Avid Media Composer Editing Guide 6.0 MC

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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.
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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.
IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR
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PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING
OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.
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This software is based in part on the work of the Independent JPEG Group.
This Software may contain components licensed under the following conditions:
Copyright (c) 1989 The Regents of the University of California. All rights reserved.
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. All Nexidia materials regardless of form, including without limitation,
software applications, documentation and any other information relating to Nexidia Inc., and its products and services are the
exclusive property of Nexidia Inc. or its licensors. The Nexidia products and services described in these materials may be covered
by Nexidia's United States patents: 7,231,351; 7,263,484; 7,313,521; 7,324,939; 7,406,415, 7,475,065; 7,487,086 and/or other
patents pending and may be manufactured under license from the Georgia Tech Research Corporation USA.
The following disclaimer is required by Paradigm Matrix:
Portions of this software licensed from Paradigm Matrix.
The following disclaimer is required by Ray Sauers Associates, Inc.:
“Install-It” is licensed from Ray Sauers Associates, Inc. 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.
The following disclaimer is required by Videomedia, Inc.:
“Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with
respect to its merchantability or its fitness for any particular purpose.”
“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by
Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this
software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.”
The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source
Code:
©1993–1998 Altura Software, Inc.
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/). See the LGPL.txt file in the Third Party
Software directory on the installation CD.
Avid Interplay contains components licensed from LavanTech. These components may only be used as part of and in connection
with Avid Interplay.
Attn. Government User(s). Restricted Rights Legend
U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or
“commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf of a
unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the
License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.
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
7
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
8
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
9
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
10
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
11
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
12
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
13
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
14
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
15
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
16
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
17
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
18
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
19
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
20
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
21
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
22
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
23
Using This Guide
This guide contains the task-oriented instructions, conceptual information, and reference infor-
mation 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.
nThe 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
nA note provides important related information, reminders,
recommendations, and strong suggestions.
cA caution means that a specific action you take could cause harm to
your computer or cause you to lose data.
wA 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.
25
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.
(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.
Symbol or Convention Meaning or Action
26
Accessing the Goodies Folder
Avid supplies a Goodies folder located on the editing application DVD. Access the Good-
ies 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 applica-
tion.
The information in the Goodies folder is provided solely for your reference and as sugges-
tions for you to decide if any of these products fit into your process. Avid is not responsi-
ble 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 prod-
ucts. 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 prod-
uct 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).
27
1Editing 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
29
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.
Preparing to Edit
30
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.
1 Turn on your system and start your Avid editing application
2 Select or create a project 3 Select the Project settings
4 Create and organize bins
5 Back up the project
Editing a Sequence
31
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.
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.
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
32
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
Outputting a Sequence
33
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.
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
34
Finished sequence. Output options include:
Export a file Output to tape
Generate a cut list Generate an EDL
2Starting 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.
nDo 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
36
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.
nFor 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.
nYou 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:
tMinimize your Avid editing application.
Working with the Desktop
37
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:
tTo keep the taskbar hidden, deselect “Keep the task bar on top of other windows” and
“Auto hide the task bar.”
tTo 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:
tMove 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:
tRight-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
option to option in a dialog box.
Press Tab.
Working with the Desktop
38
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.
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.
nWhen 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.
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
numeric value.
Press Up Arrow or Down Arrow.
Option Command
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
window containing a slider (such as the Effect Editor).
Press Ctrl (Windows) or Control
(Macintosh) + scroll wheel.
To move the slider 10 units at a time in a tool or
window containing a slider (such as the Effect Editor).
Press Ctrl (Windows) or Control
(Macintosh) + Alt (Windows) or Option
(Macintosh) + scroll wheel.
Working with the Desktop
39
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.
Working with the Desktop
40
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.
Working with the Desktop
41
• 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.
Starting Your Avid Editing Application (Windows)
42
• 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.
cYour Avid editing application does not start properly if you move the application file from
the Avid editing application folder.
nIf 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:
tClick Start > All Programs > Avid > Avid editing application.
tDouble-click the Avid editing application desktop icon.
Starting Your Avid Editing Application (Macintosh)
43
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.
nFor more information to make an alias and use the Dock, see your Macintosh documentation.
cYour 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.
nWhen 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:
tDouble-click the alias icon for your Avid editing application on the desktop.
tDouble-click the alias icon for your Avid editing application on the Dock.
tSelect 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.
Working with Projects
44
nIf 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.
Working with Projects
45
Shared
A Shared Project is stored locally. It can be accessed by any user that can log on the editing
machine. On a Windows system, a Shared Project is always stored in the machine’s Shared
Documents directory.
Working with Projects
46
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.
nAvid 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:
Working with Projects
47
Locations of Avid Users Folders
The Avid Users folder is located in the application folder:
n(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.
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
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
Working with Projects
48
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
25
3
4
6
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.
nYou cannot type into the User or Folder text boxes.
Working with Projects
49
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.
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.
Element Description (Continued)
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
Creating a New Project
50
nSome 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.
nSet 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.
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
for HD broadcast.
YCbCr
720p/50 For HDV broadcast (European broadcast). YCbCr
720p/59.94 For video-originated material. Can be directly captured, edited, and output
for HD broadcast.
YCbCr
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
Project Type Source Footage Transfer (Continued) Color Space
Creating a New Project
51
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
the display setting in the monitors, and as a factor in
determining whether material requires resizing or
repositioning in sequences. For more information,
“Mixing Frame Sizes and Aspect Ratios” on page 584.
Select either
4:3 or 16:9
Always uses the 16:9
aspect ratio.
Creating a New Project
52
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.
Raster
Dimension
The Raster Dimension menu appears only for HD
projects on a supported system. For more information,
N/A
Color Space Specifies the color space for some HD project types,
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/A
nWhen using source material
that is full frame, the frame
compatible format is generated
on the fly which may result in a
performance slowdown.
Film Available for 23.976p, 24p, 25p, 720p, and 1080p film
projects. Click the Film button and select a format for
film gauge tracking from the Default Film Type menu.
N/A
Audio
Transfer Rate
Available for 24p PAL projects. For more information,
see “Audio Transfer Options for 24p PAL Projects” on
page 1444.
N/A
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.
Option SD HD
Setting Project-Naming Conventions
53
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.
Opening and Closing Projects
54
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.
nIf 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:
tSelect a project in the Select Project dialog box, and then click OK.
tDouble-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.
Opening and Closing Projects
55
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.
Opening and Closing Projects
56
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.
nThe 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:
tWith the Project window active, select File > Close Project.
tClick the Close button in the Project window.
Deleting a Project
57
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.
cDeleting a project also deletes any bins that are in that project.
nMedia 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:
tClick Leave to quit your Avid editing application.
Changing Project and User Names
58
tClick 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.
cQuit 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:
tSelect 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.
cNever 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.
cWhen 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.
Backing Up Your Project Information
59
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.
nDo 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:
•USB (thumb) drive
• CD-ROM or DVD-ROM
• Network storage device (such as a file server)
• Mass-storage device
nTo 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.
Avid Attic Folder
60
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.
nIf 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).
Avid Attic Folder
61
nThe 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.
Avid Attic Folder
62
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.
nIf 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.
nYour 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.
Avid Attic Folder
63
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.
Avid Attic Folder
64
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.
nYour 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.
3Working 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
66
Project window information is organized in tabs.
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:
tClick one of the tabs.
To locate and redisplay the Project window, do one of the following:
tSelect Tools > Project.
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.
Using the Bins Tab
67
tClick in an area of the Project window to bring it forward.
To close the Project window, do one of the following:
tWith the Project window active, select File > Close Project.
tClick 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:
tClick 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.
Using the Bins Tab
68
Creating a New Bin
To create a new bin from the Project window:
1. Do one of the following:
tSelect File > New Bin.
tClick 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:
tDrag 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.
nIf 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.
n(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.
Using the Bins Tab
69
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.
cNever 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.
nYou 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.
nYou 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.
Using the Bins Tab
70
nThe 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:
tClick the Close button.
tSelect 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:
tClick the arrow next to a folder icon.
To view a list of only the folder contents and not the folders:
tClick 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.
Using the Bins Tab
71
cOnly 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:
tSelect 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.
nThe 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.
cEmptying the trash permanently removes the bins or folders from the drive.
nIf 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.
Using the Bins Tab
72
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:
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.
nSetting 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.
nThe 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.
Windows 7 drive:\Users\Public\Public Documents\Avid editing application\Avid Attic
folder
Macintosh /Users/Shared/Avid editing application/Avid Attic folder
Using the Settings Tab
73
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:
tClick the Settings tab in the Project window.
To open a setting:
tDouble-click the setting in the Settings list.
To view Help for a setting:
tOpen a setting and press the F1 key (Windows) or the Help key (Macintosh).
Using the Format Tab
74
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.
nIf 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.
nFor 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:
tClick the Format tab.
Working with Color Spaces in HD Projects
75
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.
Working with Color Spaces in HD Projects
76
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.
nRGB 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.
Changing the Project Color Space for an HD Project
77
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.
Using the Usage Tab
78
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.
cDo not rely on the Statistics feature for billing or other financial purposes.
To view and update statistics for an open project:
tClick the Usage tab in the Project window.
To print the Statistics file:
tSelect 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
Using the Usage Tab
79
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:
Using the Usage Tab
80
The values in the second column indicate the type of data in the line:
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.
01
02
03
100
101
102
104
105
106
110
111
113
114
115
116
117
title1
title2
Title Only
project info
Time Project open
Capture tool open
Capture tool active
Captured Media bytes used
Rendered Effects bytes used
Effects rendering time
Title tool open
Title tool active
Title tool rendering
Capture tool capturing
Capture tool logging
user comments
01
02
03
04
project info
time used
bytes used
text string
Using the Usage Tab
81
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
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82
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:
tClick the Usage tab in the Project window.
To prevent recalculation:
tReenter 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:
tIn the Project window, click the Info tab.
To display system memory information:
tIn 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.
nYou 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)
or Free Mem (Macintosh)
The amount of RAM available for allocation by the Windows or
Macintosh system.
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83
To open the Hardware tool, do one of the following:
tIn the Project window, click the Info tab, and then click the Hardware button.
tSelect Tools > Hardware.
The Hardware tool opens.
nFor 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.
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.
Item Description
Understanding User Profiles
84
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:
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
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
Managing User Profiles
85
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.
nWhen 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.
nYou 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
Managing User Profiles
86
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.
nIf 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.
Customizing the Avid User Interface
87
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.
Customizing the Avid User Interface
88
cWhen 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.
Customizing the Avid User Interface
89
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:
tClick Apply to apply the changes you selected.
If you click Cancel after you click Apply, interface components retain the colors you
applied.
tClick OK to close the dialog box and put the new setting into effect.
tClick 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.
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.
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.
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90
nAny 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.
nYou cannot assign certain tool windows to a workspace, such as the Hardware tool, the
Communication (Serial) Ports tool, and the Media tool.
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91
To select a workspace, do the following:
tSelect 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:
tSource/Record mode
tEffects mode
tColor 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.
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92
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.
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93
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.
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94
For more information about creating and naming custom settings, see “Working with
Settings” on page 1277.
nYou 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:
tFor the workspace you want to link, select Windows > Workspaces > workspace.
tIn 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.
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95
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.
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96
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.
nIf 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:
tSelect 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:
tSelect Windows > Workspaces > Properties.
tIn 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.
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97
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.
cThe 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.
nYou 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.
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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:
• 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.
nDepending 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.
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.
MSmith
TBaksh
Working with Bins and Projects in an Avid Shared Storage Environment
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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.
nThe 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.
Working with Bins and Projects in an Avid Shared Storage Environment
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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:
tAlt+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:
tRight-click the bin in the Project window, and select Unlock Project Bin.
nThe 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.
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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.
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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.
cThe 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.
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103
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.
nAny 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.
4Using 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:
tSelect 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.
nYou 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:
tClick the tab in the tool you want to move, and drag it to the target window.
Using a Deck Controller
105
The tab bar in the target tab window displays all tool tabs.
To move a tool into separate window:
tClick 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:
tClick 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.
tClick 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:
tClick 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:
tClick 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:
tSelect Tools > New Deck Controller.
A new Deck Controller window opens.
Deck Controller Window Reference
106
Deck Controller Window Reference
1
2
3
4
5
6
Element Description
1 Timecode display 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.”
nInformation 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.
The Command Palette
107
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:
• 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.
nFor 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.
6 Logging controls 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.
Element Description
The Command Palette
108
nWhen 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.
The Command Palette
109
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:
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.
nAfter 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:
tActivate the Playback, Source, or Record monitor in the Composer window.
tClick a Fast Menu button, and drag the Tool palette to open it.
tActivate the Source/Record monitor or the pop-up monitor, click the Fast Menu button,
and drag to tear off the Tool palette.
tOpen a clip in a pop-up monitor.
tOpen the Keyboard palette from the Settings list in the Project window.
Button Description
(Windows) Add Alt Key button
(Macintosh) Add Control Key button
(Macintosh) Add Option Key button
The Command Palette
110
tOpen 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.
nBefore 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:
tActivate a monitor in the Composer window.
tClick a Fast Menu button, and drag the Tool palette to open it.
tOpen a clip in a pop-up monitor.
tOpen 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.
Using the Avid Calculator
111
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:
tClick numbers and functions in the Avid Calculator.
tEnter numbers and functions using the numeric keypad.
tEnter 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:
tClick the Format menu, and select a different frame code or key number format.
Using The Console Window
112
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.
cDo 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.
nFor 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.
Using the Hardware Tool
113
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:
tIn the Timeline, move the position indicator to the selected clip or segment and select
File > Get Position Info.
tIn 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:
• 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.
nIf 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.
External Controllers as Editing Control Surfaces
114
To check the hardware configuration of your Avid system, do one of the following:
tSelect Tools > Hardware.
tClick 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.
5Logging
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
116
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:
tIf the log file is a Final Cut Pro®, Cinema Tools™, or a Tabbed shot log file, select File >
Import > file type.
tIf 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.
Using Avid Log Exchange to Prepare Log Files for Import
117
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.
Using Avid Log Exchange to Prepare Log Files for Import
118
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.
nIf 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.
Using Avid Log Exchange to Prepare Log Files for Import
119
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.
Using Avid Log Exchange to Prepare Log Files for Import
120
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.
Avid Log Exchange dialog box
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.
12
3
4
5
67
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
Using Avid Log Exchange to Prepare Log Files for Import
121
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:
tClick This File Only button to convert only the file you select to the format you select.
tClick 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.
Using Avid Log Exchange to Prepare Log Files for Import
122
Using Drag-and-Drop Conversion for Log Files (Macintosh)
Use this shortcut to convert files into an ALE file.
nIf 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.
Avid Log Specifications
123
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).
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.
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
124
An Avid log is composed of three sections, in this order:
• Global Titles
• Standard and custom column Titles
• Data Titles
When you create an Avid log, you must follow the order precisely. The tables in these topics
follow this order.
The tables use the following conventions:
• A Title appears in the first column, without angled brackets or square brackets. For example,
FIELD_DELIM is the first global Title.
• A <supported value> is surrounded by angled brackets. <Alternative supported values>
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 <variable data value> is also surrounded by angled brackets, but it is italicized. For
example, <timecode> 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
[Return]
Required This marks the start of the global
Titles.
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125
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 <Your_Title>.
You can create several custom Titles, as long as the total of global, standard, and custom Titles
does not exceed 64.
FIELD_DELIM [Tab] <TABS> [Enter] or
[Return]
Required Enter TABS to show that the file is
Tab delimited.
VIDEO_FORMAT [Tab] <NTSC>
<PAL>
[Enter] or
[Return]
Required
FILM_FORMAT [Tab] <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] <tape name> [Enter] or
[Return]
Required 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
[Return]
Required 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.
Avid Log Specifications
126
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.
Avid Log Specifications
127
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.
Avid Log Specifications
128
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).
COMMENTS [Tab] Title for comments about clip.
<Your_Title> [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 Titles: The word Data marks the start of the data for each clip.
Data [Enter] or
[Return]
Required 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.
<clip name> [Tab] Required Under Name Title. Enter a clip identifier (32 characters
maximum).
<V>
<VA1>
<VA2>
<VA1A2>
<A1A2>
<A1>
<A2>
<D>
[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.
<timecode> [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).
Avid Log Specifications
129
<timecode> [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.
<inknumber> [Tab] Under Auxiliary Ink Number Title. Identify a second ink number
for the start of the clip.
<timecode> [Tab] Under Auxiliary TC Title. Enter a Nagra timecode, Arri code, and
so on, for the sync point. Syncs with the Start timecode.
<camera ID> [Tab] Under Camera Title. Identify the camera, using letters or numbers.
For multicamera shoots.
<camera roll ID> [Tab] Under Camroll Title. Identify the camera roll, using letters and
numbers.
<timecode> [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.
<timecode> [Tab] Under Film TC Title. Identify the timecode used for the film,
usually at 24 fps.
<inknumber> [Tab] Under Ink Number Title. Identify the ink number for the start of
the clip.
<keynumber> [Tab] Under KN Start Title. Identify the complete key number for the
start of the clip, for example, KU 31 2636-8903&12.
<keynumber> [Tab] Under KN End Title. Identify the key number for the end of the
clip. Identify only feet and frames, for example, 0342&07.
<keynumber> [Tab] Under KN Duration Title. Identify the length of the clip, in feet
and frames.
<lab roll ID> [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.
Avid Log Specifications
130
<A>
<B>
<X> (matchback
only)
<C>
<D>
[Tab] Under Pullin Title. Identify the telecine pulldown of the first frame
of the clip (pulldown phase). NTSC only.
<A>
<B>
<X> (matchback
only)
<C>
<D>
[Tab] Under Pullout Title. Identify the telecine pulldown of the last
frame of the clip. NTSC only.
<reel ID> [Tab] Under Reel # Title. Identify the reel, use numbers.
<scene ID> [Tab] Under Scene Title. Identify the scene, use letters and numbers.
<shoot date> [Tab] Under Shoot Date Title. Identify the date the footage was shot, use
numbers or letters and numbers.
<timecode> [Tab] Under Sound TC Title. Identify the sound timecode at the sync
point. Syncs with the Start timecode.
<sound roll ID> [Tab] Under Soundroll Title. Identify the sound roll, use letters and
numbers.
<timecode> [Tab] Under TC 24 Title. Identify the start of the clip for 24p timecode.
<timecode> [Tab] Under TC 25p Title. Identify the start of the clip for 25p timecode
(PAL pulldown).
<timecode> [Tab] Under TC 25 Title. Identify the start of the clip for 25-fps timecode
(PAL).
<timecode> [Tab] Under TC 30 Title. Identify the start of the clip for 30-fps
timecode.
<take ID> [Tab] Under Take Title. Identify the take, use letters and numbers.
<source tape ID> [Tab] Under Tape Title. Enter the source videotape ID for this clip only.
<clip description> [Tab] Under DESCRIPT Title. Describe the clip.
<clip comments> [Tab] Under COMMENTS Title. Comment on the clip.
<information> [Tab] Under the Titles you create, type the appropriate information.
[Enter] or [Return] Press Enter (Windows) or Return (Macintosh) after the last entry
for the clip.
Do not press Tab after the last entry for the clip.
Avid Log Specifications
131
Sample Avid Log
This is a sample Avid log for an NTSC video project.
Formatting keys (such as [Tab] and [Enter] (Windows) or [Return] (Macintosh)) display in
brackets.
Sample Avid log (Windows)
Enter an additional line of data for each remaining clip.
Heading [Enter]
FIELD_DELIM [Tab] TABS [Enter]
VIDEO_FORMAT [Tab] NTSC [Enter]
AUDIO_FORMAT [Tab] 44kHz [Enter]
TAPE [Tab] 001 [Enter]
FPS [Tab] 29.97 [Enter]
[Enter]
Column [Enter]
Name [Tab] Tracks [Tab] Start [Tab] End [Enter]
[Enter]
Data [Enter]
CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Enter]
CU Josh [Tab] VA1 [Tab] 01:15:06:00 [Tab] 01:20:00:00 [Enter]
Creating an Avid Log
132
Sample Avid log (Macintosh)
Creating an Avid Log
You can use any word processing application or text editor to create Avid logs. However, you
must save the file as a text document (ASCII format).
When log manually, you should do the following:
• Identify the source tape for each shot.
• Document each clip’s name, start timecode, and end timecode.
• For NTSC transfer tapes for film projects, you must supply pulldown information in the
Pullin column of the bin before you capture.
This is the minimum information required to capture successfully. You can also add other
information such as comments, auxiliary timecodes, or key numbers for film projects. You can
make a separate log file for each videotape, or log clips from several different videotapes in one
log.
Windows systems ship with a text editor called WordPad. Mac OS® X systems ship with a text
editor called TextEdit.
To open WordPad:
tClick the Start button, and select All Programs > Accessories > WordPad.
Heading [Return]
FIELD_DELIM [Tab] TABS [Return]
VIDEO_FORMAT [Tab] NTSC [Return]
AUDIO_FORMAT [Tab] 44kHz [Return]
TAPE [Tab] 001 [Return]
FPS [Tab] 29.97 [Return]
[Return]
Column [Return]
Name [Tab] Tracks [Tab] Start [Tab] End [Return]
[Return]
Data [Return]
CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Return]
CU Josh [Tab] VA1 [Tab] 01:15:06:00 [Tab] 01:20:00:00 [Return]
Double-Checking Log Files
133
To open Text Edit:
tSelect Go > Applications, and double-click TextEdit.
To create a text document in TextEdit:
tSelect Format > Make Plain Text.
To create an Avid Log by using a word processor or text editor:
1. Enter shot log information according to the specifications described in “Avid Log
Specifications” on page 123.
2. Save your file as a text file in the Save As dialog box.
You can use the file name extension .txt, but it is not required.
cYour Avid editing application only accepts text files (ASCII format).
After you double-check the log, import it into your Avid editing application. For more
information, see “Importing Shot Log Files” on page 157.
Double-Checking Log Files
When you import shot logs for video, your Avid editing application compares the video duration
to the video out minus the video in. When you import film shot logs, the system compares the
key number out minus the key number in.
If the system detects a discrepancy, it reports the error to the Console and does not bring the clip
into the bin. The best way to ensure that the system does not discard clips on import is to
double-check the logs for discrepancies in duration and marks.
nSelect Tools > Console to open the Console window. For more information, see “Using The
Console Window” on page 112.
Transferring Bins from MediaLog
The MediaLog program is a standalone application that speeds the process to create and import
log information from a Windows or Macintosh computer. MediaLog mirrors the Avid editing
interface when you create projects, bins, and clip information in the bin, and includes serial deck
control to log directly from tape.
nFor information on specific MediaLog procedures, see the Avid MediaLog Help.
Transferring Bins from MediaLog
134
If you log your source footage with MediaLog, you can transfer the bins directly to your Avid
editing application to batch capture. You can also import the logs as described in “Importing
Shot Log Files” on page 157.
To transfer bins from MediaLog:
1. Save the MediaLog bins to a storage device or disk.
If you use MediaLog for Macintosh, make sure that your Windows system can mount the
storage device or disk correctly. If your MediaLog folders are available through a server or
other networked source, locate the MediaLog folder.
2. Attach the storage device from MediaLog to the Avid editing system, or insert the disk into
the Avid editing system.
3. Quit your Avid editing application.
4. Open the project folder in which you want to store the MediaLog bins.
This folder is located in the Avid Projects folder. For information about the location of the
Avid Projects folder, see “Avid Projects and Avid Users Folders” on page 46.
5. Navigate to the location on your storage device or network drive where you copied the bins
you want to transfer.
6. Select the bins in the storage device or network drive, and save them to the project folder on
your Avid editing system.
To associate the transferred bins with your project:
1. Restart your Avid editing application and open your project.
2. Associate the imported bins with your project by doing the following:
a. Select File > Open Bin.
b. Use the Open Bin dialog box to locate the new bin.
c. Double-click the bin to open it within your project.
The new bin appears in the Bins list in the Project window.
The bins you import contain master clips only with no associated media files. Before you
can view or use these clips, you must batch capturing the source material to create the
associated media files. For information about batch capturing, see “Batch Capturing from
Logged Clips” on page 234.
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135
Logging Directly into a Bin
To log clips directly into a bin use the Capture tool in one of two ways:
• Log directly into a bin with an Avid-controlled deck for semiautomated data entry.
• Log manually during or after you view footage offline with a non-Avid-controlled deck or
other source.
Before you capture, observe the following important guidelines for preroll, timecode formats,
and naming of tapes when you log.
Logging Preroll
Leave adequate preroll with continuous timecode prior to IN points when you log your tapes.
The recommended minimum preroll is 2 seconds for Betacam® playback, 5 seconds for 3/4-inch
U-matic® playback, and 6 seconds for DV playback.
nUse the Preroll menu in the Deck Settings dialog box to set the default preroll for tape playback.
For more information, see “Deck Settings” on page 1311.
Logging Timecode
Within an NTSC project, check the timecode format of each tape (drop-frame versus
non-drop-frame timecode) when you log without a tape in the deck. Log drop-frame timecode
with semicolons (;) between the hours, minutes, seconds, and frames. Log non-drop-frame
timecode with colons (:). You can set the timecode format to use in the Deck Preferences
Settings dialog box. For more information, see “Deck Preferences Settings” on page 1313.
nTo change the logged timecode format, select Clip > Modify. For more information, see
“Modifying Clip Information” on page 346.
Naming Tapes
When you enter tape names in the Capture tool, consider the following:
• Tape names must be alphanumeric characters (A to Z, 0 to 9). They can include uppercase
and lowercase characters. The maximum length of a name is 32 characters.
• It is possible to have a single tape listed as several different tapes if you alter the case of the
letters. For example, if you type a single name as TAPE, Tape, and tape on three different
occasions, all three names appear. This can cause significant problems in keeping track of
clips when you batch capture, recapture, and generate an EDL. Select a case convention and
maintain it throughout a project.
Logging Directly into a Bin
136
nIf you want your Avid editing application to consider master clips as coming from the exact same
tape, you should try to select that tape name from the Select Tape dialog box. If you do not see
the tape, but know you have online media from that tape, you should click the Scan for Tapes
button. For more information, see “Logging with Avid-Controlled Decks” on page 136.
• It is important that you create a naming scheme for your tapes. For example, you can easily
sort and view tapes with similar names together in a bin. However, it can be difficult to
distinguish among numerous tapes with similar names when you try to locate a specific tape
quickly. Name tapes based upon the amount and complexity of your source material.
cIf you modify tape names and timecodes, it can affect any key numbers you enter for
selected clips.
• If you plan to generate an edit decision list (EDL) to import into an edit controller for online
editing, double-check the controller’s specifications. Some edit controllers truncate source
tape names to as few as six characters, while others eliminate characters and truncate to
three numbers. Alterations like these at the EDL stage might cause the system to identify
different source tapes with similar names, which could cause you to lose track of source
material.
Logging with Avid-Controlled Decks
When you log with a compatible tape deck controlled from your Avid editing application, you
can enter frame-accurate timecode information from the deck to automate part of the logging
process. This method is more accurate than manual entry because you transfer timecodes directly
from tape to the bin.
nFor information about connecting a compatible deck to your system, see “Connecting Cameras,
Decks, and Monitors” in the Help.
To log clips directly into a bin from an Avid-controlled deck:
1. Make sure the deck is properly connected and turned on.
2. Open the bin where you want to store the clips.
3. Select Tools > Capture.
The Capture tool opens. The Client monitor displays your video.
Logging Directly into a Bin
137
If you forget to connect and turn on the power to the deck before you open the Capture tool,
click the Deck Selection menu and select Check Decks to reinitialize the deck control.
4. If the Capture tool is not in Log mode, click the Capture/Log Mode button until the LOG
icon appears.
5. Click the Deck Selection menu, and select a deck.
For more information, see “Selecting a Deck in the Capture Tool” on page 182.
6. Insert your tape into the deck.
1
2
3
4
5
6
7
8
9
1 Capture/Log Mode button 6 Timecode display
2 Mark IN button 7 Deck controls
3 Channel Selection buttons 8 Deck Selection menu
4 Clip Name text box 9 Source Tape Display button
5 Clip Comment text box
Logging Directly into a Bin
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The Select Tape dialog box opens.
Select “Show other project’s tapes” to display the tape names and associated project names
for all bins.
Select Tape dialog box. Top: New tape name button. Center: list of tapes. Bottom: Show other projects option.
Because the media file database does not open when you start your Avid editing application,
tape names of all online media files do not appear automatically.
If the tape name does not appear in the Select Tape dialog box, click the Scan for Tapes
button. The system displays tape and project names.
7. Provide the system with a tape name in one of the following ways:
tSelect the name of the tape from the list in the Select Tape dialog box and click OK.
tClick New if the tape is not in the list. A new tape name line appears in the dialog box.
Type the new name and click OK.
The tape name displays in the Capture tool.
For guidelines to name tapes, see “Naming Tapes” on page 135.
A message that the system is waiting for you to mark an IN point displays in the message
bar.
8. Use one of the following methods to set either an IN point or an OUT point for the clip you
want to log:
tTo keep the deck running while you log: Start the deck. At the point where you want to
start the clip, click the Mark IN button or press the F4 key. The deck continues to play.
Logging Directly into a Bin
139
If you want to pause the deck while you enter a clip name and comments, see “Pausing
the Deck While Logging” on page 140.
tTo cue your source tape: Use the deck controls in the Capture tool to cue your source
tape to the start or end point. Click the Mark IN button or the Mark OUT button in the
Capture tool.
Capture tool Mark IN button (left) and Mark OUT button (right)
tTo log using timecode: If the footage starts at an IN point or ends at an OUT point, type
the timecode in the text box next to the Mark IN button or the Mark OUT button. Then
press the Go to IN button or the Go to OUT button to scan the tape forward to the mark.
Capture tool Go to IN button (left) and Go to OUT button (right)
After you set the mark, the Mark IN button changes to the Mark OUT and Log button or the
Mark IN and Log button, depending on the first mark you set.
Mark IN and Log button (left) and Mark OUT and Log button (right)
nFor NTSC film-to-tape transfer or footage downconverted from 1080p/24, you must log the
correct pulldown phase. See “Setting the Pulldown Phase” on page 146 and “Entering
Pulldown Information” on page 148.
9. (Option) Enter a clip name and comment in the corresponding text boxes in the Capture tool.
10. To finish logging the clip, do one of the following:
tIf the deck is running: Click the Mark OUT and Log button or press the F4 key. The clip
logs into the bin and the deck continues to play.
tTo cue the remaining start or end point: Use the deck controls to locate the start or end
point. Click the Mark OUT and Log button or the Mark IN and Log button to set the
remaining IN point or OUT points. The clip logs into the bin.
tTo log using timecode: Type a timecode for the clip’s IN point, OUT point, or duration
in the timecode text boxes next to the corresponding icon. Then press the Go to IN
button or the Go to OUT button to scan the tape forward to the mark. To log the clip into
the bin, click the Log Clip button in the Capture tool.
Logging Directly into a Bin
140
Logging controls (left) and Log Clip button (right)
The clip name highlights in the bin. The system automatically names and numbers the clip,
you can rename the clip.
11. (Option) Type a new name in the highlighted area to rename the clip.
You can accept the clip name and proceed with the logging process and change the clip
names in the bin at a later time.
12. Repeat these steps until you log all your clips.
While you view the footage, you can continue to update your marks on-the-fly. Click the
Mark IN button or the Mark OUT button repeatedly to enter the second mark.
Pausing the Deck While Logging
If the deck is playing while you log clips, you can direct your Avid editing application to pause
the deck after you set an IN point and an OUT point. You can then enter the name and comment
for the clip you want to log.
To pause the deck while logging:
1. In the General tab of the Capture Settings dialog box, select the “Pause deck while logging”
option.
2. Set up your deck and the Capture tool as described in “Logging with Avid-Controlled
Decks” on page 136.
3. When you reach the point where you want to start the clip, click the Mark IN button in the
Capture tool or press the F4 key. The Mark IN button changes to the Mark OUT button and
the deck continues to play.
4. When you reach the point where you want to end the clip, click the Mark OUT button in or
press the F4 key again. The Mark OUT button changes to the Log Clip button, and the deck
pauses.
5. Type a clip name and comment in the corresponding text boxes in the Capture tool.
6. Click the Log Clip button or press the F4 key.
Your Avid editing application logs the clip in a bin, and the deck starts playing again.
Logging Directly into a Bin
141
Using a Memory Mark When Logging
You can add a memory mark to a particular location on a tape, then use the Go to Memory button
to move through the tape to the marked location.
To use a memory mark for a particular location on a tape:
tClick the Mark Memory button in the Capture tool to mark the location.
tClick the Go to Memory button to move through the tape to the marked location.
tClick the Clear Memory button to clear the memory mark.
Memory buttons: (right to left) Mark Memory, Go to Memory, Clear Memory
You can add one mark per tape. The memory mark is not stored on the tape. When you
remove the tape from the deck and insert another tape into the deck, the mark clears.
Logging with Non-Avid-Controlled Decks
You can use the Capture tool to log clips directly into a bin from a source that is not controlled by
your Avid editing application. For example, you can log clips from a deck that is not connected
to the system, or from handwritten or printed log information for a tape that was previously
logged but is not currently available.
nFor NTSC projects, when you log within the Capture tool, you should leave the deck empty. If a
tape remains in the deck, the system determines drop-frame or non-drop-frame from that tape
whether or not it matches your tape’s timecode format.
To log clips directly into a bin from a non-Avid-controlled deck:
1. If there is a deck connected to the system, eject the tape from the deck.
2. Double-click Deck Preferences in the Settings list of the Project window.
The Deck Preferences dialog box opens.
3. For NTSC projects, click “When no tape in deck log as” menu, and select Non-Drop-Frame
or Drop-Frame.
4. Click OK to close the dialog box.
5. Open the bin where you want to store the clips.
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142
6. Select Tools > Capture.
The Capture tool opens.
7. Click the Capture/Log Mode button until the LOG icon appears.
1
2
3
4
5
6
7
8
9
10 11
12
13
14
1 Capture/Log Mode button 8 Deck Selection menu
2 Channel Selection buttons 9 Source Tape Display button
3 Message bar 10 Mark Memory button
4 Clip Name text box 11 Go to Memory button
5 Clip Comment text box 12 Clear Memory button
6 Timecode display 13 Clear IN and OUT buttons
7 Deck controls 14 Mark IN and OUT buttons
Understanding the Pulldown Phase
143
8. Click the Source Tape Display button.
A dialog box opens.
9. Click Yes to open the Select Tape dialog box.
10. Double-click the name of the tape in the dialog box, or click New and enter the name of the
tape.
11. Click OK.
12. Use the Channel Selection buttons to select the tracks you want to log.
13. Type the start timecode in the Mark IN text box.
14. (Option) Enter a clip name and comment in the corresponding text boxes.
15. Type the end timecode in the Mark OUT text box.
For NTSC film-to-tape transfer or footage downconverted from 1080p/24, you must log the
correct pulldown phase. See “Setting the Pulldown Phase” on page 146 and “Entering
Pulldown Information” on page 148.
16. Click the Log Clip button.
The clip name highlights in the bin. The system automatically names and numbers the clip,
you can rename the clip.
17. (Option) Type a new name in the highlighted area to rename the clip.
You can accept the clip name and proceed with the logging process and change the clip
names in the bin at a later time.
18. Repeat these steps until you have logged all your clips.
Understanding the Pulldown Phase
If you log or capture 24-fps sources (film-to-tape transfers, media downconverted from 1080p/24
footage, or both), you can set the pulldown-to-timecode relationship for a transferred tape in the
Film and 24p Settings dialog box.
For information about the pulldown process, see “Transfer of 24-fps Film to NTSC Video” on
page 1440.
Understanding the Pulldown Phase
144
Set Pulldown Phase option in the Film and 24P Settings dialog box
You set this relationship when you select the pulldown phase (sometimes called the pulldown
frame or pullin frame), which is the video frame at which the master clip starts. The pulldown
phase is designated A, B, X, C, or D. Film labs and transfer houses typically use the A frame to
start the transfer.
The illustration shows the relationship between film frames and video frames.
Understanding the Pulldown Phase
145
Relationship between four film frames (left) and five NTSC video frames (right). On the right, .1 indicates an odd
field and .2 indicates an even field.
nThis setting is not available in matchback projects. However, you can modify the pulldown phase
after you log it. See “Entering Pulldown Information” on page 148.
The Set Pulldown Phase setting lets you log, batch capture, and capture-on-the-fly more easily,
because the correct pulldown phase of any IN point for a particular tape is automatically
determined. Setting the correct pulldown phase prevents inaccuracies in cut lists and matchback
EDLs. It also prevents incorrectly captured clips that stutter when you play it in 24p NTSC
projects.
For example, if you set the pulldown phase of 00:00:00:00 as A (indicating that the A frame is
located at timecodes ending in 0 or 5), any timecode you log calculates its pulldown phase based
on the same sync point, regardless of where you set the IN point. If you use the Capture tool to
log a clip that starts at 01:00:10:01, your Avid editing application automatically enters B in the
Pullin column of the bin. If you capture on-the-fly starting at 01:00:10:01 (a B frame), the
system begins to capture at the next A frame, in this case, 01:00:10:05.
cThe Set Pulldown Phase feature does not work if you capture from a mark IN.
The pulldown-to-timecode relationship might vary from tape to tape, or within the same tape,
depending on how the footage was transferred. If you find that a tape requires a different
pulldown phase, you can change the setting in the Film and 24p Setting dialog box, or use the
Modify Pulldown Phase dialog box before you capture. See “Modifying the Pulldown Phase
Before Capturing” on page 151.
nFor information about fixing an incorrectly logged sync point, see “Modifying the Pulldown
Phase After Capturing” on page 271.
A
B
C
D
A1
A2
B1
B2
B3
C1
C2
D1
D2
D3
.1
A
B
X
C
D
.2
.1
.1
.1
.1
.2
.2
.2
.2
Setting the Pulldown Phase
146
Setting the Pulldown Phase
To set the pulldown phase:
1. Determine the correct pulldown phase for 00:00:00:00 in one of the following ways:
tIf you capture film-to-tape transfers, check the transfer log.
tIf you capture tapes that have been downconverted from 1080p/24, check what
pulldown frame was set for 00:00:00:00 on the deck that performed the conversion.
tIf you still cannot determine the pulldown phase, see “Determining the Pulldown Phase”
on page 149.
2. Double-click Film and 24p in the Settings list of the Project window.
3. Select Set Pulldown Phase of Timecode 00:00:00:00 and then click the menu, and select the
correct pulldown phase (A, B, X, C, D).
4. Click OK.
Film-Related Log Information
Once you enter or import the basic log information into a bin, you might want to add film-related
log information before you capture.
The following are some important requirements for film-based projects:
• The minimum information required for capturing is the data recorded in the Start and End
video timecode columns, and the pulldown phase for NTSC transfers, which is noted in the
Pullin column (24-fps capture only).
• You can log each reel of film as a separate clip, which corresponds to a single master clip,
only if the video transfer of the film reel has continuous pulldown (NTSC format), and
continuous timecode (NTSC and PAL). If the film reels for your project do not meet this
condition, then you must log each take on a reel of film as a separate clip, which corresponds
to a single master clip.
If you log each reel as a separate clip, you can use the F1 and F2 keys to create subclips for
each take. See “Creating Subclips While Capturing” on page 252.
• If you want to produce a cut list, or use film-tape-film-tape to recapture, you must log key
numbers. You can add key numbers after you capture, before you create the cut list.
• All film and video reference numbers must be in ascending order.
• Continue to log additional film data into the Labroll, Camroll, Soundroll, Scene, and Take
columns, or into your own custom columns, as necessary. You can include the information in
these columns on the cut lists you create for your edited sequence.
Film-Related Log Information
147
Displaying Film Columns
To display film columns in the bin:
1. Click the Bin View menu at the bottom of the Bin window, and select Film to display all the
required film column Titles.
Location of the Bin View menu
2. To log data under optional Titles (such as Ink Number, Auxiliary TC1-Auxiliary TC5, or
Film TC), do the following:
a. Select Bin > Choose Columns.
The Bin Column Selection dialog box opens.
b. Ctrl+click (Windows) or Command+click (Macintosh) the specific Titles you want to
add.
c. Click OK.
Film-Related Log Information
148
3. Create a custom Title to track custom information for the job. To create a new Title, type a
name that describes the information in the Titles bar at the top of the bin.
For more information on customizing bin views, see “Saving a Custom Bin View” on
page 323.
Entering Pulldown Information
To accurately capture NTSC transfer tapes in 24p projects, you need to enter pulldown
information into the bin. (This information is not required for PAL transfer tapes.) Setting the
correct pulldown phase prevents inaccuracies in cut lists and matchback EDLs. If you import a
log generated during the telecine transfer, the pulldown information is automatically included in
the bin.
nTo import a log file, see “Setting the Pulldown Phase” on page 146.
If you do not have a transfer log, or if the transfer log is incorrect, you need to add the
information manually. If you use the Capture tool to log clips, your Avid editing application uses
the A frame as the default pulldown phase. You might need to edit this value.
Film-Related Log Information
149
nFor 24p projects, you can set a default pulldown phase in the Film and 24p Settings dialog box.
See “Setting the Pulldown Phase” on page 146 (24p projects only).
For matchback projects, you need to log key-number information before you can log pulldown
information.
If you specify the pulldown phase in the Pullin column, you accomplish the following:
• You ensure that clips start with the correct frame for the pulldown. Otherwise, you might
experience inaccuracies in key-number tracking and in the cut lists.
• You indicate where the pulldown fields are located so your Avid editing application can
accurately eliminate the pulldown fields during capture. This leaves you with a
frame-to-frame correspondence between your digital media and the original 24-fps footage
(24p projects only).
To do this, you must indicate whether the sync point at the start of each film clip transferred to
tape is an A, B, C, or D frame, as described in “Determining the Pulldown Phase” on page 149
and “Modifying the Pulldown Phase Before Capturing” on page 151.
In most cases, the sync point is the A frame.
Start timecode column (left) and Pullin column (right) in the bin
Determining the Pulldown Phase
It is easiest to determine the pulldown of a sync point (or pulldown phase) if you ask your film
lab to keypunch (cut a small hole in) the sync frame at the zero frame in the original film footage
before you transfer the film to video. Many film labs or transfer houses can also provide a
pulldown frame indicator which displays at the far right of the burn-in key numbers, depending
on the equipment available. The A-frame pulldown coincides with timecode ending in 0 and 5
(:00, :05, :10, and so on).
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150
If you have not keypunched your footage, you can determine pulldown according to clapsticks or
any other distinctive frame at the beginning of the clip. It is easier to determine the pulldown if
the frames depict motion.
nFor instructions on how to modify the pulldown phase, see “Modifying the Pulldown Phase After
Capturing” on page 271.
To determine the pulldown phase:
1. While you view the video transfer on a monitor, go to the keypunched (or clapsticks) sync
point for the beginning frame of the clip you logged.
2. Use the step wheel on the tape deck to step (jog) past the sync point frame field-by-field.
You will see either two or three keypunched fields. If the footage is not keypunched, look for
two or three fields with little or no motion.
3. If there are two fields, the pulldown is either A or C. Step through the fields again, and note
where the timecode changes:
- If the timecode does not change from the first to the second field, the fields came from
an A frame.
- If the timecode changes from the first to the second field, the fields came from a C
frame.
The illustration shows a keypunch on the A frame. Notice where the timecode changes.
Determining pulldown for keypunched footage. Red lines indicate the location of timecode changes.
4. If there are three keypunched fields, or fields without motion, the pulldown is either B or D.
Step through the fields again and note where the timecode changes:
- If the timecode changes from the second to the third field, the fields came from a B
frame.
A
B
C
D
A1
A2
B1
B2
B3
C1
C2
D1
D2
D3
.1
A
B
X
C
D
.2
.1
.1
.1
.1
.2
.2
.2
.2
Film-Related Log Information
151
- If the timecode changes from the first to the second field, the fields came from a D
frame.
5. Enter or edit the information in the Pullin column in the appropriate bin, as described in
“Modifying the Pulldown Phase Before Capturing” on page 151.
Modifying the Pulldown Phase Before Capturing
After you determine the correct pulldown phase (as described in “Determining the Pulldown
Phase” on page 149) you can modify the pulldown phase before you capture in one of the
following ways.
To modify the pulldown phase directly in the Pullin column:
1. In the Bin, click the Text tab to display all bin information.
2. Click the cell you want to modify.
3. Click the cell again.
The pointer changes to an I-beam.
4. Type the pulldown phase and press Enter (Windows) or Return (Macintosh).
To modify the pulldown phase for multiple clips:
1. Ctrl+click (Windows) or Command+click (Macintosh) the clips you want to modify.
2. Select Clip > Modify.
3. Click the Modify Options menu, and select Set Pull-in.
4. Select A, B, C, or D.
5. Click OK.
The pullin for all selected clips changes, based on the pulldown phase you select.
To modify the pulldown phase for multiple clips that have the same pulldown-to-timecode
relationship:
1. Ctrl+click (Windows) or Command+click (Macintosh) the clips you want to modify.
2. Select Clip > Modify Pulldown Phase.
The Modify Pulldown Phase dialog box opens.
Film-Related Log Information
152
3. Click the menu, and select the correct pulldown phase for timecodes ending in 0 or 5.
4. Click OK.
The pulldown phase for each selected clip changes, based on the pulldown phase you select
for 00:00:00:00.
The Pulldown Phase setting also appears in the Film and 24p Settings dialog box (24p
projects only). You can override that setting with the Modify Pulldown Phase dialog box.
The selection in the Film and 24p Settings dialog box remains the same. For more
information, see “Setting the Pulldown Phase” on page 146.
nIf you want to modify the pulldown phase after you capture, you must first unlink the clips. See
“Modifying the Pulldown Phase After Capturing” on page 271.
After you capture an NTSC transfer, the timecode shows a loss of every fifth frame of video. For
example, if you find that your timecode jumps at one point from 1:00:14:15 to 1:00:14:17, you
haven’t lost a frame, just an extra pulldown field.
Entering Frames-per-Second Rates for PAL Transfers
When you log in advance for PAL film-to-tape transfers, you must log the footage as clips that
have a 25-fps play rate, as listed in the FPS column of the bin. You can capture the footage
on-the-fly, without logging the clips first. The minimum information required to capture the
footage is the data logged in the Start and End video timecode columns.
Entering Key Numbers
You can enter your own custom key numbers for all clips (including captured, imported, and
file-based clips) in the KN Start column in the bin.
To add key numbers:
tHighlight the KN Start column. Use one of the following formats and type the key number
for the sync point at the start of the clip:
-Keykode
™ Format: Type a two-character manufacturer and film-type code, a six-digit
prefix for identifying the film roll, a four-digit footage count, a two-digit frame offset,
and then press Enter (Windows) or Return (Macintosh).
Your Avid editing application adds a space, hyphen, and either a plus sign (for 35mm
projects) or an ampersand (for 16mm projects) to format the number. For example, in a
35mm project, to enter KJ 23 6892-1234+15, type KJ236892123415. In a 16mm
project, if you type the same number results in the code KJ 23 6892-1234&15.
- Other Formats: Enter other key-number formats in the Ink Number column. Type up to
eight characters for the prefix, up to five characters for the footage count, two digits as
the frame count, and then press Enter (Windows) or Return (Macintosh).
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The Avid editing application automatically calculates the ending key number (KN End),
based on the timecode duration.
cMake sure the correct number appears when you press Enter (Windows) or Return
(Macintosh). For key-number formats other than Keykode, you might need to type the
space, hyphen (-), and plus sign (+) or ampersand (&) to format the number correctly.
cModifying tape names and timecodes affect any key numbers you enter for the selected
clips.
Entering Additional Timecodes
You can enter custom timecodes for all clips (including captured, imported, and file-based clips)
in the Auxiliary TC and Sound TC columns in the bin.
To enter additional timecodes:
1. In one of the Aux TC columns (Aux TC1 through Aux TC5), type an auxiliary timecode that
syncs with the video timecode logged in the Start column.
You can enter up to five auxiliary timecodes. Supported timecodes depend on your project:
30-fps for NTSC (drop-frame or non-drop-frame) and 25-fps for PAL. Use one of the
following formats:
tEnter a two-digit format for hours, minutes, seconds, and frames. You do not need to
enter a leading zero. (For example, to enter 01:23:02:00, type 1230200.)
tWhen you work with drop-frame timecode in the NTSC format, enter a semicolon to
indicate drop-frame timecode (for example, to enter 01;23;02;00, type 01;230200).
2. In the Sound TC column, enter the Nagra or DAT timecode for the original audio for the start
of the clip.
The timecode should sync with the video timecode logged in the Start column in the bin.
3. Enter the source sound-roll identifier in the Soundroll column.
Supported timecodes depend on your project: 30-fps for NTSC (drop-frame or
non-drop-frame) and 25-fps for PAL. The clip you capture must contain an audio track.
4. In the Film TC column, enter timecode generated by a film camera (using Aaton or Arri
timecode) for tracking the picture at the start of the clip.
The film timecode should sync with the video timecode logged in the Start column. Avid
supports only 24-fps timecode. The clip you capture must contain a video track.
5. In the TC24 column, enter timecode for original HDTV sources (1080p/24) or audio DATs
created for PAL feature film productions that use in-camera timecode.
nYou can use the Duplicate command to convert timecodes from one format to another. For more
information, see “Duplicating Bin Columns with Timecode Information” on page 341.
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Entering Ink Numbers
To enter ink numbers:
1. In the Project window, click the Settings tab.
2. Double-click Film and 24p.
The Film and 24p Settings dialog box opens.
3. Make sure the correct options are selected for ink number format and ink number display,
and click OK.
You can log different ink number formats in the same project as long as you change the ink
number setting to the appropriate format before you log each type. Changing the ink number
setting affects only the next ink numbers you log, not numbers you already logged.
4. Return to the bin and enter numbers under the Ink Number Title.
For example, use Keykode format or use a two-digit prefix to identify the roll, a hyphen, a
four- or five-digit footage count, a plus sign, and a two-digit frame count (for example,
AA-00924+00).
Exporting Shot Log Files
You can export a shot log file from your Avid editing application in one of two formats to make
adjustments in a text editor or to import into another system.
To export a shot log based on clip information in a bin:
1. Open the bin which contains the clips you want to export. If necessary, click the Text tab to
display all clip information.
2. Click a Clip icon to select it.
3. Ctrl+click (Windows) or Command+click (Macintosh) each additional clip you want to
export.
4. Select File > Export.
The Export As dialog box (Windows) or Destination dialog box (Macintosh) opens with a
default file name in the File name text box (Windows) or Export As text box (Macintosh),
based on the file type.
5. Do one of the following to select the Export setting:
tIf you previously created an Export setting for exporting shot log files, click the Export
menu, and select the setting. Then, go to step 10.
For information on creating Export settings, see “Customizing Export Settings” on
page 999.
tIf you want to review or edit Export settings, go to step 6.
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6. Click Options.
The Export Settings dialog box opens.
7. Click the Export As menu, and select one of the following:
tSelect Avid Log Exchange to export the selected bin as a shot log file that complies with
ALE specifications. For information about Avid Log Exchange, see “Using Avid Log
Exchange to Prepare Log Files for Import” on page 115.
tSelect Tab Delimited to export the selected bin as a tab-delimited ASCII text file.
ALE and tab-delimited files include information for master clips and subclips only.
Information for other objects, such as group clips, sequences, and precomputes, is not
included.
8. To modify an existing setting, select Save.
9. To save the setting with a new name, select Save As and type a name in the dialog box that
opens.
The system adds the Export Setting name to the list of formats available from the Export
dialog box.
10. Click Save to close the Export As dialog box (Windows) or the Destination dialog box
(Macintosh).
11. (Option) Change the file name. In most cases, keep the default file name extension.
12. Select the destination folder for the file and click Save.
The file exports and appears at the selected destination.
To export an entire bin:
1. Ctrl+click selected clips to deselect them, so that nothing is selected in the bin.
2. Select File > Export.
The Export Bin As dialog box opens.
3. Click the Export Bin As menu, select the appropriate option, and click OK.
The system creates a shot log of only the master clips in the bin.
AVID CONFIDENTIAL DRAFT VERSION 10/13/11
6Preparing for Capture
The chapter provides information on preparing your Avid editing application and your capture
hardware before you capture media.
•Logging and Shot Logs
•Importing Shot Log Files
•Preparing the Hardware for Capture
•Selecting Settings for Capture
•Configuring Decks
•Connecting a DV Device
•Setting Up the Capture Tool
•Preparing to Capture Audio
•Preparing to Capture Video
•Capture Preparations Check List
Logging and Shot Logs
Logging is the process of entering information about source material into bins at the beginning of
the editing workflow. A shot log is a text file that lists information about a roll of film or a
videotape, usually in chronological order.
You can get information into your bins either by importing a shot log file or by entering the
information directly. You can log automatically or manually, either before capturing or while
capturing.
Logging provides your Avid editing application with frame-accurate clip information (such as
starting and ending timecodes). Your Avid editing application uses this information to capture
the source footage and as the foundation for organizing, tracking, storing, retrieving, and
generating lists of edit information throughout your project.
You can import any shot log that meets Avid log specifications. You can also combine or merge
events while importing a log so that fewer master tapes require capturing. Your system imports
any additional information logged with each clip. For more information, see “Avid Log
Specifications” on page 123 and “Importing Shot Log Files” on page 157.
Importing Shot Log Files
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For film projects, most telecine and other film-to-tape transfer systems generate a log that you
can import directly to the bin, after you convert it to .ale format by using the Avid Log Exchange
(ALE) utility. Even if the telecine facility supplies you with an .ale file, you should process it
through the ALE utility, using the Clean function. For more information, see “Using Avid Log
Exchange to Prepare Log Files for Import” on page 115.
nYou can also import an EDL to a bin for use in capturing. For more information, see the Avid
EDL Manager Help.
For information about logging into a bin, see “Logging Directly into a Bin” on page 135. For
information about logging and capturing at the same time, see “Capturing and Logging at the
Same Time” on page 219.
Importing Shot Log Files
You can import a shot log file into a bin to make clip information such as start and end timecode
available to your Avid editing application. For more information, see “Logging and Shot Logs”
on page 156.
To import shot log files into a bin:
1. If you have created Import settings for importing shot log files, select the Import setting you
want to use from the Settings list.
For more information, see “Creating and Modifying Import Settings” on page 277.
2. Do one of the following to identify the bin in which you want to store the imported files:
tOpen a bin from the Project window.
tClick anywhere in an open bin to select it.
tCreate a new bin.
For more information, see “Opening and Closing Bins” on page 69 and “Creating a New
Bin” on page 68.
3. Select File > Import.
The Select Files to Import dialog box opens.
Importing Shot Log Files
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Look in menu (top) and Files of type menu (bottom) in the Select files to import dialog box on Windows.
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Enable menu (top) and From menu (bottom) in the Select files to import dialog box on Macintosh.
4. (Option) If you want to select options for combining events on import, click Options to open
the Import Settings dialog box. Select the appropriate options from the Shot Log tab, and
then click OK to close the Import Settings dialog box and return to the Select Files to Import
dialog box.
For information on Import settings, see “Import Settings” on page 1351. You can also view
this information by clicking the dialog box and pressing the F1 key (Windows) or the Help
key (Macintosh).
5. Do one of the following:
tIf you are importing an .ale file, click the Files of type menu and select Shot Log
(Windows), or click the Enable menu and select Shot Log Documents (Macintosh).
tIf you are importing a text file or batch importing multiple file types, click the Files of
type menu and select All Files (Windows), or click the Enable menu and select Any
Documents (Macintosh).
nWhen batch importing multiple files and file types, you should establish global Import settings in
advance. See “Creating and Modifying Import Settings” on page 277.
6. Use the Look in menu (Windows) or the From menu (Macintosh) to locate the folder
containing the source file.
7. Select the source file from the list and click the Open button.
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When your Avid editing application finishes importing the file, the clips appear in the
selected bin.
Preparing the Hardware for Capture
Your source material can originate from a videotape (or other recording media such as P2
memory cards), a digital audiotape (DAT), a compact disc (CD), an in-house router, a tuner, or
straight off-the-air, with the proper hardware configuration.
For information on connecting your equipment, see one of the following topics in the Help:
• Using Avid Input/Output Hardware
• Setting Up Your Software-Only Avid Editing System
You should check the items described in the following table before capturing:
Item Description
Sync source An external sync source is not required for capturing video or audio with
video. Avid recommends using an external sync source for output. For more
information, see “Selecting the Sync Source for Output” on page 1018.
Avid Nitris DX or Avid Mojo DX requires that the deck and the input/output
hardware are genlocked to the same timing source when capturing or
outputting a digital cut using the Avid Nitris DX or Avid Mojo DX.
Audio-only input Sync is needed for audio-only input. For more information, see “Establishing
Sync for Audio-Only Input” on page 161.
Client monitor Before you begin capturing and editing, set up your NTSC or PAL Client
monitor by using a color-bar generator (or house pattern) and lock in those
settings, if you have not done so already. See “Connecting Cameras, Decks,
and Monitors” and “Playing Video to the Client Monitor” in the Help.
16:9 format You can edit with video in the 16:9 aspect ratio for display of wide-screen
formats. To view the footage on a Client monitor, you must have a
16:9-compatible Client monitor.
Remote switch You must set the deck control switch on the front of the source deck to Remote
rather than Local to control the deck with the Capture tool.
DAT
(digital audiotape)
When capturing from DAT, you might need to select an appropriate sync
setting. For more information, see “Establishing Sync for Audio-Only Input”
on page 161.
Preparing the Hardware for Capture
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Getting Information About Striped Drives
Avid maintains information about striping drives that is available through Avid online support.
For more information, see “Storage Options and Drive Striping” in the Help.
To get information about striped drives:
1. Go to www.avid.com/onlinesupport.
2. Search for “Drive Striping Tables.”
Establishing Sync for Audio-Only Input
When you capture audio with video, the video input signal provides the timing reference for
capturing analog audio. This ensures that the audio and video remain in synchronization.
When you capture audio only, the audio timing reference is taken from the same source as the
video output timing. You set the sync source for capture and output timing through the Video
Output tool. For more information about connecting a reference signal, see “Selecting the Sync
Source for Output” on page 1018.
If you are capturing audio only, and the audio must be resynchronized with video, you must
make sure that the audio captured remains synchronized with the associated video. There are
several cases to consider, depending on whether the input is analog or digital, and (in the case of
digital input with some Avid input/output hardware) whether sample rate conversion is involved.
Analog Audio Input
If you are capturing audio-only from an analog source, sync is taken from the sync source, either
black burst or tri-level, depending on the selection in the Video Output tool. If no sync source is
connected, sync is generated from internal timing.
With some Avid input/output hardware, you can view the selected sync source in the Hardware
tab of the Audio Project settings dialog box, in the Sync Mode field. To be sure you see the
correct sync source, view the Audio Project settings with the Capture tool active, or with
channels armed for passthrough in the Audio tool.
Striped drives If you are capturing media at high resolution, you must use striped drives. See
“Storage Options and Drive Striping” in the Help and “Getting Information
About Striped Drives” on page 161.
Item Description (Continued)
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cIf you need to synchronize audio with video clips captured separately, Avid recommends
that you connect a sync source to both your Avid input/output hardware device and the
audio deck. Otherwise you might experience drifting of the audio during editing.
Digital Audio Input
Digital audio inputs (ADAT, AES/EBU, S/PDIF, and SDI Embedded Audio) provide their own
timing reference. If sample rate conversion is not available on your system, or you have
disallowed it by selecting “Never” in the Input tab of the Audio Project settings, no other
connections are required to achieve sync, so long as the source deck is genlocked.
cWhen using the AES/EBU inputs, your system uses the lowest numbered channel that is
enabled for input in either the Capture tool or the Audio tool as the timing reference. When
sample rate conversion is not in use, it is important that you lock all AES/EBU inputs that
are used simultaneously to the same timing reference.
If the digital media sample rate is different from the project sample rate, and sample rate
conversion is available on your system, and you have allowed sample rate conversion by
selecting “When Needed” in the Input tab of the Audio Project settings, then sample rate
conversion is running in your Avid input/output hardware. In this case, the output of the sample
rate conversion uses a sync source under the same rules described above for analog capture.
cIf you need to synchronize audio with video clips captured separately, Avid recommends
that you connect a sync source to both your Avid input/output hardware and the audio
deck to prevent drifting of the audio during editing, even when capturing digitally. This
will ensure synchronization even if sample rate conversion is required.
For more information about sample rate conversion, see “Selecting the Audio Sample Rate and
Controlling Audio Sample Rate Conversion” on page 194 and “Audio Sample Rate Conversion”
on page 813.
Selecting Settings for Capture
Capture settings include options for capturing, batch capturing, auto capturing, capturing to
multiple media files, DV or HDV scene extraction, and setting key commands. Several settings
directly affect the capturing process. This section includes information on Media Creation
settings.
For reference information about all settings in the Capture Settings dialog box, see “Capture
Settings” on page 1298. For information about locating and modifying settings, see “Viewing
and Modifying Settings” on page 1277.You can also view information about settings by clicking
a window or dialog box and pressing the F1 key (Windows) or the Help key (Macintosh).
Selecting Settings for Capture
AVID CONFIDENTIAL DRAFT VERSION 10/13/11 163
nIn the MXF Media Type tab or the OMF Media Type tab of the Capture Settings dialog box,
review the setting for “Maximum (default) capture time.” This setting limits the length of
capture-on-the-fly and capture from an IN point without an OUT point. The default setting is 30
minutes. For more information, see “Capture Settings” on page 1298.
Selecting Video Resolutions and Media Drives
The Media Creation dialog box lets you set the video resolution and select drives for capturing,
creating titles and motion effects, importing, and performing audio, video and data mixdowns.
For detailed resolution specifications, see “Resolution Specifications” on page 1404.
You can also select a video resolution and select drives directly in the Capture tool, the Save Title
dialog box, the Select Files to Import dialog box, the Audio Mixdown dialog box, the Data
Mixdown dialog box and the Video Mixdown dialog box. The Media Creation settings
automatically change to the resolution and drives you select.
cIf you are using Avid Unity LANshare or Avid Unity PortServer Pro, make sure to specify a
supported resolution. For information on supported resolutions, see the LANshare or
PortServer Pro documentation.
To select a video resolution and media drives:
1. Do one of the following:
tDouble-click Media Creation in the Settings list.
tSelect Tools > Media Creation.
The Media Creation dialog box opens.
2. Click the Media Type tab, and select either OMF or MXF file format.
If your project uses an HD resolution, you cannot select OMF as a file format. MXF is
selected by default.
For more information on the media file formats, see “MXF Media” on page 405 and
“Specifications for Importing OMFI Files” on page 1393.
3. Click the Capture tab.
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4. Click the Video Resolution menu, and select a video resolution.
The Video Resolution menu contains a list of the available resolutions, which depend on
such factors as the model of your Avid editing application, your Avid input/output hardware,
and your project format.
For HDV projects, no video resolutions are available for capture, because your Avid editing
application automatically selects the correct resolution. For 720p HDV projects,
Avid DNxHD and DVCPRO HD resolutions are listed for other media creation. For 1080
HDV projects, DNxHD-TR resolutions are available for other media creation.
You can restrict the number of video resolutions available to simplify this step. For more
information, see “Disabling Video Resolutions” on page 165.
5. Select a video drive and an audio drive. To select the same drive for both video and audio,
click the Single/Dual Drives Mode button until only a single drive menu opens.
nThe drive that appears in boldface type has the most available space.
6. (Option) You can select drives and create a drive group. Click the Target Drive menu, and
select Change Group. For more information on selecting a drive group, see “Selecting the
Target Drives” on page 190.
nBecause no audio is associated with titles or motion effects, you can select only a video drive in
the Titles or the Motion Effects tab of the Media Creation dialog box.
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7. To apply your video resolution and drive selection to all the Media Creation tabs and the rest
of your Avid editing application, click Apply to All.
This sets your selected video and audio drives for all the Media Creation tabs. It also sets
them for any place in your Avid editing application where you select drives. Your settings
are not saved until you click OK.
8. Click OK to save your settings.
For more information about options, see “Media Creation Settings” on page 1361. You can
also view this information by clicking the dialog box and pressing the F1 key (Windows) or
the Help key (Macintosh).
Disabling Video Resolutions
To simplify the options for media creation, you can use a text file to restrict the resolutions
available for capturing, rendering, or importing. If you disable resolutions for media creation,
you can still play, export, or perform a digital cut in those resolutions.
To disable resolutions:
1. Select Tools > Media Creation.
The Media Creation dialog box opens.
2. Click one of the tabs that includes a Resolutions menu, and note the exact spelling of each
resolution you want to disable.
3. Open a text file by doing one of the following:
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t(Windows) Click the Start menu, and then select All Programs > Accessories >
Notepad.
t(Macintosh) Click Go > Applications, and double-click TextEdit.
nThis file must be a plain text file. On a Windows system, use Notepad. Do not use Wordpad. On a
Macintosh system, select TextEdit > Preference > Plain Text. Other files might introduce
characters that your Avid editing application cannot recognize.
4. Type each resolution you want to disable on a separate line. Do not include OMF or MXF.
DisabledRes.txt examples on Windows (left) and on Macintosh (right)
The text of the resolution must exactly match the text in the Media Creation dialog box. To
disable DV 25, for example, type
DV 25 411
with DV in capital letters. Do not disable all
resolutions supported by your Avid editing application. You need to keep one resolution
available.
5. (Windows) Name and save the file:
a. Select File > Save As.
b. Type DisabledRes in the File Name text box.
c. Navigate to Program Files > Avid > Avid editing application.
d. Click Save and close Notepad.
