Avid Media Composer Editing Guide 6.0 MC
User Manual: avid Avid Media Composer - 6.0 - Editing Guide Free User Guide for Avid Media Composer Software, Manual
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® ® Avid Media Composer Editing Guide Legal Notices Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement. Avid products or portions thereof are protected by one or more of the following United States Patents: 5,355,450; 5,396,594; 5,440,348; 5,528,310; 5,557,423; 5,577,190; 5,584,006; 5,724,605; 5,726,717; 5,745,637; 5,752,029; 5,754,851; 5,812,216; 5,905,841; 5,959,610, 6,057,829, 6,091,778, 6,105,083, 6,118,444, 6,141,691, 6,160,548, 6,201,531; 6,269,195; 6,330,369; 6,336,093, 6,353,862, 6,404,435; 6,407,775, 6,426,778; 6,477,271, 6,489,969; 6,512,522; 6,546,190; 6,552,731, 6,553,142; 6,570,624; 6,571,255, 6,583,824; 665,450; 6,678,461; 6,687,407; 6,704,445; 6,728,682, 6,747,705; 66,763,134,6,766,063; 6,791,556; 6,810,157, 6,847,373; 6,871,003; 6,871,161, 6,901,211; 6,907,191; 6,928,187, 7,043,058; 7,081,900; 7,103,231; 7,145,567; 7,266,241, 7,280,117; 7,403,561; 7,433,519; 7,441,193, 7,545,957; 7,671,871; 7,684,096; 7,725,812; 7,729,423; 7,916,363 ; 7,930,624; and D515,095, D396,853. Other patents are pending. Avid products or portions thereof are protected by one or more of the following European Patents: 0506870; 0635188; 0674414; 0752174; 0811290; 0811292; 0811293; 0857293; 0976108; 0988756; 1050048; 1068734; 1111910; 1173850; 1629675. Other patents are pending. This document is protected under copyright law. An authorized licensee of Avid Media Composer may reproduce this publication for the licensee’s own use in learning how to use the software. This document may not be reproduced or distributed, in whole or in part, for commercial purposes, such as selling copies of this document or providing support or educational services to others. This document is supplied as a guide for Avid Media Composer. Reasonable care has been taken in preparing the information it contains. However, this document may contain omissions, technical inaccuracies, or typographical errors. Avid Technology, Inc. does not accept responsibility of any kind for customers’ losses due to the use of this document. Product specifications are subject to change without notice. Copyright © 2011 Avid Technology, Inc. and its licensors. All rights reserved. The following disclaimer is required by Apple Computer, Inc.: APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE. The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library: Copyright © 1988–1997 Sam Leffler Copyright © 1991–1997 Silicon Graphics, Inc. Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics. THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. 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Redistribution and use in source and binary forms are permitted provided that the above copyright notice and this paragraph are duplicated in all such forms and that any documentation, advertising materials, and other materials related to such distribution and use acknowledge that the software was developed by the University of California, Berkeley. The name of the University may not be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED ``AS IS'' AND WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. Copyright (C) 1989, 1991 by Jef Poskanzer. Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty. Copyright 1995, Trinity College Computing Center. Written by David Chappell. Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty. Copyright 1996 Daniel Dardailler. Permission to use, copy, modify, distribute, and sell this software for any purpose is hereby granted without fee, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation, and that the name of Daniel Dardailler not be used in advertising or publicity pertaining to distribution of the software without specific, written prior permission. Daniel Dardailler makes no representations about the suitability of this software for any purpose. It is provided "as is" without express or implied warranty. Modifications Copyright 1999 Matt Koss, under the same license as above. Copyright (c) 1991 by AT&T. Permission to use, copy, modify, and distribute this software for any purpose without fee is hereby granted, provided that this entire notice is included in all copies of any software which is or includes a copy or modification of this software and in all copies of the supporting documentation for such software. THIS SOFTWARE IS BEING PROVIDED "AS IS", WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN PARTICULAR, NEITHER THE AUTHOR NOR AT&T MAKES ANY REPRESENTATION OR WARRANTY OF ANY KIND CONCERNING THE MERCHANTABILITY OF THIS SOFTWARE OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. This product includes software developed by the University of California, Berkeley and its contributors. The following disclaimer is required by Nexidia Inc.: © 2010 Nexidia Inc. All rights reserved, worldwide. Nexidia and the Nexidia logo are trademarks of Nexidia Inc. All other trademarks are the property of their respective owners. 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End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages. 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The following disclaimer is required by Ultimatte Corporation: Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject to copyright protection. The following disclaimer is required by 3Prong.com Inc.: Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc. The following disclaimer is required by Interplay Entertainment Corp.: The “Interplay” name is used with the permission of Interplay Entertainment Corp., which bears no responsibility for Avid products. This product includes portions of the Alloy Look & Feel software from Incors GmbH. This product includes software developed by the Apache Software Foundation (http://www.apache.org/). © DevelopMentor This product may include the JCifs library, for which the following notice applies: JCifs © Copyright 2004, The JCIFS Project, is licensed under LGPL (http://jcifs.samba.org/). 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Trademarks 003, 192 Digital I/O, 192 I/O, 96 I/O, 96i I/O, Adrenaline, AirSpeed, ALEX, Alienbrain, AME, AniMatte, Archive, Archive II, Assistant Station, AudioPages, AudioStation, AutoLoop, AutoSync, Avid, Avid Active, Avid Advanced Response, Avid DNA, Avid DNxcel, Avid DNxHD, Avid DS Assist Station, Avid Liquid, Avid Media Engine, Avid Media Processor, Avid MEDIArray, Avid Mojo, Avid Remote Response, Avid Unity, Avid Unity ISIS, Avid VideoRAID, AvidRAID, AvidShare, AVIDstripe, AVX, Axiom, Beat Detective, Beauty Without The Bandwidth, Beyond Reality, BF Essentials, Bomb Factory, Boom, Bruno, C|24, CaptureManager, ChromaCurve, ChromaWheel, Cineractive Engine, Cineractive Player, Cineractive Viewer, Color Conductor, Command|24, Command|8, Conectiv, Control|24, Cosmonaut Voice, CountDown, d2, d3, DAE, Dazzle, Dazzle Digital Video Creator, D-Command, D-Control, Deko, DekoCast, D-Fi, D-fx, Digi 003, DigiBase, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Development Partners, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiLink, DigiMeter, DigiPanner, DigiProNet, DigiRack, DigiSerial, DigiSnake, DigiSystem, Digital Choreography, Digital Nonlinear Accelerator, DigiTest, DigiTranslator, DigiWear, DINR, DNxchange, DPP-1, D-Show, DSP Manager, DS-StorageCalc, DV Toolkit, DVD Complete, D-Verb, Eleven, EM, Euphonix, EUCON, EveryPhase, Expander, ExpertRender, Fader Pack, Fairchild, FastBreak, Fast Track, Film Cutter, FilmScribe, Flexevent, FluidMotion, Frame Chase, FXDeko, HD Core, HD Process, HDPack, Home-to-Hollywood, HYBRID, HyperControl, HyperSPACE, HyperSPACE HDCAM, iKnowledge, Image Independence, Impact, Improv, iNEWS, iNEWS Assign, iNEWS ControlAir, Instantwrite, Instinct, Intelligent Content Management, Intelligent Digital Actor Technology, IntelliRender, Intelli-Sat, Intelli-sat Broadcasting Recording Manager, InterFX, Interplay, inTONE, Intraframe, iS Expander, ISIS, IsoSync, iS9, iS18, iS23, iS36, ISIS, IsoSync, KeyRig, KeyStudio, LaunchPad, LeaderPlus, LFX, Lightning, Link & Sync, ListSync, LKT-200, Lo-Fi, Luna, MachineControl, Magic Mask, Make Anything Hollywood, make manage move | media, Marquee, MassivePack, Massive Pack Pro, M-Audio, M-Audio Micro, Maxim, Mbox, Media Composer, MediaFlow, MediaLog, MediaMatch, MediaMix, Media Reader, Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync, MicroTrack, MIDI I/O, Midiman, Mix Rack, MixLab, Moviebox, Moviestar, MultiShell, NaturalMatch, NewsCutter, NewsView, Nitris, NL3D, NLP, Nova, NRV-10 interFX, NSDOS, NSWIN, Octane, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Ozone, Ozonic, Painterly Effects, Palladium, Personal Q, PET, Pinnacle, Pinnacle DistanTV, Pinnacle GenieBox, Pinnacle HomeMusic, Pinnacle MediaSuite, Pinnacle Mobile Media, Pinnacle Scorefitter, Pinnacle Studio, Pinnacle Studio MovieBoard, Pinnacle Systems, Pinnacle VideoSpin, Podcast Factory, PowerSwap, PRE, ProControl, ProEncode, Profiler, Pro Tools LE, Pro Tools M-Powered, Pro Transfer, Pro Tools, QuickPunch, QuietDrive, Realtime Motion Synthesis, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, Reprise, Res Rocket Surfer, Reso, RetroLoop, Reverb One, ReVibe, Revolution, rS9, rS18, RTAS, Salesview, Sci-Fi, Scorch, Scorefitter, ScriptSync, SecureProductionEnvironment, Serv|LT, Serv|GT, Session, Shape-to-Shape, ShuttleCase, Sibelius, SIDON, SimulPlay, SimulRecord, Slightly Rude Compressor, Smack!, Soft SampleCell, Soft-Clip Limiter, Solaris, SoundReplacer, SPACE, SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide, Streamfactory, Streamgenie, StreamRAID, Strike, Structure, Studiophile, SubCap, Sundance Digital, Sundance, SurroundScope, Symphony, SYNC HD, Synchronic, SynchroScope, SYNC I/O, Syntax, TDM FlexCable, TechFlix, Tel-Ray, Thunder, Titansync, Titan, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, tools for storytellers, Torq, Torq Xponent, Transfuser, Transit, TransJammer, Trigger Finger, Trillium Lane Labs, TruTouch, UnityRAID, Vari-Fi, Velvet, Video the Web Way, VideoRAID, VideoSPACE, VideoSpin, VTEM, Work-N-Play, Xdeck, X-Form, Xmon, XPAND!, Xponent, X-Session, and X-Session Pro are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries. Adobe and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Windows is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners. Footage Arri — Courtesy of Arri/Fauer — John Fauer, Inc. Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc. It’s Shuttletime — Courtesy of BCP & Canadian Airlines. Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada. Saturn “Calvin Egg” — Courtesy of Cossette Communications. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer. "The Big Swell" — Courtesy of Swell Pictures, Inc. Windhorse — Courtesy of Paul Wagner Productions. Arizona Images — KNTV Production — Courtesy of Granite Broadcasting, Inc., Editor/Producer Bryan Foote. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Ice Island — Courtesy of Kurtis Productions, Ltd. Tornados + Belle Isle footage — Courtesy of KWTV News 9. WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA. Women in Sports – Paragliding — Courtesy of Legendary Entertainment, Inc. Avid Media Composer Editing Guide • 0130-07971-01-B • October 2011 Contents Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Chapter 1 Editing Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Editing Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Starting a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Preparing to Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Editing a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Outputting a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Chapter 2 Starting a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Turning on Your Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Working with the Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Starting Your Avid Editing Application (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Starting Your Avid Editing Application (Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . 43 Working with Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Setting Project-Naming Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Opening and Closing Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Deleting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Quitting and Turning Off Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Changing Project and User Names. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Avid Attic Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Chapter 3 Working with the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Overview of the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Controlling Project Window Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Using the Bins Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Using the Settings Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Using the Format Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Working with Color Spaces in HD Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Changing the Project Color Space for an HD Project . . . . . . . . . . . . . . . . . . . . . . . . 77 Using the Usage Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Using the Info Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Managing Bins and Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Understanding User Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Managing User Profiles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Customizing the Avid User Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Using Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Working with Bins and Projects in an Avid Shared Storage Environment . . . . . . . . 97 Chapter 4 Using Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Using the Tools Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Using Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Using a Deck Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Deck Controller Window Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 The Command Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Using the Avid Calculator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Using The Console Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 External Controllers as Editing Control Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Chapter 5 Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Using Avid Log Exchange to Prepare Log Files for Import . . . . . . . . . . . . . . . . . . . 115 Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Creating an Avid Log. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Double-Checking Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Transferring Bins from MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Understanding the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 7 Film-Related Log Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Chapter 6 Preparing for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Logging and Shot Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Preparing the Hardware for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Selecting Settings for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Configuring Decks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Understanding Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Connecting a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Setting Up the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Preparing to Capture Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Preparing to Capture Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Capture Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Chapter 7 Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Capturing and Logging at the Same Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Capturing Directly from a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Frame Chase Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 Batch Capturing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Recapturing and Decomposing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Alternate Source Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 Using Capture Function Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Handling Errors During the Capture Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Creating Subclips While Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Adding Markers On-the-Fly While Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Naming a New Tape from the Keyboard While Capturing . . . . . . . . . . . . . . . . . . . 255 Controlling Decks from the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Ejecting Tapes with a Button or Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Using Dolby E Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Delaying Audio During Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Live Capturing with External Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Capturing Video Without Pulldown into a 24p NTSC Project . . . . . . . . . . . . . . . . . 263 Remote Play, Capture, and Punch-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263 8 Relinking Clips by Key Number. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 Modifying the Pulldown Phase After Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 DV and HDV Scene Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Using the Panasonic VariCam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Chapter 8 Importing Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Preparing to Import Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Creating and Modifying Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Importing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 Importing with Multichannel Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285 Importing Audio Files from a Music CD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Adjusting Gain Before Importing Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Sample Rate Conversion and Audio Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 Setting Sample Rate Conversion Options Before Importing Audio Files . . . . . . . . 289 Photoshop Graphics Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 Digital Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 Importing Editcam Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 Setting XDCAM Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Importing XDCAM Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Importing XDCAM EX Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Automatically Importing Proxy Media from an XDCAM Device. . . . . . . . . . . . . . . . 302 Importing Proxy Media from an XDCAM Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 Copying XDCAM Proxy Media to a Local Drive or a Server . . . . . . . . . . . . . . . . . . 305 Manually Importing XDCAM Media from the XDCAM Disk. . . . . . . . . . . . . . . . . . . 305 Importing Essence Marks as Markers in XDCAM Media . . . . . . . . . . . . . . . . . . . . 306 Editing XDCAM Proxy Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Batch Importing High-Resolution XDCAM Media from the XDCAM Disk . . . . . . . . 308 Editing and Finishing High-Resolution XDCAM Media . . . . . . . . . . . . . . . . . . . . . . 311 Importing P2 Clips and Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Importing Sequences from Pro Tools through Interplay . . . . . . . . . . . . . . . . . . . . . 312 Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 9 Chapter 9 Working with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 Object Icons in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 Working with Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 Modifying Clip Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346 Working with Film Information in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356 Creating a Storyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 Working with Restricted Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367 Chapter 10 File Based Media - AMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368 XDCAM, XDCAM EX and HDCAM SR Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 P2 Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 AVCHD Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381 Canon XF Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 GFCAM Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 RED Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388 QuickTime Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 MXF Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405 The Avid Media Access (AMA) Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 Workflows for Editing with AMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423 Chapter 11 Managing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 Working with Media Files in an Avid Interplay Environment . . . . . . . . . . . . . . . . . . 436 Using Avid Editing Systems in an Avid LANshare Workgroup . . . . . . . . . . . . . . . . 437 Viewing Media with a 100Base-T Connection to Avid ISIS. . . . . . . . . . . . . . . . . . . 438 Understanding Drive Mounting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 Mounting and Unmounting Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440 Consolidating Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 Using the Consolidate Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 Using the Transcode Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451 10 Loading the Media Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455 Refreshing Media Directories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Deleting Unreferenced Clips and Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466 Archiving and Restoring Media Files to Videotape . . . . . . . . . . . . . . . . . . . . . . . . . 