User Manual

Support for Uncompressed HD Media
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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.
To make uncompressed HD media available on a system that cannot capture it directly, capture
the media on an Avid editing application that supports capture of uncompressed HD media, and
then share the media through shared storage, a network, or removable media.
The following guidelines and limitations apply to handling uncompressed HD media on systems
that do not support capture of uncompressed HD media:
• You can play uncompressed HD media using the Best Performance (yellow) and Draft
Quality (yellow/green) video quality settings. Playback of uncompressed HD media through
the Avid input/output hardware as Full Quality (green) is not supported.
You can view and play uncompressed HD media in Full Quality mode in the Source and
Record monitors (and in full-screen playback if available), but you might notice skipped
frames during playback. Media plays as black in a Client monitor.
• 10-bit uncompressed HD media plays back as 8-bit preview.
• You can play and edit uncompressed HD media in HDV projects, but you cannot create
uncompressed HD media.
• For information on drive requirements for uncompressed HD media, see the drive striping
tables for your Avid editing application at Avid’s online Knowledge Base. Go to
www.avid.com/onlinesupport and search for “Drive Striping Tables.”
Mixing Resolutions
Mixing resolutions in a sequence saves time and effort in a variety of circumstances:
• You can do most of your work at a resolution that can play back real-time effects, capturing
only the most complex shots and graphics at a high-quality, single-stream resolution.
• For storage and playback efficiency, you can capture complex footage at the draft-quality
online resolution and edit it along with other online resolutions.
• You can avoid some recapturing by importing complex graphics at a high-quality resolution
and by capturing the remaining footage at draft quality during the offline phase.
• You can exchange material between projects with a minimum of recapturing.
• You can develop material among workstations at different resolutions and bring the material
together for a final cut without recapturing.