6. (Macintosh) Name and save the file:
a. Select File > Save As.
b. Type DisabledRes.txt in the File Name text box.
c. Navigate to Applications > Avid editing application.
d. Click Save and close TextEdit.
7. If a project is open, close the Project window and open the project again.
Your Avid editing application reads the DisabledRes.txt file when it opens a project and
removes the listed resolutions for all projects and all users.
Selecting Settings for Capture
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To enable the resolutions you disabled:
tNavigate to the location of the DisabledRes.txt file and delete it.
Setting Drive Filtering
Your Avid editing application lets you select any drive on your system to use for media storage.
However, high-quality resolutions require striped drives. For more information, see “Getting
Information About Striped Drives” on page 161.
Because media files are very large, you can filter drives that are not suitable for media storage
out of the list of available drives. Filtering drives in this way provides you with a convenient way
to store media only on drives with sufficient space.
nIf you are working in a network environment, see “Drive Filtering in Networked Workflows” on
page 103.
cYour Avid editing application does not prevent you from using non-Avid drives, but Avid
cannot ensure their reliability.
To set drive filtering in the Media Creation dialog box:
1. Do one of the following:
tDouble-click Media Creation in the Settings list.
tSelect Tools > Media Creation.
The Media Creation dialog box opens.
2. (Option) Click the Drive Filtering & Indexing tab.
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nOptions for indexing local drives apply only in an Avid Interplay™ environment. For more
information, see the Avid Interplay Software Installation Guide.
3. Select one or more drives to filter out:
tSelect Filter Network Drives Based on Resolution to remove those network drives that
cannot support, or handle playback of, the selected resolution.
tSelect Filter Out System Drive to remove the drive on which the operating system
resides.
tSelect Filter Out Launch Drive to remove the drive on which your Avid editing
application resides.
The drive or drives you filter out do not appear in the other Media Creation tabs as possible
locations where you can store media. They also do not appear in other drive selection menus
in your Avid editing application except for the Import, Export, and Relink dialog boxes.
nYour settings are not saved until you click OK.
4. Click OK to save your settings.
For more information about options, see “Media Creation Settings” on page 1361. You can
also view this information by clicking the dialog box and pressing the F1 key (Windows) or
the Help key (Macintosh).
Selecting Settings for Preroll Method and for Capturing Across Timecode
Breaks
If the tape you are capturing contains breaks in the timecode, you can use two settings in the
General tab of the Capture Settings dialog box to capture across the timecode breaks.
To select settings for capturing across timecode breaks:
1. Double-click Capture in the Settings list of the Project window.
The Capture Settings dialog box opens.
2. Click the General tab.
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3. Click the Preroll Method menu, and select one of the following methods.
Preroll
Method Description
Best Available Your Avid editing application first checks the tape for timecode to use for
preroll. If there is no timecode, or not enough timecode, your Avid editing
application uses the control track for preroll. If there is not enough control
track for preroll, your Avid editing application adjusts the specified preroll
time to accommodate the amount of valid control track available. If the
adjusted preroll time is too short to sync lock at the IN point, your Avid editing
application does not capture the shot and displays an error message.
After your Avid editing application adjusts the preroll to the individual shot, it
returns to using the user-specified preroll time until it needs to adjust the time
again.
Use this method to capture material as automatically as possible. As the system
makes multiple attempts to preroll, this method is slower at times but almost
always performs the preroll without interruption. This is the default setting.
Standard
Timecode
Your Avid editing application uses timecode to determine the preroll point. If
there is a not enough consecutive timecode (for example, if there is a break in
the timecode), your Avid editing application does not capture the shot and
displays an error message.
Use this method if you know the timecode is consecutive or if you want to
determine if there are timecode breaks.
Best Available
Control Track
Your Avid editing application uses the control track to determine the preroll
point. If there is not enough control track for preroll, your Avid editing
application adjusts the specified preroll time to accommodate the amount of
valid control track available. If the adjusted preroll time is too short to sync
lock at the IN point, your Avid editing application does not capture the shot
and displays an error message.
After your Avid editing application adjusts the preroll to the individual shot, it
returns to using the user-specified preroll time until it needs to adjust the time
again.
Use this method if you know there are timecode breaks and want to capture
material as automatically as possible. Because the system does not use
timecode, it might occasionally capture the wrong frames if there is a problem
with the control track.
Standard
Control Track
Your Avid editing application uses the control track to determine the preroll
point. If there is a break in the control track, your Avid editing application
stops capturing and displays an error message.
Use this method if you know the control track is continuous or if you want to
determine if there are breaks in the control track.
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4. Select or deselect “Capture across timecode breaks.”
When you select this option, your Avid editing application begins capturing a new master
clip at each timecode break. Select this option when you are performing an unattended batch
capture or autocapture. Deselect this option if you plan to capture the entire tape as a single
clip by capturing to multiple media files. See “Capturing to Multiple Media Files” on
page 170.
5. Click OK.
Capturing to Multiple Media Files
You can capture video and audio to multiple media files across multiple drives. MXF is
automatically captured to multiple files. OMF® is captured to multiple files when you set an
option in the Capture Settings dialog box.
Capturing to multiple media files has the following advantages:
• You can create longer clips whose media files would otherwise exceed the file size limitation
of 2 GB.
• You can group all drives with the multiple file options. This enables your Avid editing
application to capture long clips continuously, for example, satellite feeds.
• Your Avid editing application makes more efficient use of drive space, particularly when
capturing long clips.
cFor media file management purposes, any clip whose media exceeds the 2-GB limit has
more than one media file associated with it.
For more information on managing media files, see “Managing Media Files” on page 435.
To capture video or audio to multiple OMF media files:
1. Verify that OMF is selected in the Media Type tab of the Media Creation dialog box.
2. Double-click Capture in the Settings list of the Project window.
3. Click the OMF Media Files tab.
4. Select “Capture to multiple files.”
For information about other options, see “Capture Settings: OMF Media Files Tab” on
page 1301.
5. Click OK.
6. Select Tools > Capture.
The Capture tool opens.
Selecting Settings for Capture
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7. To capture to multiple files across drives, click the Target Drive menu in the Capture tool,
and select Change Group.
The Drive Group dialog box opens.
8. Ctrl+click (Windows) or Command+click (Macintosh) multiple drives to include in the
capturing session, or click the All button to select all drives.
If you click Clear, your Avid editing application removes all selections. You must select at
least one drive before you can click OK to exit the dialog box.
9. Click OK.
10. Proceed with capturing.
General Settings for Capture
The General Settings dialog box includes the following options that are relevant to capture.
For information about other settings in the General Settings dialog box, see “General Settings”
on page 1348. For information on opening the General Settings and other settings dialog boxes,
see “Viewing and Modifying Settings” on page 1277.
Capture-Related Settings for Film and 24p Projects
The following settings are important when you are capturing video transferred from film or
capturing 24p video. You should specify these settings for film or 24p projects immediately after
you create a new project and before capturing. For information about other film settings, see
“Film and 24P Settings” on page 1344.
Setting Description
Project Type The top portion of the dialog box displays the project type (NTSC or PAL)
and other useful information such as the type of film used as source media.
NTSC Has Setup This option applies to standard NTSC format and is selected by default. If
the source footage is in the NTSC-EIAJ format standard (used primarily in
Japan), deselect NTSC Has Setup.
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Selecting Settings for Capture
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Option Description
Video Pulldown Cadence Lets you specify how your Avid editing application handles pulldown frames:
• Video rate, no pulldown: Select this option when capturing 24-fps footage that
was transferred MOS (roughly translated as “without sound”) to 30 fps by
speeding up the film, and the audio was brought into your Avid system
separately at 100 percent of the actual speed.
• Standard 2:3:2:3 pulldown: Select this option when capturing 24-fps footage
that was transferred to 30 fps by duplicating frames (pulldown) and the audio
is synchronized to the picture.
• Advanced 2:3:3:2 pulldown: Select this option when capturing 24-fps footage
that was recorded to 60 fields (NTSC) using Advanced Pulldown and the
audio is synchronized to the picture.
If you are capturing sound that was created during an NTSC film-to-tape transfer,
set the pulldown switch before you begin capturing. See “Setting the Pulldown
Switch” on page 187.
For NTSC projects, you can mix footage transferred with pulldown and footage
transferred without pulldown (video rate). You can also mix sound transferred at
0.99 (with pulldown) and 1.00 (without pulldown).
Audio Transfer Rate When you create a 24p PAL film project, you define the audio transfer rate in the
New Project dialog box. (You do not need to do this for a 25p PAL project
because there is no film speedup during the transfer.) You need to keep the audio
transfer rate constant for the project. However, if there is a specific element that
you need to capture at a different rate, you can change the rate to one of the
following options:
• Film Rate (100%): Select this option when your 24-fps film footage was
transferred MOS to 25 fps by speeding up the film, and the audio comes in
separately at 100 percent of the actual speed (PAL Method 2).
• Video Rate (100%+): Select this option when your 24-fps film footage was
transferred to 25 fps by speeding up the film, and the audio is synchronized to
the video picture. This means that the audio speed is increased by 4.1 percent
(PAL Method 1).
For PAL 24p projects, you can mix audio that has been transferred at 4.1
percent speedup (video rate, PAL Method 1) with audio that has not been
transferred (film rate, PAL Method 2). However, Avid does not recommend
this. See “Audio Transfer Options for 24p PAL Projects” on page 1444.
nThe Info tab in the Project window lets you view the audio transfer rate you
selected when you created the project. The actual audio transfer rate might
be different from the display if you change the audio transfer rate in the
Film and 24p Settings dialog box.
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Configuring Decks
Deck Configuration settings let you establish deck control parameters for a single deck or for
multiple decks. You can create multiple versions, allowing you to select among them for frequent
changes in hardware configurations.
Deck Configuration settings and global deck control preferences appear as separate items (Deck
Configuration and Deck Preferences) in the Settings list in the Project window.
For information on setting Deck Preferences, see “Deck Preferences Settings” on page 1313.
You can also view this information by clicking the dialog box and pressing the F1 key
(Windows) or the Help key (Macintosh).
Configuring a Deck or Multiple Decks
To configure a deck or multiple decks:
1. Verify that you have manually configured the appropriate hardware connections for the deck
or decks.
2. Double-click Deck Configuration in the Settings list in the Project window.
The Deck Configuration dialog box opens.
Audio Source TC Rate Lets you specify the digital audiotape (DAT) timecode format: either 30 fps or
29.97 fps (NTSC only). This timecode format must conform to the timecode
format on your original DAT tapes. This setting is active when capturing audio
only.
This setting does not appear in 23.976 projects.
Set Pulldown Phase of
Timecode
Lets you set a default pulldown phase for a 24p NTSC project. See “Setting the
Pulldown Phase” on page 146.
Option Description
Configuring Decks
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3. Click the Add Channel button.
The Channel dialog box opens.
nChannel refers to the signal path for deck control, whether directly through a serial port, through
a V-LAN® VLXi system connected to a serial port, or through a FireWire® connection. A direct
serial port or FireWire connection allows one deck for each channel, while a V-LAN VLXi system
allows multiple decks.
4. Click the Channel Type menu, and select one of the following items, depending upon your
system configuration:
Option Description
FireWire Use if you are controlling a DV camera or deck through a FireWire connection.
Direct Use if you are controlling a deck through an RS-422 connection to the serial
port.
Configuring Decks
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5. Click the Port menu, and select one of the following items:
6. Click OK to close the Channel dialog box.
A dialog box asks if you want to automatically configure the channel now.
7. Click Yes if you want to automatically configure the channel.
A new channel appears in the display area of the Deck Configuration dialog box, along with
the autoconfigured deck.
nDo not autoconfigure a DV camera or deck. Not all DV devices respond to the Auto-configure
command. Due to this limitation, Auto-configure selects only a generic device template. When a
digital camera is attached to your system, click the Deck Type menu, and select the proper device
(described later in this procedure). When a deck is attached, click the Deck Type menu, and
select the applicable deck.
Example of a channel (left) and a deck (right) in the display area of the Deck Configuration dialog box
VLAN VLX Use if you are controlling decks through a V-LAN/VLXi connection
Option Description
OHCI OHCI refers to a FireWire connection on the computer (Host 1394).
COM1 Use if you selected Direct or VLAN VLX for the channel.
Option Description
Configuring Decks
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nYou can reopen the Channel settings to change the options at any time by double-clicking the
channel box in the Deck Configuration dialog box.
8. If you did not autoconfigure the deck, click the channel box to select it.
9. Click the Add Deck button to open the Deck Settings dialog box.
nWhen a deck is already connected to the system, you can click the Auto-configure button to
bypass the Deck Settings dialog box and automatically configure a deck with the default settings.
10. Select the manufacturer and model number of your deck or other device.
Selecting a model opens a template of settings for the device you selected. You can change
these settings based on your device.
For more information, see “Deck Settings” on page 1311. You can also view this
information by clicking the dialog box and pressing the F1 key (Windows) or the Help key
(Macintosh).
11. Click OK to close the Deck Settings dialog box and return to the Deck Configuration dialog
box.
nYou can reopen the Deck Settings dialog box to change the options at any time by double-clicking
the deck box in the Deck Configuration dialog box.
Understanding Timecode
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12. Repeat the channel and deck setup process for each additional channel or deck you want to
configure.
13. (Option) If you want your Avid editing application to check the deck configuration against
the decks physically connected to the system, select “Verify configuration against actual
decks.”
Your Avid editing application checks the deck configuration after you click the Apply button
in the Deck Configuration dialog box and when you start a work session. A message box
warns you if the configuration does not match the deck.
14. Type a name in the Configuration name text box to name the deck configuration.
The new deck configuration appears in the Settings list in the Project window.
15. Click the Apply button to complete the configurations and close the Deck Configuration
dialog box.
16. Double-click Deck Preferences in the Settings list in the Project window to review and if
necessary adjust global deck control options.
For information about these controls, see “Deck Preferences Settings” on page 1313. You
can also view this information by clicking the dialog box and pressing the F1 key (Windows)
or the Help key (Macintosh).
Deleting Deck Configuration Elements
You can delete deck configuration elements to remove or replace them.
To delete deck configuration elements:
1. Double-click Deck Configuration in the Settings list in the Project window.
The Deck Configuration dialog box opens.
2. Click a channel box, a deck box, or the entire configuration to select it.
3. Click the Delete button.
4. Click the Apply button to complete the changes and close the dialog box.
Understanding Timecode
Timecode is an electronic indexing method that denotes hours, minutes, seconds, and frames that
have elapsed in video material. For example, a timecode of 01:03:30:10 denotes a frame that is
marked at 1 hour, 3 minutes, 30 seconds, and 10 frames.
Most video formats, including PAL and HD formats, use non-drop-frame timecode, where every
frame of the video material is counted in sequence.
Connecting a DV Device
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NTSC video, however, might use either of the following two formats:
• Drop-frame timecode matches the NTSC scan rate of 29.97 frames per second (fps) by
dropping two frames of timecode every minute except for the tenth minute. This does not
drop any of the video frames themselves. Drop-frame timecode is indicated by semicolons
between the digits, for example, 01;00;00;00.
• Non-drop-frame timecode tracks NTSC video at a rate of 30 fps and is indicated by colons
between the digits, for example, 01:00:00:00. Non-drop-frame timecode is easier to work
with, but does not provide accurate timing for NTSC broadcast.
For example, if you work on a 1-hour show that uses 52 minutes of video, the program ends
at 01:52:00:00 (non-drop-frame). If it is broadcast at 29.97 fps, it will last 94 frames too
long (approximately 3 seconds).
The following illustration compares the two types of timecode at the 1-minute mark. Remember
that no frames are actually dropped when drop-frame timecode is used. Drop-frame timecode
simply skips timecode numbers as necessary to match the actual NTSC scan rate.
Comparison of non-drop-frame timecode (top) and drop-frame timecode (bottom)
You set the default timecode format for logging clips in the Deck Preferences dialog box. You set
the default starting timecode in the General Settings dialog box. In both cases, you can select
either drop or non-drop. For more information, see “Deck Preferences Settings” on page 1313
and “General Settings” on page 1348.
You can also change the starting timecode or, for NTSC projects, the timecode format, of a
sequence. See “Changing the Name and Timecode for a Sequence” on page 565.
Connecting a DV Device
You can capture DV 25, DV 50, DVCPRO HD, and HDV media directly from a DV camera or
deck (a DV device). For more information, see “Capturing Directly from a DV Device” on
page 229. You can also play and output directly to the DV device. To use a DV device, you must
connect it to your system correctly.
01:00:59:28 01:00:59:29 01:01:00:00 01:01:00:01 01:01:00:02
01;00;59;28 01;00;59;29 01;01;00;02 01;01;00;03 01;01;00;04
Setting Up the Capture Tool
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You can connect a DV device to a 1394 port on your computer (Host 1394)
For HDV media, playback directly to an HDV device is not supported. You need to export a
transport stream. For more information, see “Outputting HDV” on page 1470.
Setting Up the Capture Tool
The Capture tool provides controls for cueing, marking, and logging footage, and specifies
capturing parameters such as source and target locations. The topics in this section describe how
to open and set up the Capture tool.
nIn Capture mode, the Client monitor displays the playback footage whenever the video track is
selected in the Capture tool.
The following illustrations show the Capture tool for an HD project. Some items might not be
available or might have minor differences in your Avid editing application model.
Top of Capture tool
12
34
5
67
8
9
10
11
12
13
14
1 Trash 8 Record button
2 Capture/Log Mode button 9 Channel Selection buttons
3 Toggle Source/Record button 10 Audio Channel Grouping buttons
4 Video tool 11 Message bar
5 Audio tool 12 Video and Audio Input menus
6 Passthrough Mix tool 13 Subclip status indicator
Setting Up the Capture Tool
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Bottom of Capture tool
When you are working in a 24p NTSC project, the Capture tool includes a pulldown button. For
more information, see “Setting the Pulldown Switch” on page 187.
When you are working in an Avid Interplay environment, the Capture tool lets you select either
Local Bins or Remote Bins. See “Selecting a Target Bin” on page 189.
nWhen you install your Avid editing application, an Incompatible Power Scheme warning button
might appear in the top right corner of the Capture tool. Some Windows power schemes might
affect the performance of your Avid editing application, including capturing media. Avid
recommends the “Always On” power scheme for Windows XP and the “High Performance”
power option for Windows Vista when working with Avid editing applications. For more
information on Windows power schemes, see the Windows documentation.
7 Edit to Timeline buttons (optional) 14 Video Lock icon
5
1
2
3
4
6
7
9
8
1 Clip Name text box 6 Deck controls
2 Clip comment text box 7 Deck Selection menu
3 Resolution menu 8 Source Tape Display button
4 Single/Dual Drive Mode button 9 Time remaining on target drive(s)
5 Target Drive menus
Setting Up the Capture Tool
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Opening the Capture Tool
To open the Capture tool:
1. Ensure the deck or other playback device is properly connected to the system and is turned
on.
2. Do one of the following:
tClick a bin to activate it and select Bin > Go To Capture Mode.
tSelect Tools > Capture.
3. Ensure you are in Capture mode. If the Capture tool is in Log mode, click the Capture/Log
Mode button until the CAP icon appears.
Selecting a Deck in the Capture Tool
The Deck Selection menu in the Capture tool contains a list of any decks that are connected to
the system, powered up, and initialized when you enter Capture mode.
nDevice templates from Meridien-based Avid editing applications are not compatible with current
Avid editing applications. Do not copy Meridien device templates to current Avid editing
systems, and do not copy current Avid editing application device templates to Meridien systems.
The Deck Selection menu also lists the following three commands:
If “No Deck” appears in the Deck Selection menu, you need to configure a deck in the Deck
Configuration dialog box. See “Configuring Decks” on page 174.
If a deck name appears in italics in the Deck Selection menu, the deck has lost power or has been
disconnected. Click the menu, and select Check Decks to reestablish deck control.
Command Description
Adjust Deck Opens the Deck Settings dialog box. Changes you make apply to the
selected deck. For information on Deck settings, see “Deck Settings” on
page 1311.
Auto-configure Lets you automatically configure the selected deck with the default deck
settings for that deck.
Check Decks Helps to reestablish deck control if the power to your decks was turned
off or the decks were disconnected when you first entered Capture mode.
Setting Up the Capture Tool
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nAfter deck control has been properly initialized, it remains active for all deck controllers
throughout the session until you quit your Avid editing application.
You must have V-LAN VLXi hardware to manage more than one deck at a time. For more
information on V-LAN equipment, contact your Avid sales representative.
Activating Playback from an Available Deck
To activate playback from an available deck:
tClick the Deck Selection menu, and select the deck.
Selecting a Source Tape
To select a source tape:
1. Do one of the following:
tIf a tape is already in the deck, click the Source Tape Display button in the Capture tool.
tIf there is no tape in the deck, insert a tape into the deck.
The Select Tape dialog box opens.
2. If you are working in an NTSC project, play the tape for a few seconds so your system can
detect the timecode format of the tape (drop-frame or non-drop-frame).
Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box,
regardless of the format on the tape, and you might receive a message indicating a wrong
tape.
Setting Up the Capture Tool
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nDrop-frame timecode appears in the Timecode indicator with semicolons between hours,
minutes, seconds, and frames. Non-drop-frame timecode appears with colons. For more
information, see “Understanding Timecode” on page 178.
3. Provide the system with a tape name in one of the following ways:
tSelect the name of the tape from the list in the Select Tape dialog box and click OK.
tExpand the list by selecting the “Show other projects” option or by clicking the Scan for
tapes button.
tClick New if the tape is not in the list. A new tape name line appears in the dialog box.
Type the new name, press Enter (Windows) or Return (Macintosh), and click OK.
For information on tape naming conventions, see “Naming Tapes” on page 135. If you are
working with MultiRez in an Avid Interplay environment, see “Guidelines for MultiRez
Tape Management” on page 1191.
Selecting Source Tracks and Audio Channels
You can select the tracks to capture from the source tape, and you can set the audio channel
groupings if you capture stereo audio source media.
When you group audio tracks for multichannel capture or batch capture, your Avid editing
application saves the grouping as a capture setting, independent of the hardware channels you
select. The resulting clip uses the grouping setting and the used channels. For more information
on audio channel groupings, see “Working with Multichannel Audio Tracks” on page 748.
When you batch capture, if the tracks are already logged into the bin then channel selection is
made automatically unless you deselect the option “Capture the tracks logged for each clip” in
the Batch tab of the Capture Settings dialog box. For more information on Batch Capture
settings, see “Batch Capturing Clips” on page 236.
Batch capture uses the audio channel groupings currently specified on the master clip, not the
groupings that display in the Capture tool when you batch capture previously-logged clips.
To select only those tracks you want to capture:
tClick the Channel Selection buttons in the Capture tool.
Setting Up the Capture Tool
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Channel Selection buttons in the Capture tool
If you do not see source video or hear source audio in Capture mode, click the Channel
Selection buttons to ensure they are not the cause.
nWhen you use an Avid-controlled deck, the TC (timecode) track is selected by default, and the
system captures the timecode from the source tape. If you deselect the TC button, the system
captures with time-of-day timecode. For more information, see “Capturing with Time-of-Day
Timecode” on page 228.
To group tracks for multichannel capture:
tClick the Audio Channel Grouping buttons in the Capture tool for those tracks you want to
capture as stereo audio tracks.
The Audio Channel Grouping button turns green when you group tracks.
Setting Up the Capture Tool
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Audio Channel Grouping buttons in the Capture tool
When you capture stereo audio, you can view the multichannel audio format in the bin in the
Track Formats column.
Setting the Video and Audio Input in the Capture Tool
The Video and Audio menus show you the current input settings for the Video Input tool and the
Input tab in the Audio Project Settings dialog box. The menus also provide a convenient way to
change the settings if necessary.
nThe Video Input tool is not available on all models. If your model does not have the Video Input
tool, your Avid editing application sets the default input options automatically.
For more information, see “Preparing to Capture Audio” on page 193 and “Preparing to Capture
Video” on page 207.
nIf you change the settings, the settings in the Video Input tool or in the Audio Project Settings
dialog box automatically change to the settings you select.
Setting Up the Capture Tool
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Detecting a Valid or Locked Sync Signal
On systems using Avid input/output hardware, the Capture tool uses an icon to indicate if the
sync source you are using is valid and locked. The icon appears in the message bar of the
Capture tool.
• Video Lock icon: When you select a video track in the Capture tool, the Video Lock icon is
displayed. If the current source has a valid video signal and your Avid input/output hardware
can lock to it, the icon is displayed in green. If there is no valid signal, the icon is displayed
in black.
• Ref Lock icon: When you select only audio tracks (or if no tracks are selected) in the
Capture tool, the Ref Lock icon is displayed. If there is a valid reference signal and your
Avid input/output hardware can lock to it, the icon is displayed as a green ring. If there is no
valid signal, the icon is displayed in black.
nThe Ref Lock icon also appears in the Digital Cut tool.
For more information, see Selecting the Sync Source for Output.
Setting the Pulldown Switch
If you are capturing sound created during an NTSC film-to-tape transfer, you need to set the
pulldown switch before you begin capturing. If you are capturing picture only, you do not need
to set the switch.
If you are working in a 23.976p project, the pulldown switch is not necessary and does not
appear.
nEnsure your film preferences are set properly. For more information, see “Film Project Pulldown
and Transfer Settings” on page 188 and “Capturing Digital Audio in Film Projects” on
page 189.
To set the pulldown switch:
tClick the Pulldown button in the Capture tool.
When the pulldown switch is off, the button is inactive (gray), and a label explains that audio
will be captured (sampled) at the same speed at which it was recorded (1.00).
Setting Up the Capture Tool
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Pulldown button in the Capture tool
When the pulldown switch is on a label explains that you can capture audio sampled at 0.99
percent of its recorded speed (referenced to NTSC video), to match the slowdown rate at
which the footage was transferred.
Film Project Pulldown and Transfer Settings
The following table explains how you should set the pulldown switch and transfer settings,
depending on your input media.
Type of Input Media Project
Pulldown
Switch
Setting
Source
Playback
Speed
Film to Video Transfer
Settings (Set in Film
Settings Dialog Box)
Original sound source synced to NTSC
during transfer. For capturing picture
and sound from NTSC tape, or
sound-only from simul-DAT tapes
created during telecine transfer.
24p NTSC On (0.99) 29.97 fps Picture Transfer Rate:
With 2:3 pulldown
NTSC MOS film-to-tape transfer with
separate audio. Digital audio (DAT) or
analog audio (Nagra) to sync with video
in your Avid system. For direct input of
separately recorded audio.
24p NTSC Off (1.00) Audio:
30.00 fps
Picture:
29.97 fps
Picture Transfer Rate:
With 2:3 pulldown
Audio Source Tape TC
Rate: 30.00
FTFT transfer or retransferring an
effect. This method lets you save time
because no audio is involved in the
transfer.
24p NTSC Not
applicable
29.97 fps Picture Transfer Rate:
Without pulldown
Setting Up the Capture Tool
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Capturing Digital Audio in Film Projects
You must capture audio created during an NTSC file-to-tape transfer at a pulldown sample rate.
When capturing from a digital source (such as AES/EBU, ADAT, or Embedded SDI), you must
either configure the deck to transfer at the pulldown rate (as is possible with some audio decks)
or capture the digital source as analog.
Selecting a Resolution in the Capture Tool
The Res (Resolution) menu contains a list of the available resolutions, depending on your project
and the model of your Avid editing application. You can select the resolution in the Capture tool
or in the Media Creation dialog box (see “Selecting Video Resolutions and Media Drives” on
page 163). If you select a resolution in the Capture tool, the Media Creation settings change to
the resolution you selected.
For detailed information on available resolutions in Avid editing applications, see “Resolution
Specifications” on page 1404
To select a resolution in the Capture tool:
tClick the Res (Resolution) menu, and make a selection.
Selecting a Target Bin
You select a target bin as the destination for the master clips that you create when you capture
and log at the same time.
PAL film-to-tape transfer with synced
sound or simul-DAT tapes.
24p PAL
(Method 1)
Off (1.00) Audio and
picture both
25 fps
(100%+)
Picture Transfer Rate: Not
applicable
Audio Transfer Rate:
Video Rate
PAL MOS film-to-tape transfer with
separate audio. Digital audio (DAT) or
analog audio (Nagra) to sync with video
in the Avid system.
24p PAL
(Method 2)
Off (1.00) Audio:
25 fps
(100%)
Picture:
25 fps
Picture Transfer Rate: Not
applicable
Audio Transfer Rate:
Film Rate
PAL film-to-tape transfer with synced
sound or simul-DAT tapes.
25p Off (1.00) Sound and
picture at
25 fps
Picture Transfer Rate: Not
applicable
Type of Input Media Project
Pulldown
Switch
Setting
Source
Playback
Speed
Film to Video Transfer
Settings (Set in Film
Settings Dialog Box)
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In an Avid Interplay environment, the Capture tool includes an option to capture to a local bin or
a remote folder.
To select a target bin:
1. (Option — systems in an Avid Interplay environment only) Do one of the following:
tIf you are capturing to a local bin, select Local Bins.
tIf you are capturing to a remote project folder in an Avid Interplay environment, select
Interplay Folders.
For more information about capturing to an Interplay project folder, see “Capturing
Media to Interplay Folders” on page 1166.
2. In the Capture tool, click the Bin menu and make a selection.
Only open bins (and open Interplay folders if you are in an Interplay environment) appear in
the Bin menu. For information on opening a bin, see “Opening and Closing Bins” on
page 69.
Interplay folders are available only in Avid workgroups configurations. If the Interplay
folder you want to use is not open, click the folder name in the Interplay Window.
Selecting the Target Drives
You select one or more target drives as the destination for audio and video media files that you
create when you capture.
By default, the Capture tool targets a single media drive volume for capturing the audio and
video for each clip. You can also:
• Target separate physical drives for audio and video tracks.
You might want to target separate drives for media management, such as sending audio files
to a Pro Tools® system for audio sweetening. Capturing audio and video to separate drives is
not necessary for performance.
• Target a drive group (a group of media drives).
This is especially useful when you are capturing long clips to multiple media files. For more
information, see “Capturing to Multiple Media Files” on page 170.
After you create a drive group, it appears in the Target Drive menu for the project.
Setting Up the Capture Tool
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If you are capturing high-quality resolutions, you need to select striped drives. For more
information, see “Getting Information About Striped Drives” on page 161 and “Storage Options
and Drive Striping” in the Help.
You can filter some drives out of the available drive list. For more information, see “Setting
Drive Filtering” on page 167.
You can set target drives in the Media Creation dialog box. See “Selecting Video Resolutions and
Media Drives” on page 163.
nFor tips on targeting media drives for effective storage and playback, see “Storage
Requirements” on page 1418.
To target a single drive:
1. If the Capture tool is not already open, select Tools > Capture.
The Capture tool opens.
2. Click the Single/Dual Drive Mode button to display the Single Drive icon.
3. Click the Target Drive menu, and select a drive volume.
The name in bold in the menu has the most storage available. The time remaining on the
selected drive, displayed to the right of the menu, is calculated based on your resolution
selection.
To target separate drives for audio and video:
1. If the Capture tool is not already open, select Tools > Capture.
The Capture tool opens.
2. Click the Single/Dual Drive Mode button to display the Dual Drive icon.
Two Target Drive menus appear. The top one is targeted for video and the bottom one is
targeted for audio.
3. Click each Target Drive menu, and select separate drives for audio and video.
The names in bold in the menus have the most storage available. The time remaining on each
selected drive, displayed to the right of each menu, is calculated based on your resolution
selection.
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To create and target a drive group:
1. Click the Target Drive menu, and select Change Group.
The Drive Group dialog box opens.
2. Ctrl+click (Windows) or Command+click (Macintosh) to select multiple drives to include in
the capturing session, or click the All button to select all drives.
3. Click OK.
Your Avid editing application creates the drive group, and it appears in the
Target Drive menu.
When you capture, any clip that exceeds the capacity of a drive (whether that drive is empty
or already contains media files) continues capturing onto another drive in the group.
Selecting a Custom Preroll
The Custom Preroll option and menu in the Capture tool lets you select how many seconds the
tape rolls before the capturing starts. This option overrides the global preroll setting in the Deck
Settings dialog box.
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Preparing to Capture Audio
Your Avid editing application provides you with a wide range of options for audio input:
capturing audio with video from tape, capturing audio from a digital or analog deck, capturing
through a microphone, or capturing through an external audio device such as an Mbox device,
and in various formats and at various sample rates.
The topics in this section describe preparations you might need to take before capturing audio.
Audio Project Settings for Capture
You can use the Audio Project Settings dialog box to choose various input and output options
and check the current configuration of your audio hardware. You need to set the following audio
project settings for capture:
nSome options depend on the audio configuration of your Avid editing system, so your system
might not contain certain features and hardware that are covered in the documentation.
The values you set in the Audio Project Settings dialog box are saved as Project settings. You can
also save the Audio Project settings as Site settings so that all projects open with the same audio
settings. See “Using Site Settings” on page 1284.
For information on all Audio Project settings, see “Audio Project Settings” on page 1291. You
can also view this information by clicking the dialog box and pressing the F1 key (Windows) or
the Help key (Macintosh).
Setting For more information, see
Audio sample rate “Selecting the Audio Sample Rate and Controlling Audio
Sample Rate Conversion” on page 194.
Audio file format “Selecting the Audio File Format” on page 195.
Audio input source “Selecting the Audio Input Source” on page 196.
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Selecting the Audio Sample Rate and Controlling Audio
Sample Rate Conversion
Selecting the audio sample rate in the Audio Project settings dialog box sets the audio sample
rate for capturing audio and for sequences that you create in the project. You can change the
sample rate for individual sequences and audio clips.
When you are using some Avid input/output hardware devices, you can also control how your
Avid editing application handles audio sample rate conversion during capture.
Sample rate conversion on input applies to the following digital inputs: SDI embedded,
AES/EBU, SPDIF, and ADAT.
To select the audio sample rate:
1. In the Project window, click the Settings tab.
The Settings list appears.
2. Double-click Audio Project.
The Audio Project Settings dialog box opens.
3. Click the Main tab.
4. Click the Sample Rate menu, and select a sample rate.
5. Close the Audio Project Settings dialog box.
To set a preference for audio sample rate conversion during capture:
1. In the Project window, click the Settings tab.
2. Double-click Audio Project.
The Audio Project Settings dialog box opens.
3. Click the Input tab.
4. Click the Sample Rate Conversion menu, and select on of the following:
Option Description
Never When this option is set, your Avid editing application displays a
warning message if the sample rate of the incoming media does not
match the project sample rate. This is the default option.
The Never option is useful when capturing from different sources. The
system reminds you that the material that you are capturing is at a
different sample rate than the project. Then you can decide whether to
convert the audio to match the project sample rate or change the project
sample rate to match the incoming audio.
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5. Close the Audio Project Settings dialog box.
Selecting the Audio File Format
You create audio files when you:
• Record audio tracks in Capture mode.
• Create tone media by using the Audio tool.
• Mix down audio tracks by using the Audio Mixdown tool.
• Import files by using the Import dialog box.
• Apply an AudioSuite plug-in that creates new source audio.
You select the file format that your Avid editing application uses when creating audio files by
selecting from the Audio File Format menu in the Audio Project Settings dialog box.
You should be aware of the following:
• You can mix AIFF-C and WAVE audio media files within a project.
• You should elect AIFF-C or WAVE when you need to transfer media files directly to a Pro
Tools system for audio sweetening. For more information, see “Transferring Audio Files” on
page 1099.
• Media Composer has limited support for Sound Designer II™ audio. See “Transferring and
Working with Sound Designer II Audio Files from Macintosh Systems” on page 1100.
• If you switch the audio format in the middle of a project, all new audio media files are
written in the new format with the following exceptions:
- When your Avid editing application renders audio effects, it uses the file type of the
outgoing (A-side) audio media for a transition. For example, if the A-side of an audio
dissolve is in AIFF-C format and the B-side (incoming) is in WAVE format, the
rendered file is AIFF-C.
- Media files that your Avid editing application copies or creates during a Consolidate
procedure retain their original file types.
To select the audio file format:
1. In the Project window, click the Settings tab.
The Settings list appears.
When needed When this option is set, your Avid editing application automatically
converts incoming audio sample rates to match the project sample rate.
Option Description
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2. Double-click Audio Project.
The Audio Project Settings dialog box opens.
3. Click the Main tab.
4. Click the Audio File Format menu, and select WAVE (OMF), AIFF-C (OMF), or PCM
(MXF).
The default file format is AIFF-C (OMF). For more information on audio file formats, see
“Audio Projects Settings: Main Tab” on page 1292.
5. Close the Audio Project Settings dialog box.
Selecting the Audio Input Source
You can connect one or more audio devices to your Avid hardware or to your computer. Use the
Audio Project settings to select the device you want to use as the source for capture. The choices
available depend on your system configuration. For more information, see “Audio Project
Settings: Input Tab” on page 1293.
nIf you select IEEE 1394 as your input device, the input source is automatically set to Host-1394.
For more information, see “Connecting a DV Device” on page 179.
n(Macintosh only) If you use the one of the Mbox family of audio devices to capture audio, the
S/PDIF inputs appear in the Capture tool as Tracks 3-4.
To select the audio input source:
1. In the Project window, click the Settings tab.
2. Double-click Audio Project.
The Audio Project Settings dialog box opens.
3. Click the Input tab.
4. Click the Input Source menu and select the source for the audio you want to capture.
5. Close the Audio Project Settings dialog box.
The source you selected is displayed in the Capture tool. You can change the source in the
Audio Project Settings dialog box or in the Capture tool.
Configuring the Sound Card (Software-Only Systems)
Depending on the sound card installed on your Avid system, you might need to customize the
configuration of audio input and output. Usually this configuration occurs automatically when
you install your Avid editing application, but some sound cards require further customization to
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ensure full compatibility between your Avid editing application and your audio hardware. In
these cases, you can use the Sound Card Configuration dialog box to map audio input sources to
specific audio output sources.
If your system has a surround sound audio chip installed, your Avid editing application might not
be able to configure the Windows Mixer properly for audio output. By default, your Avid editing
application mutes all output sources except the primary audio, which typically is a WAVE
source. Some surround sound devices require that other audio output sources, such as Front
Speakers, not be muted. To prevent your Avid editing application from muting these outputs, you
can override the Sound Card Configuration setting.
cImproper configuration of your audio hardware can cause the audio input and output
features of your Avid editing application to function incorrectly. Use the Sound Card
Configuration dialog box only if you experience problems with your audio output.
nConfiguring your sound card to ensure compatibility is necessary only if your Avid editing
application is not using Avid input/output hardware (software-only). If Sound Card
Configuration does not appear in the Settings scroll list, you do not have to configure your sound
card.
To customize the sound card configuration:
1. In the Project window, click the Settings tab.
The Settings list appears.
2. Double-click Sound Card Configuration.
The Sound Card Configuration dialog box opens.
3. For each input source in the Record/Input list that you want to map, click the matching
Output Source menu from the Playback/Output list and select an output source.
nYou can map an input source to only one output source at a time. The options available for
mapping depend on your audio hardware.
4. (Option) If you do not want an input source mapped to an output source, select <No Match>
from the corresponding Output Source menu. You might need to do this, for example, if your
system lists more input sources than output sources.
5. Click OK.
To reconfigure the sound card to the original application settings:
tClick the Default button.
cClicking the Default button applies the default settings immediately. You cannot cancel the
reconfiguration once you reset the default options.
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To override the mute feature for surround sound:
1. In the Settings list, double-click Sound Card Configuration.
The Sound Card Configuration dialog box opens.
2. Click the Override Mute menu.
The menu contains a list of the output sources available in Windows Master Volume control.
3. Click one or more of the output sources to override the Sound Card Configuration settings
and to accept the default settings of the Master Volume control.
For example, if the Master Volume control is set to disable sound from the Front Speaker
output source, your Avid editing application leaves the source muted. If the Master Volume
control is set to enable sound from this source, your Avid editing application leaves the
source not muted.
Understanding the Audio Tool
You use the Audio tool primarily for mixing and monitoring audio.
The Audio tool, along with your hardware’s audio parameters, lets you do the following in
preparation for input:
• Check and manage your audio hardware setup.
• Set audio levels before recording.
• Calibrate, set levels, and generate customized calibration tones for output to the speakers or
a record device.
The following table describes the components in the Audio tool.
Component Description
Reset Peak button Resets the current maximum peak measurements and stops the playback of
the internal calibration tone.
In/Out toggle buttons Switch the meter displays for each channel between input levels from a
source device and output levels to the speakers and record devices.
I indicates Input, and O indicates Output.
Peak Hold Menu
button
Lets you select options for customizing the meter displays and for setting
and playing back the internal calibration tone.
Digital scale to the left
of the meters
Displays a fixed range of values from 0 to –90 decibels (dB), according to
common digital peak meter standards.
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Opening the Audio Tool
To open the Audio tool, do one of the following:
tSelect Tools > Audio Tool.
tClick the Audio Tool button in the Capture tool.
The Audio tool opens and displays meters for two to eight channels, depending on the
configuration of your system.
Audio tool. Top, left to right: Reset Peak (RP) button, In/Out toggle buttons, Peak Hold (PH) Menu button. Left
display column: Digital scale (fixed). Right display column: Volume unit scale (adjustable).
Volume unit (VU)
scale (analog) to the
right of the meters
Displays a range of values that you can conform to the headroom
parameters of your source audio.
Meters Dynamically track audio levels for each channel as follows:
• Meters show green below the target reference level (default reference
level is –20 dB on the digital scale).
• Meters show yellow for the normal headroom range, above the
reference level to approximately –3 dB.
• Meters show red for peaks approaching overload, between –3 dB and
0 (zero) dB.
• Thin green lines at the bottom indicate signals below the display range.
Component Description
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Adjusting Audio Input Levels
You can use the Audio tool and the Audio Project Settings dialog box to check the audio input
levels. If the input levels are too high or too low, you need to adjust the output level of your
source signal, if possible.
nOn software-only systems, you can adjust audio input through a slider in the Input tab of the
Audio Project settings. For more information, see “Audio Project Settings: Input Tab” on
page 1293.
Before you capture, make sure the audio I/O device is properly calibrated. See “Calibrating
Audio Hardware for Avid Nitris DX and Avid Mojo DX” on page 203.
To check and adjust input levels using an audio input device:
1. Click the In/Out toggle buttons in the Audio tool for the channels that you use for input.
The Audio tool displays an I for Input.
2. Play back the source audio (from a videotape or DAT, for example). If the recording includes
reference tone, cue to the tone and play it back.
3. Adjust the output on the playback device so that the device’s volume meter shows the
appropriate level for the reference signal in the Audio tool (0 VU for videotape playback, for
example).
You can adjust the output by using a deck that supports output gain or by sending the signal
through a mixing console.
Creating Tone Media
You can create your own tone media as a master clip for editing directly into sequences.
To create tone media:
1. Open a bin.
2. Select Tools > Audio tool.
3. Click the PH (Peak Hold) menu in the Audio tool, and select Create Tone Media.
The Create Tone Media dialog box opens.
4. Set the appropriate calibration tone parameters for the project. You can also use the default
output tone of –20 dB (digital scale) with a 1000-Hz signal.
A value of 0 generates random noise. A value of –777 generates a tone sweep.
5. Select the number of tracks of tone you want to create (up to 8 tracks).
6. Click the menus, and select a target bin for the tone master clip and a target drive for the tone
media file.
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7. Click OK.
After a few seconds, your Avid editing application creates the media file and a master clip
appears in the target bin. The default name reflects the options you selected. You can rename
the clip by typing a new name.
Using the Passthrough Mix Tool
The Passthrough Mix tool lets you select the mix and adjust the volume and pan values of the
source audio that you monitor. You can adjust the mix, volume, and pan values of multiple
monitored channels, controlling either individual channels manually or several channels
simultaneously by grouping them together.
nThe Passthrough Mix tool adjusts monitored audio only and has no effect on the recorded audio
signal. You can adjust volume levels within a clip in the Timeline after you record audio by using
Audio Gain Automation. For information, see “Audio Mixer Tool Controls” on page 774.
To open the Passthrough Mix tool, do one of the following:
tIn the Settings list of the Project window, double-click the Passthrough Mix Tool button.
tIn the Capture tool, click the Passthrough Mix Tool button.
tIn the Audio Punch-In tool, click the Passthrough Mix Tool button.
For more information, see “Recording Voice-Over Narration Using Audio Punch-in” on
page 833.
The Audio Project Settings dialog box opens.
To choose the number of tracks (4 or 8) to display in the Passthrough Mix tool:
tClick the Number of Mix Panes button.
When you select 4 tracks, an additional button appears that lets you display the first 4 or last
4 enabled tracks.
With the tool minimized, you can continue to adjust levels, either by selecting a track and
typing values by using the numeric keypad, or by typing a value in the Volume Level display.
To adjust audio in the Passthrough Mix tool:
1. Double-click Passthrough Mix Tool in the Settings list.
The Passthrough Mix tool opens.
2. Switch the Input Mix Mode button to select a type of input:
tSelect Stereo Mix to mix audio channels to a stereo pair. Use the Stereo Mix Tracks
menu to specify which stereo pair to use.
tSelect Direct Mix to send the input signal to its corresponding output channel.
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In Direct Mix mode, the Pan Value display and pop-up sliders at the bottom of the
Passthrough Mix tool are replaced by Channel Menu buttons.
3. Select the audio channel to be adjusted by doing one of the following:
tClick the Channel Selection button for the appropriate audio channel.
tIn Direct Out mode, click the Channel Menu button, and select a channel from the
menu.
You can select only channels that exist in the source audio.
4. Adjust the volume as needed.
You can adjust the volume of multiple channels by clicking the appropriate Group button.
For more information, see the next procedure.
5. Adjust the pan values as needed.
For more information, see the final procedure in this topic.
To change an audio level value in the audio panel in the Passthrough Mix tool, do one of
the following:
tClick a number along the vertical edge of the Volume Level slider.
tClick the Volume Level slider, and type a value.
Values are cumulative until you press Enter (Windows) or Return (Macintosh). For example,
if you want to enter the value 12, type it. However, if you type 1 and then want to change the
value to 2, press Enter (Windows) or Return (Macintosh) before typing
the 2.
tClick the Volume Level slider, and drag the slider to a new position.
tClick the Volume Level display, and type a value.
tAlt+click the Volume Level slider to reset the value to 0 dB.
To adjust the pan values in the audio panel of the Passthrough Mix tool:
tClick the Pan Value display to reveal the pop-up slider, and then drag the slider to a new
position.
Pan Value display (left) and pop-up slider (right) in the Passthrough Mix tool.
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Calibrating Audio Hardware for Avid Nitris DX and Avid Mojo DX
By default, your Avid editing application is calibrated for analog 0 Volume Unit (VU) to be
digital –20 dBFS, which matches the default calibration of the Avid Nitris DX and Avid Mojo
DX hardware.
You can do two things to calibrate audio — make the audio adjustment to correspond to your
hardware calibration setting by using the default, or refine the calibration to get to within 1/4 dB.
This will require using additional test equipment — an external calibrated signal generator, a
voltmeter, or an oscilloscope.
The Audio Hardware Calibration window lets you change your audio hardware calibration. The
calibration settings are stored in the Avid Nitris DX or Avid Mojo DX, and moved with the
hardware if it is moved to another computer. If you delete the project, user, or site settings, or
reinstall your Avid editing application, the settings are saved in the hardware.
If you have already calibrated your analog audio outputs, you can use the Avid Play Calibration
Tone generator by connecting one channel’s output to another channel’s input.
To calibrate the audio channels for Avid Nitris DX or Avid Mojo DX using the Audio
Hardware Calibration tool:
1. Connect the analog outputs to the analog inputs on the back of the Avid Nitris DX or Avid
Mojo DX.
2. Double-click Audio Project in the Settings list of the Project window.
3. Click the Hardware tab.
4. Click the HW Calibration menu, and select a new default hardware calibration setting:
–14 dBFS, –18 dBFS, or –20 dBFS.
A message box opens warning that changing the Hardware Calibration must be
synchronized with physical changes to your Audio I/O peripheral.
5. Click OK.
6. Click the Open Calibration window.
The Audio Hardware Calibration window opens.
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7. To change the digital level of the meter’s display of 0 VU, click Set Reference Level.
The Set Reference Level dialog box opens.
8. Enter the new reference level in dB.
This should be set to match the 0 VU standard in your workflow. Avid recommends a
-20 dBfs value.
9. Select the interface you want to calibrate: Analog XLR input, Analog RCA input, Analog
TRS input, Monitor output, or Analog output.
Options vary depending on your Avid input/output hardware. You can calibrate only one
channel at a time.
10. Select the appropriate channel.
Channels vary depending on your Avid input/output hardware.
11. Use the Up and Down buttons to adjust the calibration in 0.5dB increments.
Depending on what you selected in the HW Calibration menu, enter the corresponding
Output or Input.
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12. Repeat this procedure for each channel.
To calibrate the audio input channels:
1. Connect the tone generator to the analog inputs on the back of the Avid Nitris DX or the
Avid Mojo DX.
2. Double-click Audio Project in the Settings list of the Project window.
3. Click the Hardware tab.
4. Click Open Calibration window.
The Audio Hardware Calibration window opens.
5. Select the interface you want to calibrate: Analog XLR input, Analog RCA input, or Analog
TRS input.
Options vary depending on the Avid input/output hardware you have connected. You can
calibrate only one channel at a time.
6. Select the appropriate channel.
Channels vary depending on your Avid input/output hardware.
7. At the bottom of the Audio Hardware Calibration window, click Audio Tool.
The Audio tool opens.
8. For whichever channels you want to calibrate, switch the Audio Tool channels to input by
clicking each In/Out toggle buttons to change the output (O) to input (I).
The In/Out toggle buttons in the Audio Tool switch from O to I and highlight in green. The
meters levels re-display.
9. Set the tone generator output to the reference level set in the Audio Hardware Calibration
window.
The following are suggested professional settings:
- Analog XLR input: +4 dBu
- Analog RCA input: -10 dBV
- Analog TRS input: +4 dBu
From HW Calibration menu Use for all Outputs Use for all Inputs
-14 dBFS -6.00 +6.00
-18 dBFS -2.00 +2.00
-20 dBFS 0.00 0.00
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10. Use the Up and Down buttons in the Audio Hardware Calibration window to adjust the
calibration in 0.5dB increments.
The meters in the Audio tool should display around 0 VU.
11. Click Calibrate from the Audio Hardware Calibration window.
The Audio tool changes to Calibrate mode. The scales display a range of approximately
8 dB, and the meters indicate levels within this range.
12. Repeat this procedure for each channel.
To calibrate the audio output channels for Avid Nitris DX and Avid Mojo DX:
1. Connect the external meter or an oscilloscope to the analog outputs on the back of the Avid
Nitris DX or Avid Mojo DX.
nIf you use a voltmeter or an oscilloscope to perform the calibration, the target calibration
voltage displays in the Voltage ptp and RMS area.
2. Double-click Audio Project in the Settings list of the Project window.
3. Click the Hardware tab.
4. Click Open Calibration window.
The Audio Hardware Calibration window opens.
5. If you need to adjust the tone level or tone frequency, click the Set button.
The Set Calibration Tone dialog box opens.
nYou can also access the Set Calibration Tone dialog box from the menu in the Audio Tool
window.
6. Enter the new tone levels in dB and the new tone frequency in Hz.
7. Use the Up and Down buttons to adjust the calibration in 0.5dB increments.
The following are suggested professional settings:
- Monitor output: +4 dBu
- Analog output: +4 dBu
8. Click OK.
9. Select the interface you want to calibrate: Monitor output or Analog output.
Options vary depending on your Avid input/output hardware. You can calibrate only one
channel at a time.
10. Select the appropriate channel.
Channels vary depending on your Avid input/output hardware.
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11. Click Play Calibration Tone.
12. Repeat this procedure for each channel.
Using the Console Window to Check Audio Levels
Once you have played back audio through the Audio tool, you can use the Console window to
view a list of precise information about the peak levels.
To check peak levels in the Console:
1. Select Tools > Audio Tool.
The Audio tool opens.
2. Click the RP (Reset Peak) button to clear your system’s record of the most recent maximum
peaks.
3. Play a sequence or portion of the sequence.
4. After playing back the audio, open the Console window by selecting Tools > Console.
5. In the Console command line, type:
DumpMaxPeaks
6. Press Enter (Windows) or Return (Macintosh).
A list of peak values appears in the Console window.
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The Video Input tool lets you select the format of the video input signal and calibrate composite
video, component video, and S-Video.
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If you are capturing SDI, HD-SDI, or DV, for example, from a D1, D5, digital Betacam, DV, or
HD deck, you cannot adjust levels by using the video input controls in your Avid editing
application. If you plan to make adjustments at the source deck, information in this section
regarding the internal Waveform and Vectorscope monitors might be useful.
Opening the Video Input Tool
To open the Video Input tool, do one of the following:
tSelect Tools > Video Input Tool.
tClick the Video Input Tool button in the Capture tool.
The Video Input Tool opens.
For information about settings in the Video Input tool, see “Video Input Tool Settings” on
page 1378.
1 Waveform Monitor button 4 Vectorscope monitor 7 Settings menu
2 Vectorscope Monitor button 5 Input menu 8 100% bars button
3 Waveform monitor 6 Preset buttons
12 3 4
8
5
6
7
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Using the Factory Preset Buttons in the Video Input Tool
The preset buttons in the Video Input tool show the status of each calibration setting as follows:
• When you first open the Video Input tool in a new project, all preset buttons are lit (green),
with the factory presets loaded for each slider.
• When you click the slider of a lit preset button, the arrow changes to black and the slider
moves to the position of the pointer.
• When a preset button has a black arrow and you click it, the arrow becomes lit (appears
green), and the slider moves to the factory preset level for that parameter.
• When you click a lit preset button, the arrow changes to black, and the slider returns to the
last manual setting.
As you adjust levels in the tool, you can switch the preset buttons between the levels you set
manually and the factory preset levels.
Calibrating Video Input
You should calibrate video input levels to ensure the continuity of picture quality between tapes.
Before you calibrate the video input, check the following:
• Make sure your monitor is properly calibrated for displaying footage accurately. For more
information, see your monitor’s hardware documentation.
• If your system’s output settings have not already been calibrated according to house
standards, use the procedures described in “Calibrating for Video Output” on page 1022. If
you are in a facility where this is not necessary, leave the output settings at their preset
values.
• If you are using footage in the NTSC-EIAJ format (used primarily in Japan), deselect the
NTSC Has Setup option in the General Settings dialog box. This enables the appropriate
display for the setup portion of the signal in the Waveform monitor and also adjusts the gain
range.
cWhen you recapture media from a project created on a different Avid system, only reuse
settings that originate on systems that use the same video I/O board. For projects from
other Avid systems, check the Video settings for each tape.
To calibrate the video input:
1. Ensure that you have properly connected the video playback device to the system.
For more information, see the setup guide for your Avid system.
2. Select Tools > Video Input Tool.
The Video Input tool opens.
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3. Click the Input menu, and select the appropriate video input channel.
Your options for video input depend on the model of your Avid editing application and the
project you select.
The Video Input tool displays the appropriate parameters for the selected video format. For a
description of each parameter, click the Video Input tool and press the F1 key (Windows) or
Help key (Macintosh).
nSync for video input comes from the source selected in the Video Input tool.
When you capture audio with video, the audio is always synced to the video source. For
information regarding sync during audio-only input, see “Establishing Sync for Audio-Only
Input” on page 161.
4. Cue the tape to the section containing bars and tone (usually the beginning) and play the
tape.
nAlways play the tape when calibrating. Signal display is unstable when the tape is paused.
The Client monitor displays one of the following types of bars (or a variation of them).
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Top: full-field color bars (the leftmost bar is 100% white). Bottom: SMPTE standard split bars (the leftmost bar
in the top row of bars is 75% white, the second bar in the center row of bars is 7.5 black level, and the second
bar in the bottom row of bars is 100% white).
5. If you are capturing from a consumer-grade video deck (such as a home VCR) or a deck that
has no built-in time-base corrector, and you are having trouble with the incoming video
quality, click the SignalLock button and select Consumer in the Video Input tool.
For more information, see “Limitations When Using Consumer Decks or Decks Without
Time-Base Correctors” on page 213.
6. Click the 100% Bars button if the source tape contains 100% bars for calibration.
nIn 100% bars, the luminance waveform plot displays fairly even steps from the first bar (white)
to the last bar (black). In 75% bars, the white bar is at 100%, which causes a larger step from the
first bar (white) to the first color bar.
7. Open the Waveform monitor by clicking the Waveform Monitor button.
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NTSC (top) and PAL waveform values in the Video Input tool. NTSC values are measured in IRE, with the
white level at 100 IRE (digital 235), the black level at 7.5 IRE (digital 16), and the 75% white level at 77 IRE
(digital 180, the horizontal dotted line in the display). For NTSC-EIAJ, the black level falls at 0 IRE. PAL values
are measured in volts, with the white level at 1 V (digital 235) and the black level at 0.3 V (digital 16). The Line
slider controls appear below the waveform display.
8. Adjust the Line slider located below the Waveform monitor to display the appropriate line of
the test pattern, then adjust the luminance values as described in “Luminance Settings for
Video Input” on page 213.
9. Open the Vectorscope monitor by clicking the Vectorscope Monitor button.
10. Adjust the Line slider to display the signal for color bars at around line 150 (this applies to
all formats and all types of bars).
nTo switch between a display of perfectly calibrated bars and your input signal while making
adjustments, press and release the Shift key.
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11. Adjust the Sat and Hue sliders (composite or S-Video) or the RY Gain and BY Gain sliders
(component) until the angle and amplitude of the six color vectors fall within the target
boxes on the Vectorscope monitor.
There is no hue adjustment for PAL video.
nYou can also monitor hue with a vectorscope in the Color Correction tool. See “Working with the
Waveform Monitors and Vectorscope Monitor” in the Help.
cIf you incorrectly select or deselect the 100% Bars button, the factory presets for
Saturation or RY and BY Gain are incorrect. Adjusting these controls in this condition
results in oversaturated or undersaturated video.
Luminance Settings for Video Input
The following table describes recommended luminance settings for video input.
Limitations When Using Consumer Decks or Decks Without
Time-Base Correctors
This topic describes difficulties you might encounter when working with consumer video decks
and tapes or decks that do not provide time-base correction or stabilized timing on their outputs.
Parameter SMPTE Bars
Full-Field Bars at 75% or 100%
Signal Level
Black level (setup) Adjust Line slider to approximately 190 Adjust Line slider to approximately 150
Adjust Black or Brightness slider to place
black level at:
• 7.5 IRE (for NTSC)
• 0.0 IRE (for NTSC-EIAJ)
• Not applicable for PAL
Adjust Black or Brightness slider to place
black level at:
• 7.5 IRE (for NTSC)
• 0.0 IRE (for NTSC-EIAJ)
• 0.3 V (for PAL)
White level (gain) Adjust Line slider to approximately 220 Adjust Line slider to approximately 150
Adjust Gain/Y Gain slider to place white
level at:
• 100 IRE (for NTSC and NTSC-EIAJ)
• Not applicable for PAL
Adjust Gain/Y Gain slider
to place white level at:
• 100 IRE (for NTSC and NTSC-EIAJ)
• 1.0 V (for PAL)
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Capturing from Unstable Time-Base Sources
Your Avid system is optimized for use with modern, broadcast-quality VTRs that contain
time-base correctors (TBCs). If the input is stable, your system captures the video by using a
high-quality, very-low-jitter clock reference.
However, some sources do not include an internal TBC. In some cases, due either to the deck
performance or the deck performance in conjunction with a particular videotape, your system
does not lock to non-TBC sources. As a result, the image might be unstable or might have
reduced or missing color, or syncing might not be possible at all.
If you select SignalLock > Consumer in the Video Input tool, a wider bandwidth (more closely
tracking time-base) improves the range of syncing capability. In this mode, the video input levels
are set by automatic gain control. Not all of the Video Input tool’s adjustment sliders operate,
and the video might be slightly softened, but the syncing in most cases is more reliable and more
stable. The overall image quality is not as high as with normal operation.
nThe Video Input tool is not available on all models. If your model does not have the Video Input
tool, your Avid editing application sets the default input options automatically.
If you continue to experience difficulty with a source that does not include an internal TBC, Avid
recommends that your process the video signal through an external TBC for maximum image
quality. For more information on time-base correctors, contact your Avid Reseller.
Green Line in VHS Video
Some VHS tape decks do not output the full 240 lines of video normally included in the VHS
format. As a result, after you capture from a device such as a VCR, a green line might appear at
the bottom of the monitors in your Avid editing application.
This line is at the bottom of the visible area of the picture, and is not seen in a standard consumer
monitor in most cases. If you use the video in a circumstance in which the line is visible, you can
remove it by cropping the bottom edge of the picture.
Saving Video Input Settings
You can save the settings for an individual tape each time you calibrate bars. Saved settings are
restored each time you select the same tape for recapturing clips. The settings that are saved and
restored are the Level adjustments made with the sliders and the selection status of the
SignalLock or 100% Bars options.
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nVideo Input settings do not restore the source format (Composite, Component, S-Video, DV, or
SDI). The source format you select in the Video Input tool remains the default for that project
until you select another format from within the project. This lets you establish a new format on a
project basis when moving between systems, or from the offline to the online phase.
The Video Input tool is not available on all models. If your model does not have the Video Input
tool, your Avid editing application sets the default input options automatically.
cIf you do not use a name that matches the tape name, your system does not recall the
setting automatically the next time you load the tape.
Whenever you batch capture or select a tape name during capturing, your system recalls the
saved settings as follows:
• Your system looks for a Tape setting with the same name as the tape. If the setting exists,
your system recalls it.
• If no matching Tape setting exists, your system looks for a setting labeled “Default” and
loads that setting.
• If no matching Tape setting or “Default” setting exists, the Video Input tool is left in its prior
state (with the most recent settings applied during the session).
Tape settings and the Default setting are Project settings, and are available to the current
project only.
To save the calibration settings for a tape:
1. After calibrating the video input, click the Settings menu in the Video Input tool, and select
Save As.
For more information, see “Calibrating Video Input” on page 209.
The View Name dialog box opens.
2. Accept the default name (matching the tape name), or type a new name for the settings.
3. Click OK.
To create a customized default Video Input Tool setting:
1. Select Tools > Video Input Tool.
The Video Input tool opens.
2. Adjust the Calibration settings.
For more information, see “Calibrating Video Input” on page 209.
3. Click the Settings menu in the Video Input tool, and select Save As.
The View Name dialog box opens.
4. Type
Default
, and click OK.
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You must use this spelling and initial capitalization.
Adjusting Video Levels for Tapes Without Color Bars
Color bars are the best way to set the video levels consistently. However, if you have a tape or
series of tapes with no color bars, you might need to adjust levels by using the internal Waveform
and Vectorscope monitors.
nCalibrate your Client monitor before making these adjustments.
The following table describes the criteria for adjusting video levels by eye, without color bars.
Capture Preparations Check List
Color Adjustment Criteria
Blacks Should not seem flat and lacking detail. Find a series of frames in the footage that
include black areas. Shadows work better than black objects. Blacks should fall
around 7.5 IRE for NTSC, 0 IRE for NTSC-EIAJ, or 0.3 V for PAL in the Waveform
monitor.
Whites Should not be washed out or lacking detail. Find a series of frames in the footage
that include white areas. Bright, well-lit regions work better than white objects.
Whites should peak at around 100 IRE for NTSC-EIAJ or 1.0 V for PAL in the
Waveform monitor.
Skin colors Should be realistic. Find a series of frames in the footage that include skin colors.
Skin colors should fall generally between the target boxes for the red and yellow
vectors in the Vectorscope monitor.
Pure yellows Should be a rich gold and not reddish or greenish in tone. Find a pure yellow, and
adjust both hue and saturation as necessary.
Chroma Should not exceed 110 or fall below –120 in the Vectorscope monitor.
Check your hardware configurations, particularly connections between your deck and the
Avid system. See “Preparing the Hardware for Capture” on page 160.
If you are working on a complex project with multiple streams of video and high-resolution
images, make sure your drives are striped properly. See “Getting Information About Striped
Drives” on page 161.
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Select options in the Media Creation Settings, Capture Settings, General Settings, and (if
appropriate) Film and 24P Settings dialog boxes. See “Selecting Settings for Capture” on
page 162.
Configure your deck or decks using Deck Configuration and Deck Preferences settings. See
“Configuring Decks” on page 174.
Insert a tape into the deck, and set up the Capture tool for source tape, source deck, pulldown
switch (24p projects), and other requirements. See “Setting Up the Capture Tool” on
page 180.
Select audio settings, and set up the Audio tool. See “Preparing to Capture Audio” on
page 193.
Use the Video Input tool to select the input source; set the video input levels for setup, gain,
saturation, and hue; save your Video settings for future use. See “Preparing to Capture Video”
on page 207.
7Capturing Media
This chapter provides information on capturing media from video or audio input. When you
capture, you convert source material into master clips that contain reference information and
media files that contain the digital audio and video.
•Capturing and Logging at the Same Time
•Capturing Directly from a DV Device
•Frame Chase Capture
•Batch Capturing from Logged Clips
•Recapturing and Decomposing
•Using Capture Function Keys
•Handling Errors During the Capture Process
•Creating Subclips While Capturing
•Adding Markers On-the-Fly While Capturing
•Naming a New Tape from the Keyboard While Capturing
•Controlling Decks from the Keyboard
•Ejecting Tapes with a Button or Key
•Delaying Audio During Capture
•Live Capturing with External Timecode
•Capturing to the Timeline
•Capturing Video Without Pulldown into a 24p NTSC Project
•Remote Play, Capture, and Punch-In
•Relinking Clips by Key Number
•Modifying the Pulldown Phase After Capturing
•DV and HDV Scene Extraction
•Using the Panasonic VariCam
For information about setting up the capture tools and adjusting capture settings, see “Preparing
for Capture” on page 156.
