Prepare your system for batch capturing, as described in the Help for your Avid editing application.
Acquiring Media at Multiple Resolutions n For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on page 1281. Batch Importing File-Based Media at Different Resolutions Using Batch Import, you can import file-based media at different resolutions. To perform a batch import, you must have a master clip that has the media imported in another resolution. To batch import a different resolution: 1.
Acquiring Media at Multiple Resolutions 5. In the Import Target area, select the desired resolution and storage location. 6. In the Import Options area, select “Keep existing local media” and any other options. 7. Click Import. Your Avid editing application imports the files and creates media in the resolution you specified. The original media file is preserved, and the master clip is now associated with an additional resolution.
Understanding How Clips are Associated with Multiple Resolutions To transcode a clip using your Avid editing application: t Right click the clip in the bin and select Consolidate/Transcode. To transcode a clip using the Interplay Transcode service, do one of the following: t In Avid Interplay Access, right-click the clip and select Transcode. Select the profile that has been created for this transcode and click Set.
Understanding How Clips are Associated with Multiple Resolutions You create a new tape by clicking the New button in the Select Tape dialog box, entering a name for the tape, and clicking OK. DV Your Avid editing application then associates the new source ID with each clip that you capture from that tape.
Options for Clip and Media Association Guidelines for MultiRez Tape Management When working in a MultiRez workflow, it is important to name tapes properly. In particular, you should keep the following in mind: • Whenever you create a new tape, your Avid editing application generates a new source ID, even if the name you type for the new tape exactly matches that of an existing tape. You cannot dynamically relink media that does not share a source ID.
Options for Clip and Media Association For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on page 1281. n You can batch capture the clip in additional resolutions; there is no limitation to the number of media files associated with a clip. Multiple Clips, Multiple Resolutions, and the Affinity Model You can transcode the media associated with a clip to create media in a different resolution, usually to create a low-resolution version of the clip.
Options for Clip and Media Association 01:00:10:00 01:00:00:00 01:00:10:00 DV 01:00:00:00 Example of associations between multiple clips and multiple resolutions. The original capture (top) creates high-resolution media. A transcode operation (bottom) creates a new master clip and a new media file at a lower resolution. The timecode span and length of both clips is the same.
Understanding Dynamic Relink 01:00:10:00 DV 01:00:00:00 02:09 06:22 Example of associations between clips sharing only part of a timecode span. The original capture (top) creates low-resolution media. A recapture operation (bottom) creates a new master clip and a new media file at a higher resolution. The new master clip is shorter than the original but shares the same timecode span.
Understanding Dynamic Relink n Dynamic relink is currently not supported for HD media that requires pulldown. Therefore, you can only use it with projects where media has been acquired at the native frame rate (without pulldown). You specify two different groups of settings: • Working settings are the settings you want to use while you edit the sequence: For offline editing of a sequence, your editing application uses the resolution specified in the working settings.
Understanding Dynamic Relink The following illustration shows a bin and a sequence. The first version of the sequence shows the clip in the working resolution (15:1s) and the second version shows the same clip in the target resolution (1:1). The clip name is the same in both cases, but the resolution of the clip (as shown in the text on the clip) is different.
Understanding Dynamic Relink Left: clip associated with working and target resolutions. Top right: sequence with clip in working resolution (15:1s). Bottom right: sequence with clip in target resolution (1:1). n To display the clip resolution for each clip in the Timeline, click the Timeline Fast Menu button and select Clip Text > Clip Resolutions.
Workflow: Editing a Film or HD Project using MultiRez Interplay Editing Systems at the Broadcast Facility In an Interplay Sphere workflow, editing systems at the broadcast facility need to enable dynamic relink so that they can relink to the media associated with AMA-linked clips uploaded by a remote Interplay Sphere client. In addition, they can also set the resolution of the uploaded media to which they want to relink—see “Applying Working and Target Settings for Dynamic Relink” on page 1267”.
Workflow: Editing a Film or HD Project using MultiRez To create a Film or HD Project: 1. When you create the project, make sure it supports the resolution you want to use. For example, for 25p Film projects, select 1080p/25. The following illustration shows the Project selection for a 25p Film project used in this example. 2. (Film only) If your source media is film-based, check the Film box and select the Film Type.
Workflow: Editing a Film or HD Project using MultiRez High-res and low-res media both online (filled circles) for the clip in the bin 3. Open the Dynamic Relink dialog box and set the working resolution to the low-res proxy. The following illustration shows the Dynamic Relink values used in this example to link to the low-res media.
Workflow: Editing a Film or HD Project using MultiRez 4. Edit the media into a sequence. By default, whenever you load clips into a monitor or the Timeline, they are linked to media that matches the working settings. The following illustration shows the bin after the sequence is created. In this example, the administrator has already archived and deleted the high-res material. The MultiRez bin columns show that the high-res media is completely offline.
Workflow: Editing a Film or HD Project using MultiRez The high-res media is now offline (empty circle in the bin) 5. (Skip this step if the administrator did not archive the high-res media) When you are finished editing the sequence, restore the portions of high-res material used in the sequence from the archive. The following illustration shows the bin after the partial restore operation is completed.
Workflow: Editing a Film or HD Project using MultiRez 9. Render effects in the target resolution if necessary. n You can use the MultiRez button and MultiRez clip coloring to give you the necessary indications that you may not have media that matches the target settings. 10. Output your final master by doing one of the following: t Create a digital cut. t Use the Send to Playback command.
Considerations When Working with Dynamic Relink Considerations When Working with Dynamic Relink Consider the following when you are working with dynamic relink: • If you connect to an Avid ISIS media network with a 100Base-T connection in a Zone 3 configuration, you can access MPEG-2 low-resolution video and MPEG-1 Layer II (or MP2) compressed audio. This is useful for browsing media stored on the media network as the low-resolution media files require less bandwidth to view.
Using the Dynamic Relink Settings Dialog Box t Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink Settings. Enabling Dynamic Relink To enable dynamic relink: 1. Do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink. t Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink Settings. 2. Select Enable Dynamic Relink and set the appropriate target settings.
Using the Dynamic Relink Settings Dialog Box 2. Select Enable Dynamic Relink. 3. Click the Working Settings tab, and then select your working settings. For information on available settings, see “Dynamic Relink Settings” on page 1376. 4. Click the Target Settings tab, and then select your target settings. For information on available settings, see “Dynamic Relink Settings” on page 1376. 5. To apply the settings, do one of the following: t Click Apply. The dialog box remains open. t Click OK.
Using the Dynamic Relink Settings Dialog Box Top to bottom: Relink to offline media if no match is found, specific video resolution to match, specific audio sample rate and bit depth to match The working settings in the following illustration instruct your Avid editing application to link to the specific video resolution of DV 25. If your Avid editing application cannot find this resolution for a particular clip, it should relink to media that most closely matches DV 25, based on the specified parameters.
Using the Dynamic Relink Settings Dialog Box Top to bottom: Use closest media if no match is found, highest quality video resolution to match and instruction to accept lower qualities, highest audio sample rate and bit depth to match and instruction to accept lower sample rates Target Settings The target settings in the following illustration instruct your Avid editing application to use 30i NTSC as the project format and 1:1 MXF (uncompressed) as the specific video resolution.
Using the Dynamic Relink Settings Dialog Box Top to bottom: Relink to offline media if no match is found, specific format and video resolution to match, specific audio sample rate and bit depth to match Dynamically Relinking to the Target Settings You need to dynamically relink to the target settings when: • You are linking to media that was updated by a remote editing system.
Using the Dynamic Relink Settings Dialog Box In this case, you might temporarily switch from working settings to target settings, apply the effect, and then switch back to working settings. • You are performing a digital cut. In this case, you override the working settings, render effects, and output the digital cut. (When you use the Send To Playback command, your Avid editing application automatically links clips to media in the target resolution.
Relinking in Frame Chase Editing When using dynamic relink with mixed rate clips, your Avid editing application tries to link your clips to media with the appropriate frame rate. However, unlike clips with the same frame rate as your project, dynamic relink always uses the lowest and nearest resolution to your project frame rate when it does not find an exact match.
Using the Relink Dialog Box in an Avid Interplay Environment For more information about Frame Chase editing, see Avid Interplay Best Practices. Using the Relink Dialog Box in an Avid Interplay Environment Relinking through the Relink dialog box is different from dynamic relink. In an Avid Interplay environment, relinking through the Relink dialog box is limited to non-master clips (subclips and sequences). You can relink these only through source timecode and tape. Other options are unavailable.
Displaying Whether Media Is Available for Dynamic Relinking Clicking the MultiRez button changes only the display — it does not perform a dynamic relink, and it does not update the status of the media. To update the status, use the Update Media Status command. For more information, see “MultiRez Button Menu” on page 1279. It is especially important to know whether media is available in the target settings if you are going to use the Send to Playback command.
Displaying Whether Media Is Available for Dynamic Relinking The following procedure refers to the default colors available for resolution tracking. You can change the display colors that your Avid editing application uses by selecting custom colors in the Clip Color dialog box. For more information, see “Displaying Clip Colors in the Timeline” on page 672. To enable clip coloring for MultiRez in the Timeline, do one of the following: t Right-click the MultiRez button and select Enable Clip Coloring.
Displaying Whether Media Is Available for Dynamic Relinking n Clip coloring for the Show Mismatches display is not used when you select Highest Quality or Most Compressed as the relink method. This is because you do not select a specific quality, and your Avid editing application supplies the best quality or the most compressed media that is available. Examples of MultiRez Clip Coloring In the following examples, the working resolution is set to 15:1s, and the target resolution is set to DV 25.
Displaying Whether Media Is Available for Dynamic Relinking If you select Relink to Offline, clips that do not match the working resolution are colored red by default, and the Media Offline slide is displayed in the monitors. In the following example, your Avid editing application is warning you that the DV 25 clips are not in the working resolution and the media is offline. n The “Relink to Offline” option does not delete the existing media.
MultiRez Button Menu The next example shows the Timeline after you click the MultiRez button to view the target resolution availability. The MultiRez button is yellow, indicating that there are clips that are not available in the target resolution, and the clip that is not available in DV 25 (the target resolution) is also colored yellow by default.
MultiRez Button Menu Option Description (Continued) Show Mismatched Render Ranges Identifies effects that are rendered in a resolution that does not match the specified resolution for the resolutions to which the clips are linked (working or target). A blue line appears along the top of the effect to indicate the portion that is rendered using a different resolution. n You might find it useful to turn off Enable Clip Coloring when you use this option, to make it easier to see the render range lines.
MultiRez Bin Headings MultiRez Bin Headings Some bin columns are specifically associated with MultiRez. These bin headings are available in Avid editing applications when they are part of an Avid Interplay environment.
Understanding Options for Deleting MultiRez Clips and Media There might be more resolutions available on an Avid Interplay workspace than appear in your bin headings. For example, there might be an uncompressed version of the clips you are working with, but if your Avid editing application doesn’t support uncompressed video, the resolution does not appear in your bin settings. Some resolutions might show up as partially online. For more information, see “Working with Partially Online Files” on page 1284.
Deleting MultiRez Clips and Media from a Bin For example, if you transcode a clip from DV 25 to 15:1s, and create a new master clip, both resolutions are associated with the original clip in the bin. However, if you select the original clip (DV 25) for deletion, you see only DV 25 listed in the Delete dialog box. For clips that were batch captured, captured in a dual-ingest configuration, or transcoded without a new clip, you see both resolutions listed in the Delete dialog box.
Working with Partially Online Files n If you try to delete media for a clip that you have checked out from Avid Interplay, and do not have sufficient permissions to delete, a message informs you that you cannot delete media associated with checked-in assets from a bin. For more information about deleting in an Avid Interplay environment, see the Avid Interplay Access User’s Guide.
Working with Partially Online Files Top to bottom: original DV25 clip, portion of DV25 clip edited into a sequence, and new clip created in 15:1s by consolidating and transcoding the sequence. Only part of the original clip is available in 15:1s. After consolidating and transcoding, the new master clip is shown in the bin as having media in both DV 25 and 15:1s, while the original master clip is shown as having full media in DV 25 and partial media for 15:1s.
Working with Partially Online Files In the following example, the MultiRez button is blue, indicating that your Avid editing application is in the Show Mismatches display. The original master clip is displayed in the Timeline, with a working resolution set to 15:1s. Two portions of the clip are colored red, which is the default color indicating that these portions of the clip are offline and thus are not available in the working resolution.
Quality Matching To perform a partial restore from an archive: 1. Assume you have a 10-minute master clip and you have both 15:1s and DV 25 versions of the media. 2. Archive the DV 25 version of the media. 3. Delete the online DV 25 media and keep the low-resolution, 15:1 media online. 4. Edit one minute of the low-resolution version of the clip into a sequence. 5. Select the sequence in the bin and use Avid Interplay Archive to restore the DV 25 version of the clip from the archive.
Quality Matching n For complete information about options in the Dynamic Relink Settings dialog box, see “Using the Dynamic Relink Settings Dialog Box” on page 1266. If you select one of the above options, your Avid editing application uses the following queries to perform a dynamic relink: 1. Is there media with the same tape name (source ID) and timespan? 2. Is there media of the same size (NTSC, PAL, 1080HD, 720 HD)? 3. Is there media with the same field order (topness)? 4.
Quality Matching 6. Is there media of the same bit depth? 7. Is there media in the same color space? At each step, media is examined. Your Avid editing application continues looking for media until a single match remains. Quality Matching Reference Video Format for Quality Matching The following table lists factors involved in determining the closest match for video format (queries 2 and 3 from the list in “Quality Matching” on page 1287).
Quality Matching Resolution Family Resolution Name DNxHD 220 DNxHD 185 DNxHD 175 DNxHD 90 DNxHD 145 DNxHD 120 DNxHD 115 DNxHD 60 DNxHD 45 DNxHD 36 DNxHD 145-TR DNxHD 120-TR DVCPro n DNxHD resolutions are based on the frame rate of the project. For example, DNxHD 220 has a compressed data rate of 220 Mb/sec at 29.97 fps. DNxHD 185, which is an equivalent resolution, has a compressed data rate of 185Mb/sec at 25 fps.
Quality Matching Example of Quality Matching This example is typical of a newsroom offline session. In this workflow, clips are usually captured simultaneously in MPEG-2 and DV 25, but sometimes the MPEG-2 clips are not available. You want to get media immediately, and you want the lowest (most compressed) resolution available to use less network bandwidth, but you’ll take DV 25 if that’s all that’s available.
30 MultiCamera Editing The Avid MultiCamera editing features let you incorporate multiple camera angle sources into the nonlinear editing process.
Creating Group Clips • The MultiGroup function is designed primarily for situation comedies and similar productions that record multiple takes sequentially on the same source tapes. Multigrouping does not provide any benefit when you edit with clips that do not share common timecode or were not recorded sequentially, and might even cause the wrong clips to be grouped together.
Creating Multigroup Clips 4. Select an option, based on the following: Option Description Film TC/Sound TC Use this option if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. Inpoints Use this option if you are syncing according to IN points set in each clip. Outpoints Use this option if you are syncing according to OUT points set in each clip.
MultiCamera Displays 4. Select an option, based on the following: Option Description Film TC/Sound TC Use this option if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. Inpoints Use this option if you are syncing according to IN points set in each clip. Outpoints Use this option if you are syncing according to OUT points set in each clip.
MultiCamera Displays The basic features of Full-Monitor display: • Provides source-oriented control of multicamera material. You can switch camera angles, cue, and mark material without affecting the sequence. • Provides the same Source monitor controls that are available when you edit other clips in Source/Record mode. • Provides the same MultiCamera editing features that are available in Quad Split Source view, Nine Split Source view, and MultiCamera mode.
MultiCamera Displays Quad Split Source view, with the four camera angle views in the Source monitor and the sequence or linecut in the Record monitor. The location of the Group Menu icon is highlighted. The basic features of Quad Split Source view: • Provides source-oriented control of multicamera material. You can switch camera angles, play back (one camera angle at a time), cue, and mark material without affecting the sequence.
MultiCamera Displays Nine Split Source view, with the nine camera angle views in the Source monitor and the sequence or linecut in the Record monitor. The location of the Group Menu icon is highlighted. The basic features of Nine Split Source view: • Provides source-oriented control of multicamera material. You can switch camera angles, play back (one camera angle at a time), cue, and mark material without affecting the sequence.
MultiCamera Displays MultiCamera Mode After loading a group clip into the Source monitor and editing it to create a new sequence, select MultiCamera Mode from the Special menu to activate the features. The MultiCamera Quad Split Edit or MultiCamera Nine Split Edit is displayed, depending on whether you were in Quad Split Source view or Nine Split Source view before entering MultiCamera mode.