467 Sequence and Clip Information Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 Chapter 12 Viewing and Marking Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477 Viewing Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478 Customizing the Composer Window and Monitors . . . . . . . . . . . . . . . . . . . . . . . . . 479 Using the Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486 Using the Timecode Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487 Playing Video to the Client Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488 Activating and Deactivating the Client Monitor Display. . . . . . . . . . . . . . . . . . . . . . 489 Selecting the Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490 Playing Video to a Full-Screen Monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492 Adjusting the Play Delay Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492 Using the Tool Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493 Playing Selected Clips in a Loop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494 Loading and Clearing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494 Controlling Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 Playing Back to a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505 Video Quality Options for Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506 Setting the Video Quality for Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508 Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508 Using Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513 Finding Frames, Clips, and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527 Sequence and Clip Information Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538 Chapter 13 PhraseFind. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543 Purchasing and Activating PhraseFind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543 Understanding PhraseFind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554 11 Using PhraseFind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555 The Results Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557 Filtering Your Find Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559 Find Window Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560 Chapter 14 Creating and Editing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563 Entering Source/Record Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564 Creating a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564 Making a First Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569 Creating an Instant Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570 Undoing or Redoing Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571 Editing Additional Clips into the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572 Mixing Frame Rates and Field Motion Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575 Mixing Frame Sizes and Aspect Ratios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584 Refreshing Sequences to Use Current Clip Attributes . . . . . . . . . . . . . . . . . . . . . . 589 Lifting, Extracting, and Copying Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590 Adding Comments to Sequence Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593 Playing Back a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593 Understanding Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595 Fixing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598 Understanding Sync Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598 Ganging Footage in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601 Sync Point Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602 Autosyncing Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603 Understanding AutoSequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605 Adding Audio or Video to Original Videotape Using AutoSequence . . . . . . . . . . . . 606 Resyncing Subframe Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607 Resyncing Audio for a Selected Subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608 Working with Phantom Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608 Creating Video and Audio Leaders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610 Using MetaSync to Synchronize Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611 Chapter 15 Script-Based Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612 Understanding Lined Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612 Script Integration — Lining in the Digital Realm . . . . . . . . . . . . . . . . . . . . . . . . . . . 614 12 Understanding the Script Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617 Working with the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618 Working with Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621 Working with Page or Scene Numbers and Searching in a Script . . . . . . . . . . . . . 623 Linking Clips to a Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625 Interpolating Position for Script Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627 Working with Slates in the Script Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628 Working with Takes in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631 Indicating Off-Screen Dialog in a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633 Using Color Indicators in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634 Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634 Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651 Editing From the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652 Chapter 16 Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655 Customizing Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 656 Navigating in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676 Working with Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681 Working with Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694 In to Out Highlighting in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708 Editing in Heads or Heads Tails View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708 Performing a Quick Edit Using the Top and Tail Commands . . . . . . . . . . . . . . . . . 709 Working with Add Edits (Match Frames). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710 Dupe Detection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711 Editing with the Film Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714 Tracking Color Frame Shifts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715 Finding Black Holes and Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716 Printing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717 Chapter 17 Working with Trim Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718 Trimming with the Timeline Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719 Understanding Trim Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719 Setting Small Trim Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721 Trim Settings Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722 Timeline Trim States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722 13 Selecting Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 723 Overwrite Trimming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 727 Ripple Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729 Dual-Roller Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730 Refining Trims . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731 Reviewing Trim Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732 Trimming On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733 Using Dual-Image Playback During Trims . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734 Trimming During a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734 Creating Overlap Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735 Extending an Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736 Maintaining Sync While Trimming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737 Slipping or Sliding Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738 Trimming in Two Directions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 742 Using the Transition Corner Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743 Chapter 18 Working with Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 745 Overview of Audio Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746 Working with Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748 The Track Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751 Using Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754 Audio Displays in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757 Displaying Audio Formats in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764 Working with Surround Sound Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765 Adjusting the Play Buffer Size for Audio (Software-only Models) . . . . . . . . . . . . . . 773 Using the Audio Mixer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773 Rendering and Unrendering Order for Audio Effects . . . . . . . . . . . . . . . . . . . . . . . 779 Audio Volume Staging and an Audio Editing Workflow. . . . . . . . . . . . . . . . . . . . . . 780 Using Clip Volume and Pan Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 782 Using Volume and Pan Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797 Using Live Mix Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805 Fading and Dipping Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811 Audio Sample Rate Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813 Changing the Audio Sample Rate for Sequences and Audio Clips . . . . . . . . . . . . 814 14 Mixing Down Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 815 Splitting Multichannel Tracks to Mono Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 817 Using the Audio EQ Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818 Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830 Chapter 19 Using External Audio Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837 Configuring an External Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 839 Configuring External Controller Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 840 Using an External Fader Controller or Mixer to Record Volume Automation . . . . . 842 Adjusting the Volume or Pan of Individual Keyframes . . . . . . . . . . . . . . . . . . . . . . 843 Using the 002 and the Command|8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844 Using Mbox Family Audio Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 851 Configuring USB-to-MIDI Software for External Controllers . . . . . . . . . . . . . . . . . . 854 Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems . . . . 857 Using a GPI Device with the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . 862 Chapter 20 Using Avid Artist Series Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . 869 Installing EuControl Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 869 Configuring Avid Artist Series Controller Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 872 Configuring Ethernet Connections (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . 872 Setting the IP Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 873 Configuring EuControl Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 876 Artist Series Controller Button Mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879 Customizing Avid Artist Series Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881 Moving Through Footage with Artist Series Controllers . . . . . . . . . . . . . . . . . . . . . 884 Volume Automation and Pan on Artist Series Controllers. . . . . . . . . . . . . . . . . . . . 885 Recording Volume Automation and Pan with Artist Series Controllers. . . . . . . . . . 886 Using the Latch Mode Feature on Artist Series Controllers . . . . . . . . . . . . . . . . . . 888 Using the Artist Series Controller for Editing Media . . . . . . . . . . . . . . . . . . . . . . . . 889 Controller Application Sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 889 Chapter 21 Using Audio Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 897 Real-Time AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 897 Avid AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 904 Working with Dolby E Surround Sound Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . 915 Core Avid Audio Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 916 15 Chapter 22 Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . . 985 Understanding Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 986 Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 987 Exporting With the Send To Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 988 Send To Templates Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 992 Creating a Custom Send To Template for Exporting to Third-Party Applications . . 993 Exporting With the Export Command or the Drag-and-Drop Method . . . . . . . . . . . 995 Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 999 Guidelines for Exporting OMFI and AAF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . 1000 Exporting Projects and Bins Using AFE Files (Windows Only). . . . . . . . . . . . . . . 1003 Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1004 Installing or Copying the Avid Codecs for QuickTime on Other Systems . . . . . . . 1006 Exporting from a Third-Party QuickTime or AVI Application . . . . . . . . . . . . . . . . . 1008 Exporting as Windows Media (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . 1008 Creating a Custom Profile for Windows Media Export (Windows Only) . . . . . . . . 1009 Exporting Media to XDCAM Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1010 Exporting to XDCAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1011 Exporting XDCAM OP1a Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1013 Exporting Your Clip or Sequence to a P2 Card. . . . . . . . . . . . . . . . . . . . . . . . . . . 1014 Exporting as Windows Media Using a VC1 Resolution. . . . . . . . . . . . . . . . . . . . . 1015 Using Avid Interplay Media Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1016 Chapter 23 Generating Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1017 Preparing for Output: Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1017 Selecting the Device for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1018 Selecting the Sync Source for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1018 Selecting a Video Output Signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1022 Calibrating for Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1022 Preparing for Converting HD Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1029 Preparing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1032 Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1038 Enabling Assemble-Edit Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1040 Using ExpertRender to Prepare Effects for a Digital Cut . . . . . . . . . . . . . . . . . . . 1041 Using the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1042 16 Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1050 Outputting DV 50 and DVCPRO HD Media Directly to a DV Device . . . . . . . . . . 1052 Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects . . . 1053 Selecting Output Formats for 23.976p, 24p, and 25p Projects . . . . . . . . . . . . . . . 1053 Output Format Reference for 23.976p, 24p, and 25p Projects . . . . . . . . . . . . . . . 1054 Selecting the Timecode Format for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1056 Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1057 Indicating the Destination Timecode Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1057 Selecting the Video Pulldown Cadence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1058 Performing an Insert Edit with Pulldown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1058 Digital Cuts and Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1059 Changing the Default Pulldown Phase for Sequences . . . . . . . . . . . . . . . . . . . . . 1060 Understanding DV Digital Cut Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1061 Delaying the Sequence for a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1062 Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1062 Using FilmScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1063 Understanding Matchback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1063 Vertical Blanking Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1064 Preserving HD Closed Captioning and Ancillary Data . . . . . . . . . . . . . . . . . . . . . 1069 Chapter 24 Conforming and Transferring Projects . . . . . . . . . . . . . . . . . . . . . . . . 1082 Understanding Conforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1082 Preparations for Conforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1083 Conforming Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1087 Transferring Project and Media Files Between Avid Editing Systems . . . . . . . . . 1095 Chapter 25 Working with Avid Interplay from an Avid Editing System . . . . . . . . 1106 Dos and Don’ts for Editors Working with Avid Interplay . . . . . . . . . . . . . . . . . . . . 1106 Checklist for Editors Working with Interplay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1109 Working with Interplay and Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1111 Administrator Settings for Avid Editing Clients . . . . . . . . . . . . . . . . . . . . . . . . . . . 1113 Using the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1114 Connecting to the Avid Interplay Database. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1115 Creating Avid Editing Projects in an Interplay Environment . . . . . . . . . . . . . . . . . 1121 17 Connecting to Avid Shared Storage and Mounting Workspaces . . . . . . . . . . . . . 1128 Editing with Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1132 Managing Remote Assets with the Interplay Window . . . . . . . . . . . . . . . . . . . . . . 1144 Finding Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1163 Capturing Media to Interplay Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1166 Performing a Send-to-Playback as a Background Process from an Avid Editing Application 1167 Chapter 26 Using Interplay Transfer to Export Media . . . . . . . . . . . . . . . . . . . . . . 1169 Installing the Interplay Transfer Client Software . . . . . . . . . . . . . . . . . . . . . . . . . . 1169 Setting Transfer Settings in the Avid Editing Application . . . . . . . . . . . . . . . . . . . 1170 Transferring Avid Assets from an Avid Editing Application . . . . . . . . . . . . . . . . . . 1178 Transferring Avid Assets to a Playback Device . . . . . . . . . . . . . . . . . . . . . . . . . . 1178 Monitoring Transfers from Within the Avid Editing Application . . . . . . . . . . . . . . . 1180 Chapter 27 Using MultiRez and Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . 1183 Understanding MultiRez and Proxy Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1183 Acquiring Media at Multiple Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1185 Understanding How Clips are Associated with Multiple Resolutions . . . . . . . . . . 1189 Options for Clip and Media Association . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1191 Understanding Dynamic Relink. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1194 Workflow: Editing a Film or HD Project using MultiRez . . . . . . . . . . . . . . . . . . . . 1197 Considerations When Working with Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . 1203 Using the Dynamic Relink Settings Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . 1203 Relinking in Frame Chase Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1210 Using the Relink Dialog Box in an Avid Interplay Environment. . . . . . . . . . . . . . . 1211 Displaying Whether Media Is Available for Dynamic Relinking. . . . . . . . . . . . . . . 1211 MultiRez Button Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1216 MultiRez Bin Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1218 Understanding Options for Deleting MultiRez Clips and Media . . . . . . . . . . . . . . 1219 Deleting MultiRez Clips and Media from a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . 1220 Working with Partially Online Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1221 Quality Matching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1224 Chapter 28 MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1229 Understanding Grouping and Multigrouping Clips . . . . . . . . . . . . . . . . . . . . . . . . 1229 18 Creating Group Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1230 Creating Multigroup Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1231 MultiCamera Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1232 MultiCamera Editing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1238 Selective Camera Cutting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1243 Chapter 29 The Avid Marketplace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1245 Avid Marketplace Media Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1245 Avid Marketplace Media Libraries Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . 1246 Creating a User Sign In and Password . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1248 Licensing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1249 About the Stock Footage Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1250 Searching through Stock Footage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1250 Downloading Stock Footage Clips to Your Avid Bin . . . . . . . . . . . . . . . . . . . . . . . 1258 Purchasing Your Stock Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1265 Downloading your High Resolution Stock Footage . . . . . . . . . . . . . . . . . . . . . . . 