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Capturing and Logging at the Same Time
When you capture without entering log information in a bin ahead of time, your Avid editing
application creates clips and associated media files while you capture. You manually cue source
footage with an Avid-controlled deck, using the deck controls in the Capture tool.
If you entered log information in a bin, see “Batch Capturing from Logged Clips” on page 234.
There are several ways to capture and log at the same time:
• Capturing from a mark IN to a mark OUT: This method lets you specify the exact timecode
location to begin and end capturing. You can specify both marks, or you can set only one
mark and let your Avid editing application enter the other mark on-the-fly (see “Capturing
by Setting Both Marks” on page 222 and “Capturing by Setting Only One Mark” on
page 223).
Use this method in the following circumstances:
- If logs exist in written or printed form but not in the proper format for quick import into
your system.
- If the IN and OUT points are rough and need to be double-checked for accuracy.
- If you are familiar enough with the source material to estimate the timecode for the
mark IN, the mark OUT, or both, quickly and accurately.
• Capturing on-the-fly: This method is easier than setting marks, but less precise. It involves
using the deck controls in the lower left corner of the Capture tool to cue, play, and stop the
source footage manually while capturing. See “Capturing On-the-Fly” on page 223.
• Autocapturing: This method requires the least amount of supervision and effort, but usually
calls for more capture time and drive storage space. Each source tape plays from a cue point
near the beginning and your system captures the entire tape, automatically naming and
entering each cut into the bin. See “Autocapturing” on page 226.
cCapturing on-the-fly and autocapturing can cause incorrect pulldown and stuttering
playback. Do not use these methods for capturing 24-fps film that has been transferred to
NTSC video unless you have set the correct pulldown phase. See “Setting the Pulldown
Phase” on page 146.
Two additional techniques you can use when capturing and logging at the same time are
described in “Capturing from a Non-Avid-Controlled Deck” on page 227 and “Capturing with
Time-of-Day Timecode” on page 228.
You can name clips and add comments before or during the capture of a clip. For more
information, see “Naming Clips and Adding Comments in the Capture Tool” on page 220.
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You can log and capture at the same time with either a PAL or NTSC film-to-tape transfer as the
source. However, when capturing an NTSC transfer, you must observe the following basic rules:
• Specify the pulldown frame before capturing. See “Entering Pulldown Information” on
page 148.
• The mark IN must be an A frame, and you cannot capture with a mark OUT only, unless you
have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 146.
Naming Clips and Adding Comments in the Capture Tool
You can type clip names and comments before or during the on-the-fly capture of a clip. This
information is saved in the clip Name and Comments columns in the bin. You can add comments
about such things as color correction or directions for editing.
If you do not type a clip name before or during capturing, your Avid editing application provides
a default clip name. You can edit a clip name and add a comment in the bin.
nTo carry your comments over to the sequence so that they appear in the Timeline, in cut lists, or
in EDLs, you must add the comments again when creating the sequence by using the Add
Comments command in the Clip Name menu. For more information, see “Adding Comments to
Sequence Clips” on page 593.
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To name a clip and add a comment before capturing:
1. Click the arrow in the Capture tool to display the Name and Cmnt text boxes.
Name and Cmnt (comment) text boxes in the Capture tool
2. Type a name for the clip.
3. (Option) Press the Tab key and type a comment.
You can edit the text before capturing.
To add clip names and comments during capture:
1. Click the arrow in the Capture tool to display the Name and Cmnt text boxes.
2. Start typing the clip name at any time during the capture of a clip.
3. After typing the clip name, press the Tab key and type a comment.
You cannot edit the text until after the capture is complete, but you can backspace to retype
the comments.
nIf the Name text box is not visible on the Capture tool, you can type a clip name but you cannot
view your typing. To display the Name text box, you must click the arrow before you begin
capturing.
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Capturing by Setting Both Marks
To capture by specifying a mark IN and a mark OUT:
1. Select the proper Capture settings and set up the capture tools, as described in “Preparing for
Capture” on page 156.
2. (Option) Click the arrow in the Capture tool to display the Name and Cmnt text boxes if you
plan to enter clip names or comments.
You can enter this information before you capture a clip or while you are capturing a clip.
See “Naming Clips and Adding Comments in the Capture Tool” on page 220.
3. Set either a mark IN or a mark OUT for the clip you want to capture, using one of the
following methods:
tUse the deck controls in the Capture tool. Cue your source tape to where you want to
start or end the clip, and click the Mark IN or Mark OUT button.
tIf the material starts at a known IN point or ends at a known OUT point, you can type
the timecode in the display area next to the mark. Press Enter (Windows) or Return
(Macintosh) to enter the mark.
To double-check the accuracy of the IN or OUT point, click the Go to IN button. The system
cues the tape and pauses the deck at the mark. You can play the tape and reset the mark, if
necessary.
4. Finish logging the clip, using either of the following methods:
tSet the corresponding IN or OUT point.
tType a timecode for the clip’s duration in the text box next to the Duration mark (below
the mark OUT) in the format HH:MM:SS:FF.
Your Avid editing application automatically calculates the appropriate timecode for the
corresponding mark IN, mark OUT, or duration.
5. Click the Record button in the Capture tool, or press the F4 key.
The Capture tool automatically rewinds the tape to the preroll point before the IN point of
the clip, and the tape begins to play. The Record button becomes bright red, and the message
bar displays the message that your Avid editing application is capturing.
When the tape reaches the clip’s OUT point, capturing stops and your Avid editing
application creates a new clip in the bin. It also enters basic log information for each clip,
consisting of the mark IN, the mark OUT, the duration, and any other information typed in
during the capture procedure.
nYou can map the Record button from the Play tab in the Command palette to a key on the
keyboard. This lets you start capturing by pressing a key. The Record button works for either the
Capture tool or the Audio Punch-In tool, depending on which tool is active. For more
information on mapping buttons, see “Understanding Button Mapping” on page 107.
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6. If you did not type a clip name while capturing, type it now while the clip name is
highlighted in the bin.
If you return to the Capture tool and begin another clip, the default clip name remains in the
bin until you change it.
Capturing by Setting Only One Mark
To set only one mark and enter the other mark on-the-fly:
tMark an IN point and click the Record button to begin capturing. Then, click the Record
button again to stop capturing on-the-fly and mark an OUT point.
This method is useful if you do not need a precise OUT point. You save time because you do
not have to shuttle to locate the OUT point before capturing.
nYou can map the Record button from the Play tab in the Command palette to a key on the
keyboard. This lets you start capturing by pressing a key. The Record button works for either the
Capture tool or the Audio Punch-In tool, depending on which tool is active. For more
information on mapping buttons, see “Understanding Button Mapping” on page 107.
tMark an OUT point only, then move to a position on the tape that is a few seconds before
where you want to start capturing. Play the tape and then immediately click the Record
button to begin capturing on-the-fly.
When the tape reaches the clip’s OUT point, capturing stops.
This method is useful if you do not need a precise IN point, but do need to stop at a precise
OUT point, for example, just before a timecode break.
Capturing On-the-Fly
Use the capturing on-the-fly method in any of the following circumstances:
• If you need to begin editing immediately and no adequate logs exist for importing into the
system or setting marks.
• If your source tape does not have timecode.
• If you are capturing from a digital source such as a CD or DAT player.
• If you are capturing from a live source, such as a satellite feed, or an in-house router.
• If you are capturing from a source deck that cannot be controlled by the Capture tool or a
V-LAN VLXi unit.
nThere is a slight delay of several frames after you manually select a spot to either start or to stop
capturing. Therefore, use this method when you do not need precise beginning and end points in
your clip.
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cCapturing on-the-fly can cause incorrect pulldown and stuttering playback. Do not use this
method for capturing 24-fps film that has been transferred to NTSC video unless you have
set the correct pulldown phase. See “Setting the Pulldown Phase” on page 146.
In some circumstances, the captured material might exceed the 2-GB media file size limit. In
such a case, set up the Capture tool to capture to multiple media files. For more information, see
“Capturing to Multiple Media Files” on page 170.
To capture on-the-fly:
1. Select the proper Capture settings and set up the capture tools, as described in “Preparing for
Capture” on page 156.
2. (Option) Click the arrow in the Capture tool to display the Name and Cmnt text boxes if you
plan to enter clip names or comments.
You can enter this information before you capture a clip or while you are capturing a clip.
See “Naming Clips and Adding Comments in the Capture Tool” on page 220.
3. Use the deck controls in the bottom left corner of the Capture tool to locate the position on
the tape where you want to start capturing.
Deck controls in the Capture tool
7
123
4
5
8
9
6
1 Shuttle button 6 Pause button
2 Single-Frame Backward button 7 Play button
3 Single-Frame Forward button 8 Eject button
4 Fast Forward/Rewind buttons 9 Clear Marks buttons
5 Stop button
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4. To begin capturing, play the deck. When it gets up to speed, click the Record button or press
the F4 key.
nMake sure you clear any previous marks so the deck does not begin cueing to the previous
location.
Capturing begins within a few frames, and the timecode for the clip’s IN point appears. The
Capture indicator, to the right of the Record button, flashes on and off. The message bar
displays a message that your Avid editing application is capturing.
nYou can map the Record button from the Play tab in the Command palette to a key on the
keyboard. This lets you start capturing by pressing a key. The Record button works for either the
Capture tool or the Audio Punch-In tool, depending on which tool is active. For more
information on mapping buttons, see “Understanding Button Mapping” on page 107.
nIf your Avid editing system is an asset manager client in an MXF/AAF workgroup, you cannot
create markers while capturing media using the Capture tool. However, you can use the Frame
Chase feature when capturing media from a supported external device using Avid Interplay
Transfer. For more information about using Frame Chase, see your Avid Interplay
documentation.
5. Click the Pause button at any time to pause play.
You can also abort the capture procedure by clicking the Trash button. The clip is discarded.
6. To stop capturing and enter the OUT point of the clip, click the Record button, or press the
Escape key on the keyboard.
Your Avid editing application creates a new clip in the bin. It also enters basic log
information for each clip, consisting of the mark IN, the mark OUT, the duration, and any
other information typed in during the capture procedure.
7. If you did not type a clip name while capturing, type it now while the clip name is
highlighted in the bin.
If you return to the Capture tool and begin another clip, the default clip name remains in the
bin until you change it.
Preparing to Autocapture
You can autocapture entire tapes to bypass both the logging and cueing processes necessary for
other types of capture, as described in “Autocapturing” on page 226.
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Before you begin autocapturing entire tapes, you should do the following:
• Select the following settings in the Capture Settings dialog box.
- Capture to multiple files (Media Files tab)
- Maximum default capture time (Media Files tab).
Set this to the length of your tape. Do not underestimate, because the system captures
for only the specified number of minutes.
- Preroll Method (General tab)
Set this to Best Available or Best Available Control Track
- Capture across timecode breaks (General tab)
- Log errors to the console and continue capturing (Batch tab)
For more information, see “Viewing and Modifying Settings” on page 1277 and “Capture
Settings” on page 1298. You can also view this information by clicking the dialog box and
pressing the F1 key (Windows) or the Help key (Macintosh).
• Turn off the FAST CUE option in the Deck Settings dialog box, and set the preroll to
approximately 4 seconds. For more information, see “Deck Settings” on page 1311.
• Prepare accurate notes on the number and content of takes on each tape to identify the
content of each clip when necessary.
Autocapturing
Autocapturing an entire tape can save you time by allowing you to bypass both the logging
process and the time it takes to cue each shot. However, this process requires the most storage
space, and it takes time to capture an entire tape.
When you autocapture, you mount and cue your tape to a starting point and start the capturing
process through the Capture tool. If you follow the tips and techniques described in this section,
you can allow the system to complete the capturing process unattended.
Before autocapturing, you should make sure that you have taken the preparation steps described
in “Preparing to Autocapture” on page 225.
cYour Avid editing application can capture across timecode breaks, but it cannot capture
across control-track breaks in the recording (that is, if the recorded footage breaks up into
noise between shots). If such breaks in recording exist on your tape, consider using the
methods described in “Capturing On-the-Fly” on page 223.
cCapturing on-the-fly can cause incorrect pulldown and stuttering playback. Do not use this
method for capturing 24-fps film that has been transferred to NTSC video unless you have
set the correct pulldown phase. See “Setting the Pulldown Phase” on page 146.
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To autocapture:
1. Create one bin for each tape.
This keeps bins to a manageable size and automatically names all clips from each tape after
the name of their respective bins.
2. Name each bin after the source tape number.
By default, all clips are named after the tape and are numbered incrementally beginning
with .01.
3. Open the bin for the first tape and select Bin > Go To Capture Mode.
4. Select the proper Capture settings and set up the capture tools, as described in “Preparing for
Capture” on page 156.
5. Load the source tape and cue past any false starts.
6. Play the tape, and wait 4 seconds before clicking the Record button.
At the end of the tape, capturing stops and your Avid editing application creates a new clip in
the bin.
nYou can map the Record button from the Play tab in the Command palette to a key on the
keyboard. This lets you start capturing by pressing a key. The Record button works for either the
Capture tool or the Audio Punch-In tool, depending on which tool is active. For more
information on mapping buttons, see “Understanding Button Mapping” on page 107.
Capturing from a Non-Avid-Controlled Deck
If you have a deck that cannot be controlled directly by the system, you can capture with manual
deck control.
To capture with manual deck control:
1. Select the proper Capture settings and set up the capture tools as described in “Preparing for
Capture” on page 156.
2. Click the Toggle Source button in the Capture tool until the Deck Offline icon appears to
disable the deck controls and leave only the Tape Name display.
3. Click the Timecode Source menu to select the deck.
4. Click the Tape Name display to open the Select Tape dialog box and identify the source tape.
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You can select the option Show other projects to display the tape names and associated
project names for all bins that were opened in the current session.
nBecause the media file database does not open when you start your Avid editing application,
tape names of all online media files do not appear automatically.
If the tape name you are searching for does not appear in the Select Tape dialog box, click the
Scan for tapes button to list tape and project names.
5. Provide your Avid editing application with a tape name in one of the following ways:
tSelect the name of the tape from the list in the Select Tape dialog box and click OK.
tClick the New button if the tape is not in the list. A New Tape name line appears in the
dialog box. Type the new name and click OK.
The tape name appears in the Capture tool.
6. Play the tape manually and click the Record button to stop and start the capturing of each
clip.
nYou can map the Record button from the Play tab in the Command palette to a key on the
keyboard. This lets you start capturing by pressing a key. The Record button works for either the
Capture tool or the Audio Punch-In tool, depending on which tool is active. For more
information on mapping buttons, see “Understanding Button Mapping” on page 107.
For information about capturing with external timecode, see “Live Capturing with External
Timecode” on page 260.
Capturing with Time-of-Day Timecode
When you capture with an Avid-controlled deck, you can capture your footage with time-of-day
timecode rather than source timecode.
To capture with time-of-day timecode:
1. Select the proper Capture settings and set up the capture tools, as described in “Preparing for
Capture” on page 156.
2. When selecting tracks, deselect the TC button.
3. Capture by using any of the techniques described in “Capturing and Logging at the Same
Time” on page 219.
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229
Capturing Directly from a DV Device
You can capture DV 25, DV 50, DVCPRO HD, and HDV media directly from a DV camera or
deck (a DV device). You can also play and output directly to the DV device. To use a DV device,
you must connect it your system correctly, as described in “Connecting a DV Device” on
page 179.
Capturing DV 25 Media
If you are using an Avid Nitris DX or Mojo DX, or if you are not using an Avid input/output
hardware device (software-only), you use a 1394 port on your computer (Host 1394). You
specify that you are capturing via the 1394 port by selecting Host 1394 from the Video menu in
the Capture tool.
Selecting the DV 25 Software Codec
To select the DV 25 software codec:
1. Double-click Capture in the Settings list in the Project window.
The Capture Settings dialog box opens.
2. Click the DV&HDV Options tab.
3. Select Use software DV 25 codec.
4. Click OK.
Capturing DV 50, DVCPRO HD, or HDV Media
How you capture DV 50, DVCPRO HD, or HDV media depends on whether you are using Avid
input/output hardware and on what type of Avid input/output hardware is connected to your
system:
If you are using Avid input/output hardware, or if you are not using an Avid input/output
hardware device (software-only), you use a 1394 port on your computer (Host 1394).
nFor information on playing back DV 50 and DVCPRO HD media, see “Playing Back to a DV
Device” on page 505.
Selecting a DV Device
If your system has an Avid Nitris DX or Avid Mojo DX attached, you specify that you are
capturing via 1394 by selecting Host 1394 from the Video menu in the Capture tool.
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230
For information on connecting a DV device to your system, see “Connecting a DV Device” on
page 179.
Understanding DV Capture Offset
DV capture offset lets you offset the incoming DV stream against the timecode assigned to each
frame during capturing. This offset is only used in a transcoder configuration or in configurations
where the DV stream does not encode timecode into the incoming DV frames.
RS-422 Controlling a DV Device Configuration
DV capture offset is primarily designed for configurations where an RS-422 controller is used to
control a DV device and the DV stream is captured over a FireWire cable. For example, you
might be working with an analog deck and a transcoder. You control the deck using RS-422, but
the data moves from the deck to the transcoder, and then into your Avid editing application as a
DV stream over a FireWire cable.
FireWire Configuration Without Timecode
You can also use DV capture offset in a configuration where the DV stream is captured over a
FireWire cable, but the timecode of the master clip is not received through an RS-422 controller.
When you adjust the DV capture offset in this configuration, results could vary, depending on the
number of devices involved.
FireWire Configuration with Encoded Timecode
A configuration in which FireWire control is used to control a DV device and the DV stream is
captured does not use this offset. In this case, the DV frames contain the encoded timecode.
Example of a Capture with Offset
The range of DV capture offset in your Avid editing application is from –6 to 24 frames with the
default value set to 0. To use DV capture offset, perform several captures with the DV capture
offset set to 0. Note the first frame of the master clip for each clip. If the first frame of the master
clip is not what you expect, adjust the DV capture offset to account for this variation.
For example, the following illustration represents a RS-422-controlled capture where the
timecode for capture comes in through an RS-422 controller. The first frame of the master clip is
the sixth frame from the IN point on the tape.
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231
Example of a DV offset of 6 frames: tape frames (top) and master clip frames (bottom)
To adjust for this device behavior, set the DV capture offset to –6 frames. The result should be a
frame-accurate capture. However, the results are dependent on device behavior. If the device
behavior for sending streams across a FireWire cable is inconsistent, frame-accurate results on
capture are also inconsistent.
Capturing DV Material with Offset
To offset the sequence for capture:
1. Click the Settings tab in the Project window.
2. Double-click Deck Preferences.
The Deck Preferences Settings dialog box opens.
3. Determine the approximate offset, and then enter that offset in the Capture Offset (frames)
text box.
4. Click OK.
The delay is reflected in the DV Capture Offset box in the Capture tool.
5. Capture your material.
See “Capturing by Setting Both Marks” on page 222 and “Capturing On-the-Fly” on
page 223.
6. Repeat this process until you achieve the appropriate offset.
Frame Chase Capture
If your Avid editing application is part of a workgroup environment managed by Avid
Interplay™, you can use the Capture tool to capture media to shared storage on the workgroup
using your Avid editing application’s Frame Chase™ capture capabilities.
When you capture in this way, the media becomes available for viewing and editing from any
applications in the workgroup while the capture is still in progress.
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232
nYou can also perform Frame Chase captures using a line feed or ingest device connected to the
Interplay workgroup, for example, an Avid AirSpeed® video server controlled by an application
such as Avid CaptureManager™. For more information, see the Avid Interplay Transfer Setup
and User’s Guide or Avid Interplay Best Practices.
Understanding Frame Chase Capture
To understand how Frame Chase capture saves and manages media files, you can compare the
Frame Chase capture process with conventional capture performed within an Interplay
workgroup environment (and therefore using the MXF file format). Frame Chase capture is only
available in an Interplay environment.
Conventional Capture
A conventional capture creates media files (one for each track) in a temporary location (
Avid
MediaFiles\MXF\1\Creating
on a media storage volume). These media files are not available
for check-in to Interplay while the capture is in progress, and you cannot view or edit the files.
When the capture ends, the files are moved to their final location (
Avid MediaFiles\MXF\1
).
Only then are the files checked in to Interplay and made available for use.
Frame Chase Capture
A Frame Chase capture creates media files directly in
Avid MediaFiles\MXF\1
and creates a
special type of clip known as an in-progress clip. In-progress clips are represented by In-progress
master clip and In-progress audio clip icons.
In-progress master clip icon (left) and in-progress audio clip icon (right)
An initial check-in to Interplay takes place 10 seconds after the capture begins. Subsequent
updates to Interplay occur at intervals that you define in the Capture Settings dialog box.
As soon as the initial check-in takes place, the in-progress clip is available for viewing and
editing on any applications in the workgroup. Portions of the clip’s media that have already been
captured are visible in monitors, while portions of the clip that have not yet been captured are
represented in monitors by a “Capture in Progress” slide.
Metadata associated with the clip (including information such as comments and markers added
during capture) updates at the defined intervals. For example, you might be capturing an
in-progress clip with the update interval set to 1 minute. A comment you enter 5 minutes and
20 seconds after capture begins is associated with the clip in Interplay (and therefore available to
any applications in the workgroup) in the update that occurs 6 minutes after capture begins.
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233
Your Avid editing application and Interplay might not know the true length of a capture in
advance (because you can end a capture at any time). So the length of an in-progress clip is based
on the expected duration of the clip when capture begins. This duration is either the duration
indicated by IN and OUT points set in the Capture tool, or, if no marks are set, is a default
duration that you define in the Capture Settings dialog box.
When the capture ends, a final update to Interplay occurs. This update changes the clip’s type
from an in-progress clip to a conventional master clip, and if necessary changes the clip’s
duration to the actual length of the capture.
Enabling Frame Chase Capture
You use options in the Capture Settings dialog box to enable Frame Chase capture and to set both
the default clip length and the interval for updates to Interplay.
To enable and set options for Frame Chase capture:
1. In the Settings tab of the Project window, double-click Capture.
The Capture Settings dialog box opens.
2. Click the MXF Media Files tab.
3. Select options as described in the following table, and then click OK.
Option Description
Maximum (default)
capture time
Type a number in the text box to define the expected duration in
minutes for a Frame Chase clip that you create during on-the-fly or
open-ended capture (that is, when no IN and OUT marks are set in the
Capture tool).
During capture, clip is
updated in Interplay
When this option is selected, Frame Chase capture is enabled. An
initial check-in takes place 10 seconds after a capture begins.
Subsequent Interplay updates occur at intervals defined by the Update
Interval option.
Update Interval Select an update interval from the menu to determine how frequently
updates to Interplay occur during the capture. In most circumstances it
is preferable to keep the update interval low (1 minute or 2 minutes).
This ensures that information added during capture (for example,
comments or markers) is available as quickly as possible.
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234
Requirements and Guidelines for Frame Chase Capture
You should be aware of the following when you are planning to perform Frame Chase captures:
• Frame Chase capture is only available on Avid editing applications that are part of an Avid
Interplay workgroup environment. The media file format must be MXF. If your \ application
is not connected to an Interplay workgroup, the “During capture, clip is updated in
Interplay” setting in the Capture Settings dialog box is not available.
• Frame Chase capture is only available for the initial capture of clips using the Capture tool.
Frame Chase capture is not possible during batch capture, and is not possible using other
media creation methods such as import or transcode.
• Frame Chase capture is only possible if media files are captured to shared storage in the
workgroup. If you select a local storage volume in the Capture tool, you override the
“During capture, clip is updated in Interplay” setting in the Capture Settings dialog box and
your Avid editing application performs a conventional capture.
• Frame Chase capture is not available for JFIF or HDV video resolutions. If you select a JFIF
or HDV resolution in the Capture tool, you override the “During capture, clip is updated in
Interplay” setting in the Capture Settings dialog box and your Avid editing application
performs a conventional capture.
• The capture process itself is the same regardless of whether you are performing a
conventional or a Frame Chase capture. You can rename clips, add comments or markers,
and create subclips in the normal way during Frame Chase capture. This information
becomes available to all applications in the workgroup following the next update to Interplay
after the information is entered.
• If you abort a Frame Chase capture by clicking the Trash button in the Capture tool and then
clicking Discard, your Avid editing application deletes the media files and the local clip, and
indicates the aborted status by prepending the word “Aborted” to the clip name for the
checked-in clip in Interplay.
nIf you abort an in-progress clip, you delete the clip’s media even if it is being used in another
sequence or for playback. Always verify that an in-progress clip is not being used anywhere in
the workgroup before aborting the clip.
Batch Capturing from Logged Clips
After you import a log or manually log a group of clips into a bin, you can automate the capture
process by using your Avid editing application’s batch-capturing capabilities. When you batch
capture, you open a bin, select the clips you want to capture, and select Clip > Batch Capture.
Your Avid editing application automatically finds the start and end timecode for each clip and
captures it. Source tapes from which you batch capture must have timecode that matches the
timecode for the selected clips.
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235
You can also use the batch-capturing process to recapture clips you have already captured. The
recapturing process is described in “Recapturing and Decomposing” on page 238.
You cannot recapture a mixed-rate sequence without using decompose because you cannot batch
capture material in formats other than the project format. A message box appears if you attempt
to recapture such material. Instead, you can decompose the sequence, then recapture the
resulting clips by opening the bin in projects that match each of the decomposed formats.
nWhen you capture footage from an NTSC film-to-tape transfer with pulldown, the playback
flickers in the Client monitor during capturing because the system is dropping occasional frames
due to the pullin process. The footage plays back smoothly in your Avid editing application,
however, after the pullin conversion is complete.
Preparing to Batch Capture
Before you batch capture, you need to establish settings that allow the batch capture to take place
with minimal supervision.
Because your clips are already logged in a bin, you can simplify the interface during batch
capture by hiding the deck controller and logging controls in the Capture tool. You can hide any
other panels in the Capture tool in a similar way.
Unattended batch capturing lets you capture a large number of clips with minimal supervision by
selecting Capture settings that avoid a pause in the capture process.
To prepare for unattended batch capturing:
1. Double-click Capture in the Settings list in the Project window.
The Capture Settings dialog box opens.
2. Click the Batch tab and select the following options:
tLog errors to the console and continue capturing
tSwitch to the emptiest drive if current drive is full
For additional options, see “Capture Settings: Batch Tab” on page 1300. You can also view
this information by clicking the dialog box and pressing the F1 key (Windows) or the Help
key (Macintosh).
3. Click the General tab and select “Capture across timecode breaks.”
For more information, see “Selecting Settings for Preroll Method and for Capturing Across
Timecode Breaks” on page 168.
4. Click OK.
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236
cYou cannot batch capture clips that contain timecode breaks between the logged IN and
OUT points. Also, you cannot capture across breaks in the recording (that is, if the
recorded footage breaks up into noise between shots). If such breaks in recording exist on
your tape, consider using the methods described in “Capturing On-the-Fly” on page 223.
Batch Capturing Clips
To batch capture clips:
1. Select the proper Capture settings and set up the capture tools, as described in “Preparing for
Capture” on page 156.
2. Open the bin that stores the clips you want to capture.
3. Select the clips to batch capture:
tSelect Edit > Select All.
tCtrl+click to select specific clips.
nIf you are batch capturing the original source master clips used in the sequence, the sequence is
updated automatically. Therefore, you might want to deselect the sequence during this
procedure. See “Recapturing and Decomposing” on page 238.
4. Select Clip > Batch Capture.
The Batch Capture dialog box opens. If the clips you want to batch capture are not
highlighted in the active bin, Batch Capture appears dimmed in the Clip menu.
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237
5. Select options in the dialog box:
tIf the bin contains some clips that are already captured and you do not want to recapture
those clips, select “Offline media only.” If this option is not selected and some of the
selected clips have media files, your Avid editing application deletes the media files and
recaptures new media files.
tSelect “All clips in a group edit” to allow capturing of each clip in a group clip.
tIf your selections include a sequence for batch capturing, the dialog box prompts you
for handle length information. Your Avid editing application creates new master clips
based on the length of edited clips in the sequence.
t(Option) Select “Extend handles beyond master clip edges” to allow the handles to
extend before the beginning and after the end of the original master clip.
When you batch capture, deselecting this option prevents capturing across a
discontinuous timecode error.
For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting
master clip after a decompose with handles causes the new master clip to begin at
1:00:09:00, batch capturing fails if there are any timecode discontinuities between
1:00:09:00 and 1:00:10:00.
nFor more information on handle lengths when recapturing, see “Decomposing Sequences” on
page 242 and “Recapturing a Sequence Without Using Decompose” on page 247.
6. Click OK.
If you have not loaded a tape, your Avid editing application prompts you to load the first
tape.
7. Load the tape into the tape deck and click Mounted.
A dialog box opens.
8. Click OK to confirm the tape and deck entries and begin the capture process.
Your Avid editing application captures each clip from the tape, in start timecode order.
9. If your Avid editing application needs another source tape, it prompts you for the tape. At
this point, you have several options. Do one of the following:
tLoad the new tape and click Mounted to continue the capturing process.
tSelect Skip this clip to bypass just the first clip from the tape and continue capturing the
remaining clips.
tSelect Skip this tape to bypass all the clips from the mounted tape. Your Avid editing
application then prompts you for the next tape.
tClick Abort to end the batch-capturing process.
You can also stop capturing at any time by clicking the Trash button in the Capture tool.
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238
nTo bypass specific clips in the process of batch capturing a particular tape, you must abort each
clip manually by clicking the Trash button. Then click the Skip Clip button in the Abort window
to continue.
When your Avid editing application has finished batch capturing, a dialog box notifies you
that the process is complete.
Recapturing and Decomposing
Recapturing is the process of recording previously captured source footage based on existing
clips and sequences. Recapturing uses the batch-capturing process and does not require extra
logging time because the clip information for items, such as source tracks, timecodes, and
compression settings, already exists in the bin.
Decomposing creates new, shorter master clips based only on the material you have edited into a
sequence, which saves disk space. You can decompose an entire sequence, or you can use the
Expert Decompose feature for additional control. For example, you can use Expert Decompose
to decompose only some of the material in a sequence, or use it to “up-rez” your clips from SD to
HD. After decomposing, you use the batch-capturing process to recapture footage for the new
master clips.
Understanding Recapturing
There are three main situations in which you might want to recapture:
• The original media files are unavailable.
For example, you might transfer a sequence to a system that does not have access to the
original media files, or you might accidentally delete media files.
• The original media files have errors.
For example, you might forget to check audio levels or set the wrong resolution when you
first capture the media.
• You need to work in a different format from that of the original media files.
For example, a common workflow involves offline editing using low-resolution clips
followed by online editing using high-resolution clips.
cRecapturing requires your original source footage. Do not delete the media files if the
source footage is no longer available, unless you are sure you do not need the material.
For information on loading the media database to relink clips, see “Loading the Media Database”
on page 455.
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239
Recapturing Master Clips and Subclips
The procedure for recapturing master clips and subclips is identical to the process for batch
capturing logged clips. See “Batch Capturing from Logged Clips” on page 234.
Although the procedure is the same, the result is slightly different, as follows:
• Master clips link to entire media files and serve as sources for subclips and sequences. When
you recapture a master clip, changes in compression settings and levels affect all subclips
and sequences created from the master clip.
• Subclips are smaller sections of master clips. When you recapture a subclip, your Avid
editing application creates a new master clip that links to new media files and reflects the
shortened length of material. Therefore, recapturing subclips streamlines the capturing
process.
Also, recapturing breaks the link from the subclip to the original master clip. But if you edit
the subclip into a sequence, the sequence reflects any changes in the newly captured subclip.
Recapturing Sequences
When you recapture a sequence, you create new master clips and associated media files based on
the length of each clip edited into the sequence. Recapturing breaks any links to the original
source clips, and only the sequence and its new master clips are linked to the newly captured
media files.
You can recapture a sequence in two ways:
• Decompose to create new master clips, and then batch capture the clips.
• Recapture without using decompose, which creates new master clips and batch captures new
media files in a single operation.
Although recapturing without using decompose might save a small amount of time, decompose
offers much more control and flexibility. You should only recapture sequences without using
decompose if you are sure you do not need any of the additional control decompose provides.
For more information, see “Understanding Decompose and Expert Decompose” on page 240.
You cannot recapture a mixed-rate sequence without using decompose because you cannot batch
capture or batch import material in formats other than the project format. A message box appears
if you attempt to recapture such material. Instead, you can decompose the sequence, then
recapture the resulting clips by opening the bin in projects that match each of the decomposed
formats.
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240
Consider creating a duplicate of the original version of your sequence before recapturing. You
might also want to create a new bin to store the duplicate sequence and keep the new master clips
created by the recapture or decompose operations separate from existing clips. For example,
duplicate a sequence that uses low-resolution clips to save storage space if you want to recapture
the sequence at a higher resolution while retaining the low-resolution version.
nIf you use decompose, you can choose to create a duplicate sequence automatically in the
Decompose dialog box. However, if you want to organize new master clips in a separate bin, you
need to duplicate the sequence and place it in a new bin before you start the decompose process.
Understanding Decompose and Expert Decompose
Decompose creates new master clips in the bin based on the lengths of the clips edited into a
sequence. You can then recapture media for the new master clips. Decompose breaks any links to
the original source clips, and only the sequence and its new master clips are linked to the newly
captured media files. If decomposing results in a change to the edit rate of some clips in the
sequence, your Avid editing application adds Motion Adapter effects, or modifies existing
Motion Adapter effects, to manage the edit rate change.
Decompose gives you more control over the recapturing process than simply recapturing a
sequence without using decompose. You can sort or modify the clips that decompose creates
before you recapture media. You can also use the Expert Decompose feature to customize how
decompose operates.
For film projects, clips you create with decompose retain all the information from the original
master clips, including Pullin column information, key numbers, ink numbers, or any other
information formerly entered in the bin.
nYou do not need to decompose clips that were linked with the AMA (Avid Media Access) method.
For information about AMA, see “File Based Media - AMA” on page 368.
Expert Decompose
Expert Decompose lets you control the following aspects of the decompose process:
• You can select which material in the sequence to decompose, either by tape/source or by
clip.
• For tapes/sources or clips that you can recapture in several different formats, you can select
the target format to which you want to recapture.
For information on the available formats, see “Target Formats for Expert Decompose” on
page 241.
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241
If you decompose only some of the clips in a sequence, the resulting sequence contains some
clips that remain linked to existing master clips and media (the clips you did not decompose) and
other clips that are linked to new offline master clips (the clips you did decompose). Once you
recapture media for the new master clips, all the clips in the sequence are available in the formats
you have chosen.
There are several situations in which you might want to decompose some but not all of the clips
in a sequence. For example, you might have made an error while capturing from only one of the
tapes or sources you are using in the sequence. In this case, you can decompose the clips from
just the one tape or source and recapture them. Or you might have a mixed-rate sequence that is
composed mostly of low-resolution clips but that also contains some high-resolution clips. If you
want to up-rez the entire sequence for the online phase of your workflow, you might not need to
recapture the high-resolution material, so you can decompose only the low-resolution parts of
the sequence.
Expert Decompose is particularly useful when you need to recapture some or all of a mixed-rate
sequence because you have complete control over what to decompose and which target formats
to create. You can decompose to several different target formats if necessary, creating new master
clips in the bin. You can then open the bin successively in projects that provide the correct format
for recapturing, select the clips that match each project format, and batch capture those clips.
For information on activating and using Expert Decompose, see “Decomposing Sequences” on
page 242 and “Using Expert Decompose” on page 245.
Target Formats for Expert Decompose
The following table lists the target formats that are available using Expert Decompose. If the
format of an existing clip is listed in the first column, you can decompose the clip to any of the
formats listed in the second column, and then recapture the clip in that format. If the format of an
existing clip is not listed in the first column, then you can only decompose and recapture it in its
existing format.
The third and fourth columns indicate whether or not the format change involves a change to the
source or edit frame rate.
Existing Format Target Formats Source Rate Change Edit Rate Change
23.976p NTSC 23.976p NTSC
1080p/23.976
No
Yes
No
No
24p NTSC 24p NTSC
1080p/24
No
Yes
No
No
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242
Decomposing Sequences
You can decompose sequences to create new master clips that you can then recapture. For more
information on this process, see “Understanding Decompose and Expert Decompose” on
page 240.
To decompose one or more sequences:
1. Activate the appropriate bin and select the sequence or sequences.
2. Select Clip > Decompose.
The Decompose dialog box opens.
30i NTSC 30i NTSC
720p/29.97
720p/59.94
1080i/59.94
1080p/29.97
No
No
Yes
No
No
No
No
Yes
No
No
24p PAL 24p PAL
1080p/24
No
Yes
No
No
25i or 25p PAL 25i PAL
25p PAL
720p/25
720p/50
1080i/50
1080p/25
No
No
No
Yes
No
No
No
No
No
Yes
No
No
Existing Format Target Formats Source Rate Change Edit Rate Change
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243
3. To preserve clips that already have existing media files, select “Offline media only.”
Do not select this option if you plan to decompose and recapture any material in the
sequence or sequences that has available media.
4. Select other options for the types of clips to decompose: captured only, imported only,
captured and imported, or all clips in a group edit.
5. Click the Handle Length text box and type the number of additional frames you want to
capture at the heads and tails of the new master clips.
This provides enough overlap for trimming and adding transition effects.
cIf you attempt to trim or add effects with no handles, you receive an error message
notifying you that there is insufficient media.
6. (Option) Select “Extend handles beyond master clip edges” to allow the handles to extend
before the beginning and after the end of the original master clip.
When you batch capture, deselecting this option prevents capturing across a discontinuous
timecode error.
For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master
clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, batch
capturing will fail if there are any timecode discontinuities between 1:00:09:00 and
1:00:10:00.
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244
7. (Option) If you want to create a copy of each selected sequence to use for the decompose,
select Create New Sequence.
When the decompose process starts, your Avid editing application creates a duplicate of
each of the selected sequences, named using the suffix .Decomposed.xx. For example, the
duplicate of a sequence named
MySequence
is named
MySequence.Decomposed.01
. Your
Avid editing application decomposes the duplicate sequences, and the original sequences
remain unchanged.
8. (Option) If you want to use Expert Decompose, select Expert Decompose, and then select
one of the following options to control how information displays in the Expert Decompose
dialog box:
9. Click OK.
If you selected Expert Decompose in step 8, the Expert Decompose dialog box opens. For
information on how to use this dialog box, see “Using Expert Decompose” on page 245.
New master clips appear in the bin, named using the suffix .new.xx. You can now sort and
select these clips like all other objects in the bin.
nYour Avid editing application selects a resolution for each new clip that is appropriate for the
target format you select in the Expert Decompose dialog box. If the target format matches the
current project type, your Avid editing application uses the capture resolution set in the Media
Creation settings. Otherwise, your Avid editing application uses the resolution of the original
clip or the default resolution for the project. The clip’s resolution is a default that you can
override when you recapture.
10. Proceed with the recapturing procedures described in “Batch Capturing Clips” on page 236.
Option Description
Display tapes/sources
only
An item appears in the Expert Decompose dialog box for each tape
or other source represented in the selected sequences. That is, this
option groups all clips from each unique source into one item.
Display clips An item appears in the Expert Decompose dialog box for each clip
in the selected sequences. Depending on the number of sequences
you have selected and the length of the sequences, this might result
in a very long list of items in the Expert Decompose dialog box.
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245
Using Expert Decompose
If you select the Expert Decompose option in the Decompose dialog box, the Expert Decompose
dialog box opens before the decompose process begins.
In the Expert Decompose dialog box, you can:
• View information about the tapes/sources or clips in the sequences you are decomposing.
If you select “Display tapes/sources only” in the Decompose dialog box, a line of
information appears for each tape or source used in the sequences you are decomposing, and
the information columns display the name of each tape or source, the original video
resolution of the clip, the source frame rate, and the edit frame rate.
If you select “Display clips” in the Decompose dialog box, a line of information appears for
each source clip represented in the sequences you are decomposing, and an additional
column displays the name of each clip.
• Sort the information in any of the columns.
• Select the tapes/sources or clips that you want to decompose.
• Select the target format at which you want to recapture the decomposed tapes/sources or
clips.
The following illustration shows the Expert Decompose dialog box as it might appear if you
select sequences that contain clips of a variety of different formats and then select “Display
clips” in the Decompose dialog box. In some cases, the edit rate for a clip differs from the source
rate.
For more information, see “Understanding Decompose and Expert Decompose” on page 240
and “Decomposing Sequences” on page 242.
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To sort or reverse sort a column of information:
tRight-click the column heading for any column, and then select one of the following:
To select or deselect a single tape/source or clip to decompose:
tClick the check box for the tape/source or clip in the Decompose column.
To select or deselect multiple tapes/sources or clips to decompose:
1. In any of the information columns, click the first tape/source or clip you want to select.
2. Do one of the following:
tTo select a contiguous group of tapes/sources or clips, Shift+click the last tape/source or
clip you want to select.
Your Avid editing application selects the last tape/source or clip and all the
tapes/sources or clips between the first and last.
tTo select or deselect additional tapes/sources or clips from anywhere in the list,
Ctrl+click (Windows) or Command+click (Macintosh) on each tape/source or clip you
want to select or deselect.
3. Right-click on any selected item, and then select one of the following:
To deselect all selected tapes/sources or clips:
tClick below the last item in any of the information columns.
To select the target format for a tape/source or clip:
tSelect a format from the menu for the tape/source or clip in the Target Format column.
The available target formats vary depending on the source formats.
Command Description
Sort Column Sorts the information in order, for example, alphabetically A to Z.
Reverse Sort
Column
Sorts the information in reverse order, for example, reverse alphabetically
Z to A
Command Description
Include in Decompose Selects the check box in the Decompose column for each of the
selected items.
Exclude from Decompose Deselects the check box in the Decompose column for each of
the selected items.
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Some source formats can only be recaptured in their original format. For these formats, the
entry in the Target Format column is only for your information, and you cannot select a
different format.
For more information, see “Expert Decompose” on page 240.
To proceed with the decompose process:
tClick OK.
Recapturing a Sequence Without Using Decompose
When you recapture a sequence without using decompose, your Avid editing application creates
new master clips and captures new media in a single operation.
For more information on recapturing a sequence with and without decompose, see
“Understanding Recapturing” on page 238 and “Understanding Decompose and
Expert Decompose” on page 240.
To recapture a sequence:
1. Select the proper Capture settings and set up the capture tools, as described in “Preparing for
Capture” on page 156.
2. Open or activate the bin that stores the sequence.
3. Select Bin > Go To Capture Mode.
4. Select the sequence you want to recapture.
5. Select Clip > Batch Capture.
The Batch Capture dialog box opens.
6. To preserve clips that already have existing media files, select “Offline media only.”
Deselect this option if you plan to recapture the entire sequence.
7. (Option) Select “All clips in a group edit.”
8. Click the Handle Length text box and type the number of additional frames you want to
capture at the heads and tails of the new master clips.
This provides enough overlap for trimming and adding transition effects.
cIf you attempt to trim or add effects with no handles, you will receive an error message
notifying you that there is insufficient media.
9. (Option) Select “Extend handles beyond master clip edges” to allow the handles to extend
before the beginning and after the end of the original master clip.
When you batch capture, deselecting this option prevents capturing across a discontinuous
timecode error.
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For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master
clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, batch
capturing fails if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00.
10. Click OK.
Your Avid editing application prompts you to load the first tape.
11. Load the tape into the tape deck if you have not already done so.
12. Click Mounted to indicate to the system that the correct tape is loaded and ready for
capturing.
A dialog box opens.
13. Click OK to confirm the tape and deck entries.
Your Avid editing application captures each clip from the tape, in start timecode order. If
another source tape is needed, your Avid editing application prompts for the tape. You can
stop the batch-capturing process at any time by clicking the Trash button in the Capture tool.
A message box notifies you when batch capturing finishes. The new master clips appear in
the bin, and associated media files exist on the targeted drive or drives.
Alternate Source Capture
Alternate source capture allows you to choose a different source name (Tape) and timecode
(Start) to use when you perform a batch capture. This is helpful when the clips used in your
sequence are from a submaster source tape that is different than the original master tape. For
example, if during production you record RGB to HDCAM SR and then make color corrected
selects to HDCAM for the offline workflow, when mastering, it is best to go back to the original
master tape and color correct from the HD RGB sources. When you create the original HDCAM
tapes, the metadata displays as:
When you perform a batch capture of the Timeline or source clips, you can select and frame
accurately batch capture from either the HDCAM submaster or the HDCAM SR master.
TAPE Color corrected submaster
START Timecode from color corrected submaster
Camroll Tape name from original field HDCAM SR master
Auxiliary TC 1 Timecode from original field master
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You can also use an alternate tape name if the original tape name was incorrectly logged. You
can use any custom column in the bin as a source name when you batch capture in addition to
Labroll, Camroll, and Soundroll, or you can correct for timecode offsets and store them in the
Auxiliary TC column and batch capture from that.
nWhen you use an alternate tape source, the tape does not have to display in the list of tapes. You
can create a temporary tape for the capture process and remove it from the list once the batch
capture is complete.
nFor more information and additional steps to batch capture, see “Preparing for Capture” on
page 156 and “Batch Capturing Clips” on page 236.
To batch capture with an alternate source:
1. In a bin, select the clips you want to batch capture.
2. Select Tools > Capture to open the Capture tool.
The Capture Tool opens.
3. Open the bin that stores the clips you want to batch capture.
4. Select the clips to batch capture:
5. Select Clip > Batch Capture.
The Batch Capture dialog box opens.
6. Under the Alternate Source Options (Advanced), select the type of timecode from the
Timecode Column menu that you want to batch capture from.
Options depend on your project type. Timecode options can include: Start, Auxiliary TC1-
TC5, Sound TC.
If you choose a timecode other than Start, a message displays informing you that an
Alternate Source is enabled.
7. Select the tape source from the Source Column menu that you want to batch capture from.
Options depend on your project type and custom columns. Tape options can include: Tape,
Camroll, Labroll, Soundroll, Custom Tape.
nTo set the Timecode Column and Source Column menu selections back to the defaults (Start and
Tape), click Reset.
8. Click OK.
If any clips you select do not have the alternate source options you selected (for example, a
clip does not have an Auxiliary timecode), a message displays and asks you if you want to
skip those clips. Click Continue to continue with the batch process and skip those clips.
9. A message opens and asks you to mount the (alternate) tape.
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You can choose to mount the tape or skip this particular clip.
10. Load the tape into the tape deck and click Mounted.
The deck rolls to the alternate source timecode and begins the capture process.
Your Avid editing application captures each clip from the alternate source timecode and
tape.
Using Capture Function Keys
Several function keys are mapped to specific capture functions when the Capture tool is active.
When you are not in Capture mode, these keys operate with their default keyboard shortcut
mappings. For more information, see ¨Shortcuts¨ in the Help.
The following table lists the default functions. You can change the functions in the Keys tab of
the Capture Settings dialog box.
To change function key commands for capturing media:
1. Double-click Capture in the Settings tab in the Project window.
The Capture Settings dialog box opens.
2. Click the Keys tab.
3. Click the key you want to map, and then select the new function from the menu.
Press To
F1 Mark the beginning of the subclip while capturing.
F2 Mark the end of the subclip while capturing.
cCapturing on-the-fly can cause incorrect pulldown and stuttering playback. Do not use
the F1 or F2 keys for capturing 24-fps film that was transferred to NTSC video unless
you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 146.
F3,
F5 through
F12
Add a marker to the current frame while capturing. Each Function key adds a different
color marker. See “Adding Markers On-the-Fly While Capturing” on page 254.
F4 In Capture mode, start the capture process. During capture, end a comment for a marker.
In Log mode, press once to mark an IN point. Press again to mark an OUT point to log
the clip in the bin.
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251
nThe Start Capture function is not included in the key menus. F4 always starts capture. You can
map an additional function to F4 to use after capture starts; End Marker Entry is the default.
4. Click OK.
Handling Errors During the Capture Process
You can log errors that occur during the capture process to the Console window. If you are not
logging, you can respond to errors if they occur.
For more information about the Console window, see “Using The Console Window” on
page 112.
To enable or disable logging to the Console window during capture:
1. Double-click Capture in the Settings tab in the Project window.
The Capture Settings dialog box opens.
2. Click the Batch tab.
3. Select or deselect “Log errors to the console and continue capturing.”
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- If “Log errors to the console and continue capturing” is selected, when you batch
capture and your Avid editing application encounters an error, it aborts the clip, enters
error comments into the Console, and continues capturing the next clip.
- If “Log errors to the console and continue capturing” is not selected, a message appears
and your Avid editing application pauses if an error occurs while capturing. If this
happens, use the last procedure below.
4. Click OK.
To open the Console window:
tSelect Tools > Console.
To respond when your Avid editing application pauses during capture and is not logging
to the Console:
1. Click Try Again to retry the operation.
The clip might capture successfully.
If the clip does not capture the second time you try, the error message appears again.
2. Click Next Clip to bypass the clip that caused the error and continue batch capturing any
remaining clips, or click Abort to cancel the entire batch capturing process.
3. Note all errors, messages, and steps you have taken. Try to troubleshoot the problem on your
own, or contact Avid Customer Support.
Creating Subclips While Capturing
You can create subclips on-the-fly while capturing, or you can create timed subclips. The
maximum number of subclips you can generate while capturing a clip is 100.
You instruct your Avid editing application to create a timed subclip automatically when you
press a function key that you have mapped to the Timed Subclip button. Your Avid editing
application creates IN and OUT points at predetermined intervals before and after the point you
identify in the source media by pressing the button. For information on mapping capture
functions to function keys, see “Using Capture Function Keys” on page 250.
For information about creating subclips after capturing, see “Creating Subclips” on page 511.
You should be aware of the following while creating subclips while capturing:
• When you create subclips in 24p or 25p projects, they are always “hard” subclips. You
cannot trim past the edges of the subclip when adjusting transitions and edits. Hard subclips
prevent film-tracking information errors for editing and cut lists.
• For NTSC film-to-tape transfers, you must log the correct pulldown phase before you create
subclips. For more information, see “Setting the Pulldown Phase” on page 146.
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• If your Avid editing system is an asset manager client in an OMF workgroup, and you are
capturing with shared volume segmentation (“chunking”) enabled, see your Avid shared
storage documentation for details on the capture procedure.
• If your Avid editing system is an asset manager client in an MXF/AAF workgroup, you
cannot create subclips while capturing media using the Capture tool. However, you can use
the Frame Chase editing feature when capturing media from a supported external device
using Avid Interplay Transfer. For more information about using Frame Chase editing, see
“Using Frame Chase Editing” in Avid Interplay Best Practices.
To create a subclip on-the-fly:
1. Start capturing.
2. At the point where you want the subclip to begin, press the F1 key.
This highlights the subclip IN point.
3. While you capture, you can type a name for the subclip. Press the Tab key to type comments
about the clip.
4. When you want the subclip to end, press the F2 key.
This highlights the subclip OUT point.
5. (Option) Press the F2 key repeatedly as you search for the end point of the subclip.
Your Avid editing application accepts the last occurrence as the end point.
You can also press the F1 key at any time before pressing F2 again to remove the previous
subclip marks and to start a new subclip IN point.
The subclip appears in the target bin when you stop capturing. When capture is complete, a
number appears between the subclip indicators to show the number of subclips created.
To set the duration of a timed subclip:
1. Double-click Capture in the Settings tab in the Project window.
The Capture Settings dialog box opens.
2. Click the Keys tab.
3. Enter the time in minutes and seconds to be used by the timed subclip in the Before mark
(M:SS) and the After mark (M:SS) text boxes.
4. Click OK.
To create a timed subclip:
1. Start capturing.
2. At the point where you want to start a timed subclip, press the mapped function key.
This highlights the subclip IN and OUT points, and your Avid editing application creates the
subclip automatically.
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254
3. While your Avid editing application is capturing, you can type a name for the subclip. Press
the Tab key to type comments about the clip.
Adding Markers On-the-Fly While Capturing
You can use function keys to add markers on-the-fly while capturing. When the Capture tool is
active, eight colored markers are mapped to the F5–F12 function keys on the keyboard, and the
End Marker Entry key is mapped to F4. The markers override any other functions mapped to
these keys.
If your Avid editing system is an asset manager client in an OMF workgroup, and you are
capturing with shared volume segmentation (“chunking”) enabled, see your Avid shared storage
documentation for details on the capture procedure.
If your Avid editing system is an asset manager client in an MXF/AAF workgroup, you cannot
create markers while capturing media using the Capture tool. However, you can use the Frame
Chase editing feature when capturing media from a supported external device using Avid
Interplay Transfer. For more information about using Frame Chase editing, see “Using Frame
Chase Editing” in Avid Interplay Best Practices.
For more information about markers, see “Using Markers” on page 513.
To add a marker to a frame while capturing:
1. Start capturing.
2. Watch the playback of the footage in the monitor, and press one of the marker keys (F5–F12)
when you see the shot or frame with which you want to associate a marker.
A default name and number for the marker appear in the Name text box in the Capture tool.
3. While you capture, you can add comments for the marker. Press the Tab key to move the
cursor to the Comments text box, and type your comment.
4. When you finish adding your comment for the marker, press the F4 key (End Marker Entry).
The Name and Cmnt (Comment) text boxes revert to association with the master clip or the
subclip being captured. Marker comments appear in the Markers window.
5. To see the marker comments, open the Markers window as described in “Viewing Markers
in the Markers Window” on page 521.
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255
Naming a New Tape from the Keyboard
While Capturing
You can name a new tape without taking your hands off the keyboard.
To create a new tape name by using a keystroke in Capture mode:
1. Select Tools > Capture.
The Capture tool opens.
2. Do one of the following:
tLoad a tape in the deck.
tClick the Source Tape Display button.
The Select Tape dialog box opens.
3. Press Ctrl+N (Windows) or Command+N (Macintosh).
A new tape name text box opens.
4. Type the new tape name.
5. Press Enter (Windows) or Return (Macintosh) to register the tape name.
6. Press Enter (Windows) or Return (Macintosh) or click OK to close the Select Tape dialog
box.
Controlling Decks from the Keyboard
You can use the J-K-L keys to control a deck from the Capture tool, Digital Cut tool, and Deck
Controller window.
The J-K-L keys work in the same way as they do in the Source and Record monitors. See
“Playing Footage with the J-K-L Keys (Three-Button Play)” on page 503.
Press To
K Stop the deck.
L Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed.
J Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal speed.
K+L Shuttle the deck at 0.25x normal speed.
J+K Shuttle the deck at –0.25x normal speed.
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The following restrictions apply:
• You must select the Capture tool, Digital Cut tool, or Deck Controller window for the keys
to be active.
• Single-field stepping is not supported.
• If you remap the function of the J-K-L keys, you can no longer control decks with those
keys.
Ejecting Tapes with a Button or Key
If you click the Eject button and eject a tape, you can bring the fact that the tape must be changed
to the attention of any tape operator in a remote machine room.
To eject tapes by using a button:
1. Select Tools > Command Palette.
2. Click the Play tab.
3. Select Active palette.
4. Click the Eject button.
You can map the Eject button to any button on the Tool palette or any key on the Keyboard
palette. See “Mapping User-Selectable Buttons” on page 109.
Using Dolby E Media
Dolby®E is an audio coding technology created by Dolby Labs that compresses up to 8 channels
of audio and metadata into 2 channels. This enables the distribution of multichannel audio within
a stereo track or on two mono tracks which you can then use in your Avid editing project.
Dolby E support is available for Avid systems using the following Avid hardware: Avid Nitris
DX and Avid Mojo DX.
The workflow for using Dolby E clips includes the following steps:
• Select the “Keep Dolby E Material Safe” setting in the Audio Project Settings dialog box to
ensure the capture of Dolby E media.
• Use the Capture tool to bring Dolby E media into your project. A Dolby E Safe button in the
Capture tool indicates that your audio settings protect Dolby E media information.
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• Add the Dolby E clip to your sequence, and edit the video and audio. Your Avid editing
application maintains synchronization between audio and video as long as you do not
convert or modify the Dolby E clip.
• When you finish editing, output the sequence. The Dolby E track preserves the encoded data
and can be restored to the original multichannel audio.
If editing the sequence modifies your audio settings in a way that prevents the Dolby E
information from being preserved, you cannot output or mix down your sequence with the
original Dolby E metadata. You should reset your Audio Project settings before you output your
sequence by an export operation or by using the Digital Cut tool, or if you mix down your
sequence.
cIf you are working in a film project, you cannot use pulldown settings when you capture
your media if you want to use Dolby E material. Avid does not support capturing Dolby E
media with audio pulldown because pulldown interferes with the preservation of Dolby E
information.
Selecting Dolby E Safe Settings
You can automatically set your Avid editing system to protect Dolby E information during
capture. Selecting Dolby E safe settings changes the following options in the Audio Project
Settings dialog box and the Passthrough Mix tool:
When you output your sequence either by selecting an export operation or by using the Digital
Cut tool, or when you mix down the sequence, you must reset your Audio Project settings if a
change in your sequence prevents the safe output of Dolby E information.
Location Option Setting
Audio Project Settings (Main tab) Sample Rate 48 kHz
Audio Project Settings (Main tab) Bit Depth 24 bit
Audio Project Settings (Main tab) Convert Sample Rates When Playing Never
Audio Project Settings (Input tab) Input Gain Slider 0 dB (unity gain)
Audio Project Settings (Input tab) Sample Rate Conversion Never
Audio Project Settings (Input tab) Output Sync During Passthrough Same as Audio In
Audio Project Settings (Output tab) Mix Mode Selection Direct Out
Passthrough Mix tool Input Mix Mode Direct Out
Passthrough Mix tool Input Gain Slider 0 dB (unity gain)
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To select Dolby E safe settings:
1. In the Project window, click the Settings tab, and then double-click Audio Project.
The Audio Project Settings dialog box opens.
2. Click the Main tab.
3. Click Keep Dolby E Material Safe, and select Yes.
If you modify your sequence to change any of these settings, the Keep Dolby E Safe setting
automatically changes to No. You can reset the settings by selecting Yes.
Capturing Media with Dolby E Information
The Capture tool includes a Dolby E Safe button in the Message bar that indicates if your audio
settings protect the capture of Dolby E material. The button displays blue when the Keep
Dolby E Material Safe option in the Audio Project Settings dialog box is set to Yes. If your audio
settings do not protect Dolby E information, the button displays yellow.
Capture tool with blue Dolby E Safe button
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259
nThe Dolby E Safe button appears only on systems using the following Avid hardware: Avid Nitris
DX and Avid Mojo DX.
To capture media while protecting Dolby E information:
1. In the Main tab of the Audio Project Settings dialog box, Click Keep Dolby E Material Safe,
and select Yes.
2. Select Tools > Capture.
The Capture tool opens.
3. Check to make sure the Dolby E Safe button displays blue.
If the Dolby E Safe button displays yellow, reset the Dolby E Safe settings in the Audio
Project Settings dialog box (see “Selecting Dolby E Safe Settings” on page 257).
4. Capture your media using the appropriate capture method. For more information, see
“Capturing Media” on page 218.
Delaying Audio During Capture
Sometimes the source from which you are capturing provides an audio signal that is one or more
frames ahead of the video. For example, the Panasonic AG-DVX100 DV camcorder always
records audio one frame ahead of the video. Also, a timebase corrector (TBC) or other video
processing device on your input signal might introduce fixed frame delays of video.
nIf the input signal is not DV when you choose your IN point, the audio that lines up with the IN
point should remain in sync with the captured media. The video is what shifts in the captured
media. If the input signal is a DV signal however, then the audio shifts.
If the audio you are capturing is always at a fixed offset ahead of the video, use the Delay Audio
feature to correct this problem and produce a master clip with correct A/V sync.
To offset your audio:
1. Select Tools > Capture.
2. Select the number of offset frames from the Delay audio menu.
3. Capture your material.
4. Play the captured media to verify that the audio and video are in sync.
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260
Live Capturing with External Timecode
LTC (longitudinal or linear timecode) from an external source lets you capture from multiple
sources at the same time as recording to tape. If your facility has a central timecode generator
you can use that clock to send identical timecode to all systems. You can run this timecode
output directly to your Avid system through the LTC IN connection available on some Avid
input/output hardware.
External timecode is especially useful for live events, dramatic multicamera shows, and video
material coming in on routers that do not support timecode through normal RS-422
communication. You can start editing immediately after the shoot without waiting to capture
from the backup reference tapes.
If you are capturing 24p film, however, you need to account for the pulldown phase, which
allows for 24p capture to have the same behavior as a video rate. Your selection in the Set
Pulldown Phase of Timecode (A, B, X, C, or D) area in the Film and 24p Settings dialog box
determines what type of pulldown the system uses during the 24p capture. Only non-drop-frame
timecode is supported with the Pulldown Phase of Timecode option.
Setting IN and OUT points is especially useful if you are taking a feed from a source based on a
time-of-day timecode generator. Your Avid editing application begins to capture when the time
of the external timecode source matches the IN point, and stops when the external timecode
matches the OUT point.
nYou can log an event ahead of time and it automatically starts recording that signal when the
internal clock or external LTC arrives at that timecode. For example, if you log a clip at
14:00:00:00 to14:30:00:00 sometime before 2:00 pm, the capture starts at 2:00 pm and ends at
2:30.
To capture with external timecode:
1. If you are capturing 24p film, in the Film and 24p settings dialog box, select Set Pulldown
Phase of Timecode 00:00:00:00.
2. Select a pulldown cadence that matches the pulldown cadence of the incoming signal.
For more information, see “Setting the Pulldown Phase” on page 146.
3. Click OK.
4. Select Tools > Capture.
The Capture tool opens.
5. Click the Toggle Source button until the No Deck icon appears.
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261
Toggle Source button showing No Deck icon in the Capture tool
6. Click the TC Source menu, and select LTC Input.
The menu contains two other choices:
- Internal: Uses internal system timecode.
- Auto Detect: Detects LTC input by default. If the LTC input is deactivated, the Capture
tool automatically switches to internal timecode. If the LTC input is reactivated, the
Capture tool switches back to LTC input.
LTC is only available with some Avid input/output hardware devices. If LTC is not
available for your configuration, the LTC Input option is grayed out.
7. Capture by using any of the techniques described elsewhere in this chapter.
If you notice your captured material is consistently one or more frames off, use the “Latency
for external timecode mode” option in the Capture Settings dialog box to fix the problem.
See “Capture Settings” on page 1298.
Capturing to the Timeline
You can capture footage directly from tape to a sequence loaded in the Timeline in one step,
bypassing several steps such as organizing and reviewing clips, marking edit points, and
performing edits.
By default, your Avid editing application edits the tracks you select for capturing to the
corresponding tracks in the Timeline. You can patch the captured footage to any track in the
Timeline.
nYou can also patch tracks in the Timeline in the same way you patch tracks when editing from the
Source monitor. See “Patching Tracks” on page 700.
Only tracks that are enabled in the Timeline are available for patching. Other tracks appear
dimmed in the menu.
To capture to the Timeline:
1. Prepare for capturing.
See “Preparing for Capture” on page 156.
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262
2. Set options in the Capture Settings dialog box:
a. Click the Settings tab in the Project window.
b. In the Settings list, double-click Capture.
The Capture Settings dialog box opens.
c. Click the Edit tab.
d. Select “Enable edit to timeline (splice, overwrite)”.
e. Set the handle length (the amount of footage you want to capture before and after the IN
and OUT points of the clips).
f. Click OK.
3. Load a sequence into the Record monitor.
4. (Option) Patch tracks you are capturing (source tracks) to the tracks in your sequence
(record tracks):
a. In the Capture tool, click and hold the Track Selector button for the track (video, data, or
audio) you want to patch.
There is only one data track to select, you cannot patch a data track to any other track.
b. From the menu, select the track to which you want to patch the captured footage.
Track Selector button and menu in the Capture tool (left), and result displayed in the Timeline (right)
5. Mark an IN point in the sequence or move the position indicator to where you want the edit
to take place.
6. Mark the source material you want to capture by using the Capture tool logging controls.
For more information, see “Logging with Avid-Controlled Decks” on page 136.
7. (Option) Mark an OUT point based on the following:
tIf you are recording to the middle of a sequence in the Timeline, mark both IN and OUT
points for frame accuracy.
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263
tIf you are recording to the end of a sequence, you can mark just an IN point and then
mark the OUT point later on-the-fly.
8. Click the yellow Splice-in button or the red Overwrite button in the Capture tool to select the
type of edit.
Record button (left) and Splice-in and Overwrite buttons (right) in the Capture tool
9. Click the Record button to begin recording.
10. If you did not mark the OUT point in advance, click the Record button again when the
footage reaches the appropriate frame.
If you already marked an OUT point, recording stops automatically.
When capturing ends, the clip appears in place in the sequence, and a master clip appears in
the bin.
If your capture includes ancillary data, a data track appears in the Timeline.
Capturing Video Without Pulldown into a 24p NTSC
Project
Film-to-tape transfers that are made without using pulldown can be captured directly into a 24p
project. This feature is useful when special effects are generated on a frame-to-frame basis to
tape, and need to be integrated into a 24p project.
Before capturing the footage, click the Film to Video Transfer menu in the Film and 24p Settings
dialog box, and select Video Rate. The Film-to-Video Transfer setting lets you specify the type
of film-to-tape transfer you are capturing. For more information, see “Capture-Related Settings
for Film and 24p Projects” on page 171.
nFor normal 24-frame capture, click the Film to Video Transfer menu in the Film and 24p Settings
dialog box, and select Pulldown.