MultiCamera Displays The basic features of MultiCamera mode: • Provides sequence-oriented control of multicamera material, in contrast to Full-Monitor display, Nine Split Source view, and Quad Split Source view. Whenever you play back, cue, switch camera angles, or mark material, your changes occur in the sequence. • Synchronizes all camera angles displayed in the Source monitor and continuously updates during playback and editing.
MultiCamera Editing Techniques Limitations on Playback of MultiCamera Media To play back a group clip or a multigroup clip, you must be in MultiCamera mode. In addition, the following limitations apply to playback performance for standard-definition projects and high-definition projects: • In an SD project, you must have Avid input/output hardware attached to your system in order to view multicamera display in a client monitor during a digital cut.
MultiCamera Editing Techniques If the group contains more camera angles than the multi-split display, the Up Arrow and Down Arrow keys cycle through all the clips. Only the first four clips are shown in the Quad Split display and only the first nine clips are shown in the Nine Split display. When the Record monitor is active, you can place the position indicator within any segment and use the arrow keys to switch the group clip selected for that segment.
MultiCamera Editing Techniques n The client monitor displays only SD multicamera sequences. You can view playback of HD multicamera sequences in the Source monitor only. If you notice frames are dropping during playback, decrease the size of the Composer window until playback becomes smooth. To play a linecut on the client monitor in MultiCamera mode: 1. Double-click Composer in the Settings list of the Project window. The Composer Settings dialog box opens. 2. Click the MultiCam tab. 3.
MultiCamera Editing Techniques Using the Group Menu for Multicamera Editing The Group menu lets you select video or audio channels from any of the clips in the group and patch to the tracks available in the sequence. You can have nine camera angles and nine or more audio tracks synchronized and available for patching at any time. Group menu and Group Menu icon n Select the Second Row of Info option in the Composer Settings dialog box for the Group Menu icon to be displayed above the Source monitor.
MultiCamera Editing Techniques 3. (Option) Select the Audio Follow Video option to switch both audio and video for each camera angle when you cut. Using the Multi-angle View Menus During Multicamera Editing You can use the Multi-angle View menus to group up to 18 clips at a time, and select additional clips to be shown in any of the multi-split displays in the Source monitor. You can also select Sequence from the Multi-angle View menus to display the entire sequence.
Selective Camera Cutting Using Match Frame in MultiCamera Editing You can use the Match Frame button to display the matching clip within the group when match framing from the sequence, or you can display the original clip when match framing from the source group. For more information on using the Match Frame feature, see “Using Match Frame” on page 546.
Selective Camera Cutting To perform selective camera cutting with grouped clips: 1. Load the group or multigroup clip into the Source monitor. 2. Using timecode notes and the numeric keypad, type the timecode for the first take to begin the sequence, and press Enter (Windows) or Return (Macintosh) to cue the clip in the Source monitor to the take. 3. Mark IN and OUT points for the entire scene. 4. Select a camera angle for the first clip, and then splice the entire scene into a sequence. 5.
31 The Avid Marketplace The Avid Marketplace feature allows you to purchase video (stock footage), sound effects, music and plug-ins from within your Avid editing application. This chapter describes the process of downloading stock footage clips and Avid supported plug-ins from within your Avid editing application. You must be connected to the Internet to access features offered in the Avid Marketplace.
Avid Marketplace Media Libraries Quick Start Avid Marketplace Media Libraries Quick Start The following section contains high-level steps you can perform to search, preview and select stock footage clips to purchase and include in your Avid editing sequence. See other topics in this chapter for detailed steps and more information. To purchase stock footage: 1. From your Avid editing application, select Marketplace > Media Libraries. The Avid Media Libraries window opens. 2.
Avid Marketplace Media Libraries Quick Start 13. You can now add the clips to your sequence. 14. If you want, you can create a Stock Footage Report (.txt file) to see which clips you have used in your sequence, right-click the sequence in the bin or right-click the sequence in the Record monitor and select Stock Footage Report. For more information, see “Creating a Stock Footage Report” on page 1326. 15.
Creating a User Sign In and Password 19. Open the sequence that contains the comp (low resolution) clips, and right-click then select Relink Stock Footage to Sequence. The system creates a copy of the sequence which links to the high resolution clips. The copy is named with the original sequence name followed by .Relinked.n, where n is the number of the duplicates created from the original sequence. The clips relink to your sequence.
Licensing Options 3. In the Thought Equity Motion page, click Register. The Register Information window opens. 4. Enter required information including e-mail and password. 5. Click Submit Registration. Your account information is saved and you are logged into Thought Equity Motion. The next time you visit the Thought Equity Motion, click Sign In and enter your email and password. Licensing Options Thought Equity Motion displays the legal rights and clearance under each clip.
About the Stock Footage Clips About the Stock Footage Clips There are two types of stock footage clips that you can download to your Avid editing system: • A low resolution “comp” clip which allows you to try out the clip in your sequence first, before you purchase. This comp clip also displays a watermark. • A high resolution clip that you purchase. You have several formats to choose from.
Searching through Stock Footage If you have not registered yet, click Register. See “Creating a User Sign In and Password” on page 1311. 4. Click Log On. The system signs you in to Thought Equity Motion. 5. Enter your search terms in the Search for footage bar. 6. Click the Search button or press Enter. The system returns your results in the Display window.
Searching through Stock Footage 7. Place your cursor over the thumbnail to preview a clip. 8. Use the navigation buttons to move Backward, Forward, and Refresh your last action. To change the display options: 1. Enter your search terms in the Search for footage bar. 2. Click the Search button or press Enter. The system returns your results in the Display window. 3. Click Display Options. The Change your display options dialog box opens. 4.
Searching through Stock Footage • OR: Use when you want to search for clips containing either keyword. For example, a search for butterfly OR moth, returns clips featuring both butterflies and moths. • Combine modifiers: Use a combination of keywords and operators to narrow your search. For example, butterfly AND yellow NOT swimming NOT fish, returns clips containing “butterfly” and “yellow” but eliminates clips of swimmers doing the butterfly stroke and butterfly fish.
Searching through Stock Footage Filter search results options Description Releases Allows you to choose from Fully Cleared/Ready Now or Talent Released/Not Required. Select one of these option to search for only specific releases. Available Previews Allows you to choose from Preview Available Now or Preview Available on Request. Select one of these option to search for only specific previews. Audio Search Allows you to search for clips that contain audio.
Searching through Stock Footage 5. Click Submit. The system creates your new bin and adds it to the My Bins menu. To add a clip to a Thought Equity Motion bin folder: 1. Once you have identified a clip to add to a bin, click the Add (+) button. The clip is added to your default bin. 2. To add a clip to a different bin, click the check box to select the clip. 3. From the Clip tools menu, select Add selected to bin folder name. The clip is added to your selected bin.
Searching through Stock Footage Icon Description Information (i) Allows you to view additional information about the clip. View (Magnifying Glass) Opens a window that displays detailed information about the clip including: licensing options and pricing. Comments Allows you to enter comments about your clip. Remove (X) Allows you to remove the clip from your bin. View shot reel Displays multiple shots from the selected clip.
Searching through Stock Footage A list of your bins display. 3. Use the Bin tools menu to Select all, Select none or Remove selected bins. 4. Use the Sort by menu to sort and search across multiple bins. 5. To the right of each bin, the system displays icons which allow you to perform different functions, they include: Icon Description Edit Allows you to edit the name of your bin and add or change any notes you want to include about the bin.
Downloading Stock Footage Clips to Your Avid Bin Downloading Stock Footage Clips to Your Avid Bin Once you select clips from the Avid Thought Equity Motion site, you can download low resolution comp clips into your Avid bin to try them out in your sequence. Although it is recommended to download directly through your Avid editing system, if needed, you can download clips outside of the Avid editing system from an external browser. Store the clips on your system and link them to your bin at a later time.
Downloading Stock Footage Clips to Your Avid Bin Column Name Description Vendor Invoice ID The vendor’s order/invoice ID for a purchased clip. To add vendor columns to your Avid bin: 1. With a bin in Text view, select Bin > Choose Columns. The Bin Column Selection dialog box opens. 2. Select the Vendor column names you want to display in your bin. 3. Click OK. The Vendor columns appear in your Avid bin.
Downloading Stock Footage Clips to Your Avid Bin If you select the Download Comp Arrow icon, a Download window opens allowing you to select a Customize Comp clip. See the steps in the following procedures to customize your comp clip. If you select the Download Comp button or the menu item, the Select a bin window opens. If you only have one Avid bin opened, the clip downloads to that bin. If you have several Avid bins opened, the Select a bin window opens. 4.
Downloading Stock Footage Clips to Your Avid Bin If you only have one Avid bin opened, the clip downloads to that bin. If you have several Avid bins opened, the Select a bin window opens. 4. Select the bin you want to download the clips to or click New Bin, and then click OK. If the clip that you selected has already been downloaded to your system. A dialog box opens allowing you to overwrite or not download the file.
Downloading Stock Footage Clips to Your Avid Bin 5. If you want to include burn-in timecode or an asset name, select Time code or Asset name. These options display in your clip. 6. Click Make a custom comp request. The request is sent to Thought Equity Motion. You will receive an e-mail once your custom comp is available to download. If you choose to download the comp by clicking the URL in your e-mail, you will need to download and link the clip outside of the Avid editor.
Downloading Stock Footage Clips to Your Avid Bin n AMA must be enabled to link the stock footage file. The menu item will be unavailable if AMA is not enabled. n An internet connection is required when you link clips in order to properly recognize files and access the data needed for any new clip metadata. The Browse dialog box opens. 3. Locate the comp file you downloaded, and then click OK. The stock footage clip appears in your Avid bin. An AMA link icon appears next to the clip.
Downloading Stock Footage Clips to Your Avid Bin If you select more than 10 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. n By default, the Stock Footage Report is saved in text format. To save the report as either .csv (comma-separated-value) or .xml, change the extension of the report before you save it. The file saves with .csv or .xml formatting.
Purchasing Your Stock Footage In cases in which a clip is used more than once in a sequence, additional occurrences display indented below the first occurrence. See the example below: n Depending on your operating system and the text file application, you might have to turn off “word wrapping” or enlarge the size of you text window to see all the displayed columns correctly. Purchasing Your Stock Footage You can purchase your stock footage as an individual clip or as all the clips in your sequence.
Downloading your High Resolution Stock Footage Selected clip and the Add to cart icon. 3. Click Add to Cart. The clip displays in your shopping cart. 4. (Option) If you still need to adjust the In or Out points, you can drag the handles to adjust the length of your clip, then click Update the clips In/Out markers. n If the clip contains clipping information, Avid adds five frames to both the start and end points of your purchased clip. 5.
Downloading your High Resolution Stock Footage For more detailed information about downloading, see “Downloading Stock Footage Clips to Your Avid Bin” on page 1321. This section explains downloading low resolution clips, but the same information applies to downloading high resolution clips. n It is recommended that you do not change the file name of the downloaded clip. The file name includes information that is used for linking. However, it is all right to rename the clip name inside the Avid bin.
Downloading your High Resolution Stock Footage n You need to click Download Masters for each clip. The clips download to your selected Avid bin. If there is no bin open or multiple bins are opened, the Select a Bin dialog box opens asking you to select a bin or create a new bin. A download progress bar appears, in the lower-left corner of the Avid Marketplace window, with the number of clips to download.
Relinking High Resolution Media to Your Sequence The high resolution clips appear in your Avid bin. An AMA link icon appears next to the clip. To play your sequence with the high resolution clips, you need to relink the purchased clips to your sequence. For more information, see “Relinking High Resolution Media to Your Sequence” on page 1332.
Avid Marketplace Plug-ins You might want to transcode the purchased clip to the projects native format for smoother play. See “Using the Transcode Command” on page 455. Avid Marketplace Plug-ins The Avid Marketplace Plug-ins window allows you to purchase and download Avid supported plug-ins from within the Avid editing application, you can open the Avid Marketplace Plug-ins page to download audio and video plugins.
Purchasing and Downloading a Plug-in from the Avid Marketplace The purchase window with the selected product displays. 4. Select from the “Please select a product” from the pull-down menu. 5. Enter the quantity. 6. Click Add to Cart. 7. Enter a promotional code if you have one, then click Apply. 8. Click Proceed to Checkout. 9. If you have an account, click the Returning Customers check box. You will be prompted to enter your e-mail address and password. Click login.
32 Settings This chapter provides information on how to use settings. • Understanding Settings • Working with Settings • Options for Moving User Settings Files This chapter also provides reference information for all settings categories.
• Import Settings • Interface Settings • Interplay Folder, Interplay Server, and Interplay User Settings • Keyboard Settings • Marquee Title Settings • Media Creation Settings • Media Services Settings (Windows Only) • Mouse Settings • Passthrough Mix Tool • PortServer Settings • Remote Play and Capture Settings • Render Settings • S3D Settings • Safe Colors Settings • Script Settings • Sound Card Configuration Settings (Windows Only) • Sphere Playback Settings (Windows Only
Understanding Settings Understanding Settings The Settings tab in the Project window contains a list of settings that control many aspects of your Avid editing application’s behavior. Using the Settings list, you can: • Open Settings dialog boxes to view and modify settings. • Switch between settings. • Manage settings in a variety of ways. For more information, see “Working with Settings” on page 1339. You can also switch between users and work with user profiles.
Understanding Settings Types of Settings There are three types of settings: • User settings are specific to a particular editor and reflect individual preferences for adjusting the user interface in your Avid editing application. User settings are stored in each user folder. n Never use a user settings file that was opened in the MediaLog™ application. • Project settings are directly related to individual projects. When you change a Project setting, it affects all editors working on the project.
Working with Settings • Multiple Keyboard and Composer settings to use for various activities such as capturing, offline editing, or online effects editing. • Multiple Deck Preferences settings for various types of capturing or for output. • User settings for the assistant editor that facilitate logging, capturing, and organizing projects. • User settings for the editor that include editing interface preferences. • Bin View settings that display useful columns of information in bins.
Working with Settings To modify available settings: 1. In the dialog box or window for the setting, type new values or select new options for the setting. For information about navigating within a Settings dialog box, see “Using the Keyboard for Navigating in Dialog Boxes and Menus” on page 36. 2. Click OK, Save, Apply, or Cancel, or click the Close button. Your Avid editing application saves changes in the appropriate User, Project, or Site settings file.
Working with Settings The following table describes the different Settings display groups. Option Description Active Settings Displays currently active settings. All Settings Displays all settings available. Base Settings Displays Project, User, and Site settings only. Does not display views. Bin Views Displays all Bin View settings you have created. Export Settings Displays all Export settings. Import Settings Displays all Import settings.
Working with Settings Switching to Another Set of User Settings User settings are not project or site specific, so you can display another set of User settings in the Project window. To select another user: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the User Selection menu, and select another name.
Working with Settings 2. Click the setting you want to copy. Ctrl+click (Windows) or Command+click (Macintosh) any additional settings you want to copy. 3. Select Edit > Duplicate. A copy of each selected setting appears in the Settings list. n If you are duplicating settings with custom setting names, a period followed by a version number appears at the end of the custom setting name of the duplicated settings. 4. Name your settings to indicate their functions.
Working with Settings Custom setting name column in the Project window 3. Type a name, and press Enter (Windows) or Return (Macintosh). The new name appears in the list and is saved in the settings file. Selecting Among Multiple Settings If you have multiple versions of a setting (for example, multiple Export settings), only one setting at a time is active. Settings that are currently active have a check mark to the left of the setting name. To change the active setting: 1.
Working with Settings c You cannot undo a deletion. You can, however, restore the default settings or copy settings from other files. For more information, see “Restoring Default Settings” on page 1345 and “Copying Settings Between Settings Files” on page 1345. To delete a setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click a setting to select it. Ctrl+click (Windows) or Command+click (Macintosh) each additional setting you want to delete. 3.
Working with Settings You can also transfer settings files to another Avid system. n With the release of Media Composer v6.0, Symphony v6.0 and NewsCutter v10.0, the user, project and site settings are saved in an .xml file. They are also saved in an .avs file in case you want to bring your settings back to a pre v6.0 or v10.0 system. Also, if you have an .avs settings file from a previous system, you can bring it forward to a current v6.0 or v10.0 system and the .
Working with Settings You can also drag settings from the settings window into the Settings list in the Project window. To copy a setting from a settings file into the Settings list with the setting active: 1. Drag the setting into the Settings list. A message box opens. 2. Do one of the following t Click Add to add the new settings to the project without affecting the project’s current settings. t Click Replace to replace the current version of each setting with the new settings.