1266 Relinking High Resolution Media to Your Sequence . . . . . . . . . . . . . . . . . . . . . . 1269 Avid Marketplace Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1270 Purchasing and Downloading a Plug-in from the Avid Marketplace . . . . . . . . . . . 1271 Chapter 30 Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1273 Understanding Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1274 Working with Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1277 Options for Moving User Settings Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1285 Summary of Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1285 AMA Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1289 Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1290 Audio Project Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1291 Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1298 Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1298 Communication (Serial) Ports Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1303 Composer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1304 Controller Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1308 Correction Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1309 Deck Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1311 19 Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1311 Deck Preferences Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1313 Desktop Play Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1314 Dynamic Relink Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1314 Effect Editor Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1317 E-mail Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1319 Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1320 Film and 24P Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1344 Full Screen Playback Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1345 General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1348 Grid Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1349 Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1351 Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1357 Interplay Folder, Interplay Server, and Interplay User Settings . . . . . . . . . . . . . . 1358 Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1359 Marquee Title Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1360 Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1361 Media Services Settings (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1364 Mouse Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1364 Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1365 PortServer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1365 Remote Play and Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1365 Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1366 S3D Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1368 Safe Colors Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1369 Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1370 Sound Card Configuration Settings (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1371 Timeline Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1371 Transfer Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1374 Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1376 Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1377 Video Input Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1378 20 Video Output Tool Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1379 Video Satellite Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1384 Workspace Linking Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1385 Chapter 31 File Format Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1386 Specifications for Graphics (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1386 Specifications for Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1391 Specifications for Importing OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1393 Working with BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1394 Field Ordering in Graphic Imports and Exports. . . . . . . . . . . . . . . . . . . . . . . . . . . 1399 Chapter 32 Resolutions and Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . 1402 Compression and Avid Editing Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1402 Monitor Display Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1403 Resolution Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1404 Support for Uncompressed HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1416 Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1417 Resolution Groups and Image Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1417 Estimating Drive Space Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1417 Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1418 Considerations for Managing Storage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1430 Chapter 33 Working in High-Resolution Projects . . . . . . . . . . . . . . . . . . . . . . . . . 1431 Delivery Methods for Film & Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1431 Workflow: Film Reel Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1432 Checklist: Editing Film Reel Footage in Media Composer . . . . . . . . . . . . . . . . . . 1434 Transferring Film to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1436 Workflow: File-based Editing with MetaFuze . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1446 Checklist: Film to File Editing in Media Composer (via MetaFuze). . . . . . . . . . . . 1447 Workflow: File-based Editing with AMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1448 Checklist: File-based Editing in Media Composer via AMA . . . . . . . . . . . . . . . . . 1450 HD Workflow: Video-Based Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1452 Producing Graphics for Broadcast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1454 Creating a Film-Based Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1454 Editing with High-Resolution Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1458 Working with RED Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1463 21 Editing with Low-Res RED Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1464 Color Management with RED Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1465 Outputting a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1466 Working with HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1466 Understanding HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1467 HDV Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1468 Capturing and Importing HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1468 Playing Back HDV Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1469 Outputting HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1470 Raster Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1475 Raster Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1476 Chapter 34 Dual Link HD RGB Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1478 HD RGB Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1478 HD RGB Playback to High Resolution Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . 1479 HD RGB Digital Cut. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1479 Chapter 35 International Character Support (ICS) in Avid Editing Applications 1480 Choosing a Locale on an English Language Operating System. . . . . . . . . . . . . . 1480 Using a Local Language Operating System (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1481 Non-English Character Support (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1481 Non-English Character Support (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1484 Using Foreign Keyboard Mapping (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . 1488 Considerations for International Character Support . . . . . . . . . . . . . . . . . . . . . . . 1489 Chapter 36 Open I/O Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1492 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1494 22 23 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. The majority of screen shots in this document were captured on a Windows system, but the information applies to both Windows and Mac OS X systems. Where differences exist, both Windows and Mac OS X screen shots are shown. n The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in the documentation. Symbols and Conventions Avid documentation uses the following symbols and conventions: Symbol or Convention Meaning or Action n A note provides important related information, reminders, recommendations, and strong suggestions. c A caution means that a specific action you take could cause harm to your computer or cause you to lose data. w > A warning describes an action that could cause you physical harm. Follow the guidelines in this document or on the unit itself when handling electrical equipment. This symbol indicates menu commands (and subcommands) in the order you select them. For example, File > Import means to open the File menu and then select the Import command. This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed. Symbol or Convention Meaning or Action (Windows), (Windows only), (Macintosh), or (Macintosh only) This text indicates that the information applies only to the specified operating system, either Windows or Macintosh OS X. Bold font Bold font is primarily used in task instructions to identify user interface items and keyboard sequences. Italic font Italic font is used to emphasize certain words and to indicate variables. Courier Bold font Courier Bold font identifies text that you type. Ctrl+key or mouse action Press and hold the first key while you press the last key or perform the mouse action. For example, Command+Option+C or Ctrl+drag. If You Need Help If you are having trouble using your Avid product: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2. Check the latest information that might have become available after the documentation was published: - If the latest information for your Avid product is provided as printed release notes, they are shipped with your application and are also available online. - If the latest information for your Avid product is provided as a ReadMe file, it is supplied on your Avid installation CD or DVD as a PDF document (README_product.pdf) and is also available online. You should always check online for the most up-to-date release notes or ReadMe because the online version is updated whenever new information becomes available. To view these online versions, select ReadMe from the Help menu, or visit the Knowledge Base at www.avid.com/readme. 3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues. 4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read or join online message-board discussions. 25 Accessing the Goodies Folder Avid supplies a Goodies folder located on the editing application DVD. Access the Goodies folder by browsing the DVD. This folder contains programs and files you might find useful when trying to perform functions beyond the scope of your Avid editing application. The information in the Goodies folder is provided solely for your reference and as suggestions for you to decide if any of these products fit into your process. Avid is not responsible for the manufacture, support, or sales of these products. Avid is also not responsible for any loss of data or time, or any other adverse results related to the use of these products. All risks of using such products or accessing such Web sites are entirely your own. The Web sites listed in the Goodies folder are not under the control of Avid, and Avid is not responsible for their content, any changes or updates to them, or the collection of any personal data or information by the operators of such Web sites. All information and product availability is subject to change without notice. Avid Training Services Avid makes lifelong learning, career advancement, and personal development easy and convenient. Avid understands that the knowledge you need to differentiate yourself is always changing, and Avid continually updates course content and offers new training delivery methods that accommodate your pressured and competitive work environment. For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/support and follow the Training links, or call Avid Sales at 800-949-AVID (800-949-2843). 26 27 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. The following procedure lists the basic steps for editing a sequence and refers you to sections of the documentation for more information. 1. Create or open a project. For more information, see “Starting a Project” on page 35. 2. Set the appropriate Project settings and create a bin structure. For more information, see “Working with the Project Window” on page 65. 3. Capture or import the media. For more information, see “Preparing for Capture” on page 156, “Capturing Media” on page 218, and “Importing Files” on page 276. 4. Organize your bins to suit your project’s needs. For more information, see “Working with Bins” on page 318. 5. View your clips in advance and mark IN and OUT points, or create subclips based on selected portions of your master clips. For more information, see “Viewing and Marking Footage” on page 477. 6. Build your sequence in the Timeline. Starting a Project For more information, see “Creating and Editing Sequences” on page 563 and “Using the Timeline” on page 655. 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 718 and the Effects and Color Correction Guide for your Avid editing application. 8. Add any titles you need. For more information, see the “Creating Titles” and “Editing with Titles” chapters in the Effects and Color Correction Guide for your Avid editing application. 9. Use audio tools to adjust and mix multiple audio tracks and prepare for final output. For more information, see “Working with Audio” on page 745. 10. Export the sequence or output a digital cut. For more information, see “Exporting Frames, Clips, or Sequences” on page 985 or “Generating Output” on page 1017. If you are working in an offline to online project, see “Conforming and Transferring Projects” on page 1082. Starting a Project Whenever you start to work on a new project, follow these basic steps: 1. Turn on your equipment in a prescribed order and start your Avid editing application. For more information, see “Turning on Your Equipment” on page 35. 2. Select or create a new project For more information, see “Starting a Project” on page 35. 3. Select the Project settings from the Settings list. For more information, see “Working with the Project Window” on page 65. 4. Create and organize bins. For more information, see “Working with Bins” on page 318. 5. Back up your project on a regular basis. For more information, see “Starting a Project” on page 35. 29 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 156 and “Capturing Media” on page 218. 30 Editing a Sequence 2. Use bins to organize your project items. For more information, see “Working with Bins” on page 318. 3. Use the Media tool to manage media files. For more information, see “Managing Media Files” on page 435. 4. Use the bins to create storyboards. For more information, see “Creating a Storyboard” on page 359. 1 Capture footage, creating master clips and media files 2 Sort and organize clips in bins 3 Manage media files for storage efficiency and backup security 4 Previsualize with storyboards Editing a Sequence When you edit your video and audio, follow these basic steps: 1. View your clips and mark IN and OUT points, or create subclips based on selected portions of your master clips. For more information, see “Viewing and Marking Footage” on page 477. 31 Editing a Sequence 2. Build your sequence in Source/Record mode in the Timeline. See “Creating and Editing Sequences” on page 563. 3. Use Segment, Trim, and Effect modes to fine-tune your edits and effects. For more information, see “Using the Timeline” on page 655, “Working with Trim Edits” on page 718, 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. For more information, see “Working with Audio” on page 745. 5. Continue to edit if further adjustments are required. 1 Screen, mark, and subcatalog footage 2 Edit in Source/Record mode and the Timeline 3 Fine-tune edits and effects 32 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 985. • Output a digital cut in one or more formats. For more information, see “Generating Output” on page 1017. • Generate a cut list through Avid FilmScribe™. • Generate an EDL through Avid EDL Manager. For more information on FilmScribe or EDL Manager, see the Avid Media Composer, NewsCutter, and Symphony Supporting Applications Guide, or the FilmScribe or EDL Manager Help. 33 Outputting a Sequence Finished sequence. Output options include: Export a file Output to tape Generate a cut list Generate an EDL 34 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. The following topics describe procedures for starting your work, as well as several techniques to safeguard and restore your work if necessary: • Turning on Your Equipment • Working with the Desktop • Starting Your Avid Editing Application (Windows) • Starting Your Avid Editing Application (Macintosh) • Working with Projects • Quitting and Turning Off Equipment • Avid Projects and Avid Users Folders • Changing Project and User Names • Backing Up Your Project Information • Avid Attic Folder Turning on Your Equipment Avid recommends that you turn on your equipment in the following order: 1. Storage devices. 2. Peripheral devices (such as monitors and speakers). 3. Computer system. 4. Avid input/output hardware device. n Do not disconnect devices while you run your Avid editing application. Before you start your Avid editing application, make sure you connect all your devices first. 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. • Use standard keyboard shortcuts to navigate and select options in dialog boxes and menus. • Use the mouse scroll wheel for navigation and customize mouse button functions. You also use the desktop for backups and transferring projects, as described in “Backing Up Your Project Information” on page 59 and “Avid Projects and Avid Users Folders” on page 46. n For information on the Windows desktop and icons, see your Microsoft® documentation. For information on the System Folder and the desktop and icons, see your Macintosh documentation. Using the Windows Taskbar (Windows Only) By default, the Windows taskbar always appears on the bottom of your screen, on top of your Avid editing application. You have two other choices: • Keep the taskbar hidden behind your Avid editing application • Set the taskbar to appear only when you drag the mouse pointer to it If you keep the taskbar hidden while you run your Avid editing application and you minimize an application such as Help, you do not see the minimized icon in the taskbar. For more information about the taskbar, see the Windows Help. n You can also drag the taskbar to the top, bottom, or either side of the monitor. When you work in your Avid editing application, you can minimize windows (such as the Project window and bins). The icons appear in your Avid editing application window, not in the taskbar. To see the taskbar and minimized icons: t Minimize your Avid editing application. 36 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. Using the Macintosh Dock (Macintosh Only) You can place an application icon alias on the Dock for easy access to your Avid editing application. The Dock is hidden when your Avid editing application is active. For full information on using the Dock, see the Macintosh documentation. To display the Dock: t Move the mouse pointer to the edge of the screen where the Dock is hidden. Using Shortcut Menus In addition to standard menus to find a command you need, you can use shortcut menus. Shortcut menus show the most frequently used commands for a window or a screen object. Most shortcut menus contain a What’s This? command to access Help for the window or the object. To use a shortcut menu: t Right-click a window or a screen object. Using the Keyboard for Navigating in Dialog Boxes and Menus To navigate in dialog boxes and menus and to select and deselect options: Option Command To move from tabbed page to tabbed page within a dialog box. Press Page Up or Page Down. To move from check box to check box or from Press Tab. option to option in a dialog box. 37 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. You can also set the speed to scroll with the mouse wheel, and assign functions to three additional mouse buttons, as described in “Customizing Mouse Functions” on page 38. Option Command To scroll through items in a window or function area with a vertical scroll bar (such as a bin). Press Ctrl (Windows) or Control (Macintosh) + scroll wheel. To move the position bar one frame at a time in the Timeline. Press Ctrl (Windows) or Control (Macintosh) + scroll wheel. To move the position bar 10 frames at a time in the Timeline. Press Ctrl (Windows) or Control (Macintosh) + Alt (Windows) or Option (Macintosh) + scroll wheel. To move the slider one unit at a time in a tool or Press Ctrl (Windows) or Control window containing a slider (such as the Effect Editor). (Macintosh) + scroll wheel. To move the slider 10 units at a time in a tool or Press Ctrl (Windows) or Control window containing a slider (such as the Effect Editor). (Macintosh) + Alt (Windows) or Option (Macintosh) + scroll wheel. Customizing Mouse Functions Your Avid editing application lets you set the speed of scrolling with the mouse wheel, and lets you assign functions to three additional mouse buttons. n When you map mouse buttons, make sure that the modifier key that you assign to the button and command does not already have an alternate function. You cannot assign functions to the standard left and right mouse buttons. 38 Working with the Desktop To set the mouse scroll speed: 1. In the Project window, click the Settings tab, and then double-click Mouse. The Mouse Settings dialog box opens. 