Remote Play, Capture, and Punch-In
You can use an external edit controller with an Avid editing system for the following functions:
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When you select Remote Capture or Remote Punch-In in the Remote Play and Capture Settings
dialog box, your Avid editing system performs like a VTR and waits for an external controller to
operate the capture functions.
nYou must be in Deck Offline mode to use Remote Capture. For information on Deck Offline mode,
see “Capturing from a Non-Avid-Controlled Deck” on page 227.
To use Remote Play and Capture, you must connect a supported controller (any controller that
uses Sony® serial control protocol) to your system by using a special Avid 9-pin VTR emulation
cable and a serial adapter.
nIf a message appears stating that the Avid Serial Driver is not installed for Remote Play and
Capture, make sure the correct serial driver is installed on your system. If you are running Avid
Media Browse™ and using the Remote Play and Capture option, you need to run your Avid
editing application with the Microsoft driver. If you are running your Avid editing application
without Avid Media Browse, you need to install the Avid serial driver.
Selecting Remote Play and Capture Settings
To open the Remote Play and Capture Settings dialog box:
1. Double-click Remote Play and Capture in the Settings list of the Project window.
The Remote Play and Capture Settings dialog box opens.
Function Description
Remote Capture Controls the capturing of media into an Avid editing system while using an edit
controller. Remote Capture lets you record and stop.
Remote Play Controls sequences loaded in the Record monitor and played back through an
edit controller to the edit room, along with other sources. Remote Play lets you
cue, play, and stop.
Remote Punch-In Controls the recording of audio into an Avid editing system while using an edit
controller. Remote Punch-In lets you cue, play, record, and stop.
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2. Click the Mode menu, and select Remote Play, Remote Capture, or Remote Punch-In.
For information about each option, see “Remote Play and Capture Settings” on page 1365.
Enabling Remote Capture
Before you enable Remote Play and Capture, ensure your edit controller is properly connected.
nThe Remote Play and Capture command behaves like a Local/Remote switch on a playback
device, with the VTR in Local mode by default when you start your system.
To enable Remote Capture:
1. Double-click Communication (Serial) Ports in the Settings list of the Project window.
The Communication (Serial) Ports tool opens.
2. Select Remote Play and Capture > port.
3. Close the Communication (Serial) Ports tool.
Your Avid editing application saves the setting as a Site setting, effective for all projects.
4. Double-click Remote Play and Capture in the Settings list of the Project window.
The Remote Play and Capture Settings dialog box opens.
5. Select Mode > Remote Capture.
6. Select Device Code > device.
7. Specify the time (measured in frames) it takes the deck to start playing from a cued position
in the Runup area.
8. Select Special > Remote Play and Capture when you are ready to capture.
A check mark appears next to the command to indicate that the system is ready. A yellow
outline appears around the Play button in the Source/Record monitor to indicate that Remote
Play and Capture is active.
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9. Select Tools > Capture.
The Capture tool opens.
10. Select the tracks onto which you want to capture by clicking the Channel Selection buttons.
11. Choose Bin > bin.
12. Click the Toggle Source button until the Deck Offline icon appears.
13. Control capturing from the controller.
Enabling Remote Play
Remote Play lets you control sequences through an edit controller. You can play, cue, and stop
your sequence from the edit controller.
nAvid recommends that you do not inhibit preloading under normal circumstances. For more
information about the inhibit preloading option, see “Remote Play and Capture Settings” on
page 1365.
To enable Remote Play:
1. Double-click Remote Play and Capture in the Settings list of the Project window.
The Remote Play and Capture Settings dialog box opens.
2. Select Mode > Remote Play.
3. Select Device Code > device.
4. Select Special > Remote Play and Capture when you are ready to use your system for
playing.
A check mark appears next to the command to indicate that your system is ready. A yellow
outline appears around the Play button in the Source/Record monitor to indicate that Remote
Play and Capture is active. The Remote Play and Capture command behaves like a
Local/Remote switch on a playback device, with VTR in Local mode by default when you
start your system.
5. Use the Play, Cue, and Stop buttons on the edit controller to control a sequence loaded in the
Record monitor.
At this time, you cannot fast-forward, rewind, or shuttle and jog from the edit controller.
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Setting up Your System for Remote Punch-In
Before you enable your Serial Remote, you must set the following options on your edit
controller:
• 049 — Send Record In and Out to Machine set to 1=Yes
• 065 — Locate Type set to 0=Locate
• 077 — Extended Status Request set to 1=Off
In addition, all devices controlled by the controller must be genlocked, and your Avid editing
system must be configured as the Master device. For more information on configuring the Serial
Remote, see the documentation for your controller.
To record audio using Remote Punch-In:
1. Double-click Communication (Serial) Ports in the Settings list of the Project window.
The Communication (Serial) Ports tool opens.
2. Click the Remote Play and Capture menu, and select the appropriate port.
3. Close the Communication (Serial) Ports tool.
Your Avid editing application saves the setting as a Site setting, effective for all projects.
4. Double-click Remote Play and Capture in the Settings list of the Project window.
The Remote Play and Capture Settings dialog box opens.
5. Select Mode > Remote Punch-In.
6. Click the Device Code menu, and select the appropriate device.
7. (Option) Specify other settings as described in “Remote Play and Capture Settings” on
page 1365.
8. Click OK.
9. Select Clip > Remote Play and Capture when you are ready to use your system for
capturing.
A check mark appears next to the command to indicate that your system is ready. A yellow
outline appears around the Play button in the Source/Record monitor to indicate that Remote
Play and Capture is active.
The Remote Play and Capture command behaves like a Local/Remote switch on a playback
device, with the VTR in Local mode by default when you start your system.
10. Select Tools > Audio Punch-In.
The Audio Punch-In tool opens. Some of the features in the Audio Punch-In tool — such as
the preroll and postroll options — do not appear when you open the tool in Remote Play and
Capture mode.
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Input Channels buttons in the Audio Punch-In tool
11. Select the tracks you want to record to by clicking the Input Channels buttons.
12. Load a sequence in the Source monitor.
13. Using the controls on the external controller, set an IN point in the Timeline.
If you set the IN point at the first frame of the sequence, you must add filler to the start of the
sequence equal to the amount of preroll. This allows your system to sync lock your Avid
editing application to the external controller. Setting an OUT point is optional.
14. Control recording from the controller.
Remote Punch-In does not use preroll or postroll settings, and it does not initiate a loop
playback or audition playback prior to recording. Remote Punch-In begins recording audio
to the selected channels as soon as you start the record operation.
Relinking Clips by Key Number
The film-tape-film-tape (FTFT) relinking feature lets you re-create an offline, film-originated
sequence as a final finished sequence by using the key numbers of the original film footage.
During the offline stage, you capture and edit footage that was transferred to tape through a
one-light or best-light telecine transfer (the first FT). During the finishing stage, you batch
capture, relink by key number, and edit footage that was transferred through a second timed,
color-corrected telecine transfer (the second FT).
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Alternatively, if you are finishing a sequence in an online suite and need only an EDL, you do
not need to batch capture the footage. Just import the new shot log, relink to the offline items,
and then create the EDL.
Relinking by key number eliminates the need for the telecine transfer facility to match the
timecode and pulldown of the second transfer to the timecode of the first transfer.
nFor more information about relinking, see “Relinking Media Files” on page 458.
cDuplicate your sequence before relinking. If you relink to the original sequence, you will
lose your links to the original media.
To relink clips by key number:
1. After you finish editing the offline sequence, use the FilmScribe™ application to create a pull
list of the clips used in the sequence.
For information on using FilmScribe, see the FilmScribe documentation.
2. Have the telecine facility use the pull list to pull selects from the original negative and to
transfer picture-only footage by using a timed, color-corrected telecine process.
You do not need to transfer audio again. The telecine facility supplies a new shot log file
along with the transfer tape.
3. In your original project, create a new bin.
4. Duplicate the edited offline sequence and move it to the new bin.
At this point, the duplicate sequence still links to the original media.
5. Process the new log file through ALE and import it into the bin that holds the duplicated
sequence.
For more information, see “Using Avid Log Exchange to Prepare Log Files for Import” on
page 115 and “Setting the Pulldown Phase” on page 146.
6. (Option) Batch capture the clips imported from the new log file. Select 1:1 or another
high-quality resolution.
For more information, see “Batch Capturing from Logged Clips” on page 234.
7. Select the duplicated sequence and the new clips.
8. Select Clip > Relink.
The Relink dialog box opens.
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9. Select Relink > Key Number [KN Start] - video only.
10. Select “Relink all non-master clips to selected online items.”
11. (Option) If you did not batch capture the original clips, select “Allow relinking to offline
items.”
12. In most cases, select “Relink only to media from the current project.”
Deselect this option if you know the new clips were captured with a different project name.
Also, if the sequence does not relink to the new clips, try deselecting the option and
relinking again.
13. Click OK.
The new clips link to the sequence.
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271
If you duplicated the offline sequence, the offline sequence is still linked to the original
clips. If you did not duplicate the sequence, you relink it to the original clips.
To relink a sequence to the original clips:
1. Duplicate the sequence.
2. Create a new bin and move the sequence to the bin.
3. Locate the original clips. Look for a bin with the original clips, or use the Media tool to
locate the original clips.
For information on the Media tool, see “Using the Media Tool” on page 440.
4. Copy the clips to the bin that contains the duplicated sequence.
5. Select the sequence and the original clips.
6. Relink the clips by key number.
Modifying the Pulldown Phase After Capturing
If you have captured film-originated clips (NTSC transfer only) that seem to stutter, the problem
might be an incorrectly logged pulldown phase (the video frame at which the master clip starts:
A, B, X, C, or D). You log this pulldown phase in the “Pullin” column of a bin. To solve the
problem, you need to determine the correct pulldown cadence of the frame, modify the clip
information, and recapture the clip.
nYou can also determine the correct pulldown phase from the original tape. See “Entering
Pulldown Information” on page 148.
To check for an incorrect pullin frame:
1. Look for a section of the clip that includes a series of frames with motion.
2. Step through the clip frame by frame (using the Step buttons or another method) and look for
two frames that have no movement.
If the pattern is two frames of movement followed by two frames of no movement, the pullin
is incorrect.
To determine the correct pullin frame, use one of the following approaches:
tIf the source footage includes burn-in code with the pulldown phase, go to the start of the
clip and look for the pulldown for the first frame.
tIf you want to maintain the start timecode for each clip, review the original tape field by
field, using the procedure described in “Entering Pulldown Information” on page 148.
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tIf you do not need to maintain the start timecode:
a. Step through the clip frame by frame (using the Step buttons or another method). Look
for two frames that are identical (no movement).
b. Think of these frames as frames B and X of a four-frame series.
Incorrect sequence (top, no movement between B and X frames) and correct sequence (bottom)
Step backward (either one frame from the B frame or two frames from the X frame) to
locate the correct A frame. Note the last digit of its timecode. Timecode for all A frames
in the clip starts either with this digit or this digit plus 5. For example, if the A frame has
the timecode 1:00:10:20, timecode for all A frames in the clip ends in either 0 or 5.
c. Compare these digits with the last digit of the start timecode (first frame) of the clip to
determine the correct pullin.
For example, if the A frame ends in 0 or 5, and the start timecode ends in 4, the pullin is
D.
d. If the pullin for the clip is the X frame, you need to modify the timecode to produce a
number you can associate with a pullin.
For example, if the A frame ends in 0 or 5, and the start timecode ends in 2, the pullin
falls on the X frame and you need to modify the timecode along with the pullin. Move
forward one frame to create a start timecode ending in 3. Then you can change the pullin
to C.
cWhen you change the timecode of a clip, you lose the key number of the clip. You need to
enter it in the bin and adjust it to match any changes to the timecode.
To modify the clip information after you determine the pullin frame:
1. In a bin, select the clip you want to modify and press the Delete key.
The Delete dialog box opens.
2. Deselect the option “Delete master clip(s)” and select “Delete associated media file(s).”
3. (Windows only) Select the resolutions to delete.
4. Click OK.
ABXD
ABCD
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Your Avid editing application deletes the original media file.
5. Make sure the clip is still selected. Press Ctrl+Shift and choose Unlink from the Clip menu.
The clip information is unlinked and you can modify it.
6. Type the correct letter for the pulldown phase in the Pullin column. If necessary, type a new
timecode and key number.
For multiple clips, you can use the Modify command or the Modify Pulldown Phase
command. See “Modifying the Pulldown Phase Before Capturing” on page 151.
7. With the new clip information in the bin, batch capture the clip.
See “Batch Capturing Clips” on page 236.
If the pulldown phase is accurate, the clip should play smoothly, with no repeated frames.
This method might not work for some clips that start with either an A frame or a D frame. If
the clip still stutters after you modify it, modify the clip again. This time, if the pullin is A,
change it to D. If the pullin is D, change it to A.
DV and HDV Scene Extraction
While you are capturing DV or HDV footage, the DV and HDV Scene Extraction feature lets you
generate subclips and markers automatically, based on time-of-day (TOD) information contained
in the DV or HDV format.
Discontinuities in the DV or HDV TOD metadata indicate each new take in a master clip or
subclip shot on a DV or HDV camera. Using this feature, you can capture an entire DV or HDV
tape as a single master clip and have your Avid editing application automatically locate all the
takes for you, eliminating the need to log manually.
You can perform a DV Scene Extraction in two ways and an HDV Scene Extraction one way:
• Set up the DV or HDV Scene Extraction option before capturing. When capturing is
performed, subclips and marker marks appear in the bin.
• Perform DV Scene Extraction after capturing. Select those clips in the bin for which you
want to generate subclips and marker marks
You should be aware of the following:
• You can perform DV Scene Extraction on any existing clip or subclip in a bin that has TOD
information breaks.
• DVCPRO format does not provide TOD metadata. You cannot use DV or HDV Scene
Extraction with DVCPRO format.
• DV or HDV Scene Extraction does not work on non-DV or audio-only clips.
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To set up DV and HDV scene extraction before capturing:
1. Double-click Capture in the Settings list of the Project window.
The Capture Settings dialog box opens.
2. Click the DV&HDV Options tab.
3. Select DV or HDV Scene Extraction, depending on your type of project.
4. Select one of the following options:
5. Click OK.
6. Select Tools > Capture and then click the Record button.
When capturing has finished, your Avid editing application creates subclips with the same
source clip name and the file name extension .sub.01 where TOD information breaks
occurred. Marker marks appear in the master clip where TOD information breaks occurred.
To set up DV scene extraction after capturing:
1. Open a bin.
2. Click the clip for which you want to create subclips or marker marks. Ctrl+click (Windows)
or Command+click (Macintosh) to select multiple clips.
3. Select Bin > DV Scene Extraction.
The Capture Settings dialog box opens.
4. Click the DV Options tab.
5. Select DV Scene Extraction.
6. Select one of the following options:
Option Description
Add Markers Creates marker marks where the TOD information breaks occur while
capturing.
Create Subclips Creates subclips where the TOD information breaks occur while capturing.
Both Creates subclips and marker marks where the TOD information breaks occur
while capturing.
Option Description
Add Markers Creates marker marks where the TOD information breaks occur
while capturing.
Create Subclips Creates subclips where the TOD information breaks occur while capturing.
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275
7. If you have chosen to create subclips, select the bin where you want these subclips stored.
8. (Option) To cancel the process, press Ctrl+period (Windows) or Command+period
(Macintosh).
9. Click OK.
In the bin, your Avid editing application creates subclips with the same source clip name and
the file name extension .sub.01 where TOD information breaks occurred. Marker marks
appear in the master clip where TOD information breaks occurred.
If you select a DVCPRO, a non-DV, or an audio-only clip, an error message appears,
informing you that you selected an incompatible clip. Your Avid editing application
bypasses these clips during the DV Scene Extraction process.
Using the Panasonic VariCam
The Panasonic VariCam® (Panasonic AJ-HD1200A) allows the recording of frame rates between
1fps and 60fps. For example, material captured at 24 frames per second and played back at 24
frames per second has no speed change, but the same action captured at 48 frames per second
and played back at 24 frames per second runs at 50% speed (slow motion).
The 720p format is always recording to a progressive 60 (59.94) frame tape format. The camera
achieves the different frame rates by flagging the “true” frames within the 60 frame sequence.
Your Avid editing application detects these flags and captures and stores only these frames.
When the material plays back at the project’s frame rate, the result is either slow or fast motion.
nIf you capture audio, it will be out of sync.
To use the VariCam camera with your Avid editing application:
1. Connect the VariCam camera through a 1394 (FireWire) port on your computer.
2. Select a 720p project format.
3. Either select or deselect “Preserve VariCam Frames” in the Capture tool:
tWhen this option is deselected (the default), your Avid editing application observes the
flags in the video stream and only captures those frames. This type of capture results in
slow or fast motion depending on original recording speed.
tWhen this option is selected, your Avid editing application captures every frame (all 60
frames), essentially ignoring the flagged frames.
Both Creates subclips and marker marks where the TOD information breaks occur
while capturing.
Option Description
8Importing Files
When you import files, your Avid editing application converts them into objects in a bin. You can
manipulate and edit these objects as you would any other clip or sequence. You can specify a
target drive to store any corresponding media files. The following topics describe how to import
files:
•Preparing to Import Files
•Creating and Modifying Import Settings
•Importing Media Files
•Importing Audio Files from a Music CD
•Adjusting Gain Before Importing Audio Files
•Sample Rate Conversion and Audio Import
•Setting Sample Rate Conversion Options Before Importing Audio Files
•Photoshop Graphics Import
•Digital Bars and Tone
•Importing Color Bars and Other Test Patterns
•Importing Editcam Files
•Importing XDCAM Media
•Importing P2 Clips and Media
•Importing Sequences from Pro Tools through Interplay
•Using the Drag-and-Drop Method to Import Files
•Reimporting Files
•Batch Import Dialog Box
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Preparing to Import Files
Before you begin the import process, make sure the system and the files are ready for import:
• Prepare the files in advance according to specifications described in “File Format
Specifications” on page 1386.
• Determine the source for the files. Consider copying all files to a single folder before you
import. See “Importing Media Files” on page 279.
• Review the information on using import settings in “Creating and Modifying Import
Settings” on page 277. For a complete description of all options in the Import Settings dialog
box, see “Import Settings” on page 1351.
Creating and Modifying Import Settings
You can create one or more sets of import parameters and save them as an Import setting. For
example, you can create one setting for importing animations and another for importing still
graphics, or you can create individual settings for importing specific multichannel audio mixes.
This feature is especially useful when you use the drag-and-drop method to import multiple files.
See “Using the Drag-and-Drop Method to Import Files” on page 312.
The default Import setting and any additional Import settings you create appear in the Settings
list. After you select a setting in the Settings list, the parameters remain the default settings for
all imported files, unless you change them during import. See “Using the Settings Tab” on
page 73.
Once you create a new Import setting, you can select the setting whenever you import a frame,
clip, or sequence. For more information, see “Importing Media Files” on page 279 and “Using
the Drag-and-Drop Method to Import Files” on page 312.
To create a new Import setting:
1. Click the Settings tab in the Project window.
2. Right-click Import and select Duplicate.
A duplicated entry displays.
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278
Custom setting name column in the Settings list of the Project window
3. Select the duplicated entry, click the Custom setting name column, type a name, and press
Enter (Windows) or Return (Macintosh).
4. Double-click the new Import setting.
The Import Settings dialog box opens.
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279
5. Select the appropriate options.
For more information about Import settings, see “Import Settings” on page 1351.
6. Click OK.
To modify an existing Import setting:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Double-click an Import setting.
The Import Settings dialog box opens.
3. Select the appropriate options, as described in “Import Settings” on page 1351.
4. Click OK.
Importing Media Files
You can access files for import from any folder, disk, or drive source mounted on the desktop,
such as a CD or DVD, fixed drive, removable drive, or network server. You can import more than
one file or types of file at a time.
When importing files from third-party applications, you may need to install specific codecs to
convert these files into an Avid format.
Consider copying all graphics files to a single folder before you import the files. Using this
folder helps you manage graphics from multiple sources and streamlines the reimporting process
because all graphics point to the same original path.
If you are working with stereoscopic files, it is important that you clearly identify the folders for
the left and right eye cameras, and keep them well organized. The Avid editing application
imports stereoscopic 3D files just as it would any standard 2D file. After the master clips are
created, they need to be converted to stereoscopic clips—see .
nFor information on using the drag-and-drop method, see “Using the Drag-and-Drop Method to
Import Files” on page 312.
To import files:
1. If you created one or more Import settings, select the Import setting you want to use from the
Settings list in the Project window. See “Creating and Modifying Import Settings” on
page 277.
2. Do one of the following:
tDouble-click Media Creation in the Settings list.
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280
tSelect Tools > Media Creation.
The Media Creation dialog box opens.
3. Click the Media Type tab.
4. Click the File Format menu, and select the format (MXF or OMF).
nIf you are working in an HD project, you cannot select OMF as a file format. MXF is selected by
default.
5. Click the Import tab.
6. Select the resolution and target drives.
For more information on using the Media Creation dialog box, see “Selecting Video
Resolutions and Media Drives” on page 163.
The information you select is displayed in the Select Files to Import dialog box.
7. Click OK and close the dialog box.
8. Open the bin in which you want to store the imported files.
9. From the main menu, select File > Import.
The Select Files to Import dialog box opens.
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Select Files to Import dialog box (Windows)
1
3
8
9
2
4
5
6
7
10
1 Look In menu 6 Options button
2 Details button 7 Single/Dual Drive button
3 File browser 8 Video Resolution menu
4 File to import 9 Media Drive menu(s)
5 Files of Type menu 10 Disk Label (for XDCAM only)
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Select Files to Import dialog box (Macintosh)
10. Do one of the following:
tClick the Files of Type menu (Windows) and select All Files, or select the Any
Documents option (Macintosh) to display all files in a selected folder, regardless of file
type. Use this option if you want to batch import from multiple file types.
tClick the Files of Type menu (Windows) or the Enable menu (Macintosh), and select an
import file type to display only files of the selected file type in the source file list:
1
8
2
3
7
4
56
1 Enable menu 5 Single/Dual Drive button
2 From menu 6 Video and Audio Drive menus
3 Options button 7 Source file list
4 Resolution menu 8 Disk Label (for XDCAM only)
Option Description
All files (*.*) Use to import the selected files.
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To import a series of sequentially numbered files, select the first file in the sequence. To
automatically select the entire sequence of files, you must select the Autodetect Sequential
Files option in the Import Settings dialog box.
For sequentially numbered files — for example, myfile_001.jpg, myfile_002.jpg,
myfile_003.jpg — the system combines all of the files into one clip.
Shot Log Use to import Avid Log Exchange (.ale) files containing clip information to a
bin. For more information about Avid log specifications, see “Avid Log
Specifications” on page 123.
Graphic Use to import one of the supported graphics file types. For more information
on the file types and their import specifications, see “Specifications for
Graphics (Image) Files” on page 1386.
Audio Use to import one of the supported audio file types. For more information on
the various file types and their import specifications, see “Audio Projects
Settings: Main Tab” on page 1292 and “Working with BWF Files” on
page 1394.
HDV Use to import HDV transport stream (.m2t) files. For more information, see
“Capturing and Importing HDV” on page 1468.
AVCHD Use to import AVCHD transport stream (.mts) files. If you are not connected
to the internet the first time you import .mts files, the system opens the Avid
License Control tool. Follow the onscreen directions to activate this feature. If
you are connected to the internet, activation is automatic.
OMFI Use to import OMFI (.omf) files, such as sequences transferred from an
effects or digital audio workstation.
CamCutter Use to import Editcam™ or Editcam-station (.bin or .spl) files. For more
information, see “Importing Editcam Files” on page 297.
AAF Use to import AAF (.aaf) files.
MXF Use to import MXF (.mxf) files or, for some Avid editing applications, clips
stored on an XDCAM device. For more information, see “Importing
XDCAM Media” on page 299.
Windows Media
(Windows only)
Use to import Windows Media (.wmv) files.
MetaSync™Use to import MetaSync XML (.aeo) files that have been created by
MetaSync Manager. For more information, see “MetaSync Guide” in the
Help.
Option Description (Continued)
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11. (Option) Click Options to open the Import Settings dialog box, select the options you want,
and then click OK to save the settings.
For a complete description of all options in the Import Settings dialog box, see “Import
Settings” on page 1351.
12. Use the Look In menu (Windows) or the From menu (Macintosh) to locate the folder
containing the source files.
13. For graphics and video files, click the Video Resolution menu (Windows) or the Resolution
menu (Macintosh), and select a resolution for the imported media.
The resolution matches the resolution selected on the Import tab of the Media Creation
Settings dialog box. If you select a different resolution, the resolution is also selected in the
Media Creation Settings dialog box.
OMFI and AAF files do not convert DV 25 to DV 50 or DV 50 to DV 25.
Your Avid editing application imports XDCAM media at the native resolution of the media
on the XDCAM disc. The system ignores other video resolution settings.
14. Click the Single/Dual Drives button and select a destination drive for the imported file.
The target drive or drives match the drives selected on the Import tab of the Media Creation
Settings dialog box. If you select a different drive, the drive is also selected in the Media
Creation Settings dialog box.
15. For an XDCAM disc, type a name in the Disk Label text box.
nYour Avid editing application uses the disk label for operations such as Batch Import, where you
are prompted to insert a specific XDCAM disc that holds the files you want to import. A disk
label is required in order to import XDCAM media.
16. Select files or deselect files from the source file list by using the standard selection methods
for your operating system.
17. Click Open.
When the system finishes importing the files, the clips display in the selected bin.
If you imported stereoscopic files, standard master clips are created in the bin. These clips
must manually be selected and converted into stereoscopic master clips before you do any
stereoscopic editing.
Importing with Multichannel Audio
285
Importing with Multichannel Audio
You can use the Import Settings dialog box to define the audio track formats for the audio
channels in your imported media, up to a maximum of 16 audio channels for the clips in your
bins. This allows you to specify which source channels are treated as mono or multichannel
audio tracks in your project, rather than having to modify the clips in your bin after you import
the source media.
The mappings affect all media clips created when you import your source media. If you want to
use different mixes for different master clips or different projects, create a custom Import
Settings template for each separate type of mix and then import your clips. For information on
creating custom Import settings, see “Creating and Modifying Import Settings” on page 277.
Multichannel audio settings do not apply to the following formats when you import media or
files:
• AAF
•OMFI
• Shot log files
• Tab-delimited files
Each stereo track requires two channels, but you can mix mono and stereo input channels for
your linking operation as long as you do not exceed the maximum of 16 audio channels for each
master clip.
To specify the multichannel audio mix for imported clips:
1. Do one of the following:
tOpen a bin, select File > Import, and then click the Options button in the Select Files to
Import dialog box.
tIn the Project window, click the Settings tab and then double-click Import.
The Import Settings dialog box appears.
You can also open the Import Settings dialog box by clicking the Options button in the For
information about the Import Settings, see “Import Settings” on page 1351.
2. Click Edit.
The Set Multichannel Audio dialog box opens.
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286
3. Click the format buttons to select one of the following audio track formats for each pair of
source channels:
You must map source audio channels in mono or stereo pairs. For example, you cannot map
A1 to a mono track and A2 and A3 to a stereo track. Instead, map A1 and A2 to mono tracks,
and A3 and A4 to a stereo track. If the source media does not have an audio channel on A2,
the Avid editing application ignores the channel.
4. Click OK to close the Set Multichannel Audio dialog box, and then click OK to close the
Import Settings dialog box.
The Track Formats column in the bin Text view displays the format for all multichannel
audio tracks in a master clip.
Button Track Format
Mono
Stereo
5.1 Surround Sound
7.1 Surround Sound
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Importing Audio Files from a Music CD
To import audio files from a music CD:
1. Follow the procedure in “Importing Media Files” on page 279.
2. In step 10, select Files of Type > Audio (Windows) or Show > Audio Documents
(Macintosh).
3. In step 16, navigate to the music CD and select the track or tracks you want to import.
n(Macintosh) If you encounter an error, copy the audio files to your desktop and import them from
there.
4. Finish the procedure.
Your track or tracks appear in the bin you opened in the procedure.
Adjusting Gain Before Importing Audio Files
When you import audio files, you can set the gain on a clip without opening the Audio Mix tool.
This is especially useful when you import audio from a CD or an MP3 device and you would like
to lower the decibel level for all files that you import.
To adjust the gain before import:
1. In the Project window, click the Settings tab.
2. Double-click Import.
3. Click the Audio tab, and then select Apply attentuation/gain effect on Import.
4. Type a decibel level from 12 to -96 to adjust the volume, or use the Up and Down arrows on
the keyboard to locate the decibel level you want to apply to all the imported clips.
5. (Option) If you only want gain to apply to CD imports, select “CD only” to apply the gain to
all the music files on the CD.
6. Click OK.
When your Avid editing application imports the files, it applies the gain adjustment i to each
file imported to a bin. If you later apply gain from the Clip menu to a clip that you adjusted
the gain before import, your Avid editing application ignores the pre-import gain. For
example, if you apply -6 dB before import, and then apply another -6 dB to the clip, the clip
remains at -6 db and not -12 db. For each subsequent adjustment, your Avid editing
application ignores the previous adjustment, except where the clip appears in a sequence. To
adjust a clip’s gain in a sequence, you must use the Audio Mix tool.
7. Follow the usual import procedures. For more information, see “Importing Media Files” on
page 279.
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288
To adjust the gain after import:
1. Choose one of the following methods:
tSelect the clip in the bin, and select Clip > Apply Gain.
tRight-click a single clip and select Apply Gain.
The Apply Clip Gain menu opens.
2. Type a decibel level from 12 to -96 to adjust the volume, or use the Up and Down arrows on
the keyboard to locate the decibel level you want to apply.
3. Click OK.
The gain adjustment applies to every clip. If there was a gain previously associated with the
clip, the new gain value override it.
Sample Rate Conversion and Audio Import
When you import audio to your project, you have the option of converting the sample rate of the
source audio files to the project sample rate. You select this option on the Audio tab of the Import
settings dialog box (see “Import Settings: Audio Tab” on page 1355). The default setting is to
convert all files, which means that your Avid editing application converts the sample rate of
source files to the project sample rate when it imports the file to your project. If you deselect this
option, your Avid editing application imports the files at the source sample rate.
If you choose to convert your source sample rates when importing audio files, you also have the
option to skip the conversion of files recorded with pullup or pulldown sample rates. This option
affects the import process in the following ways:
• Skipping the sample rate conversion of audio files with .1% pullup or pulldown sample rates
imports the files, bit for bit, with no change to the source audio file. Your Avid editing
application marks the imported files with non-pullup or non-pulldown sample rates, and the
length and pitch of the imported audio changes by plus or minus .1%. For example, a source
audio file with a 48048 sample rate is marked on import with a 48000 sample rate, and it
plays back .1% slower than audio with a converted sample rate. Because no conversion
occurs, importing the files proceeds quickly. This is the default setting.
• Converting audio files with pullup or pulldown sample rates results in imported files with the
project sample rate. The length and pitch of the imported audio matches the length and pitch
of the source audio. Because your Avid editing application must convert the sample rates,
importing these files proceeds less quickly than it does when skipping the sample rate
conversion.
If you choose not to convert any sample rates when you import audio files, your Avid editing
application imports the audio files at the source sample rate. This leaves the audio source files
unchanged, but your Avid editing application marks any source files with pullup or pulldown
Setting Sample Rate Conversion Options Before Importing Audio Files
289
sample rates with non-pullup or non-pulldown sample rates, and the length and pitch of the
imported audio changes by plus or minus .1%. Again, this means that a source audio file with a
48048 sample rate is marked on import with a 48000 sample rate, and it plays back .1% slower
than audio with a converted sample rate.
For information on setting the import options for converting audio sample rates, see “Adjusting
Gain Before Importing Audio Files” on page 287.
Setting Sample Rate Conversion Options Before
Importing Audio Files
When you import audio files, you can choose to convert the sample rate of the source audio files
to the project sample rate or to import the files at the source sample rate. For more information
about converting sample rates when importing audio files, see “Sample Rate Conversion and
Audio Import” on page 288.
To set sample rate conversion options:
1. In the Project window, click the Settings tab.
2. Double-click Import.
3. Click the Audio tab, and then select the following options, as appropriate:
nIf you skip the conversion of files with pullup and pulldown sample rates on import, the length
and pitch of the imported files are changed by plus or minus .1%. If you do convert these files,
length and duration do not change for the imported audio files.
4. Click OK.
Option Description
Convert source
sample rate to
project sample rate
Selecting this option converts all source audio files to the sample rate of
your project. Deselecting this option imports all files at the source sample
rate. The default is to convert sample rates on import.
Do not convert
sources with pullup
and pulldown rates
If you choose to convert the sample rates of your source audio files,
selecting this option lets you skip the conversion of audio files with pullup
or pulldown sample rates while converting all other files to the project
sample rate. Deselecting this option converts all files to the project sample
rate. The default is not to convert pullup and pulldown sample rates on
import.
Photoshop Graphics Import
290
When the files import and appear in the bin, any converted sample rates display in the bin for
the imported files. If you do not convert audio files with pullup or pulldown sample rates,
these audio files display in your bin with the sample rate closest to the source sample rate.
For example, a file with a 48048 sample rate displays in your bin after import with a 48000
sample rate, regardless of the project sample rate.
Photoshop Graphics Import
You can import both single-layer and multilayered graphics created in Adobe® Photoshop®. If
you import multilayered graphics, you can preserve the original layers, and then edit them
individually in your Avid editing application.
nYour Avid editing application supports graphics created in the following modes: RGB
8-bits/channel, RGB 16-bits/channel, and grayscale, including alpha channels. For more
information, see “Import Specifications for Supported Graphics File Formats” on page 1386. An
alpha channel must be straight — your Avid editing application does not properly import
premultiplied alphas.
Single-Layer Photoshop Graphics
A single-layer graphic is a graphic file that was created either on a single layer or with multiple
layers and subsequently flattened in Photoshop. Avid editing applications import this kind of
graphic as a matte key or master clip, depending on the format of the Photoshop file.
• If the graphic uses a transparent background or an alpha channel, your Avid editing
application creates a matte key.
• If the graphic uses a background color, your Avid editing application creates a master clip.
Single-layer files that contain transparency gradients or feathering and a transparent background
do not import correctly. Partially transparent pixels display with either white or black blended
into them, based on the percentage of transparency. To avoid this problem, create an additional
layer in the original Photoshop file that contains at least one pixel of information, such as a spot
drawn with a paintbrush. Then import it as a layered file, as described in “Importing Photoshop
Files” on page 294. In the message box, click Select Layers and select only the layer that
contains the graphic elements. Do not select the additional layer.
Multilayer Photoshop Graphics
A multilayered graphic is a graphic file that was created in Photoshop with two or more layers.
You can import multilayered graphics created in Photoshop v6.0 or later.
When you import a multilayered graphic, you can import each layer as a separate object (a matte
key or master clip). You can then manipulate individual layers like any other matte key or master
clip. You can also import the graphic as a flattened image, or select the layers to import.
Photoshop Graphics Import
291
Some layer options in Photoshop are not supported for import into your Avid editing application.
See “Support for Multilayered Photoshop Graphics Import” on page 292. For example, a title
with a Drop Shadow and an Outer Glow effect would not keep these effects when imported.
To preserve the effects in these layers, merge them in Photoshop (as described in the Photoshop
documentation) and then import the file.
You can also preserve layer effects and the original structure of the file by importing the file in
two stages:
Example of Multilayered Photoshop Graphics Import
A multilayered Photoshop graphic might consist of a collage of still images over a background
image, with a layer of text. Separate layers contain each image and the text. The goal is to edit
the collage into a sequence, building it up one image at a time, and then add the text. The
following illustration shows the graphics and layers in Photoshop.
Your Avid editing application imports each layer as an individual matte key with alpha channel.
In this example, the graphic uses a background image, so the system creates the background
image as a master clip. (If the graphic uses a transparent background, the background layer is
imported as a matte key.)
The following illustration shows the layers as they appear in a bin.
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292
During the import, your Avid editing application creates a sequence with each layer on a separate
video track. This makes it easy to edit all layers into the final sequence. This sequence preserves
the names and order of the layers as created in the original Photoshop file.
You can then edit the tracks to build up to the full collage.
Support for Multilayered Photoshop Graphics Import
You should be aware of the following requirements for multilayered graphics import and details
of how your Avid editing application handles the import:
• Graphics must be RGB 8 or 16 bits, or grayscale.
• Importing preserve layer order and layer names.
• Hidden layers are imported as matte keys.
• Importing converts Opacity to Foreground level in the Matte Key effect.
Photoshop Graphics Import
293
• Importing rasterizes text and shape layers.
• Not all layer options and types are supported for import.
For information on preserving layer effects during import, see “Importing Photoshop Files”
on page 294.
For information on support for layer options and types, see the following tables.
Layer Option Supported Notes
Blending Mode No To preserve the blending mode (Dissolve, Multiply, and so on), merge the
layer into another layer that does not use a special blending mode. Only
normal mode is supported.
Opacity Yes The imported layer’s Level is set to the opacity specified in Photoshop. You
can adjust opacity levels with the Foreground Level control in the Effect
Editor.
Layer Group Partial Import ignores layer grouping and instead imports all layers, including
grouped layers, as individual layers. To preserve a clipping group, merge the
grouped layers into the base layer.
Layer Set Partial All layers within a set are imported as individual layers.
Layer/Set Mask No Import ignores layer and set masks. To preserve a layer mask, apply it to the
layer. To preserve a set mask, merge the set into an empty layer. To preserve a
special layer’s mask, rasterize the layer.
Layer Style No Import ignores layer styles. To preserve a layer style, you must convert the
style into layers.
Special Layer Option Supported Notes
Type Layer Yes —
Solid Layer Yes Solid layers import as a graphic with a full-screen opaque alpha
channel.
Gradient Layer Yes Gradient transparency is preserved.
Pattern Layer Yes —
Adjustment Layer No Adjustment layers include Levels, Curves, Color Balance,
Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient Map,
Invert, Threshold, and Posterize.
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294
Importing Photoshop Files
To import a single-layer graphic, or a flattened multilayered Photoshop graphic:
tFollow the standard instructions for importing a graphic, as described in “Importing Media
Files” on page 279.
To import a multilayered Photoshop file:
1. Prepare the Photoshop graphic for import.
For more information, see “Support for Multilayered Photoshop Graphics Import” on
page 292.
2. Follow the standard instructions for importing a graphic, as described in “Importing Media
Files” on page 279. To create the matte correctly, you need to click the Options button and
select Alpha: Invert Existing.
3. After you select one or more files and click Open, a message box opens.
4. In the message box, do one of the following:
tClick Sequence of Layers if you want to preserve all layers. If the number of layers
exceeds the number of tracks supported, your Avid editing application creates a
sequence that contains the number of tracks supported. Additional layers are imported
into the bin, but not as tracks in a sequence. This selection applies to all files you select
for import.
tClick Flattened Image if you want to import the graphic as a single matte key or clip.
Your Avid editing application flattens the file by combining the layers. This selection
applies to all files you selected for import.
Hidden layers are not combined in the flattened image. Make sure all layers you want in
the final image are visible. In addition, layers with partial transparency do not display
properly in the flattened, imported image.
tClick Select Layers if you want to select which layers to preserve.
The Select Layers dialog box opens. Select the layers you want to import and click OK. If
you select more than 24 layers, your Avid editing application imports the additional layers
but does not include them in the sequence.
Your Avid editing application displays messages as it creates media for each layer. At the
end of the process, the selected bin displays the objects.
To preserve layer effects:
1. For the first import, click Select Layers and select all layers except the layers that contain
layer effects.
2. For the second import, open Photoshop, hide the layers you’ve already imported, and show
the layers that contain layer effects. During the import, click Flattened Image.
Digital Bars and Tone
295
The resulting image contains only the layers that contain layer effects.
Digital Bars and Tone
If you expect to output your final sequence as a digital cut that requires calibration before
playback (a digital cut that will be broadcast, for example), in most cases you might need a clip
of color bars. You can add the clip to the front of the sequence, or you can output the clip
separately as an assemble or insert edit onto tape during digital cut.
There are several ways to acquire a clip of bars, each with different advantages:
Importing Color Bars and Other Test Patterns
Avid editing applications supply files for color bars and other test patterns. You can import 8-bit
PICT files or 16-bit TIFF files.
To import a test pattern from a file:
1. Open an existing bin, or create a new one for the test pattern.
2. Select the destination bin.
3. Select File > Import.
The Select Files to Import dialog box opens.
4. Do one of the following:
Acquisition Method Description
Record bars and tone
from a house generator
Requires the least effort with good results because you record
high-quality bars and tone simultaneously, with a minimum of calibration.
Record bars and tone
from a videotape
Lets you record bars and tone simultaneously, but you must calibrate
carefully to ensure accuracy. In addition, the final clip reflects the quality
of the source tape recording.
Record bars from an
external color bar
generator
Provides good results, but you must have a color bar generator, and you
must rearrange your system inputs to attach the generator. In addition, you
must acquire tone separately and sync it with bars within your Avid
editing application.
Import a file of bars Provides the highest quality results because the source image is already
digital. If the file is accurate, the quality of the clip is ensured. You must,
however, acquire tone separately and sync it with bars within your Avid
editing application. For more information, see “Importing Color Bars and
Other Test Patterns” on page 295.
Importing Color Bars and Other Test Patterns
296
- (Windows) Click the Files of Type menu, and select Graphic Files.
- (Macintosh) Click the Show menu, and select Graphic Documents.
5. Use the Look in menu (Windows) or the From menu (Macintosh) to locate the folder
containing the test pattern file.
Test pattern files are located in the following folder:
-(Windows)drive:\Program Files\Avid\Avid editing application
\SupportingFiles\Test_Patterns
- (Macintosh) Macintosh HD/Applications/Avid editing application/
SupportingFiles/Test_Patterns
6. Select a test pattern file from the File browser (Windows) or Source File list (Macintosh) for
importing:
- 8-bit PICT files are located at the top level of the Test_Patterns folder.
- 16-bit TIFF files are located in the HD_720p, HD_1080i, SD_NTSC, and SD_PAL
folders.
The file name appears in the File Name text box (Windows) or the Go to text box
(Macintosh).
7. Click Options to adjust the Import settings.
The Import Settings dialog box opens.
8. Click the Image tab, and select the following options:
a. Select 601/709, non-square from the Aspect Ratio, Pixel Aspect area.
b. Select 601/709 from the Color Levels area.
c. Click OK to save the settings and close the dialog box.
9. Click Open.
The clip for the imported file appears in the selected bin.
When you import SMPTE_Bars.pct, the file does not exactly match the SMPTE bars
generated by the Video Output tool. The I and Q blocks in the bottom portion of the pattern
cannot be exactly represented in the RGB color space used when importing files.
10. If you must have I and Q blocks correct in a sequence, do one of the following:
tRecord SMPTE bars from a signal generator.
tUse the Video Output tool to generate SMPTE bars, and record them to tape using the
controls on the deck. Then, capture them back into the system from the tape.
11. Load the new color bars clip into the Source monitor, and create a subclip of appropriate
length for use in sequences (1 minute is a common standard).
Importing Editcam Files
297
12. Select the new subclip, Ctrl+click (Windows) or Command+click (Macintosh) the audio clip
containing the tone, and select Bin > AutoSync.
A new subclip containing bars and tone appears in the bin.
13. Rename the clip as necessary.
Importing Editcam Files
You can import clips recorded with Ikegami® disk-based Editcam™ or Editcam-station products.
The Editcam is a digital news-gathering (DNG) camera that uses Avid's CamCutter® technology.
For more information about Editcam, CamCutter technology, and how these systems operate
with nonlinear editors, see the Web site www.nltek.com.
Note the following restrictions:
• The CamCutter clips are not copied onto a media drive. The bin references clips physically
located on the FieldPak. If you remove the FieldPak, the referenced clips appear as Media
Offline.
• The FieldPak has limited performance and is used only to record and play back clips. If you
require multiple streams of video for advanced effects, the data might not be supplied fast
enough for proper operation. If this situation occurs, you can do one of the following:
- Render the effects. See “Rendering Effects” in the Help.
- Consolidate the sequence to a valid media drive. See “Consolidating Media” on
page 445.
- Import the CamCutter clips as OMFI files. This effectively copies the clips to a media
drive. See “Import Settings” on page 1351.
To import Editcam files:
1. (Option) Select File > Mount All.
If you previously mounted the drive or volume, or if you inserted the FieldPak® before
starting your Avid editing application, you do not need to perform this step.
2. Open a bin.
3. Select File > Import.
A dialog box opens.
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298
4. Click the Files of Type menu (Windows) or the Show menu (Macintosh), select CamCutter,
and then select the CamCutter bin by doing the following:
a. From the desktop, select the FieldPak drive letter (Windows) or FieldPak volume name
(Macintosh).
b. Open the bin folder on the FieldPak.
c. Select the CamCutter bins or select the .spl files you want to import.
The Outakes.bin contains clips that were discarded by the Editcam operator. These clips are
generally not imported.
5. Ignore the field specifying video resolution to import.
6. Ignore the field regarding video and audio drive selection.
7. Proceed with the import operation.
A dialog box opens, asking you to identify the drives that contain the media files.
8. Select the FieldPak drive letters (Windows) or volume names (Macintosh) as appropriate.
If the drive or volume is not listed, go back to step 1 and retry the procedure.
9. Complete the import process.
Your Avid editing application creates entries in the selected bin that reference the clips on
the FieldPak.
For more information on importing files, see “Importing Media Files” on page 279.
Setting XDCAM Import Options
Set the default options to import XDCAM media in the XDCAM tab of the Import Settings
dialog box.
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299
Use these settings to override the selections made in the Select Files to Import dialog box or to
set default behavior when you import XDCAM media. For more information, see “Import
Settings: XDCAM Tab” on page 1356.
Importing XDCAM Media
XDCAM and XDCAM HD devices store media as MXF OP1a interleaved files. Your Avid
editing application does not use these files directly. Instead, you must first import the media. The
import process creates new video and audio MXF OP Atom media files which consist of one
video track and up to eight audio tracks.
nLow-resolution proxy media have the same number of audio tracks as the high-resolution
formats.
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300
There are several ways to access XDCAM media:
• Automatically import all proxy media when you load a disc in your XDCAM device. See
“Automatically Importing Proxy Media from an XDCAM Device” on page 302.
• Manually import all proxy media on all discs currently loaded on your system. See
“Importing Proxy Media from an XDCAM Disk” on page 304.
• Copy the proxy media files to a separate location (for example, to a folder copied on an FTP
site), transfer them to a local drive or removable disk, and import the proxy media without
directly accessing the XDCAM device. See “Copying XDCAM Proxy Media to a Local
Drive or a Server” on page 305.
• Import proxy media, high-resolution media, or both using the Import function. See
“Manually Importing XDCAM Media from the XDCAM Disk” on page 305.
For some workflows, you might want to import the proxy media first so you can start editing.
Once you create your sequence, use the batch import function to import only those portions of
the high-resolution clips needed for your sequence.
For other workflows, you might want to import the proxy media to an editing workstation, and
then separately import the high-resolution media either to another workstation or to an Avid
shared storage server using Avid Interplay Transfer. Your Avid editing application maintains the
connection between the proxy media and the high-resolution media, so you can relink the edited
clips at any time to the high-resolution master clips in a shared storage environment.
nWhen you relink proxy media to high-resolution media, do not select Specific Resolution as the
Relink Method option. Instead, select either Highest Quality or Most Compressed.
The import process for XDCAM media differs from the standard import in that you can import
XDCAM media only at the native resolution of the XDCAM media (for information on
XDCAM resolutions, see “XDCAM, XDCAM EX and HDCAM SR Media” on page 369).
XDCAM cameras record proxy audio at a sample rate of 8 kHz. When you import proxy media,
you can choose to change (upconvert) the sample rate to your project rate. This might slow the
import process a bit, but it greatly improves playback of audio tracks.
Importing XDCAM EX Media
XDCAM EX devices store media as MP4 interleaved files. Your Avid editing application does
not directly support these files. You must first convert them to MXF OP1a files using the Sony
XDCAM EX Clip Browser application, then you can import them in the same manner as
XDCAM and XDCAM HD clips.
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301
First you need to export the clip from the XDCAM EX device. There are two export options to
choose from, one option is to export “MXF for NLEs.” This option creates an OP1a .mxf file,
and then import the file into a bin. The other option is to choose to export “Avid AAF.” This
option creates an AAF composition file, and concurrently creates an OPAtom MXF media file.
In the Avid AAF export options, choose a valid Avid MediaFiles folder. The AAF composition
file links to the media once you import.
To import an XDCAM EX clip using Avid AAF:
1. With an XDCAM EX camera or reader attached to your system, insert an XDCAM EX card.
2. Launch the Sony XDCAM EX Clip Browser.
nThe Sony XDCAM EX Clip Browser application ships with your Sony camera or reader. For
information about the Sony XDCAM EX Clip Browser, see Sony’s documentation.
3. From within the Clip Browser, choose Tools > User Configuration, and click the Conversion
tab.
4. In the Avid AAF section, click Browse and select the folder where you want to place the
AAF composition file.
5. In the User Configuration window, click the General tab.
6. In the Copy section, click Browse and select a valid Avid MediaFiles folder destination.
This folder holds the OPAtom files and the Avid editor recognizes this media after you
import the AAF composition.
7. Click OK.
8. In the Clip Browser, click or Ctrl+click (Windows) or Command+click (Macintosh) the
XDCAM EX clips you want to export.
9. Right-click the clip and select Export > Avid AAF.
The clips appear in the folder location you selected.
10. Open the Avid editor.
11. Open a project and a bin, or create a new bin.
12. With the bin selected, right-click and select Import.
The Select files to Import dialog box opens.
13. Locate and select the AAF composition files, and then click Open.
All metadata information is embedded with the clip. The video resolution in the Import
window is ignored.
The XDCAM EX clips appear in the bin.
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302
To import an XDCAM EX clip using MXF for NLEs:
1. With an XDCAM EX camera or reader attached to your system, insert an XDCAM EX card.
2. Launch the Sony XDCAM EX Clip Browser.
nThe XDCAM EX Clip Browser application should have come with your Sony camera or reader.
For information about the Sony XDCAM EX Clip Browser, see Sony’s documentation.
3. From within the Clip Browser window, select the clips you want to export.
4. Right-click the clips and select Export > MXF for NLEs.
This creates OP1a MXF media files that you import into the Avid editor.
5. The MXF for NLEs window opens, click the Browse button and select the destination folder
for the MXF media files.
6. Click Execute.
7. Open the Avid editor.
8. Open a project and a bin, or create a new bin.
9. With the bin selected, right-click and select Import.
The Select files to Import dialog box opens.
10. Locate and select the MXF media files, and then click Open.
All metadata information is embedded with the clip. The video resolution in the Import
window is ignored.
The XDCAM EX clips appear in the bin.
Automatically Importing Proxy Media from an
XDCAM Device
You can use this method to automate the process of importing proxy media from your XDCAM
device to your Avid editing application.
To import proxy media from an XDCAM device:
1. Double-click Import in the Settings list.
The Import Settings dialog box opens.
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2. Click the XDCAM tab.
3. Select Automatically Import Proxies when disk is inserted.
4. Click OK.
5. Open the bin in which you want to store the imported files.
If you do not select a bin, or if you have more than one bin open, a dialog box opens and
directs you to select from a list of open bins or create a new bin.
6. Insert a disk into your XDCAM device.
The Import XDCAM Proxy from drive: dialog box opens.
7. Type a name in the Disk Label text box.
Your Avid editing application uses the disk label for operations such as Batch Import, where
you are prompted to insert a specific XDCAM disc that holds the files you want to import. A
disk label is required in order to import XDCAM media.
8. Click the Single/Dual Drives button, and select a destination drive for the imported file from
the menu.
9. Click Import.
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When the import finishes, the clips appear in the selected bin.
Your Avid editing application imports XDCAM media at the native resolution of the media
on the XDCAM disc. Your Avid editing application ignores other resolution settings — for
example, in the Select Files to Import dialog box.
10. (Option) Repeat this procedure for each XDCAM disc that holds media you want to import.
Importing Proxy Media from an XDCAM Disk
You can use this method when you want to import proxy media stored on your disk, but you have
not opted to import the proxy media automatically. If you want to import only some of the files
on your disk, use the procedure described in “Manually Importing XDCAM Media from the
XDCAM Disk” on page 305.
nFor information on setting the XDCAM import to start automatically, see “Automatically
Importing Proxy Media from an XDCAM Device” on page 302.
To import proxy media from a disk:
1. Open the bin where you want to store the imported files, and select it to make it the active
bin.
2. Insert a disk into your XDCAM device.
3. Select File > Import XDCAM Proxy.
The Import XDCAM Proxy from drive: dialog box opens.
4. Type a name in the Disk Label text box.
Your Avid editing application uses the disk label for operations such as Batch Import, where
you are prompted to insert a specific XDCAM disc that holds the files you want to import. A
disk label is required in order to import XDCAM media.
5. Click the Single/Dual Drives button, and select a destination drive for the imported file from
the menu.
6. Click Import.
When the import finishes, the clips appear in the selected bin.
Your Avid editing application imports XDCAM media at the native resolution of the media
on the XDCAM disc. Your Avid editing application ignores other resolution settings — for
example, in the Select Files to Import dialog box.
7. (Option) Repeat this procedure for each XDCAM disc that holds media you want to import.
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Copying XDCAM Proxy Media to a Local Drive or a
Server
You might want to import proxy media when the XDCAM device is not available. For example,
if you want an editor to start editing the XDCAM footage while the actual XDCAM disk is at
another location, you can transfer the proxy media files to an FTP server. You can then download
the files from the server, and an editor can import the proxy media and begin editing. Later, you
can relink the proxy media to the high-resolution media, or use the batch import function to
import the high-resolution media for final editing and finishing.
When you copy the XDCAM media files from the XDCAM device to another system or to a
removable drive, you need to copy only the Sub folder (for proxy media) or the Clip folder (for
high-resolution media).
A possible workflow to import XDCAM proxy media from a non-XDCAM drive uses the
following steps:
1. Copy the proxy folder (Sub) from an XDCAM device to an FTP server.
2. Download the files to a local drive.
3. Import the proxy media to an Avid editing application from a local drive just as you would
from an XDCAM disc, and then begin editing.
See “Manually Importing XDCAM Media from the XDCAM Disk” on page 305.
4. When the XDCAM disk is available, either import or batch import the high-resolution media
to finish editing.
See “Importing Media Files” on page 279 or “Batch Importing High-Resolution XDCAM
Media from the XDCAM Disk” on page 308.
Manually Importing XDCAM Media from the XDCAM
Disk
Use the standard Import function to import XDCAM media into your Avid editing application.
Set the default XDCAM import options in the XDCAM tab of the Import Settings dialog box.
For more information on import options, see “Import Settings: XDCAM Tab” on page 1356.
You can import files through the:
• Import function
• Drag and drop method of importing files
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For more information, see “Importing Media Files” on page 279 and “Using the
Drag-and-Drop Method to Import Files” on page 312.
nYour Avid editing application imports XDCAM media at the native resolution of the media on the
XDCAM disk. The system ignores other resolution settings — for example, in the Select Files to
Import dialog box.
You can locate the MXF media files in the following directories on your XDCAM disk:
• High-resolution media — XDCAM drive:\Clip
•Proxy media — XDCAM drive:\Sub
Importing Essence Marks as Markers in XDCAM
Media
Essence Marks store metadata about media clips. You can set Essence Marks manually or
automatically with the XDCAM cameras. Use Essence Marks to mark events such as clip start
points or audio clipping and for sorting and searching clips stored on XDCAM discs. For a
description of Essence Marks, see your Sony documentation.
You can import Essence Marks as markers when you import either proxy media or
high-resolution media. The markers appear in the bin of the XDCAM master clips, and you can
view them in the Source/Record monitor, in the Timeline, and in the Markers window. For
information on using marker information as you edit, see “Suggested Uses for Markers” on
page 514.
To import Essence Marks as markers:
1. Double-click Import in the Settings list.
The Import Settings dialog box opens.
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2. Click the XDCAM tab.
3. Select Import Essence Marks as markers.
4. Click OK.
Editing XDCAM Proxy Media
When you import proxy media files, a new master clip is created that you can edit in the timeline
just like any other clip. You can mix the clips in the Timeline with any supported resolutions, add
effects or titles, or perform any other editing function available in your Avid editing application.
XDCAM proxy media is single-frame resolution media. For the best performance during
playback, select Draft Quality or Best Performance from the Video Quality Menu in the
Timeline. For more information, see “Video Quality Options for Playback” on page 506.
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To set the playback options for XDCAM media:
1. Right-click the Video Quality menu button, and select Draft Quality (yellow/green) or Best
Performance (yellow/yellow).
Some effects, such as IllusionFX and FluidMotion effects, do not playback in real time when
you select Draft Quality. For these effects, you must also select the Progressive Source
button in the Effect Editor before you render.
2. (Option) You can perform emergency play-to-air operations of the proxy media as an export,
as a Send to Playback operation, or as a digital cut.
Batch Importing High-Resolution XDCAM Media
from the XDCAM Disk
Once you finish editing your sequence with proxy media, you can replace the low-resolution
media with the corresponding high-resolution media with the Batch Import command. The Batch
Import command lets you reimport the high-resolution DVCAM, MPEG IMX, or XDCAM HD
files, directly from the XDCAM disk, while automatically linking the new imported material
with the sequences and master clips created with the low-resolution MPEG-4 media. If you batch
import media for an edited sequence, the import operation copies only those portions of the
high-resolution master clip needed by the sequence, not the whole clip. If you batch import
master clips, the import process copies the entire clip.
nThe Disk Label column in the bin headings displays the XDCAM disk labels created when you
import the XDCAM media. For information on displaying bin columns, see “Bin Column
Headings” on page 346. If necessary, you can use the Modify command to change the name in
the Disk Label column.
You can also import the high-resolution media files separately. Since importing high-resolution
master clips requires more storage, time, and bandwidth than batch importing only the necessary
parts of clips, you might want to import the master clips to another workstation or to another
system in a shared storage environment — for example, to an Avid shared storage server. Once
you import the high-resolution media, you can Relink to move between the proxy media and the
high-resolution media. For more information about relinking media, see “Editing and Finishing
High-Resolution XDCAM Media” on page 311 and “Relinking Media Files” on page 458.
To batch import high-resolution XDCAM media:
1. Double-click Import in the Settings list.
The Import Settings dialog box opens.
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2. Click the XDCAM tab.
3. Select Batch Import High-resolution Video.
4. Click the Handle Length text box and type the number of additional frames you want to
import at the heads and tails of the new master clips.
This provides enough overlap for trimming and adding transition effects. The default is 30
frames.
5. Click OK.
6. Open the bin, and select the sequences or master clips created with proxy media that you
want to replace with high-resolution media.
7. Insert a disk into your XDCAM device.
8. (Option) If your source media is stored on multiple XDCAM discs, and you have multiple
XDCAM devices, you can insert all the discs at the same time.
9. Select Clip > Batch Import.
A message box opens.
10. Click the All Clips button.
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The Batch Import dialog box opens.
Single/Dual Drives button (left) and Video Drive and Audio Drive menu location (right) in the Batch Import
dialog box
Your Avid editing application imports XDCAM media using the native resolution of the
XDCAM files.
11. Click the Video Drive and Audio Drive menus, and select a destination drive or drives for all
the media files.
You can separate video and audio onto different drives.
12. Click Import.
The high-resolution files import. If the source media is stored on more than one disk and not
all disks are attached to your system, the system prompts you to insert additional disks as
needed.
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Editing and Finishing High-Resolution XDCAM
Media
Once you import the high-resolution media, you can playback and edit your sequence with full
resolution and in real-time. You can also send the sequence to a broadcast playback server using
Avid Interplay Transfer.
As you edit your sequence, you can move between the proxy media and the high-resolution
media by relinking your clips with the corresponding media files. When you relink proxy media
to the high-resolution media, select one of the following Relink Method options:
• Highest Quality
• Most Compressed
nDo not select Specific Resolution as the Relink Method.
This allows the audio tracks to relink to the appropriate audio files. For more information about
the Relink command, see “Relinking Media Files” on page 458.
Importing P2 Clips and Media
P2 media files include information (metadata) that lets them appear as master clips in an Avid
editing application. You can import the P2 clips directly from a P2 card or a copy of a P2 card on
another drive into a bin. You can also import the media associated with the clips if you want to
reuse the P2 card, for example, if you want to capture additional material onto the card in a
camera. For more information about copying P2 cards to another drive, see “Copying P2 Files to
a FireWire or Network Drive” on page 378.
To import P2 clips directly from a P2 card or a copy of a P2 card on a drive:
1. Open and select the bin where you want to import the master clips to.
2. Select File > Import P2 > Clips to Bin.
The Browse for Folder dialog box opens.
3. Navigate to the P2 files:
tNavigate to the P2 card
tNavigate to the folder where multiple P2 cards reside. The system can import P2 files
from multiple cards as long as each card has a Contents folder.
The Import P2 option imports all the clips on the card.
4. Click OK.
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A progress box appears as the clips import. When the import is complete, the clips appear in
the active bin. You can play and edit the clips; the media resides on the P2 card. If you leave
your Avid editing application and then restart it, you see the clips in the bin, but the media is
offline. You need to import the clips again to continue working with them.
To import media from a P2 card:
1. Open and select the bin where you want to import the clips to.
2. Select the master clips, sequences, or a combination which you want to import media.
3. Select File > Import P2 > Media.
4. Follow steps 3 and 4 in the preceding procedure.
The system consolidates the items selected according to the current settings in the Media
Creation Import tab.
Importing Sequences from Pro Tools through
Interplay
You can import a sequence you have worked on in Pro Tools back into your Avid editing
application. You need to have checked the sequence into Interplay from Pro Tools.
To import a sequence from Pro Tools:
1. Open the Interplay Window and navigate to the location of the checked-in sequence.
2. Click the sequence and drag it into your bin.
Your Avid editing application checks out the sequence and imports the sequence and the
related files into the bin. For more information, see “Using Pro Tools and Interplay” in Avid
Interplay Best Practices.
Using the Drag-and-Drop Method to Import Files
To import one or more files by using the drag-and-drop method:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click Import.
3. Select either the default Import setting or one you have created.
To view or modify the parameters, double-click the setting. For more information, see
“Creating and Modifying Import Settings” on page 277.
4. Open the bin in which you want to store the imported files.
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5. Open the folder that contains the files you want to import.
6. Select the file you want to import and drag it to the bin. To select multiple files, Ctrl+click
(Windows) or Command+click (Macintosh) the files and drag them to the bin.
7. (XDCAM only) The Import file(s) from XDCAM dialog box opens. Type a name in the
Disk Label text box, and then click Import.
Your Avid editing application uses the disk label for operations such as Batch Import, where
it prompts you to insert a specific XDCAM disc that holds the files you want to import. A
disk label is required in order to import XDCAM media.
Reimporting Files
If you are working with master clips or sequences that contain imported material, you can use the
Batch Import command to reimport the imported files. For example, you might want to do the
following:
• Upgrade the video resolution of the imported files to an online resolution for distribution.
• Create new media files when the media files are lost or accidentally deleted.
cReimporting requires your original source file. Do not delete the media files for imported
files unless you have access to the source files.
The Batch Import command lets you reimport files while automatically linking the new imported
material to the original master clips and sequences. When you play your sequence after
reimporting the files, the new imported material plays in your sequence.
When you reimport a media file, the entire media file, including all tracks, is reimported. For
example, if you imported only the video track of a file that contains both video and audio and
edited it into a sequence, the reimport process imports both the video and audio from the source
file.
You cannot reimport a mixed-rate sequence because you cannot batch import material in formats
other than the project format. A message box appears if you attempt to reimport such material.
Instead, you can decompose the sequence, then reimport the resulting clips by opening the bin in
projects that match each of the decomposed formats.
nOMFI files can contain only one master clip when you reimport them.
To reimport files:
1. (Option) Mount any removable media drives that held the original media.
2. Do one of the following:
tDouble-click Media Creation in the Settings list.
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tSelect Tools > Media Creation.
The Media Creation dialog box opens.
3. Click the Media Type tab.
4. Click the File Format menu, and select the format (MXF or OMF).
nIf your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected
by default.
5. Open the bin, and select the imported master clips and sequences you want to reimport.
6. Select Clip > Batch Import.
A message box opens.
7. Click one of the following:
The message box closes and the Batch Import dialog box opens. For reference information
on the Batch Import dialog box, see “Batch Import Dialog Box” on page 315.
8. If you want to remove clips from the list, select the clips you want to remove and then click
Skip This Clip.
The clips are removed from the list and are not imported.
9. Locate the sources for files that weren’t found by doing the following:
a. Select a clip or clips displayed in red in the Selected Clips section.
b. Click the Set File Location button.
The Locate File dialog box opens.
c. Navigate to the location of the source file.
Option Description
Offline only Reimports only the selected imported master clips that are missing their
media files.
All clips Reimports all the selected imported master clips. For example, click this
button if you need to change the video resolution of the imported master
clips.
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If you select more than one clip displayed in red, the system first attempts to find the rest
of the clips in the same folder as the first clip and then in folders that maintain the same
relationship with the first clip’s folder.
Found clips are displayed in black.
10. Click the Video Resolution menu, and select a video resolution for all the reimported files.
nOMFI and AAF files do not convert DV 25 to DV 50 or DV 50 to DV 25.
11. Click the Video Drive and Audio Drive menus, and select a destination drive or drives for all
the media files.
You can separate video and audio onto different drives by clicking the Single/Dual Drives
button.
12. (Option) By default, your Avid editing application imports the file using the Import settings
from the last time it imported the file. You can change the Import settings for all clips to
import by doing the following:
a. In the Import Options section, select “Override clip settings with current settings.”
b. Click Current Settings to open the Import Settings dialog box.
c. Select the appropriate options.
d. Click OK to close the Import Settings dialog box.