Options for Moving User Settings Files Options for Moving User Settings Files You might want to move user settings information from one location to another on your system, or from one system to another. The easiest and most reliable way to do this is to take advantage of user profiles. When you import a user profile, your Avid editing application finds all the necessary files and copies them to the correct location.
Summary of Settings Setting Name Description Reference Topic Composer Configures the display and behavior of buttons and information in the Playback, Source, and Record monitors. “Composer Settings” on page 1367 Controller Settings Sets the default controller, port selection, and custom “Controller Settings” on page 1370 controller buttons. Correction Sets options for the Color Correction tool. “Correction Settings” on page 1371 Deck Configuration Configures channels and decks into your system.
Summary of Settings Setting Name Description Reference Topic Interplay Folder Lets you specify a project directory on the asset manager to use for checking in media objects. “Interplay Folder Settings” on page 1421 Interplay Server Lets you specify the Avid Interplay Server location on “Interplay Server Settings” on the network. page 1422 Interplay User Lets you set the preference for accessing Avid asset manager.
AMA Settings Setting Name Description Reference Topic Timecode Window Displays various timecodes in an adjustable window. Appears in the Settings list to facilitate copying settings. For more information, see “Using the Timecode Window” on page 496. Timeline Sets general Timeline preferences. “Timeline Settings” on page 1436 Trim Customizes the Trim mode environment. “Trim Settings” on page 1440 Video Display Sets options for video input, desktop video, Client monitor use, and effects preview.
AMA Settings Option Description Display editor headframe When this option is selected, your Avid editing application displays your Avid editing application’s headframe or frame icon in Frame view. AMA Settings: Quality Tab Option Description AMA Link Preference: Video This option allows you to select a quality resolution: Highest Quality or Most Compressed before linking your video media.
Audio Settings AMA Settings: Link Options Tab Option Description Multichannel Audio Select this option if you want to assign audio tracks to specific 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.
Audio Project Settings Option Description Tool Buffer Size in Defines the size of the host audio play buffer during audio loop play and audio tools Samples (Software-only play (such as volume automation recording). Reducing the tools play buffer size Models) decreases the overall latency between the time you adjust an audio parameter in your Avid editing application and the time you hear those changes through the speaker.
Audio Project Settings Option Description Audio File Format Defines the file format for audio: • WAVE (OMF): Compatible with Windows applications. • AIFF-C (OMF): Compatible with many third-party applications, including Pro Tools. • PCM (MXF): Enables easy exchange of material between servers, tape streamers, and digital archives. Select WAVE or AIFF-C for all audio media when you need to transfer audio media files directly to a Pro Tools system for audio sweetening.
Audio Project Settings Option Description Show Mismatched Sample Rates as Different Color Controls whether or not your Avid editing application identifies mismatched sample rates by color if you have a sequence with several different sample rates. Remove Extra Filler After Punchin Controls whether your Avid editing application removes or keeps extra filler added during an audio punch-in recording.
Audio Project Settings Option Description Options for HD SDI input 16ch: Lets you capture up to 16 audio channels of HD-SDI input. n Not all decks support 16-channel audio. For more information, see the documentation for your deck. Audio Project Settings: Output Tab The options that appear in this tab depend on your audio configuration and the hardware installed on your system. Your options might differ from those listed here.
Audio Project Settings Option Description All or Timeline Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button. Maps the track and output channels: • All: Lets you choose between all available tracks. • Timeline: Lets you assign output channels to the tracks monitored in the Timeline. Which Set of Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button. Defines the groups of output tracks to map to audio channels.
Audio Project Settings Audio Project Settings: Hardware Tab Apart from HW Calibration, the settings in the Hardware tab are for informational purposes only and list defaults set by your system, depending on your audio hardware and configuration. Option Description Card Indicates the type of audio card installed. Peripheral Indicates the type of peripheral audio device (audio interface) attached to the system.
Bin Settings Option Description Real-Time Audio Dissolves When Enabled is selected, you can play audio dissolves (also called crossfades) as real-time effects. Select Disabled if you experience an audio performance delay in your Avid editing application. Dissolve Midpoint Attenuation Controls the method your Avid editing application uses for audio dissolves: • Const Power –3dB: Uses constant power to maintain a consistent sound level through the midpoint of the dissolve.
Capture Settings Option Description Double-click loads object in Determines what happens when you double-click an object in the bin: • New Pop-up Monitor: Creates a new Source pop-up monitor and automatically loads the clip when you double-click an object in the bin. • Source or Record Monitor: When you have the Composer monitor stretched into two monitors, loads the clip into the Source monitor or the sequence into the Record monitor.
Capture Settings Option Description Capture across timecode breaks When this option is selected, your Avid editing application captures sections of discontinuous timecode on a tape as separate clips. When this option is deselected, your Avid editing application stops capturing and reports an error when it encounters a timecode break. Stop capture if a bad frame is detected When this option is selected, your Avid editing application stops capturing if a corrupt frame is detected.
Capture Settings Capture Settings: Batch Tab Option Description Optimize for disk space When this option is selected, your Avid editing application captures only the exact amount of material in the master clips plus any additional handles. The tape pauses and prerolls independently for each master clip that is batch captured.
Capture Settings Option Description Use the video compression logged for each clip When this option is selected, your Avid editing application uses the video compression logged for each clip. Capture Settings: Edit Tab Option Description Enable edit to timeline When this option is selected, Splice-in Edit and Overwrite Edit buttons display in the (splice, overwrite) Capture tool.
Capture Settings Capture Settings: MXF Media Files Tab The MXF Media Files tab is available in the Capture Settings dialog box when you select MXF in the Media Type tab of the Media Creation dialog box. Option Description Maximum (default) capture time n minutes Determines how much space your Avid editing application preallocates on the target drive or drives before a capture begins. The default capture time is 30 minutes.
Communication (Serial) Ports Tool Settings Capture Settings: DV & HDV Options Tab Option Description DV&HDV Scene Extraction When this option is selected, you can automatically generate subclips and markers based on time-of-day (TOD) information contained in the DV video format. For more information, see “DV and HDV Scene Extraction” on page 277. • Add Markers: Creates marker marks where the TOD information breaks occur while capturing.
Composer Settings Composer Settings Composer Settings Composer Settings: Window Tab Option Description Data Display at • Top Off — When this option is selected, your Avid editing application turns off the information display above the monitors. • Always Display One Row of Data — When this option is selected, your Avid editing application displays one row of tracking, duration, and clip or sequence title information above the Source and Record monitors.
Composer Settings Composer Settings: Edit Tab Option Description Color Framing When this option is selected, color framing indicator lights display above the Overwrite and Splice-in buttons. Deselect this option if you are not performing an online edit with material captured from 1-inch, reel-to-reel tapes. This option is deselected by default.
Composer Settings Option Description Copy Source Markers When this option is selected, if you have markers in a clip in the Source monitor, your Avid editing application copies the markers when you edit the clip into the Record monitor. This option is selected by default. Undo Only Record Events When this option is selected, you can limit the Undo command to undo only record actions. For more information, see “Undoing or Redoing Edits” on page 583.
Controller Settings Composer Settings: MultiCam Tab Option Description Split Mode Play Controls split mode play: MultiCam Mode Client Monitor • Quad or Nine Split: Allows playback in the Source monitor of all camera angles in either quad split view or nine split view. • Fullscreen: Allows playback in the Source monitor of real-time effects for the active camera angle, which displays in full-monitor size.
Correction Settings Correction Settings For more information, see “Customizing Color Correction Mode Settings” in the Help. Correction Settings: Features Tab Option Description Saved Color Labels Controls how custom colors are named in bins: • None: When this option is selected, your Avid editing application does not supply a name. • RGB: When this option is selected, your Avid editing application uses the 8-bit values for the red, green, and blue components as the name.
Deck Configuration Settings Correction Settings: AutoCorrect Tab Option Description When applying Color Defines the first, second, and third automatic color correction that your Avid editing correction from the application makes when you apply the Color Correction effect from the Effect Effect Palette, perform Palette: the following operations: • Nothing: Makes no adjustment.
Deck Settings Option Description Add deck Click to add a deck or DV device. Opens the Deck Settings dialog box. For information on the Deck Settings options, see “Deck Settings” on page 1373. Delete Click to delete a deck or DV device.
Deck Preferences Settings Option Description Show Filters the devices that display in the Device menu: • All Devices: Displays all devices by manufacturer and model. • Decks: Displays only decks by manufacturer and model. • Transcoders: Displays only transcoders by manufacturer and model. Preroll Defines how many seconds the tape rolls before capture or digital cut starts. The default is based on the type of videotape recorder (VTR).
Deck Preferences Settings Option Description Allow assemble edit & When this option is selected, you can use the assemble-edit and crash-record crash record for digital cut features in the Digital Cut tool, along with the assemble-editing and manual recording capabilities of your record deck. Select this option to record frame-accurate digital cuts quickly and without striping entire tapes in advance while using the assemble edit feature. Select this option also if you want to operate the deck manually.
Desktop Play Delay Desktop Play Delay Option Description Frames Click the Desktop Play Delay Frames 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.For more information, see “Adjusting the Play Delay Offset” on page 501. Dynamic Relink Settings Dynamic Relink is available only on Avid editing systems that have the Avid Interplay Media Indexer installed.
Dynamic Relink Settings Dialog Box Area Option Description (Continued) Working settings tab and Target settings tab If no match is found Defines the action to take if no media is available that matches the working or target settings. You can select one option as a working setting and a different option as a target setting. Select one of the following: • Keep Existing Media: Your Avid editing application displays the media to which the clips are currently linked.
Dynamic Relink Settings Dialog Box Area Option Description (Continued) Relink if quality Available when Specific Resolution is the Relink method. Defines a relational operator and a resolution to compare against.
Effect Editor Settings Dialog Box Area Option Description (Continued) Relink if sample rate and bit depth The relational operators on the left for sample rate and bit depth are similar to the relational operators for the Video parameter “Relink if quality” menu. However, the two menus have an additional entry, “Any,” which lets you use one criteria and ignore the other. For example, you could select sample rate equal to 44.1 kHz and bit depth to “Any”.
Effect Editor Settings Option Description Real Time Update When this option is selected, your Avid editing application updates the rendered effect image in real time. Because the update can be slow for complex effects, you have the option to deselect real-time updating. Set Position To Keyframe When this option is selected, your Avid editing application moves the position indicator to the keyframe when you click a keyframe indicator.
E-mail Settings E-mail Settings The Email Settings dialog box lets you configure your Avid editing application so that it can notify you by e-mail when any of the following operations completes: n • Render • Export • Consolidate or Transcode Some mobile telephone services can deliver e-mail as a text message or notify you by text message when an e-mail has been received. If your service includes this feature, consider using it as a convenient way to receive your notifications.
Export Settings Option Description From Name Defines the name that appears in the From header field of an e-mail your Avid editing application sends. From Address Defines the e-mail address for the account that your Avid editing application uses to send the e-mail. To Address Defines the e-mail address to which your Avid editing application sends the e-mail.
Export Settings Option Description OMFI 1.0 OMFI 2.0 When this option is selected, your Avid editing application exports a standard OMFI composition for transfer to a third-party workstation that supports OMFI. You can choose to export composition only, or embed the video and audio, or both. For more information, see “Guidelines for Exporting OMFI and AAF Files” on page 1019. AAF When this option is selected, your application creates an Advanced Authoring Format (AAF) file.
Export Settings Option QuickTime Movie Description When this option is selected, your Avid editing application creates a self-contained QuickTime movie. For more information, see “Exporting QuickTime Movies” on page 1024. n If you install additional QuickTime Export formats, they appear in the menu with tildes (~) before their names. This indicates they are not qualified or supported by Avid.
Export Settings Option Description Use Marks When this option is selected, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option or mark the entire clip or sequence. Use Enabled Tracks When this option is selected, your Avid editing application exports the tracks that are enabled in the Timeline.
Export Settings Option Description The following options appear in the Video Details tab, the Audio Details tab, or both, depending on the export method: Export Method: Defines an export method. Other options change depending on which method you choose. This option appears in both the Video Details tab and the Audio Details tab. • Link to (Don’t Export) Media: Select this option when you want to export an AAF or an OMFI composition with links to the media in its current location.
Export Settings Option Description Add Audio Mixdown When you select this option, your Avid editing application adds an audio mixdown track. Track(s) Select the type of track you want, either Mono or Stereo. For more information about audio mixing, see “Using Live Mix Mode” on page 825. Convert Audio Sample Rate to: Defines the audio sample rate for the export. Select this option if your sequence has a mix of sample rates and you need to create a single sample rate.
Export Settings Option Description Folder Defines the destination folder for newly created or copied media. If you deselect Use Same Folder as AAF File, a path name appears. Click Select Folder to navigate to a different folder. Embedded in AAF/OMF When this option is selected, your Avid editing application embeds media files in the exported AAF or OMFI file specified in the Export dialog box.
Export Settings Option Description Display Aspect Ratio Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you control the display format without modifying the source file. This option creates metadata that is stored with the QuickTime movie. Some applications, such as the QuickTime Player, can interpret this metadata and scale the image at display time.
Export Settings Option Description Add Shares for Media Drives When this option is selected, your Avid editing application creates a new drive share for referenced media files stored on unshared network drives. The drive share is hidden, so other users do not see the shared drive when browsing your computer. You do not need to select this option when media is stored on the same drive as the QuickTime reference movie.
Export Settings Option Description Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Video Format The following options might be available, depending on your other settings: Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project.
Export Settings Option Description Create Preview When this options is selected, your Avid editing application creates a preview of the QuickTime movie. Display Aspect Ratio Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you control the display format without modifying the source file. This option creates metadata data that is stored with the QuickTime movie.
Export Settings Option Description Prepare for Internet Streaming • Fast Start: The movie can begin playing over the Internet without having to download completely first. This method of playing movies over the Internet is referred to as progressive download or HTTP streaming. It does not require a streaming video server. • Fast Start - Compressed Header: This option is a better choice for progressive downloading. It works the same as Fast Start, but compresses the header information.
Export Settings Codec Description Avid 1:1x For high quality, 8-bit, lossless resolution (in which no picture information is lost). Available for use with MXF media files. Meridien-based systems cannot use this format. Current Avid editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling. Avid DNxHD™ Codec For DNxHD encoding with 8-bit and 10-bit resolutions. Available for use with MXF media files. Meridien-based systems cannot use this format.
Export Settings Option Description Stream Type Defines the transport stream type: • Transport Stream: Use this option for both video and audio, for example, when exporting to other devices. • Elementary Streams: Use this option for either video only or audio only. Export Settings: DV Stream Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1384.
Export Settings Export Settings: AVI Through QuickTime Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1384. Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project.
Export Settings Option Description Key Frame Every n frames When this option is selected, your Avid editing application uses keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. Limit Data Rate n KB/sec Defines a limit to the data rate for the compressed file, in kilobytes per second.
Export Settings Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1384. Width, Height, FPS Set the width, height, and frame-per-second (fps) rate of the clips for export. Video Type Defines the video type, either Progressive or Interlaced. Pixel Aspect Ratio When this option is selected, your Avid editing application scales the video. This lets you control the display format without modifying the source file.
Export Settings Option Description Passes (not available when you select Uncompressed) Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content passes through the encoder once, and compression is applied as the content is encountered. With 2 Pass encoding, the content is analyzed during the first pass, and then encoded in the second pass based on the data gathered in the first pass. 2 Pass encoding might result in better quality but takes longer.
Export Settings Option Description Codec (not available Select one of the following codecs: when you select • Windows Media Audio 9.1: This codec provides improvement in compression over Uncompressed.) the Windows Media 8 Audio codec and supports VBR audio encoding. • ACELP.net: In some instances, the Sipro Labs ACELP codec appears in the list of codecs, for example, if you import a profile that was created by using Windows Media Encoder version 7.1.
Export Settings Export Settings: Audio Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1384. Mono Stereo Use this option to export audio tracks in either mono or stereo. Sample Rate Defines an audio sample rate, either Project rate, 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz. You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate.
Export Settings Option Description Graphic Format Defines a graphic format for export. The Format Options button lets you set export parameters. For more information on available graphic formats, see “Export Settings: Graphic Format” on page 1402. Width x Height Defines the size of the clip. Click the Fast Menu button, and select from a list of standard dimensions. The Size to Fit suboption sizes to fit the specified width and height.