2. Select a speed from the Vertical Scroll Speed menu. Normal is the default setting. Normal scrolls one item at a time. Moderate scrolls two items at a time, and Fast scrolls four items at a time. To assign functions to additional mouse buttons: 1. In the Project window, click the Settings tab, and then double-click Mouse. The Mouse Settings dialog box opens. 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. Click the mouse, and drag the button from the Command palette to a button location on the Mouse Settings dialog box. Optimum Performance (Windows 7) The following list contains suggestions for ensuring optimum performance when working with your Avid editing application on a Windows 7 system: • It is required to turn off File Sharing. If you do not do this, you might receive Access Denied errors after you move files. In Control Panel > Network and Sharing Center > File Sharing, select Turn off File Sharing. • Disable CPU throttling. 39 Working with the Desktop In Control Panel > Hardware and Sound > Power Options, select High Performance. • Do not enable the Windows Display setting “Show window contents while dragging.” This setting hinders redraw performance on your Avid editing system. In Control Panel > Appearance and Personalization > Personalization > Window Color and Appearance > Effects, deselect Show window contents while dragging. • Enable setting to adjust for best performance. In Control Panel > System and Maintenance > System > Advanced System Settings > Performance Settings, select Adjust for best performance. • Disable Desktop compositing. In Control Panel > System and Maintenance > System > System Protection > Advanced tab > Performance Setting, deselect Enable desktop composition. • Disable Windows Defender. In Control Panel > Security > Windows Defender > Tools > Options > Administrator Options, deselect Use Windows Defender > Save. • Disable Sidebar. Right-click the Sidebar or Sidebar icon on your desktop > Properties > Deselect Start Sidebar when Windows starts > Right click icon and select Exit. • Disable Hibernation in the Power options. In Control Panel > Performance Information and Tools > Power Options > Change when the computer sleeps > Put the computer to sleep, select Never. • Change Advanced Power Settings. In Control Panel > Performance Information and Tools > Power Options > Change when the computer sleeps > Change advanced power settings > High Performance (instead of Balanced) Hard disk > Turn off hard disk after Setting: Never. In Control Panel > Performance Information and Tools > Power Options > Change when the computer sleeps > Change advanced power settings > High Performance (instead of Balanced) Sleep > Sleep after Setting: Never. • Set automatic updates to Notify you but don’t automatically download. In Control Panel > System and Maintenance > Windows Updates > Change settings, select “Notify me but don’t automatically download them or install them.” • Turn off the firewall for Avid Interplay. In Control Panel > Security > Windows Firewall, select Turn Windows Firewall on or off. • Do not leave the Console window open when you edit. The performance of your Avid editing system slows considerably when the Console window is open. 40 Working with the Desktop • Do not leave a Windows Explorer window open. Windows Explorer attempts to update file information. • Do not leave an e-mail application open if it is set to do periodic checks for mail. • Do not run any application that periodically “wakes up” and performs an action. • 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. • Ensure you do not accidentally delete locked items from your desktop. Right-click the Recycle Bin icon on your desktop > Properties > General tab > Display delete confirmation dialog. • When you advance by single frames through the Timeline, deselect Render On-the Fly to enable faster response time. In your Avid editing application, deselect Clip > Render On-the-Fly • Do not name files with special characters (/ \ : ? ” < > | *). Windows does not recognize special characters in file names. Bin names are limited to 27 characters (not including the four characters reserved for the file name extension). • Do not schedule automatic backups at times when your Avid editing system might be in use. • Do not run any application that includes prescheduled or automatically scheduled activities, such as a calendar program. • Do not leave other applications running. Some applications, such as Microsoft Office, run background processes. • Do not allow the Find Fast background process (find.exe) to run. The process tries to update its cache of file and folder locations. Check your Startup folder, and delete the file if it is there. To locate the find.exe, select Start > Search > find.exe. Optimum Performance (Macintosh) The following list contains suggestions for ensuring optimum performance when working with your Avid editing application on a Macintosh system: • Do not select the option that puts the hard disk to sleep when possible. In System Preferences > Hardware Energy Saver, deselect Put the hard disk(s) to sleep when possible. 41 Starting Your Avid Editing Application (Windows) • Set sleep options to Never in Energy Saver preference. In System Preferences > Hardware Energy Saver, select Never. • Disable screensavers. In System Preferences > Personal Desktop & Screen Saver > Screen Saver, select Never. 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. File deletion protection utilities also consume system resources and could interfere with the proper operation of your Avid editing application. These utilities automatically back up any files that you delete, even temporary files that you create and delete with your Avid editing application. This consumes a large amount of disk space. Starting Your Avid Editing Application (Windows) By default, your Avid editing application is located in the following folder: drive:\Program Files\Avid\Avid editing application The installation process adds a desktop icon and a pointer to your Avid editing application in the Start menu. c n Your Avid editing application does not start properly if you move the application file from the Avid editing application folder. If you install your Avid editing application on a laptop computer, a dialog box might open with a message about incompatible power management schemes. Avid recommends you use the “Always On” power scheme for Windows XP and the “High Performance” power option for Windows 7 when you work with Avid editing applications. Other power schemes might affect performance of editing functions (for example, capture and digital cuts). To start your Avid editing application, do one of the following: t Click Start > All Programs > Avid > Avid editing application. t Double-click the Avid editing application desktop icon. 42 Starting Your Avid Editing Application (Macintosh) After your Avid editing application starts, the Select Project dialog box opens. For more information on the Select Project dialog box, see “Working with Projects” on page 43. Starting Your Avid Editing Application (Macintosh) Your Avid editing application is in the following location: 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. You can drag it onto the Dock, and an alias appears on the Dock. When you start your Avid editing application, you might see a message box which indicates there is no input or output signal. Check to ensure that your Avid input/output hardware is connected to the system with the cables secured and that it is turned on. To start your Avid editing application, do one of the following: t Double-click the alias icon for your Avid editing application on the desktop. t Double-click the alias icon for your Avid editing application on the Dock. t Select Go > Applications, and then double-click the Avid editing application folder. Then double-click the Avid editing application file. You might see a license agreement. After your Avid editing application starts, the Select Project dialog box opens. For more information on the Select Project dialog box, see “Working with Projects” on page 43. Working with Projects When you start the editing application, the system displays the project log in window. Amongst other settings, you can determine the location of the project. Media Composer allows you work with projects in a private location or one that can be shared with other users. The best choices for a shared structure are either Shared or External. These types of projects are created in a common location, making it easier for the Administrator to locate and delete old projects. 43 Working with Projects n If you will be working in a shared project environment, you should carefully consider the location of your projects and media. This will make for a much more efficient working environment in terms of time and disk storage space. 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. In this case, you (or other users) must go to the Interplay Projects folder to locate the contents created in this project. • From an administration standpoint, you must clean these projects up or archive them from each editing system. At a large site this can become time consuming and needs to become part of the Administrator’s workflow. For information on the files and folders that your Avid editing application creates as part of a project, see “Avid Projects and Avid Users Folders” on page 46. You should also back up your project information regularly to a separate storage device, as described in “Backing Up Your Project Information” on page 59. Private A Private Project is stored locally. It can be accessed only by the user currently logged on to the editing machine. On a Windows system, a Private Project is always stored under the user’s Documents directory. An administrator may be able to access this project if they have read/write permission to the user’s directory. 44 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. 45 Working with Projects External An External Project can be saved to any directory, either local or remote. Depending on the file-system permissions set on the selected folder, other users or an administrator may or may not be able to access the project. The external option is particularly useful when you want to save the project on shared network drive to make project maintenance easier. n Avid does not support sharing bins in an Interplay environment. If you create projects on shared storage, do not allow editors to work in the same bin at the same time. This can result in data loss or media corruption. Instead of sharing bins, editors should use the Interplay Window to collaborate and share material. 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. Locations of Avid Project Folders By default, the system installs two Avid Projects folders: 46 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\Avid editing application\Avid Users Macintosh Macintosh HD/Users/Shared/Avid editing application/Avid Users (Windows only) The location of the Avid Users folder depends on the installation path for your Avid editing application. Files and Folders Created For Projects When you create a new project, your Avid editing application creates a folder with the name that you entered when you created the project. The following three files are stored within the project folder: • A project file (.avp) • A project settings file (.xml) • A bin file (.avb) The project folder and the three files all use the project name you provide. The project folder is stored in the Avid Projects folder. Your project settings are initially set to the default values. As you create additional bins for the project (see “Creating a New Bin” on page 68), additional bin (.avb) files are added to the project folder. 47 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. Select Project Dialog Box The Select Project dialog box lets you find and open a project, create a new project, or establish user profiles. 1 2 5 3 6 4 7 Element Description 1 User Displays the login name of the user currently logged into the system. To change to a different user, log out and log in as that user. 2 Folder Displays the path of the current folder. This path determines which projects appear in the project list and where a new project is created. n You cannot type into the User or Folder text boxes. 48 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 84. 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. The projects in this folder appear in the project list. See “Opening and Closing Projects” on page 54. 6 Folder buttons The button you select will set the location where you can browse or create projects. Private: Local folder for the user currently logged in. Shared: Local folder that is visible to all users that have accounts on this system. External: Local or remote folder that any other users may have access to depending on the file permissions set on this folder. For more information, see “Working with Projects” on page 43. 7 New Project button Opens the New Project dialog box to create a new project. Project Types The following table lists the format options available for your project. Depending on the model of your Avid editing application, your format options might not include all items listed here. Project Type Source Footage Transfer Color Space 23.976p NTSC For film-originated or video-originated footage that has been shot at 23.976 fps or film-originated footage transferred on digital videotape (such as Digital Betacam™) YCbCr 24p NTSC For film-originated or other 24-fps footage transferred to NTSC videotape YCbCr 24p PAL For film-originated or other 24-fps footage transferred to PAL videotape at 25 fps YCbCr 25i PAL For PAL video-originated footage (25 fps) YCbCr 25p PAL For 25-fps film footage transferred to PAL videotape YCbCr 30i NTSC For NTSC video-originated or other 30-fps footage transferred to NTSC videotape YCbCr 720p/23.976 For film-originated material transferred to videotape. YCbCr 49 Creating a New Project Project Type Source Footage Transfer (Continued) Color Space 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/59.94 For video-originated material. Can be directly captured, edited, and output YCbCr for HD broadcast. 1080p/23.976 For film footage transferred to videotape, or high-resolution files from digital film cameras. YCbCr RGB 1080p/24 For film footage transferred to videotape, or high-resolution files from digital film cameras. True 24-fps editing. YCbCr RGB 1080p/25 For film footage transferred to videotape, or high-resolution files from digital film cameras. YCbCr RGB 1080i/50 For video-originated material, or high-resolution files from digital film cameras. Can be directly captured, edited, and output for HD broadcast. YCbCr RGB 1080i/59.94 For video-originated material, or high-resolution files from digital film cameras. Can be directly captured, edited, and output for HD broadcast. YCbCr RGB n n YCbCr Some older versions of Avid editing applications provided HD project types based on HDV requirements. In current versions of Avid editing applications, these are replaced by standard HD projects that let you specify the raster dimensions for editing and playback. Set film preferences in the Film and 24P Settings dialog box immediately after you create a project to provide your Avid editing application with important information about the type of film and audio transfer you used for your project. Creating a New Project You can create a project in any format. The settings you choose for your project will dictate the way in which your material is handled for the various editing functions within the Avid application. To create a new project: 1. Start your Avid editing application. The Select Project dialog box opens. 50 Creating a New Project For more information, see “Select Project Dialog Box” on page 48. 2. In the Select Project dialog box, select the folder in which you want to create the project: Private, Shared, or External—see Working with Projects. 3. Click New Project. The New Project dialog box opens. 4. Type the name of your new project in the text box. Project names may be given certain conventions—see “Setting Project-Naming Conventions” on page 53. 5. Click the Format menu and select a project format that matches your media and delivery requirements. The rest of the options might change depending on the project format you choose. Example of the New Project dialog box 6. Set the following option(s), where applicable: Option SD HD Aspect Ratio The project uses the aspect ratio setting to determine Select either Always uses the 16:9 the display setting in the monitors, and as a factor in 4:3 or 16:9 aspect ratio. determining whether material requires resizing or repositioning in sequences. For more information, “Mixing Frame Sizes and Aspect Ratios” on page 584. 51 Creating a New Project Option SD Raster Dimension The Raster Dimension menu appears only for HD projects on a supported system. For more information, Color Space Specifies the color space for some HD project types, N/A either RGB 709 or YCbCr 709. For more information, see “Project Types” on page 49 and “Working with Color Spaces in HD Projects” on page 75. n Film HD N/A When using source material that is full frame, the frame compatible format is generated on the fly which may result in a performance slowdown. Available for 23.976p, 24p, 25p, 720p, and 1080p film N/A projects. Click the Film button and select a format for film gauge tracking from the Default Film Type menu. Audio Available for 24p PAL projects. For more information, N/A Transfer Rate see “Audio Transfer Options for 24p PAL Projects” on page 1444. Matchback Available for 25i PAL, 30i NTSC, 720p, and 1080i Matchback projects only. Select Matchback, then click the Film button and select a format for film gauge tracking from the Default Film Type menu. The Matchback item appears only if your Avid editing application includes the Matchback option. 7. Click OK. Your Avid editing application creates the new project files and folder, and then returns to the Select Project dialog box. The project name is highlighted in the Projects list. 8. Double-click the project name to open the project. The Project window, the Composer window, and the Timeline open with your User settings loaded. 52 Setting Project-Naming Conventions Project name and user name in the title bar (left) and Close button (right) in the Project window 9. (Option) If your project uses a film project type, set film preferences immediately after you create the project. Setting Project-Naming Conventions The system limits bins and project names to 27 characters, not including the period and 3-character extension that the system automatically adds to a file name. If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or trailing periods, when you name a project, bin, and user. (Macintosh only) If you use your Avid editing application as a standalone editor (and don’t plan to move your bins or projects to another platform), you can extend bin and project names to 31 characters. You can also choose to accept or not accept the Windows compatible file naming convention of special characters and spacing. To use Windows compatible file names 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click General Settings. 3. Select Use Windows compatible file names. This prevents your Avid editing application from accepting the restricted characters in a bin, project, or user name. 53 Opening and Closing Projects To extend project and bin names to 31 characters (Macintosh only) 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click General Settings. 3. Select Allow files names to extend 27 characters. This extends the names of projects and bins to 31 characters. Opening and Closing Projects You can open a project from the Select Project dialog box, and navigate from the Select Project dialog box to find any project on your system. If you have already created a project, when you enter your Avid editing application you can bypass the Select Project dialog box and have your last project open automatically. If you choose to install the sample startup project and media when you install your Avid editing application, you can open this project from the Select Project dialog box. The startup project, called Avid Boston Project DV25, contains a complete sequence with rendered effects and titles, as well as all the video and audio clips used in the sequence. 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. If a sequence requires updating, the Update Sequence dialog box might open when you load the sequence. For more information, see “Updating and Reverting Existing Effects in Sequences” in the Help. To open an existing project: 1. In the Select Project dialog box, select the folder in which the project is located: Private, Shared, or External. For more information, see “Select Project Dialog Box” on page 48. 2. Do one of the following: t Select a project in the Select Project dialog box, and then click OK. t Double-click a project name in the Projects list. The Project window, the Composer window, and the Timeline open with the User settings loaded. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box. 54 Opening and Closing Projects To browse for a project in a location other than the default Shared and Private folders: 1. Start your Avid editing application. The Select Project dialog box opens. 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. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box. The next time you open the Select Project dialog box, the path you selected will be displayed when you click the External button. To open a project automatically: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click any Interface setting. 55 Opening and Closing Projects The Interface Settings dialog box opens. 3. Click the General tab, select “Automatically Launch Last Project at Startup,” and then click OK. 