13. Click Import.
The file is imported.
Batch Import Dialog Box
The Batch Import dialog box lets you select a source file for each master clip that you selected in
a bin. Your Avid editing application finds the source file automatically if the it is located in the
same folder where you last imported the file.
For information on working in the Batch Import dialog box as part of the reimporting process,
see “Reimporting Files” on page 313.
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Batch Import dialog box. Top: Selected Clips area. Center: Import Target area (including, top to bottom, Video
Resolution menu , Video Drive menu, and Audio Drive menu). Bottom: Import Options area.
Area Control Description
Selected Clips list Shows the clips you selected for import. The caption at
the top of the section summarizes the total number of
clips shown and how many of them are available for
import.
Found clips display in black.
Clips not found in their original location display in red.
Skip This Clip button Removes any clips that you select in the list so that they
are not reimported.
Set File Location button Lets you locate sources for files whose sources are not
found automatically (displayed in red in the list).
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317
Import Target Lets you select a resolution and destination drives.
Video Resolution menu Lets you select a video resolution.
Video Drive and Audio
Drive menu
Let you select a destination drive for the media files.
Import Options Contains global settings that affect all the files you are
importing.
nIf you change the Import settings by using the Import Options section, the
new settings apply to all the files you import.
Use Source
Compression for OMFI
When selected, your Avid editing application takes the
resolution used to create the OMFI files (the native
resolution) to reimport the files if the resolution is
available in your Avid editing application. This allows for
fast import of these files.
When deselected, or if a resolution is not available on the
system, your Avid editing application uses the resolution
in the Video Resolution menu as the resolution for
import. This option always overrides the OMFI
Resolution setting in the Import Settings dialog box.
Override clip settings
with current settings
Lets you change the Import settings for all imported files.
By default, each file imports using the Import settings
from the last time it was imported.
Current Settings button Opens the Import Settings dialog box, allowing you to
change the current import options.
Area Control Description
9Working with Bins
Bins provide powerful database tools for organizing and managing your captured material. Bin
functionality lets you view bin objects and information in several different ways. You can
rename, sort, sift, duplicate, assign colors, and delete clips and sequences, move or copy clips
from one bin to another, and print single-clip frames or whole bins.
The following topics provide information on working with bins:
•Object Icons in Bins
•Bin Views
•Bin Procedures
•Working with Bin Columns
•Modifying Clip Information
•Working with Film Information in Bins
•Creating a Storyboard
•Setting the Bin Display
•Film Scene Workflow
•Sifting Clips and Sequences
•Working with Restricted Material
•Printing Bins
Object Icons in Bins
Bins use icons to identify clips, sequences, and other media objects that they display. The table
describes all of the object icons that you might see in a bin display.
nBy default, bins display all existing media objects except source clips and rendered effects.
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319
Bin Views
You can display the contents of your bins in three different ways using the Bin View buttons at
the bottom of the bin window.
Icon Object Type Description
Master Clips A clip that references audio and video media files formed from captured footage or
imported files
Shared Storage
Master Clip
A master clip that references media files located on a shared storage system
In an Avid Interplay MultiRez environment, the icon displayed for a clip might
change, depending on whether the clip is linked to shared storage or local storage.
The Dynamic Relink settings determine how the clip is currently linked.
In-progress
Master Clips
A master clip that references media currently being captured that you can view and
edit. For more information, see “Understanding Frame Chase Capture” on page 232.
Subclips A clip that references a selected portion of a master clip
Shared Storage
Subclips
A subclip that references media files on a shared storage system
Audio Clips A clip that references audio media files formed from captured audio or imported files
Shared Storage
Audio Clips
An audio clip that references media files located on a shared storage system
In-progress
Audio Clips
An audio clip that references media currently being captured that you can play and
edit. For more information, see “Understanding Frame Chase Capture” on page 232.
Sequences A clip that represents an edited program, partial or complete, that you create from
other clips
Sources A clip that references the original videotape source footage for master clips
Effects A clip that references an unrendered effect that you create
Motion Effects A file in the bin that references effect media files generated when you create motion
effects
Rendered
Effects
A clip that references an effect media file generated when you render an effect
Groups (For MultiCamera editing) Clips containing two or more grouped clips, strung
together sequentially according to common timecodes
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320
Using Text View
Text view provides the most complete view of clip information. It uses database columns that
you can rearrange and customize to suit your needs.
You can select individual or multiple headings to display or hide in the bin. For a complete
description of each column heading, see “Working with Bin Columns” on page 339.
To enter Text view:
tClick the Bin View button in the bin, and select Text.
Text view in the bin. Top to bottom: bin column headings, Bin View button, Bin View menu
To select column headings:
1. With a bin in Text view, do one of the following:
tSelect Bin > Choose Column.
tRight-click and select Choose Column.
The Bin Column Selection dialog box opens.
2. Select the headings you want to add to the bin:
tClick the name of a heading to select it.
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321
tClick a selected heading to deselect it.
tClick All/None to select or deselect all the headings.
3. Click OK.
Only the headings selected in the Bin Column Selection dialog box appear in the bin or bin
view.
For information on hiding columns, see “Moving, Aligning, and Deleting Bin Columns” on
page 340.
Sorting in Bins
You can sort clips to arrange them in either numerical or alphabetical order, based on the data in
the column you select as the sorting criteria. When you sort clips, any selected items in the bin
remain active.
You can also sort clips by color if you have assigned colors to the clips. For more information,
see “Assigning Colors to Objects in a Bin” on page 335.
If you want to sort clips in a customized order in Text view, you must first rearrange the clips in
Script view, and then return to Text view. For information about Script view, see “Duplicating,
Copying, and Moving Clips and Sequences” on page 330.
Sorting Clips and Sequences
You can automatically sort clips and sequences in Text view. If you need to view sorted clips in
Script or Frame view, sort them in Text view first and then return to Script or Frame view.
To sort clips in ascending or descending order:
1. With a bin in Text view, do one of the following:
tDouble-click the heading of the column that you want to use as the criterion.
tRight-click the column heading and select Sort on Column, Ascending or Sort on
Column, Descending.
If the Sort command appears dimmed in the menu, you have not selected a column.
2. To reverse the order of the sort, do one of the following:
tDouble-click the column heading again.
tRight-click the column heading and select the reverse order for the Sort on Column
command.
To reapply the last sort, do one of the following:
tSelect Bin > Sort Again with no column selected.
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322
This step is useful after you add new clips to a sorted bin.
tClick the column heading and select Bin > Sort.
To perform a multilevel sort using the information in the bins:
1. With a bin in Text view, arrange the columns in the bin to establish the primary column.
The column that appears farthest to the left in the bin has higher sort priority.
2. Select the headings for the columns you want to contribute to the sort criterion. Cmd+click
(Macintosh) or Ctrl+click (Windows) columns to add them to your selection. You can also
Shift+click headings to select a range of columns.
3. Select Bin > Sort.
The objects in the bin sort.
To sort clips by color:
1. Click the Color column heading in the bin.
2. Do one of the following:
tDouble-click the column heading.
tSelect Bin > Sort.
The objects in the bin sort by color. Colors sort by hue, saturation, and value.
Understanding Bin Views
Use the Bin View menu (Text view only) to select different bin views. The Bin View menu
appears to the right of the bin tabs. The following table describes the default bin views that are
available.
View Description
Capture Contains a set of headings that are useful when capturing footage from tape — for
example, start and end timecodes, tape, tracks, and resolutions.
Custom Lets you create and save customized views. The Name heading is only required column
heading, which displays by default. Add, hide, or rearrange column headings to
customize the view.
Film The film-related column headings, including key number, ink number, and pullin
display. If you work on a non-film-related project and select Film view, only the
non-film-related columns display.
Format Displays the video formats, resolutions, and projects for the bin’s contents
Media Tool Duplicates the headings currently saved in the Media tool.
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323
You can also create and save customized bin views, and then access them from the Bin View
menu. For more information, see “Saving a Custom Bin View” on page 323.
When you create a new bin view, your Avid editing application saves the settings for the view so
that you can alter, copy, or delete the settings at a later time. You can name and save bin views to
suit your needs.
Bin view settings are also available in the Settings list of the Project window. For more
information, see “Working with Settings” on page 1277.
Bin tabs (top), Fast Menu button (bottom left), and Bin View menu (bottom right) in the bin
Saving a Custom Bin View
To save a bin view:
1. Open a bin, click the Bin View button, and select Text.
2. Resize, add, hide, or rearrange bin columns according to preference to customize your view.
The Name column is the default and the only required column heading.
Statistics Displays standard statistical column headings derived from information established
during capture, such as start and end timecodes, duration, and resolution.
View Description
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324
The bin view name changes to an italic name with the file name extension .n to indicate that
it no longer matches the original view. If you select a new bin view setting while the current
setting is untitled or italic, the system discards the current setting.
3. Click the Bin View menu, and select Save as.
The View Name dialog box opens.
4. Type a name for the custom view, and click OK.
To change a custom bin view with the Bin View dialog box:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Double-click the custom bin view you want to change.
The Bin View dialog box opens.
3. Select and deselect the columns you want to display.
4. Click OK.
Using Frame View
In Frame view, each clip is represented by a single frame, with the name of the clip displayed
below the frame. The system uses the head frame as the default.
You can perform the following functions in Frame view:
• Enlarge and reduce the sizes of the frames.
You must enlarge or reduce all frames together, and you cannot change the sizes of
individual frames.
• Rearrange the display of the frames in the bin by moving them.
• Realign the frames in a bin after you have changed their display.
• Select any frame to represent the footage.
• Play back the footage within any clip.
To enter Frame view:
tClick the Bin View button in the bin, and select Frame.
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Frame view in the bin. Top to bottom: bin tab, clip frame, clip name, and Bin View buttons
To enlarge the frame size:
tSelect Edit > Enlarge Frame.
The display size increases each time you select this option, up to seven times.
To reduce the frame size:
tSelect Edit > Reduce Frame.
The display size decreases each time you select this option, up to seven times.
To rearrange a single frame:
1. Click the frame, and drag it to its new position.
2. Click the background area of the bin to deselect the clips.
To rearrange multiple frames:
1. Do one of the following:
tShift+click the frames.
tLasso the frames by clicking the mouse pointer outside the first frame and drag it to
surround the frames with a white dotted line.
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2. Drag the selected frames to a new position in the bin.
3. Click the background area of the bin to deselect the clips.
To align all frames to an invisible grid:
tSelect Bin > Align to Grid.
To align selected frames to an invisible grid:
tSelect Bin > Align Selected to Grid.
To space the frames evenly to fill the Bin window:
tSelect Bin > Fill Window.
To arrange frames in the order in which they are sorted in Text view:
tSelect Bin > Fill Sorted.
To change the frame identifying the clip:
1. Select the clip that you want to change.
Press and hold the K key (Pause) on the keyboard and press the L key (Play Forward) to roll
the footage within the frame forward at slow speed. To move backward through the footage,
press and hold the K key and press the J key (Play Reverse).
2. When you see the frame that you want to use, release the keys.
Your Avid editing application saves your choice as part of the bin configuration.
nUse the Home key or End key to change the represented frame. For more information about
playing footage, see “Controlling Playback” on page 497.
If you have group or multigroup clips in the bin and want to change the displayed frame, use
controls in Source/Record mode.
Using Script View
Script view combines the features of Text view with Frame view and adds space for typing notes
or script. The frames are displayed vertically on the left side of your screen with the text box next
to each clip. As in Text view, each clip is represented by a single frame, and the head frame is the
default. Clip information is displayed above the text box.
You can do the following in Script view:
•Add text.
• Use basic word processing procedures to highlight, delete, cut, copy, and paste text between
script boxes.
• Rearrange clips.
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• Select any frame to represent the footage.
• Play back the footage within any clip.
To enter Script view:
tClick the Bin View button in the bin, and select Script.
Script view in the bin. Top to bottom: bin tabs, script text box, Script Bin View button
To type text in the script box:
1. Click the text box and begin typing.
2. (Option) If the text you type extends beyond the size of the script box, you can use the Page
Up and Page Down keys on the keyboard to scroll through the text.
This text does not appear in sequences edited from the clips, only in printouts of the bin in
Script view.
To change the represented frame in Script view:
tPress the J-K-L keys to move through the clip.
To rearrange clips in Script view:
tDrag each clip up or down to a new location in the bin.
tSort and sift clips in Text view, and then return to Script view to display selected clips in the
sort order you want.
nWhen you return to Text view, the order of the clips is changed there as well.
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Bin Procedures
You can manipulate material in the bin in a variety of ways, including selecting, deleting,
duplicating, moving, copying, and sifting clips and sequences.
When you work with bins, an asterisk appears before the bin name in the bin’s title bar. The
asterisk indicates that the changes to the bin have not been saved. Once you save the bin, the
asterisk is removed.
Using Bin Tabs
When you create a new bin, the bin opens in a separate window by default. However, you can
drag bins to a single window to conserve space within your Avid editing application. Having
multiple bins available to you in bin tabs allows you to access your media easily and to manage
your media efficiently.
Bin with tabs: bins tabs, tab navigation controls (Previous Bin, Next Bin, Tab menu buttons), Tab menu
If the bin window contains more bin tabs than the window can display, the bin tab names become
truncated and some bin tabs do not display in the window. You can view these bins, or view a list
of all bins in the bin window, by using the tab navigation controls or by accessing the Tab menu.
To move a bin into another bin:
tClick the bin tab in the bin you want to move, and drag it to the target bin.
The bin tab in the target bin window displays all bins.
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To move a bin into separate window:
tClick the tab for the bin you want to move, and drag it to a clear region of the application
interface.
The bin displays in a separate window.
To view bin tabs that do not display in the tab panel, do one of the following:
tClick the Previous Bin button or the Next Bin button to shift the tab view to the left or the
right.
The bin tab displays adjusts to display the next bin either on the left or the right.
tClick the Tab menu, and then select the name of the bin you want to view.
The selected bin displays in the bin window.
To organize bins by changing the order of tabs:
tClick the tab of a bin you want to move, and drag it to a new position in the bin tabs row in
the bin.
To close a bin tab:
tClick the Close button in the tab.
Using the Bin Fast Menu
All Bin menu commands are also available in the Bin Fast menu located in the lower left corner
of every bin. The Bin Fast menu is especially convenient when you work with several open bins
and need to access Bin menu commands quickly.
To open the Bin Fast menu:
tClick the Fast Menu button.
Selecting Clips and Sequences
To select a clip or sequence in a bin, do one of the following:
tClick the clip or sequence icon (Text view).
tClick in the picture area of the clip or sequence (Frame or Script view).
nCtrl+click (Windows) or Cmd+click (Macintosh) toggles the selection between selected and
deselected states. Double-clicking a clip loads it into the Source monitor.
To select multiple clips or sequences in a bin, do one of the following:
tCtrl+click (Windows) or Cmd+click (Macintosh) clips to add them to your selection.
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tSelect a clip, and then Shift+click another clip to select a range of items. If you then
Shift+click another clip, the range covers all clips from the one you originally selected to the
new clip. In Frame view, the range of items includes all clips within a rectangular region
bounded by the first and last clips selected.
tLasso several items. Click the mouse pointer outside the first item and drag it to surround the
items with a white dotted line.
nSelecting a single item deselects any other selections.
To reverse your selection:
tSelect Bin > Reverse Selection.
The items that you previously selected are deselected, and those items that were previously
deselected are selected.
Duplicating, Copying, and Moving Clips and Sequences
When you duplicate a clip or sequence, your Avid editing application creates a separate clip
linked to the same media files. You can move, rename, and manipulate this clip without affecting
the original clip.
When you copy clips, you are cloning the same clip in another bin. Any change you make to the
copy affects the original clip. You cannot copy clips to the same bin, and you cannot return a clip
copy to the same bin where the original resides.
When you copy clips from one bin to another, the custom columns that you create in the first bin
are also copied to the second bin. The custom columns appear in the order in which you created
them.
To duplicate clips or sequences:
1. Select the clip or sequence that you want to duplicate, or select multiple clips or sequences.
2. Select Edit > Duplicate.
A copy of the clip or sequence appears in the bin, with the original clip or sequence name
followed by the file name extension .Copy.n, where n is the number of duplicates created
from the original clip or sequence.
cDeleting media files for the duplicate clip or sequence also deletes the media files for the
original clip or sequence.
To move clips or sequences from one bin into another:
1. Create or open another bin.
Give the bin a name that represents its purpose or contents.
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2. Position or resize the original bin and the new bin so that you can see both of them at the
same time.
3. Select the clips or sequences that you want to move.
4. Drag the clips or sequences to the new bin.
nIf the destination bin’s display has been set to show reference clips, the referenced object types
do not appear until you save the bin. For more information on setting the bin display, see
“Setting the Bin Display” on page 359.
To copy clips or sequences from one bin to another bin:
1. Position or resize the bins so that you can see both of them at the same time.
2. In the original bin, click the clips or sequences that you want to copy.
3. Press and hold the Alt key (Windows) or Option key (Macintosh) and drag the clips or
sequences to the destination bin, and release the mouse button.
The copies appear in the destination bin, and the originals remain in the source bin. The
system does not add the file name extension .Copy.n to the clip or sequence as it does when
duplicating. If the destination bin’s display was set to show reference clips, the referenced
object types do not appear until you have saved the bin.
Copying Clips and Sequences
When you copy clips, you are cloning the same clip in another bin. Any change you make to the
copy affects the original clip. You cannot copy clips to the same bin, and you cannot return a clip
copy to the same bin where the original resides. (For information on duplicating a clip within a
bin, see “Duplicating, Copying, and Moving Clips and Sequences” on page 330.)
When you copy clips from one bin to another, the custom columns that you created in the first
bin are also copied to the second bin. The custom columns appear in the order in which you
created them.
To copy clips or sequences from one bin to another bin:
1. Position or resize the bins so that you can see both of them at the same time.
2. In the original bin, click the clips or sequences that you want to copy.
3. Press and hold the Ctrl key (Windows) or the Command or Option key (Macintosh) and drag
the clips or sequences to the destination bin, and release the mouse button.
The copies appear in the destination bin, and the originals remain in the source bin. The
system does not add the file name extension .Copy.n to the clip or sequence as it does when
duplicating. If the destination bin’s display was set to show reference clips, the referenced
object types do not appear until you have saved the bin.
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Deleting Items from a Bin
You can delete the following items from a bin:
•Clips
•Subclips
• Sequences
• Effect clips and their media files
• Motion effect clips and their media files
• Rendered effects clips and their media files
• Data clips and their media files
• Master clips and their media files
• Sources
•Groups
cWhen you delete media files, you can no longer see the deleted material. If you load a clip
for which a media file has been deleted, a black screen appears with the words “Media
Offline.” If you need to use those clips again, you must recapture the media from tape or
reimport graphics.
nIf you work with multiple-resolution clips in an Avid Interplay environment, you can delete only
media that is specially associated with the clip. For more information, see “Deleting MultiRez
Clips and Media from a Bin” on page 1220.
To delete individual video, audio and data tracks from a clip, use the Media tool. For more
information, see “Deleting Media Files with the Media Tool” on page 443.
(Windows) To delete clips, subclips, and sequences with their media files from a bin:
1. Select the clips, subclips, or sequences you want to delete.
2. Do one of the following:
tSelect Edit > Delete.
tPress the Delete key.
The Delete dialog box opens which displays the items that you selected. By default, media
files are not selected for deletion.
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Examples of the Delete dialog box with one master clip selected (left) and with multiple clips selected (right)
3. Select the items you want to delete:
tSelect clips and their associated media files for deletion.
tSelect only the media files for deletion if you want to retain the clips to recapture later.
tSelect only the clips for deletion (in case the media file is referenced by other clips in
your project).
tSelect the resolutions you want to delete.
The Resolutions to Delete section lists all video resolutions for the clips you selected. It also
lists a single entry for all audio sample rates and compressed audio and a single entry for the
data (ancillary data) file. Click All to delete all resolutions. However, you still need to select
the individual media files that you want to delete. If you don’t want to delete any media files,
click None, and all media files are deselected.
The options in this section also let you delete only audio media, only data media or only
video media from a clip, if that clip has separate media files for audio, data and video.
4. Click OK.
If you choose to delete media files, a dialog box opens.
5. Click Delete.
The selected clips, sequences, and media file are deleted.
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nWhen you select a title for deletion, you might see more than one resolution.
(Macintosh) To delete clips, subclips, and sequences with their media files from a bin:
1. Select the clips, subclips, or sequences you want to delete.
2. Do one of the following:
tSelect Edit > Delete.
tPress the Delete key.
The Delete dialog box opens which displays information about the selected items.
3. Select the items you want to delete.
tSelect clips and their associated media files for deletion.
tSelect only the media files for deletion if you want to retain the clips for recapturing
later.
tSelect only the clips for deletion if the media file is referenced by another clip.
4. Click OK.
If you choose to delete media files, a dialog box opens.
5. Click Delete.
The selected clips, sequences, and media file are deleted.
Changing the Bin Background Color
You can customize the background color of the bin. Changes affect only the currently active bin.
Also, you can reset the bin background color to the default color for your Interface settings.
To change the bin background color:
1. In the Settings list of the Project window, double-click Interface.
The Interface Settings dialog box opens.
2. Select Allow Custom Bin Backgrounds, and then click OK.
3. Activate the bin you want to change.
In Text view, make sure no clips are selected.
4. Select Edit > Set Bin Background and click a color.
The bin color changes. The change applies to all bin views.
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To restore the default bin background color, do the following:
tActivate the bin you want to change, and then select Edit > Set Bin Color to Default.
Assigning Colors to Objects in a Bin
You can assign colors to clips, subclips, sequences, and effect clips to help you manage and
organize the bin objects. You can also display colors in bins and in the Timeline. For information
on displaying colors in the Timeline, see “Displaying Clip Colors in the Timeline” on page 660.
Also, you can reset the clip color to the default color for your Interface settings.
nClip colors assigned to sequences, groups, motion effects, and title clips do not appear in the
Timeline.
To add a Color column to a bin:
1. With a bin in Text view, select Bin > Choose Columns.
The Bin Column Selection dialog box opens.
2. In the column list, click Color.
3. Click OK.
The Color column appears in the bin. By default, a new column appears as the first column
in the bin, to the left of all other columns. You can reposition the Color column by clicking
the column heading and dragging it to a new location.
To assign a color to a clip, subclip, sequence, or effect clip in a bin:
1. With a bin in Text view, select the bin objects to which you want to assign a color.
2. Do one of the following:
tSelect Edit > Set Clip Color and click a color.
tRight-click in the Color column and click a color.
tAlt+right-click (Windows) or Option+Command+click (Macintosh) in the Color
column in the bin, and then select one of the colors from the color picker.
The color appears in the Color column (Text view only) and on the clip icon.
To reset clip color to the default, do one of the following:
tSelect Edit > Set Clip Color and click None.
tRight-click in the Color column and click None.
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Locking and Unlocking Items in a Bin
You can lock any items in a bin — including source clips, master clips, subclips, and sequences
— to prevent deletion. When you lock clips in a bin, you lock their associated media files on
your desktop as well.
To lock items:
1. Click a clip, subclip, or sequence to select it. Ctrl+click (Windows) or Cmd+click
(Macintosh) additional clips, if necessary.
2. Select Clip > Lock Bin Selection.
A Lock icon appears for each locked clip in the Lock column of the bin in Text view.
If the Lock column does not display, you might have the column hidden. For information on
hiding and restoring bin columns, see “Moving, Aligning, and Deleting Bin Columns” on
page 340.
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To unlock previously locked items:
1. Select the items in the bin.
2. Select Clip > Unlock Bin Selection.
You can use the clip-locking feature along with archiving software to automatically archive
all locked media files.
Selecting Offline Items in a Bin
Offline items are clips, subclips, or sequences that are missing some or all of their original media
files or that have never been captured.
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To identify offline items, do one of the following:
tSelect Bin > Select Offline Items.
tClick the Bin Fast Menu button, and then select Select Offline Items.
The bin highlights all items that are missing media files. To identify offline items in the
Timeline, see “Displaying Clip Colors in the Timeline” on page 660.
Selecting Media Relatives for an Object in a Bin
When you identify media relatives of a selected clip or sequence, your Avid editing application
highlights all other clips linked to the selected clip, such as subclips or other sequences.
You can also use the Media tool to look at the captured video and audio data files stored on your
media drives. For more information on the Media tool, see “Using the Media Tool” on page 440.
To identify media relatives:
1. Open the bin that contains the selected clip or sequence.
2. Open any other bins that might contain the media relatives that you want to find.
3. Resize and position the bins so that you can see their contents.
Text view is the best display for viewing as many objects as possible.
4. Select the clip or sequence, and select Bin > Select Media Relatives.
The system highlights all related objects in all open bins.
Example of finding media relatives. In the bin on the right, objects are highlighted if they relate to the sequence
selected in the bin on the left.
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Selecting Sources Used by an Object in a Bin
The Select Sources command identifies all the sources used by a particular object. For example,
if you select a sequence as the object, the Select Sources command identifies every master clip,
subclip, tape, and media file that is a source for that sequence.
To identify sources for a clip or sequence:
1. Select one or more objects in a bin.
2. Select Bin > Select Sources.
All sources for the selected objects in all open bins highlight.
Selecting Unreferenced Items in a Bin
When you select unreferenced clips, your Avid editing application highlights all clips not
currently referenced by clips or sequences that are in the open bins. Any master clips, subclips,
or effect clips you edited into sequences in the bins do not highlight.
nThe Select Unreferenced Clips option is useful for finding unused media.
To identify unreferenced clips:
1. Open the bin containing the sequence or clip that is referenced.
2. Open all other bins containing clips that were used during editing.
3. Select Bin > Select Unreferenced Clips.
A message informs you that unreferenced clips highlight in open bins only (items in closed
bins do not display).
4. Click OK.
All unreferenced clips highlight in the open bins.
Working with Bin Columns
The topics in this section describe how to work with the columns of information that appear in
the bin when you are in Text view.
For more information on Text view, see “Using Text View” on page 320. For information on
modifying the information that appears in bin columns, see “Modifying Clip Information” on
page 346.
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Moving, Aligning, and Deleting Bin Columns
You can move, align, and delete columns in a bin.
When you align bin columns, the system maintains the same order of columns from left to right
but spaces them according to the length of their contents. This is useful to remove spaces which
remain after you move or rearrange columns.
When you delete a statistical column it is the same as hiding the column; you can restore the
column at any time by using the Bin Column Selection option. When you delete a custom
column, however, you must re-create the column.
For information to display and hide column headings in the bin, see “Using Text View” on
page 320.
To move a text column in a bin:
1. Click the heading of the column that you want to move.
The column is highlighted.
2. Drag the column to the position you want, and release the mouse button.
A bounding outline of the column guides you as you drag it. The column appears in the new
position, and columns to the right move to make room.
To align bin columns:
tSelect Bin > Align to Columns.
To hide or delete a column:
1. Do one of the following to hide a column:
tClick the column heading in a bin, and then select Bin > Hide Column.
tRight-click a column heading and select Hide Column.
The column disappears from the view, and surrounding columns close to fill the space.
2. Do one of the following to delete a column:
tClick the column heading in a bin, and then select Edit > Delete.
tClick the column heading in a bin, and then press the Delete key.
The column disappears from the view, and surrounding columns close to fill the space.
3. When you delete a custom column, a confirmation dialog box opens. Select OK to delete the
column or HIde to hide the column and save the custom information.
cIf you delete a custom column, all information in the column is deleted. You must re-create
the column to restore it.
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Duplicating Bin Columns with Timecode Information
You can duplicate existing columns containing timecode information into other compatible
columns that you target.
When you duplicate a timecode column (Start, TC 24, TC 25, TC 25P, or TC 30), the values for
master clips and subclips convert to the appropriate timecode. For more information, see
“Displaying Timecodes in a 24p or 25p Project” on page 344.
To duplicate a timecode column:
1. Click the column head you want to duplicate.
2. Select Edit > Duplicate.
The Select dialog box opens.
3. Select a column name from the list.
The column must contain the same type of data for the copy to occur. For example, you can
copy start timecodes to the Auxiliary TC column, but you cannot copy timecodes to the
Pullin column.
4. Click OK.
The column of information appears in the column you designated.
Adding Customized Columns to a Bin
In addition to the standard column headings, you can add your own column headings to describe
information about clips and sequences. For example, you might want to add a column heading to
describe what kind of shot (close-up, wide shot, master shot, extreme or close-up) is used in a
clip.
To add a new custom column:
1. Move any existing column to the right or left to create an empty area.
Move the column partly over the adjacent column. If you move the column too far, the
column repositions.
2. Click an empty area to the right of the current headings in the headings box.
A text box appears.
3. Type the column heading you want, and press Enter (Windows) or Return (Macintosh).
Column headings must contain a maximum of 14 characters, including spaces.
This places the pointer in the data box, beside the first clip in the bin.
4. Select Bin > Align to Columns after you enter the new column heading.
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5. Type the information, and press Enter (Windows) or Return (Macintosh) to move to the next
line.
Changing a Custom Bin Column Heading
You can change the heading name of custom columns only. You cannot change any of the
standard column headings.
To change the name of a custom column:
1. Press and hold the Alt key (Windows) or Option key (Macintosh), and click the heading to
highlight it.
2. Type the new text for the heading, and press Enter (Windows) or Return (Macintosh).
Adding a Metadata Bin Column Heading
When you use the Avid Media Access (AMA) method to link to third-party media, each
manufacturer has its own metadata information associated with the media. Avid displays this
information in customized bin columns. The headings can include: Manufacturer, Data Source,
Creation Date, and Last Update. The headings change depending on the manufacturer. After the
media links into a bin, the metadata bin column headings appear at the bottom of the Bin
Headings list, separated by a divider.
For information about AMA, see “File Based Media - AMA” on page 368.
To add a metadata column:
1. With a bin in Text view, select Bin > Choose Columns.
The Bin Column Selection dialog box opens.
2. Scroll to the bottom of the list and select the metadata headings you want to add to the bin.
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Manufacturer generated metadata column headings in the Bin Column Selection dialog box
3. Click OK.
Only the metadata headings selected appear in the bin.
nWhen you use AMA and metadata column headings, Avid recommends that you do not create
custom bin views. Use the default preset bin views.
Moving Within Column Cells
You can use the keyboard shortcuts described in the table to move from cell to cell in bin
columns:
Shortcut Description
Tab Moves the pointer to the cell in the next column. You can continue to press the Tab
key to move through the cells to the right until the cell in the last column highlight.
The next time you press the Tab key, the cell in the first column highlights.
Shift+Tab Moves the pointer left to the cell in the previous column. You can continue to press
Shift+Tab to scroll through cells to the left until the cell in the first column
highlights. The next time you press Shift+Tab, the cell in the last column
highlights.
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Copying Information Between Columns
To copy column information to another column:
1. (Option) If you want to copy only the information on specific rows, select the rows that
contain the clip information you want to copy.
2. Select the column that you want to copy.
3. Select Edit > Duplicate.
The Select dialog box opens, to prompt you to target a column for the data.
4. Select the target column for the data, and click OK.
Displaying Timecodes in a 24p or 25p Project
When you work with 24p and 25p projects (PAL with pulldown), you can add timecode columns
to bins or the Media tool to enter and display starting timecodes in several timecode formats for
master clips, subclips, and sequences.
nFor information to display timecodes in the Timeline and the Tracking Information display, see
“Displaying Timecode Tracks in the Timeline” on page 665 and “Displaying Tracking
Information” on page 481.
After you add a timecode column (TC 24, TC 25, TC 25P, TC 30, or TC 30NP) to a bin, you can
use the Duplicate command to convert the values for master clips and subclips to the appropriate
timecode for that column.
For example, when you work with a 24p NTSC project, if you duplicate the Start column values
to one of the timecode columns and the Start column contains a master clip with the timecode
01:00:00:15, the timecode converts to the timecode of that column.
nThe TC1 track in the Timeline represents the timecode of the project in which you work. For
example, when you work in a 24p NTSC project, the TC1 track displays the same timecode as the
TC 30 track.
Enter (Windows, on main
keyboard) or Return
(Macintosh)
Enters any new information you type in the cell and moves the pointer down to the
cell in the next row. You can continue to press Enter or Return to scroll down the
column until the last cell in the column highlights. The next time you press Enter or
Return, the first cell in the column highlights.
Shift+Enter (Windows, on
main keyboard) or
Shift+Return (Macintosh)
Moves the pointer up to the cell in the previous row. You can continue to press
Shift+Enter or Shift+Return until the cell in the top row highlights. The next time
you press Shift+Enter or Shift+Return, the cell in the last row highlights.
Shortcut Description
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Adding Timecode Columns to a Bin or the Media Tool
To add timecode columns to a bin or to the Media tool:
1. Select Bin > Choose Columns.
The Bin Column Selection dialog box opens.
2. Ctrl+click (Windows) or Command+click (Macintosh) the timecode columns you want to
display.
3. Click OK.
The timecode columns appear in the bin or the Media tool.
Frame Counting for Timecodes
The table shows the frame count for each timecode available for your Avid editing application.
The timecodes are listed as 24 for 24 fps, 25 for 25 fps, 25P for 25 PAL with pulldown, 30 for 30
fps (the count skips six frames to fit 30 frames into 24 fps), 30NP for 30 fps with no pulldown,
and 60 for 60 fps.
Adding Timecode Values to the Timecode Columns
To add timecode values to the timecode columns:
1. Open a bin or the Media tool.
2. Add the Start column and the timecode column with the format you want to use.
3. Select the Start column.
4. Select Edit > Duplicate.
The Select dialog box opens.
5. Select the timecode heading from the list.
6. Click OK.
Timecode Frame Count
24 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 00
25 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
25P 00 01 02 03 04 05 06 07 08 09 10 11 13 14 15 16 17 18 19 20 21 22 23 24 00
30 00 01 03 04 05 06 08 09 10 11 13 14 15 16 18 19 20 21 23 24 25 26 28 29 00
30NP 00010203040506070809101112 13141516171819 2021222324
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The values for master clips, subclips, and sequences in the Start column convert to the
appropriate timecode format and display in the column you selected.
Modifying Clip Information
You can change or modify the information in certain columns for your master clips, subclips,
tapes, and other objects stored in the bin. This is useful if some of the data is incorrect or if you
need to conform information for organizational purposes.
The following conditions apply to modifying clip information:
• When you modify a clip’s information, related objects automatically update to reflect the
new data. For example, if you change the name of a clip, the updated name appears in the
sequences that use the clip.
• You cannot modify some data after capture because changes would prevent you from
playing back and editing the material successfully.
• You cannot change sequence data even though it appears in your bin. The only way to
modify sequence data is to edit the sequence itself. You can, however, change the name and
start time for the master timecode track, as described in “Changing the Name and Timecode
for a Sequence” on page 565.
You can modify data in two ways:
• Modify some data directly for master clips, subclips, and other objects stored in a bin.
• Use the Modify command to change specific information for master clips only.
For more information, see “Modifying Data in Bins” on page 352.
Bin Column Headings
You can select individual or multiple headings to display or hide in a bin. For information on
how to select column headings, see “Moving, Aligning, and Deleting Bin Columns” on
page 340.
Your Avid editing application provides the ability to track multiple film gauges within a bin and
within a sequence. Bin column headings let you display detailed information about edgecodes,
film gauges, and source information such as scanned file type, color lookup table, and resource
location.
If you work in an Interplay environment, the list of bin column headings include audio sample
rates and video resolutions. Select from these headings to display multiple sample rates and
resolutions in the bin. For more information, see “MultiRez Bin Headings” on page 1218.
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You can modify information in bin columns. For example, you can type a new name for a clip or
correct the start and end timecodes. For more information, see “Modifying Data in Bins” on
page 352 and “Modify Command Options” on page 354.
You can modify any data in the bin even while you log, prior to capture. After the footage is
captured, however, you can modify information only in selected headings, with restrictions. For
more information, see the following table.
cWhen you modify tape names and timecodes, the modification affects any key numbers you
enter for the selected clips.
The following table describes all bin column headings available in Avid editing applications,
including information on which bin columns you can modify after you have captured footage.
Depending on the model of your Avid editing application, you might not see all column
headings.
Bin Column
Heading Description
Name Heading always appears in the bin. The column contains the name of the clip or
sequence (you can rename a clip or sequence after you capture it). Modifiable
after capture with no restrictions.
Aspect Ratio Indicates the shape of the image frame. Ratio of width to height.
Audio Bit Depth Use audio bit depth when you work with audio files: 16 bit or 24 bit.
Audio Format Audio format of master clips (AIFF-C or WAVE).
Audio SR Audio resolution (sample rate).
Aux TC 24 Original HDTV sources (1080p/24) or audio DATs created for PAL feature film
productions that use in-camera timecode.
Auxiliary Ink Auxiliary ink format settings let you display an additional type of ink number.
This lets you track additional types of film information for different film gauges.
Used for 24p projects, 25p projects, and matchback projects only. Auxiliary Ink
is the starting frame for the clip.
Auxiliary TC1 through
TC5
You can enter an auxiliary timecode, such as Aaton® or Arri, or another
timecode for editing film or audio timecode for film. (Not restricted to film
projects.) Modifiable after capture with no restrictions.
AuxInk Dur Length of the clip, expressed in the auxiliary ink number. You cannot modify
this number.
AuxInk Edge Type of edgecode used in the auxiliary ink number. Ctrl+click the cell, and then
select the type of edgecode. See “Selecting an Edgecode Type” on page 358.
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AuxInk End Ending auxiliary ink number for the clip. You cannot modify this number.
AuxInk Film Film gauge for the auxiliary ink number. Ctrl+click the cell, and then select the
gauge. See “Selecting a Film Gauge” on page 357.
Cadence Type of pulldown present on the source NTSC tapes when in a 23.976 or 24p
project.
Modifiable after capture (Ctrl+click and choose from the menu). All clips with
the same tape name change according to your selection.
Camera Camera used to film this clip. This feature is used in multicamera shoots.
Camroll Camera roll containing this clip. Used for 24p projects, 25p projects, and
matchback projects only.
CFPS Captured frames per second.
Color Color of the bin objects for organizing the objects. For more information, see
“Assigning Colors to Objects in a Bin” on page 335. Modifiable after capture
with no restrictions.
Color Framing The color framing for the tape. For NTSC, the choice is Even or Odd. For PAL,
the choice is A Standard, A Non-Standard, B Standard, or B Non-Standard.
Modifiable after capture in accordance with tape specifications. For more
information, see “Tracking Color Frame Shifts” on page 715.
Color Space Indicates the color space (RGB or YUV) of the clip.
Comments Modifiable after capture with no restrictions.
Creation Date Date and time you log or capture the clip.
Disk Label For XDCAM media, this heading displays the user-supplied disk label you
create when you import the media file. For other media, the heading displays the
disk label of the drive from where you imported the clip. For more information,
see “Importing XDCAM Media” on page 299.
DPX Frame-counting field for Digital Picture Exchange, a SMPTE standard describes
frames scanned from film. The format includes: a descriptor of up to
32 alphanumeric characters, followed by a hyphen (-), followed by a six-digit
frame count, for example, DPXChildDocu-023657.
Drive Last known drive where the media for the master clip existed.
Duration Length of the clip.
End Timecode of the clip’s tail frame.
Bin Column
Heading Description
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349
Field Motion Sets the default source parameter value for the Motion Adapter effect.
Film TC Timecode you use on film. For 24p and 25p projects only.
Format The format of a clip or sequence which you determine by the project type, such
as 30i NTSC or 1080i/59.94. This is useful if you have both SD and HD clips in
the same bin.
FPS Play rate: the number of frames that display each second. The default is 29.97
for NTSC and 25 for PAL for video. The play rate is also 24 or 23.98.
Frame Displays the same frame that displays when you select Frame view. See “Using
Frame View” on page 324.
nIt takes longer for the screen to display frames than text.
IN-OUT Length of the marked segment.
Ink Dur Displays the length of the clip, in ink number. For 24p projects, 25p projects, and
matchback projects only. You cannot modify this number.
Ink Edge Type of edgecode you use in the ink number. See “Selecting an Edgecode Type”
on page 358.
Ink End Ending ink number for the clip. You cannot modify this number.
Ink Film Film gauge for the ink number. See “Selecting a Film Gauge” on page 357.
Ink Number Ink number for the clip. For 24p projects, 25p projects, and matchback projects
only.
Journalist First and last name of a person associated with the clip. Metadata information
from a P2 file. Modifiable after capture with no restrictions.
KN Dur Length of the clip, expressed in feet and frames.
KN End Ending key number for the clip.
Modifiable after capture only for 24p, 25p, and matchback projects. If you alter
the starting key number, you also alter the KN Start to maintain the duration.
KN Film Key number film gauge. See “Selecting a Film Gauge” on page 357.
KN IN-OUT Mark IN and Mark OUT key number for the clip.
KN Mark IN Key number for the IN point, if you set one for the clip.
KN Mark OUT Key number for the OUT point, if you set one for the clip.
Bin Column
Heading Description
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350
KN Start Starting key number for the clip.
Modifiable after capture only for 24p, 25p, and matchback projects. If you alter
the starting key number, you also alter the KN End to maintain the duration. This
causes discrepancies with any auxiliary timecode information that you enter
manually.
Labroll Labroll containing the clip.
Lock Specifies whether the clip is locked from deletion.
LUT File name of the color look-up table used for the series of clips or frames.
Mark IN Timecode for the IN point, if you set one for the clip.
Modifiable after capture — altering the mark IN also alters the IN to OUT
duration. This replaces any previous mark.
Mark OUT Timecode for the OUT point, if you set one for the clip.
Modifiable after capture — altering the mark OUT also alters the IN to OUT
duration. This replaces any previous mark.
Master Dur Length of the final master sequence, expressed in feet and frames. You cannot
modify this number.
Master Edge Type of edgecode used in the final master sequence. See “Selecting an Edgecode
Type” on page 358.
Master End Ending key number for the final master sequence. You cannot modify this
number.
Master Film Gauge of the final master sequence. See “Selecting a Film Gauge” on page 357.
Master Start Starting key number of the final master sequence.
Modified Date Date and time a sequence was last edited or changed.
Offline Track names for any media files offline.
Perf Film edge perforations format used for 3-perf projects.
Pixel Aspect Ratio Indicates the shape of each pixel in the image. Ratio of width to height.
Production Name of the production associated with the clip. Metadata information from a
P2 file.
Modifiable after capture with no restrictions.
Project Project under which the media was originally captured.
Bin Column
Heading Description
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351
Pullin Telecine pulldown of the first frame of the clip (pulldown phase). Pullin can
have the values A, B, X (matchback only), C, or D. For 24p projects and
matchback projects only. (NTSC only)
Modifiable after capture only for 24p projects and matchback projects. You can
only alter pullin data imported from a telecine-generated list directly before you
capture or after you unlink. For more information, see “Modifying the Pulldown
Phase Before Capturing” on page 151. (NTSC only)
You can directly modify the pullin for sequences. For more information, see
“Changing the Default Pulldown Phase for Sequences” on page 1060.
Pullout Telecine pulldown of the last frame of the clip. Pullout can have the values A, B,
X (matchback only), C, or D. For 24p projects and matchback projects only.
(NTSC only)
Reel # Source reel number.
Reformatting Options Set the media conversion mode to use when working with media of different
sizes and aspect ratios in the same sequence.
Scene Scene number of the clip.
Shoot date Date you shot the footage. Modifiable after capture with no restrictions.
Slip Number and direction of perfs for subclips (audio clips only).
Sound TC Timecode for audio.
Soundroll Sound roll the clip came from. Modifiable after you enter a soundroll.
Start Timecode of the clip’s head frame. Modifiable after capture with no restrictions.
Take Take number of the scene. Modifiable after capture with no restrictions.
Tape Source tape name.
TapeID Tape ID number. Modifiable after capture with no restrictions.
TC 24 24-fps timecode. Modifiable after capture with no restrictions.
TC 25 25-fps timecode, no pulldown. Modifiable after capture with no restrictions.
TC 25PD 25-fps timecode with PAL pulldown. Modifiable after capture with no
restrictions.
TC 30 30-fps timecode with 2:3 pulldown. Modifiable after capture with no
restrictions.
Bin Column
Heading Description
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352
Modifying Data in Bins
You can modify data in bin columns directly by typing in a selected text field. You can use the
standard keyboard shortcuts for entering text — for example, press Ctrl+A (Windows) or
Command+A (Macintosh) to select all text in a text field
You can also use the Modify command for specialized control over groups of clip information.
For example, you can use the Modify command to change the name of source tapes, or to
increment or decrement the start and end timecodes by a specified length of time for one or
several clips at once.
You can apply changes with the Modify command to master clips only. You cannot alter subclips
and sequences in this way. You can modify the data of captured, imported and file-based clips. In
addition, you can perform modifications that only alter the end timecodes or the tracks before
capture.
TC 30NP 30-fps timecode with no pulldown (frames 00 through 29). Modifiable after
capture with no restrictions.
Track Formats Multichannel audio tracks for master clips and audio clips.
Tracks All tracks used by this media object.
Transfer Frame-counting field for sources that you prepped for transfer. The format: a
descriptor of up to 32 alphanumeric characters, followed by a hyphen (-),
followed by a six-digit frame count, for example, TransferChildDocu-023657.
UNC Path Universal Naming Convention that specifies the location of resources on a
server. The location you enter becomes a hyperlink to that location.
VFX Frame-counting field for visual effects. The format: a descriptor of up to 32
alphanumeric characters, followed by a hyphen (-), followed by a six-digit frame
count, for example, FXChildDocu-023657.
VFX Reel Source reel identification for the FX shot.
Video Clip video format (resolution, color space and field motion type).
Vendor A list of vendor headings is provided for use with Avid Marketplace. See
“Adding Vendor Columns to your Avid Bin” on page 1258.
Video File Format Clip video file format (OMF, AAF, MXF, or none).
VITC Vertical interval timecode.
Bin Column
Heading Description
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353
cWhen you modify tape names and timecodes it affects any key numbers entered for the
selected clips.
To modify the clip data directly in a bin:
1. Click the Text View button in the bin to enter Text view.
2. Click the cell that you want to modify. Select only one item at a time.
The timecode data highlights, as displayed in the following example.
3. Click the cell again to enter text.
If the pointer does not change to an I-beam, you might be selecting a column that cannot be
directly modified.
4. Type the new information, and press Enter (Windows) or Return (Macintosh).
To modify selected data using the Modify command:
1. Click the Text View button in the bin.
2. Click the icon to the left of the clip, sequence, or other object you want to modify. Ctrl+click
(Windows) or Cmd+click (Macintosh) each additional object you want to modify.
3. Select Clip > Modify.
The Modify dialog box opens.
4. Click the Modify Options menu, and select an option.
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5. Select an option or type information into the text boxes.
For more information, see “Modify Command Options” on page 354.
6. Click OK.
The modification takes effect.
Modify Command Options
Type of Modification Options Description
Set Timecode Drop/
Non-drop
Drop, Non-drop Changes the timecode format between drop-frame and
non-drop-frame. Setting must match the timecode format
of the tape.
Set Timecode By Field Start or End Changes either the start or end timecode. You can only
alter start timecodes after capture.
Hour, Minutes, Seconds,
Frames
Lets you enter custom timecode.
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355
Increment Timecode Start or End Changes either the start or end timecode. If you
increment the start timecode automatically, it modifies
the end timecode by the same amount. You can only alter
start timecodes after capture.
Timecode text box Lets you enter custom incremental timecode.
Decrement Timecode Start or End Changes either the start or end timecode. If you
decrement the start timecode, it automatically modifies
the end timecode by the same amount. You can only
decrement start timecode after capture.
Timecode text box Lets you enter custom decremental timecode.
Set Key Number
Generic (Prefix)
Key Number text box Lets you enter a custom generic key number. Only for
24p, 25p, and matchback projects.
Set Pullin A, B, C, or D Selects the pulldown phase to match to the timecode
entry (24p and matchback projects only). For more
information, see “Setting the Pulldown Phase” on
page 146.
After you capture, the clip must be unlinked. See
“Modifying the Pulldown Phase Before Capturing” on
page 151.
Set Tracks V, A1, A2, A3, A4, A5,
A6, A7, A8 and D track
selector buttons
Changes the clip’s configuration of tracks (film projects
only). You must unlink the clip. See “Unlinking Media
Files” on page 466.
Set Source None Opens the Select Tape dialog box. Selects another source
tape name for the clips that should match the original
source tape name.
Set Disk Label Set label Lets you change the name assigned to an XDCAM disk.
For more information, see “Importing XDCAM Media”
on page 299.
Set Format Compatible formats Lets you change the format of a sequence. The choice of
formats is limited to the compatible frame rate of the
current sequence. This option is useful if you work with
downconverted HD material in an offline/online
workflow. For more information, see “Changing the
Sequence Format” on page 1461 and “Converting a
23.976p NTSC Sequence to 720p/23.976” on page 1462.
Type of Modification Options Description
Working with Film Information in Bins
356
Copying Information from Another Cell in a Custom Bin Column
To copy information from another cell in a custom column:
1. Press and hold the Alt key (Windows) or Option key (Macintosh) while you click in the
destination cell to reveal a menu of all items entered in that column.
2. Select the text from the menu.
The text appears in the cell.
Working with Film Information in Bins
The topics in this section cover several bin procedures that are specific to working with film
material.
Film Scene Workflow
During the organizing phase, common practice on film productions is to organize the captured
clips according to scene. This helps to simplify the work environment and keeps crowded bins to
a minimum.
It is good practice to copy or duplicate clips as you reorganize them in bins. As a result, the
original source clips remain in the appropriate dailies bin if you ever need to recapture according
to source tape.
Organize scene bins according to the following basic workflow:
1. Create one bin for each scene.
See “Creating a New Bin” on page 68.
2. Gather clips according to scene. Use one of the following optional procedures:
- Copy clips for each scene from the capture bins into the appropriate scene bin.
- Duplicate the clips and then move the duplicates into the appropriate scene bin.
See “Duplicating, Copying, and Moving Clips and Sequences” on page 330.
3. Sort, sift, and organize the clips within each scene bin.
Set Multichannel Audio Mixed, Mono, Stereo Lets you assign multichannel formats to audio tracks. For
more information, see “Working with Multichannel
Audio Tracks” on page 748.
Type of Modification Options Description
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357
Tracking Frames Based on File Name
Bins can display a digital file name for each frame in addition to key numbers, ink numbers, and
other reference numbers. Tracking frames with the frame number is useful when using the film
scanning process where each frame is an independent file. It is also useful when working with
effects and animation processes that are dependent on a frame-based counting scheme. You can
include the frame number when you generate a cut list using FilmScribe.
The naming and counting scheme consists of a prefix (8 character maximum), separated by a
dash (-), and followed by 6 characters that count as total frames. For example,
FXS32v01-000001 identifies the first frame of a series of frames that belong to an FX shot for
Scene 32 version 1. As the FX shot progresses during the creative process, the version number
increases.
nTo compensate for offsets, you can subtract the number of header and information frames from
999999 when entering the frame number. For example, if the first frame of picture is 1 and there
are 8 frames of header and identification frames you would enter FXS32v01-999993 for the
frame number.
To display the frame count numbers in a bin and cut list:
1. In the Film and 24p Settings dialog box, select Frame Count from the “Ink Number Default
Edge Type” option or the “Auxiliary Ink Default Edge Type” option.
2. In a bin, select Ink Number or Auxiliary Ink from the Bin Headings dialog box.
The Ink Number and Auxiliary Ink columns display the frame count numbers in the bin.
3. Open the bin in FilmScribe and choose Ink Number or Aux Ink options. Then generate the
cut list.
The cut list includes the frame count numbers.
To display the frame count numbers above the Source or Record monitors in your Avid
editing application:
1. Follow the steps for displaying the frame count numbers in a bin.
2. From the Tracking Information Menu above the monitor, select either Ink Number or Aux
Ink.
Selecting a Film Gauge
The film gauge consists of the film size and either the number of perfs per frame (for 35mm and
65mm) or the number of frames per foot (for 16mm). You specify the gauge in any of the
film-gauge columns (Aux Ink Film, Ink Film, and Master Film).
nYou cannot modify the KN Film column.
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358
To specify the gauge of the film:
tCtrl+click the cell, and then select one of the following film sizes and perf count or frame
count:
- 35mm, 4 perf
- 35mm, 2 perf
- 35mm, 3 perf
- 35mm, 8 perf
- 16mm, 40 perf
- 16mm, 20 perf
- 65mm, 15 perf (used in IMAX® films)
- 65mm, 10 perf
- 65mm, 8 perf
- 65mm, 5 perf
-VistaVision
®
Tracking 3-Perf Counts
You can track 3-perf counts in film projects. The perf value is an extension of the key number,
and appears in the KN Start, Ink Number, and Aux Ink Number bin columns. A sample key
number might look like this:
KJ 12 1234-3456-10.3
The “.3” at the end of the key number represents the perf value.
To specify the perf value:
tEnter 1, 2, or 3 in the appropriate bin column cell.
Selecting an Edgecode Type
There is one edgecode per foot of film. You enter an edgecode type for a particular place on the
film in any of the edgecode-type bin columns (Aux Ink Edge, Ink Edge, Master Edge).
Select the appropriate edgecode type for a clip so you can track frames in the Timecode window,
above the Source/Record monitor, or in FilmScribe.
To select an edgecode type:
tCtrl+click the cell, and select the edgecode type that matches the edgecodes on the film.
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359
Creating a Storyboard
To create a storyboard:
1. Synchronize picture and sound, convert audio timecode, and modify clip data.
2. Set the bin display to show the media objects for the clips you want in your storyboard.
3. Delete, move, copy, and sort clips to narrow down the clip selection.
4. Select Frame view to display your storyboard in the bin.
5. Rename clips to include additional information such as numbered ordering.
6. Use the keyboard to step through each clip and display the reference frame you want to use
for each clip.
7. Select and drag one or several clips at a time to a new location to rearrange the clips in
sequential order.
8. Enlarge or reduce the size of the frames as necessary.
9. Align the rearranged frames along invisible grid lines.
10. (Option) Change the font and background color for the storyboard.
11. When the storyboard is complete, select File > Save Bin.
12. To print the storyboard, select File > Print Bin.
Setting the Bin Display
By default, your bins display all existing media objects except source clips and rendered effects.
To reduce crowding in the bin and to display only those objects that you need to organize your
project, you can display selected media objects.
nYou can also display bins as tabs in a common bin window. For more information, see “Using
Bin Tabs” on page 328.
Edgecode Type Edgecode Format Sample Edgecode
Key Number XX NNNNNN NNNN+NN (Film type Film ID
Feet on film+Frame in foot)
KL 43 5146-0152+00
Edgecode (4 count) NNN-NNNN+NN (Identifier-Feet on film+Frame in foot) 103-9025+03
Edgecode (5 count) NNN-NNNNN+NN (Identifier-Feet on film+Frame in foot) 203-09025+03
Frames NNNNN 45678
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360
You can use the Set Bin Display option to display clips referenced by a sequence, even if the
clips were not previously in the bin.
To set the bin display:
1. Place a sequence in a new bin and click the bin.
2. Select Bin > Set Bin Display.
The Set Bin Display dialog box opens.
3. Select the object types that you want to see: master clips, subclips, sequences..
For information on the icons used to represent the different object types, see “Object Icons in
Bins” on page 318.
4. (Option) Accept the default or deselect “Show clips created by user” if you want to hide all
objects except those created by the system.
5. (Option) Select “Show reference clips” to automatically display objects that are referenced
by sequences in the bin, whether those clips were previously in the bin or not.
6. Click OK.
The bin displays objects according to your specifications.
Sifting Clips and Sequences
When you sift clips and sequences, the bin displays only those clips and sequences that meet a
specific set of criteria. For example, you can do a custom sift to display only those clips
containing the word “close-up” in the heading column. The Custom Sift dialog box provides six
levels of criteria.
You can also sift on a timecode (or keycode) number within a specific range. For more
information, see “Sifting Timecodes or Keycode Ranges” on page 365.
To sift clips or sequences:
1. Select Bin > Custom Sift.
The Custom Sift dialog box opens.
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361
Custom Sift dialog box. Left to right: Criterion menu, Text to Find text box, and Column or Range to Search
menu
2. Click the Criterion menu, and select one of the sifting options.
3. Click the first Text to Find text box, and type the text that you want to use as a sift criterion.
When sifting by color, type the exact name of the color (using uppercase and lowercase
letters) in the text box.
4. Click the Column or Range to Search menu, and select a column heading to which you want
to apply the criterion.
5. Type additional sift criteria, and make additional column selections as necessary.
6. Click OK.
Only the clips or sequences that meet your criteria remain in the bin, with the word “sifted”
added to the bin name. After you have sifted the clips in a bin, you can display the bin in a
sifted or an unsifted state.
To view the entire bin:
tSelect Bin > Show Unsifted.
To view the sifted bin:
tSelect Bin > Show Sifted.
The word “sifted” appears in parentheses after the bin name when you view the bin in its
sifted state.
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362
Understanding Sifting Timecodes or Keycode Ranges
You can sift on a timecode (or keycode) number within a specific range. For example, you can
sift for all the clips that start before and end after a particular timecode.
Example of a bin before a custom sift by timecode
If you type a value in the Text to Find text box in the Custom Sift dialog box, click the Column or
Range to Search menu, and select Start to End Range.
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Example of a bin after a custom sift by timecode. The detail of the Custom Sift dialog box (top) shows the query
used for sifting, and the bin (bottom) shows only those clips that encompass the timecode number entered.
Some column pairs explicitly define a range, for example, Start and End or Mark IN and Mark
OUT. Other columns define the beginning of a range, and the end of the range is determined by
the Duration column. For example, Auxiliary TC1 implies a range that begins at the value in the
Auxiliary TC1 column and ends at that value plus the value in the Duration column.
If you display any column in the bin that is associated with ranges, either explicit or implicit, the
corresponding range menu item appears in the Column or Range to Search menu in the Custom
Sift dialog box. For example, if you choose to display the Start column and the Auxiliary TC1
column in the bin, the Start to End Range and Auxiliary TC1 Range menu choices appear in the
Column or Range to Search menu.
When you specify a timecode or keycode number, you do not need to enter colons or semicolons,
and you can omit the leading zero. For example, you can type 3172000 as a timecode number.
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364
Keycodes contain letters, numbers, and a dash before the feet and frames; for example, KJ23
6892-0345+13. When you sift on a keycode number, you enter only the numbers after the dash
(the actual counter portion). Any information before the dash is ignored. If you do enter
characters before the dash, they must match the corresponding characters in the bin column
exactly.
The table lists all columns associated with explicit ranges and their corresponding menu choices.
The table lists all columns associated with implicit ranges and their corresponding menu choices.
The Duration column determines the end of these ranges.
Bin Column (Explicit Ranges)
Column or Range to Search
Menu Item
Start, End Start to End Range
Mark In, Mark Out Mark In to Out Range
KN Start, KN End KN Start to End Range
KN Mark In, KN Mark Out KN Mark In to Out Range
Bin Column (Implicit Ranges)
Column or Range to Search
Menu Item
Film TC Film TC Range
Sound TC Sound TC Range
Auxiliary TC1 Auxiliary TC1 Range
Auxiliary TC2 Auxiliary TC2 Range
Auxiliary TC3 Auxiliary TC3 Range
Auxiliary TC4 Auxiliary TC4 Range
Auxiliary TC5 Auxiliary TC5 Range
Ink Number Ink Number Range
Auxiliary Ink Auxiliary Ink Range
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Sifting Timecodes or Keycode Ranges
To sift for a timecode or keycode number within a specific range:
1. Select Bin > Custom Sift.
The Custom Sift dialog box opens.
2. Type the timecode (or keycode) number for the range in which you want to sift.
3. Type the timecode number for the range in which you want to sift.
4. Click the Column or Range to Search menu, and select a range; for example, Start to End
Range or Mark In to Out Range.
The criterion “contain” appears in the Criterion menu. If you try to change this criterion, no
information appears in the Column or Range to Search menu.
5. Click OK.
The bin displays those clips that encompass the timecode (or keycode) number that you
entered.
Working with Restricted Material
Broadcast facilities sometimes need to manage digital rights by restricting the use of footage.
You can mark restrictions on clips in Avid Interplay Assist. When you bring marked footage into
your Avid editing application, you can see the restriction marker (a red triangle) on the clip icons
in the bin, and your Avid editing application warns you about the restriction before you display
or output that footage.
Restriction marker on a clip in the bin
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When you first open a restricted clip or load a sequence containing restricted clips, a warning
message box opens. The warning appears every time you open or display a clip on restricted
material in this session, not just on the present clip. The same warning appears when you try to
perform a digital cut, send the sequence to playback, or export. If you send more than one clip to
export, the message box lists all the clip names that contain restricted material.
You can use extended search capabilities to search for restrictions in Avid Interplay Access. For
more information, see the Avid Interplay Access User’s Guide. Search for the DRM (digital
rights management) attribute, which can have the values Has DRM or Does not have DRM.
If you are allowed to use all restricted material in the current project and you can safely ignore
the warning, you can continue with your editing or output task.
To ignore the warning for the rest of the editing session and continue with editing or
output:
tClick the “Don’t warn again” button.
Restriction warnings for the current clip or any other clip do not display. When you quit your
Avid editing application and then open it, you see the warning again the first time you
display or output restricted material.
nIf you select “Don’t warn again,” it stops the warning from appearing again only for the current
operation in the current editing session. For example, if you select it after you display a clip in
the Source monitor, you can load additional restricted clips without seeing the message. If you
select those clips for Export, however, you see the warning again.
nThe restriction is tied to the source tape name and timecode. You can disassociate the restriction
from the clip if you change those values in the bin.
To view Restriction comments, do one of the following:
tClick the View Restrictions button in the warning message box when it opens.
tSelect Tools > Restrictions.
The Restriction window opens. It displays the name, head frame, and description of each
restricted clip. The description contains the comments associated with the restriction that
you entered in Avid Interplay Assist.
To see changes in Restriction comments while you are editing:
1. Change the comments in Avid Interplay Assist.
2. In your Avid editing application, select Tools > Remote Assets.
3. Navigate to the changed clip, and drag it into the bin again.
The changes appear in the Restriction window.
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Printing Bins
To print entire bins:
1. Make sure your printer is correctly set up.
2. Select the Text, Script, or Frame bin view of the bin you want to print.
3. Select File > Page Setup.
The Page Setup dialog box opens, reflecting the specific options for your printer.
4. Select the appropriate options.
5. Click OK (Windows) or Print (Macintosh).
6. Select File > Print Bin.
The Print dialog box opens, reflecting the specific options for your printer.
7. Select the Print options.
8. Click OK (Windows) or Print (Macintosh).
The system prints the active bin.
To print a single frame of a clip or sequence:
1. Load a clip or sequence into the Source or Record monitor.
2. Select the frame you want to print.
3. Select File > Print Frame.
The Print dialog box opens.
4. Select the Print options.
5. Click OK (Windows) or Print (Macintosh).
The system prints the frame currently displayed in the active monitor.
10 File Based Media - AMA
You can link, import, or export clips and sequences from many third-party volumes or third-party
files to and from the Avid editing system. You can manipulate and edit this media as you would
any other clip or sequence.
You obtain this media from a third-party device (a camera, reader, or drive), from a CD or DVD,
from a folder on your system, or from a virtual volume (a server connected to your system). To
move the media into your Avid editing system, you have the option to use the AMA method
(Avid Media Access) which links the file based media directly into a bin through an AMA
plug-in, or you can use the non-AMA method which imports the media onto your system. When
you work with high-resolution media, the AMA method is the preferred and the faster method.
This chapter describes the AMA method and those plug-ins Avid supports.
nFor information to import and export XDCAM and P2 media, see “Importing Files” on page 276
and “Exporting Frames, Clips, or Sequences” on page 985.
The following topics provide information on the file based media Avid supports:
•XDCAM, XDCAM EX and HDCAM SR Media
•P2 Media
•AVCHD Media
•Canon XF Media
•GFCAM Media
•QuickTime Media
•MXF Media
•RED Media
•The Avid Media Access (AMA) Workflow
•Workflows for Editing with AMA
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XDCAM, XDCAM EX and HDCAM SR Media
The Sony® XDCAM™ decks and camcorders use an optical disk with either a capacity of 23.3 or
50 GB to store recorded media. The XDCAM devices record media in high-resolution MPEG
IMX™, DVCAM™, and XDCAM HD formats or corresponding low-resolution or compressed
(proxy) media (MPEG-4). This lets you work with the compressed or low-resolution media in an
off-line editing session and then later conform or link the compressed media to the
corresponding high-resolution media.
Your Avid editing application supports high-resolution XDCAM EX media. Sony’s XDCAM
EX media is stored on a card.
Sony's XDCAM EX cameras and readers and JVC’s cameras and readers running in XDCAM
EX mode, use an SxS card to store recorded media. The XDCAM EX devices can record media
in high-resolution XDCAM HD formats.
The XDCAM and XDCAM EX AMA plug-in should be installed on your system. To link
XDCAM, XDCAM EX or low resolution (proxy) XDCAM media through the AMA method,
use Link to AMA Volumes. For more information, see “The Avid Media Access (AMA)
Workflow” on page 407 and “Linking Media with AMA” on page 413.
For specific XDCAM and XDCAM EX workflow steps, see “Workflow for Editing XDCAM
and XDCAM EX Clips with AMA” on page 423.
HDCAM SR AMA
The HDCAM SR AMA plug-in supports MXF-wrapped SR Lite and SR SQ formats (422 YUV
and 444 RGB) as transferred from HDCAM SR devices.
The HDCAM SR AMA plug-in should be installed on your system. To link HDCAM SR media
through the AMA method, use Link to AMA File(s). For more information, see
www.avid.com/ama or visit the Sony website.