Export Settings Format Options and Other Notes (if applicable) BMP Windows: Creates files that are compatible with systems running the Windows operating system. OS/2: Creates files that are compatible with systems running the IBM® OS/2®operating system. Chyron® Cineon™ Blackpoint (Windows) or Black Point (Macintosh): Lets you adjust a film exposure value that corresponds to filming a 2% black card. Values can be between 0 and 1022. The default value of 0 is adequate for most uses.
Export Settings Format Options and Other Notes (if applicable) Photoshop Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. Compression: Controls the size of the file on disk. Disabling this option creates larger files on disk. PICS This option is available on Macintosh only. It creates a Macintosh QuickDraw picture encapsulated in IFF format.
Export Settings Format Options and Other Notes (if applicable) TIFF Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. Compression: Controls the size of the file on disk. With None, i RLE (run length encoded) produces relatively small and fairly portable files. JPEG • None: Image data is not compressed and can produce large file sizes.
Film and 24P Settings Option Description Bit Depth Defines the audio bit depth, either 16 bit or 24 bit. Panasonic supports 16-bit audio at this time. Export Settings: XDCAM To open the XDCAM Export Setting dialog box, select Output > Export to Device > XDCAM. For more information, see “Exporting Media to XDCAM Devices” on page 1031. Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1384.
Full Screen Playback Settings Option Description Auxiliary Ink Default Defines the format for the auxiliary ink number edge type. The choices are the same as Edge Type for Ink Number Default Edge Type. Video Pulldown Defines how your Avid editing application handles pulldown: Cadence (NTSC only) • Video Rate, no pulldown: For 24-fps footage transferred MOS (without sound) to 30 fps by speeding up the film and using audio brought into your Avid system separately at 100% of the actual speed.
Full Screen Playback Settings Option Description Scaling Determines how images are scaled for full-screen playback: • Project: Uses the actual project type and aspect ratio to determine the scaling. • 4x3 (Standard): If you are editing an HD project that contains a lot of SD material that is stretched to fit the 16x9 aspect ratio, you might want to select this scaling option, letting you restore its original aspect ratio.
Full Screen Playback Settings Option Description S3D View Mix: Displays a 50/50 blend of both the left and right eye images. Difference: Displays a blend of both left and right eyes, and highlights the difference between the two. Embossed areas show the differences, while gray pixels represent no differences. Frame Compatible: Displays both the left and right eye images as dictated by the project settings (side/side or over/under). Mono: Displays only one of the stereoscopic images.
Full Screen Playback Settings Option Description S3D Overlay Displays the disparity guides on the viewer so that you can see the depth budget limits when adjusting the separation between your stereo 3D images. The guides for Parallax are based on the project’s S3D settings (set from the Project window, Settings tab). Parallax Near: Displays green guides that show the limits for objects that will appear in front of the screen plane.
General Settings General Settings Option Description Project Format Displays the format currently selected for the project. Temporary File Directory When you use drag and drop Export or an export that creates an intermediate movie file, your Avid editing application must store the intermediate file, which can be as large as the final export. By default, the Temporary File Directory is located in the same directory as your Avid editing application.
Grid Settings Grid Settings Grid Settings: Coordinates Tab Option Description Scale Mode Lets you work with a grid that indicates boundaries for a format other than the one in which you are working. This is useful when you are creating graphics (like titles) that must remain safe in other formats. Select one of the following options depending on the current and target formats you need. When you do not specifically need a grid that represents another format, use the Normal option, which is the default.
Grid Settings Grid Settings: Display Tab Option Description Type Selects a different grid for each standard film type. For video projects, use the Square grid type. The grid for the Academy option includes a safety margin on the left that is used for adding the optical sound track. The following options are available: Square, Standard Film, Academy, Super 35, Anamorphic. Color Defines a color for the grid axes and the grid points. Show Safe Title Displays the safe title area.
Import Settings Import Settings Import Settings: Image Tab Option Description Image Size Adjustment Controls the dimensions of imported images. The following options are available: • Image sized for current format: Select this option if the image is properly sized and formatted for the current project format, or to maintain field data when you import two-field media that follows exact NTSC or PAL dimensions.
Import Settings Option Description Field Ordering in File Controls the field ordering (sometimes referred to as field dominance) of the media you are importing. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically imported as progressive (still) frames. When the field ordering (or spatial field position) of the imported media matches the field ordering of the project format, no special processing is required.
Import Settings Option Description Alpha Channel Controls how your Avid editing application handles the alpha channel in imported images. The following options are available: • Invert on import (white = opaque): Select this option to reverse the black and white elements of the alpha channel if they differ from the matte key requirements of your Avid editing application. Avid applications use a white background, a black foreground, and a gray transparency blend between the two.
Import Settings Import Settings: OMFI/AAF Tab Option Description Resolution Use the source file’s resolution. When this option is selected, your Avid editing application maintains the source file’s resolution. Your Avid editing application disregards the resolution setting in the Select Files to Import dialog box as well as the resolution set in the Import tab of the Media Creation dialog box. Use the current import resolution.
Import Settings Import Settings: Audio Tab Option Description Multichannel Audio Allows you to map source audio channels to multichannel or mono tracks in your imported clips. Click Edit to open the Set Multichannel Audio dialog box and specify mono or audio tracks for a maximum of 16 audio channels. For more information, see “Importing with Multichannel Audio” on page 289. Convert source sample Controls sample rate conversion during audio import.
Import Settings Option Description Autodetect Broadcast Wave Monophonic Groups When this option is selected, your Avid editing application imports multichannel, monophonic BWF files as a single master clip. This lets you import an eight-track recording, for example, as an eight-track master clip with sequential file names based on the track order (filename_1.wav is associated with track A1, filename_2.wav is associated with track A2).
Interface Settings Interface Settings Option Description Interface Brightness Controls the brightness of the user interface. Preview Displays a preview of the foreground color as you move the Interface Brightness slider. Highlight Color Lets you select the color of button highlighting from available presets. Default Timeline V Tracks Selecting this option sets the color of all Timeline video tracks to the default. If you change the track color for a video track, this option changes to deselected.
Interplay Folder, Interplay Server, and Interplay User Settings Option Description Windows Standard Alt Key Switches between standard Windows and Avid application Alt key behavior. Behavior (Windows only) When this option is selected, pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Windows actions (for example, opening menus).
Keyboard Settings Option Description Set Lets you navigate to a directory on the Interplay Server and set a new default Interplay Root Folder. Append project to directory path Automatically adds the name of your project to the directory path specified in the Interplay Root Folder text box. Verify directory path On login: A message box asks you to confirm the directory path after you log in to Interplay.
Marquee Title Settings To view the name of a button in the Keyboard settings window, move the mouse pointer over the button. To get help for the button, right-click and select What’s This? For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 112. When you open the Keyboard palette from the Settings list and select Map Foreign Keyboard, you can map user-selectable buttons to the keyboard.
Media Creation Settings Option Description Promote Title Tool Controls whether your Avid editing application promotes classic Title Tool titles to titles to Marquee Marquee when you open the title for editing from a bin or from within a sequence: Backup Title on Promote • Yes: Your Avid editing application always promotes a Title Tool title to a Marquee title. For more information, see “Promoting Title Tool Titles to Marquee” in the Marquee Help.
Media Creation Settings Option Description On indexing failure Determines how your Avid editing application reports indexing failure messages. For information on using the Console, see “Using The Console Window” on page 115. Media Creation Settings: Common Options in Capture, Titles, Import, Mixdown & Transcode, Motion Effects, and Render Tabs Option Description Video Resolution Select a resolution.
Media Creation Settings Media Creation Settings: Additional Options for Render Tab Option Description Same as Source When this option is selected, your Avid editing application renders the effect using the resolution of the clip or clips used to create the effect. If an effect is created from clips that use different resolutions, your Avid editing application uses the highest quality resolution. Effects Processing Controls the resolution (bit depth) used for effects processing.
Media Services Settings (Windows Only) Media Services Settings (Windows Only) The Media Services Settings dialog box lets you connect to a Media Services Broker. You use the services provided by Avid Interplay Media Services Broker in an Avid Interplay environment where dedicated computers automate time-consuming operations. For more information, see the Avid Interplay Media Services Setup and User’s Guide.
Passthrough Mix Tool Passthrough Mix Tool Option Description Passthrough Mix Tool See “Using the Passthrough Mix Tool” on page 206. PortServer Settings Option Description Auto-connect to LANshare at Launch Your Avid editing application recognizes LANshare workspaces when it starts. Connect/Disconnect Starts or terminates the connection.
Sphere Playback Settings (Windows Only) Option Description Device Code Defines the device code that identifies the VTR to emulate. The edit controller adjusts to this choice. The default value is a Sony PVW-2800, which performs all the common play and capture functions. You do not need to change this option unless your edit controller does not recognize the VTR or you want to emulate a specific VTR. Runup (frames) This option is only available with Remote Play.
Sphere Upload Settings (Window Only) Sphere Upload Settings (Window Only) The following table describes the options available in the Sphere Upload Settings dialog box. Option Description Upload Quality This option allows you to select media settings for upload. You can specify settings for uploading high resolution media using the High Quality option. n High Quality Only one proxy format is currently available for remote media upload to Interplay. • Proxy (H.
Render Settings Option Description Priority You can use the Priority option to set the priority for your upload operation. The upload queue is sorted by priority so that higher priority jobs are uploaded first. You can also change the priority of a specific clip or upload job in the Upload Queue window. Destination The option allows you to specify the destination used for the upload operation. • Workspace — Type the name of the destination ISIS workspace used for the upload.
Render Settings Option Description Timewarps Render Determines the processing method when your Avid editing application render or rerenders Using Timewarp effects. The Original Preference, Duplicated Field, Both Fields, Interpolated Field, and VTR-Style options are the same as those for Motion Effects Render Using (see the preceding descriptions). The Blended Interpolated and Blended VTR options are also available. These options add pixel blending to the Interpolated Field or VTR-Style techniques.
S3D Settings Option Description • Interpolated Field: Creates a second field for the effect by combining scan line pairs from the first field in the original media. This option calculates the motion effect at the field level rather than the frame level. Because your Avid editing application considers all fields and does not disturb the original order of fields, the smoothest effect results. Effects that render using this option take the longest amount of time to render.
Safe Colors Settings Option Description Depth Limit Near Enter the depth budget available in front of the screen. This is always a negative value. Depth Limit Far Enter the depth budget available behind the screen. This is always a positive value. Parallax Near This distance is automatically calculated. If you set the drop-down button to manual, you may override the calculated setting. Parallax Far This distance is automatically calculated.
Script Settings Option Description Actions buttons Define how your Avid editing application implements the safe color settings. The top menu controls both the Composite and the Luminance limit types. The bottom menu controls the RGB Gamut limit type. The following options are available: • Ignore: Your Avid editing application does not limit based on these settings. This is the default setting. • Warn: Your Avid editing application provides warnings when an image exceeds these limits.
Sound Card Configuration Settings (Windows Only) Sound Card Configuration Settings (Windows Only) Sound Card Configuration Settings are only available in software-only configurations. Options Description Record/Input list Lists the input sources available with the audio hardware installed on your system. Playback/Output list Maps input sources to the output sources available with the audio hardware installed on your system.
Timeline Settings Option Description Highlight Suggested Render Areas After Playback When this option is selected, thin colored indicator lines display in the Timecode track of the Timeline. These lines provide information about the real-time effects in your sequence. For more information, see “Real-Time Playback of Video Effects” in the Help. Show Position Bar When this option is selected, the Timeline shows the blue position bar.
Transfer Settings Option Description Auto-Patching When this option is selected, your Avid editing application automatically patches the enabled source tracks to the tracks enabled in the Timeline sequence. Auto-Monitoring When this option is selected, your Avid editing application monitors the track you patch. This option is selected by default.
Transfer Settings Settings Tab Option Description Standalone/Incoming • Requests • Refuse all Requests — Select this option if you do not want to receive files from another workgroup. User Dialog To Accept/Refuse — Select this option if you want accept files from another workgroup, and then select one of the following dialog box options: Accept/Refuse Dialog Behavior: Status Window • Wait for User Action (No Timeout) — You receive a message request for a transfer.
Trim Settings Option Description Tape ID character limit Allows you to specify a Tape ID character limit during Send to Playback. Certain playback systems truncate Tape ID names that are too long. This option allows you to set the Tape ID name length. TMClient.ini Tab Option Description My Workgroup • Server — In a workgroup environment, type the Interplay Transfer server computer name. (This can be any name you give your workgroup.
Video Display Settings Trim Settings: Features Tab Option Description Never use Small Trim mode When this option is selected, your Avid editing application enters Big Trim mode when you perform any operation that activates Trim mode. Big Trim mode replaces the Source and Record monitors with displays of outgoing and incoming frames.
Video Input Tool Settings Option Description Desktop Play Delay Defines a frame offset in the Composer monitor so that the media on the desktop and the media in the DV device play simultaneously. For more information, see “Adjusting the Play Delay Offset” on page 501. Defines the Open GL processing method. Select either the Open GL board for your Open GL® Hardware Preview DVE effects with: video display, or Software OpenGL if you do not have an OpenGL video board.
Video Output Tool Settings Option Description Input menu Defines the video input for SD projects: Composite, Component, S-Video, or SDI. For HD projects, the menu displays HD-SDI. For SD or HD projects, if you are capturing DV media through a 1394 port on your system, the menu displays Host-1394. For more information, see “Capturing Directly from a DV Device” on page 234. Waveform Monitor and Vectorscope Monitor buttons Opens or hides the Waveform monitor and the Vectorscope monitor.
Video Output Tool Settings Video Output Tool Settings: Options Tab Option Description Sync Lock Locks your output connection to the reference or an internal signal on the Avid input/output hardware.
Video Output Tool Settings Option (Continued) Description VBI (DV resolutions unsupported) Controls whether your Avid editing application preserves or blanks 5 lines above each field in NTSC and 8 lines above each field for PAL when you display a sequence or perform a digital cut. These lines store encoded information such as closed captioning, edgecodes or key numbers for film projects, or various interactive or enhanced TV codes.
Video Output Tool Settings Option (Continued) Leading eye Mono-Anaglyph Description Outputs only the image set as the leading eye on the stereoscopic clip. Outputs the image in grayscale with color highlights only where there are differences in the left and right eye. The pixels in each eye image can be mapped to the following color options: Mono Red-Cyan Uses red for the left eye and cyan for the right. Mono Green-Magenta Uses green for the left eye and magenta for the right.
Video Output Tool Settings Option (Continued) Description Settings menu Lets you save the settings for an individual tape each time you calibrate bars. Video Output Tool Settings: SD Cal Tab Option Description Output menu Lets you select either Component, Composite, S Video. On some systems, all outputs on the input/output hardware are active. Select an analog signal from the Output menu to calibrate for output. For more information, see “Calibrating for Video Output” on page 1043.
Video Output Tool Settings Option (Continued) Description Y Gain, RY Gain, BY Gain, Available for Component output only in some Avid input/output hardware Pr Gain, Pb Gain configurations. • Y Gain: Lets you adjust Y Gain, a measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Use color bars to set the white level. • RY Gain: Lets you adjust the red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard.
Video Satellite Settings Option (Continued) Description B Gain In some Avid input/output hardware configurations, lets you adjust the blue (B) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. Available for HD Component RGB (on some systems) or HD Component YPbPr output. Pb Gain In some Avid input/output hardware configurations, lets you adjust the gain of the Pb color difference output, scaled from BY using the BT.
Workspace Linking Settings Workspace Linking Settings Option Description Link Timeline Mode Buttons to a Workspace: Lets you link the mode buttons in the Timeline palette to a workspace. Clicking a linked mode button (Source/Record mode, Effects mode, Color Correction mode) opens the linked workspace.
33 File Format Specifications This chapter contains specifications and notes that are useful when you are importing or exporting specific file formats.
Specifications for Graphics (Image) Files Format and Default File Name Extension Bit Depth Support Alpha Channel Support Notes Alias (.als) 24-bit color, 8-bit grayscale No BMP (.bmp) 1-, 4-, 8-, and 24-bit No Four-bit BMP files saved with RLE compression are not supported. Photoshop does not support four-channel BMP files. Chyron (.chr) 32-bit Yes Cineon (.cin) 10-bit (logarithmic) Not applicable Framestore (.fs) 24-bit No Pixel aspect information saves with image data.
Specifications for Graphics (Image) Files Format and Default File Name Extension Bit Depth Support Photoshop (.psd) Alpha Channel Support Notes RGB 8-bits/channel, RGB16 Yes bits/channel, grayscale, indexed color, and duotone variations Your Avid editing application can import multilayered graphics. For more information, see “Photoshop Graphics Import” on page 295. Duotone files are loaded as grayscale. Multichannel (greater than four channels) files and CMYK files are not supported. PICT (.