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. The Project window, the Composer window, and the Timeline open with the User settings loaded. To open the startup project: 1. In the Select Project dialog box, click the Shared folder button. 2. Double-click Avid Boston Project DV25 in the Project list. The Avid Boston Project DV25 project opens. n The footage in the Avid Boston Project DV25 project is shot in 16:9 aspect ratio. To view the footage correctly in monitors, click the Format tab in the Project Window and set aspect ratio to 16:9. 3. In the Format tab of the Project window, ensure that Aspect Ratio is set to 16:9. The footage in the Avid Boston Project DV25 project is shot in 16:9 aspect ratio. 4. Use the Bins tab in the Project window to open one or both of the bins in the project: - Boston Seq DV25 contains a complete sequence - Boston Project source contains all the video and audio clips in the project For more information on opening bins, see “Opening and Closing Bins” on page 69. To close the current project, do one of the following: t With the Project window active, select File > Close Project. t Click the Close button in the Project window. 56 Deleting a Project Deleting a Project To delete a project: 1. Start your Avid editing application. The Select Project dialog box opens. 2. Click the project you want to delete. 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. For more information on deleting media files, see “Deleting Items from a Bin” on page 332 and “Deleting Media Files with the Media Tool” on page 443. Quitting and Turning Off Equipment If you work in an Avid Unity™ environment, your Avid editing application writes a media database file (.mdb) to the workspace where you work. Before you quit your Avid editing application, make sure that the workspace has approximately 50 MB of storage space available. Ask your Avid Unity administrator to increase the space if you need more storage. To quit your Avid editing application and leave it immediately: t (Macintosh) Select Avid editing application > Quit Avid editing application. t (Windows) Select File > Exit. The project closes and your Avid editing application quits. To quit your Avid editing application and view the Select Project dialog box: 1. Click the Close button at the far right (Windows) or at the far left (Macintosh) of the Project window’s title bar. The Select Project dialog box opens. 2. Click Quit. A message box opens. 3. Do one of the following: t Click Leave to quit your Avid editing application. 57 Changing Project and User Names t Click Cancel to return to the Select Project dialog box and select another project. To view remaining storage on your media drives: 1. Click the Info tab in the Project window, and then click Hardware. The Hardware tool opens. 2. Click the appropriate drive tab. For more information, see “Using the Hardware Tool” on page 113. 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. If you have an Avid input/output device attached to your system, turn it off. 3. Turn off peripheral devices (such as monitors and speakers). 4. Turn off external storage devices. c Never remove media drives from your Avid system when it is turned on. Shut down the computer, and then remove the drives. 5. Turn off all other hardware. Changing Project and User Names You cannot change project or user names from within your Avid editing application. You must change the names from your desktop before you start your Avid editing application. For information about the location of the Avid Projects and Avid Users folders, see “Avid Projects and Avid Users Folders” on page 46. c When you change a user name or a project name, make sure you change the name of the folder and all the files in the folder that have the old name. Your Avid editing application does not automatically change the names of corresponding files in the folder. 58 Backing Up Your Project Information To change a project name or user name: 1. Navigate to the Avid Projects or Avid Users folder, and then double-click the folder to open it. 2. Click the name of the folder you want to change. The name highlights. 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. Backing Up Your Project Information Although your Avid editing application automatically saves your bins, projects, and settings, you should back up these items frequently. Because the storage requirements are minimal, you can back up these files to a variety of storage devices, such as: n • USB (thumb) drive • CD-ROM or DVD-ROM • Network storage device (such as a file server) • Mass-storage device To back up the larger media files created when you capture footage, use a high-capacity storage device. For information on backing up media files, see “Backing Up Media Files” on page 457. To save your work on a drive or on removable media: 1. Mount the drive or insert the storage media (USB drive, CD-ROM, or DVD-ROM). 2. (Windows only) From the Windows desktop, double-click the My Computer icon. 3. Double-click the icon for the destination storage drive or storage media to open it. Double-click any additional folders to target the appropriate storage location. 4. Navigate to the folder that contains the project folder or the user folder you want to save. 5. Drag a project folder or a user folder to the targeted storage location. 6. When the system finishes copying the files, unmount the drive or eject the media and store it. 59 Avid Attic Folder To restore a project or user information from a backup storage device: 1. Mount the drive or insert the removable media that contains the backup copies you want to restore. 2. From the desktop, double-click the icons for the drive or storage media and for the internal hard drive (Windows) or for the Macintosh HD (Macintosh). 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 69. Avid Attic Folder The Avid Attic folder contains backup files of each bin in a project. You retrieve files from the Avid Attic folder in the following circumstances: • When you want to replace current changes to a sequence or clip with a previous version • When the current bin file becomes corrupted For information on retrieving files from the Avid Attic folder, see “Retrieving Files from the Avid Attic Folder (Windows)” on page 61 and “Retrieving Files from the Avid Attic Folder (Macintosh)” on page 63. For information on setting automatic save features, see “Saving Bins” on page 71. n (Macintosh only) If you deselected the “Allow filenames to exceed 27 characters” option in the General Settings dialog box, you cannot retrieve a backup file with a file name larger than the 27-character limit. You must rename the file before you retrieve it. The Avid Attic folder contains a folder for each project. Each project folder contains a Bins folder. When a bin is saved, a folder with the bin’s name is created in the Bins folder and a copy of the bin file is stored in the folder with the bin name. The system adds the file name extension .bak plus a version number to the bin’s file name. The bin file with the highest version number represents the latest copy of the bin file. When you view a bin folder in Details view (Windows) or List view (Macintosh), you can also identify the most recent backup file based on the timestamp of creation displayed in the Modified column (Windows) or Date Modified column (Macintosh). 60 Avid Attic Folder n The oldest backup file is overwritten only if the second-oldest backup file is more than 2 hours old. 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. Double-click a project folder, and then double-click the Bins folder. The Bins folder opens and displays a folder for each bin in the project. 4. Double-click the folder for the bin you want to retrieve. 5. If the bin folder is not already in the Details view, select View > Details. The bin folder displays the backup bin files and their creation dates. A backup bin file has the same name as the bin, with a number appended. For example, a bin named Source Clips might have backup bin files named Source Clips.1 and Source Clips.2. 61 Avid Attic Folder 6. Select the backup bin file or files you want to retrieve. 7. Ctrl+drag the selected backup bin files to the desktop. This makes a copy of the files, leaving the original files in the Avid Attic folder. To copy backup files to a new bin: 1. Click the taskbar item for your Avid editing application to restore it. n If the taskbar is hidden, see “Using the Windows Taskbar (Windows Only)” on page 36. 2. Click the Project window to activate it, and click the Bins tab to display the Bins list. 3. Select File > Open Bin. 4. From the Files of Type list, select All Files (*.*). 5. Navigate to the desktop, select one of the backup bin files you copied, and click Open. The backup bin opens. When you open a backup bin, a link to the backup bin on the desktop is created in the Other Bins folder. n Your Avid editing application does not allow a bin and a copy of a bin to be open at the same time. You must keep all other bins closed and open the backup bins one at a time. 6. Create a new bin. 62 Avid Attic Folder For example, if you are retrieving clips from a backup bin called Audio.2, you can call the new bin Audio New. 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. From the desktop, double-click the Macintosh HD/Users/Shared/Avid editing application/Avid Attic folder. The Avid Attic folder opens and displays a folder for each project. 3. Double-click a project folder, and then double-click the Bins folder. 63 Avid Attic Folder The Bins folder opens and displays a folder for each bin in the project. 4. Double-click the folder for the bin you want to retrieve. 5. 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. 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 icon for your Avid editing application on the Dock to activate your Avid editing application. 2. Click the Project window to activate it, and click Bins to display the Bins list. 3. Select File > Open Bin. 4. Navigate to the desktop, select one of the backup bin files you copied, and click Open. The backup bin opens. When you open a backup bin, a link to the backup bin on the desktop is created in the Other Bins folder. n Your Avid editing application does not allow a bin and copy of a bin to be open at the same time. You must keep all other bins closed and open the backup bins one at a time. 5. Create a new bin. For example, if you are retrieving clips from a backup bin called Source Clips.2, you can call the new bin Source Clips New. 6. Open the new bin and open the backup bin in the Other Bins 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 Trash. 64 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. The following topics describe features of the Project window: • Overview of the Project Window • Controlling Project Window Display • Using the Bins Tab • Using the Settings Tab • Using the Format Tab • Using the Usage Tab • Using the Info Tab • Managing Bins and Memory • Understanding User Profiles • Managing User Profiles • Customizing the Avid User Interface • Using Workspaces • Working with Bins and Projects in an Avid Shared Storage Environment Overview of the Project Window The Project window is a central location for important information and tools that you need as you work on your project. 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 67. Settings Lets you view and modify settings. See “Using the Settings Tab” on page 73. Effects Lets you access a library of effects. See “Applying Effects” in the Help. Format Lets you view information about the format of the project. See “Using the Format Tab” on page 74. Usage Lets you view information about the work session usage. Info Lets you view information about system memory usage and system hardware configuration. Controlling Project Window Display The Project window opens automatically when you select a project. You can use the Project window’s tab to change the display of information in the window. The Project window is always open when you are working in a project. However, it might become hidden behind open bins or tools. To change the information display in the Project window: t Click one of the tabs. To locate and redisplay the Project window, do one of the following: t Select Tools > Project. 66 Using the Bins Tab 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 When you create a project, your Avid editing application automatically creates a bin with the name of the new project, which displays in the Bins tab. You can rename this bin and create additional bins as you work in your project. The word bin is a movie industry term that refers to a container that holds pieces of film. In your Avid editing application, bins contain master clips that are created when you capture source material. Bins also contain the sequences, subclips, group clips, and effect clips that you create during a project. From the Project window, you can view a list of bins associated with the project, and open, close, and create bins. You can also open bins that you create for other projects. Viewing a List of Bins You can view a list of bins in the Project window. The Bins list displays the number, names, sizes, and location of the bins. Bins from other projects appear in the Project window in italic. To view a list of bins associated with the project: t Click the Bins tab in the Project window. Fast menu button (top) and Bins list with bin icons (bottom) in the Bins tab of the Project window. 67 Using the Bins Tab Creating a New Bin To create a new bin from the Project window: 1. Do one of the following: t Select File > New Bin. t Click the New Bin button in the Project window. A new (empty) bin opens and is given the name of the project as displayed in the title bar of the Project window. The new bin appears in the Bins list in the Project window with a default name highlighted and a number appended to it. 2. In the Project window, click the new bin name and type in a new name. 3. Press Enter (Windows) or Return (Macintosh). A corresponding bin file is placed in the Avid Projects folder, and a backup copy is placed in the Avid Attic folder. For more information, see “Avid Projects and Avid Users Folders” on page 46 and “Avid Attic Folder” on page 60. To place a bin in a folder: t Drag the bin to the folder icon. Renaming a Bin Each new bin that you create takes the name of the project that appears in the title bar of the Project window and is numbered incrementally. 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. (Macintosh only) You can set the Use Windows compatible File Names option in your Avid editing application’s General Settings dialog box to prevent your Avid editing application from accepting these restricted characters in a bin, project, or user name. If you use your Avid editing application as a standalone editing application (and don’t plan to move your bins or projects to another platform), you have the option to extend bin and project names to 31 characters. To change the name of a bin: 1. Click the bin name in the Bins list. 2. Type a new name. 68 Using the Bins Tab Opening and Closing Bins You can open a single bin or open multiple bins at once. You can also open a bin from another project. c Never open a bin that is stored on a removable disk or equivalent device; otherwise, your Avid editing application cannot save your work. Always copy the bin to a project folder on the system drive before you open it. To open a bin directly: 1. Click the Bins tab. 2. Double-click the Bin icon next to the bin name. The bin opens in a separate window. The Bin icon appears dimmed in the Bins list, indicating the bin is open. n You can also open a bin by dragging it from the Bins tab in the Project window to an open bin. To open several bins at once from the Project window: 1. Click a Bin icon in the Bins list. 2. Ctrl+click (Windows) or Command+click (Macintosh) each additional bin you want to open. 3. Select File > Open Selected Bins. The selected bins open 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. To open a bin from another project: 1. Select File > Open Bin. The Open a Bin dialog box opens. 2. Find and select the bin you want. Bins have the file name extension .avb. 3. Click Open. The bin appears in the Bins list in a folder called Other Bins. The name Other Bins appears in italic. You can rename this folder. This option is useful when you want to open a bin not currently displayed in the Project window. 69 Using the Bins Tab n The Other Bins folder disappears from the Bins list when you delete all the bins in the Other Bins folder. Deleting bins from the Other Bins folder does not remove the bins from your system; only the pointers to the bins are removed. To close a bin, do one of the following: t Click the Close button. t Select File > Close Bin. Displaying Folders of Bins in the Bins List You can add folders to the Bins list to help organize your project. You can drag bins into folders or drag folders into folders. To create a folder in a project: 1. Click the Fast menu button, and select New Folder. A new untitled folder appears. 2. Click the untitled folder name in the Bins list and rename it. To show or hide the folder’s contents in the Bins list in the Project window: t Click the arrow next to a folder icon. To view a list of only the folder contents and not the folders: t Click the Fast Menu button, and select Flat View. 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. Deleted bins and folders are moved to a Trash folder in the Bins list until you empty the Trash. If you need a deleted bin or folder, you can retrieve it from the Trash. For more information, see “Viewing and Emptying the Trash” on page 71. 70 Using the Bins Tab c Only bins and folders appear in the Trash. If you select a clip, subclip, or effect directly in a bin and press the Delete key, the item is permanently deleted and does not appear in the Trash. To delete a bin or folder from the Project window, do the following: t Select the bin or the folder you want to delete in the Bins list, and press the Delete key. A Trash icon appears in the Bins list in the Project window. The Trash contains the deleted item. n The Trash is not visible in the Project window until you delete your first item. Viewing and Emptying the Trash If you need to view the contents in the Trash or decide you do not want to delete those items, you must first move the bins and folders from the Trash. c n Emptying the trash permanently removes the bins or folders from the drive. If you change the name of the Trash icon, you cannot empty the Trash. To view items in the Trash: 1. Click the arrow next to the Trash icon in the Bins list. 2. Click the bins or folders you want to keep (or view), and drag them from the Trash to the Bins list in the Project window. 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. You might want to do this immediately after performing an important edit. When you work with bins, an asterisk appears before the bin name in the bin’s title bar. The asterisk indicates that the changes to the bin have not been saved. After you save the bin, your Avid editing application removes the asterisk. 71 Using the Bins Tab When an autosave occurs, any open bins update with changes made since the last autosave, and copies of these bins are placed in the project’s backup bin folder: Windows 7 drive:\Users\Public\Public Documents\Avid editing application\Avid Attic folder Macintosh /Users/Shared/Avid editing application/Avid Attic folder Your Avid editing application automatically saves copies of all bins into the Avid Attic folder at regular intervals for backup. When your work is lost, or when you want to recover an earlier version of a bin or sequence, you can retrieve files from the Avid Attic folder. To adjust the frequency of automatic saves: 1. In the Project window, click the Settings tab, and then double-click Bin. The Bin Settings dialog box opens. 2. Type a number in the Auto-Save interval text box. 3. Click OK. n Setting to zero the maximum number of files stored in the Avid Attic folder as well as the maximum number of versions of a bin deletes existing files in the project folder in the Avid Attic folder and prevents any backup bins from being saved. For more information about backup options, see “Bin Settings” on page 1298. 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. Select File > Save All. 72 Using the Settings Tab The system saves all the bins for the project. Using the Settings Tab From the Settings tab in the Project window, you can view, select, open, and alter various User, Project, and Site settings. Each setting either displays information about that specific tool or window or lets you select options or preferences associated with that tool or window. For more information, see “Viewing and Modifying Settings” on page 1277. To view the Settings list: t Click the Settings tab in the Project window. 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). 