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XDCAM and XDCAM EX Formats and Resolutions
Resolution/Bit Rate Frame Rate/Raster
Number of Audio
Channels
XDCAM HD:
XDCAM HD 17.5 Mbits
XDCAM HD 25 Mbits
XDCAM HD 35 Mbits
XDCAM HD 50 Mbits
(24-bit audio)
1080i/59.94, 1080i/50, 1080p/23.976,
720p/50, 720p/59.94*, 1440 x 1080,
1280 x 720 (25/35mb)
1080i/59.94, 1080i/50, 1080p/23.976,
1080p/25, 1080p/29, 720p/59.94,
720p/50, 1920 x 1080, 1280 x 720
2 or 4
2 or 4
2 or 4
2 or 4
8
XDCAM EX 25Mbits*
XDCAM EX 35 Mbits*
1080i/59.94, 1080i/50, 1080p/23.976
1080i/59.94, 1080i/50, 1080p/23.976,
1080p/25, 1080p/29.97, 720p/59,
720p/50, 720p/29.976, 720p/25,
720p/23.98, 1920 x 1080,
1440 x 1080, 1280 x 720
2 or 4
2 or 4
XDCAM EX DV-AVI*:
DV 25 411
DV 25 420
SD NTSC 30i
SD PAL 25i
2
DVCAM:
DV 25 411
DV 25 420
SD NTSC 30i
SD PAL 25i
4
MPEG IMX (16 and 24-bit audio)
MPEG 30
MPEG 40
MPEG 50
SD NTSC 30i and PAL 25i
SD NTSC 30i and PAL 25i
SD NTSC 30i and PAL 25i
4 or 8
MPEG-4 (compressed media) SD NTSC 30i and PAL 25i 4 or 8
nThe above listed formats and resolutions support 16-bit audio, except where noted.
nThe above formats are supported for both linking to AMA and direct file import. For more
information about importing, see “Importing XDCAM Media” on page 299 and “Importing
XDCAM EX Media” on page 300.
nThose marked with an “*” indicates that these formats are not supported with XDCAM
writeback (export).
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HDCAM SR Formats and Resolutions
The following table lists the formats and resolutions available when you work with HDCAM SR
media:
Working with XDCAM HD Media
Your Avid editing application supports linking of both low-resolution (proxy) and
high-resolution XDCAM HD media.
XDCAM HD media is recorded in one of the following resolutions:
• XDCAM HD LP (long play) (17.5 mb/sec)
• XDCAM HD SP (standard play) (25 mb/sec)
• XDCAM HD HQ (high quality) (35 mb/sec)
• XDCAM HD HQ (high quality) (50 mb/sec)
You can play XDCAM HD media to a Client monitor or output a digital cut as Best Performance
(yellow/yellow) or Draft Quality (yellow/green). If you use Avid Nitris DX or Avid Mojo DX,
you can play out the back of the HD-SDI.
Working with AMA XDCAM Multiple Resolution Media
The XDCAM AMA plug-in allows you to link to low-resolution (proxy) or high-resolution
audio or video media. To link to the AMA XDCAM multiple resolution media, see “Working
with AMA Multiple Resolution Media” on page 416.
The AMA multiple resolution feature supports specific XDCAM devices which include a
/PROAV folder. For example, the Sony PDWU1 Professional Disc Drive Unit. See your Sony
documentation for information on how to enable the /PROAV directory for your device.
Avid editing systems do not support XDCAM proxy audio.
Media Type Frame Rate/Raster
Number of Audio
Channels
HDCAM SR Lite 1080i/50, 1080i/59.94, 1080p/23.976,
1080p/24, 1080p/25, 1080p/29.97,
1280 x 720
16
HDCAM SR SQ 1080i/50, 1080i/59.94, 1080p/23.976,
1080p/24, 1080p/25, 1080p/29.97,
1280 x 720
16
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Installing the XDCAM Drivers
Before you use XDCAM or XDCAM EX devices, you need to load the appropriate drivers. Your
XDCAM device should include a CD that includes the driver.
To install XDCAM or XDCAM EX drivers:
tFollow the instructions included with your XDCAM or XDCAM EX device.
nDownload the most up to date driver from the Sony website, www.sony.com.
Connecting the XDCAM or XDCAM EX Device
Use an IEEE-compliant 1394 (i.LINK) port on your computer to connect the XDCAM device to
your system, or use a USB port on your computer to connect the XDCAM EX device to your
system. The XDCAM interface is configured to use the SBP2 protocol so you can access the
XDCAM device as a disk volume on your system.
(XDCAM disk only) Multiple XDCAM devices can connect to your system at one time. Each
device appears as a separate optical drive, similar to a CD-ROM or DVD-ROM drive. The drive’s
volume label carries an XDCAM identifier — for example,
XDCAM (E:)
.
XDCAM EX devices use a USB 2.0 connection only.
(XDCAM only) To use the XDCAM device with your Avid editing application, you need to
install the appropriate device driver included with the Sony XDCAM deck or camera. For more
information, see “Installing the XDCAM Drivers” on page 372.
Spanned Clips and XDCAM EX
Spanned clips are clips that extend from one card to another. Avid supports working with
spanned XDCAM EX clips in your Avid editing application.
For more information about spanned clips, see “Spanned Clips and P2” on page 379.
Ejecting an XDCAM EX Card (Windows only)
To properly eject a card from an XDCAM EX device while your Avid editing application is
running, choose to “Safely Remove Hardware” from your Windows Vista or Windows 7 system.
This command removes the actual XDCAM EX device from your system, not just the card.
However, it prevents the occurrence of any unmount messages from your Avid editing
application.
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373
To eject an XDCAM EX card from its device:
1. With an XDCAM EX card inserted in the XDCAM EX device and your Avid editing
application running, click the Safely Remove Hardware icon located at the bottom
right-hand corner of the taskbar.
2. Select Safely Remove XDCAM EX device name.
This removes the XDCAM EX device from your system.
3. To use the card again, unplug and then plug-in the XDCAM EX device from your system
using the USB cable.
This allows your Avid editing application to read the XDCAM EX card.
Ejecting an XDCAM EX Card (Macintosh only)
If you attempt to eject an XDCAM EX card from the XDCAM EX device, you can eject the card
however, you might receive an error message from the operating system. To properly eject an
XDCAM EX card, you need to remove the drive from the Macintosh desktop.
To eject an XDCAM EX card from its device:
1. With an XDCAM EX card inserted in the XDCAM EX device and your Avid editing
application running, click the device icon on your desktop and drag it to the Trash.
This changes the Trash icon to an Eject icon. This removes the XDCAM EX device from
your system.
Copying XDCAM or XDCAM EX Files to a FireWire or Network Drive
After you insert the XDCAM EX cards or XDCAM disk, you can copy the media to a FireWire
drive or a network drive and then eject the card or disk. You might find it convenient to copy
several cards or disks to other drives so you can reuse the cards or disks. Your Avid editing
application supports XDCAM and XDCAM EX copies as though they were actual cards or
disks.
nYou can work with media on a card/disk or work with media on another drive, but you cannot
work with media that is stored in both places simultaneously. To avoid the problem, eject the
card or disk after you copy the XDCAM or XDCAM EX files to the other drive.
To copy the XDCAM EX card or XDCAM disk to another drive:
1. On the drive, set up a folder for each XDCAM EX card or XDCAM disk you want to copy.
Avid recommends that you do not place the media folder at the top level of the drive.
2. Give each folder a unique name that identifies the XDCAM EX card or XDCAM disk.
The name does not have to be the same as the actual card or disk name.
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3. Navigate to the actual XDCAM EX card or XDCAM disk and select the folder with the
media.
4. Do one of the following:
tCopy and paste the contents of the card or disk media folder to the folder on the other
drive.
tClick the card or disk folder and drag it to the folder on the other drive.
5. Eject the card or disk.
P2 Media
Panasonic’s P2 equipment records DV, DVCPRO, and DVCPRO 50 media on compact,
solid-state memory cards (P2 cards). Avid editing applications support editing of media directly
from these memory cards, without the need to capture. You can also write your sequence back to
the P2 card.
The following are recognized as P2 cards by your Avid editing application:
• Panasonic P2 cards in an attached reader or camera or in a laptop PC Card slot.
• Synthetic P2 cards. A complete copy of a P2 card copied to the root of a drive or mounted as
a drive, for example, by mapping to a drive letter.
The P2 AMA plug-in should be installed on your system. To link P2 media through the AMA
method, use Link to AMA Volumes. For more information, see “The Avid Media Access (AMA)
Workflow” on page 407 and “Linking Media with AMA” on page 413.
For specific P2 workflow steps, see “Workflow for Editing P2 Clips with AMA” on page 426.
Panasonic P2 Formats
Avid editing applications support the following resolutions, captured by Panasonic P2 equipment
at frame rates of 30i NTSC and 25i PAL:
Panasonic Format Avid Format Number of Audio Channels
DV DV 25 411 (NTSC)
DV 25 420 (PAL)
2
DVCPRO DV 25 411 (NTSC and
PAL)
2
DVCPRO HD 720p
1080i
4
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375
Avid editing applications support one video track and up to four tracks of 48 kHz, 16-bit audio,
the maximum you can record on Panasonic P2 equipment.
P2 Files and Folders
Panasonic P2 video and audio media is recorded in MXF format, one of the two media file
formats you can use in Avid editing applications. Each P2 card stores MXF files in two folders:
•(Windows) drive:\Contents\Audio
(Macintosh) Macintosh HD/Contents/Audio
•(Windows) drive:\Contents\Video
(Macintosh) Macintosh HD/Contents/Video
Examples of MXF audio and video files contained in the Audio and Video folders. Top: four audio tracks for a single
clip. Bottom: the corresponding video track.
DVCPRO 50 DV 50 (NTSC and PAL) 4
AVC-Intra See “Resolution Specifications: AVC-Intra” in the Help for
a detailed list.
Panasonic Format Avid Format Number of Audio Channels
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376
Panasonic P2 devices write individual MXF audio and video media files for each track of each
clip. For example, a P2 clip that includes one track of video and four tracks of audio is stored on
the P2 card as five individual media files. Within your Avid editing application the five media
files are represented as a single clip with audio and video.
Installing the Panasonic P2 Drivers
Before you use a Panasonic P2 device, load the appropriate drivers. Your P2 device should
include a CD that includes the driver.
To install Panasonic P2 drivers:
tFollow the instructions included with your P2 equipment.
nDownload the most up-to-date driver from the Panasonic website, www.panasonic.com.
Preparing to Mount P2 Cards as Drives
You can mount P2 cards as drives on your desktop. To your Avid editing application, these
mounted cards function as individual media drives.
nP2 cards can function as media drives even though the MXF files are not contained in an Avid
MediaFiles folder.
After you install the appropriate Panasonic driver, you can mount the cards as drives from any of
these devices:
Device Description
PCMCIA card slot Notebook computers typically include a PCMCIA card slot that will accept
individual P2 cards.
P2 drive Panasonic offers P2 card-reading peripherals such as the AJ-PCD10 memory
card drive. You can connect this drive, or card reader through a USB port, or
you can install it as an internal drive on a desktop PC. This card reader provides
access to five P2 cards at one time.
P2 camera or deck Panasonic cameras and decks, such as the AJ-SPD850, provide access to P2
cards through a USB port.
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377
Setting up a P2 Card Reader (Windows only)
Before using a P2 card reader with a Windows system, you need to set Autoplay options.
To set up a P2 card reader for the first time:
1. Make sure your Avid editing application is not running.
2. Make sure the appropriate driver is installed.
See “Installing the Panasonic P2 Drivers” on page 376.
3. Connect the card reader to a USB port.
4. Insert a P2 card into each slot.
Each P2 card displays as a single lettered drive on the Windows desktop.
5. Open Windows Explorer, right-click a drive letter, and select Autoplay from the menu.
6. In the Autoplay dialog box, select “Take no action” and then “Always do the selected
action.”
7. Repeat the last two steps for each drive letter associated with the reader.
Mounting P2 Cards as Drives
If you don’t have enough cards to fill all the slots, you can reuse a card in multiple slots to
perform the following drive letter setup.
(Windows only) Some card slots of the P2 drive might require drive letters that have already
been assigned to existing network drives. If your computer does not display all five card slots as
drives, reassign the network drives or restart your system.
To mount one or more P2 cards as drives:
1. Make sure your Avid editing application is not running.
2. Make sure the appropriate driver is installed.
See “Installing the Panasonic P2 Drivers” on page 376.
3. Connect the card reader, camera, or deck to a USB port.
4. (Windows) Set up the P2 card reader.
See “Preparing to Mount P2 Cards as Drives” on page 376.
5. Insert one or more P2 cards (up to five).
(Windows) Each P2 card displays as a single lettered drive on the Windows desktop.
(Macintosh) Each card appears as a single drive with the label “No Name.” Volumes with
duplicate names are renamed sequentially (No Name1, No Name2, and so on). However,
this is not visible to the editor.
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378
Before you start your Avid editing application, Avid recommends that you rename each P2
card to its unique serial number as shown on the card edge when it’s mounted in the reader.
For example, P21 = Card1, P22 = Card2, P23 = Card3.
nThe P2 name changes back to “No Name” when you reformat the card in the camera.
6. Start your Avid editing application and open a project.
7. Insert the P2 cards.
The P2 cards automatically display on the desktop.
To unmount a P2 drive:
1. Select File > Unmount.
The list displays all drives currently available.
2. Select the P2 drive you want to unmount.
3. Ctrl+click (Windows) or Command+click (Macintosh) to select additional drives.
4. Select Unmount.
The drives are no longer available to your Avid editing application and you can safely eject
the P2 card from the reader on your Windows or Macintosh system.
Copying P2 Files to a FireWire or Network Drive
After you mount the P2 drives, you can copy the P2 media to a FireWire drive or a network drive
and then eject the card. You might find it convenient to copy several P2 cards to other drives so
you can reuse the cards. Your Avid editing application supports P2 copies as though they were
actual P2 cards.
You can connect a FireWire drive, for example, and store the contents of several P2 cards on it so
you can keep using the cards in the camera.
nYou can work with media on a P2 card or work with media on another drive, but you cannot
work with media that is stored in both places simultaneously. To avoid the problem, eject the P2
card after you copy the P2 files to the other drive.
To copy the P2 cards to another drive:
1. On the drive, set up a folder for each P2 card you want to copy.
Avid recommends that you do not place the media folder at the top level of the drive.
2. Give each folder a unique name that identifies the P2 card.
The name does not have to be the same as the actual P2 card name.
3. Navigate to the actual P2 card and select the Contents folder.
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379
4. Do one of the following:
tCopy and paste the Contents folder to the folder on the other drive.
tClick the Contents folder and drag it to the folder on the other drive.
5. Eject the P2 card.
Changing P2 Cards in the Card Reader
You can change (“hot-swap”) cards while you work in your Avid editing application.
To change one or more cards in the P2 card reader:
1. Remove the old card or cards and insert the new ones.
2. Select File > Mount All.
Sharing P2 Clips and Sequences
If you work in an Avid shared storage environment, you can share sequences that contain P2
clips in an Avid shared storage workspace. However, you can share P2 clips only if you
transcode or consolidate them to a workspace.
• In an MXF workgroup, you can either consolidate or transcode P2 clips to a workspace. If
you transcode, you must transcode P2 MXF files to another MXF resolution.
• In an OMF workgroup, you must transcode P2 clips to a workspace. You must transcode P2
MXF files to OMF files.
If you consolidate or transcode clips to an Avid shared storage workspace, it automatically
checks all related metadata into the asset manager. This makes the clips accessible to other users.
For more information on workgroup support, see the Avid Interplay Help.
nSome card slots of the P2 drive might require drive letters that have already been assigned to
existing network drives. If your computer does not display all five card slots as drives, reassign
the network drives or restart your system.
Spanned Clips and P2
Spanned clips are clips that extend from one card to another. Avid supports working with
spanned P2 clips in your Avid editing application.
The following illustration shows how clips can span multiple cards.
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380
Example of spanned P2 clips. The white rectangles represent P2 cards and the gray rectangles represent clips. The
first and third clips span multiple cards.
When you work with spanned clips, consider the following:
• If you remove a card that contains a spanned clip, for example Card 2 in the above example,
and you try to play Clip 1, it plays until it reaches the portion of the clip that resides on
Card 2. Media Offline appears until you reach the media on Card 3. Avid recommends that
you do not place another card in the removed card’s place unless you remove all the cards
that contain the spanned clip (Cards 1 and 3 in this example).
• You can mix cards that contain spanned and unspanned master clips. However, if you eject a
card which contains a chunk of a spanned clip and insert another card, the master clips in the
newly inserted card are not visible in the Media Tool but the media files are visible. To work
around this, remove all the cards which contain chunks of the spanned clip and choose
File > Unmount followed by File > Mount All (non-AMA method). All the master clips are
visible.
• P2 and XDCAM EX spanned media covers multiple drives, but the bin displays only one
drive letter. The drive letter in the bin might be any of the drives, but is usually the highest
lettered drive where the media exists.
• If necessary, copy all spanned clips to another drive to ensure a clip’s integrity before you
swap out the cards.
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AVCHD Media
AVCHD is a file-based format and does not use magnetic tape. Instead, video can be recorded
onto DVD discs, hard disk drives, non-removable solid-state memory and removable flash
memory cards.
nPlay performance might vary depending on the type of medium you use and the speed of our
computer.
The Avid supported compliant cameras include the Panasonic AG3DA, Panasonic
AG-HMC151E, Panasonic AG-AF100P, Sony NXCAM: HXR-NX5U, Sony HDR-CX12, and
the Canon Vixia. You can link directly to the camera or you can link to the AVCHD media
through the AVCHD AMA plugin.
The AVCHD AMA plug-in should be installed on your system. You can link to a specific
AVCHD file on the volume or link to the entire volume. For more information, see “Linking
Media with AMA” on page 413. To link to a specific AVCHD file, use the steps under “To link
clips from a file with AMA,” and to link to an entire volume, use the steps under “To
automatically link clips on a volume with AMA” or “To manually link clips from a virtual
volume with AMA.”
For specific AVCHD workflow steps, see “Workflow for Editing AVCHD Clips with AMA” on
page 427. For more information about AMA, see “The Avid Media Access (AMA) Workflow”
on page 407.
AVCHD Formats and Resolutions
The following table lists the formats and resolutions available when you work with AVCHD
media:
Resolution/Bit Rate Raster/Frame Rate
Number of Audio
Channels
(maximum)
H.264/Bit Rate 1080i/50, 1080i/29.97, 1080p/23.976,
1080p/25, 1080p/29.97, 720p/59,
720p/50, 720p/29.976, 720p/25,
720p/23.98, 1920 x 1080,
1440 x 1080, 1280 x 720
4
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AVCHD Files and Folders
AVCHD media files are recorded in MTS format; the file contains both the video and audio.
Audio can be either uncompressed PCM or Dolby® AC-3 format.
nYou must activate the Dolby AC-3 codec the first time you AMA link to an AVCHD clip. If you are
connected to the Internet, activation is automatic. If you are not connected to the Internet, the
system opens a dialog box and then the Avid License Control tool. Follow the on screen
instructions to activate this feature. If you select multiple clips, select “Do not show this dialog
again,” to avoid the dialog box from reopening.
The folder and file structure is dependent on the camera you use.
nMost AVCHD cameras produce default file names starting with “00000.” Be aware that you
could have multiple clips with the same file name across multiple media drives.
Connecting AVCHD Cameras
You can connect the AVCHD camera directly through an industry-standard USB 2.0 port on your
computer. See the cameras documentation for information on connecting.
Each card, disc or drive mounts as individual USB media drives on your desktop and then links
to your Avid editing system through AMA.
Spanned Clips and AVCHD
Spanned clips are clips that extend from one card, disc or drive to another. Avid supports
working with spanned AVCHD clips in your Avid editing application.
For more information about spanned clips, see “Spanned Clips and P2” on page 379.
Copying AVCHD Files to an External Drive
After you connect the camera or insert the card, disc or drive, you can copy the AVCHD media to
an external drive (FireWire drive, USB, network drive) and then disconnect the camera or eject
the card, disc or drive. You might find it convenient to copy several cards to other drives so you
can reuse the cards.
To copy the AVCHD media to an external drive:
1. On the external drive, set up a folder for each card, disc or drive you want to copy.
Avid recommends that you do not place the media folder at the top level of the drive.
2. Give each folder a unique name that identifies the card, disc or drive.
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383
The name does not have to be the same as the actual card, disc or drive name.
3. Navigate to the actual card, disc or drive and select the media folder.
4. Do one of the following:
tCopy and paste the media folder to the folder on the other drive.
tClick the media folder and drag it to the folder on the other drive.
5. Disconnect the camera or eject the card, disc or drive.
Canon XF Media
The Canon XF305 and Canon XF300 camera records MPEG-2 media onto compact flash cards.
Through the Canon XF AMA plug-in and the MXF AMA plug-in, you can link to Canon
MPEG-2 media through the AMA method.
You can edit directly from a flash card, without having to capture. You can link to a Canon XF
flash card and reader attached to your system or copy a Canon XF flash card to the root of a
drive.
The Canon XF AMA plug-in and the Avid MXF AMA plug-in should be installed on your
system. To link media through the AMA method, use Link to AMA Volumes. For more
information, see “The Avid Media Access (AMA) Workflow” on page 407 and “Linking Media
with AMA” on page 413.
For specific Canon XF workflow steps, see “Workflow for Editing Canon XF Clips with AMA”
on page 428.
Canon XF Formats and Resolutions
The following table lists the formats and resolutions available when you work with GFCAM
media:
Resolution/Bit Rate Raster/Frame Rate
Number of Audio
Channels
(maximum)
MPEG-2 HD 50 and 35Mbits
25Mbits
1920 x 1080, 1280 x 720
1440 x 1080
4
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384
Canon XF Files and Folders
Canon XF video and audio media files record in MXF format.
Each card stores the video and audio files in:
•(Windows) drive:\CONTENTS\CLIPS
• (Macintosh) Macintosh HD/CONTENTS/CLIPS
nAMA does not recognize clips if the folder names in the selected path contain double-byte
characters (DBCS). AMA recognizes folders with the directory path that includes ASCII
alphanumeric characters.
Connecting the Canon XF Camera or CF Card Reader
You can connect the Canon XF camera or a CF card reader directly through an industry-standard
USB 2.0 port on your computer. See the Canon XF documentation for information on connecting
the camera or a card.
The flash card mounts as individual media drives on your desktop and then link to your Avid
editing system through AMA.
Spanned Clips and Canon XF
Spanned clips are clips that extend from one card to another. Avid supports working with
spanned Canon XF clips in your Avid editing application.
For more information about spanned clips, see “Spanned Clips and P2” on page 379.
Copying Canon XF Files to a FireWire or Network Drive
After you mount the flash card, you can copy the Canon XF media to a FireWire drive or a
network drive and then eject the flash card. You might find it convenient to copy several flash
cards to other drives so you can reuse the cards.
You can connect a FireWire drive, for example, and store the contents of several flash cards on
the drive so you can keep using the flash cards in the camera.
To copy the Canon XF flash cards to another drive:
1. On the drive, set up a folder for each flash card you want to copy.
Avid recommends that you do not place the media folder at the top level of the drive.
2. Give each folder a unique name that identifies the flash card.
The name does not have to be the same as the actual flash card name.
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3. Navigate to the actual flash card and select the CONTENTS folder.
4. Do one of the following:
tCopy and paste the CONTENTS folder to the folder on the other drive.
tClick the CONTENTS folder and drag it to the folder on the other drive.
5. Eject the flash card.
GFCAM Media
The Ikegami GFCAM HDS-V10 is a tapeless camera/recorder that uses flash memory instead of
video tapes as a recording medium. GFCAM devices record MPEG-2 Long GOPmedia onto a
GFPAK™, a removable high-speed storage medium.
You can edit directly from a GFPAK, without having to capture. You can link to a GFPAK
attached to your system or copy a GFPAK to the root of a drive.
GFCAM is only available through the AMA method.
The GFCAM AMA plug-in should be installed on your system. To link GFCAM media through
the AMA method, use Link to AMA Volumes. For more information, see “The Avid Media
Access (AMA) Workflow” on page 407 and “Linking Media with AMA” on page 413.
For specific GFCAM workflow steps, see “Workflow for Editing GFCAM Clips with AMA” on
page 428.
GFCAM Formats and Resolutions
The following table lists the formats and resolutions available when you work with GFCAM
media:
Resolution/Bit Rate Raster/Frame Rate
Number of Audio
Channels
(maximum)
MPEG-2 HD LongGOP 50 Mbits,
102 Mbits
(1080i/59.94, 1080i/50, 1080p/23.98
pulldown, 1080p/29.97, 1080p/25,
720p/59, 720p/50, 720p/25,
720p/23.98 pulldown) 1440 x 1080
8
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GFCAM Files and Folders
GFCAM video and audio media files record in MXF format.
Each GFPAK stores the video MXF files in:
• (Windows) drive:\BINxxx\VIDEO
• (Macintosh) Macintosh HD/BINxxx/VIDEO
Each GFPAK stores the audio MXF files in:
• (Windows) drive:\BINxxx\AUDIO
• (Macintosh) Macintosh HD/BINxxx/AUDIO
The GFCAM video file directory stores MXF files regulated by SMPTE 390M (MXF OP-Atom)
and SMPTE 381M (MXF mapping MPEG streams into MXF GC). If a video clip needs to split,
such as under the FAT32 file system, the system creates multiple MXF files for that clip.
The GFCAM audio file directory stores MXF files regulated by SMPTE 382 (MXF mapping
AES3 and BWF into the MXF GC). Each file has an AES channel that consists of two audio
channels. For example, the system creates two MXF files from two AES channels (four audio
channels). If an audio clip splits, the system creates multiple audio files for that clip.
n1080p/23.98 pulldown and 720p/23.98 pulldown record at 59.94fps and are only compatible
with 1080i/59.94 and 720p/59.94 projects.
n1080p/29.97 records as PSF at 59.94fps and is only compatible with 1080i/59.94 projects.
n1080p/25 and 720p/25 record as PSF at 50fps and are only compatible with 1080i/50 and
720p/50 projects.
DVCAM:
DV 25 411
DV 25 420
SD NTSC 30i, PAL 25i
SD PAL 25i
8
MPEG IMX (NTSC and PAL):
MPEG 30
MPEG 40
MPEG 50
8
Resolution/Bit Rate Raster/Frame Rate
Number of Audio
Channels
(maximum)
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Connecting the GFPAK Device
You connect the GFPAK directly through an industry-standard USB 2.0 port on your computer.
Use a cable to connect the GFPAK to a Windows system or a Macintosh system.
The GFPAK mounts as individual media drives on your desktop and then link to your Avid
editing system through AMA.
Spanned Clips and GFCAM
GFCAM allows gapless recording over several GFPAKs, however, each GFPAK handles the
contents as a separate clip. If you record across three GFPAKs, you create three separate clips.
You can then edit those clips together into one continuous sequence.
Copying GFCAM Files to a FireWire or Network Drive
After you mount the GFPAK, you can copy the GFCAM media to a FireWire drive or a network
drive and then eject the GFPAK. You might find it convenient to copy several GFPAKs to other
drives so you can reuse the GFPAK. Your Avid editing application supports GFCAM copies as
though they were actual GFPAKs.
You can connect a FireWire drive, for example, and store the contents of several GFPAKs on the
drive so you can keep using the GFPAKs in the camera.
To copy the GFPAK to another drive:
1. On the drive, set up a folder for each GFPAK you want to copy.
Avid recommends that you do not place the media folder at the top level of the drive.
2. Give each folder a unique name that identifies the GFPAK.
The name does not have to be the same as the actual GFPAK name.
3. Navigate to the actual GFPAK and select the contents of the folder.
4. Do one of the following:
tCopy and paste the contents of the GFPAK media folder to the folder on the other drive.
tClick the GFPAK folder and drag it to the folder on the other drive.
5. Remove the GFPAK.
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Working with Shot Marks and Check Marks with GFCAM Media
GFCAM products use Shot Marks and Check Marks to store metadata about media clips.
Shot Marks allow GFCAM cameras to mark events such as clip start points or audio clipping.
Press the RET button on the GFCAM device while you record or playback to set a Shot Mark.
For a description of Shot Marks, see your GFCAM documentation.
In the AMA method, Shot Marks are brought over automatically and appear as markers in your
Avid editing application. There is no text associated with a Shot Mark, just a marked location (or
a marker). For information about editing markers, see “Using Markers” on page 513.
A Check Mark flags a “good shot.” The AMA method translates this good shot clip with the
word “true” in a new bin column named Check Mark. If there are no Check Marks associated
with a clip, a Check Mark heading does not appear.
RED Media
The RED Digital Cinema Company produces a high performance digital cinema camera with the
quality of 35mm film and the convenience of pure digital. The RED ONE camera generates a 4K
(or 2K - 4.5K) full resolution REDCODE™ RAW (.R3D) file.
Media is stored on a REDFlash card or a RED drive. You can link to a specific R3D file on the
volume or link to the entire volume.
RED ONE cameras record metadata which displays in an Avid bin. The metadata includes: edge
code, timecode, lens parameters, audio settings and any video image processing information.
Your Avid editing application supports RED R3D files as high quality HD media. Once you link
the clips through AMA, you can change and fine-tune the clip color settings through the Source
Settings dialog.
The RED AMA plug-in should be installed on your system. You can link to a specific RED file
on the volume or link to the entire volume. For more information, see “Linking Media with
AMA” on page 413. To link to a specific RED file, use the steps under “To link clips from a file
with AMA,” and to link to an entire volume, use the steps under “To automatically link clips on a
volume with AMA” or “To manually link clips from a virtual volume with AMA.”
For specific RED workflow steps, see “Workflow for Editing RED Clips with AMA” on
page 429. For information about the AMA process, see “The Avid Media Access (AMA)
Workflow” on page 407.
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RED Formats and Resolutions
The following table lists the formats and resolutions available when you work with RED media:
RED Files and Folders
The RED Camera records a unique clip name and additional files that include the REDCODE
RAW files and an optional QuickTime reference file placed in a clip folder (.RDC).
The system names clips by Camera Letter + Reel Number + Month + Day + a two digit
alphanumeric random number.
For example: A001_C002_0502A6.RDC
A = camera A, 001 = reel 001, C002 = clip 002, and 0502 = May 2, A6 = two digit random
number (to help avoid duplicate files names).
Each clip folder (.RMD) is at the root directory. In each of these folders is the .RDC folder which
contains the video, audio, and metadata files:
• (Windows) drive:\camera+reel_date.RMD\camera+reel_clip_date+random number.RDC
• (Macintosh) Macintosh HD/camera+reel_date.RMD/camera+reel_clip_date+random
number.RDC
AMA detects folders named with RMD and RDC and files named .R3D.
Media Type Resolution
Number of Audio
Channels (maximum)
RED R3D 2K 2:1
2K 16:9
2K ANA
3K 2:1
3K 16:9
3K ANA
4K 2:1
4K 16:9
4K ANA
4.5K
5K Full Frame
5K 2:1
5K 16:9
5K ANA
4
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Connecting the RED ONE Drive or Card
Connect the RED Drive directly through an industry-standard USB or FireWire port on your
computer, or insert the RED Card into the RED camera and connect to your computer.
The drive or card mounts as individual media drives on your desktop and then link to your Avid
editing system through AMA.
nSee RED documentation for specific information about the RED ONE camera, REDFlash card
and RED drive.
Spanned Clips and RED
You cannot span media across multiple cards. Each clip is recorded as a separate clip, regardless
of how many cards you use. There is a 2GB limit on a single master clip. As you record footage,
once a 2GB file is captured, an R3D file is created (.001). The camera continues to record and
the next 2GB (or less) of media creates another R3D file (.002) until you end recording. So, you
can have several R3D files in one clip folder but they are all associated with one master clip.
When you link these files/folders through the AMA method, one master clip appears in your bin
Copying RED Files to a FireWire or Network Drive
After you attach the RED drive or insert a REDFlash card, you can copy the RED media to a
FireWire drive or a network drive and then disconnect the drive. You might find it convenient to
copy several cards to other drives so you can reuse the cards quickly.
You can connect a FireWire drive, for example, and store the contents of several cards on it so
you can keep using the cards in the camera.
To copy the REDFlash cards to another drive:
1. On the drive, set up a folder for each card or drive you want to copy.
Avid recommends that you do not place the media folder at the top level of the drive.
2. Give each folder a unique name that identifies the card or drive.
The name does not have to be the same as the actual drive or card name.
3. Navigate to the actual drive or card and select the contents of the folder.
You can select the top directory of several RDC folders (containing an R3D file and a color
metadata file such as RSX or RMD).
4. Do one of the following:
tCopy and paste the contents of the folder to the folder on the other drive.
tClick the drive or card folder and drag it to the folder on the other drive.
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5. Remove the drive.
Adjusting RED Source Settings
When you link to R3D (RED) files, the Avid editing system reads each REDCODE RAW file
directly. You can then change the clip’s color values: color balance, exposure, and contrast in the
Source Settings window. This color value information is encoded with the R3D file through an
RLX, RSX or RMD file. These files hold the camera’s original color values of your clip.
nThe RLX, RSX or RMD files might be created if you set the color values outside of the Avid
editing application. These files can be loaded and applied to the associated RED clip through the
Source Settings window.
When a RED clip displays in the bin, the system displays the metadata columns of the clip’s
color values. For example: Color Space, Gamma Space, Kelvin, Tint. You can export this
information to ALE (Avid Log Exchange) and XML (through Avid FilmScribe) for downstream
use in your workflow.
The Source Settings window also has three color spaces to choose from: REDSpace, Camera
RGB, and REC.709. You can set up different color options (or presets) in each of these color
spaces and then apply their color values to multiple clips.
To change the RED source settings:
1. Link the RED clip through the AMA Link to Volume option.
See “The Avid Media Access (AMA) Workflow” on page 407 and “Linking Media with
AMA” on page 413 for information on linking.
2. Right-click the RED clip in the bin and select Set Source Settings.
The Source Settings dialog box opens. The clip displays in the video area.
You can choose from the Settings menu to select a camera metadata setting or an RSX, RLX
or RMD setting (template), or adjust your own custom parameters. This procedure details
the custom parameters.
For information on settings (templates) in the Settings menu and how to apply a setting, see
“Using Source Settings” on page 395 and “Applying a Source Setting” on page 396.
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392
3. Drag the video slider to the frame you want to view.
The new frame displays and the histogram updates.
The histogram is a tool that helps you more precisely adjust Source Settings. For more
information about the histogram, see “Understanding the Source Settings Histogram” on
page 397
4. Set the appropriate options, you can select from a menu, drag the sliders, enter values or
click the eyedropper:
Option Description
Color Space Choose from:
Camera RGB: as close to RAW
REC.709: SMPTE standard color space for HD
REDcolor (default): newest, more accurate color science from RED
REDcolor2: better skin tones and color from RED
REDSpace: based on the camera’s RGB but more saturated
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393
Gamma Curve Lets you override the gamma curve. Choose from:
REC.709: a REC.709 gamma curve with a linear portion at black and
a gamma at 2.2 curve
REDLog: maps the 12-bit sensor data on to a 10-bit curve with
minimal loss
REDLogFilm: a way of containing a large dynamic range in a video
file. Needs to be viewed through a LUT to convert it for viewing on a
monitor.
REDSpace: based on REC.709 but with more contrast
REDGamma (default): gamma curve from RED with a smoother
highlight rolloff
REDGamma2:
White Balance Adjusts the color temperature of your image in one click. Use the
eyedropper icon and then click a known white area in your RED
footage to achieve the correct light or neutral balance. This option is
equivalent to adjusting the Kelvin and Tint options. When you use
the White Balance option, the system automatically adjusts Kelvin
and Tint. It is recommended you adjust White Balance first before
performing any other adjustments to the image for best quality. This
change adjusts the entire clip and updates the histogram.
Kelvin Adjusts the RGB color to compensate for red - blue tinting of the
scene at different color temperatures of the ambient light while you
shoot. Common values are 3200 (tungsten) and 5600 (daylight).
Click and drag the slider from 1700 to 9400. Default is 5600.
Tint Adjusts the RGB color to compensate for yellow - green tinting of
the scene at different color temperatures of the ambient light while
you shoot. This is valuable when the ambient light source contains a
significant amount of yellow or green, such as fluorescent. Click and
drag the slider from -100 to 100. Default is 0.00.
ISO Allows the ISO level to change from 50 to 2000. Default is 320.
FLUT™The latest color science developed by RED. Allows you to balance
your mid-grays in the center of the histogram without pushing
highlight details over the edge.
Shadow Adjusts the overall black level of the image without affecting the
white level. Click and drag the slider from 0.00 to 1.00. Default is
0.00.
Option Description
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394
DRX Lets you recover potentially lost dynamic range by extending and
balancing highlights, taking into account the rendering intent of the
desired Kelvin and Tint white balance. Click and drag the slider from
0.00 to 1.00. Default is 0.00.
Debayer Detail Choose from High (default), Medium, or Low.
Chroma Denoise Choose from Off (default), Minimum, Milder, Mild, Strong, or
Maximum.
OLPF Controls the optical low-pass filter. Choose from Off (default), Low,
Medium, or High.
Exposure Allows adjustment to the clip exposure. Click and drag the slider
from -7.00 to 7.00. Default is 0.00.
Brightness Adjusts the overall brightness of the image. Lifts blacks without
affecting the white level. Click and drag the slider from -10.00 to
10.00. Default is 0.00.
Contrast Adjusts the tonal range of the image, which usually improves
sharpness and detail. When you increase the Contrast, it increases
tonal separation between adjacent gray levels but decreases the total
number of discreet gray levels in the image.
Click and drag the slider from -1.00 to 1.00. Default is 0.00.
Saturation Affects the intensity of the red, green and blue channels. As the value
increases color saturation increases. As the value decreases, so does
the color decrease. If the value is set to high, colors might clip. If the
level is set to 0.00, a monochromatic image with only gray tones
appear.
Click and drag the slider from 0.00 to 4.00. Default is 1.00
Red Increases or decreases the camera’s sensitivity to red light by
amplifying the R channel digital video signal received from the
sensor. A 0 (zero) no Red is visible, the image has a strong cyan cast.
Click and drag the slider from 0.00 to 10.00. Default is 1.00.
Green Increases or decreases the camera’s sensitivity to green light by
amplifying the G channel digital video signal received from the
sensor. At 0 (zero), no green is visible, the image has a strong
magenta cast. Click and drag the slider from 0.00 to 10.00. Default is
1.00.
Option Description
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395
5. Click Apply.
The changes apply to your clip. You can continue to make additional changes.
If the clip is in the Source viewer, the changes are reflected in the Source viewer and in the
Client monitor (if you have one attached).
If you click Cancel after you click Apply, the Set Source Settings window closes with the
changes you made.
6. Click OK to save your change and close the window.
The system updates the bin column metadata with the new parameters.
nIf you make changes in the Source Settings window and then relink the clip through AMA again,
you still keep all the parameters that you set.
Using Source Settings
Source Settings lets you choose from a selection of preset templates or you can create your own
look. Each source setting has its own color values associated with it. There are a few different
ways to obtain source settings:
• Camera and default source settings are included with the RED AMA plugin
• Link a RED clip from RED Alert! (imports the RSX source setting)
• Load a source setting onto your system (for example, an RLX, RSX, or RMD)
• Create a custom source setting
You cannot change the default RSX and RLX source settings, these are predefined. Once you
make a change to a parameter, the setting becomes a Custom setting. At this time, you can only
have one Custom setting.
You can load multiple RSX and RLX source settings. As you link a RED clip from RED Alert!
(RSX) or load an RLX file, the setting appears in the Source Settings menu.
Source Settings are helpful when you want to apply one setting to multiple clips in your bin.
Different subclips from the same master clip can have different source settings.
Blue Increases or decreases the camera’s sensitivity to blue light by
amplifying the B channel digital video signal received from the
sensor. At 0 (zero), no blue light is visible, the image has a strong
yellow cast. Click and drag the slider from 0.00 to 10.00. Default is
1.00.
Option Description
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396
When you edit a clip into a sequence, the material you edit in uses the clip’s current attribute
values or RED source settings. If you change the RED source settings at a later point in your
workflow, the sequence does not automatically adjust for the change. If you want the sequence to
use the RED source settings for clips that you have changed since you edited, you must refresh
the sequence. For procedures on how to refresh your sequence, see “Refreshing Sequences to
Use Current Clip Attributes” on page 589.
Applying a Source Setting
To apply a source setting to a RED clip:
1. Right-click a RED clip in the bin (or Shift-click multiple clips), then choose Set Source
Settings.
The Set Source Settings window opens and your clip displays in the viewer.
2. Select a setting (template) from the Source Settings menu.
Source Settings vary depending on the files or templates loaded on your system.
3. Click Apply.
The settings apply to the clip and if the clip is loaded in the Timeline, the video updates and
displays in a Client monitor (if one is attached) and the Source monitor.
4. Click OK to save your settings and close the window.
The system updates the bin column RED metadata with the parameters.
If you make additional changes after you select a setting, the system creates a Custom
setting and Custom appears in the Settings list. You cannot make changes to a system
generated setting, however you can use a system setting and make changes to create your
own Custom setting.
Setting Origin
Camera Metadata Settings Default
Default Settings Default
Grade (RSX) Settings RED Alert!
filename RLX Setting RED Alert!
Grade (RMD) Setting REDCINE-X
Custom User created in Avid
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397
To import additional source settings:
1. From the Source Settings window, click the Load button.
The Load External Settings window opens.
2. Browse to the Settings file.
3. Change the filter to display RSX, RLX or RMD files.
4. Select your setting and click OK.
The new source setting appears in the Source Settings menu, and is immediately applied to
the clip.
Understanding the Source Settings Histogram
The histogram in the Source Settings window helps you visualize the distribution of color values
in an image. You can use the histogram to adjust the Source Settings of your AMA media more
precisely while avoiding clipping and color imbalance.
Example of a Source Settings histogram. The histogram plots color values on the horizontal axis and the
percentage or proportional number of pixels on the vertical axis. The vertical lines represent the black point (left)
and the white point (right), so the area between them is the safe color range.
The histogram plots color values that can be represented by the image bit-depth on the horizontal
axis. Therefore, the width of the histogram is the same as the width of the image. The histogram
plots the percentage, or proportional number of pixels in the image, with each particular color
value on the vertical axis. The vertical axis is scaled according to the height of the maximum
value in the plot. Whenever the histogram changes, the vertical axis rescales according to the
new maximum.
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398
nPixels with color values that are out of range are grouped into either the maximum or minimum
color values on the plot. Spikes in either the highest or lowest color values might indicate loss of
color information due to clipping.
Your Avid editing application draws separate histograms for the red, green, and blue color
components. The histograms for each color stack on top of one another, with the fill color
changing appropriately to indicate overlap. The following illustration shows the colors produced
by overlap.
Adjusting the Source Settings Histogram
You can adjust the Source Settings Histogram in two ways. You can toggle drawing a histogram
for an individual color, and you can zoom the vertical axis.
To adjust the Source Settings Histogram:
tRight-click anywhere inside the histogram graph, and then select one of the following
options.
Option Result
Red
Green
Blue
Enables or disables the histogram display for the selected color. A check mark
indicates that the histogram for that particular color displays.
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399
Preparing your RED Clip for Transcode, Mixdown, or Render
If you want to take a RED clip and offline it to another application, you can create a different
resolution RED file, depending on your requirements. This changes the speed and quality of the
clip, which could affect the playback performance. The higher the video quality the slower the
process (transcode, mixdown, render). The lower the video quality the faster the process. Before
you transcode, mixdown or render your clip or sequence, set the appropriate quality in the Media
Creation dialog box.
nIf you apply any Reformat options (stretch, letterbox, etc.) to your clip, when you perform a
transcode, the reformatting options will apply.
To prepare your RED clip for transcoding, mixdown or rendering:
1. Before you transcode, mixdown or render, select Tools > Media Creation.
2. Click the Mixdown & Transcode tab or click the Render tab.
3. Select the playback quality from the R3D Source Quality (Debayer) menu.
Zoom In Zooms in on the lower half of the vertical axis.
Changes the scaling of the vertical axis so that the height is half that of the
maximum value in the plot. You can zoom in indefinitely to display, for example,
1/4, 1/8, or 1/16 of the maximum value.
Zoom Out Zooms out of the vertical axis by a factor of two.
Changes the scaling of the vertical axis to be twice that of the maximum value in
the plot. You can zoom out indefinitely to display, for example, 4, 8, or 16 times
the height of the maximum value.
Reset Zoom Resets the zoom so that the vertical axis boundary is equal to the maximum value
in the plot.
Option Result
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400
tFull
tHalf (Best Quality)
tHalf (Good Quality)
tQuarter
tEighth
tSixteenth
4. Click OK.
5. Transcode, mixdown or render your clip or sequence as required.
For information about transcoding, see “Using the Transcode Command” on page 451.
For information about mixdown, see “Performing a Video Mixdown” in the Help.
For information about render, see “Basics of Effects Rendering” in the Help.
QuickTime Media
To link QuickTime media through the AMA method, you first need to create a QuickTime movie
from a third-party application or through the Avid editing system. The third-party applications
that supports creating a QuickTime movie include Adobe AfterEffects® and Final Cut Pro. This
is done through the QuickTime Export dialog box which uses the Avid QuickTime Codecs.
These codecs automatically install on your Avid editing system. At this time, Avid supports the
Same as Source and Custom export settings options when you export with the Avid QuickTime
codecs. This process creates an Avid compressed QuickTime media file, with a .mov extension.
AMA only detects and links to Avid compressed QuickTime media.
nFor information about exporting a QuickTime movie, see “Exporting QuickTime Movies” on
page 1004.
QuickTime files use the .mov file name extension. After you link a QuickTime file through
AMA, the file drops the .mov file name extension. QuickTime media is linked at the data rate at
which it was recorded.
The Quicktime AMA plug-in should be installed on your system. To link QuickTime media
through the AMA method, use Link to AMA File(s). For more information, see “The Avid
Media Access (AMA) Workflow” on page 407 and “Linking Media with AMA” on page 413.
For specific QuickTime workflow steps, see “Workflow for Editing QuickTime Clips with
AMA” on page 430.
QuickTime Media
401
Supported QuickTime AMA Codecs and Resolutions
You can create a QuickTime movie on an Avid editing system or from a third-party application
such as Adobe After Effects with a supported QuickTime AMA codec. QuickTime codecs are
installed automatically on your Avid editing system, or you can install the Avid codec on the
system which runs the third-party application.
If you can play the QuickTime movie with the QuickTime player, you should be able to link and
play the same file with Avid’s QuickTime AMA Plug-in. Performance will vary depending on
the codec and the CPU.
The 1:1 SD 8-bit (Meridien) codec is not supported with QuickTime AMA.
Twenty-four is the maximum number of audio channels supported for all resolutions.
For information on how to install the QuickTime codecs, see “Installing or Copying the Avid
Codecs for QuickTime on Other Systems” in the Avid Help.
Adjusting QuickTime Source Settings
You can change the dynamic range of a linked AMA QuickTime movie from 601/709 video
range (16-235) to RGB range (0-255) or from RGB range (0-255) to 601/709 video range
(16-235). This setting is only supported with QuickTime movies that were created with a
non-Avid codec, including ProRes, H.264 and Animation.
When a QuickTime clip displays in the bin, the system displays the metadata columns of the
clip’s color values.
To change the QuickTime source settings:
1. Link the QuickTime clip through the File > Link to AMA File option or to link to multiple
QuickTime files, use the File > Link to AMA Volume(s) option.
See “The Avid Media Access (AMA) Workflow” on page 407 and “Linking Media with
AMA” on page 413 for information on linking.
2. Right-click the QuickTime clip in the bin and select Set Source Settings.
nIf your QuickTime movie was created with an Avid codec, the Set Source Settings option will not
be available.
The Source Settings dialog box opens. The clip displays in the video area.
For information on settings in the Settings menu and how to apply a setting, see “Applying a
QuickTime Source Setting” on page 403.
QuickTime Media
402
3. Drag the video slider to the frame you want to view.
The new frame displays and the histogram updates.
The histogram is a tool that helps you more precisely adjust Source Settings. For more
information about the histogram, see “Understanding the QuickTime Source Settings
Histogram” on page 404
4. Set the appropriate options:
Option Description
Settings Default
Custom: User created in Avid.
Field Ordering Default
Progressive: The image is interpreted as a progressive image.
Interlaced - Odd (upper field first) ordered: Adjusts the clip so that
the top field is played before the lower field.
Interlaced - Even (lower field first): Adjusts the clip so that the lower
field is played before the top field.
Field Layout
(Available when Field
Ordering > Interlaced
is selected)
Merged (default): Alternates field information.
Split: Based on the field ordering selection (Interlaced Odd or
Interlaced Even), fields will be split into one over the other. For
example, all odd fields are over all even fields.
QuickTime Media
403
5. Click Apply.
The changes apply to your clip. You can continue to make additional changes.
If the clip is in the Source viewer, the changes are reflected in the Source viewer and in the
Client monitor (if you have one attached).
If you click Cancel after you click Apply, the Set Source Settings window closes with the
changes you made.
6. Click OK to save your change and close the window.
The system updates the bin column metadata with the new parameters.
nIf you make changes in the Source Settings window and then relink the clip through AMA again,
you still keep all the parameters that you set.
Applying a QuickTime Source Setting
Source Settings lets you choose from a Custom of Default setting. Each source setting has its
own color values associated with it.
To apply a source setting to a QuickTime clip:
1. Right-click a QuickTime clip in the bin (or Shift-click multiple clips), then choose Set
Source Settings.
The Set Source Settings window opens and your clip displays in the viewer.
2. Select a setting from the Source Settings menu.
GFX/Video Level Do not modify levels: Leave as is
Expand video levels to graphic levels: Changes the dynamic range
from an 601/709 video range (16-235) to RGB range (0-255).
Compress graphic levels to video levels: Changes the dynamic range
from RGB (0-255) range to an 601/709 video range (16-235). This
option is useful if you created a QuickTime movie with graphic
levels in AfterEffects and then brought the clip into an Avid editing
application.
Option Description
Setting Origin
Default Settings Default
Custom User created in Avid
QuickTime Media
404
3. Click Apply.
The settings apply to the clip and if the clip is loaded in the Timeline, the video updates and
displays in a Client monitor (if one is attached) and the Source monitor.
4. Click OK to save your settings and close the window.
The system updates the bin column metadata with the parameters.
If you make additional changes after you select a setting, the system creates a Custom
setting and Custom appears in the Settings list. You cannot make changes to a system
generated setting, however you can use a system setting and make changes to create your
own Custom setting.
nThe Load button does not apply to QuickTime media.
Understanding the QuickTime Source Settings Histogram
The histogram in the Source Settings window helps you visualize the distribution of color values
in an image. You can use the histogram to adjust the Source Settings of your AMA media more
precisely while avoiding clipping and color imbalance.
Example of a Source Settings histogram. The histogram plots color values on the horizontal axis and the
percentage or proportional number of pixels on the vertical axis. The vertical lines represent the black point (left)
and the white point (right), so the area between them is the safe color range.
The histogram plots color values that can be represented by the image bit-depth on the horizontal
axis. Therefore, the width of the histogram is the same as the width of the image. The histogram
plots the percentage, or proportional number of pixels in the image, with each particular color
value on the vertical axis. The vertical axis is scaled according to the height of the maximum
value in the plot. Whenever the histogram changes, the vertical axis rescales according to the
new maximum.
MXF Media
405
nPixels with color values that are out of range are grouped into either the maximum or minimum
color values on the plot. Spikes in either the highest or lowest color values might indicate loss of
color information due to clipping.
MXF Media
Material Exchange Format (MXF) is a wrapper or container format which encapsulates media
and rich production metadata into a single file, which is useful for media storage and exchange.
It is an open technology that can is implemented by different manufacturers.
MXF is designed to be flexible enough for use in all stages of content creation, from acquisition,
to authoring, to distribution. The primary benefit of MXF is that it provides greater workflow
efficiency by preserving useful metadata as media files make their way through the content
creation process. The MXF format is independent of the type of content that it contains, so an
MXF file can contain video and/or audio at any resolution or compression. In many instances
MXF files encapsulate media which is already formatted to one of the existing industry
standards.
MXF allows for easy exchange of material between file servers, tape streamers and digital
archives. MXF is an ideal interchange format to enable workflow efficiencies in news
broadcasting, post production, asset management, and archiving applications.
You can select the MXF format when you capture, link, create titles, or render effects. See
“Media Creation Settings” on page 1361.
The MXF AMA plug-in should be installed on your system. To link MXF media through the
AMA method, use Link to AMA File(s). For more information, see “The Avid Media Access
(AMA) Workflow” on page 407 and “Linking Media with AMA” on page 413.
For specific MXF workflow steps, see “Workflow for Editing MXF Clips with AMA” on
page 431.
MXF Media and AMA
To link supported MXF media through the AMA method, you first need to obtain an MXF file
from a supported vendor or through the Avid editing system. Then use the AMA MXF plug-in to
link to Avid supported MXF files. For the list of supported MXF files, see “MXF Formats and
Resolutions” on page 405.
MXF Formats and Resolutions
The following table lists the formats and resolution by vendor that have been qualified with the
MXF plug-in:
MXF Media
406
Company Resolution/Bit Rate Raster/Frame Rate
Number of
Audio
Channels
(maximum)
Omneon, Rhozet D10 SD 30i 4 or 8
Sony XDCAM HD
XDCAM HD 17.5 Mbits
XDCAM HD 25 Mbits
XDCAM HD 35 Mbits
HDV (25 Mbits CBR)
XDCAM HD 50 Mbits
1080i/59.94, 1080i/50,
1080p/23.976, 1440 x 1080
1080i59, 1080i50
1080i/59.94, 1080i/50,
1080p/23.976, 1080p/25,
1080p/29, 720p/59,
720p/50,1920 x 1080,
1280 x 720
4
4
4
4
4
8
Sony XDCAM EX 25Mbits 1080i/59.94, 1080i/50,
1080p/23.976
2 or 4
Sony XDCAM EX 35 Mbits 1080i/59.94, 1080i/50,
1080p/23.976, 1080p/29.97,
1080p/25, 720p/59,
720p/50, 1920 x 1080,
1440 x 1080, 1280 x 720
2 or 4
Sony XDCAM EX DV-AVI:
DV 25 411
DV 25 420
SD NTSC 30i and PAL 25i
SD PAL 25i
2
Sony, Canon DVCAM:
DV 25 411
DV 25 420
SD NTSC 30i and PAL 25i
SD PAL 25i
4
Canon DVCPRO:
DV 25 411 SD NTSC 30i and PAL 25i
2
Canon DVCPRO HD 720p
1080i
4
Canon DVCPRO 50:
DV 50 SD NTSC 30i and PAL 25i
4
The Avid Media Access (AMA) Workflow
407
The Avid Media Access (AMA) Workflow
Avid Media Access (AMA) is a plug-in architecture that lets you link directly to clips from a
third-party volume (for example, a P2, XDCAM or GFCAM device) or to a file based media clip
(for example, QuickTime or MXF) into a bin without storing the media directly on your system.
AMA lets you be more productive by browsing and editing directly from the device or volume.
The bin lets you log, browse, and view these clips in the usual way. Once the third-party device is
disconnected, the bin still exists with the clips, although the media displays as offline. When you
reconnect the device, the media appears online. The system automatically displays the media;
you do not need to mount the drives.
The AMA method also allows for more metadata to be brought into the bin which gives you
more information about the media. For example, essence marks (or markers) associated with the
clip are automatically brought into your bin.
To display metadata information in your bin, see “Adding a Metadata Bin Column Heading” on
page 342.
Sony, Ikegami MPEG IMX:
MPEG 30
MPEG 40
MPEG 50
SD NTSC 30i and PAL 25i
SD NTSC 30i and PAL 25i
SD NTSC 30i and PAL 25i
4 or 8
Sony MPEG-4 (proxy media) SD NTSC 30i and PAL 25i 4 or 8
Canon XF MPEG-2 HD 50 and 35Mbits
25Mbits
1920 x 1080, 1280 x 720
1440 x 1080
4
Ikegami MPEG-2 HD LongGOP 50
Mbits
1080i/59.94, 1080i/50,
1080p/23.98 pulldown,
1080p/29.97, 1080p/25,
720p/59, 720p/50, 720p/25,
720p/23.98 pulldown, 1440
x 1080
4
n1080p/23.98 pulldown and 720p/23.98 pulldown record at 59.94fps and
are only compatible with 1080i/59.94 and 720p/59.94 projects.
1080p/29.97 records as PSF at 59.94fps and is only compatible with
1080i/59.94 projects. 1080p/25 and 720p/25 record as PSF at 50fps and
are only compatible with 1080i/50 and 720p/50 projects.
Company Resolution/Bit Rate Raster/Frame Rate
Number of
Audio
Channels
(maximum)
The Avid Media Access (AMA) Workflow
408
The following considerations and limitations apply:
• When the AMA setting is activated, the non-AMA method does not appear in the File menu.
Deactivate the AMA setting to display the File > Import P2 (and Import XDCAM Proxy)
option. The AMA setting is on by default.
• The Link to AMA File(s) menu choice is available for third-party AMA file based media
plug-ins. To see the available AMA plug-ins available to download for your Avid editing
application, go to www.avid.com/ama.You must have a third-party plug-in installed on your
system for the option to display.
• Windows UNC (Universal Naming Convention) paths are supported with AMA media. You
can move your AMA bins from a Windows system to a Macintosh system and from a
Macintosh system to a Windows system. The media files need to reside in the same shared
location when you move the bins to and from different operating systems.
• Do not AMA link to a volume or file if the file path name has an illegal character. AMA
clips display offline if the file path name you are linking to contains illegal characters,
including: < > : “ / | ? *.
• When you render an audio effect on an AMA media clip, all audio media files are written as
PCM (MXF), regardless of what you set for the audio file format.
• The Dynamic Relink option is not supported with AMA clips.
• Avid does not support MultiCamera editing with AMA clips.
• You should not mix workflows. Either use the AMA method or use the traditional
import/batch import method.
Selecting the AMA Settings
You can set options in the AMA Settings dialog box to turn AMA on or off (on by default), to
automatically mount your volumes, to customize your bin, and to set audio channel linking
options.
To check for and download additional or updated AMA plug-ins, click the link to
www.avid.com/ama.
To set up AMA:
1. In the Project window, click the Settings tab.
2. Double-click AMA.
The AMA Settings dialog box appears.
The Avid Media Access (AMA) Workflow
409
3. Click the Volume Mounting tab.
4. Select “Enable AMA Volume Management.”
By default, this option is selected. If you deselect the option and then reselect it, you must
quit and restart your Avid editing application. When this option is selected, the
File > Import menu item is no longer available.
5. If you want the system to automatically scan drives (volumes) every time, select the option
“When mounting previously mounted volumes, do not check for modifications to the
volume.” This option is off by default.
6. If you remount a volume, deselect the option “When mounting previously mounted volumes,
do not check for modifications to the volume,” and the system checks the modification date
of the device or drive against the last time the clips were linked. If the date is the same, the
clips come back online. If the date is different, the system links the clips again, and links any
new clips added to the volume. This option is off by default.
nIf you restart your Avid editing application, the system automatically rescans the drives
regardless of the options you’ve selected.
7. To customize your bin, click the Bins tab.
By default, the system links your clips into a new bin using the same name as your project
name. If you want to change the bin name or want to use an already existing bin, you can
make these changes in the Bins tab.
For more information on Bins options, see “AMA Settings: Bins Tab” on page 1289.
The Avid Media Access (AMA) Workflow
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nDepending on your AMA Settings, every time you insert a card into a reader , the system creates
a new bin whether the same card or device has been previously inserted or not.
8. To map source audio channels to multichannel or mono tracks in your clips, click the Link
Options tab, and then click Edit.
The Set Multichannel Audio dialog box opens. For information on setting multichannel
audio options, see “Linking to AMA Multiple Resolution Media” on page 416.
9. Click OK.
Viewing Installed AMA Plug-ins
Once you download and install a third-party plug-in from www.avid.com/ama, you can enter a
console command to view a list and the version number of the plug-ins installed on your system.
To display the list of installed AMA plugins:
1. Select Tools > Console.
2. In the command entry text box, type:
AMA_ListPlugins
3. Press Enter (Windows) or Return (Macintosh).
AMA_ListPlugins displays a list of the plugins installed on your system.
Understanding Linking with AMA
Linking lets you point to media on a device or point to the media directly on your system. The
media physically resides on your system or it can reside on an external device. The device can be
a camera, a card reader, an optical disk, a virtual volume on your desktop or on a server. The
media points to the most recent source. For example, if you link the clips to a virtual volume on
your desktop, the drive column displays the desktop as the location where the clips are linked to.
If you then insert a card into a reader with the same media, the clips point to the media on the
card. If you remove the card, the clips point to the media on the card and the clips appear offline.
The card being the most recent source. Once the card is reinserted, the clips in the bin appear
online.
AMA Linking with Ancillary Data
You can AMA link to an XDCAM or an MXF (SMPTE 436M) clip with ancillary data, the
ancillary data appears in your bin. You can link to the ancillary data clip without an Avid
input/output hardware, however, in order to view the ancillary data in a monitor, an Avid Nitris
DX or Avid Mojo DX device is required.
For information about ancillary data and data tracks, see “Preserving HD Closed Captioning and
Ancillary Data” on page 1069 and “Data Track Method” on page 1070.
The Avid Media Access (AMA) Workflow
411
AMA Linking with Multichannel Audio
You can use the AMA Settings dialog box to define the audio track formats for the audio
channels in your linked media, up to a maximum of 16 audio channels for the clips in your bins.
This allows you to specify which source channels are treated as mono or multichannel audio
tracks in your project, rather than having to modify the clips in your bin after you link to the
AMA media.
The mappings affect all media clips created when you link to your source media. If you want to
use different mixes for different master clips or different projects, create a custom AMA Settings
template for each separate type of mix and then create your linked master clips.
Each stereo track requires two channels, but you can mix mono and stereo input channels for
your linking operation as long as you do not exceed the maximum of 16 audio channels for each
master clip.
To specify the multichannel audio mix for linked AMA clips:
1. In the Project window, click the Settings tab.
2. Double-click AMA.
The AMA Settings dialog box appears.
For information about the AMA Settings, see “AMA Settings” on page 1289.
3. Click the Link Options tab.
The Link Options tab lists any multichannel audio mappings in the current AMA Settings
template.
The Avid Media Access (AMA) Workflow
412
4. Click Edit.
The Set Multichannel Audio dialog box opens.
5. Click the format buttons to select one of the following audio track formats for each pair of
source channels:
Button Track Format
Mono
Stereo
The Avid Media Access (AMA) Workflow
413
You must map source audio channels in mono or stereo pairs. For example, you cannot map
A1 to a mono track and A2 and A3 to a stereo track. Instead, map A1 and A2 to mono tracks,
and A3 and A4 to a stereo track. If the source media does not have an audio channel on A2,
the Avid editing application ignores the channel.
6. Click OK to close the Set Multichannel Audio dialog box, and then click OK to close the
AMA Settings dialog box.
The Track Formats column in the bin Text view displays the format for all multichannel
audio tracks in a master clip.
To save a custom map of linked audio channels as a settings template:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click AMA.
3. Select Edit > Duplicate.
A duplicate setting appears in the Settings list.
4. Name the setting by doing the following:
a. Click the custom name column.
b. Type a name.
c. Press Enter (Windows) or Return (Macintosh).
nThe custom name column is the center column in the Project window. When you move the pointer
over the custom name column, the pointer changes from a pointing finger to a text insertion bar.
You can select this new setting whenever you link clips with AMA.
Linking Media with AMA
Use the File > Link to AMA Volume(s) option if you link to media which originates on a volume
(XDCAM EX, XDCAM, P2, RED or GFCAM). You can also use File > Link to AMA
Volume(s) if you want to link to multiple QuickTime files located in a single folder. If you link
directly to a single media file clip, use the File > Link to AMA File(s) option.
nFor optimum viewing and playing, Avid recommends a single clip length should not exceed more
than 12 hours.
nThe decompose option from the Clip menu is not available with AMA. You do not need to
decompose clips when you use the AMA method.
The Avid Media Access (AMA) Workflow
414
To automatically link clips on a volume with AMA:
1. Connect the drive, card reader or device through a USB or FireWire port on your computer,
insert a card or disk.
The system scans the device and links the clips into the default bin and with the default
multichannel audio track formats (based on the AMA settings). A link icon appears next to
the clip.
To change the default bin, bin name, or audio track format, from the Project window
double-click AMA Settings and select options from the Bins and Link Options tabs. For
more information, see “AMA Settings” on page 1289 and “Linking to AMA Multiple
Resolution Media” on page 416.
To manually link clips from a virtual volume with AMA:
1. Select File > Link to AMA Volumes.
The Browse For Folder dialog box opens.
2. Navigate to the P2, XDCAM, RED, GFCAM clips or the QuickTime folder, and then click
OK.
For P2, navigate one level above the Contents folder. For XDCAM disks, navigate to one
level above the Clip folder. For XDCAM EX, navigate to one level above the BPAV folder.
For RED, navigate to the root directory of the RED card. For GFCAM, navigate to the root
directory of the GFPAK. For QuickTime, navigate to the QuickTime folder that holds the
QuickTime files.
Depending if you are using an existing bin or creating a new bin, the Bin Selection dialog
box opens.
The Avid Media Access (AMA) Workflow
415
3. Select Bin Selection options.
nIf you relink a sequence and the bin that stores the AMA referenced clips is closed, the media
does not relink. Before you relink, open the bin of the referenced clips.
4. Click OK.
The clips appear in the bin or bins depending on the options you selected. A link icon
appears next to the clips.