Specifications for Graphics (Image) Files Format and Default File Name Extension Bit Depth Support Alpha Channel Support Notes TIFF (.tif) 8-bit color-mapped; 8-bit or 16-bit grayscale; 24- and 48-bit color; 24-bit color plus 8-bit alpha; 36-bit color plus 12-bit alpha; 42-bit color plus 14-bit alpha; 48-bit color plus 16-bit alpha Yes Wavefront (.rla) 32-bit and 64-bit Yes XWindows (.xwd) 1-, 2-, 4-, 8-, 16-, 24-, and 32-bit No YUV (.
Specifications for Graphics (Image) Files Aspect Requirement Notes Color mode RGB ITU-R 601 ITU-R 709 Other formats, including CMYK, can cause import errors. ITU-R 601 is used for SD and ITU-R 709 is used for HD. In HD projects, your Avid editing application automatically converts the media. File format Various Your Avid editing application accepts many file formats for input. TIFF (.tif), PICT (.pct), and PNG (.png) are commonly used formats.
Specifications for Animation Files Frame Size for Imported Graphics The table in this topic shows the frame sizes to use when creating and importing graphics and sequences. The table includes sizes for both square and non-square pixels. Computer displays, most graphic and animation programs, and most HD video formats use square pixels. Standard-definition (SD) digital video does not use square pixels. The ITU-R 601 standard specifies a 720-pixel width for both NTSC and PAL.
Specifications for Animation Files In addition to the specific formats described in the table below, your Avid editing application also supports sequences of image files. You must name image file sequences appropriately for your Avid editing application to handle them correctly on import. Name each file in the sequence NameN.ext, with Name identifying the animation, N indicating the file order, and .ext indicating the file type (for example, Image1.jpg, Image2.jpg, Image3.jpg).
Specifications for Importing OMFI Files Specifications for Importing OMFI Files OMFI was developed by Avid Technology, Inc. and many industry and standards partners for the interchange of digital media data between platforms and applications. For information about creating an OMFI file on a non-Avid application, see the documentation for the application. The information in the following table applies to importing OMFI files.
Working with BWF Files Working with BWF Files Avid editing applications support any BWF files that adhere to the BWF specification. The following information from BWF information always appears in bin columns. Bin Column BWF Source Clip name Imported file name. If scene and take information is provided, the clip name is created as scene/take. Tape ID Imported file name. Start The start timecode specified in the file. Shoot date The origination date specified in the file.
Working with BWF Files Syntax Definition u Letter code of the manufacturer. Use the letter u unless otherwise instructed by Avid. KEYWORD Designation of the bin column. = Terminates the keyword. data Information to include in the bin column. [CR/LF] (carriage return/line feed) Terminates the data. For example, the keyword/value pair uSCENE=1A[CR/LF] displays “1A” in the Scene column of the bin into which you import it.
Working with BWF Files In these examples, nn is the frame rate (25, 29.97, or 30), DF is drop-frame, and ND is non-drop-frame. Importing, Syncing, and Reimporting BWF Files You can import BWF files into an Avid editing application approximately 10 to 12 times faster than capturing in real time. The files maintain pure digital quality for all audio post processing. For basic information on importing audio files, see “Importing Media Files” on page 285.
Working with BWF Files Use the Aux TC24 column to generate a 24-frame EDL for audio only. Use the Film TC column to generate a 24-frame EDL for video only. This timecode field represents the video timecode of a HD downconvert to standard definition video. 5. Ensure all entries in the Shoot Date column use the same syntax. Currently, some BWF files use the format 2009/10/03 as the Shoot Date while some ALE files use 2009-10-03.
Working with BWF Files 7. Click Open. The file imports and a new master clip appears in the bin with all audio tracks associated with the new master clip. n Your Avid editing application might skip some audio track labels (A1, A2, A3) because there is no file for that track. For more information about importing, see “Importing Files” on page 281.
Working with BWF Files Difference between Importing BWAV or AMA Linking to a BWAV with WaveAIFF Plug-In The following describes the differences between importing a BWAV file or AMA linking to a BWAV file using the WaveAIFF Plug-In. • The import process does not read iXML metadata. Performing an AMA Link using the WaveAIFF plug-in will read iXML metadata. • If the BWAV files contains an iXML tape name, this will appear as the “Sound Roll” and will override the BWAV specification of “Tape.
Field Ordering in Graphic Imports and Exports Field Ordering in Graphic Imports and Exports Graphic images consist of one or more image files, each of which contains a full frame. These frames contain fields (formed from the odd-numbered and even-numbered lines of the image frame) that have three basic arrangements: • Progressive or still frame: The upper and lower fields in the frame originated at the same instant of time, or are coherent with each other, as shown in the following illustration.
Field Ordering in Graphic Imports and Exports Preventing a Spatial Field Mismatch on Import The following table shows the proper spatial field position for each of the common interlaced video formats in Avid editing applications. n In the following table, Odd Field or Even Field specifies whether the temporally first field in the frame has the odd or even numbered lines, starting from 1.
Field Ordering in Graphic Imports and Exports 24p and 25p Import and Export The spatial field selection options do not apply for 24p and 25p projects because the frames in these projects are already in progressive or still-image form. Field Dominance Editing in Avid applications is frame based. All timecode is expressed in frame numbers, and all cuts are at frame boundaries. A raw video stream has no concept of frames (ignoring color framing) until the frame unit is defined.
34 Resolutions and Storage Requirements This chapter describes the different resolutions available in your Avid editing application and lists their specifications.
Monitor Display Resolutions You can use lower resolutions when your work does not require very high image quality (for example, in offline work, or in CD-ROM or Web authoring projects), and higher resolutions when you need excellent image quality. You can also mix different resolutions within the same project as long as those resolutions are compatible with one another. (see “Mixing Resolutions” on page 1483).
Resolution Specifications Resolution Specifications Avid editing applications provide you with a range of resolutions, both compressed and uncompressed, that you can use at various stages of your project. You can also mix certain resolutions within a sequence. The tables in the following topics list specifications for the various resolutions. For information on resolutions to use when importing graphics or sequences from a third-party application, see “Frame Size for Imported Graphics” on page 1456.
Resolution Specifications Project Format Frame Size Megabits per second Frames/sec (Mb/sec) 1280 x 720 23.976 442 354 90 90 60 40 100 50 100 59 88 41 18 132 60 50 25.
Resolution Specifications Project Format Frame Size Megabits per second Frames/sec (Mb/sec) Resolution Bits 1:1 10-bit HD 1:1 HD DNxHD 110 X DNxHD 110 DNxHD 70 DNxHD 50 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 J2K 720p 10 8 10 8 8 8 8 8 10 10 10 10 10 10 10 720p/29.97 1280 x 720 29.
Resolution Specifications Project Format Frame Size Megabits per second Frames/sec (Mb/sec) Resolution Bits 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DNxHD 100 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 J2K 720p AVC-Intra 50 10 8 10 8 8 8 8 8 10 10 10 10 10 10 10 10 720p/59.94 1280 x 720 59.
Resolution Specifications Project Format Frame Size Megabits per second Frames/sec (Mb/sec) Resolution Bits 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DNxHD 80 DNxHD 36 DNxHD444 350 X Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 J2K 1080p 10 10 8 10 8 8 8 8 10 10 10 10 10 10 10 1080p/24 1920 x 1080 24.
Resolution Specifications Project Format Frame Size Megabits per second Frames/sec (Mb/sec) Resolution Bits 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DNxHD 100 DNxHD 45 XDCAM HD 50 AVC-Intra 100 XAVC Intra 100 DNxHD444 440 X Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 J2K 1080p 10 10 8 10 8 8 8 8 8 10 10 10 10 10 10 10 10 10 1080p/29.97 1920 x 1080 29.
Resolution Specifications Resolution Bits 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DNxHD 100 DVCPRO HD XDCAM HD 50 AVC-Intra 100 XAVC Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 J2K 1080i AVC-Intra 50 XAVC Intra 50 DNxHD TR-145 10 10 8 10 8 8 8 8 8 10 10 10 10 10 10 10 10 10 10 8 Project Format Frame Size Megabits per second Frames/sec (Mb/sec) 1080i/59.94 1920 x 1080 29.
Resolution Specifications Resolution Specifications SD: J2K Avid editing applications support editing and playback of J2K media. You can import, playback, transcode, and consolidate these resolutions. All J2K resolutions are encoded with variable bit-rate (VBR) encoding to meet a target, average bit-rate. Depending upon video content, the actual average rate will vary. The following table provides J2K specifications by project type.
Resolution Specifications Project 1080p Edit Rate 23.976 Resolution Name MB/Sec Raster Size AVC-Intra 100 100MBit 1920x1080 AVC-Intra 50 50MBit 1440x1080 AVC-Intra 100 100MBit 1920x1080 1080p 25 AVC-Intra 100 100MBit 1920x1080 720p 59.
Resolution Specifications Resolution Field Size (Visible Pixels) Fields Per Frame Quality 10:1 720 x 486 (NTSC) 720 x 576 (PAL) 2 Offline/online — a good compromise for high-quality, two-field offline or low-quality online that saves drive space. 3:1 720 x 486 (NTSC) 720 x 576 (PAL) 2 Online — a medium-quality online resolution that can sustain two-stream playback on 2-way striped drives.
Resolution Specifications Resolution Frame Size (Pixels) 1:1 10b SD (MXF only) 720 x 486 (NTSC) 720 x 576 (PAL) Quality Online uncompressed — provides 10-bit image quality. Resolution Specifications: Multicam Both interlaced and progressive projects support multicamera resolutions (m resolutions). You cannot mix m resolutions with resolutions in other families.
Resolution Specifications DV, originally known as DVC (Digital Video Cassette), uses a 1/4-inch tape to record very high quality digital video. The video is sampled at the same rate as D1, D5, or Digital Betacam video (720 pixels per scan line). The color information in DV 25 is sampled at the D1 rate of 4:1:1 in 525-line (NTSC) and 4:2:0 in 625-line (PAL) formats. DV 50 is defined as 720 x 480, 50-megabit-per-second (Mb/s) 4:2:2 DV.
Resolution Specifications Resolution Frame Size (Visible pixels) Megabits per second (Mb/sec) MPEG 50 720 x 480 (NTSC) 720 x 576 (PAL) 50 Resolution Specifications SD: Apple ProRes Avid editing applications support editing and playback of Apple ProRes media encoded using the Apple ProRes MXF codec. You can import, playback, transcode, and consolidate Apple ProRes MXF resolutions. The following table provides Apple ProRes MXF specifications by project type.
Support for Uncompressed HD Media Support for Uncompressed HD Media Depending on your Avid input/output hardware, your Avid editing applications let you play, edit, import, render, transcode, and export a single-stream of real-time uncompressed (1:1) HD media. However, only Avid Nitris DX supports capture of uncompressed HD media.
Resolution Groups and Image Quality n For information on resolutions to use when importing graphics or sequences from a third-party application, see “Frame Size for Imported Graphics” on page 1456. Resolution Groups and Image Quality In general, a lower compression ratio means higher image quality. However, the resolution group itself (single-field, two-field, progressive, or uncompressed) is also a factor in the quality of the final image.
Storage Requirements If your needs are greater than your drive space, select a lower resolution and recalculate. The information in the storage tables is approximate, so it’s a good idea to slightly overestimate the amount of drive space you require. Storage Requirements The following topics provide estimated drive space requirements for the various resolutions. They show figures for estimated minutes per gigabyte and also figures for the drive space required for certain amounts of material.
Storage Requirements Drive Space Needed for 1 Hour of Media (GB) Resolution Bits Project Format 1:1 10-bit HD 1:1 HD DNxHD 90 X DNxHD 90 DNxHD 60 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 8 10 8 8 8 8 10 10 10 10 10 10 10 720p/25 198 158 41 41 27 25 22 24 28 41 19 9 62 12 1:1 10-bit HD 1:1 HD DNxHD 110 X DNxHD 110 DNxHD 70 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 M
Storage Requirements Drive Space Needed for 1 Hour of Media (GB) Resolution Bits Project Format 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 8 10 8 8 8 8 10 10 10 10 10 10 10 720p/50 396 317 79 79 52 50 22 48 55 83 38 17 124 24 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes
Storage Requirements Drive Space Needed for 1 Hour of Media (GB) Resolution Bits Project Format 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DNxHD 36 DNxHD444 440 X AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 10 8 10 8 8 8 10 10 10 10 10 10 10 10 1080p/23.
Storage Requirements Drive Space Needed for 1 Hour of Media (GB) Resolution Bits Project Format 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 185 X DNxHD 185 DNxHD 120 DNxHD 36 DNxHD444 440 X AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 10 8 10 8 8 8 10 10 10 10 10 10 10 10 1080p/25 746 435 348 77 77 51 15 155 48 55 83 38 17 124 24 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 185 X DNxHD 185 DNxHD 120
Storage Requirements Resolution Bits Project Format 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DVCPRO HD XDCAM HD 50 AVC-Intra 100 Apple ProRes 422 MXF Apple ProRes 422 HQ MXF Apple ProRes 422 LT MXF Apple ProRes 422 Proxy MXF Apple ProRes 4444 AVC-Intra 50 10 10 8 10 8 8 8 8 10 10 10 10 10 10 10 1080i/59.
Storage Requirements Resolution 2:1s 20:1 10:1 3:1 Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 4 9.4 106 MB 1.06 GB 3.18 GB 8 7.9 127 MB 1.27 GB 3.81 GB 0 5.8 172 MB 1.72 GB 5.16 GB 1 5.7 177 MB 1.77 GB 5.28 GB 2 5.5 182 MB 1.82 GB 5.46 GB 3 5.4 187 MB 1.87 GB 5.61 GB 4 5.2 193 MB 1.93 GB 5.79 GB 8 4.7 214 MB 2.14 GB 6.42 GB 0 16.6 60.
Storage Requirements Resolution 2:1 1:1 SD (Uncompressed) 1:1 10b SD (10-bit Uncompressed) Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 8 2.6 386 MB 3.86 GB 11.58 GB 0 1.9 516 MB 5.16 GB 15.48 GB 1 1.9 521 MB 5.21 GB 15.63 GB 2 1.9 526 MB 5.26 GB 15.78 GB 3 1.9 531 MB 5.31 GB 15.94 GB 4 1.9 537 MB 5.37 GB 16.11 GB 8 1.8 558 MB 5.58 GB 16.74 GB 0 0.
Storage Requirements Estimated Storage Requirements: JFIF Progressive Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 35:1 0 36.4 (NTSC) 30.3 (PAL) 27.5 MB 33.0 MB 275 MB 330 MB 824 MB 990 MB 1 30.5 (NTSC) 26.1 (PAL) 32.8 MB 38.3 MB 328 MB 383 MB 983 MB 1.14 GB 2 26.3 (NTSC) 22.9 (PAL) 38.1 MB 43.6 MB 381 MB 436 MB 1.14 GB 1.30 GB 3 23.1 (NTSC) 20.4 (PAL) 43.4 MB 48.9 MB 434 MB 489 MB 1.30 GB 1.47 GB 4 20.5 (NTSC) 18.4 (PAL) 48.7 MB 54.
Storage Requirements Resolution 3:1 2:1 Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 2 12.6 (NTSC) 10.7 (PAL) 79.1 MB 93.2 MB 791 MB 932 MB 2.37 GB 2.80 GB 3 11.8 (NTSC) 10.1 (PAL) 84.4 MB 98.5 MB 844 MB 985 MB 2.53 GB 2.96 GB 4 11.1 (NTSC) 9.6 (PAL) 89.7 MB 103 MB 897 MB 1.04 GB 2.69 GB 3.12 GB 8 9.0 (NTSC) 8.0 (PAL) 111 MB 125 MB 1.11 GB 1.25 GB 3.33 GB 3.75 GB 0 3.6 (NTSC) 3.0 (PAL) 278 MB 333 MB 2.78 GB 3.33 GB 8.33 GB 10.0 GB 1 3.
Storage Requirements Resolution 1:1 SD (Uncompressed) 1:1 10b SD (10-bit Uncompressed) Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 8 2.2 (NTSC) 1.8 (PAL) 459 MB 542 MB 4.59 GB 5.42 GB 13.8 GB 16.3 GB 0 1.0 (NTSC) 0.9 (PAL) 1.00 GB 1.15 GB 10.0 GB 11.5 GB 30.0 GB 34.5 GB 1 1.0 (NTSC) 0.9 (PAL) 1.01 GB 1.15 GB 10.1 GB 11.5 GB 30.3 GB 34.6 GB 2 1.0 (NTSC) 0.9 (PAL) 1.01 GB 1.16 GB 10.1 GB 11.6 GB 30.3 GB 34.8 GB 3 1.0 (NTSC) 0.9 (PAL) 1.02 GB 1.