73 Using the Format Tab Using the Format Tab The Format tab in the Project window lets you view basic project information, such as the video format (NTSC, for example). The information lists the options you selected in the New Project dialog box when you created the project. For some project formats, the Project Type list lets you change the format of the project to another format that shares the same frame rate. For example, if you are working in a 1080i/59.94 HD project, you can change the project format to 30i NTSC. n n If you switch from one project type, aspect ratio, color space, or raster dimension to another during the course of your workflow, you might create precomputed clips that have not rendered with the quality that you need for your final output. You might need to manually purge the precomputed clips and re-render effects. For more information, see “Ensuring the Quality Level of Precomputed Clips” in the Help. For 24p PAL projects, the Format tab shows 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. To open the Format tab: t Click the Format tab. 74 Working with Color Spaces in HD Projects Working with Color Spaces in HD Projects In full HD projects, some Avid editing applications and Avid input/output hardware devices let you work in either the YCbCr or the RGB color space. Your Avid editing application uses a project’s color space setting to control how it displays video, processes most effects, and outputs sequences. RGB and YCbCr both separate colors into three channels, but they store color information differently. When you choose which color space to work in, you need to take several factors into consideration, including the color space of your media, your output needs, and your performance expectations for your Avid editing application while editing. The RGB color space is not available for 720p or NTSC/PAL SD projects. Understanding the YCbCr Color Space YCbCr performs better, but is of lesser quality. YCbCr stores brightness (Y) separately from colors (Cb and Cr). Since humans are more susceptible to changes in light than in color, YCbCr discards half the chrominance data (one-third of the overall data) with little discernible difference to image quality. Media that uses YCbCr takes up less disk space than media that uses RGB, and less bandwidth is required to play it. YCbCr is the only color space available for SD media, because SD requires lower bandwidths and might need to maintain backwards compatibility with black-and-white displays. When you only need SD output, you only need to work in the YCbCr color space. 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. RGB separates images into their constituting colors: red (R), green (G), and blue (B) and does not discard any of the chrominance data. As a result, video images look sharper, particularly those with fast motion or abrupt changes in color. Newer HD formats support RGB only. 75 Working with Color Spaces in HD Projects Because no color data is lost, your Avid editing application can make more precise calculations when processing effects using RGB media. The quality improvement over YCbCr processing is most noticeable in effects that perform color analysis, such as chroma keyers. Even if the original video data is in YCbCr, your should consider converting to RGB to process effects as precisely as possible. The disadvantage of RGB is file size. Media that uses RGB takes up more disk space than media that uses YCbCr, and more bandwidth is required to play it. Some systems might not be able to handle playback of RGB material smoothly, particularly when you use the J-K-L keys to play at greater than normal speed or to play in reverse. n RGB media requires high bandwidth. For effective playback of multiple streams of video at higher resolutions, you should distribute the video tracks as evenly as possible among available drives, and target separate drives for audio and video. Choosing a Color Space for Your Project Your choice of a color space depends on both your input/output hardware and your desired output. For information on how to define the color space for a project, see “Changing the Project Color Space for an HD Project” on page 77. If your hardware supports both RGB and YCbCr, choose the color space that corresponds to your output needs. If your hardware supports only YCbCr, you can choose RGB for your project color space to maintain maximum quality throughout your workflow. Your Avid editing application converts your material to YCbCr right before sending it to the hardware for monitoring or output. The project color space specifies how your Avid editing application processes effects in real time. Your Avid editing application supports native processing of effects in either the RGB or YCbCr color spaces. For example, this means that RGB media does not need to be converted to YCbCr for processing, maintaining maximum video quality until the final output. 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. Tape-based SD and HD media uses the YCbCr color space. Newer HD digital formats, such as R3D, use RGB. See “Resolution Specifications” on page 1404 for information about supported formats. 76 Changing the Project Color Space for an HD Project You can check the color space of the media for any clip in your project by viewing the Color Space bin heading in the bin that contains the clip. For more information, see “Moving, Aligning, and Deleting Bin Columns” on page 340. Changing the Project Color Space for an HD Project You typically set the color space for a project when you create the project (see “Creating a New Project” on page 50). However, you can change the color space at any time. The RGB color space is only available in full HD projects. 720p and NTSC/PAL projects can only use the YCbCr color space. Changing the project color space does not affect the rendering of titles and effects or change the color space of imported media. Your Avid editing application controls these according to their Media Creation Settings. For more information, see “Media Creation Settings” on page 1361. To change the project color space: 1. Click the Format tab in the Project window. 2. Click the Color Space menu, and select either RGB 709 or YCbCr 709, depending on the color space you want to use. Color Space menu in the Format tab of the Project window Your Avid editing application now displays video and processes real-time effects in the new color space. The final output is also in the new space. 77 Using the Usage Tab Using the Usage Tab The Statistics feature gathers and reports information on system usage. You can use this information to support business functions such as resource management. All statistics are gathered and reported by project. The file that contains this information is formatted so you can use it as input to software programs such as analysis applications, spreadsheets, or report generators. c Do not rely on the Statistics feature for billing or other financial purposes. 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.HHMMSS where: Variable Description yy Indicates the last two digits of the year mm Indicates the month dd Indicates the day HH Indicates the hour MM Indicates the minutes SS Indicates the seconds 78 Using the Usage Tab The statistics file is formatted as comma-separated ASCII text, so it can be accepted by a variety of software programs. Each line in the file is tagged with indicators for identifying content and data type to assist in programming custom applications. The following illustration shows a sample Statistics file. The values in the first column indicate the content of the line: 79 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 used 04 text string Importing the Statistics File into a Spreadsheet You can import the Statistics file into a spreadsheet or other program as an ASCII file and use your Avid editing application to set up the proper format. To import a Statistics file into Microsoft Excel: 1. Start Microsoft Excel. 2. Select File > Open, and navigate to the Statistics file you want to import. (Windows only) Make sure All Files (*.*) is selected in the Files of Type list. 3. Click Open. 80 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. Displaying Disk Space Statistics You must use a Console command to calculate and display statistics for disk space in the Usage window. To display disk space statistics in the Usage window: 1. Select Tools > Console. 2. In the command entry text box, type: toggleStatSpace 81 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. Using the Info Tab The Info display in the Project window lets you view system memory information and access the Hardware tool. The items listed in this display are for information only and cannot be changed. The Hardware tool gives a visual representation of usage for each drive and provides operating system information. To open the Info display: t In the Project window, click the Info tab. To display system memory information: t In the Project window, click the Info tab, and then click the Memory button. The Memory window opens with the following information: Item Description Objects The total number of memory handles currently used by your Avid editing application. Objects include memory requirements of your Avid editing application, such as windows, clips, sequences, and other items associated with a project. n You can improve the performance of large projects when you reduce the number of objects. To do this, close unused bins, unmount unused media drives, consolidate finished elements, eliminate old material from the project, or divide the project into separate projects. Then quit and restart your Avid editing application. If performance is still slow, restart your system. Total physical memory (Windows) or Total Mem (Macintosh) The total number of bytes of RAM (random-access memory). Available physical memory (Windows) The amount of RAM available for allocation by the Windows or or Free Mem (Macintosh) Macintosh system. 82 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. To open the Hardware tool, do one of the following: t In the Project window, click the Info tab, and then click the Hardware button. t Select Tools > Hardware. The Hardware tool opens. n For more information about the Hardware tool, see “Using the Hardware Tool” on page 113. Managing Bins and Memory System memory usage increases depending on how many bins you have open, the number of sequences in a bin, the number of tools that are open, and the size of a sequence. Using more memory can slow system performance. In the Bin tab of the Project window, a memory usage indicator increases and updates as you open and close bins. Avid recommends that you keep memory usage below 80-85%. If you exceed the recommended usage, a dialog box opens informing you that your memory usage is high and recommends that you close some bins and save your project. If your system is running low on memory and you need to free up memory, you can either close your bins or use the Clear Memory button. If you close your bins, some of your memory remains unavailable until you exit your Avid editing application because the online master clips remain in memory. The Clear Memory button, however, closes and saves all of your open bins and clears out any cached data of the online master clips. Bins containing sequences use more memory than bins containing master clips. For bins that contain a large number of sequences, you can free up memory and still keep your old sequences. Create an archive bin and move older sequences that you do not use anymore to the archive bin. Keep the archive bin closed. To free up memory: 1. Click the Info tab of the Project window. 2. Click the Clear Memory button. 83 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. User profiles let you establish separate settings for different editing functions. User “Jane,” for example, can have separate profiles for “Audio editor,” “Film editor,” or for “Assistant 1,” “Assistant 2,” and so on. User profile folders are kept in the following folder: Windows XP drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Avid Users\UserName Windows Vista and Windows 7 drive:\Users\Public\Public Documents\Avid editing application\Avid Users\UserName Macintosh /Users/Shared/Avid editing application/Avid Users/UserName You can do the following with user profiles: • Create new user profiles • Switch between user profiles • Return to the original user profile • Import settings from another user or user profile • Create a user profile on one system, export it to a server, and then import the same user profile from another system to the new system. When you export a user profile, you can select either a Personal or Group profile. - When you select Personal, the user profile performs an auto-load and an auto-save every time you open a project. Every time the user profile is updated, it saves the new profile information. For example, you can create the user profile Jennie on one system, export it 84 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. n When you export User Profiles in an Avid shared storage environment, make sure the workspace containing the user profile has the same drive letter on all systems. n You can not share user profiles across platforms (Macintosh to Windows or Windows to Macintosh). • Update a user profile to add user settings to an existing Settings list. For example, if you upgrade to a version of your Avid editing application that contains the Send To option from a version that did not have that option, you can choose the Update User Profile option to make sure the Send To settings templates appear in your Settings list. For step-by-step procedures, see “Managing User Profiles” on page 85. Managing User Profiles To create a user profile: 1. Click the Settings tab in the Project window. The User Profile Selection menu in the Settings tab of the Project window 85 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. The new user profile name appears in the Project window title bar. To return to the original user profile: 1. Click the Settings tab. 2. Click the User Profile Selection menu, and select the default user profile. n If you use a user profile other than the default and you change to another project, the default user settings load, even though the Project window displays your non-default user profile name. You must reselect the user profile. To import user settings from another user or user profile: 1. Click the Settings tab. 2. Click the User Profile Selection menu, and select Import User or User Profile. 3. Navigate to the user or user profile you want to import. To export user settings to another user or user profile: 1. Click the Settings tab. 2. Click the User Profile Selection menu, and select Export User or User Profile. 3. Select Personal or Group. 4. Navigate to the location where you want to place the user or user profile. 5. Click OK. To update user profiles: 1. Click the Settings tab. 2. Click the User Profile Selection menu, and select Update User Profiles. Any new settings added to the upgraded version of your Avid editing application appear in the Settings list. 86 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. Empty the Recycle Bin (Windows) or the Trash (Macintosh) to remove the files from the system. 4. Close the windows, and restart your Avid editing application. The deleted user no longer appears in the Select Project dialog box. Customizing the Avid User Interface The Interface Settings dialog box provides you with controls for customizing the brightness and the colors of the Avid user interface. For complete reference information on the Interface Settings dialog box, see “Interface Settings” on page 1357. The Interface Settings dialog box allows you to set the highlight color for buttons. You can also control the brightness of the user interface, which includes the following components: • Application, tool, toolbar, and dialog box backgrounds • Buttons and button contents • Project background The Avid editing application lets you modify the colors of some interface components using controls not included in the Interface Settings dialog box: • Bin media object color — see “Assigning Colors to Objects in a Bin” on page 335. • Timeline clip color — see “Displaying Clip Colors in the Timeline” on page 660. • Timeline background and track colors — see “Changing the Timeline Background or Track Color” on page 664. • Bin background color — see “Changing the Bin Background Color” on page 334. Changing Interface Component Colors You can use a brightness selection slider and selection buttons to change the appearance of some interface components. 87 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. Click the Interface Brightness slider to adjust the brightness of the user interface. The Avid editing application provides several presets on the slider. 4. (Option) If you want to set the color of the video, audio, or timecode tracks to the default, select the appropriate option. 88 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 334. 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. t Click Cancel to close the dialog box. The changes you select do not take effect. Changing Font and Point Size You can change the default font and point sizes of the Project, Bin, Composer monitor, Script, and Timeline windows. You can vary the fonts and point sizes across these windows. For example, you can set the Project window to Helvetica, 13 pt.; set one Bin window to Times Roman, 11 pt.; and set another Bin window to Arial, 12 pt. The table describes the windows you can change, and where these changes are saved. Window Location of Changes Project Changes the font and point size of the text in the Project window; saves as a Project setting. Bin Changes the font and point size of the text in the Bin window; saves as a Bin setting (not a Bin View setting). Composer monitor Changes the font and point size of the sequence or source clip name text; saves as a Composer setting. Script Changes the font and point size of the text in the Script window; saves as a Script setting. Timeline Changes the font and point size of clip text; saves as a Timeline View setting. To change the font in the Project, Bin, Composer monitor, Script, or Timeline window: 1. Click the Project, Bin, Composer monitor, Script, or Timeline window to make it active. 2. Select Edit > Set Font. The Set Font dialog box opens. 3. Click the Font menu, and select a font. 89 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 Your Avid editing application provides default layouts of windows and tools designed to utilize the application interface efficiently. These layouts are organized as workspaces, and the default workspaces include the following: • Audio Editing • Color Correction • Source/Record Editing • Effects Editing • Capture If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button. For example, during capture you might want to display the Capture tool and Video Input tool in specific locations. During effects editing, you might want to display the Effect Palette and Effect Editor in particular locations and sizes. While in a workspace, you can move tool windows or open and close tool windows. The next time you select that workspace, the tool windows appear with the arrangement you set for the workspace. You can assign up to 12 buttons that let you switch between workspaces. Workspace settings are user settings, so different users can have separate workspace arrangements. This is useful if there is more than one user accessing the same Avid system. Each user can assign up to 12 workspaces. You can also link the mode buttons in the Timeline palette to specific workspaces. And you can map the Workspace buttons in the Command palette to toolbars in the Timeline; in the Tool palette, or to a keyboard setting. n You cannot assign certain tool windows to a workspace, such as the Hardware tool, the Communication (Serial) Ports tool, and the Media tool. 90 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. (Option) Select Based on Workspace, and then select a different workspace from the active one. 6. Click OK. The new workspace appears in the Workspaces menu. To remove your customizations: 1. Select Windows > Workspaces > Restore Current to Default. A message box warns you that the action deletes your custom workspace settings. 2. Click OK. The workspace settings revert to the default settings on which you based the customizations. To link a mode button in the Timeline palette to a workspace: 1. In the Settings list of the Project window, double-click Workspace Linking. The Workspace Linking Settings dialog box opens. 2. Click one of the following, and then select a workspace to which you want to link a mode button: t Source/Record mode t Effects mode t Color Correction mode The mode button is linked to the workspace. 3. Click OK. When you click the mode button in the Timeline palette, the assigned workspace opens. To delete a custom workspace: 1. Select Windows > Workspaces > Delete Workspace. The Delete Workspace dialog box opens. 2. Click OK. 91 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. Select Windows > Workspaces > workspacename for the workspace you want to link. 2. In the Settings list of the Project window, create a new setting for any setting you want to link to your workspace. For information on creating custom settings, see “Duplicating Settings” on page 1280. 3. Double-click a setting that you want to link to your workspace, and change the settings you want to customize — for example, click Timeline and then select the Timeline settings you want. 4. Name this setting with the same name of your workspace. For more information, see “Naming Settings” on page 1281. 5. Double-click another setting. Select the options you want, close the dialog box. 6. Name this setting with the same name of your workspace. 92 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. 93 Using Workspaces For more information about creating and naming custom settings, see “Working with Settings” on page 1277. 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 95. 11. Click OK. The workspace is linked to the custom setting you specified. To link a workspace to an unnamed setting: 1. Do one of the following: t For the workspace you want to link, select Windows > Workspaces > workspace. t In the Settings list of the Project window, double-click the workspace you want to link. The Workspace View Setting dialog box opens. 2. Select Link to Named settings and make sure there is nothing entered in the text box below it. 3. Click OK. The workspace is linked to all the unnamed settings in the Settings list. Assigning a Workspace or Bin Layout Button To assign a workspace button: 1. Select Tools > Command Palette. Workspace buttons in the Workspaces tab of the Command Palette 2. Click the Workspaces tab. 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. 94 Using Workspaces The workspace button appears in the new location. To assing 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. Bin Layout menu in the Workspaces tab of the Command Palette 4. Select Button to Button Reassignment. 