To link clips from a file with AMA:
1. Select File > Link to AMA File(s).
You can also right-click a bin and select Link to AMA File(s).
nThe system ignores the settings you have selected in the AMA Volume Mounting settings.
2. If there is no active bin, a dialog box appears asking you to select a bin.
The Select file(s) for AMA linking dialog box opens.
3. From the AMA Plugin Filter menu, select the type of file.
4. Select the file(s) you want to link. Ctrl+click or Shift+click to select multiple files.
Option Description
Single Bin Based On Selected Folder Places all linked clips into one default bin.
Single Bin Named Lets you create a new bin and type in a new bin name.
Places all linked clips into that bin.
Bin(s) Based on Current AMA
Setting
Places the clips in the bin(s) you set up in the AMA
Settings Bins tab.
Bin(s) Based on Subfolders Places the clips in bin(s) based on their subfolders.
Top Bin Window Places the clips in the active bin.
Option Description
All AMA Plugins Files Searches and displays all files.
QuickTime Searches and displays only QuickTime files.
MXF Searches and displays only MXF files.
RED R3D Searches and displays only RED files.
The Avid Media Access (AMA) Workflow
416
5. Click Open.
The clips appear in the active bin with the default multichannel audio track formats (based
on the AMA settings). A link icon appears next to the clips.
If the system cannot link a file, an error message displays informing you to open the Console
window for more information about the file(s) in error.
If you move the clip from the original drive to another drive on your system, the clip displays
as offline in your bin.
nIf you move a source file from one location to another and then back to the original location, you
might need to refresh the bin to redisplay the clip. Close and reopen the bin to refresh the bin.
Working with AMA Multiple Resolution Media
If you choose to link to low-resolution media, you can link to any combination of proxy or
high-resolution audio or video media. For instance, you can link to the most compressed (proxy)
video and the highest quality audio.
Disks can take some time spinning up to link the high-resolution media, so linking to the
low-resolution media saves you time. You can edit with the low-resolution media and once you
are finished, you can relink to the high-resolution media.
At this time, Avid AMA supports linking to multiple resolution XDCAM media only.
For specific XDCAM multiple resolution workflow steps, see “Workflow for Editing XDCAM
Multiple Resolution Clips with AMA” on page 424.
Linking to AMA Multiple Resolution Media
Before you link to low-resolution or high-resolution media, you need to select the video and
audio quality in the AMA Settings Quality tab.
The steps below highlight linking to low-resolution media. You can also link to high-resolution
media.
nFor information about linking with AMA, see “The Avid Media Access (AMA) Workflow” on
page 407.
To link to low-resolution media:
1. In the Project window, click the Settings tab.
2. Double-click AMA.
The AMA Settings dialog box appears.
The Avid Media Access (AMA) Workflow
417
For information about the AMA Settings, see “AMA Settings” on page 1289.
3. Click the Quality tab.
4. Click the appropriate resolution for your video in the AMA Link Preference section, and
click OK.
If a particular resolution is not available, it will be grayed out.
5. Insert the disk into the device.
6. Select Bin Selection options from the Bins tab.
For information on bin selection options, see “Linking Media with AMA” on page 413.
7. Select File > Link to AMA Volume.
The Browse for Folder dialog box opens.
8. Navigate to the clips, and then click OK.
The clips appear in the bin or bins depending on the bin options you select. A link icon
appears next to the clips.
The Video column in the bin displays the project type of the clip.
The Avid Media Access (AMA) Workflow
418
Switching Between Multiple Resolution Media
Once you link to the low-resolution or high-resolution media and complete your edits, you can
easily switch from low to high and high to low-resolution media. When you switch to a different
resolution, the system replaces the clip in the bin with the new clip and resolution.
The steps below highlight switching from low-resolution to high-resolution media. You can also
switch from high-resolution to low-resolution.
nFor XDCAM, if you use the Sony PDZ-1 software to assign a User Disc ID, the Avid editing
system displays this information in a bin column and knows what disk name is associated with
each clip.
To switch from low-resolution to high-resolution media:
1. Insert the disk in the device.
2. Select the low-resolution clips in the bin.
3. Right-click the bin and select Modify AMA Resolutions.
The AMA Resolutions Quality dialog box appears.
4. Click the Highest Quality for your video (audio is always set to Highest Quality) and click
OK.
The highest quality clips replace the most compressed (low-resolution) clips in the bin. A
link icon appears next to the clips.
If the bin contains clips from multiple volumes, you will be prompted to insert another disk.
Consolidating Multiple Resolution Media
When you are ready to move your media to shared storage, you can link to your resolution and
consolidate at the same time.
The Avid Media Access (AMA) Workflow
419
The steps below highlight consolidating high-resolution media. You can also consolidate
low-resolution media.
For information on why you should consolidate, see “Consolidating Media” on page 445.
To consolidate high-resolution media:
1. In the Project window, click the Settings tab.
2. Double-click AMA.
The AMA Settings dialog box appears.
For information about the AMA Settings, see “AMA Settings” on page 1289.
3. Click the Quality tab.
4. Click the appropriate resolution for your video in the Consolidate Preference section, and
click OK.
If a particular resolution is not available, it will be grayed out.
5. To consolidate the clip, follow the steps in “Using the Consolidate Command” on page 447.
The resolutions you select in the Consolidate Preference area of the AMA Settings Quality
tab displays in the Transcode/Consolidate dialog box when you consolidate or transcode.
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Relinking to AMA Files
After you link AMA QuickTime files into your sequence, you have the option to make changes
(in a third party applications, such as Adobe After Effects) to that file. If you change the filename
or change the location of the file, the best way to link that clip back into your sequence is through
the relink option. Relinking to an AMA file allows you to link to a different file. This process
only works if the targeted file is compatible with the old file, for example the file has the same
duration, edit rate or number of tracks.
This feature is helpful when you have a group of linked clips that were moved to a different
folder or drive. You can relink the clips to the new location. You can also use this feature to
toggle between different versions of a QuickTime movie, for example a low-resolution version of
the movie is myMovie_DV.mov and the high-resolution version of the movie is
myMovie_1to1.mov. You can relink to both of these versions, to see which clip works better in
your sequence.
At this time, Relink to AMA File(s) is only available with AMA QuickTime files.
To relink to an AMA QuickTime file:
1. Link to an AMA QuickTime file.
A link icon appears next to the clip in the bin.
For information on linking, see “Linking Media with AMA” on page 413.
2. If you then decide to change the original clip in the bin in your third-party application, create
the new movie file.
3. In your bin, Ctrl+click (Windows) or Command+click (Macintosh) or right-click the clip or
clips you want to relink.
4. Select Relink to AMA File(s).
The Select file to relink AMA clip dialog box opens asking you to locate the new file.
5. Locate the new file.
If you have multiple clips selected in the bin, the system prompts you for the location of
each file, one at a time.
6. Click Open.
The new clip highlights in the bin.
nIf the new file is not compatible with the clip in the bin (it does not have the same duration, edit
rate or number of tracks), the clip in the bin retains its original link.
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The AMA Plug-in Log File
The Avid system creates an AMA plug-in log file when you link clips. The log file records errors
and information about the clips. If you experience any problems while you link clips or if you
receive an error message, check the AMA log file to get more information about the error (for
example: a corrupt file or a bad filename). You can view the log file from the following location
on your system:
• (Windows) drive:\Program Files\Avid\Media Composer\Avid FatalError Reports. The name
of the log file is AMALoggerMM_DD_YY.log.
• (Macintosh) Volume/Users/Shared/AvidMediaComposer/Avid FatalError Reports. The
name of the log file is AMALoggerMM_DD_YY.log.
Using Virtual Volumes
You can use a virtual volume to copy media from a card or disk. This lets you use the card or disk
again. A virtual volume can be a folder on your desktop or a folder located on a server. However,
the virtual volume folder should reside one level down from the root level in order for the system
to display it as a virtual volume. The following are examples of virtual volumes:
•C:\Desktop\BPAV
• Z:\P2\Card 1
• Z:\GFPAK\
When linking to AMA volumes, the system looks into folders up to two levels deeper. This is
helpful when linking to AMA volumes that contain left and right stereoscopic files/folders.
With the AMA method, all drives and virtual volumes associated with your bin mount
automatically. You cannot remove a volume while in AMA, however you can remove a virtual
volume.
To unmount a virtual volume:
1. Choose File > Unmount.
The Unmount dialog box opens.
2. Select the virtual volume you want to remove.
3. Click OK.
The system removes the virtual volume from your system and clips linked to this virtual
volume appear offline. When you restart your Avid editing application, the system scans the
system for virtual volumes and the clips appear online.
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Virtual Volumes and AMA Bins
If you select Volume Name in the AMA Bin Settings tab, the system names the bin the same
name as the virtual volume drive name. If you continue to use the same virtual volume to link
other media through AMA, the system continues to place the linked media in the same bin. If
you want to create a new bin for different types of media you link through AMA, you can either
create a new virtual volume drive for each type of media (XDCAM, XDCAM EX, P2, GFCAM,
etc.) or you can create a new bin every time you link to new media on a virtual volume.
To create a new bin on the same virtual volume:
1. Before you link your media through AMA, click the Settings tab in the Project window.
2. Double-click AMA.
3. Click the Bins tab.
4. Select “Create a new bin” and specify a new bin name.
5. Click OK.
6. Select File > Link to AMA Volumes.
The media appears in the newly created bin. Repeat these steps for each type of media.
Deleting Clips
You can delete master clips, but you cannot delete media files that reside on drives. Your Avid
editing application treats files as read-only devices.
You can delete master clips and media files the same way you delete other master clips and
media files. However, you might not be able to delete files that you moved rather than copied. If
you cannot delete master clips and media files, first unlock the clips as described in the second
procedure, and then delete them.
To delete files from cards/volumes:
1. Quit your Avid editing application.
2. On the desktop, navigate to the drive.
3. Select the files you want to delete and press the Delete key.
To delete files on a local drive in your Avid editing application:
1. In a bin, select the clips you want to delete.
2. (Option) Right-click and select Unlock Bin Selection.
3. Press the Delete key.
The Delete dialog box opens.
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4. Select Delete master clips and Delete associated media files.
5. Click OK.
Workflows for Editing with AMA
The following topics include high-level procedures of a typical workflow you might use when
you edit with a particular media type and AMA.
Workflow for Editing XDCAM and XDCAM EX Clips with AMA
The following steps describe a typical workflow for editing XDCAM and XDCAM EX clips
with AMA.
nDo not mix AMA and traditional workflows. Either use AMA when you work with an XDCAM
device or use the traditional import/batch import workflow.
You should be aware of the following:
• Playback performance from an optical disk is very slow. To create a sequence with multiple
effects or layered tracks, Avid suggests that you consolidate the media to a local drive,
instead of working directly from the optical disk.
• Avid has turned off redrawing of waveforms in the Timeline when you link to XDCAM clips
that reside on a disk. This allows for a faster linking process. When the media is
consolidated, the waveforms redraw.
• When you link XDCAM clips from an optical disk, Avid recommends that you do not
display the bin in Frame view or Script view due to performance issues.
A typical workflow is as follows:
1. The Sony XDCAM and XDCAM EX AMA plug-in should be installed on your system.
2. For XDCAM, install the appropriate Sony XDCAM drivers.
You do not need drivers for XDCAM EX.
3. Insert the XDCAM disk or XDCAM EX card.
The system links the XDCAM clips into a bin. The media itself remains on the disk. The
clips point directly to the high-resolution media on the disk.
For XDCAM clips from an optical disk, a progress bar appears to show you how much time
is left to link the media.
nIf you use multiple cards and you remove one of the cards, your media displays offline.
4. Use the master clips to edit the sequence.
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5. (Option) Rename the clips to help organize your material.
6. You can either transfer your media to your hard drive and then transcode or consolidate your
sequence or clips, or consolidate directly from the XDCAM disk.
nWhen you consolidate, if you want to keep your AMA clips linked to the original source, select
the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files
dialog box.
Consolidating your media helps when you work with multiple cards. If you remove a card
from the reader, consolidating lets you view your sequence with all the media online.
Due to the design of the Nitris input/output hardware, playback of XDCAM or XDCAM EX
media on an Avid Symphony using Nitris causes dropped frames. To allow for full
performance playback, transcode the XDCAM media into DNxHD media to play the video
on your Avid Symphony system with Avid Nitris input/output hardware.
n For information on consolidating your sequence, see “Consolidating Media” on page 445. For
information on transcoding your sequence, see “Using the Transcode Command” on page 451.
7. Remove the XDCAM disk or XDCAM EX card.
Workflow for Editing XDCAM Multiple Resolution Clips with AMA
The following steps describe a typical workflow for editing XDCAM multiple resolution clips
with AMA.
nDo not mix AMA and traditional workflows. Either use AMA when you work with an XDCAM
device or use the traditional import/batch import workflow.
You should be aware of the following:
• Playback performance from an optical disk is very slow. To create a sequence with multiple
effects or layered tracks, Avid suggests that you consolidate the media to a local drive,
instead of working directly from the optical disk.
• Avid has turned off redrawing of waveforms in the Timeline when you link to XDCAM clips
that reside on a disk. This allows for a faster linking process. When the media is
consolidated, the waveforms redraw.
• When you link XDCAM clips from an optical disk, Avid recommends that you do not
display the bin in Frame view or Script view due to performance issues.
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A typical workflow is as follows:
1. Use Sony’s PDZ-1 software to associate your low-resolution clips with metadata to identify
the clip in the Avid bin. This includes entering a User Disc ID in the Disc Properties
window.
2. The Sony XDCAM and XDCAM EX AMA plug-in should be installed on your system.
3. Install the appropriate Sony XDCAM drivers.
4. In the Project window, click the Settings tab.
5. Double-click AMA.
The AMA Settings dialog box appears.
6. Click the Quality tab.
7. Click the appropriate resolution for your video and audio in the AMA Link Preference
section, and click OK.
8. Insert the XDCAM disk in the XDCAM device.
9. Select Bin Selection options from the Bins tab.
For information on bin selection options, see “Linking Media with AMA” on page 413.
10. Select File > Link to AMA Volume.
The Browse for Folder dialog box opens.
11. Navigate to the XDCAM clips, and then click OK.
The clips appear in the bin or bins depending on the bin options you selected. A link icon
appears next to the clips.
12. Edit the sequence.
13. Right-click the bin and select Modify AMA Resolutions to relink your low-resolution to
high-resolution media.
14. To consolidate your media, see “Consolidating Multiple Resolution Media” on page 418.
nWhen you consolidate, if you want to keep your AMA clips linked to the original source, select
the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files
dialog box.
15. Click the Highest Quality for your video and audio and click OK.
The highest quality clips appear in the bin along with the low resolution (most compressed)
clips. A link icon appears next to the clips.
If the system cannot find the corresponding low-resolution clip, it might be because you
inserted the wrong XDCAM disk. If you insert the wrong disk, the system displays a
message that informs you to insert the correct disk. If you used Sony’s PDZ-1 software and
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provided a disk name in the User Disc ID field, the system message displays the disk label
name. If you did not use the PDZ-1 software, the system asks you to insert the disk
containing the (low-resolution) clip selected in the bin.
16. Remove the XDCAM disk.
Workflow for Editing P2 Clips with AMA
The following steps describe a typical workflow for editing P2 clips with AMA.
nDo not mix AMA and traditional workflows. Either use AMA when you work with a P2 device or
use the traditional import/batch import workflow.
A typical workflow is as follows:
1. The Panasonic P2 AMA plug-in should be installed on your system.
2. Install the appropriate Panasonic P2 driver.
3. Mount one or more P2 cards (up to five).
The system links the P2 clips automatically into a bin.
nIf you use multiple P2 cards and you remove one of the cards, your media displays offline.
4. Use the master clips to edit and output a sequence.
5. (Option) Rename the clips to organize your material.
6. Consolidate or transcode your sequence or clips.
The media consolidates to the destination you set in the Media Creation dialog box.
Consolidating your media helps when you work with multiple P2 cards. If a card is removed
from the reader, consolidating lets you view your sequence with all the media online.
nWhen you consolidate, if you want to keep your AMA clips linked to the original source, select
the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files
dialog box.
nWhen you transcode a sequence, the system automatically defaults to convert both audio and
video. You cannot transcode video only with P2.
n For information on consolidating your sequence, see “Consolidating Media” on page 445. For
information on transcoding your sequence, see “Using the Transcode Command” on page 451.
7. Remove the P2 card.
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Workflow for Editing AVCHD Clips with AMA
The following steps describe a typical workflow for editing AVCHD clips with AMA.
nDo not mix AMA and traditional workflows. Either use AMA when you work with an AVCHD
device or use the traditional import/batch import workflow.
A typical workflow is as follows:
1. Install the AVCHD AMA plug-in on your system.
2. To link to an entire volume, attach the camera and insert a card, disc or drive.
The system links the AVCHD clips automatically into a bin.
nIt is highly recommended for performance reasons, that you copy the entire media volume to an
external HD drive if you plan on copying media from a card. You may have to use the Link to
AMA Volume command if the files do not automatically link.
nIf you use multiple AVCHD cards and you remove one of the cards, your media displays offline.
nYou must activate the Dolby AC-3 codec the first time you AMA link to an AVCHD clip. If you are
connected to the Internet, activation is automatic. If you are not connected to the Internet, the
system opens a dialog box and then the Avid License Control tool. Follow the onscreen
instructions to activate this feature. If you select multiple clips, select “Do not show this dialog
again,” to avoid the dialog box from reopening.
3. To link to an individual AVCHD file, with the camera and card, disc or drive inserted, select
File > Link to AMA File(s).
The Select file(s) for AMA linking dialog box opens.
4. From the AMA Plugin Filter menu, select AVCHD.
5. Locate and select the .mts file(s) you want to link. Ctrl+click or Shift+click to select multiple
files.
6. Click Open.
The clips appear in the active bin. A link icon appears next to the clips.
7. Use the master clips to edit and output a sequence.
8. (Option) Rename the clips to organize your material.
9. Transcode your sequence or clips.
nWhen you transcode a sequence, the system automatically defaults to convert both audio and
video. You cannot transcode video only with AVCHD.
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n For information on transcoding your sequence, see “Using the Transcode Command” on
page 451.
Workflow for Editing Canon XF Clips with AMA
A typical workflow is as follows:
1. The Canon XF AMA plug-in and the MXF AMA plug-in should be installed on your
system.
2. Mount the flash cards.
The system links the Canon XF clips automatically into a bin.
nIf you use multiple flash cards and you remove one of the cards, your media displays offline.
3. Use the master clips to edit and output a sequence.
4. (Option) Rename the clips to organize your material.
5. Consolidate or transcode your sequence or clips.
The media consolidates to the destination you set in the Media Creation dialog box.
Consolidating your media helps when you work with multiple P2 cards. If a card is removed
from the reader, consolidating lets you view your sequence with all the media online.
nWhen you consolidate, if you want to keep your AMA clips linked to the original source, select
the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files
dialog box.
n For information on consolidating your sequence, see “Consolidating Media” on page 445. For
information on transcoding your sequence, see “Using the Transcode Command” on page 451.
6. Remove the flash card.
Workflow for Editing GFCAM Clips with AMA
A typical workflow is as follows:
1. The GFCAM AMA plug-in should be installed on your system.
2. Insert the GFPAK.
Your Avid editing system links the GFCAM clips automatically into a bin. The media itself
remains on the disk. The clips point directly to the high-resolution media on the disk.
nIf you use multiple GFPAKs and you remove one of the GFPAKs, your media displays offline.
3. Use the master clips to edit the sequence.
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4. (Option) Rename the clips to organize your material.
5. Consolidate or transcode your sequence or clips.
Consolidating your media helps when you work with multiple GFPAKs. If a GFPAK is
unplugged, consolidating lets you view your sequence with all the media online.
nWhen you consolidate, if you want to keep your AMA clips linked to the original source, select
the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files
dialog box.
nWhen you transcode a sequence, the system automatically defaults to convert both audio and
video. You cannot transcode video only with GFCAM.
6. Disconnect the GFPAK.
Workflow for Editing RED Clips with AMA
Once you have linked the RED clips from a RED drive or card, you can transcode the media
from your sequence. Transcoding your media is helpful when you work with multiple
resolutions.
nYou cannot consolidate the RED media in your Avid editing application.
A typical workflow is as follows:
1. The RED AMA plug-in should be installed on your system.
2. Attach the RED drive or insert a REDFlash card.
Your Avid editing system links the RED clips automatically into a bin. The media itself
remains on the disk. The clips point directly to the high-resolution media on the disk. All
metadata information displays as columns in the bin.
nIf you use multiple cards and you remove one of the cards, your media displays offline.
3. Right-clip the clip in the bin and select Set Source Settings.
For detailed information to set clip parameters, see “Adjusting RED Source Settings” on
page 391.
4. Use the master clips to edit the sequence.
5. (Option) Rename the clips to help you organize your material.
6. Choose the video quality from the Transcode & Consolidate tab of the Media Creation
setting.
For more information, see “Preparing your RED Clip for Transcode, Mixdown, or Render”
on page 399.
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7. Transcode your sequence or clips to an HD or SD resolution.
If you need to output to a resolution higher than HD, then export an AFE of your sequence
for the conform process on an Avid DS. If your high-resolution media is on a shared storage
device and Avid DS has access to the device, Avid DS automatically relinks to the RED
files.
8. Remove the RED drive or card.
Workflow for Editing QuickTime Clips with AMA
There are a few guidelines you should follow when you link QuickTime files through AMA.
When the QuickTime clip appears in your bin, you can make changes to the clip in After Effects
or Final Cut Pro, and have those changes update in the bin. Follow these steps to understand the
QuickTime AMA workflow.
A QuickTime AMA workflow is as follows:
1. The Avid QuickTime AMA plug-in should be installed on your system.
2. Create a QuickTime movie with a supported codec in Adobe AfterEffects or Apple’s Final
Cut Pro.
Avid supports the Same as Source and Custom export settings options when you export with
Avid QuickTime codec.
nSee Adobe and Apple documentation for information on how to create a QuickTime movie.
3. Move the created .mov file onto your Avid editing system.
4. Open a bin.
If there is no active bin, a dialog box appears asking you to select a bin.
5. Select File > Link to AMA File(s).
You can also right-click a bin and select Link to AMA File(s).
nTo link to multiple QuickTime files, use the File > Link to AMA Volume(s) option and select the
folder that stores all the QuickTime files.
nFor information about AMA, see “The Avid Media Access (AMA) Workflow” on page 407.
The Select file(s) for AMA linking dialog box opens.
6. From the AMA Plugin Filter menu, select QuickTime.
7. Locate and select the .mov file(s) you want to link. Ctrl+click or Shift+click to select
multiple files.
8. Click Open.
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The clips appear in the active bin. A link icon appears next to the clips.
9. Use the linked clips to edit your sequence.
10. If you need to change the QuickTime clip in After Effects or FCP, open the existing file in
After Effects or FCP and make the change.
If you change the number of tracks, change the duration of the clip or change the clips file
name, when you relink through AMA, the system creates a new clip and will not overwrite
or replace the existing clip in the bin.
If you change the number of tracks, the duration, or edit rate, but not the file name, any clips
linked to the sequence will unlink and the clips display Media Offline.
nIf you change the file name or the location of the clip, you can Relink to AMA files. For more
information, see “Relinking to AMA Files” on page 420.
11. From your Avid editing application, select Clear Monitor from the Clip Name menu above
the monitors.
This clears the monitors and Timeline of any old clips.
12. Render or export the newly changed QuickTime movie out of AfterEffects or FCP to the
same folder location as the original file. Accept all overwrite prompts. Once the changed
QuickTime movie is exported or rendered, refocus or open (if FCP or AfterEffects are on the
same system) your Avid editing application.
The updated clip appears in your bin (and sequence) and replaces the old clip. If the clip is in
the Source or Record monitor, it also will update.
13. Continue to edit your sequence or consolidate or transcode your sequence or clip.
nWhen you consolidate, if you want to keep your AMA clips linked to the original source, select
the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files
dialog box.
n For information on consolidating your sequence, see “Consolidating Media” on page 445. For
information on transcoding your sequence, see “Using the Transcode Command” on page 451.
Workflow for Editing MXF Clips with AMA
A typical workflow is as follows:
1. The MXF AMA plug-in should be installed on your system.
2. Create a supported MXF file (create a supported MXF file from your third party application,
for example: Rhozet or Omneon).
3. Move the .mxf file onto your Avid editing system.
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4. Select File > Link to AMA File(s).
You can also right-click a bin and select Link to AMA File(s).
nFor information about AMA, see “The Avid Media Access (AMA) Workflow” on page 407.
The Select file(s) for AMA linking dialog box opens.
5. From the AMA Plugin Filter menu, select MXF.
6. Select the file(s) you want to link. Ctrl+click or Shift+click to select multiple files.
7. Click Open.
The MXF clips appear in the active bin. A link icon appears next to the clips.
If the system cannot link a file, an error message displays informing you to open the Console
window for more information about the file(s) in error.
If you move the clip from the original drive to another drive on your system, the clip displays
as offline in your bin.
nIf you move a source file from one location to another and then back to the original location, you
might need to refresh the bin to redisplay the clip. Close and reopen the bin to refresh the bin.
8. Use the linked clips to edit your sequence.
9. (Option) Rename the clips to help organize your material.
10. Consolidate or transcode your sequence or clips.
The media consolidates to the destination you set in the Media Creation dialog box.
nWhen you consolidate, if you want to keep your AMA clips linked to the original source, select
the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files
dialog box.
Workflow for Editing Clips with Ancillary Data and AMA
The following steps describe a typical workflow for editing XDCAM or MXF clips with
ancillary data and AMA.
nDo not mix AMA and traditional workflows. Either use AMA or use the traditional import/batch
import workflow.
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You should be aware of the following:
• You can link to the ancillary data clip without an Avid input/output hardware, however, in
order to view the ancillary data in a monitor, an Avid Nitris DX or Avid Mojo DX device is
required.
• If you consolidate the XDCAM or MXF clip or the sequence that contains the XDCAM or
MXF clip with ancillary data, the ancillary data track stays with the consolidated clip or
sequence. In addition, the Ancillary Data bin column populates with the DID and SDID
numbers once you consolidate or transcode the clip with the ancillary data.
A typical workflow is as follows:
1. The Sony XDCAM or MXF AMA plug-in should be installed on your system.
2. For XDCAM, install the appropriate Sony XDCAM drivers.
3. For an XDCAM clip with ancillary data, insert the XDCAM disk.
The system links the XDCAM clip with ancillary data into a bin. The media itself remains
on the disk. The clips point directly to the media on the disk.
nAncillary data is only supported with high resolution XDCAM clips. A proxy clip does not
contain a data track, however once you relink to the high resolution XDCAM clip, the data track
comes online.
nIf you use multiple cards and you remove one of the cards, your media displays offline.
4. For an MXF clip with ancillary data, select File > Link to AMA File(s).
The Select file(s) for AMA linking dialog box opens.
5. From the AMA Plugin Filter menu, select MXF.
6. Select the file(s) you want to link. Ctrl+click or Shift+click to select multiple files.
The MXF clip appears in the bin along with a new Ancillary Data bin column.
nFor information about AMA, see “The Avid Media Access (AMA) Workflow” on page 407.
7. Use the master clips to edit the sequence.
When you load the clip into a sequence, a Data track appears which contains the ancillary
data.
8. You can then transcode or consolidate your sequence or clips.
nWhen you consolidate, if you want to keep your AMA clips linked to the original source, select
the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files
dialog box.
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When you consolidate the XDCAM or MXF clip or the sequence that contains the XDCAM
or MXF clip with ancillary data, the ancillary data track stays with the consolidated clip or
sequence.
n For information on consolidating your sequence, see “Consolidating Media” on page 445. For
information on transcoding your sequence, see “Using the Transcode Command” on page 451.
11 Managing Media Files
When you capture footage, the system creates digital media files on the media drives connected
to your system. In addition to the bins where you organize the clips that reference these media
files, your Avid editing application provides tools for directly managing these media files. These
tools and features are described in the following topics:
•Working with Media Files in an Avid Interplay Environment
•Using Avid Editing Systems in an Avid LANshare Workgroup
•Viewing Media with a 100Base-T Connection to Avid ISIS
•Understanding Drive Mounting
•Mounting and Unmounting Drives
•Using the Media Tool
•Consolidating Media
•Using the Consolidate Command
•Using the Transcode Command
•Loading the Media Database
•Refreshing Media Directories
•Deleting Unreferenced Clips and Media
•Backing Up Media Files
nIn an Avid Interplay environment, your Avid editing application uses the Interplay Media Indexer
service to keep track of media files in the locations that you identify. As a result, features such as
the Media tool and relinking work differently in an Interplay environment. This chapter includes
notes and cross-references where appropriate. For more information, see “Using MultiRez and
Dynamic Relink” on page 1183 as well as the Interplay documentation.
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Working with Media Files in an Avid Interplay
Environment
If you are using your Avid editing system in an Avid Interplay environment, you can use Avid’s
media asset manager, the Avid Interplay Engine, to share media files between systems. The
Interplay Engine, installed on the Avid Interplay server, is a media database that lets you search
the large number of media objects (master clips, sequences, effects, and any other type of object
that references digital media) in the Avid shared storage environment. You can also use the
Interplay Engine to manage sequences and other media objects whose media is no longer online.
You can then search for these objects, view information about them such as the source tape
name, obtain the source footage, and rerecord or recapture it.
If you want to transfer media from one workgroup to another, you can use the Interplay Transfer
application. Interplay Transfer receives and queues transfer requests from one or more clients.
Transfers are then initiated by the Interplay Transfer server to off load the client. For more
information about the Transfer setting, see the Avid Interplay Transfer Setup and User's Guide.
You can also use Avid Interplay Transfer to share files between workgroups. For more
information about the Interplay Engine and Avid Interplay Transfer, see the Avid Interplay
Access User’s Guide and the Avid Interplay Transfer Setup and User's Guide.
Configuring Avid Editing Systems for the Interplay Engine and Interplay Transfer
Before you can interact with the Avid Interplay Engine and Avid Interplay Transfer, you need to
configure your Avid editing application with the required Interplay settings.
You must specify the Interplay Server location to let your Avid editing application know where
to look for the Interplay Engine on the network. After you specify the network settings, you can
check in clips to and check out clips from the Interplay database. For more information about
Interplay settings, see “Configuring Interplay Settings on the Editing Workstation” on page 1115
and the Avid Interplay Engine and Avid Interplay Archive Engine Administration Guide.
The Interplay Server setting is a Project Setting that applies to all users of a particular Avid
editing system. If you want to access another asset manager, you must modify the Interplay
Server settings to reflect the server.
The directory defined in your Interplay Project settings identifies the Interplay folder location to
which you check in media objects. You can check out objects from a different asset manager by
dragging clips from that asset manager to a bin without changing the Interplay Project settings.
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Using Avid Editing Systems in an Avid Workgroup Environment
When you work with Avid Interplay, you belong to a workgroup that allows you open a bin with
assets stored in the Interplay database. To read and write media to the database you first need to
mount a workspace. For information on mounting workspaces, see “Mounting Workspaces on an
Avid Unity MediaNetwork System” on page 1128 and “Mounting Workspaces on an Avid ISIS
System” on page 1129.
cWhen you are in a workgroup environment using an asset manager server with an
anti-virus utility, you need to turn off any auto-protection feature when you access the asset
manager. You can then turn the auto-protection feature back on. You need to perform this
each time you access the asset manager. In addition, do not perform a live update while the
system use is high. For more information, see your anti-virus documentation.
For information on disconnecting your Avid editing application from the Interplay environment,
see the topic “Disconnecting from the Interplay Environment” in the Avid Interplay Help.
Using Avid Editing Systems in an Avid LANshare
Workgroup
You can use your Avid editing system as a client in an Avid LANshare workgroup. A LANshare
workgroup lets you share media with other clients connected to a high-performance server
through an Ethernet network.
For complete information on using a LANshare workgroup, including system requirements and
supported resolutions, see the LANserver release notes and documentation.
cBecause LANshare workgroups and PortServer workgroups do not support all Avid
resolutions, make sure you specify a supported resolution in your Avid editing application.
For information on supported resolutions, see the LANserver system or PortServer system
documentation.
When you use your Avid editing application with the LANserver system, you need to set up the
client so LANshare workspaces are recognized when you start your Avid editing application.
To enable the client to recognize LANshare workspaces:
1. Open a bin.
2. Double-click PortServer in the Settings list of the Project window
The Port Server Settings dialog box opens.
3. Select “Auto-connect to LANshare at Launch.”
4. Click Connect, and then click OK.
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The dialog box closes, and auto-connect is set.
Viewing Media with a 100Base-T Connection to Avid
ISIS
Avid editors can access MPEG-2 low-resolution video and MPEG-1 Layer II (or MP2)
compressed audio stored on an Avid ISIS media network. This is useful if you connect to the
media network with a 100Base-T connection in a Zone 3 configuration, instead of the higher
bandwidth connection used for Avid ISIS clients in a Zone 1 or Zone 2 configuration. For more
information on Avid ISIS media networks, see the Avid ISIS Setup Guide.
You cannot output, consolidate, or transcode media using MP2 compressed audio. Instead, use
dynamic relink to link the low-resolution media to the high-resolution source media stored on the
media network. You can then output or transcode the high-resolution media.
Understanding Drive Mounting
By default, all media drives connected to your system are listed and can be seen by your Avid
editing application. You can remove one or more drives from the list at any time by using the
Unmount command. For example, if you want to use only some of your drives for a particular
project, select Unmount to prevent other drives from appearing in your Avid editing application.
If the drive being ejected supports the auto-eject feature (for example, Jaz® drives), the command
ejects the disk from the drive. The Unmount command does not remove drives from the
Windows system.
You can unmount one or several drive volumes mounted on the desktop at any time from within
your Avid editing application. You can also remount all the drives and return them to the
desktop. However, you cannot mount selected drives because your Avid editing application
cannot interface with selected drive individually. For more information, see “Mounting and
Unmounting Drives” on page 439.
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439
This is useful in several circumstances:
• If you work with optical drives for backup and retrieval of low-resolution material, you can
unmount drives and mount them as needed to avoid cluttering the desktop during normal
use.
• If you work with an extensive array of fixed-storage drives, which might involve many
partitions divided among several projects, you can selectively mount and unmount drives
according to use.
• If you work with an Avid shared storage environment, you might have to unmount and
remount icons on the desktop. For more information, see the Avid MediaNetwork
documentation. Also, see “Working with Bins and Projects in an Avid Shared Storage
Environment” on page 97.
nOn systems with multiple media drives, unmounting unused drives can improve the performance
of the Media tool. You need to unmount the drives before you open the Media tool. See “Using
the Media Tool” on page 440.
cIf you need to physically add or remove drives, see the documentation that came with your
drive. You cannot physically add or remove drives from your Avid editing application.
Before you physically remove or add drives, shut down your system completely.
Mounting and Unmounting Drives
For more information on mounting and unmounting drives, see “Understanding Drive
Mounting” on page 438.
To mount all drives:
tSelect File > Mount All.
All drives turned on and connected to the system become available to your Avid
editing application.
To unmount a drive or make a drive unavailable to your Avid editing application:
1. With your Avid editing application running, select File > Unmount.
The Unmount Disk or Drives dialog box opens.
The list displays all drives currently available.
2. Select a drive to unmount.
3. Ctrl+click (Windows) or Command+click (Macintosh) to select additional drives.
4. Click Unmount.
The drives are no longer available to your Avid editing application.
Using the Media Tool
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nIf you receive an error message that prevents you from unmounting a drive, it might be that you
have Avid Media Access (AMA) enabled. AMA does not require you to mount and unmount
drives. AMA is on by default. To turn off AMA (and unmount your drive), see “Selecting the AMA
Settings” on page 408.
Using the Media Tool
The Media tool is your window into the captured video and audio data files stored on your media
drives. The Media tool provides similar database tools for manipulating digital media files to
those provided by bins for manipulating clips and sequences.
The Media tool displays media that is stored on local drives (drives directly connected to the
Avid editing system) and on unmanaged shared storage (shared storage that is part of an Avid
shared storage network but is not managed by an Avid asset manager).
In an Interplay environment, the Media tool displays only media that is stored on local drives, see
“Using the Media Tool in an Avid Interplay Environment” on page 441. Use the Media tool to
search for media on local drives, and use the Interplay Engine to search for media on shared
drives.
Basic Media Tool Features
The Media tool provides many of the same controls for viewing and managing information that
you use with bins:
• The three display options in the Media tool function like the bin display views: Text view,
Frame view, and Script view.
• You can use Text View headings and options for columns of clip and media file data. You
can also use procedures such as customizing the display of columns, moving within
columns, and sorting information, as described in “Using Text View” on page 320.
• You can use the same Frame view options described in “Using Frame View” on page 324.
• You can use the same Script view options described in “Using Script View” on page 326.
• The Media Tool Fast menu gives you quick access to the same commands available in the
Bin Fast menu.
• You can highlight, move, copy, duplicate, delete, sort, and sift clips in the Media tool. You
can also select media relatives, source clips, and unreferenced clips, as described in “Bin
Procedures” on page 328.
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441
• Media Tool database and display options are saved as User settings. When you close the
Media tool, the view you are in (Brief, Frame, Script, or Text) is saved and any
customizations of columns are saved.
• You have the option of saving a custom view of the Media tool. Any view created in the
Media tool is available from all bins and all custom bin views are available in the Media tool
from the Views menu. For more information on creating customized views, see “Saving a
Custom Bin View” on page 323.
nMedia Tool views are saved as User settings and appear in the Settings list in the Project window
as bin views.
• You can print Media Tool data by using the same procedures for printing bins, as described
in “Printing Bins” on page 367.
The Media tool also has a number of unique functions:
• Unlike a bin, the Media tool can display all the tracks captured for each clip as separate
media files. Therefore, when you view, delete, and manipulate files, you have the added
option of specifying individual video and audio tracks.
• Unlike a bin, the Media tool does not display sequences and subclips. Only master clips,
precompute (rendered effect) clips, and associated media files are available for display.
• The following Bin menu commands do not apply to the Media tool: Batch Capture, Batch
Import, Relink, Modify, AutoSync, and AutoSequence. You must perform these functions
from a bin.
Using the Media Tool in an Avid Interplay Environment
On an editing system in an Avid Interplay environment, the Media tool displays only media that
is stored on local drives. When you use the Media tool to search for media on a local drive, the
Interplay Media Indexer (an Interplay service) searches its database and determines if media is
online. If the media is online, it tells the Media tool to display it. However, the Media Indexer
keeps track of media only if the media is on indexed storages (storages for which Media Indexer
is configured).
If some media seems to be missing when you use the Media tool, that media might be stored in a
folder not indexed by Media Indexer. If you want to see all local media in the Media tool, all
your local storages must be properly indexed. For information on configuring Media Indexer, see
the installation documentation for Avid Interplay.
Using the Media Tool
442
Opening the Media Tool
To open the Media tool:
1. Select Tools > Media Tool.
The Media Tool Display dialog box opens.
2. Select the media drives from which to load by doing one of the following:
tIn the Media Drive(s) list, select individual media drives.
tClick the All Drives button.
The Media tool loads the media database only for the drives you select. The more drives you
select, the more memory is required for the Media tool to open.
3. Select the projects to load by doing one of the following:
tIn the Projects list, select individual projects.
tClick the Current Project button.
tClick the All Projects button.
Only projects with associated online media and the current project appear in the Project(s)
list in the Media Tool Display dialog box.
4. Select Master Clips, Precompute Clips, Media Files, or any combination of the three.
Using the Media Tool
443
5. Click OK.
The Media tool opens.
Example of media objects in the Media tool. Top to bottom: a master clip, a precompute clip, and a media file.
Deleting Media Files with the Media Tool
You can use the Media tool to delete selected media files without harming the related master
clips, subclips, and sequences.
cIf you use the Media tool to delete selected media files, you no longer have access to visuals
of the deleted material. If you load a clip for which a media file has been deleted, a black
screen appears with the words “Media Offline.” If you need to use those clips again, you
must recapture from tape or reimport graphics.
Depending on your needs, you can do the following:
• Delete selected audio or video tracks and retain other tracks from a clip.
• Delete entire sets of media files and related clips from within the Media tool.
• Delete all unrelated media upon completion of a project, and retain only the media required
for playback of a finished sequence as described in “Consolidating Media” on page 445.
To delete selected media files:
1. Select Tools > Media Tool.
2. Select one or more media files (audio, video, or both) or master clips whose media files you
want to delete.
Using the Media Tool
444
3. Do one of the following:
tSelect Edit > Delete.
tPress the Delete key.
The Delete Media dialog box opens.
4. Select the media objects that you want to delete:
5. Click OK.
A dialog box opens, asking you to confirm the deletion.
6. Click Delete.
Option Description
Video media file (V) After deletion, the master clip linked to that file is black, with the
message “Media Offline” displayed. Related subclips and sequences
are affected in the same way.
Audio media file
(A1, A2, A3, A4, A5,
A6, A7, A8)
After deletion, the master clip linked to that file is silent. Subclips and
sequences created from the master clip are affected in the same way.
Precompute media
file (V, A)
After deletion, the section of the sequence with the effect is black, and
the message “Media Offline” is displayed.
Audio mixdown file
(A)
After deletion, the section of the sequence with the mixdown is silent.
Consolidating Media
445
The selected media files are deleted.
Consolidating Media
When you consolidate media files, your Avid editing application finds the media files or portions
of media files associated with selected clips, subclips, or sequences. It then makes copies of
them, and saves the copies on a target drive that you specify.
There are three basic reasons to use the Consolidate feature:
• To copy media onto one drive for storage or transfer to another system.
• To keep only the media required to play back a sequence, and delete the rest to use less
storage space.
• To create backup files.
nBecause the Media tool displays only master clips, you cannot consolidate subclips or sequences
with the Media tool. You can consolidate master clips, subclips, and sequences in a bin.
The Consolidate feature operates differently, and provides different advantages, depending upon
whether you are consolidating master clips, subclips, or sequences.
Master Clips
When you consolidate a master clip, your Avid editing application creates exact copies of the
media files. If you link the original master clip to the new files, your Avid editing application
creates a master clip with the file name extension .old that remains linked to the old files. If you
maintain the link between the original master clip and the old media files, your Avid editing
application creates a new master clip with the file name extension .new that is linked to the new
media files.
The new master clips are also numbered incrementally beginning with .01. Consolidating master
clips does not save storage space because your Avid editing application copies the same amount
of media for each clip.
Consolidating Media
446
Consolidating a master clip (original clips and media files in red, new clips and media files in black). Top: in this
scenario, the original master clip remains linked to the original media file (for example, on drive A), and the new
master clip (which receives a .new.01 file name extension) is linked to a new copy of the original media file (on drive
B). Bottom: in this scenario, the original master clip is linked to a new copy of the original media file (on drive B), and
the new master clip (which receives a .old.01 file name extension) is linked to the original media file.
Subclips
When you consolidate a subclip or group of subclips, your Avid editing application copies only
the portion of the media files represented in the subclip and creates a new master clip that is the
duration of the subclip and a new subclip. The file name extension .new is attached, along with
incremental numbering beginning with .01.
Consolidating a subclip. Left: the original master clip, the subclip created from it, and its original media file. (on, for
example, drive A). Right: the new master clip, the new subclip, and the smaller subclipped copy of the original
media file (on drive B).
Sequences
When you consolidate a sequence, your Avid editing application copies only the portions of
media files edited into the sequence and creates new master clips for each clip in the sequence.
The file name extension .new is attached to the master clips, along with incremental numbering
beginning with .01. The sequence is not renamed but is automatically relinked to the new media
files.
Consolidate finished sequences to:
• Create backup files.
• Preserve only the captured media required for playback, and delete the rest to use less
storage space.
• Gather dispersed media onto one drive for storage or transfer to another system.
Using the Consolidate Command
447
nBecause a consolidated sequence is linked to the new files by default, consider duplicating the
sequence each time you consolidate if you need to maintain links to the original files.
Consolidating a sequence. Left: the original clips and their media files — consolidating breaks the links between the
sequence and these clips. Right: the new clips and their copied media files — the sequence now links to these new
clips.
Using the Consolidate Command
To consolidate master clips, subclips, or sequences:
1. If you are consolidating a sequence, duplicate the sequence to maintain links to the original
files, if necessary, and render any unrendered effects.
2. Select a clip or sequence.
3. Select Clip > Consolidate/Transcode.
nIf you have any compressed audio (MP2 audio) in the clip or sequence you selected to
consolidate or transcode, a message appears informing you that selected items contain MP2
audio and cannot be consolidated or transcoded. You should relink this MP2 audio to an
uncompressed audio format. If you do not relink to an uncompressed audio format, the selected
clip or sequence with the MP2 audio is skipped.
The Consolidate/Transcode dialog box opens.
Using the Consolidate Command
448
4. Select Consolidate in the upper left corner.
5. In the Target Drive(s) area, select a drive or drives.
6. Select the appropriate options.
Option Description
Video, audio and data on
same drive(s)
Select to store the consolidated media files on the same target
drive. Deselecting this option lets you select separate drives for
the audio, video and data media files.
Using the Consolidate Command
449
Handle length n frames If you are consolidating subclips or sequences, type a handle
length for the new clips, or accept the default: leave it at
60 frames (NTSC), 50 frames (PAL), or 24 frames
(progressive). The handle length is the number of frames
outside the IN and OUT points that you can use for dissolves
and trims with the new, shorter master clips.
Create new sequence(s) Select this option to create a new sequence from the
consolidated clips (appears only if you selected a sequence).
Delete original media files
when done
Select to delete original media files automatically.
Skip media files already on
the target drive
Select to bypass files if some related media files are already
located on the target drive.
Relink selected clips to target
drive before skipping
Select to ensure that all selected clips are linked to media on the
target drive. This option appears when you select “Skip media
files already on the target drive.”
Consolidate all clips in a
group edit
Select to copy media for all clips in a group edit, for
consolidating a group clip or a sequence that contains group
clips.
For more information on group clips, see “Understanding
Grouping and Multigrouping Clips” on page 1229.
Convert Audio Sample Rate Select this option to convert any sample rates not set in the
Sample Rate menu in the Main tab in the Audio Project
Settings window. For information on setting the sample rate,
see “Changing the Audio Sample Rate for Sequences and
Audio Clips” on page 814.
Target Audio Sample
Rate
Select a sample rate for the sequence.
Convert Audio Bit Depth Select this option to convert any sample rates not set in the
Sample Rate menu in the Main tab in the Audio Project
Settings window. For information on setting the sample rate,
see “Changing the Audio Sample Rate for Sequences and
Audio Clips” on page 814.
Target Audio Bit Depth Select either 16 bit or 24 bit.
Convert Audio Format Select this option to convert the audio to the target audio
format.
Option Description (Continued)
Using the Consolidate Command
450
7. Click Consolidate in the lower right corner.
The Copying Media Files dialog box opens.
8. Select an option for how you want your clips to link to the new media.
nIf you want to keep your AMA clips linked to the original source, select the option “Keep Master
clips linked to media on the original drive.”
For more information, see “Consolidating Media” on page 445.
9. Click OK.
Your Avid editing application creates new media files and new clips which are linked
according to your selection.
Another way to back up media files is to copy them directly onto another hard drive by using
the Windows desktop or the Macintosh desktop. You cannot, however, take advantage of the
storage-saving features of the Consolidate command, and it is more difficult to identify
particular media files when searching directly through folders.
cDo not make copies of media files from the Windows desktop or the Macintosh desktop
while your Avid editing application is running. Also, do not keep duplicate copies of media
files online; either delete the originals, take the backups offline, or store the backups in a
folder with a different name.
Target Audio Format Select either OMF (WAVE), OMF(AIFF-C), or MXF (PCM)
audio format. See “Audio Projects Settings: Main Tab” on
page 1292.
Option Description (Continued)
Using the Transcode Command
451
Using the Transcode Command
The Transcode option in the Consolidate/Transcode dialog box lets you create new clips and new
media files that use a different resolution. If you have a sequence composed of clips that use
different resolutions, you can use the Transcode feature to create a sequence in which all clips
use a single resolution. The Transcode option also lets you convert from OMF to MXF, and from
MXF to OMF, except in HD projects where MXF is the only available format.
nThe transcode option does not apply to a data clip.
nFor information to prepare a RED clip for transcode, see “Preparing your RED Clip for
Transcode, Mixdown, or Render” on page 399.
nEven if you change the resolution to a higher quality resolution, your footage will not look better
than the resolution you selected for capture. For example, if you capture your video at 20:1 to
save space and then transcode the sequence to 1:1, the sequence will not look uncompressed.
New clips created through the Transcode operation are in the project format. When you
transcode a clip across formats, for example if you transcode a 16:9 clip in a 4:3 project, the
Reformat bin setting determines how the clip is conformed to the new format. For more
information, see “Modifying the Reformat Attribute for a Clip” on page 586.
To use the Transcode option:
1. Select a clip or sequence in a bin.
2. Select Clip > Consolidate/Transcode.
nIf you have any compressed audio (MP2 audio) in the clip or sequence you selected to
consolidate or transcode, a message appears informing you that selected items contain MP2
audio and cannot be consolidated or transcoded. You should relink this MP2 audio to an
uncompressed audio format. If you do not relink to an uncompressed audio format, the selected
clip or sequence with the MP2 audio is skipped.
The Consolidate/Transcode dialog box opens.
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452
3. Select Transcode in the upper left corner.
4. In the Target Drive(s) area, select a drive or drives.
5. In you are an Interplay environment, with Dynamic Relink enabled, select whether or not to
create new master clips for the transcoded media.
For more information, see “Understanding How Clips are Associated with Multiple
Resolutions” on page 1189.
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453
The Create new clips check box in the Consolidate/Transcode dialog box
6. Click the Target Video Resolution menu, and select a video resolution.
nIf your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected
by default.
7. Select the appropriate options.
Option Description
Video and audio on
same drive(s)
Select to store the transcoded media files on the same target drive.
Deselecting this option lets you select separate drives for the audio
and video media files.
Handle length n frames If you are transcoding subclips or sequences, type a handle length for
the new clips, or accept the default: leave it at 60 frames (NTSC) or
50 frames (PAL). The handle length is the number of frames outside
the IN and OUT points that you can use for dissolves and trims with
the new, shorter master clips.
Using the Transcode Command
454
8. Click Transcode in the lower right corner.
Your Avid editing application creates new media files and clips, according to your
selections.
Create new
sequence(s)
Select this option to create a new sequence from the transcoded clips.
Create new clips In an Interplay environment, with Dynamic Relink enabled, select
this option to create new master clips for the transcoded media. If you
do not select this option, the existing master clip is associated with
both the original media file and the transcoded media file. For more
information, see “Understanding How Clips are Associated with
Multiple Resolutions” on page 1189.
Convert Video Select this option to convert the video to the target video resolution.
Target Video
Resolution
Select a video resolution for the sequence.
Include reformatted
clips already at target
resolution
Select this option if you want to include reformatted clips in the
sequence that are already at the target video resolution.
Your Avid editing application does not normally transcode clips in a
sequence that are already at the target video resolution. However, you
might want to include reformatted clips at the target resolution to
preserve the reformatting.
Convert Audio Sample
Rate
Select this option to convert any sample rates not set in the Sample
Rate menu in the Main tab in the Audio Project Settings window. For
information on setting the sample rate, see “Changing the Audio
Sample Rate for Sequences and Audio Clips” on page 814.
Target Audio
Sample Rate
Select a sample rate for the sequence.
Convert Audio Bit
Depth Conversion
Select this option to convert the audio to the target bit depth.
Target Audio Bit
Depth
Select either 16 bit or 24 bit.
Convert Audio Format Select this option to convert the audio to the target audio format.
Target Audio
Format
Select either OMF (WAVE), OMF (AIFF-C), or MXF (PCM) audio
format. See “Audio Projects Settings: Main Tab” on page 1292.
Option Description (Continued)
Loading the Media Database
455
Loading the Media Database
The media database is a catalog of master clips and precomputes stored on a media drive. One
use of the media database by your Avid editing application is to display master clips and
precomputes in the Media tool.
nThe information in this topic applies only to media on local drives or on unmanaged shared
storage drives. The information does not apply to shared storage managed by Avid Interplay. For
more information, see the Interplay documentation.
Bins contain references to media files based on the contents of the bin. Your Avid editing
application does not maintain the entire database in memory at all times. Instead, it builds up a
partial database for the bins that have been opened in the current session to preserve as much
memory as possible for editing.
If you store the master clips and the edited sequences for a project in separate bins, you need to
load the entire database to relink clips to their media files in the following two cases:
•Recapturing: When you recapture the master clips while the sequences bin is closed, quit
and restart your Avid editing application, and open the sequences bin only—the sequences
might appear to be offline.
•Consolidating: When you consolidate the master clips and relink them to the consolidated
media while the sequences bin is closed, quit and restart your Avid editing application, and
open the sequences bin only—the sequences might appear to be offline.
To update the offline sequences with the new media files:
tSelect File > Load Media Database.
Your Avid editing application loads all online master clips and precomputes.
nYou do not need to load the media database more than once during a single editing session
because the database remains in memory until you quit your Avid editing application or restart
your system.
cIf a bin continues to display the message “Media Offline” after loading the media database,
either the media files are missing or the links have been broken. For more information, see
“Relinking Media Files” on page 458.
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456
Refreshing Media Directories
Each media folder (OMFI MediaFiles and Avid MediaFiles) includes database files for the
media in that folder. The Refresh Media Directories command reexamines all the media folders
(directories) on the system and determines whether any of the files are out of date and need to be
rebuilt. If so, it tells your Avid editing application to rebuild the files.
nThe information in this section applies only to media on local drives or on unmanaged shared
storage drives. The information does not apply to storages (local or shared) that are managed by
Avid Interplay. For more information, see the Interplay documentation.
You should refresh the media directories after you add or remove media from the media drives.
For example, after you have physically moved drives). If you physically add a drive, use the
Mount All command. See “Mounting and Unmounting Drives” on page 439.
nRefreshing media directories can take a long time to execute on systems that have large amounts
of media online.
To refresh media directories:
tSelect File > Refresh Media Directories.
Deleting Unreferenced Clips and Media
Unlike the bin files stored in project folders, media files require considerable storage space.
When you finish either a rough cut or a final version of a sequence, you can quickly free storage
space by deleting the media and clips that are not referenced by the sequence. You perform this
procedure only on clips selected in bins.
To quickly view remaining storage on your media drives at any time:
tOpen the Hardware tool as described in “Using the Hardware Tool” on page 113.
To delete all unreferenced clips and media files:
1. Select the sequence in the bin.
2. Select Bin > Select Sources.
All source clips for the sequence are highlighted in the bin.
cMotion effects are not counted as references by the sequence. If you want to keep motion
effects, Ctrl+click (Windows) or Command+click (Macintosh) any motion effects to add
them to the selection.
3. Click the bin containing the highlighted clips to activate it.
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4. Select Bin > Reverse Selection.
All the clips in the bin that are not source clips for the sequence are now highlighted.
5. Press the Delete key, and then click the check boxes in the Delete dialog box to select the
clips or the media files to delete.
6. Click OK.
The selected clips and media files are deleted.
Backing Up Media Files
The OMFI MediaFiles folders and the Avid MediaFiles folders on your media drives contain the
individual media files created when you captured source material. The OMFI MediaFiles folders
contain the OMF media files. The Avid MediaFiles folders contain the MXF media files.
The options for backing up media files include:
• Using the Consolidate feature, as described in “Consolidating Media” on page 445, to make
copies of selected media files on a target media drive connected to the system or for transfer
to another system.
• Backing up smaller projects captured at low video resolutions to a removable storage device,
such as a hard drive.
• Archiving larger media files and folders to a network storage device.
• Backing up to videotape (interlaced media only). For more information, see “Archiving and
Restoring Media Files to Videotape” on page 467.
nFor information on system archiving procedures, see your Windows documentation or Macintosh
documentation.
Finding a Related Media File
The Reveal File command lets you select a clip in a bin and automatically open its related media
file. This command is useful if you want to delete, move, or label the media file.
To find a related media file:
1. Select the clip in a bin for which you want to find the media file.
The clip is highlighted.
2. Select File > Reveal File.
The system searches all available drives, opens Windows Explorer or the folder (Macintosh),
and highlights related media files.
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(Windows only) If more than one file is related to the clip, a message box asks if you want to
see the next file. If you click OK, you need to bring the Explorer window forward by
pressing and holding the Alt key while pressing the Tab key until you select the OMFI
MediaFiles folder or the Avid MediaFiles folder.
Relinking Media Files
Sometimes, after you consolidate or move material between systems, the clips or sequences lose
their links to the original media files. When a clip becomes unlinked, it displays the message
“Media Offline.” If appropriate media exists online, you can use the Relink command to
reestablish the link.
nIn an Avid Interplay environment, relinking through the Relink dialog box is limited to
non-master clips (subclips and sequences). For more information, see “Using the Relink Dialog
Box in an Avid Interplay Environment” on page 1211.
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When you select subclips or sequences and select the Relink command, the system searches for
master clips that contain the same material included in the selection. If you relink online media,
the system searches for media clips that best match the options selected in the Relink dialog box.
You can relink master clips to appropriate media files or to source tapes with compatible rates,
and you can relink based on resolution. You can also relink sequences to imported or linked
AMA master clips. The system compares information such as source tape name, source file
name, timecode information, and channels captured. If the search is successful, the system
establishes new links to the available media files. You can instruct the system to search specific
drives or all available drives.
nTo maintain the original capture settings for a subclip or sequence, use the Batch Capture
command; do not use the Relink command.
nIf you relink a sequence and the bin that stores the AMA (Avid Media Access) referenced clips is
closed, the media does not relink. Before you relink, open the bin of the referenced clips. For
information on AMA, see “The Avid Media Access (AMA) Workflow” on page 407.
To relink master clips, subclips, or sequences:
1. Select the unlinked object or objects in the bin.
2. Select Clip > Relink.
The Relink dialog box opens.
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3. Select options.
Option Description
Relink selected items to:
Media on drive: All Available Drives: Searches across all media drives that
are online
A specific drive volume: Relinks to media on a specific
media drive
Master clips Relinks master clips to the appropriate media
All other items Relinks non-master clips (sequences, subclips, group clips,
and other clips) to the appropriate media
Relink only to media from the
current project
Restricts relinking to the current project.
Selected items in ALL open
bins
Allows you to select multiple clips across multiple bins.
Allow relinking to offline items Allow relinking to offline elements: Relinks to clips that are
offline. All available drives are searched regardless of the
setting for “Relink to media on volume.”
Relink by:
Source Timecode and Tape
Key Number (KN Start) - picture only
Allow relinking of
imported/AMA clips by Source
File name
Allows you to relink your sequence to a file (non-tape)
based clip. The sequence relinks based on the source file
name of an imported or linked through AMA (Avid Media
Access) clip. When the system compares filenames,
extensions are ignored (for example, File1.jpg can be
relinked to File1.png).
Version Separator Select this option to have the system ignore characters in the
file name. This is helpful when you need to relink to a newer
version of the sequence that has a different name. For
example, if the original source file name was
“1080p/24_Version1” and the new source file name is
“1080p/24_Version2,” you can enter an “_” (underscore) in
the Version Separator and when you relink, the system
ignores the characters after the “_” (underscore),
overwriting Version 1 with Version 2.
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Allow relinking between tape
and file based media
Allows you to relink between imported and AMA linked
media and captured tape based media. When comparing
tape names to source file names the tape names are treated
like source file names, for example extensions are ignored
and version separators are included.
Match case when comparing
tape and source file names
Makes tape name and source file name search case sensitive.
Video Relink Parameters
Relink to: Video format of current project only: Restricts relinking to
the current video format (listed in the menu option).
Any HD video format: Restricts relinking to HD formats
only. Relinking searches for any available HD formats.
Any SD video format: Restricts relinking to SD formats
only. Relinking searches for any available SD formats.
Any video format: Relinks to any available HD and SD
formats.
Relink method: Highest Quality: Relinks to the highest quality clip; for
online work.
Most Compressed: Relinks to the most compressed clip; for
offline work.
Specific Resolution: Relinks to clips of a specific resolution.
See “Relinking by Resolution” on page 463.
Relink if quality: If you select Specific Resolution as a relink method, this
menu lets you specify the range of the relink search:
Is greater than or equal to: If the selected resolution is not
available, then the nearest resolution that is better (more
pixels, less compression) than the requested one and that has
the closest video format (image size, field topness) is used.
Is equal to: If the selected resolution is not available, the clip
is displayed in the “If no match is found” list.
Is less than or equal to: If the selected resolution is not
available, then the nearest resolution that is less (fewer
pixels, more compression) than the requested one and that
has the closest video format (image size, field topness) is
used.
Option Description
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4. Click OK.
The system searches the selected media drives, and relinks clips and sequences if possible.
The system disregards audio sample rate when matching media files.
Relinking by Resolution
You can relink to clips of a specific resolution.
nIn an Avid Interplay environment, you can use dynamic relinking to easily switch between
resolutions. For more information, see “Using MultiRez and Dynamic Relink” on page 1183.
To relink a clip by resolution:
1. Select the object or objects in the bin that you want to relink.
2. Select Clip > Relink.
The Relink dialog box opens.
3. Select Relink Method > Specific Resolution.
4. Select an option from the “Relink if quality” menu.
5. Select a project format from the Format menu.
6. Select a resolution from the Resolution menu.
The default resolution is determined by the current Media Creation setting for Capture. See
“Media Creation Settings” on page 1361. If you select a different resolution in the Relink
dialog box, the Media Creation setting does not change.
Format Lets you select a target project format for relinking. The
selected format is used for quality comparison; you specify
the relink format in the “Relink to” parameter.
Resolution Lets you select a target resolution for relinking. The selected
resolution is used for quality comparison; you specify the
relink resolution in the “Relink method” parameter.
If no match is found: Use Existing Media: Your Avid editing application displays
the media to which the clips are currently linked.
Unlink (Take Offline): Your Avid editing application
unlinks the clip and displays the message Media Offline.
Create new sequences Leaves existing sequences alone and relinks only to copies
with .relinked appended to their names. This option is
selected by default.
Option Description
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7. If you selected Specific Resolution as your Relink method, Select one of the following:
tUse Existing Media — displays the media to which the clips are currently linked
tUnlink (Take Offline) — unlinks the clip and displays the message Media Offline
If you are working in an offline resolution and want to capture in a higher resolution, select
Unlink to ensure that you recapture all the media at the higher resolution. You can check for
offline media in the Timeline by displaying offline clips in a distinct color. For more
information, see “Displaying Clip Colors in the Timeline” on page 660.
8. Select other Relink options as described in “Relinking Media Files” on page 458.
9. Click OK.
The system searches the selected media drives, and relinks clips and sequences if possible.
Relinking to Selected Clips
You can also use the Relink command for connecting subclips or sequences to selected master
clips and subclips.
To relink to selected master clips and subclips:
1. Move the subclips or sequences that you want to relink into the bin containing the clips.
2. Select the clips targeted for relinking.
3. Select Clip > Relink.
The Relink dialog box opens.
4. Select “Relink all non-master clips to selected online items” to relink related subclips or
sequences to the highlighted clip in the bin.
5. Click the “Relink to media on volume” menu, and select an option:
tSelect All Available Drives to search across all media drives that are online.
tSelect a specific drive volume if you know the location of the media or if you want to
relink to media on a specific media drive.
6. (Option) Select “Relink only to media from the current project.”
7. (Option) Select “Match case when comparing tape names.”
8. Click OK.
The subclips or sequences are linked to the selected clips or subclips.
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Relinking Tape and File Based Media
You can relink between imported and AMA linked media and captured tape based media.
Usually you can only relink between clips with the same source file name or clips with the same
tape name. By selecting the “Allow relinking between tape and file media” option, the system
can relink by comparing the tape name to the source file name or the source file name to the tape
name. The tape name is treated like a file name when it is compared to the source file name. For
example, a clip with the tape name File1.jpg can be relinked to a clip with the source file name
File1.png.
Make sure that the tape name and the source filename matches exactly, minus the file extension
and the version separator, before you relink. Since some third-party transcoding applications
only accept a specific file name character limit, your tape name could get changed without you
realizing it when you bring the file into the Avid editing system. If you plan on relinking the file,
Avid recommends you change the tape name in the third-party application (to match the tape
name to the source file name) before you bring the file into the Avid editing system.
To relink tape and file based media:
1. Select the sequence.
2. Select Clip > Relink.
The Relink dialog box opens.
3. Select “Allow relinking of Imported/AMA clips by Source File name.”
4. Select “Allow relinking between tape and file based media.”
5. Click OK.
The clips are relinked to the original media files.
Relinking Consolidated Clips
If the appropriate media exists online, you can reconnect consolidated clips, subclips, or
sequences to the new or old media files.
For example, if you consolidated a sequence and forgot to create a duplicate, and later decide to
use the original media files instead of the consolidated media files, you can break the new link
and reestablish the old link to the original files.
nBecause subclips and sequences do not point directly to the media files, you can perform this
procedure only by using the source master clips.
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To relink consolidated subclips or sequences:
1. Select the new master clips for a consolidated subclip or sequence (the clips have the file
name extension .new), and unlink them.
For information on unlinking, see “Unlinking Media Files” on page 466.
2. Select Clip > Relink.
The Relink dialog box opens.
3. Select “Relink offline master clips to online media files” to relink master clips to media files
that share similar database information.
4. Click the “Relink to media on volume” menu, and select a specific drive volume that
contains the original media files.
5. (Option) Select “Relink only to media from the current project.”
6. (Option) Select “Match case when comparing tape names.”
7. Click OK.
The clips are relinked to the original media files.