Considerations for Managing Storage Drive Space Needed for Resolution Minutes Per 1 Minute of (NTSC and PAL) Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media DV 25 5.0 200 MB 2.0 GB 6.0 GB DV 50 2.5 400 MB 4.0 GB 12.0 GB DVCPRO HD 1.2 800 MB 8.0 GB 24.0 GB Estimated Storage Requirements: MPEG This table does not include estimated storage requirements for audio.
Considerations for Managing Storage Managing Storage to Improve Playback Performance The way you set up the media drives and target them when you capture can affect playback performance. Here are some suggestions for working with complex video images at high resolution, multiple video layers, or multicamera material: • For more effective playback of multiple streams of video at higher resolutions, stripe the media drives.
35 Working in HD and High-Resolution Projects Avid editing applications support HD and high-resolution media (2K and above). A full list of the video formats supported for capture, linking, editing, rendering and output is available on the Avid web site—refer to “Avid Editing Systems Supported Formats” on the Avid Knowledge Base.
Transferring Film to Tape Based on delivery format requirements, you need to determine the best format for acquisition of the media. It’s best to begin with the highest resolution and quality source, and then “down-rez” to the required output format. Cinema (High-Resolution input and output) Feature film or documentary release to theaters demands high-resolution, high-quality source material and output to film.
Transferring Film to Tape Film Shoot Specifications Use the guidelines in the following table to help you plan for film shoots that will be edited on an Avid. Element Supported Formats Notes Film type 16mm Use Standard 16mm or Super 16mm. Super 16’s aspect ratio closely matches 16:9. 35mm: 2, 3, 4, 8, and 12 perf 16mm, 35mm 4 perf, and 35mm 3 perf are supported as projects in the Avid system. The remaining formats are supported through ink numbers and auxiliary ink numbers.
Transferring Film to Tape Film-to-Tape Transfer Guidelines Observe the following general guidelines when transferring film to tape: n • Instruct the telecine facility to record timecode on the address track. • Instruct the facility to use only a telecine transfer process when transferring to NTSC videotape. Do not use a film chain or any other transfer device. • PAL transfers do not require pulldown, so you can use either a telecine or a film chain. However, quality is much better on a telecine.
Transferring Film to Tape Project Format Source footage During the telecine process HD 24 fps The telecine process transfers 24-fps film footage at 1:1 (no pulldown). It can also transfer the footage at HD 1080p/23.976 video at 1:1. This lets you create the project at 24p and later change it to 1080p without having to create a new project and sequence. In addition, you can keep both offline SD material and online HD material available in the same project. 23.
Transferring Film to Tape After you perform the final telecine operation, you can capture at a finishing resolution, such as 1:1 (uncompressed). The transfer facility might have available one or more of the production aids described in the following table, which you can include in your film-to-tape transfer: Aid Description Automatic logging Whenever possible, you should instruct the facility to log tracking information directly into a computer database program.
Transferring Film to Tape Transferring Film to Video Film runs at 24 fps, and NTSC video runs at 30 fps. The difference in frame rates between film and video prevents a direct frame-to-frame transfer. To compensate, the telecine process creates an extra six frames every second (the difference between 24 and 30). This method of creating extra frames is known as pulldown. At the same time, the telecine slightly reduces the film’s running speed to 23.976 fps.
Transferring Film to Tape Transfer of 24-fps Film to PAL Video If you use a PAL transfer, the film-to-video process takes place in two stages: • Transfer the film to videotape by speeding up the film rate during the telecine process. • Capture the transferred videotape into the Avid system at the sped-up rate. There are two approaches to synchronizing sound, which are often referred to as PAL Method 1 and PAL Method 2.
Transferring Film to Tape You have the option of playing back the footage at 24 fps or 25 fps. If you select 24 fps, the system slows both the picture and the sound by 4.1 percent for playback. This approach lets you edit at the original film rate, but the slowdown creates a limitation for audio. Because you capture the audio at a rate faster than playback, some audio samples are duplicated during playback, and sound quality is compromised.
Transferring Film to Tape n The Info tab in the Project window lets you view the audio transfer rate you selected when you created the project. The actual audio transfer rate might be different from the display if you used the Film and 24p Settings dialog box to change the audio transfer rate.
HD Workflow: Video-Based Television Description 1 Transfer reels of negative via telecine to HD 4:2:2 for the offline editing. 2 Import the film transfer files (FLEx, Evertz, Aaton, AFE) into Media Composer project bins and batch capture the footage from the dailies. 3 Generate a Pull List using Avid FilmScribe that provides a concise list of footage to be retransferred at a higher resolution. 4 Retransfer the final footage to HD 4:4:4.
HD Workflow: Video-Based Television 1080i/59.94 HD 1 HD VTR 7 30i NTSC SD Avid Media Composer 2 33 5 6 4 9 OMFI/AAF 10 8 Avid Pro Tools 1080i/59.94 HD To create a video-based HDTV program: 1. Use an HD VTR to downconvert the source tape to 30i NTSC, 25i PAL, or 25p PAL. 2. Open a project that is suitable for HD finishing. When you start the online session, you can create a new project in the final format, or use the original project and change the project format.
Producing Graphics for Broadcast 6. Duplicate the final sequence, and then modify the format of the sequence to create a new sequence in the corresponding HD format — see “Changing the Sequence Format” on page 1515. 7. Decompose the new HD sequence and batch capture from the source tape. 8. (Option) Import the final audio mix. 9. Finish the sequence by batch capturing graphics, recreating title media and reviewing the program for effects that need fine-tuning.
Creating a Film-Based Project 4. Type the name of your new project in the text box. 5. Click the Format menu and select the most appropriate project type. The format you choose must take into consideration both the frame rate at which the film was shot, as well as the final delivery format for the production. Format Source Output 24p NTSC Film-based or other 24-fps footage transferred to Standard Definition NTSC videotape. Film, HD Broadcast, Video 23.976 NTSC Film transferred at 23.
Creating a Film-Based Project Further options might change depending on the format that you chose. 6. Select Film if your source material originated on film reel. This will give you access to film options such as Perf Slip and Film and 24p settings. 7. Set the following additional option(s), where applicable: Option SD (NTSC/PAL) Aspect Ratio Select either 4:3 or 16:9 HD and Film Only uses the 16:9 aspect ratio.
Creating a Film-Based Project Before you capture or output film reel footage, refer to the following topics—“Selecting a Project Format during Capture” on page 1513 and “Selecting a Project Format during Output” on page 1513. Selecting a Project Format during Capture Before you capture film reel footage into your editing system, make sure you select the correct project format. The following table explains how the Avid system creates the digitized media from your source footage.
Changing the Project Format Project Format HD Source footage During the output process 23.976 fps For NTSC video, the Symphony system reinserts pulldown. 24 fps Creates a 24p EDL for use in an online suite. 25 fps Creates a 25p EDL for use in an online suite. 23.976 fps Creates a 24p EDL for use in an online suite. Use the Digital Cut tool to output a 1080p/23.976 master tape. Then convert the master tape to 720p/59.94 or 1080i/59.94 for broadcast.
Changing the Sequence Format When you change the project format, the following changes take place: • The hardware changes to support input and output for the new project. • The available resolutions and, for some configurations, raster dimensions change to those of the new project. • Any new sequences you create use the format of the new project. If necessary, you can then modify the format of an existing sequence, see “Changing the Sequence Format” on page 1515. To change the project format: 1.
Changing the Sequence Format You may not always need to change the edit rate of the sequence. For example, you can change an NTSC 30i sequence to 1080i/59.94 or to 720p/59.94. In other cases, you do change the edit rate, and the modified sequence uses motion adapter effects and contains other adjustments necessary to allow the sequence to play at the new edit rate. n There are special workflows for converting a 23.976p NTSC sequences. See “(Symphony) Converting a 24p NTSC Sequence to 1080p/23.
(Symphony) Converting a 24p NTSC Sequence to 1080p/23.976 (Symphony) Converting a 24p NTSC Sequence to 1080p/23.976 The most efficient offline format for a project that needs to be delivered as 1080p/23.976 is 23.976p (NTSC). In some cases, however, you might need to edit the offline sequence at 24 fps — for example, if the offline system does not support 23.976p NTSC projects. To convert a 24p NTSC sequence to 1080p/23.976p, you need to take an intermediate step and first convert it to 23.976p NTSC.
Converting a 23.976p NTSC Sequence to 720p/23.976 Converting a 23.976p NTSC Sequence to 720p/23.976 Because the source edit rates are different for these formats, you cannot simply change the project and sequence format. The following sequence is based on source material shot or transferred to 720p/23.976 and edited offline in a 23.976p NTSC project. To convert a 23.976p NTSC sequence to 720p/23.976: 1. In the 23.976p NTSC project, duplicate the final sequence and move it to a new bin. 2.
Displaying 24p and 25p Media Displaying 24p and 25p Media This section applies to you only if you are working with Standard Definition (SD) formats. When your Avid editing application captures video that has been transferred from film (or video shot at 24 fps), it creates 24p media.
Outputting a Sequence Displaying Media During a Digital Cut The Digital Cut tool lets you output multiple formats at various play rates, all from 24p and 25p media. When you click the Play Digital Cut button, the system displays the sequence as described in “Displaying Media While Editing” above, depending on your selection in the Digital Cut tool. For more information, see “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 1074.
(Symphony) Using HD Universal Mastering The following frame rates are supported for HD Universal Mastering of sequences (sample rates are included as examples of remastered audio): Original Frame Rate Mastered Frame Rate Original Sample Rate Mastered Sample Rate 23.976 fps 24 fps 48000 47952 23.976 fps 25 fps 48000 46034 24 fps 23.976 fps 48000 48048 24 fps 25 fps 48000 46080 25 fps 24 fps 48000 50000 25 fps 23.
(Symphony) Using HD Universal Mastering 5. Click the Sample Rate menu, and select the appropriate conversion option: t 23.97fps -> 24fps for Universal Mastering t 24fps -> 25fps for Universal Mastering t 24fps -> 23.97fps for Universal Mastering t 25fps -> 23.97fps for Universal Mastering t 25fps -> 24fps for Universal Mastering t 23.97fps -> 25fps for Universal Mastering 6.
(Symphony) Using HD Universal Mastering 12. Mark an IN point on the first frame of the sequence. 13. Make sure the position indicator in the Timeline is on the first frame of the sequence. 14. Click the Overwrite button to add the converted audio to original sequence. (Symphony) Performing a Digital Cut with HD Universal Mastering Once you have mixed down your audio tracks and added the new audio clip to your sequence, you can output your sequence at a new frame rate by performing a digital cut.
(Symphony) Using HD Universal Mastering To output a digital cut in this way, you must have a deck that can record the output you want to create available and configured, and you must select that deck in the Digital Cut tool. In the current version of your Avid editing application, you can select any deck template that is valid for a digital cut from the current project. You must also ensure that the sync source you are using matches the output format you want to create.
Working with HDV 4. If appropriate, deselect all audio tracks except the converted tracks by using the Sequence Track buttons. For more information, see “(Symphony) Converting Audio for HD Universal Mastering” on page 1521. “Converting Audio for HD Universal Mastering” in the Help for the Media Composer family. 5. Click Output Format, and select the appropriate frame rate option: For more information, see the table above this procedure. 6.
Understanding HDV • 720p/29.97 • 720p/50 • 720p/59.95 • 1080i/50 • 1080i/59.94 Avid editing applications capture and process DVCPRO HD media and HDV media in its native format, through a 1394 port on your computer. You can capture from an HDV device and edit in native HDV using these project types. You can also use HDV in other project types, but Avid editing applications are more efficient and perform better with the dedicated HDV project types.
HDV Workflow Your Avid editing application uses a technique called long-GOP splicing when encoding an HDV MPEG-2 sequence for export. For more information, see “Long-GOP Splicing for HDV Encoding” on page 1530. HDV uses MPEG-2 video encoding and MPEG-1 audio encoding. 1080i records at about 25Mbps and 720p records at about 19Mbps. Sony provides HDV cameras that record at 1080i/59.94 and 1080i/50. JVC® cameras record at 720p/29.97 and 720p/23.976.
Capturing and Importing HDV 5. Select the sequence. 6. You can also export the file in other formats or use Windows Media 9 for export to a third-party HD-DVD authoring system, see “Exporting HDV as Windows Media” on page 1531. Capturing and Importing HDV You can import an HDV transport stream file (.m2t). Transport streams combine video and audio for transmission through an IEEE-1394 port.
Playing Back HDV Media 4. Click Open. Your Avid editing application copies the media in a fast import as native HDV. Playing Back HDV Media Depending on your input/output hardware, there might be some limitations when you play back HDV media. With a DV device connected in IEEE-1394 mode, you can play back to the DV device in Draft Quality and Best Performance quality only. With no device connected, you can play back as Full Quality and use the full-screen playback monitor.
Outputting HDV HDV Project Type Renders or Transcodes to 720p/23.976 DNxHD 60, DNxHD 90, DNxHD 90x, DVCPro HD 720p/25 DNxHD 60, DNxHD 90, DNxHD 90x, DVCPro HD 720p/29.97 DNxHD 75, DNxHD 110, DVCPro HD 720p/50 DNxHD 120, DNxHD 185, DNxHD 185x, DVCPro HD 1080i/50 DNxHD–TR 120 1080i/59.94 DNxHD–TR 145 For more complete information on rendering and transcoding, see “Basics of Effects Rendering” in the Help and “Using the Transcode Command” on page 455.
Outputting HDV To export an HDV transport stream: 1. Select the sequence or marked section. 2. Select Export in the Settings tab of the Project window. The Export Settings dialog box opens. 3. Select Export As > HDV. 4. Select Use Marks and Use Enabled Tracks as desired. See “Export Settings: HDV” on page 1394. 5. Click OK. You can also export to other formats, such as QuickTime movie, or use the Send To function to send the sequence to an application such as Sorenson Squeeze.
Outputting HDV Setting Value Video Type Progressive Pixel Aspect Ratio 16:9 Codec Windows Media 9 VBR Enabled and set to Quality Audio Settings Leave set at defaults 6. Click Save to export the sequence. 7. In the Export As dialog box, select the destination folder for the file. 8. Click Save. The sequence is exported using the selected settings. To export HDV as Windows Media for use in DVD authoring: 1. Select the sequence or clips you want to export. 2. Select File > Export.
Raster Dimensions 6. Click Save to export the sequence. 7. In the Export As dialog box, select the destination folder for the file. 8. Click Save. The sequence is exported using the selected settings. Finishing HDV on Avid DS The following procedure outlines the steps to take if you want to finish an HDV sequence on an Avid DS system. To finish an HDV sequence on an Avid DS system: 1. When in a 1080i/59.94 HDV project, transcode your sequence to DNxHD 145. 2. Export as an AFE. 3.
Raster Sizes The format you select to work in also determines which HD compression is used by your Avid editing application. For example, if your HD project format is 1080i 59.94 and you select a raster dimension of 1440 x 1080, the Video Resolution menu in the Media Creation settings dialog box displays the following options: • DNxHD-TR 145 MXF • XDCAM HD 17.
Raster Sizes Availability of Raster Dimensions for Full Quality Playback Project type 1280 x 720 960 x 720 1920 x 1080 1440 x 1080 1280 x 1080 720p 23.976 Yes (standard) Yes No No No 720p 25 Yes (standard) Yes No No No 720p 29.97 Yes (standard) No No No No 720p 50 Yes (standard) Yes No No No 720p 59.94 Yes (standard) Yes No No No 1080p 23.976 No No Yes (standard) Yes No 1080p 24 No No Yes (standard) No No 1080p 25 No No Yes (standard) No No 1080p 29.
36 Dual Link HD RGB Support The Avid Media Composer and Avid Symphony editing applications with Nitris DX support RGB HD dual link. If you have a Nitris DX-based system, you can capture, monitor, and output projects in HD-RGB using the two HD SDI connections to handle the high-bandwidth resolutions.
HD RGB Playback to High Resolution Monitor 3. Select the RGB resolution. 4. See “Capturing Media” on page 223 for details on performing a capture. HD RGB Playback to High Resolution Monitor To setup: 1. Connect the Nitris DX to a dual link high resolution monitor. Use the HD-SDI B IN and OUT connectors for dual ingest HD-RGB capture and output on Avid Media Composer or Avid Symphony connected to a Nitris DX. 2. Click the Format tab in the Project window. 3. Click the Color Space menu and select RGB. 4.