5. Click a bin layout button and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard setting. The bin layout button appears in the new location. Using Bin Layouts You can arrange and save bin window configurations independently of workspaces, including the contents of bin windows containing tabbed bins. You can also link a specific bin layout to a workspace. This allows you to open bin layouts at any time to customize the interface of your Avid editing application. When you open a bin layout, the Avid editing application opens all bins saved in the bin layout and places them in the position configured in the layout. If you close the application, the position of bins in your current configuration is saved but not the bin layout setting. To save a custom bin layout, you must use the Bin Layout menu. 95 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. If you delete a bin layout, the layout is deleted from your project. If you have an identical bin layout in another project, the layout is deleted only from the open project. n If you assign a bin layout button to a toolbar or a keyboard setting, deleting the bin layout does not remove the bin layout button. To remove the bin layout button, you must either assign a different button or a blank button to the toolbar or keyboard setting. To open a bin layout, do the following: t Select Windows > Bin Layout > bin layout. To save a custom bin layout: 1. Select Windows > Bin Layout > New Bin Layout. The New Bin Layout dialog box opens. 2. Type a name for the bin layout, and then click OK. The application saves the bin layout, and the layout appears in the Bin Layout menu and in the Settings tab of the Project window. To link a bin layout to a workspace view: 1. Do one of the following: t Select Windows > Workspaces > Properties. t In the Settings tab of the Project window, double-click the Workspace View you want to link. The Workspace View Setting dialog box opens. 2. Click the Bin Layout menu and select a bin. 3. Click OK. To modify a bin layout: 1. Arrange and size your bins. 2. Select Windows > Bin Layout > Save Current. To delete a bin layout: 1. Select Windows > Bin Layout > Delete Bin Layout. The Delete Bin Layout dialog box opens. 96 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 MediaNetwork and 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. At the same time, other users add audio effects or titles to other bins in the project. Each user performs tasks from their own computer. Your Avid editing application provides a locking mechanism to help you keep track of who is currently working in a bin. The method allows one user to write to a bin; multiple users can read the files in that bin. c The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you do not overwrite changes to the bin. In an Avid shared storage environment, your Avid editing application creates and stores projects and bins on the client’s internal drive. If you move or save these projects and bins to the workspace, only one client can work on the project at a time. If two or more users work simultaneously on the same project, only one user can update the files. Other users can open and play sequences but cannot make any changes to them. For information on managing workspaces, see the clients’ Quick Start cards. n You can also use an asset manager such as Avid Interplay to collaborate on projects. For more details, refer to “Working with Avid Interplay from an Avid Editing System” on page 1106. Sharing Bins and Projects in Avid Shared Storage Sharing Only Bins If you share only bins, you store the project on your local system and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system identifies the shared bins as follows: • Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder. • Displays a second column of information for the bin that identifies the computer that currently has the bin locked. • Uses bold text to identify bins that are locked by another user. 97 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. Your Avid editing application adds the computer’s name to the folder name to create a unique name and stores any project-specific information in the folder. This prevents users from overwriting the project-specific data for other users. • Displays an extra column in the Project window that identifies the computer that has the bin locked. • Uses bold text to identify bins that are locked by other users. • Creates a folder at the top level of the shared workspace called Unity Attic. This folder contains backup files for each project on the shared volume. Depending on the number of users sharing a workspace, you might want to increase the number of files that your Avid editing application stores in the Unity Attic folder. The following illustration shows the Project window for a shared project. MSmith TBaksh Bins tab in the Project window, showing a bin that is locked for editing (bold text, top left), the name of the computer that currently has the bin locked (top right), and folders for each computer that accesses the project (bottom) Opening a Shared Project To open an existing project on the shared volume: 1. Start your Avid editing application. 2. In the Select Project dialog box, navigate to the project on Avid shared storage. 98 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 97. 3. Double-click a Bin icon to open one of the bins. The bin appears with a Bin Lock Status button. You can click the red (locked) or green (unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications. The Bin Lock Status button. When the button is green (top), the bin is unlocked. When the button is red (bottom) the bin is locked. When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Considerations for Working with Shared Bins and Projects” on page 100. n The Bin Lock Status button does not appear if the bin is not on Avid shared storage. Working with Locks and Shared Bins Your Avid editing application uses a locking mechanism to help you keep track of who is currently working in a shared bin. Only one user can write to the bin, but multiple users can read the files in the bin. The user who opens the bin first controls the lock and obtains write access to the bin. Bold text in the Project window also identifies bins that are locked by another user. When the person who controls the lock closes the bin, it becomes available for another user to open and control the lock. If one user has the lock and another user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to control the lock. 99 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. Select one or more bins in the Project window. 2. Right-click the Bin icon, and select Lock Project Bin. An asterisk appears next to the user name in the Project window. In this case, the bin remains locked even after you close it. To unlock the bin: t n Right-click the bin in the Project window, and select Unlock Project Bin. The Lock Project Bin and Unlock Project Bin commands are also available from the Clip menu. Considerations for Working with Shared Bins and Projects Suggestions for Improving Performance When Working with Shared Bins The following information is provided to improve performance when working with shared bins in an Avid shared storage environment. • Do not use the same name for your editing system machine name and your user name. Do not use the same name for security objects such as machine names, user names, group names, and domain names. If any two security objects have the same name, Windows might become confused and sharing might not work properly. • Do not use the same prefix for machine names in a shared environment. No full name can be a prefix of another name. If one of the systems has a machine name that is the full name, and others in the environment have the prefix as part of their machine name, problems can occur. For example, if an editing system has a machine name ABC and additional editing systems in the shared environment have machine names ABCnn, ABCxx, the following problems could occur: - When the system with the machine name ABC is writing to a directory, the systems whose machine names have the same prefix (ABCnn and ABCxx) might not be able to access the directory. - When the system with the machine name ABC is rendering, systems whose machine names have the same prefix (ABCnn and ABCxx) might be unable to launch. 100 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. If you do, when you attempt to access those shared bins or projects you might experience delays accompanied by a progress dialog that says, “Filesystem busy, retrying (MESSAGE).” If the busy condition persists, a failure message appears. Make sure that you are not using Windows Explorer for the shared bins you are trying to access, and then try the operation again. • When you have an environment where more than five users are sharing bins on Avid shared storage, Avid recommends using an Avid Interplay server in the workgroup environment. • When an Avid Interplay server is available in an Avid workgroup environment, Avid does not recommend sharing bins or projects. Use the Avid Interplay server and the Interplay Window to share media. All editing systems in a workgroup environment that includes an Avid Interplay server must have the Avid shared storage client software installed. The Media Tool might become unreliable if an editor in the Avid shared storage workgroup environment does not have the Avid shared storage client software installed. Limitations When Working with Shared Bins and Projects If an editor other than the creator deletes a media file, other editors cannot see that media file go offline immediately. If an editor tries to play that file, a “media file not found” message might appear in a monitor window, and an access violation error might occur. Each editing application maintains a PMR file in its machine name folder inside the OMFI MediaFiles folder or the Avid MediaFiles folder. The PMR file lists all the online media files. Every editing application consults all the PMR files in all the machine name folders to find out which media files are online. Whenever a media file is created, its name is immediately added to the creating editor application's PMR file, and whenever a media file is deleted by its creator, its name is immediately removed from the PMR file. However, if an editing application other than the creator deletes a media file, the PMR file that contains the deleted file is NOT updated immediately. Once the creating editor encounters an event that causes its PMR to be updated, then all editing systems know that the deleted media file has gone offline. There are several ways to force an editing application to update its PMR. The simplest is to switch to the desktop and back. 101 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. Restrictions and Limitations for Locked Bins The following restrictions apply to bins that are locked by another user: • You cannot select a locked bin for operations such as capture, title creation, and import. This helps to minimize the problems of modifying a locked bin. • You cannot drag an item to a locked bin. • If you drag an item from a locked bin to a writable bin, the Avid system creates a duplicate (not a copy) of the selection in the writable bin. The original item is not removed from the locked bin. This operation is the equivalent of duplicating a selection and then drag the duplicate to another bin. • You cannot move a bin that is locked by another user. • If you modify a locked bin, your Avid editing application does not let you save the bin to the same name, but it lets you save the bin to another name. However, this causes duplicate bin IDs and might cause system-level conflicts with the contents of the two bins. Your Avid editing application sees the duplicate contents of these bins and resolves the conflicts by newest modifications. Avoid creating duplicate bins when you modify a locked bin. If you do create a duplicate bin, you should manually merge the changes into the original bin and delete the duplicate bin. c The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin. Limitation When Using the Shared Bin Lock Icon Occasionally, when two editors attempt to open a shared bin at the same time, both editors get the green lock icon. However, only one editor really has the lock, and that editor's machine name appears beside the bin name in both Project windows. Both editors can modify their copies of the bin, but only the editor that controls the lock, as indicated in the Project window, can save that bin. The other editor is warned that the bin is locked but is allowed to save a copy of the changed bin. Avid recommends that you use the “Save Bin Copy As...” button and continue working. 102 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. n Any project brought into a networked workflow that was created with any of the filtering selections off might have problems with networked media creation, such as “Audio and/or Video Mixdown” and “Send To Playback,” because their Media Creation Settings are still configured for standalone usage. There are several ways to work around this issue. First, adjust the drive filtering settings when you switch environments. You can open the Media Creation Setting and switch the drive filtering settings or create multiple Media Creation Settings and switch the active setting whenever you shift environments. If you always work in an environment that differs from the defaults, you can create a Media Creation setting that fits your workflow and add it to your Site Settings so you create new projects with the desired defaults. For more information, see “Using Site Settings” on page 1284. 103 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. These tools are described in the following sections: • Using the Tools Menu • Using a Deck Controller • Deck Controller Window Reference • The Command Palette • Using the Avid Calculator • Using The Console Window • Using the Hardware Tool • External Controllers as Editing Control Surfaces Using the Tools Menu To open a tool: t Select Tools > tool name. Using Tabs When you open a tool, it opens in a separate window by default. however, you can drag tools to a single tab window to conserve space within your Avid editing application, and you can move tools between tab windows. n You can move tools into tab windows that contain other tools. You cannot move tools into tab windows used for bins. For more information on using bin tabs, see “Using Bin Tabs” on page 328. To move a tool into a window: t Click the tab in the tool you want to move, and drag it to the target window. 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. The tab display adjusts to display the next tool either on the left or the right. t Click the Tab menu, and then select the name of the tool you want to view. The selected tool displays in the tab window. To organize tools by changing the order of tabs: t Click the tab of a tool you want to move, and drag it to a new position in the tab row. To close a tool tab: t Click the Close button in the tab. Using a Deck Controller A deck controller provides direct serial or VLXi® V-LAN® control of an Avid-compatible tape deck at any time while you edit. You can cue and screen footage from source tapes in various edit modes, or when you record a digital cut, without opening the Capture tool. To open a deck controller: t Select Tools > New Deck Controller. A new Deck Controller window opens. 105 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.” • If you turn the deck power off with the deck controller open, the indicator displays the message “Power Off.” • If you switch the deck control to Local on the VTR, the indicator displays the message “Local.” n Information on connecting decks and cabling varies depending on the Avid input/output hardware device you use. For more information, see “Connecting Cameras, Decks, and Monitors” in the Help. 2 Timecode indicator Flashes green during playback or capture to indicate that the system is receiving valid timecode from the source tape. If the indicator remains unlit, the system is not receiving timecode. 3 Deck controls Provide a standard range of playback capabilities, including fast forward and rewind, stop and play, step backward and step forward, pause, and eject. 4 Deck Selection menu Lets you specify a deck with deck control parameters that you can customize. For more information, see “Deck Configuration Settings” on page 1311. 5 Tape Name button Lets you associate a tape name with the controller and select a tape. For more information, see “Selecting a Source Tape” on page 183. 106 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 135. 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. Tabs display each editing function and the buttons that perform those functions display in each tab. The functions include: Move, Play, Edit, Trim, FX (Effects), 3D, CC (Color Correction), MCam (MultiCamera), Other, More, and Smart Tool. You can use the Command palette to: n • Map buttons to any Tool palette or the keyboard. See “Mapping User-Selectable Buttons” on page 109. • Map menu commands to various buttons and keys. See “Mapping Menu Commands” on page 110. • Directly activate a command. See “Activating Commands from the Command Palette” on page 111. For information about each button in the Command palette, right-click a button and select What’s This? from the menu. Understanding Button Mapping Mapping user-selectable buttons lets you reconfigure Tool palettes, toolbars, or the keyboard in various combinations to suit different editing needs. 107 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. Buttons you use for complex layering and effects. Top, left to right: Motion Effect, Remove Effect, Transition Corner Display, and Fade Effect. Bottom, left to right: Render Effect, Cycle Picture/Sound, Quick Transition, Grid (available on some Avid editing applications). Buttons you use for MultiCamera editing. Left to right: Quad Split, Swap Cam Bank, and Group. When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes. For more information on multiple settings, see “Selecting Among Multiple Settings” on page 1281. Your Avid editing application saves button configurations as follows: • Changes to the Keyboard palette are saved in the Keyboard settings. • Changes to the pop-up monitor Tool palette and Tool palette in the Composer window are saved with the Composer settings. • Changes to Command palettes while trimming are saved with Trim settings. • Changes to the Tool palette are saved in the Interface settings. To change the appearance of the buttons in the Tool palette in the Interface settings, see “Customizing the Avid User Interface” on page 87. To identify a button’s function with only an icon or with an icon and letters, see “Interface Settings” on page 1357. 108 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 109. Modifier Keys You can add modifier keys to functions already associated with keys and buttons. The Other tab in the Command palette contains the following modifier key buttons: Button Description (Windows) Add Alt Key button (Macintosh) Add Control Key button (Macintosh) Add Option Key button For example, on a Windows system, if you map the Add Alt Key button to the Mark IN key (I key), the function of the I key changes to Go to IN Point (which is equivalent to pressing Alt+I). For a list of other functions that use modifier keys, select Help > Shortcuts. n After you modify a key or button with a modifier key button, you can use the default function of the key or button if you press and hold the appropriate modifier key while you press the key, or press and hold the modifier key while you click the button. Mapping User-Selectable Buttons To map buttons or keys on the keyboard by using the Command palette: 1. Do one of the following to open a window that has a user-selectable button: t Activate the Playback, Source, or Record monitor in the Composer window. t Click a Fast Menu button, and drag the Tool palette to open it. t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu button, and drag to tear off the Tool palette. t Open a clip in a pop-up monitor. t Open the Keyboard palette from the Settings list in the Project window. 109 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. Mapping Menu Commands You can also map menu commands directly onto any mappable button location or onto the keyboard. In some cases, you can avoid using menus altogether. n Before you map some commands, you must first establish the condition that enables the command. For example, before you map the Render In/Out command from the Clip menu, you must first mark IN and OUT points in the Timeline so that the menu command appears. To map menu commands: 1. Do one of the following to open a window that has user-selectable buttons: t Activate a monitor in the Composer window. t Click a Fast Menu button, and drag the Tool palette to open it. t Open a clip in a pop-up monitor. t Open the Keyboard palette from the Settings list in the Project window. 2. Select Tools > Command Palette. The Command palette opens. 3. Select Menu to Button Reassignment. 4. Click a target button in the Keyboard palette or other palette (for example, the Command palette under a monitor). The pointer changes to a small white menu. 5. Select the menu command you want to map to the target button. The initials for the menu command appear on the target button. Example of a menu command — Special > MultiCamera Mode (MM) — mapped to a button in the Tool Palette. 110 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. Click the button in the Command palette for the function you want to perform. Using the Avid Calculator The Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats. For example, you can: • Convert drop-frame to non-drop-frame timecode values. • Convert timecode durations between 30-fps and 25-fps projects. • Convert a duration in video to the corresponding length in footage and frames for measuring 35mm film. To use the Avid Calculator: 1. Select Tools > Calculator. The Avid Calculator opens. 2. Click the Format menu, and select a format. 3. Make calculations in one of the following ways: t Click numbers and functions in the Avid Calculator. t Enter numbers and functions using the numeric keypad. t Enter numbers and functions using the top row of numbers on the keyboard. You do not need to enter leading zeros, colons, or semicolons for timecode. To convert your totals at any time to another format: t Click the Format menu, and select a different frame code or key number format. 111 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. c Do not use the programming features of the Console without guidance from Avid. Contact your Avid Reseller with specific questions. (In North America, you can contact Avid Customer Support.) The Console window provides quick access to bin information such as total duration of selected clips or total items in a bin including hidden items. You can also use the Console window to display information about a clip, segment, or sequence in the Timeline. You can access network drives that you have mapped to your Avid editing system. Once you map your network drives, you can type the appropriate console command to display the mapped drive letter in the appropriate tools in your Avid editing application. n For information about mapping dives to your computer, see your Windows or Macintosh documentation. You do not need to use this feature to access Avid shared storage network drives. When the feature is turned on, the mapped drive letter appears in the Target Drive menu. When you turn the feature off, the mapped drive letter is dimmed. If you quit and restart your Avid editing application, the mapped drive letter does not appear in the Target Drive menu. To display current system information: 1. Select Tools > Console. The Console window opens. 2. Scroll in the Console window to view your system information and ID. Your system ID is on a line beginning System ID: To review errors logged to the Console window: 1. When an error occurs, close the message box and select Tools > Console. 2. Scroll through the Console window to find a log of the error to use when you contact your Avid Reseller or Avid Customer Support. 112 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. Open the Console window by selecting Tools > Console. 2. In the Console command line, type: alldrives 1 3. Press Enter (Windows) or Return (Macintosh). Network drives are now visible in your Avid editing application. Typing alldrives in the Console window turns this feature on and off. Typing alldrives 2 restores the default behavior where only media drives are available. By default, network drives are filtered by resolution when the option Filter Network Drives Based on Resolution option is selected in the Media Creation settings. For more information, see “Media Creation Settings” on page 1361. Using the Hardware Tool The Hardware tool provides the following information about the system’s hardware configuration: • n The Drives tab lists each online drive. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive. If your system is connected to an Avid shared storage network, you see two drives tabs, Local Drives and Avid shared storage Drives. • (Windows) The System tab lists the operating system, its version, service pack, and build, and the physical memory. • (Macintosh) The System tab lists the operating system, its version, and the physical memory. 113 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. Avid supports the following controllers for this purpose: • Avid Command|8™ • Avid 002 (Windows only) For information about these controllers, see “Using External Audio Devices” on page 837. 114 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. The following topics provide information for preparing log information: • Using Avid Log Exchange to Prepare Log Files for Import • Avid Log Specifications • Creating an Avid Log • Double-Checking Log Files • Transferring Bins from MediaLog • Logging Directly into a Bin • Understanding the Pulldown Phase • Setting the Pulldown Phase • Film-Related Log Information Using Avid Log Exchange to Prepare Log Files for Import Log files need to conform to the Avid Log Exchange (ALE) format to import into your Avid editing application. You can use the ALE utility included with your system to convert shot log files. The ALE utility lets you: • Modify the text in a log file (Windows only). • Convert log files of different formats to ALE files. See “Log Formats Compatible with Avid Log Exchange” on page 123. • Convert an ALE file to either an ATN or FLX file. Any options you set in the ALE utility are saved each time you close the ALE utility. 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. The system stores the converted output files in the folder containing the original input file. Converting Log Files with Avid Log Exchange (Windows) To convert a log file to an ALE file: 1. Click the Start button, and select All Programs > Avid > Log Exchange. The Avid Log Exchange window opens. 2. Do one of the following: t If the log file is a Final Cut Pro®, Cinema Tools™, or a Tabbed shot log file, select File > Import > file type. t If the log file is another file type, such as .flx or .atn, select File > Open. The Open dialog box opens. 3. Double-click the file you want to convert. The Import Header Options dialog box opens. 4. Select the information you want to appear in the global settings of the .ale file. The global settings appear at the top of the .ale file. 5. Click OK. 6. Depending on the type of file you open, one of the following occurs: - If the file type is recognized by the ALE utility, the file appears in the Avid Log Exchange window. - If the file type is not recognized, the Select File Type dialog box opens. Select the type of file you want the system to convert, then click OK. - If the file does not contain the Windows line-ending format, then the Line Endings dialog box opens. Select an option from the table. Option Description Display & Save Opens the file in the Avid Log Exchange window and changes the file to the Windows format. Display Only Opens the file in the Avid Log Exchange window, but does not change the file. Ignore Displays the file as is without changes. 116 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 123. 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. 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. 8. Select Options > Clean if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips. When you select Clean, the utility changes the end timecode of a previous event to be less than that of the following event. Clean is the default. 9. When you select Clean, you can also select Options > Relaxed to prevent the deleting of events that come earlier in the transfer. Relaxed is not set by default. For example, if you transfer film footage with a timecode of 2:00:00:00 and then add clips at the end with a timecode of 1:00:00:00, Relaxed prevents the deleting of events that come earlier in the transfer. This occurs when you shoot footage across the midnight hour, the first half of the film has 24 hours, and the second half has 0 hours. 10. Select Convert > ALE. The default output selection is the ALE format. This is the required format for import into an Avid bin. The Avid Log Exchange window displays the converted ALE file. The converted file has the same file name as the original file, except the file name extension matches the converted file format. 117 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. n If the log file is a Final Cut Pro, Cinema Tools, or a Tabbed shot log file, you cannot use drag-and-drop conversion. Use the procedure in “Converting Log Files with Avid Log Exchange (Windows)” on page 116 to convert files of this type. To convert a log file by using drag-and-drop conversion: 1. Check the options that are set in the ALE utility. See “Converting Log Files with Avid Log Exchange (Windows)” on page 116. 2. Create a shortcut for the ALE utility. 118 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. - If the file type is not recognized, the Select File Type dialog box opens. Select the type of file you convert and click OK. - If the file type is an ALE file, the ALE Convert Type dialog box opens. Select a file type for the converted output file and click OK. A message box opens, indicating the conversion was successful. 7. Click OK to close the message box. The converted files have the same file names as the original files, with an extension of the converted file format. For example, the .ale file name extension is added for the Avid format. The converted files are stored in the folder containing the original log files. Converting Log Files with Avid Log Exchange (Macintosh) Use the ALE utility, included with your system, to convert shot logs that you create during a film-to-tape transfer. 119 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. If you are not sure of the type of file, select the Automatic option. ALE will determine the type of file based on the file name. For a list of supported file types, see Log Formats Compatible with Avid Log Exchange. 3. Select the type of file you want to create from the Output list. The default output selection is the Avid Log Exchange (.ale) format. This is the required format for import into an Avid bin. 4. Select the tracks to include in the Tracks column of the log. 120 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. When you select Clean, the utility changes the end timecode of a previous event to be less than that of the following event. Clean is the default. 6. When you select Clean, you can also select Options > Relaxed to prevent the deleting of events that come earlier in the transfer. Relaxed is not set by default. For example, if you transfer film footage with a timecode of 2:00:00:00 and then add clips at the end with a timecode of 1:00:00:00, Relaxed prevents the deleting of events that come earlier in the transfer. This occurs when you shoot footage across the midnight hour, the first half of the film has 24 hours, and the second half has 0 hours. 7. Select the global settings information, for example, NTSC or PAL, that you want to appear in the ALE file. Global settings appear at the top of the .ale file. 8. Click the Convert button to open the Select File To Convert dialog box. 9. Open the drive and folder that contain the files you want to convert. 10. Double-click the input file name. If you select a file type, ALE converts the file immediately. If you select the Automatic option, a message box opens and asks you to confirm the file type. 11. Click the button for the selected file type. A message box opens. 12. Do one of the following: t Click This File Only button to convert only the file you select to the format you select. t Click All Files button to convert all files you select in this session to the format you select. If you click All Files, the message boxes does not open the next time you open a file. ALE stores the converted file in the same folder as the original input file. The system adds the replaces the original file name extension by the extension for the new format. You can only import .ale files into Avid products. 121 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 119) to convert files of this type. To convert a log file by using drag-and-drop conversion: 1. Check the options that are set in the ALE utility. See “Converting Log Files with Avid Log Exchange (Macintosh)” on page 119. 2. Navigate to and then open the folder that contains the Avid Log Exchange icon. 3. Open the folder that contains the files you want to convert, positioning the folder so the Avid Log Exchange icon is visible. 4. Select the files you want to convert. 5. Drag the selected files to the Avid Log Exchange icon, and release the mouse button. The system converts the files to Avid format and adds the .ale file name extension to the new file names. Viewing ASC Color Decision List (CDL) Parameters in Avid Log Exchange Avid Log Exchange can store ASC_SOP (American Society of Cinematographers Slope, Offset and Power) and ASC_SAT (American Society of Cinematographers Saturation) parameters. To view the ASC_SOP and ASC_SAT parameters in your Avid editing application: 1. With a bin in Text view, select Bin > Headings. 2. Click to select ASC_SOP and ASC_SAT. 3. Import the ALE file. The ASC_SOP and ASC_SAT information appears in the appropriate bin column. To view the ASC_SOP and ASC_SAT parameters in the EDL application: 1. With the sequence loaded in the Avid editing system, select Output > EDL. 2. In EDL Manager, select Windows > Options. 3. Select the Comments tab. 4. Enable the Color Decision List option. 5. Select File > Get Current Sequence. 122 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 .ftl Excalibur Conversion required .ale or .flx Final Cut Pro Conversion required .txt FLEx™ Conversion required .flx Keyscope Conversion required .ksl Log Producer™ Conversion required .llp Log right Import directly .ale OSC/R (Macintosh® only) Conversion required .asc OLE (Windows only) Conversion required .odb Shotlister Import directly .ale Tab Delimited Conversion required .txt Avid Log Specifications Use a word processing application or a text editor to prepare an Avid log on any Windows or Macintosh computer You can use the file name extension .txt, but it is not required. To ensure accuracy, you must follow the Avid log specifications described in this section. 123 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. • Ais surrounded by angled brackets. appear underneath, also in angled brackets. You must enter one of these values. For example, <29.97> is one of the supported values for the FPS Title; to specify that value, type 29.97. • A is also surrounded by angled brackets, but it is italicized. For example, is the data entry for the Start Title; type the correct timecode, in the format 08:19:10:00 (or 08;19;10;00, for drop-frame timecode). • [Tab] and [Enter] (Windows) or [Return] (Macintosh) keys are surrounded by standard brackets. • A column contains the word “Required” if the Title must be included in the log. • The final column contains notes about the Title or values. You can decide not to display a defined Title (including a required Title), except for Name. Name must always be displayed. The maximum number of combined global, standard, and custom Titles in a log file is 64. For an example of a simple log file, see “Sample Avid Log” on page 131. Global Titles The global Titles must come first in an Avid log file, and you must enter one value for each Title. GLOBAL Titles: Global Titles are case sensitive and must be spelled exactly as shown. Include all required Titles. Other Titles are optional but might be necessary for your project. The maximum number of combined global, standard, and custom Titles in a log file is 64. Title [Enter] or Required [Return] This marks the start of the global Titles. 124 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. If you omit this Title, the file name becomes the global tape name. You can override this for individual clips. FPS [Tab] <23.98> <24> <25> <29.97> [Enter] or Required [Return] Capture rate is 23.98 fps (23.978 fps) for NTSC, 24 fps for NTSC or PAL, 25 fps for PAL, or 29.97 fps for NTSC. [Enter] or [Return] Press Enter (Windows) or Return (Macintosh) a second time after you enter the FPS value. This marks the end of the global Titles. [Tab] Enter TABS to show that the file is Tab delimited. Column Titles The standard column Titles appear after the global Titles in the Avid log file. You do not enter the data for a column Title along with the Title. You enter the data later, in a separate data section. You must include the five required standard column Titles; they are listed first in the table. You can create your own custom column Titles. Enter them after the standard Titles (see the last Title in the table). To create a custom Title, substitute the custom Title name for . You can create several custom Titles, as long as the total of global, standard, and custom Titles does not exceed 64. 125 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. Column [Enter] or [Return] Required Indicates the start of the column Titles. Name [Tab] Required Title for clip name. Tracks [Tab] Required Title for tracks you select for capture. Start [Tab] Required Title for video timecode of sync point — the timecode IN for clip. From address track of video. End [Tab] Required Title for timecode OUT for clip. From address track of video. Audio [Tab] Title for the audio resolution (sample rate). If omitted, the global entry for AUDIO_FORMAT applies. Auxiliary Ink [Tab] Title for a second ink number used for the clip. Auxiliary TC1 [Tab] Title for auxiliary timecode. Auxiliary TC2 [Tab] Title for auxiliary timecode. Auxiliary TC3 [Tab] Title for auxiliary timecode. Auxiliary TC4 [Tab] Title for auxiliary timecode. Auxiliary TC5 [Tab] Title for auxiliary timecode. Camera [Tab] Title for the camera used to film this clip. This feature is used in multicamera shoots. Camroll [Tab] Title for the camera roll ID containing this clip. Duration [Tab] Title for timecode Start to timecode End, the length of the video clip. FPS [Tab] Title for video frames per second rate for capturing the individual clip. If omitted, the global entry applies. 126 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. Perf [Tab] Title for the film-edge perforations format used for 3-perf projects. Pullin [Tab] Title for the telecine pulldown of the first frame of the clip (pulldown phase). Pullin can have the values A, B, C, or D. Pullout [Tab] Title for the telecine pulldown of the last frame of the clip (pulldown phase). Pullout can have the values A, B, C, or D. Reel # [Tab] Title for the source reel number. Scene [Tab] Title for the scene number of the clip. Shoot date [Tab] Title for the date the footage was shot. Sound TC [Tab] Title for Nagra timecode, Arri® code, and so on, at the sync point. Syncs with the Start timecode. Required if tracking the sync sound. Capture rate can be 25 or 30 fps. Soundroll [Tab] Title for sound roll ID for clip. TC 24 [Tab] Title for 24-fps timecode. TC 25P [Tab] Title for 25-fps timecode with pulldown. TC 25 [Tab] Title for 25-fps timecode. TC 30 [Tab] Title for 30-fps timecode. Take [Tab] Title for take ID for clip. Tape [Tab] Title for source tape ID for the individual clip. If omitted, the global entry applies. DESCRIPT [Tab] Title for description of clip. 127 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. Data Entries The data entries come after the Custom column Titles. The table shows the format for entering data. Enter a line of data in this format for every clip. Be sure to start the data section for each clip with the word Data [Enter] (Windows) or Data [Return] (Macintosh). DATA Titles: The word Data marks the start of the data for each clip. Data [Enter] or Required [Return] Enter the word Data to mark the start of the logged clip entries. DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so it aligns with its column Title. (The data that goes with the ninth column Title must be the ninth data entry.) Be sure to enter data for all the required values. To leave a data position unfilled, press the Tab key instead of typing data. Press Enter (Windows) or Return (Macintosh) at the end of each line. Your Avid system supports up to four audio tracks in imported and exported logs. [Tab] Required Under Name Title. Enter a clip identifier (32 characters maximum). [Tab] Required Under Tracks Title. Enter the tracks you want captured for the clip. Enter V for MOS takes. Enter A1, A2, or A1A2 for wild sound. Enter D for a data track. [Tab] Required Under Start Title. Enter the video timecode for the sync point, the first frame of the clip. Use colons for non-drop-frame (for example, 01:00:12:20). Use one or more semicolons for drop-frame (for example, 01;18;00;02). 128 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. Syncs with the Start timecode. [Tab] Under Camera Title. Identify the camera, using letters or numbers. For multicamera shoots. [Tab] Under Camroll Title. Identify the camera roll, using letters and numbers. [Tab] Under Duration Title. Enter the length of the video clip, Start to End. <23.98> <24> <25> <29.97> [Tab] Under FPS Title. Enter the video capture rate for this clip only. If omitted, the global entry applies. Use 23.98 fps (23.978 fps) for NTSC, 24 fps for NTSC or PAL, 25 fps for PAL, or 29.97 fps for NTSC. [Tab] Under Film TC Title. Identify the timecode used for the film, usually at 24 fps. [Tab] Under Ink Number Title. Identify the ink number for the start of the clip. [Tab] Under KN Start Title. Identify the complete key number for the start of the clip, for example, KU 31 2636-8903&12. [Tab] Under KN End Title. Identify the key number for the end of the clip. Identify only feet and frames, for example, 0342&07. [Tab] Under KN Duration Title. Identify the length of the clip, in feet and frames. [Tab] Under Labroll Title. Identify the lab roll, use letters and numbers. <1> <2> <3> [Tab] Under Perf Title. Edit the perf for this clip only. 129 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. [Tab] Under Shoot Date Title. Identify the date the footage was shot, use numbers or letters and numbers. [Tab] Under Sound TC Title. Identify the sound timecode at the sync point. Syncs with the Start timecode. [Tab] Under Soundroll Title. Identify the sound roll, use letters and numbers. [Tab] Under TC 24 Title. Identify the start of the clip for 24p timecode. [Tab] Under TC 25p Title. Identify the start of the clip for 25p timecode (PAL pulldown). [Tab] Under TC 25 Title. Identify the start of the clip for 25-fps timecode (PAL). [Tab] Under TC 30 Title. Identify the start of the clip for 30-fps timecode. [Tab] Under Take Title. Identify the take, use letters and numbers.
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