37 International Character Support (ICS) in Avid Editing Applications This chapter provides information on international character support (ICS) in your Avid editing application.
Using a Local Language Operating System (Windows Only) Using a Local Language Operating System (Windows Only) On Windows systems only, you can display and input characters in languages other than English by installing the local language version of the operating system and working within that operating system. n Interplay applications are not qualified on systems running local language operating systems.
Non-English Character Support (Macintosh) 2. In the Languages list, click the language you want, and drag it to the top of the list. If you do not see the language you want in the list, click Edit List, select the language, and click OK. 3. (Option) Click the Text tab and select other options. 4. Click the Formats tab, and then click the Region menu and select your region.
Non-English Character Support (Macintosh) If you do not see your region, select “Show all regions” and then click the Region menu again. 5. Click the Close button. 6. Logout and log back in to enable the changed settings. n For more information about the Language & Text window, see Mac Help by clicking the question mark icon in the window. To add your language’s keyboard layout, input method, and character set palette to the operating system’s Input menu (Flag icon): 1.
Non-English Character Support (Windows) 3. Select the language or languages in which you want to type. 4. Select “Show input menu in menu bar.” 5. Click the Close button. 6. In the Finder title bar, click the Flag icon and select the input language. You can also select a character set palette. The Flag icon changes depending on which input language you select. 7. Restart your system.
Non-English Character Support (Windows) To specify a language in which to type (Windows 7): 1. (Option) Attach a regional keyboard to your system. 2. Click the Start button, and select Control Panel. 3. Do one of the following: t If the View by menu is set to Category, in the Clock, Language, and Region area, click “Change display language.” t If the View by menu is set to Large icons or to Small icons, click Region and Languages. The Region and Language dialog box opens. 4.
Non-English Character Support (Windows) 7. If necessary, click “Install/uninstall languages” and follow the prompts to install supplemental languages. 8. Click “Change keyboards.” The Text Services and Input Languages dialog box opens.
Non-English Character Support (Windows) 9. In the “Installed services” area in the General tab, select a language and a keyboard layout for that language. 10. If the language you want is not in the list, click Add, select an input language and a keyboard layout for the language, and then click OK. 11. In the “Default input language” area, select an input language. You must select a language in the Installed Services area (step 9) before it appears in the Default input Language list. 12.
Using Foreign Keyboard Mapping (Windows) Using Foreign Keyboard Mapping (Windows) On Windows systems, when you start your Avid editing application under a new locale, your Avid editing application automatically creates a Keyboard setting for your language. You can view the keyboard layout by clicking the appropriate Keyboard setting in the Settings list. The default Avid keyboard layouts for English, French, or German map correctly to the characters on the physical keyboard.
Considerations for International Character Support Use One Locale When Sharing Files Make sure that your projects do not contain characters from more than one locale. File sharing might not work correctly. See “Choosing a Locale on an English Language Operating System” on page 1538 In an Interplay workgroup, all clients and applications must use the same locale, either English or one other locale.
Considerations for International Character Support The RT-11 format that is sometimes used for disks that store EDLs has a very limited character set: A-Z (capital letters only), 0-9, space, and $. Traditional Chinese Big 5 Character Set When using Traditional Chinese, set the Input Method Editor (IME) to use the Traditional Chinese Big 5 character set.
Considerations for International Character Support Additional Tips and Limitations for Working with International Characters • You must install your Avid editing application after you set up your system for international character support. • If you export files from a FIGS (French, Italian, German, or Spanish) operating system that contain certain diacritical marks (for example, a capital A, I, or E with circumflex), they might not import or display correctly on an English operating system.
38 Open I/O Support With the Media Composer family of products, Avid has implemented a Hardware SDK allowing 3rd party vendors to develop plug-ins for their hardware I/O devices. The plug-ins will enable 3rd party I/O hardware to interact with the Avid editing applications (Media Composer, Symphony, and NewsCutter). Currently, the 3rd party vendors who have access to develop plug-ins for their hardware in order to work with Avid editing software are AJA, Matrox, Blackmagic Design, Motu and Bluefish444.
• Utilize any Hardware Codec Modules • Universal Mastering (Frame & Signal Convert to a Different Format) 1551
Index Numerics 1 Pass encoding 1397 1:1 video defined 1468 1080p/23.
Index PhraseFind activating 560, 657 Activating ScriptSync 653 Active Palette option (Command palette) 114 Adaptive deinterlacing 590 Add Alt Key button (Command palette, Other tab) 110 Add Channel button (Deck Configuration dialog box) 179 Add Comments command (Clip Name menu) 605 Add Control Key button (Command palette, Other tab) 110 Add Deck button (Deck Configuration dialog box) 179 Add Dissolve button See Quick Transition button Add Edit button 812 for maintaining sync 613 for MultiCamera editing 130
Index AIR Dynamic Delay RTAS plug-in 942 AIR Enhancer RTAS plug-in 944 AIR Ensemble RTAS plug-in 945 AIR Filter Gate RTAS plug-in 946 AIR Flanger RTAS plug-in 947 AIR Frequency Shifter RTAS plug-in 949 AIR Fuzz-Wah RTAS plug-in 950 AIR Kill EQ RTAS plug-in 951 AIR Lo Fi RTAS plug-in 951 AIR Multi-Chorus RTAS plug-in 954 AIR Multi-Delay RTAS plug-in 955 AIR Non-Linear Reverb RTAS plug-in 956 AIR Phaser RTAS plug-in 957 AIR Reverb RTAS plug-in 959 AIR Spring Reverb RTAS plug-in 961 AIR Stereo Width RTAS plug
Index mixing down 835 monitoring tracks 712 multichannel 762 muting 777 number of tracks supported 707 output 786 output options 1354 output, calibrating 1053 output, calibrating global levels 1054 output, calibration tone for 1053 output, monitoring global levels 1053 output, preparing for 1053 output, settings options 1056 overview of tools 760 pain and gain automation display 772 pan, adjusting in Audio Mixer tool 797 Project settings, adjusting 198 Project settings, audio file formats 200 Project setti
Index tools, accessing 760 tracks, adjusting in Audio Mixer tool 798 tracks, soloing 767 transfer options 1505 transferring to Digidesign Pro Tools 1128 using leader to maintain sync 611 voice-over 850, 850 volume, adjusting in Audio Mixer tool 798 volume, adjusting in Timeline 814 waveform plots 773 Audio Data commands (Timeline Fast menu) 773, 814, 817 Audio effects rendering order 795 Audio EQ 813 Audio EQ (Equalization) adjusting while playing 850 removing 845 saving 844 templates 847, 847 Audio EQ com
Index options 1354 Audio settings described 1353 Audio Settings dialog box adjusting digital scrub parameters 770 Audio Source Tape TC Rate (Film and 24p Settings dialog box) 176 Audio sync for capture 164 Audio timecode 761 Audio tone media creating 205 Audio tool Calibrate mode 208, 208, 208 checking input levels 205 described 203 digital scale 204 input levels, adjusting 205 opening 203 volume unit scale 204 Audio Tool command (Tools menu) 798, 1053, 1054, 1060 Audio Track Monitor button (Track Selector
Index Automatic opening of projects 58 Automounting workspaces ISIS v2.
Index Avid Interplay Transfer using 440 Avid Interplay Window See Interplay Window Avid License Control tool 560, 657 Avid logs See also Shot log files See Shot log files clip data in 131 creating 126 custom Titles in 128 data entries in 131 formatting guidelines 126 global Titles in 127 importing ASCII file format 135 sample created with text editor 134 specifications 126 standard Titles in 128 Avid MCXpress for Windows NT importing files from 1458 Avid Media Store 1308 login 1311 searching 1313 Avid Medi
Index described 733 switching with Small Trim mode 735 Bin columns copying information 350 Field Motion 592 Bin display 366 Bin editing in Segment mode 705 using the keyboard 705 Bin Fast menu described 335 Loop Selected Clips command 503 opening 335 Bin headings modifying data in 352 setting audio format in 763, 779 Bin settings Auto-Save options 1360 Avid Attic files setting 1360 backup options 1360 described 1360 Bin views customizing 328 saving 328 types of 328 Bins adding columns 347 adding text in Sc
Index adjusting for output 1045 Black segment See Filler Blank button (Command palette, Other tab) 110 Blue bar See Position indicator Blue-only feature 1045 BMP file format additional export options 1402 import specifications for 1452 Bomb Factory BF76 AudioSuite plug-in 967 Browse button (Select Project dialog box) 58 Browsing for projects 58 B-side (incoming frames) in trims 737, 747 Buffer size audio, adjusting 787 Burn-in code 1499 Buttons Add Alt Key (Command palette, Other tab) 110 Add Control Key (
Index CamCutter files importing 302 Camera roll keypunch 1499 Camera setups in the lined script 624 Camroll data 149 Capture command (Tools menu, Toolset menus) 185, 1193 Capture command (Tools menu) 139 Capture in Progress slide in monitors 236 Capture mode entering 185 Capture Settings DV Options tab 1361 Capture settings Batch tab 1361 described 1361 DV Options 277 Edit options 266 Edit tab 1361 General tab 1361 Keys tab 255, 1361 MXF Media Files tab 1361 OMF Media Files tab 1361 Capture Tool Dolby E Sa
Index CCIR See ITU-R 601 CCIR video levels, Import settings 1414 Center Duration option (Composer settings) 1367, 1367 Center Pan command (Clip menu) 812 Change lists using FilmScribe to create 1085 Change Sample Rate command (Clip menu) 834 Change Scene/Page dialog box 635 Changing background color in bins 340 default pulldown frame 1082 font in the Script window 632 fonts in user interface 92 frame identifying a clip 330 frame sizes in bins 330 interface components color 90 page and scene numbers in the
Index described 603 preserving contents 603 recovering material from 603 Clipboard Contents command (Clip Name menu) 603 Clipboard Monitor command (Tools menu) 603 Clips See also Master clips See also Subclips assigning local colors in the Timeline 676 assigning source colors in bins 341 audio, marking 522 autosyncing 615 batch capturing 241 changing identifying frame 330 changing resolution by transcoding 455 clearing from monitors 505 copying 336, 337 creating group clips 1293 creating multigroup clips 1
Index templates, for transferring corrections between Avid applications 1123 Color frame shifts 728 Color Framing options (Composer settings) defined 1367, 1367 Color indicators (script integration) adding to takes 645 described 626 Color Match control 3 x 3 averaging of pixels, setting 1371 Color Match eyedropper 1371 Color submenu (Script menu) 645 Colors local and source, displaying in Timeline 672 Color-sync signal phase 1367, 1367 Column headings for MultiRez 1281 setting audio format in 763, 779 Colu
Index Compression ratios See also Video resolutions mixing 1483 Compression ratios (JFIF) defined 1478 Configuring Command|8 866 decks 179, 179 Digi 002 866 Conforming workflow 1113 Connecting DV devices 184 Console command (Tools menu) 115 displaying drive space statistics using 84 Console window 115, 212 checking peak audio levels with 212 described 115 displaying bin information in 115 displaying system information 115 logging capturing errors to 256 network drives 115 printing marker information from 5
Index D overlap edits 749 projects 50, 1510 rough cuts 582 subclips 520 subclips during capturing 257 subsequences 522 tone media 205 user profiles 88 Criterion menu (Custom Sift dialog box) 366 Crossconverted sequences outputting 1050 Crossconverting HD for output 1050 Crossfading audio 830, 1354 Custom colors options for naming 1371 Custom preroll selecting 197 Custom Profile Audio Settings 1397 Custom property value for 1180 Custom Sift command (Bin menu) 366 dialog box 366 Custom Titles in Avid logs 1
Index configuring 179 for digital cut 1065 limitations on consumer-grade 218 logging with Avid-controlled 139 logging with non-Avid-controlled 144 selecting 187 templates for 179 using the keyboard to control decks 260 Decompose command (Clip menu) 247 Decomposing described 245 Expert Decompose feature 245 including or excluding material 249 mixed-rate sequences 245 selecting target formats 249 sequences 245 DeEsser III (Dynamics III) AudioSuite plug-in 973 Default function buttons Avid Artist Series contr
Index Send To 1008, 1012 Set Bin Display 366 Set Font 92, 632 Sync Selection 616 Tape Lengths 477 View Name (bin) 328 Digi 002 817 configuring 866 Digi 002 controller 117 DigiDelivery, exporting to 1008 Digidesign exporting to 1008 Digidesign AudioSuite plug-ins See AudioSuite plug-ins Digidesign Pro Tools transferring audio files to 1128 Digital audio capturing in film projects 194 scrub, compared to smooth audio scrub 768 scrub, described 768 scrub, performing 771 Digital Audio Scrub options (Audio setti
Index Dolby E 261, 262, 263 Dominance described 1467 Dominance, Import settings options 1414 Double-byte systems, ASCII characters in 1546 Downconverted sequences outputting 1050 Downconverting HD for output 1050 downloading plugins 1333 downloading stock footage 1329 Draft Quality command (Video Quality menu) 516 Drag-and-drop method exporting files with 1014 for converting files to ALE format (Macintosh) 125 for converting files to ALE format (Windows) 121 importing files 317 Dragging IN and OUT points 5
Index DVCPro HD resolution raster type 1533 DVD exporting to 1008, 1008 DVD authoring, exporting to 1008 DVD One Step exporting to 1008 D-Verb AudioSuite plug-in 972 Dynamic relink applying target settings 1267 applying working settings 1267 described 1256 displaying available media 1274 Interplay Sphere 1227 limitations 1266 quality matching 1287 to target settings 1271 Dynamic Relink Settings command (MultiRez menu in Timeline) 1266 Dynamic Relink Settings dialog box opening 1266 options 1376 settings fo
Index Entering additional film data 149 frames-per-second rates for PAL transfers 155 ink numbers 157 key numbers 155 optional timecodes 156 pulldown of the sync point 151 Segment mode 694 Source/Record mode 576 Trim mode 744 EQ AudioSuite plug-ins 977 EQ effects adjusting while playing 850 applying 839 removing 845 templates for 847 ERIMovie file format additional export options 1402 brief description 1456 Errors logged during capturing 256 viewing capturing errors in the Console window 256 viewing log of
Index to Digidesign Pro Tools 1008 to DVD 1008, 1008 to HDV settings 1394 to Sorenson Squeeze 1008 to third-party applications 1012 user profiles 88 using drag-and-drop method 1014 VC1 media 1035 Wavefront files 1402 Windows Media 1029 with Avid Codecs for QuickTime, described 1024 with Avid Codecs for QuickTime, procedure for 1024 XDCAM 1031, 1031 YUV files 1402 Exporting files with Avid DV Codec 1388, 1390 Exporting sequences to P2 card 1034 Extend button 750 Extending edits 750 External devices turning
Index exporting using drag-and-drop method 1014 exporting, procedure for 1014 exporting, reasons for 1005 guidelines for moving 1109 importing 285 importing, guidelines 282 importing, using drag-and-drop method 317 reimporting 318 specifications for importing graphics 1451, 1451 specifications for importing OMFI 1458 transferring, reference of devices and methods 1124 Fill Sorted command (Bin menu) 330 Fill Window command (Bin menu) 330 Filler adding during trimming 751 adding to a sequence 580 setting dur
Index First (lower) Row of Info option (Composer settings) 1367, 1367 First Row of Buttons option (Composer settings) 1367, 1367 Flanger AudioSuite plug-in 984 Flash frames 729 Flat View command (Bin display Fast menu) 75 Focus button (Timeline) 690, 746 Focusing Timeline 690 Folders Avid Projects 46 Avid Users 46 creating in projects 76 deleting 1184 navigating to from a selected asset 1185 Font Replacement command (Object menu) 1119 Fonts changing in the Script window 632 changing in user interface 92 re
Index Full-Monitor Display 1295, 1295 Full-screen image size defined 1451 Full-screen Timeline 679 Function key commands (Capture Settings) 255 Funk Logic Mastererizer AudioSuite plug-in 968, 985 G Gain viewing gain values 775 Gain AudioSuite plug-in 985 Gang button 613 Ganging footage in monitors 613 General settings described 1411 General Settings dialog box 175 General-purpose interface (GPI) device configuring with VLAN-VLXi controller 886 trigger signals 884, 885 using 883 using with V-LAN VLXi contr
Index HD media offline formats for 1514 HD SDI embedded audio and sample rate conversion 1058 HD Universal Mastering converting audio 1521 described 1520 frame rates 1520 HDMI 779, 786 HDTV aspect ratio 1498 broadcast graphics workflow 1510 supported formats using 16:9 format for 163 video-based workflow 1508 HDV capturing 1528 capturing through IEEE port 1528 described 1526 exporting to HDV settings 1394 exporting transport stream 1530, 1530 finishing on Avid DS Nitris 1533 importing 1528 Long GOP splicin
Index Shot Log tab 1417 XDCAM tab 303 Import Settings dialog box 282 Import Target section (Batch Import dialog box) 320 Importing a script 630 animation files 1456 converting sample rates 293 files, basic procedure 285 files, batch import 320 files, batch importing multiple resolutions 1249 files, drag-and-drop method 317 files, guidelines 282 files, preparing for 282 files, settings for 282 HDV transport stream file 1528 sample rate conversion options 294 shot log files 159 statistics files 83 test patte
Index sending messages 1197 viewing messages 1195 Interplay environment relinking in 1274 Interplay Folder Settings 1421 Interplay Folder settings described 1421 Interplay Folder Settings dialog box 1144, 1215 Interplay Folders option (Capture tool) 1193 Interplay Host, specifying settings 440 Interplay Login dialog box 1147 Interplay Media Indexer managing Media tool display 445 Interplay Media Services 1036 Interplay Root Folder checking in assets 1162 specifying Interplay Sphere settings 1215 specifying
Index additional Export options for 1402 import specifications for 1452 K Key numbers entering 155 formats for 155 relinking clips by 273 Keyboard controlling decks from 260 mapping buttons to 112 mapping foreign 1546 mappings for playback control 511 Keyboard shortcuts audio keyframing 820 Volume Automation and Pan 820 Keyframes adjusting pan for individual 864 adjusting volume for individual 864 audio, keyboard shortcuts 820 Keykode format 155 Keypunch camera roll 1499 L Labroll data 149 Language non-E
Index Lock icon (Track Selector panel) 714 Lock Tracks command (Clip menu) 715 Locking and unlocking bin items 342 shared bins 102 tracks 714, 715 Lo-Fi AudioSuite plug-in 986 Log files importing from film-to-tape transfer systems 328 See Shot log files Logging 118, 159 additional timecodes 156 automatic, during film transfer 1499 automatically with DV 277 bypassing by autocapturing 231 directly into a bin, with a non-Avid-controlled deck 144 directly into a bin, with an Avid-controlled deck 139 errors dur
Index deleting markers from 532 displaying frames in 532 displaying MetaSync information 532 displaying timecode or footage column in 532 exporting 534 importing 534 printing 536 sorting markers in 532, 532 Marking audio clips 522 clips 520 footage 518 IN and OUT points 518 segments 520 segments in Segment mode 703, 705, 705 with markers 523, 530 Marking tape location using Mark Memory button 144 Marks clearing 518 IN and OUT points 518 phantom 620 Marquee Title Settings described 1423 Master clips See als
Index targeting 195 Media drives, unmounting 443 Media files archiving 476 backing up 466 capturing to multiple 174 consolidating, described 449 consolidating, options for 451 consolidating, procedure 451 deleting in bins 337 deleting unreferenced clips 465 deleting using Media tool 447 finding related 466 managing in a workgroup environment 440 managing, overview 439 manipulating with the Media tool 443 restoring from videotape 480 unlinking 475 Media Files Capture settings 174 Media Indexer auto-indexing
Index Show Every Frame (Timeline Fast menu) 727 Show Frames (Script menu) 639 Show Track (Timeline Fast menu) 727 Unlock Bin Selection (Clip menu) 342 Unmount (File menu) 443 Video Input Tool (Tools menu) 212, 214 View Type (Timeline Fast menu) 721 MetaSync information in Markers window 532 MII component video standard unsupported 1442, 1442 Millivolts (mVolts) 1434 Mix Mode Selection 1354 Mixed rate clips defined 587 field-stepping in draft qualities 594 identifying in Timeline 590 limitations with XDCAM
Index Movement in Timeline, controlling 692 Moving bin columns 346 clips and sequences 336 files, guidelines for 1109 frames in the bin 330 IN and OUT points 518 remote assets 1174, 1184 script marks 662 settings between systems 1130 slates in the Script window 639 through clips 508 tracks in the Timeline 672 Moving settings between settings files 1345 MPEG resolutions described 1481 specifications storage requirements for 1496 Multi-angle View menus 1305 MultiCamera editing 1292 Full-Monitor Display 1295
Index Nesting tracks 707 Network drives accessing from Console window 115 Network drives command 115 New Audio Track command (Clip menu) 579, 716 New Bin button (Project window) 73 New Bin command (File menu) 73 New Deck Controller command (Tools menu) 108 New Folder command (Bin display Fast menu) 75 New Meta Track command (Clip menu) 716 New Project button (Select Project dialog box) 50, 1510 New Script command (File menu) 630 New sequence setting up 576 New Sequence command (Clip menu) 576 New Video Tra
Index Bin Fast menu 335 bins 74 Media tool 445 Project window 71 projects 58 projects automatically 58 settings 78 shared projects 101 startup project 58 the Script window 630 Optical connection project settings 1354 Optimizing playback 516 Orphans See Offline items Other Bins folder (Project window) 74 OUT points See IN and OUT points Output assemble-edit recording 1061 audio 786, 1081, 1354 audio settings options 1056 audio, preparing for 1053 change list 1085 crash recording 1069 crossconverted sequence
Index adjustment, bypassing 811 centering 812 default settings 811 modifying values 797 viewing automation pan values 775 Pan and gain automation display (Timeline) 772 Pan automation 813 Panasonic P2 exporting sequences to 1034 importing master clips 316, 316 transferring files 380 workflow 404, 408 Parametric midrange in Audio EQtool 839 Partially online clips consolidating and deleting original media 1286 restoring from an archive 1260, 1286 viewing source in Timeline 1285 Passthrough Mix tool using 206
Index using keyboard 511 Playback devices transferring files to 1240 Playing clips and sequences using buttons 508 clips in a loop 503 takes from the Script window 642 Plug-in effects dialog box 927 Digidesign AudioSuite described Fast menu 928 Plugin store 1333 plugin store 1333 Plug-ins See AudioSuite plug-ins plugins downloading 1333 PNG file format additional export options for 1402 import specifications for 1453 PortServer Pro 441 PortServer Settings described 1428 Position bar described 506 in Timeli
Index described 1337 displaying 1340 Project window Bins tab 72 closing 71 displaying bins 72 displaying settings 1337 Format display, using 1514 Format tab 79 Info display 85 Info tab, using 1505 opening 71 Other Bins folder 74 overview of elements 70 Settings tab 78 Trash 76 Projects browsing for 58 changing formats 1514 changing name 63 closing 58 creating folders within 76 creating new 50, 1510 creating shortcuts in Interplay Window 1176 deleting 61 exporting as AFE files 1022 files, restoring from bac
Index video format 1289 video resolutions 1289 Quality of film-to-tape transfer 1499 Quick Transition button fading audio with 830 Quick Trim mode 733 QuickTime Avid codecs for 1024 clip parameters 422 Histogram 424, 424 source settings 422 workflow 419 QuickTime files 1456 QuickTime movie export 1392 QuickTime Movie files exporting with Avid DV Codec 1390 QuickTime movies exporting 1024 methods for exporting 1024 QuickTime Reference Movie files exporting with Avid DV Codec 1388 QuickTime reference movies
Index Refresh button, refreshing the Research panel with 1184 Refresh Media Directories command (File menu) 464 Refreshing Motion Adapter effects 601 Regional keyboard support 1542 Reimporting files, overview 318 files, procedure 318 Reimporting imported files 313 Relationships for color correction defining with IN and OUT points 1371 Relink dialog box in an Interplay environment 1274 Relinking by resolution 472 clips by key number 273 consolidated clips 474 dynamic relink 1256 in an Interplay environment
Index clips in Interplay Window 1184 settings 1343 Render On-the-Fly option (Trim settings) 1441 Render order for audio effects 795 Render settings described 1433 Rendering AudioSuite plug-in effects 929 motion effects 1433 Rendition file format import specifications for 1453 Replace Edit button 586 Replace edits 586 Replacing deck configuration elements 183 Timeline views 686 title fonts 1119 reports stock footage 1327 Res (Resolution) menu (Capture tool) 194 Research panel changing fonts 1188 refreshing
Index Rough cuts creating 582 RS422 output 1078 RTAS copying plug-ins 923 editing plug-ins 921 inserting plug-ins 919 moving plug-ins 923 ordering plug-ins on a track 923 removing inserts 924 using RTAS effect templates 924 RTAS plug-ins AIR Chorus 941 AIR Distortion 941 AIR Dynamic Delay 942 AIR Enhancer 944 AIR Ensemble 945 AIR Filter Gate 946 AIR Flanger 947 AIR Frequency Shifter 949 AIR Fuzz-Wah 950 AIR Kill EQ 951 AIR Lo Fi 951 AIR Multi-Chorus 954 AIR Multi-Delay 955 AIR Non-Linear Reverb 956 AIR Pha
Index Script box in Script view 332 Script integration described 626 elements of 626 for video projects 626 holding slates on screen 639 importing a script for 630 in Script window 644 in slates 626 in takes 644 interpolating position for 639 lining conventions in 624 using color indicators 645 using off-screen indicators 644 using script marks 646 workflow 626, 664 Script Mark button 646 Script marks adding 646 adding during automatic screening 648 deleting 662 described 626 manually placing 646 moving 66
Index and sample rate conversion 1058 Search results filtering 572 Search tab (Interplay Window) 1171 Searches Category attribute 1192 Interplay Window 1190 keeping open 1193 performing 1190 remote assets attributes 1192 saving 1193 Text attribute 1192 Time attribute 1192 Types attribute 1192 Searching 569 audio 567 for page and scene numbers in the Script window 635 in the Script window 635, 635 searching for stock footage clips 1313 searching through the Avid Media Store 1313 Second Row of Buttons option
Index DVD One Step 1008 Sorenson Squeeze 1008 using predefined templates 1008 Send To dialog box 1008, 1012 Send to Playback from an Avid editing system 1201 Send to Playback command with MultiRez 1274 Sequence Info dialog box 577 Sequence information displaying, in a Script window 630 summary 481, 550 sequence information effect summary 481, 550 Sequence Time option (Digital Cut tool) 1066 Sequence Track buttons (Digital Cut tool) 1063 Sequenced image files 1456 Sequences adding comments to 605 adding tra
Index Audio Project, DV audio pattern 1354 audio transfer 1505 Bin 1360 Capture 1361 Communication (Serial) Ports Tool 1366 Controller 826, 1370 copying between files 1345 Correction 1371 Deck 1373 Deck Configuration 1372 deck configuration 179 Deck Preferences 1374 default 1345 deleting 1344 described 1337 displaying project 1340 duplicating 1342 DV Stream export 1382 dynamic relinking 1376 Effect Editor 1379 Export 1382 Film and 24p 1406 for configuring asset manager 440 Frame Chase capture 238 Full Scre
Index converting with Avid Log Exchange (Windows) 119 exporting 157 importing 159 importing file from Final Cut Pro 119 preparing text editors for 135 preparing with MediaLog 136 Shot logs See Shot log files Show Add Keyframe Mode Menu command 1379 Show All Takes command (Script menu) 639 Show Entire Sequence command (Timeline Fast menu) 670 Show Every Frame command (Timeline Fast menu) 670, 727 Show Frames command (Script menu) 639 Show Markers command (Timeline Fast menu) 677 Show Mismatched Render Range
Index audio tracks 767 tracks 712 tracks, advantages of 710 Sonic authoring DVDs in 1008 burning DVD in one step 1008 Sony XDCAM workflow 305 Sony XDCAM and XDCAM EX workflow 398 Sony XDCAM low-resolution workflow 400 Sorenson Squeeze exporting to 1008 Sorting clips 327 columns (Interplay Window) 1178 columns, multilevel 327 Sorting transfers 1243 Sound Card Configuration settings 1436 configuring sound cards 201 Sound Designer II audio support for 1129 transferring 1129 Sound roll cues for shoots 1499 ent
Index Statistics file described 81 Statistics files importing 83 Step Backward buttons 508 Step Backward One Field button 508 Step Forward buttons 508 Step Forward One Field button 508 Stepping J-K-L key method 512 mouse control of 513 single-field 508 with buttons 508 Stereo option (audio) 835 stock footage 1308 downloading 1329 purchasing 1328 stock footage clips about 1313 stock footage report 1327 Stop at Head Frames options (Composer settings) 1367, 1367 Stop at Locators options (Composer settings) 13
Index detecting locked signal when capturing 192 establishing for audio-only input 165 establishing for capture 164 establishing for output 1039 for capturing video 163 issues with Client monitor 497 maintaining during segment move 700 maintaining during trim 751 maintaining with Add Edit 613 maintaining with leader 611 maintaining with markers 612 methods for shoots 1499 options for HD formats 1040 perforation level 619 subframe level 619 trimming 741 trimming with sync-locked tracks 751 video input 214 S
Index for calibrating video output 1048 Test patterns, importing 300 Text adding in bin Script view 332 Text editors creating Avid logs with 126 for Avid logs 135 Text in the Script window changing font of 632 cutting, copying, and pasting 632 linking clips to 637 linking clips to with 650 removing 632 searching through 635, 635 selecting 632 Text view (bin display) described 325 in the Media tool 444 Three-button play (J-K-L keys) 512 Three-point editing with phantom marks 620 Thumbwheels option 1379 Tick
Index scrolling option 678 Segment mode 680, 693 selecting segments 694 selecting tracks 709 setting the scroll bar 688 settings, Start Filler Duration option 580 soloing audio tracks 767 soloing tracks 712 source material, displaying 684 top toolbar 685 Track Control panel 682, 765 track selection behavior 793 Track Selector panel 707 viewing footage 487 views, replacing 686 views, restoring default 686 views, saving 686 volume automation keyframes in 814 window, summary of elements 688 working with multi
Index Tracking color-frame shifts 728 Tracking frames with frame numbers 348, 348 Tracking information clip duration 492 displaying 490 options 492 Tracking Information menu displaying 490 Tracks adding 716 audio, adjusting in Audio Mixer tool 798 audio, mixing down 835 cycling through 709 deleting in Segment mode 716 deleting with Media tool 447 enlarging and reducing 672 grouping on an Avid Artist Series controller 907 locking 714, 715 matchframing 548 monitoring 712 moving in the Timeline 672 number sup
Index Trim mode basic trimming procedure 745 Big, described 733 Big, switching with Small Trim mode 735 customizing 733 described 733 Dual-image playback 748 entering 744 exiting 744 options (Trim settings) 1441 playing transition loop parameters 746 Quick, described 733 reviewing edits 746 selecting several transitions 740 selecting single transitions 740 selecting trim sides 737 selecting video tracks 739 Small, described 733 Small, switching with Big Trim mode 735 trimming on-the-fly 747 using the Trans
Index Updating remote assets 1166 user profiles 88 writable properties (Interplay window) 1185 Upload Queue Window 1223 Upload Queue Window dialog box 1228 Usage information viewing 80 USB-to-MIDI converter configuring software 875 testing installation 876 troubleshooting connections 877 User changing folder name 63 selecting another 1342 User bits in LTC reading 761 User files restoring from backup 64 User interface customizing appearance 90 User profiles changing 88 creating 88 deleting 88 described 87 e
Index Video Input Tool command (Tools menu) 212, 214 Video Input Tool settings described 1442 Video levels adjusting without color bars 221 Video Mixdown AAF export to Pro Tools 1019 Video Output tool options display 1045 Sync Lock menu 1039 using preset buttons in 1044 Video Output Tool command (Tools menu) 1039, 1043, 1045, 1050, 1060 Video Output Tool settings described 1443 HD tab 1448 SD tab 1444, 1447 Video projects using script integration in 626 Video quality settings with multicamera and group cli
Index See Decks VTR Emulation See Remote Play and Capture Segment mode 680, 693 Sony XDCAM 305 Sony XDCAM and XDCAM EX 398 Sony XDCAM low-resolution 400 starting a project 28 video-based HDTV 1508 Workgroup environment working with Avid Interplay 440 working with media files 440 Workgroup settings 1144 Workgroups configuring Interplay Server settings 1144 configuring Interplay settings 1144 logging in 1144 project settings 1140 projects with remote assets 1140 working with Avid assets 1173 working with re
Index XDCAM HD 1533 XDCAM raster type 1533 XDCAM AMA media limitations with mixed rate clips 594 XLR adaptor for consumer level audio 1059 XWindows file format import specifications for 1454 Y YUV file format additional Export options for 1402 import specifications for 1454 Z Zoom Back command (Timeline Fast menu) 690 Zoom In command (Timeliine Fast menu) 690 1610
Index 1611
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