Relinking Moved Projects
If you move projects between systems with similar media existing at each site but captured
separately, your clips and sequences display the message “Media Offline.” You can use the
Unlink and Relink commands to reconnect the files at either site.
For example, if you have a project that requires sharing work between two different sites, you
can capture the source material once at each site and exchange only the project folder at each
stage, rather than move large media drives back and forth. The project folder can be exchanged
on floppy disks or instantly across a network. Because the media files maintain slightly different
parameters at each site, you must relink the material each time.
Unlinking Media Files
You can use the Ctrl and Shift keys to modify the Relink command for unlinking clips from their
media files.
nBecause subclips and sequences do not point directly to the media files, you can perform this
procedure only by using the source master clips.
To unlink master clips from their current links:
1. Select the master clips to unlink.
2. Depending on your operating system, do one of the following:
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t(Windows) Ctrl+Shift+Right-click the clips and select Unlink.
t(Macintosh) Using a multi-button mouse: Press and hold Cmd+Shift and Right-click the
clips and select Unlink, or select Clip > Unlink from the main menu.
t(Macintosh) Using a standard mouse: Press and hold Cmd+Ctrl+Shift and click the clips
and select Unlink, or select Clip > Unlink from the main menu.
The clips are unlinked and display the message Media Offline.
nTo enable the Right-mouse button functionality on a multi-button mouse, see your Macintosh
documentation.
3. (Option) If you have similar material from different sources, you can duplicate a set of clips,
unlink the duplicates, and then modify the sources of the duplicates before capturing the new
source material.
For example, if you are working with multicamera material, you can capture one reel,
duplicate the clips several times, unlink the duplicated clips, and rename their source tapes
to batch capture the remaining reels.
Archiving and Restoring Media Files to Videotape
You can archive to videotape the source media associated with sequences, master clips, subclips,
and group clips. Archiving the source media to videotape is similar to recording a digital cut,
except that you can reedit the sequence after you restore it.
nThe archive to videotape process is not available with progressive media projects.
You can use the archiving process to:
• Archive completed projects that you can restore at a later date if you need to reedit the
project.
• Provide more space on the media drives for a new project.
• Create backups of your project files.
• Move a project to another workstation.
When you archive a project, the source media files are archived to videotape, and then you save
the project files. For information about saving the project files, see “Backing Up Your Project
Information” on page 59. You can reconstruct your project with the archived files and your
source tapes.
nThe media files experience generation loss when the media is archived and restored because the
target videotape format might include some compression.
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The archiving process divides the archive into multiple archive sequences based on the lengths of
the available videotapes. The archiving to videotape process adds handles to the new clips that
let you reedit the sequence after you restore the media files from the videotape.
During the archiving process, the original media is archived to videotape. Media with effects is
not recorded to tape because you can easily re-create the effects after the project is recaptured.
However, the handles for transition effects are included in the archive file. The final sequence
can be linked to the recaptured media to recreate the project.
Each archived master clip is stamped with the archive tape name and archive timecodes during
the restore process. The original source information on the master clips remains unchanged.
Archiving Media Files
Before archiving your media files to videotape, you must stripe the record tapes (record black
and timecode for approximately 15 seconds after the bars and tone on the tape). For information
about preparing record tapes, see “Preparing Record Tapes” on page 1038.
To archive a video project’s media files:
1. Set up the Digital Cut tool as follows:
a. Select Output > Digital Cut.
The Digital Cut tool opens.
b. Click the Deck Selection menu, and select a deck.
c. If the Select Tape dialog box opens, click Cancel to leave Tape Name unspecified.
d. (Option) Select the Custom Preroll option, and select the number of seconds to indicate
how many seconds the tape will roll before the archiving process starts. This option
overrides the Preroll setting in the Deck Settings dialog box.
2. Create a new bin for the archive, and name the bin.
For example, you can name the bin Archive.
3. Duplicate the sequences and clips you want to archive.
4. Drag the appropriate duplicate sequences and clips to the Archive bin.
5. Select the clips and sequences to archive from the Archive bin by doing one of the
following:
tSelect Edit > Select All to select all the clips and sequences in the bin.
tCtrl+click (Windows) or Command+click (Macintosh) to select specific clips or
sequences.
6. Select Clip > Archive to Videotape.
The Archive to Videotape dialog box opens.
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7. Select the appropriate options.
If the clips or sequences that you want to archive are not highlighted in the active bin,
Archive to Videotape appears dimmed in the Clip menu.
8. Click OK.
The Tape Lengths dialog box opens.
Option Description
Archive Name Type a name for the archive in the Archive Name text box. ProjectArchive is
the default name. The archive name is numbered incrementally beginning
with 001 to indicate the order of the tapes.
Start Timecode Type a value in the Start Timecode text box to set the starting timecode of the
archive on the videotape. By default, the start timecode is set to 01:00:00:00.
For Subclips and Sequences:
Use handles Select this option, and in the Handle Length text box type the number of
additional frames you want to archive at the heads and tails of the new master
clips. This option provides enough overlap for trimming and adding
transition effects.
Archive entire master clips Select this option if you want to archive entire master clips.
For Sequences:
Archive all clips in a group edit Select this option if you selected a sequence that contains group clips and you
want to archive the media for all the clips in the group.
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The Archive Length area displays the calculated length of time required for archiving the
media files. The archiving process might require more time than indicated because
individual clips are not divided between tapes.
9. Under the “Enter the quantity of tapes available for the archive” area, do one of the
following:
tType the number of blank videotapes needed for the archive next to the length of time of
your blank tapes. For example, if the archive length is 2 hours and 15 minutes, and you
have 30-minute videotapes, you would type 5 in the 30 Minutes text box.
tType a custom tape length in the Custom text box, and type the number of available
blank videotapes.
The archiving process uses the tapes in the order listed in the Tape Lengths dialog box. For
example, if you type 10 in the 120 Minutes text box and 5 in the 60 Minutes text box, when
you start the archive your Avid editing application prompts you for each of the ten
120-minute tapes before using the five 60-minute tapes.
10. Click OK.
The Digital Cut tool opens and becomes the active window.
11. Follow the instructions displayed in the message boxes to complete the archiving process.
A set of archive sequences is created in the Archive bin, and the source media is output to
the videotape. One archive sequence is created for each tape. When needed, the system
prompts you for another blank tape. The tapes are requested in the order that they appear in
the Tape Lengths dialog box.
When the system finishes creating the archive, a message box notifies you that the process is
complete.
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Restoring an Archive from Videotape
Restoring an archive from videotape is similar to performing a batch capture. The archiving
process creates new master clips for sequences. During the restore process, each archived master
clip is stamped with the archive tape name and archive timecodes. The original source
information on the master clips remains unchanged.
After restoring an archive, any links to the original master clips are broken, and only the
sequence and its new master clips are linked to the newly captured media files.
To restore an archive from videotape:
1. Copy the project files to the Avid Projects folder.
For information about the location of the Avid Projects folder, see “Avid Projects and Avid
Users Folders” on page 46.
2. Open the project in your Avid editing application.
3. Open the archived bin.
4. Select Tools > Capture, and set the following options in the Capture tool:
a. Click the Deck Selection menu, and select a deck.
b. If the Select Tape dialog box opens, click Cancel to leave Tape Name unspecified.
c. Click the Res (Resolution) menu, and select a resolution.
d. Click the Target Drive menu, and select a drive volume.
For more information about setting up the Capture tool, see “Setting Up the Capture Tool”
on page 180.
5. Select the archived sequences, original sequences, and original clips.
If you select only the archived sequences, the media is restored during the restore process,
but the new media is not relinked to your original clips.
6. (Option) To relink the new media to the original clips, select the original clips and repeat the
restore process.
Repeating the restore process relinks only the selected items to the new media files.
7. Select Clip > Restore from Videotape.
The Restore from Videotape dialog box opens.
8. (Option) If you are repeating the restore process, select “Restore only those items for which
media is currently unavailable.” Otherwise, deselect this option.
9. Click OK.
The Capture tool becomes the active window.
10. Follow the instructions displayed in the message boxes to complete the restore process.
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Your Avid editing application recaptures the archived sequences and clips, and relinks the
selected clips and sequences to the new master clips.
11. Batch import any graphics and render all non-real-time effects.
For information about batch import, see “Reimporting Files” on page 313.
Sequence and Clip Information Summary
You can generate a report to display information about the contents of a sequence. For example,
you can generate a list of the types of effects in your sequence or the location of a particular
effect. You can also create a clip summary or a source summary. This allows you to display a list
of clip names, tape names, offline clips, and path locations of imported clips contained in your
selection.
You generate reports from the Sequence Report dialog box, which you can access from the
Source monitor, the Record monitor, or directly from a sequence in a bin. The Sequence Report
dialog box allows you to select your criteria and create a report that displays in a text editor. You
can then search the summary for the exact information you want.
Example 1: Preparing for Online Editing
When you move your sequence from an offline system to an online system, you can run an effect
summary and a source summary report. The Effect Summary displays a list of all effects,
including a separate list of plug-ins used. The Source Summary lists all the tapes you need for
recapture and all of the import paths for imported graphics.
Example 2: Finding Specific Effects
You use the Effect Summary and Effect Location List to find a particular effect. When you
output the summary to a text editor, you can search the report to find all occurrences of the
particular effect. In addition, you can type the start or end timecode value for each occurrence
into the Source/Record monitor to go to the start of the effect in the Timeline. You might find this
useful when you need to replace or modify a specific plug-in, for example.
Example 3: Plug-in Information
An Effect Summary displays a list of effects found in the selection, including how many times
the sequence uses an effect. For plug-ins loaded on your system, a section displays a summary of
the plug-ins used, displaying the name, the vendor, the version and the ID of the plug-in. This
can help by providing a list of the plug-ins needed for online work.
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nIf a plug-in is not loaded on your system when you generate the summary, if you select the option
"Show Missing Effects Only" from the Sequence Report dialog box, the information displays
"unavailable effect," in addition to the plug-in name, the plug-in ID (is this gone?), and other
information associated with the effect. (Is the vendor and version number displayed). This is
helpful when identifying the effect.
Creating a Summary of Effects and Source Information
Before you use the Sequence Report dialog box to create a summary of effects, source
information, or clip information, you might want to do the following:
• Determine if you want the report to cover specific tracks or a section of the sequence
between In and Out points. Loading a sequence in the Source/Record monitor before you
generate a report allows you to select which part of the sequence about which you want
information.
• Choose the summary options you want information on — types of effects, location of
effects, source information, or clip information.
nYou can modify the sequence name and the starting timecode in the Sequence Report dialog box.
To generate a summary report:
1. Do one of the following:
tFrom a bin, right-click a sequence and select Sequence Report. You can select multiple
sequences for generating reports.
tWith a sequence loaded in a monitor, right-click the monitor and select Sequence
Report.
The Sequence Report dialog box opens.
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2. (Option) Do the following:
tIf you selected specific tracks, click Enabled Tracks Only.
tIf you set In and Out points, click Use Marks.
If you want to run a report on the entire sequence regardless of tracks or marks, do not select
either of these options.
3. Select the Summary Info options you want to include in your report. For information on
report options, see “Summary Information Options” on page 475.
4. Click Generate Report.
The Save Summary Output File As dialog box opens.
5. Use the default file name or rename the report and choose a folder to save the report to, click
Save.
If you select more than 8 sequences, a dialog box asks if you want to generate sequence
reports for all selected items.
The application writes the report to a text file and opens a text editor.
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Summary Information Options
The following options allow you to select which information to include in the sequence report.
Summary Option Suboption Description
Create Effect
Summary
This displays the types of effects and how many
were found in your sequence, the breakdown by
effect type, and an effect plug-in summary. If you
have selected individual tracks or selected IN and
OUT points, only those effects that fall within those
parameters appear.
Create Effect
Location List
This displays the location of an effect. Depending on
the criteria you selected, this displays track, start
timecode, end timecode and effect name.
Skip Non-Renderable
Effects
Select this option if you do not want any
non-renderable effects, such as pan/volume effects,
to appear in the report.
Skip
Relationship-Only
Color Correction
Select this option if you do not want any color
correction effects with only relationships to appear
in the report.
Show Nested Effects
Only
Select this option if you want to only display the
nested effects in your sequence. Effects that are
nested inside of other effects show the parent effect
track they are applied to with the track name in
parentheses and indented to show the nesting
relationship.
Show Missing Effects
Only
Select this option if you want to only display the
plug-in effects missing from your sequence. Plug-in
effects that are missing in your sequence display as
“Unavailable Effect,” but also lists the type of effect
and other important information which help you
identify the type of effect. This option is helpful
when you move your sequence to a system that does
not have the plug-in installed.
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Create Clip Summary
or
Create Source
Summary
Depending on the criteria you selected, a Clip
Summary displays the number of clips found, type of
clip, track, offline information, clip name, and clip
Mob ID.
A Source Summary displays the number of
tape-based sources found, project name, tape name,
tape ID, and tape Mob ID. It also displays a list of
import paths for any imported clips, such as
graphics.
Offline Only Select this option if you want to display offline clips
and/or sources only.
Skip Non-Selected
Clips in Group Clips
Select this option if you do not want any
non-selected clips inside of a group clip to appear in
the report.
Show Globally
Unique Identifier
(UID)
Select this option if you want to display the unique
identifiers (Mob IDs) associated with the clips and
sources in your sequence.
Summary Option Suboption Description
12 Viewing and Marking Footage
Before you begin editing, you can review your footage, add markers and comments to clips,
mark IN to OUT points, and create subclips. By viewing and marking your material in advance,
you can concentrate on editing and refining your sequence at a later time without having to pause
and set marks each time you load a new clip. Techniques for playing back, viewing, and
subcataloging clips are described in the following topics:
•Viewing Methods
•Customizing the Composer Window and Monitors
•Using the Info Window
•Using the Timecode Window
•Playing Video to the Client Monitor
•Activating and Deactivating the Client Monitor Display
•Selecting the Video Display Settings
•Playing Video to a Full-Screen Monitor
•Adjusting the Play Delay Offset
•Using the Tool Palette
•Playing Selected Clips in a Loop
•Loading and Clearing Footage
•Controlling Playback
•Playing Back to a DV Device
•Video Quality Options for Playback
•Setting the Video Quality for Playback
•Marking and Subcataloging Footage
•Using Markers
•Finding Frames, Clips, and Bins
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Viewing Methods
You can work with clips and sequences in several ways, depending on your needs and
preferences. Each method has its own uses and advantages, as described in the following table:
Viewing Method Description
In bins You see pictorial images of the clips in your bins by using Frame or Script view and can
play the clips in the bin. For more information, see “Using Frame View” on page 324 and
“Using Script View” on page 326.
In the Source monitor You can load clips and sequences into the Source monitor to view and mark or
subcatalog shots for use in a sequence that you build in the Timeline. For more
information, see “Loading and Clearing Footage” on page 494.
In the Record monitor You can load a sequence into the Record monitor to view, mark, or modify an existing
sequence. You can load a series of clips into the Record monitor to create an instant
sequence (rough cut). For more information, see “Loading and Clearing Footage” on
page 494 and “Creating an Instant Rough Cut” on page 570.
Source monitor with clip loaded (left) and Record monitor with sequence loaded (right)
In pop-up monitors You can load several clips into pop-up monitors to view and mark clips in smaller,
movable windows. For more information, see “Loading and Clearing Footage” on
page 494.
In the Timeline Use the Timeline to view individual tracks for either a sequence or a source clip. Click
the Toggle Source/Record in Timeline button to switch between displaying the sequence
tracks and the source tracks.
Timeline in Source mode for viewing tracks. Bottom: Toggle Source/Record button.
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Customizing the Composer Window and Monitors
The Composer window is central to the editing process, providing all the essential controls for
viewing, tracking, marking, and editing source and record footage. The Composer window
includes the Source and Record monitors.
All monitors in your Avid editing application use a display aspect ratio that matches the aspect
ratio for the project. For HD projects, this is always 16:9. For SD projects, it is either 4:3 or 16:9.
For more information, see “Changing the Aspect Ratio for a Project” on page 585.
nTo view 16:9 footage on a Client monitor, you need an HD monitor or a 16:9 compatible
full-screen NTSC or PAL monitor.
Composer window with monitors using 4:3 aspect ratio
Use the Composer Settings dialog box and the menus within the Composer window to configure
various displays and functions. For information on all Composer settings, see “Composer
Settings” on page 1304.
nIllustrations of the Composer window in this chapter show two button rows, two information
rows, and the Center Duration display. You can set this display on the Window tab of the
Composer Settings dialog box.
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Resizing the Composer Window and Monitors
You can resize the monitors that display your footage in a variety of ways. You can:
• Resize any monitor to provide more area for displaying the Timeline or other windows
nIf you are working with a multi-track Timeline, you might want to change the screen resolution to
display more information on the screen. See your Windows or Macintosh documentation.
• Hide the Source monitor and display an enlarged Record monitor for a more detailed view of
the media in your sequence
You can then use a keyboard shortcut to switch between the enlarged Record monitor and
the standard size. This configuration is particularly useful during final finishing.
• Hide the video completely, leaving only the controls and information portions of the
monitors visible. No video is displayed in the Composer window. Video is still displayed on
the Client monitor.
• Hide the controls completely, leaving only the video visible.
• Display data above the monitor as one or two rows of data, or allow the Avid editing
application to arrange the data into one or two rows as you resize the monitors.
To resize the Source and Record monitors:
tDrag the lower right or lower left corner (Windows) or lower right corner (Macintosh) of the
Composer window to the size you want.
If you select the Flow Data Dynamically option on the Window tab of the Composer
Settings dialog box, the data above the monitors displays in either one or two rows,
depending on the size of the Composer window.
To resize a pop-up monitor:
tClick the lower right corner of the monitor and drag it to the size you want.
To switch back to the standard-size Source/Record monitors:
tSelect Workspaces > Source/Record Editing.
To hide the Source monitor and enlarge the Record monitor:
1. Press and hold the Alt key (Windows) or Option key (Macintosh) and then click the
Source/Record Mode button.
Only the Record monitor is displayed in the Composer window.
2. Right-click the Record monitor, and select Full Size Video.
To reduce the Record monitor to its standard size:
tRight-click the Record monitor, and deselect Full Size Video.
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To toggle between the single Record monitor and the Source/Record monitors:
tPress and hold the Alt key (Windows) or Option key (Macintosh) and then click the
Source/Record Mode button.
To hide or display the video in a monitor:
tRight-click the monitor, and select Hide Video.
The video disappears or reappears. When the video is hidden, the Hide Video command has
a check mark beside it.
To hide the controls in a monitor:
1. In the Settings list of the Project window, double-click Composer.
The Composer Settings dialog box opens.
2. In the Button Display at Bottom region, select Off.
3. Click OK.
Displaying Tracking Information
Tracking information consists of various formats used to identify clips, audio and video tracks,
individual frames, or footage durations while you work. Your Avid editing application displays
this information above the monitors in the Composer window and in the Timeline window.
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Tracking information is updated continuously to reflect your current position in the footage. You
can select which information you want to track from the Tracking Information menu (see
“Tracking Format Options” on page 483).
Tracking information in the Composer window. Left to right: First row of information (bottom) and second row of
information (top). center duration display, and Tracking Information menu. Click anywhere in the information display
area to display the Tracking Information menu.
By default, the tracking information area displays no data until you select a tracking format.
There is no display of tracking data when there is no material loaded in the monitor. If you load a
clip and no information is currently displayed, you can still open the menu by clicking in the area
above a monitor.
To display tracking information:
1. Load a clip or sequence into the monitor.
2. Click in the information display area in either the first or second row of information above
the monitor to open the Tracking Information menu.
3. Select the type of tracking information you want to display.
If you select the option for two information rows above the monitors in the Composer
settings (in the Window tab), you can display two different types of tracking information for
the footage in each monitor.
For example, you can display both running timecode and IN to OUT durations for clips
loaded in the Source monitor. You can display similar information for the sequence shown in
the Record monitor.
nTo move through footage by entering timecode, make sure the top row of information displays
timecode (for example, V1). For more information, see “Using Timecode to Find a Frame” on
page 528.
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Tracking Format Options
The Tracking Information menu contains options for information to be displayed above the
monitors. The contents of the menu varies, depending on the monitor.
Examples of the three panes in the Tracking Information menu for the Source monitor (left) and for the Record
monitor (right)
Panes in the Tracking Information Menu
The Tracking Information menu has three panes. You can select an option from pane 1, pane 2,
or pane 3 to be displayed above a monitor. The following table describes the contents of the three
panes:
Pane Description
Pane 1 Lets you select a format for the tracking information. In the Record monitor, you set
select a format for either the Sequence tracking information or the Source clip tracking
information. In the Source monitor, you can select a format for the Source clip tracking
information only.
The Sequence submenu lets you select Timecode, Footage (feet and frames for 24p
and 25p projects), or Frames (a sum total of frames for either film or video).
nWhen you are working with a 24p or 25p project, the Timecode submenu lets you
select an output timecode format. The Footage submenu lets you select a
supported film type. The final Timecode, Footage, and Frames submenu then
displays the master timecode (Mas), duration of the entire clip (Dur), IN to OUT
duration (I/O), absolute timecode (Abs), and time remaining (Rem).
The Source submenu displays the information for the tracks existing in the currently
loaded clip or sequence. For example, a clip with only one audio track does not show
an option for A2. The item you select is displayed above the monitor.
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Pane 1 example when you select Sequence > Timecode > TC1
Pane 1 example when you select Source > V1
Pane 2 Lists Source or Sequence timecode options, such as master timecode (Master),
duration of the entire clip (Duration), IN to OUT duration (In/Out), absolute timecode
(Absolute), and time remaining (Remain). The format type that you select from pane 1
determines the tracking format that is displayed.
Pane Description (Continued)
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Tracking Format Options
The following table describes the tracking format options.
Example of Pane 2 in the Tracking Information menu
Pane 3 Displays the timecode for the source track of a specific track (V1, A1, A2, and so on).
The information is continuously updated based on the location of the position
indicator.
Pane Description (Continued)
Option Description
Master Displays master timecode at present location.
Duration Displays total duration of the sequence.
In/Out Displays duration between IN and OUT points.
Absolute Displays absolute time duration at present position.
Remain Displays time remaining at present position.
V1 TC (or EC) Displays the source track of the video on track 1, and the timecode (or edgecode).
A1 TC (or EC) Displays the source track of the audio on track 1, and the timecode (or edgecode).
A2 TC (or EC) Displays the source track of the audio on track 2, and the timecode (or edgecode).
D1 TC1 Displays the ancillary data track and the timecode.
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Using the Info Window
The Info window displays statistical information about clips and sequences. You can open the
Info window from the Source monitor, the Record monitor, a pop-up monitor, a bin, or a Script
window. The Info window updates the information automatically.
You can cut, copy, and paste information from the Info window, but you cannot edit or change
any information within the window.
To display information from the Record monitor:
1. Do one of the following:
tRight-click the monitor and select Get Info.
tPlace the mouse pointer over the monitor and press Ctrl+I (Windows) or Command+I
(Macintosh).
The Info window opens. Only fields with data are displayed.
TC1, 24, 25, 25PD,
30D, 30ND
For 24p and 25p projects only. TC1: base timecode for the project; 24: 24p project; 25:
25p project; 25PD: 25p with pulldown: 30D: 30 drop frame; 30ND: 30 non-drop frame
Clip Name Displays the name of the clip.
Timecode Displays tracking information as timecode (24p and 25p projects include a submenu
with the various timecodes).
Footage For 24p and 25p projects only. Displays tracking information as feet and frames.
Frames Displays tracking information as total frames.
Option Description (Continued)
Using the Timecode Window
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To display information from a bin:
1. Select a clip or sequence in a bin. You can use any bin view, and you can Ctrl+click to select
multiple media objects.
2. Do one of the following:
tPress Ctrl+I (Windows) or Command+I (Macintosh).
tRight-click the clip or sequence and select Get Info.
The Info window opens. Only fields with data are displayed.
If you select more than 8 media objects, a dialog box asks if you want to open information
windows for all selected items.
Using the Timecode Window
Each monitor has two lines available to display timecode as described in “Displaying Tracking
Information” on page 481. In addition, the Timecode window lets you display up to 48 lines of
timecode in a separate window.
When you are working with a 24p or 25p project, you can display additional timecode
information in the Timecode window. The output format timecodes TC 24, TC 25, TC 25P, and
TC 30 are available from the Timecode menu, as are the source timecodes for clips and subclips.
nYou need to add the timecode track to the clip or sequence before the timecode tracking formats
appear in the Timecode menu. For more information, see “Displaying Timecodes in a 24p or 25p
Project” on page 344.
When displaying TC 30 source or M 30 timecodes, the pulldown phase for NTSC reference is
displayed.
To set a timecode display:
1. Select Tools > Timecode Window.
The Timecode window opens.
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2. Click anywhere in the Timecode window, and select an option.
Example of a Timecode menu
3. To add an additional line of timecode, click Add Line, then click the new line and select an
option.
4. To change the size of the font displayed in the Timecode window, select Size > font size.
5. Click the Close button to close the Timecode window.
Playing Video to the Client Monitor
You might want to see your sequences and effects as they appear on an external display monitor.
To do this, connect a Client monitor to your Avid system.
There are two ways to connect a Client monitor to your Avid system:
• Through your Avid input/output hardware device
For details on connecting a Client monitor through your Avid input/output hardware, see the
appropriate topic for your Avid input/output hardware device in “Connecting Cameras,
Decks, and Monitors” in the Help.
• For software only-systems, through an IEEE 1394 connection, analog connection, or
dual-head display board.
For details on connecting a Client monitor to a software-only system, see “Connecting the
Editing Equipment.”
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nIf you do not have a Client monitor connected, you can still view the video through the camera
eyepiece or through a monitor attached to a deck when outputting to an external camera or deck.
For details on playing video to a DV device, see “Playing Back to a DV Device” on page 505.
nWhen you display video through an external monitor, you might see less responsiveness during
certain system functions, such as scrub, single-frame play, effect editing, and effect preview.
Video and audio might appear to be out of sync when you have a DV device and a Client monitor
attached to your system. The system, however, is functioning normally. For more information, see
“Audio and Video Sync Issues” in the Help.
If you are using the Play Length Toggle button to limit the length of the material in the Timeline,
the Play button is highlighted in white. You should check the color of the Play button, and if
necessary turn off the Play Length function, before an important play and review session, such as
when you want to play the entire sequence to the Client monitor. For more information on the
Play Length function, see “Playing a Limited Duration of a Sequence” on page 595.
Activating and Deactivating the
Client Monitor Display
If your Avid editing system has an Avid input/output hardware device attached and active, you
can activate or deactivate the display in your Client monitor at any time. When the display is
inactive, video is not visible in the Client monitor for either playback or scrubbing. Audio
playback is not affected by deactivating the Client monitor.
Deactivating the Client monitor might be useful, for example, when you are screening material
for clients and you want to make an editing change. You can deactivate the Client monitor
display so that the client does not see your editing work while it is in progress, then activate the
display to show the finished edit.
The status of the Client monitor display does not persist between working sessions on your Avid
editing application. The Client monitor display is always active when you first start your
application.
nYou cannot activate or deactivate the Client monitor display if you are using your Avid editing
application in software-only mode. If you do not have an Avid input/output hardware device
attached to your system, the Toggle Client Monitor button has a gray monitor icon and is
disabled. Clicking the button has no effect.
To enable or disable Client monitor display:
tClick the Toggle Client Monitor button in the Timeline bottom toolbar.
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Client monitor display becomes active or inactive.
The Toggle Client Monitor button has a blue monitor icon when the Client monitor is active,
and has a black monitor icon with a red diagonal line when the Client monitor is inactive. (If
the Toggle Client Monitor button has a gray monitor icon, your application is running in
software-only mode and clicking the button has no effect.)
The states of the Toggle Client Monitor button. Monitor active (left), monitor inactive (center), and button
disabled (Avid editing application is in software-only mode).
The Toggle Client Monitor button appears in the Play tab of the Command palette. You can
use it in the Command palette, or map it to any available button location or to the keyboard.
For more information, see “The Command Palette” on page 107 and “Mapping
User-Selectable Buttons” on page 109.
Selecting the Video Display Settings
After you connect the camera or digital deck and Client monitor to your Avid system, you might
need to modify the way your Avid editing application plays video to the Client monitor and
application monitors. Use the Video Display setting in the Settings list to configure these
settings.
To select Video Display settings:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Double-click Video Display.
The Video Display Settings dialog box opens. The options available in the Video Display
Settings dialog box vary depending on the model and configuration of your Avid editing
application.
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3. Select or modify the options for video display and click OK.
nThe options available vary depending on the model of your Avid editing application.
For information about all options in the dialog, see “Video Display Settings” on page 1377.
Some of these settings apply to playback and how effects are processed. See the following
topics:
-“Playing Back to a DV Device” on page 505
-“Video Quality Options for Playback” on page 506
-“Setting the Video Quality for Playback” on page 508
- “Options for Controlling Real-Time Effects Playback” in the Help
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Playing Video to a Full-Screen Monitor
The Full Screen Playback option lets you view your video on a full-screen monitor.
To enable full screen playback:
1. Make sure your system is properly set up for full-screen monitor play.
For more information, see “Understanding Full Screen Playback Options” in the Help.
2. Check the Full Screen Playback Settings to ensure you have them set properly.
For more information, see “Full Screen Playback Settings” on page 1345.
3. Select Special > Full Screen Playback.
To disable full screen playback:
tType Shift+Ctrl+F (Windows) or Shift+Command+F (Macintosh).
Adjusting the Play Delay Offset
Your Avid editing application uses a combination of hardware to provide for full audio and video
playback capabilities. The use of an OHCI (Open Host Controller Interface) or a 1394 card to
input and output DV signals along with the output to a computer’s desktop monitor and
consumer audio chip could present playback sync issues.
If you do have 1394 selected from the Device menu, the Desktop Play Delay option lets you
adjust the offset between audio and video playback on the Avid system.
With a camera or transcoder connected to your system, when you play a sequence in the
Timeline and the Composer (desktop) monitor plays back video and audio ahead of the camera
or transcoder, you can adjust this offset. Playback on the Composer monitor can be delayed by
the number of frames chosen as an offset so that the video and audio play simultaneously to the
camera or transcoder and the Composer monitor.
To adjust the offset:
1. In the Project window, click the Settings tab.
The Settings list appears.
2. Double-click Desktop Play Delay.
The Desktop Play Delay dialog box opens.
3. Click the Desktop Play Delay slider to increase or decrease the amount of frame offset.
You might need to readjust the frames a few times to find the correct offset.
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Using the Tool Palette
The Tool palette provides additional buttons for editing and navigating with your Avid editing
application. The Tool palette buttons can appear with or without labels, and you can “tear off”
the Tool palette to display it in another screen location.
You can also map other functions and buttons to the Tool palette for easy access. See “The
Command Palette” on page 107.
To use the Tool palette:
1. Click the Fast Menu button in the Composer window or on a pop-up monitor.
The Tool palette opens.
2. Click a button in the Tool palette.
Your Avid editing application performs the function associated with the button.
To leave the Tool palette open and move it to another location:
1. Click the Fast Menu button in the Composer window or on a pop-up monitor.
2. Click the location where you want the Tool palette to be displayed.
3. (Option) If a subset of the buttons appears in the Tool palette, click the lower right corner
and drag it to the right and down to reveal the full Tool palette.
To view the names of the buttons in the Tool palette:
tMove the pointer over a button.
The name of the button appears in a ToolTip box.
To display labels on the Tool palette buttons:
1. In the Project window, double-click the Interface Setting.
The Interface Setting dialog box appears.
2. Select Show Labels in Tool Palette.
3. Click OK.
Labels appear on the buttons under the icons.
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494
Playing Selected Clips in a Loop
You can view several clips one after another in a continuous loop by selecting Bin > Loop
Selected Clips. This feature is useful if you want to view several versions of the same scene.
While playing the loop, you can jump to the next clip by pressing the Tab key or jump to the
previous clip by pressing Shift+Tab.
To play several clips in a continuous loop:
1. Select the clips in the bin that you want to play in a loop.
2. Select Bin > Loop Selected Clips.
The clips begin playing in the Source monitor from the IN point to the OUT point.
3. Press the space bar to stop the play loop.
If you want to play the clips from start to end, press the Alt key (Windows) or the Option key
(Macintosh) while performing this procedure.
Loading and Clearing Footage
You can use several methods to load individual or multiple clips or sequences into monitors. You
can also use the Clip Name menus to display or clear clips and sequences from the monitors.
nYou can adjust settings to optimize playback performance in the monitors. For more information,
see “Video Quality Options for Playback” on page 506 and “Setting the Video Quality for
Playback” on page 508.
nIf 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.
Loading Clips or Sequences into Monitors
To load clips or sequences into a monitor:
1. Click the Source/Record Mode button to enter Source/Record mode.
2. Open a bin and do one of the following:
tLocate a single clip or sequence.
tSelect multiple clips or sequences.
For more information, see “Selecting Clips and Sequences” on page 329.
3. Do one of the following:
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tDouble-click the single clip or sequence, or any one of the selected set of clips or
sequences.
By default, the material opens in the Source or Record monitor. If you have the
“Double-click loads clip in” option in the Bin Settings dialog box set to “New Pop-up
Monitor,” the material opens in a pop-up monitor. For more information, see “Bin
Settings” on page 1298.
tAlt+double-click (Windows) or Option+double-click (Macintosh) the single clip or
sequence, or any one of the selected set of clips or sequences.
By default, the material opens in a pop-up monitor. If you have the “Double-click loads
clip in” option in the Bin Settings dialog box set to “New Pop-up Monitor,” the material
opens in the Source or Record monitor. For more information, see “Bin Settings” on
page 1298.
tDrag the single clip or sequence, or the selected set of clips or sequences, into the
Source monitor or the Record monitor.
tAlt-drag (Windows) or Option-drag (Macintosh) a single clip into the Record monitor.
The clip will appear at the position of the position indicator in the Record monitor.
nYou can also load a series of clips into the Record monitor to create an instant sequence (rough
cut) by pressing and holding the Alt key (Windows) or Option key (Macintosh) while dragging
the clips from the bin to the Record monitor. For more information, see “Creating an Instant
Rough Cut” on page 570.
Switching Between Loaded Clips
When you have loaded multiple clips or multiple sequences into the monitor, you will see only
one clip displayed at a time. You can view an alphabetical list of the loaded clips and select an
alternate clip for viewing in the Clip Name menu located above the monitor.
nIf you press and hold the Alt key (Windows) or Option key (Macintosh) while dragging multiple
clips into the Record monitor, they appear as one sequence in the Clip Name menu. For more
information, see “Creating an Instant Rough Cut” on page 570.
To switch between clips:
1. Click the name of the current clip or sequence displayed above the monitor to reveal the Clip
Name menu.
The list in the lower portion of the menu contains a list of all the clips or sequences currently
loaded in the monitor.
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2. Select a different clip name from the menu.
The selected clip replaces the current clip in the monitor display.
nTo see the list of clips or sequences sorted in the order in which they were loaded into the
monitor, press the Alt key (Windows) or Option key (Macintosh) while opening the menu.
Clearing Clips from Monitors
You can use the Clip Name menu located above each monitor to clear clips from a monitor.
There are two options for clearing clips:
• Remove the displayed clip and leave the monitor black but keep the clip loaded.
• Remove all the clip names from the Clip Name menu, and leave only the displayed
clip loaded.
To clear the monitor or the clip or sequence names from the menu:
1. Click the name of the clip or sequence currently displayed above the monitor to reveal the
Clip Name menu.
2. Select one of the following commands:
Command Description
Clear Monitor Removes the displayed clip or sequence from the screen, leaving black.
The clips or sequences are still loaded.
Clear Menu Deletes the list of all loaded clip or sequence names and leaves only the
clip currently displayed.
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Controlling Playback
There are several ways to play, view, and cue clip and sequences:
• Instantly access frames or move through footage by using the position indicator within the
position bar under the monitors.
• Play, step (jog), or shuttle through footage by using user-selectable buttons.
• Play, step, or shuttle by using keyboard equivalents.
You can use the methods to control clips or sequences loaded in monitors, or to play clips and
sequences in the bin while in Frame view and Script view.
nWhen viewing sequences in the Source monitor or the Record monitor, you can play only video
and audio tracks that are currently monitored in the Track Selector panel.For more information,
see “Understanding the Track Selector Panel” on page 695.
nIf you try to play a sequence and the outline of the monitor flashes, another window is covering
the monitor. Click the monitor to bring it forward, or move the window that is covering it.
Using Position Bars and Position Indicators
You can quickly access frames or move within loaded footage by using the position indicators
that appear in the position bars under the monitors (and in the Timeline when you are viewing a
sequence). The position bars represent the length of the clip or sequence, and the position
indicator marks your current position in the clip or sequence.
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Blue position indicator in the monitor position bar (top) and in the Timeline (bottom), with the Timeline ruler above
the Timeline.
To move the position indicator in the Timeline, do one of the following:
• Disable the segment tools (Lift/Overwrite and Extract/Splice-in) and click an area of the
segment outside of the active trim region.
• Use the Timeline ruler.
By default, if you drag the position indicator (or scrub) through the Timeline, the media in the
monitor updates quickly and smoothly. However, you do not see markers such as the start-of-clip
and end-of-clip marks, sawtooth marks for In and Out points, and markers. To find a particular
point of interest without viewing markers, use one of the approaches listed in the following
procedure. For example, to snap to an In point in the Timeline, hold down the Ctrl key and drag
the position indicator toward the In point until it stops. The position indicator will be aligned
with the In point in the Timeline and the monitor displays the frame marked by the In point.
To access frames in or move through loaded footage, do one of the following:
1. If you want to use the position indicator in the Timeline to view footage, do one of the
following:
tDeselect the segment tools on the Timeline palette, or click the Smart tool toggle bar to
deselect all edit tools on the Timeline palette.
tPosition the mouse pointer over the Timeline ruler or the Timecode (TC1) track to move
through the sequence.
2. Depending on which frames in your sequence you want to access, do the following:
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tTo move the position indicator and access the frame at the new position, click anywhere
in a monitor’s position bar or in the Timeline, or drag the position indicator to the left or
right in a monitor’s position bar or in the Timeline.
The speed with which you drag the position indicator determines the speed at which you
move through the footage.
tTo go directly to the beginning or end of a clip or sequence, click to the far left or far
right of the position bar or the Timeline.
tTo snap to the nearest transition, edit mark, marker, or audio keyframe, Ctrl-click
(Windows) or Command-click (Macintosh) between the position indicator and that
transition, mark, marker, or keyframe, or Ctrl-drag (Windows) or Command-drag
(Macintosh) the position indicator toward that transition, mark, marker, or audio
keyframe.
tTo snap to the last frame before the nearest transition, edit mark, marker, or audio
keyframe, Ctrl+Alt-click (Windows) or Command+Option-click (Macintosh) between
the position indicator and that transition, mark, marker, or keyframe, or Ctrl+Alt-drag
(Windows) or Command+Option-drag (Macintosh) the position indicator toward that
transition, mark, marker, or audio keyframe.
You can select the Use Fast Scrub setting to always display markers while scrubbing;
however, with this option selected, the media in the monitor might update more slowly.
To display markers when scrubbing:
tIn the Settings list, double-click Timeline and deselect Use Fast Scrub.
When the Fast Scrub option is selected in an HD project, some effects are not displayed.
Deselect this option to view all effects.
nYou can create a Timeline setting that has this option deselected and then easily switch between
the settings. For information on duplicating settings, see “Duplicating Settings” on page 1280.
Playback Control Buttons
You can use the buttons that appear below the Source and Record monitors and in the pop-up
monitors to play and step through your footage.
You can also use additional buttons available in the Command palette to control playback. You
can remap Command palette buttons onto some existing button locations (for example, in the
Tool palette) or to the keyboard. For more information about mapping user-selectable buttons,
see “Understanding Button Mapping” on page 107.
The following table describes the common playback control buttons:
Controlling Playback
500
Button Primary Default Location Function
Play Monitors Plays the footage at normal speed. Changes to
the Stop button when playback is taking place.
Stop Play tab in Command palette Stops playback. Changes to the Play button
when you have stopped playback.
Pause button Play tab in Command palette Pauses playback.
Play Reverse button Play tab in Command palette Plays the footage backward at normal speed.
Fast Forward button Monitors Cues the footage to the next transition in the
sequence.
Rewind button Monitors Cues the footage to the previous transition in the
sequence.
nBy default, the Fast Forward and Rewind buttons cue footage to the head frame of the next transition.
You can customize their behavior by selecting other alternatives from the FF/REW tab of the Composer
Settings dialog box. For more information, see Composer Settings: FF/REW Tab.
Play Standby button Play tab in Command palette Places play in standby mode to prepare for
playback. This is especially useful for long
sequences.
To play in standby mode:
1. Click the Play Standby button.
The button under the Source or Record
monitor blinks yellow.
2. Click anywhere to play the sequence.
Step Backward
button
Monitors Moves the footage one frame backward.
• Press and hold the Alt key (Windows) or
Option key (Macintosh) while clicking the
button to move 10 frames (NTSC and PAL)
or 8 frames (24p) backward.
Step Forward button Monitors Moves the footage one frame forward.
• Press and hold the Alt key (Windows) or
Option key (Macintosh) while clicking the
button to move 10 frames (NTSC and PAL)
or 8 frames (24p) forward.
Controlling Playback
501
Stepping Forward and Backward by Field
You can locate defects on individual fields of a frame with the single-field step feature.
nThe single-field step feature is not available when you work with progressive formats.
By default, your Avid editing application displays the first field of every frame when you step
through material. With single-field step, you can view both fields of each two-field frame
sequentially to locate a dropout from the source videotape or dust and scratches from the original
film footage.
To use single-field step:
1. Click the Step Forward One Field button or the Step Backward One Field button.
A number 2 displays in the upper right corner of the monitor to indicate you are parked on
field 2 of a frame. (The absence of the number 2 indicates you are parked on field 1 of the
frame.) Subsequent single-frame steps are based on this field.
2. Continue to click the Step Forward One Field or Step Backward One Field button to view
each field of a frame.
cTo return to viewing only field 1 of each frame, make sure you park on field 1 of a frame
before using the Step Forward or Step Backward buttons.
nAny edits you make using the paint tools affect both field 1 and field 2 of each frame.
Step Backward
10-frames or
8-frames button
Move tab in Command palette Moves the footage 10 frames backward (NTSC
or PAL) or 8 frames backward (progressive
formats).
Step Forward
10-frames or
8-frames button
Move tab in Command palette Moves the footage 10 frames forward (NTSC or
PAL) or 8 frames forward (progressive formats).
Step Backward One
Field button
Move tab in Command palette Moves the footage one field backward in
field-based media. For more information, see
“Stepping Forward and Backward by Field” on
page 501.
Step Forward One
Field button
Move tab in Command palette Moves the footage one field forward in
field-based media. For more information, see
“Stepping Forward and Backward by Field” on
page 501.
Button Primary Default Location Function (Continued)
Controlling Playback
502
Playback Control Using the Keyboard
Many playback functions, including most of the playback controls covered in “Playback Control
Buttons” on page 499, are mapped to keys on your keyboard. You can customize the keyboard by
mapping buttons or menu commands to it from the Command palette, for example to add other
playback functions.
Default keyboard mappings vary, depending on the type of keyboard attached to your Avid
system. The information in this topic describes default keyboard mappings for playback control
for a keyboard used in the United States. If an Avid-supported international keyboard is attached
to your Avid system, the default keyboard mappings match that keyboard.
For more information on keyboard settings and keyboard mapping, see the following topics:
•“Understanding Button Mapping” on page 107
•“Using Foreign Keyboard Mapping (Windows)” on page 1488
•“Keyboard Settings” on page 1359
The following table describes the default keyboard mappings for basic playback control for a
keyboard used in the United States:
Keys Function
• Left quote or tilde
key (above Tab key)
•Tab key
•5 key
• Space bar
Start and stop playback
1, 2, 3, and 4 keys • 1 key—moves the footage 10 frames backward
(NTSC or PAL) or 8 frames backward (progressive
formats)
• 2 key—moves the footage 10 frames forward (NTSC
or PAL) or 8 frames backward (progressive formats)
• 3 key—moves the footage 1 frame backward
• 4 key—moves the footage 1 frame forward
Controlling Playback
503
Playing Footage with the J-K-L Keys (Three-Button Play)
The J-K-L keys on the keyboard let you play, step, and shuttle through footage at varying speeds.
This feature, also referred to as three-button or variable-speed play, lets you use three fingers to
manipulate the speed of playback for greater control.
You can also use the J-K-L keys to perform smooth audio scrubbing of selected tracks. For more
information, see “Performing Smooth Audio Scrub” on page 755.
To shuttle through the footage using the J-K-L keys on the keyboard:
1. Do one of the following:
tLoad a clip or sequence into the Source or Record monitor.
tOpen a pop-up monitor.
tSelect a clip in a bin in Frame view.
2. Use the following keys to shuttle at varying speeds:
tPress the L key to move forward through the footage at normal speed.
tPress the L key multiple times to move forward through the footage at faster speeds, as
described in the following table:
Home, End, Left Arrow,
and Right Arrow keys
• Home key—move to the beginning of a clip or
sequence
• End key—move to the end of a clip or sequence
• Left Arrow key—moves the footage 1 frame
backward
• Right Arrow key—moves the footage 1 frame
forward
J, K, and L keys Let you play, step, and shuttle through footage at varying
speeds. For more information, see “Playing Footage with
the J-K-L Keys (Three-Button Play)” on page 503
Keys Function
Press the L Key To Play Footage at NTSC Rate PAL Rate 24p Rate
2 times 2x normal speed 60 fps 50 fps 48 fps
3 times 3x normal speed 90 fps 75 fps 72 fps
4 times 5x normal speed 150 fps 125 fps 120 fps
Controlling Playback
504
tPress the J key to move backward at the same shuttle speed increments.
tPress the K and L keys together for slow forward (8 fps for NTSC, 6 fps for PAL, and 6
fps for 24p projects).
tPress the K and J keys together for slow backward.
tPress and hold the K key and tap the L key or the J key to step through footage one
frame at a time.
To slow or change play direction one speed at a time:
tPress Alt (Windows) or Option (Macintosh) while you tap the J or L key.
Play slows or changes direction one speed at a time from the speed at which you are
currently playing.
For example, you are shuttling backward with the J key at 2x normal speed. Press and hold
Alt and tap the L key once. Play slows to backward at normal speed (1x speed). Hold Alt
(Windows) or Option (Macintosh) and tap L once again. Play stops. Continue to hold Alt
(Windows) or Option (Macintosh) and tap L once again. Play goes forward at normal speed.
Continue to hold Alt (Windows) or Option (Macintosh) and tap L once again. Play goes
forward at 2x normal speed. Continue to hold Alt (Windows) or Option (Macintosh) and tap
L once again; play goes forward at 3x normal speed. Release the keys to continue playing
forward at 3x normal speed.
To pause shuttling:
tPress the K key.
To stop shuttling:
tPress the space bar.
5 times 8x normal speed 240 fps 200 fps 192 fps
Press the L Key To Play Footage at NTSC Rate PAL Rate 24p Rate
0-1x-2x-3x-5x-8x 1x 2x 3x 5x 8x
Playing Back to a DV Device
505
Playing Back to a DV Device
If you do not have Avid input/output hardware attached to your system (software-only), you can
play back DV media through a DV device.
Your options for playback of media to a DV device vary, depending on whether the media is
played back as DV 25, DV 50, or DVCPRO HD (DV 100).
• You can play back DV 25 media through a DV device attached to a 1394 port on your
computer..
• You can play back DV 50 or DVCPRO HD media through a 1394 port on your computer.
When you are playing back to a DV device, you have the option of enabling real-time encoding
of effects and mixed resolutions.
To play back to a DV device connected through a 1394 port:
1. Right-click the Video Quality Menu button and select Output to DV Device.
Playback to the DV device and playback to the desktop occur simultaneously.
nIf you do not have a device connected to a 1394 port, these options are grayed out.
2. Right-click the Video Quality Menu button, select Format, and then select the native format
to be sent to the DV device:
3. (Option) If you are in an SD project, right-click the Video Quality Menu button, and then
select Realtime Encoding.
- If you select Realtime Encoding, you are in real-time effects mode. The media in your
sequence is encoded to the format selected in the Video Quality menu. Enabling
Realtime Encoding is helpful if you have a faster processor because it lets you bypass
rendering many of your effects to disk.
Format Availability
DV 25 411 Enabled in any SD project
DV 25 420 Enabled only in PAL SD projects
DV 50 Enabled in any SD project
DVCPRO HD Enabled only in HD 720p 59.94, 1080i 50, and 1080i 59.94 projects
Video Quality Options for Playback
506
- If you do not select Realtime Encoding, you are in native play mode. You must render
all effects and any media not matching the selected format will be played as black. The
Video Quality menu only lets you select Full Quality (green) playback. Disabling
Realtime Encoding is helpful if your machine has a slower processor.
- Select Realtime Encoding to output 24p media to a DV device. You must also select Full
Quality playback.
nRealtime Encoding applies only to playing DV 25 and DV 50 media to a DV device.
You can also select the DV playback options in the Video Display Settings dialog box.
Video Quality Options for Playback
Your Avid editing application provides a range of video quality options for playback. Depending
on your system configuration and the complexity of your sequence, you might need to switch to
a lower quality option to avoid missing frames or choppy video during real-time playback.
The options available vary depending on your attached hardware. Some third party hardware
might not support Draft Quality and Best Performance options.
The options are also different when you are working in MultiCamera Mode. For more
information, see “Real-time Playback in MultiCamera Mode” on page 1237.
Your Avid editing application can only play back interlaced stereoscopic material using one of
the Full Quality options. When you are working with interlaced stereoscopic material, other
options are not available.
Your Avid editing application also provides an option that improves image quality during
playback of mixed-format sequences where material requires resizing. You might need to
deselect this option to avoid missing frames or choppy video during real-time playback.
The first of the following tables describes the video quality options. The second of the following
tables lists the options available for each configuration.
Video Quality
Name and Icon Description
Full Quality Processes and plays the full image raster for the project. Uses a bit depth of 8 bits.
This option provides the highest video playback quality by processing every image pixel. In
interlaced projects, this option processes the full width of every line in both fields. In
progressive projects, this option processes the full width of every scan line.
Video Quality Options for Playback
507
nFor information about video quality and effects processing, see “Playing Effects Back at
Different Video Qualities” in the Help.
Full Quality 10-bit Processes and plays the full image raster for the project, as described for Full Quality in the
previous row. However, this option uses a bit depth of 10 bits, which provides higher quality
processing for some effects. For more information, see the “Change the Bit Depth for
Effects Processing” section in “Options for Controlling Real-Time Effects Playback” in the
Help.
DNxHD Native Processes and plays the full image raster of DNxHD native media only. This option does not
process any effects in the sequence or any media that is not DNxHD encoded. Non-DNxHD
media is replaced by black frames.
Draft Quality Processes and plays a subsample of the full image raster for the project that uses 1/4 of the
image information. Uses a bit depth of 8 bits.
This option subsamples 50% of the raster width. For interlaced projects, this option uses one
field. For progressive projects, this option uses 50% of the scan lines.
Best Performance Processes and plays a subsample of the full image raster for the project that uses 1/16 of the
image information. Uses a bit depth of 8 bits.
This option subsamples 25% of the raster width. For interlaced projects, this option uses
50% of the lines in one field. For progressive projects, this option uses 25% of the scan
lines.
Configuration
Available Options
(single camera editing)
Available Options
(MultiCamera Mode)
Software-only
(no input/output hardware)
Full Quality
Draft Quality
Best Performance
Full Quality (SD only)
Draft Quality (SD and HD)
Best Performance (SD and HD)
Avid Mojo DX, Avid Nitris DX Full Quality 10-bit
Full Quality
Draft Quality
Best Performance (HD only)
Full Quality (SD only)
Draft Quality (SD and HD)
Best Performance (HD only)
Video Quality
Name and Icon Description (Continued)
Setting the Video Quality for Playback
508
Setting the Video Quality for Playback
To set the video quality for playback:
1. Do one of the following:
tClick the Video Quality Menu button to cycle through the video quality options
available until the button icon indicates the video quality you want.
tRight-click the Video Quality Menu button, and select a video quality option.
For detailed information on the video quality options, see “Video Quality Options for
Playback” on page 506.
2. (Option) Right-click the Video Quality Menu button, and select Video Display Settings.
This opens the Video Display Settings dialog box and lets you select additional video
display settings.
For information about the Video Display settings, see “Selecting the Video Display
Settings” on page 490 and “Video Display Settings” on page 1377.
Marking and Subcataloging Footage
You can speed the editing process by marking clips with IN and OUT points, by subcataloging
using markers, and by creating subclips. When subcataloging, you might want to create or open
additional bins for storing and isolating specific subclips, marked clips, or sequences, as
described in “Using the Bins Tab” on page 67.
Marking IN and OUT Points
You can mark IN and OUT points in your footage to indicate selected material, for example, the
portion of a clip that you want to edit into a sequence. You can also easily clear or move these
marks.
You can mark IN and OUT points for your clips while in the bin, which provides several
advantages:
• You can quickly build a sequence by splicing the marked clips into place one after another.
• You can use the process of rough-cut or storyboard editing, which lets you instantly splice
several prepared clips into a sequence, as described in “Creating an Instant Rough Cut” on
page 570.
• You can play back and mark clips in the bin before loading a single clip, saving several
steps. Use Frame view or Script view to play back and mark clips in a bin.
Marking and Subcataloging Footage
509
Even if your marks are not accurate now, your Avid editing application lets you trim the edit
points and fine-tune the sequence later without reediting the material.
To mark IN and OUT points:
1. Load a clip or sequence from a bin into a monitor, or select a clip in the bin (Frame view or
Script view).
2. Play or step through the material. Use the J-K-L keys when playing a clip in a bin (Frame
view or Script view).
For more information on the J-K-L keys, see “Playing Footage with the J-K-L Keys
(Three-Button Play)” on page 503.
3. Mark an IN point by doing one of the following:
tClick the Mark IN button under the monitor to mark an IN point and stop playback.
tPress the Mark IN key when marking a clip in a bin. (The Mark IN key does not stop
playback.)
By default on United States keyboards, the Mark IN key is the I key.
In the monitor, a Sawtooth icon appears on the left to indicate the mark IN frame.
Sawtooth icon in the frame, and marked IN point, in the monitor
4. Continue moving through the material.
5. Mark an OUT point by doing one of the following:
tClick the Mark OUT button under the monitor to mark an OUT point and stop playback.
tPress the Mark OUT key when marking a clip in a bin.
Marking and Subcataloging Footage
510
By default on United States keyboards, the Mark OUT key is the O key.
In the monitor, a Sawtooth icon appears on the right to indicate the mark OUT frame.
To clear the IN point, do one of the following:
tClick the Clear IN Mark button.
tPress the Clear IN Mark key.
To clear the OUT point, do one of the following:
tClick the Clear OUT Mark button.
tPress the Clear OUT Mark key.
To clear both the IN and OUT points:
tClick the Clear Both Marks button.
tPress the Clear Both Marks key.
To set a new IN point:
tClick the Mark IN button or press the Mark IN key when you reach a different frame.
To set a new OUT point:
tClick the Mark OUT button or press the Mark OUT key when you reach a different frame.
To move a mark icon:
tPress the Alt key (Windows) or the Option key (Macintosh), drag the mark icon to a new
location, and release the mouse button.
Marking an Entire Clip or Segment
Use the Mark Clip button to select an entire clip or an entire segment from a sequence. (A
segment in a sequence consists of the material between any two edit points.) The Mark Clip
button chooses a segment between the first set of edit lines that line up on all the selected tracks.
nTo ignore the current track selection and mark the material between the two nearest edit points
at the current position in the sequence, press and hold the Alt key (Windows) or Option key
(Macintosh) while you click the Mark Clip button.
To mark an entire clip or segment:
1. Load a clip or sequence into a monitor.
2. In a sequence, move the position indicator to the segment that you want to mark.
3. In the Track Selector panel in the Timeline, select the tracks corresponding to the cuts you
want to mark.
Marking and Subcataloging Footage
511
For more information, see “Understanding the Track Selector Panel” on page 695.
4. Click the Mark Clip button.
Creating Subclips
When you mark footage with IN and OUT points, either you can save the entire clip along with
the new marks, or you can create subclips based on the marks you set to break up longer master
clips into smaller segments of selected footage. This procedure is similar to creating a pull reel of
the selects or circle takes of your best footage before editing.
Subclips do not directly reference the original media. Subclips remain linked to the master clips
from which they are created, and the master clips, in turn, reference the captured media files
located on your media drives. As a result, none of the original footage is lost.
In most projects, subclips do not limit your access to the original, captured master clip material
when trimming. Therefore, if you must trim beyond the marked IN to OUT boundaries of the
subclip to make it longer or shorter, your Avid editing application accommodates the boundary
adjustments during the trim.
However, when subclips are created in 24p or 25p projects, they are always created as “hard”
subclips, and you cannot trim past the edges of the subclip when adjusting transitions and edits.
Hard subclips prevent film tracking information errors for editing and cut lists.
New subclips appear in bins with a distinct subclip icon and with a numbered .Sub file name
extension.
A subclip in Text view in the bin
To create subclips:
1. Load a clip into a monitor and mark the material from which you want to create the subclip.
For more information, see “Marking IN and OUT Points” on page 508.
2. Do one of the following:
tPress and hold the Alt key (Windows) or Option key (Macintosh), and then drag the
picture from the monitor to the bin in which you want to store the subclip.
Marking and Subcataloging Footage
512
tClick the Create Subclip icon, located above and to the side of the Source monitor, and
drag it to the bin in which you want to store the subclip.
Create Subclip icon in the monitor
The Create Subclip icon changes to an icon of a hand pointing at a frame during the
drag, and then becomes a Subclip icon when you release the frame in the intended bin.
tClick the Make Subclip button in the Edit tab of the Command palette.
Your Avid editing application creates the subclip and places it in the active bin.
tPress the Alt key (Windows) or the Option key (Macintosh) while you click the Make
Subclip button.
Your Avid editing application creates the subclip and opens a dialog box that lets you
select the destination bin for the subclip.
Creating Subsequences
You can use IN and OUT marks to create a new, shorter sequence from an existing sequence.
This subsequence becomes an independent sequence and you can edit it in the same way you edit
any other sequence.
To create a subsequence:
tClick the Create Subsequence icon located above and to the side of the Record monitor, and
drag it to the bin in which you want to store the subsequence.
The new subsequence appears in the bin, with a numbered .Sub file name extension.
Subclips and Audio Sync for 24p and 25p Projects
Your Avid editing application allows for the ¼-frame resyncing of audio in the event of telecine
errors or for the purpose of adjusting audio sync for intended online mixing, but this subframe
syncing can be done only to subclips. Avid recommends that you create subclips after you
capture your footage and audio but before you begin editing in order to check or adjust audio
sync. It is easier to adjust the subclip’s audio sync before you work the subclip into an edit. For
more information about adjusting audio sync, see “Resyncing Subframe Audio” on page 607.
Using Markers
513
Marking Audio Clips
You can mark audio and video separately for an edit by using the Audio Mark buttons. This
feature is useful for creating an overlap edit for an audio clip.
You can map the Audio Mark buttons from the Edit tab of the Command palette. For information
on mapping buttons, see “Understanding Button Mapping” on page 107.
To mark IN and OUT points on audio tracks:
1. Load a clip or sequence into a monitor.
2. In the Track Selector panel in the Timeline, select the tracks corresponding to the cuts you
want to mark.
For more information, see “Understanding the Track Selector Panel” on page 695.
3. Move the position indicator to the location where you want to mark the audio clip.
4. Do one of the following:
tClick the Audio Mark IN button to mark an IN point.
tClick the Audio Mark OUT button to mark an OUT point.
The Audio Marks appear in the Timeline and in the position bar beneath the monitors.
Audio Mark IN and Mark OUT marks in the position bar
To remove audio IN and OUT points:
tShift+click the Clear IN Mark, Clear OUT Mark, or Clear Both Marks button.
Using Markers
Markers are a type of electronic bookmark. They let you find and identify specific frames during
editing. Keywords that you enter in the comments attached to a marker let you use standard Find
procedures to call up the clips quickly. You can display information about the markers using the
Markers window. For more information about the Markers window, see “Using the Markers
Window” on page 520.
Using Markers
514
There are eight Add Marker buttons in the More tab of the Command palette. Each Add Marker
button is a different color, which lets you group markers by color. For example, you can use the
red Add Marker button to identify color correction frames and use the blue Add Marker button to
identify cutaway shots.
You can map Add Marker buttons, as described in “Understanding Button Mapping” on
page 107.
Suggested Uses for Markers
The following table describes some possible uses for markers and the Markers window:
Use Description
Color correction
notations
Use markers to mark clips or specify frames that require color
correction, noting the specific correction to perform if someone else does
the job.
Visual track alignments Use markers at matching points in synchronized audio and video tracks
so that if the tracks lose sync, you can visually realign the markers in the
Timeline to restore sync. For more information on sync, see “Working
with Multiple Tracks” on page 694.
Music cues Use markers to mark the IN and OUT points for music.
Audio information sent to
Avid Pro Tools
Use markers to mark places in the sequence for advanced audio editing
in Pro Tools or to indicate video data useful to your Pro Tools editor.
Trim markers Use markers in the Timeline to return directly to an edit you have
designated for further trimming at a later time.
Cutaway markers Use markers to identify cutaway shots with comments so that when you
return to cover jump-frame edits with cutaway footage, you can quickly
call up the shots using basic Find procedures.
Replace markers Use markers to mark filler segments with comments to identify the items
that should replace the filler.
Semi-permanent IN or
OUT points
Use markers with the Mark Markers button to put multiple sets of
markers on a long clip, and so on.
Add comments for EDLs Use markers to add comments to sequence clips to appear in lists that
you create, such as an EDL or cut list.
Viewing reviewer
comments
Use the Markers window to view reviewer comments and the specific
frame. See “Using the Markers Window” on page 520.
Using Markers
515
When you insert a marker, it appears as an oval in the Timeline, in the position bar, and at the
bottom of the frame in the monitor. The color of the oval corresponds to the color of the marker
button you used.
Example of a marker in the monitor, position bar and in the Timeline
You can add markers to your source material while you are in an editing session, as described in
“Adding Markers While Editing” on page 516.
When you export sequences with markers as AAF files, the marker information is included. A
Pro Tools editor can then choose to import the markers as Pro Tools as markers. The markers
contain the same information as markers in your Avid editing system.
Print a list of reviewer
comments
Use the Markers window to print a list of changes or comments that you
can distribute to other people in the production. See “Using the Markers
Window” on page 520.
Import and export
markers
Import or export markers from one sequence or clip into another
sequence or clip. See “Exporting and Importing Markers” on page 523.
Use Description
Using Markers
516
Adding Markers While Editing
To add markers and comments while in an editing session:
1. Load a clip or sequence.
2. (Option) Select a specific track by using the Track Selector panel.
See “Understanding the Track Selector Panel” on page 695.
3. Cue to the frame, and click an Add Marker button.
The Add Marker buttons are in the More tab of the Command palette.
The Marker edit entry window opens. The marker name, color, frame, and track information
appear. By default, the marker name is the user name logged onto your system.
The following illustration shows the Marker edit entry window.
Marker edit entry window. Top: a comment in the comment area. Bottom: button to open the Markers window
4. (Option) Type a new name in the Name text box.
5. Type your comments in the comment area of the Marker edit entry window.
6. Change the color from the Color menu or change the marker name.
7. To save your information, click OK, or press the Enter (Windows) or Return (Macintosh)
key.
The information is stored with the marked frame. The marker oval appears in the Timeline,
in the position bar, and at the bottom of the frame in the monitor.
Using Markers
517
Adding Markers On-the-Fly while Playing
To add markers on-the-fly while playing:
1. Load a sequence or clip.
See “Loading and Clearing Footage” on page 494.
2. (Option) Select a specific track, using the Track Selector panel.
See “Understanding the Track Selector Panel” on page 695.
3. Map the Add Marker button to a key by doing the following:
a. Open the Command Palette, click the More tab, and select Button-to-Button
Reassigment.
b. In the Settings list of the Project window, double-click Keyboard.
c. Drag an Add Marker button to a key on the Keyboard palette.
For more information about mapping buttons to keys, see “Mapping User-Selectable
Buttons” on page 109.
4. Click the Play button, and every time you want to add a marker, press the key to which you
mapped the Add Marker button.
5. (Option) Map different Add Marker buttons to different keys to be able to add more than one
color of marker.
To add comments to the markers:
1. Stop playing.
2. Do one of the following:
tDouble-click the marker in the position bar under the monitor.
tClick the large oval on the frame in the monitor.
A Marker edit pane opens. The marker name, color, frame, and track information appear. By
default, the marker name is the user name logged onto your system.
Using Markers
518
Marker edit entry window. Top: a comment in the comment area. Bottom: button to open the Markers window
3. (Option) Type a new name in the Name text box.
4. Type your comments in the comment area of the Marker edit pane.
5. (Option) Change the color from the Color menu or change the marker name.
6. To save your information, click OK, or press the Enter key.
The information is stored with the marked frame. The marker oval appears in the Timeline,
in the position bar, and at the bottom of the frame in the monitor.
7. (Option) Click the Marker icon in the to edit marker information.
To keep the Marker edit pane from opening:
1. Select Tools > Markers.
The Markers window opens.
2. Select Disable Markers Popup from the Fast menu.
The Marker edit pane now does not open even if you double-click a marker.
Finding Markers
To quickly go to a frame with a marker while editing:
tSearch for a particular comment by selecting Edit > Find.
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Editing Marker Information
You can open the Marker edit entry window directly from a monitor, from the position indicator
bar, or from the Markers window. In the Marker edit entry window, you can change the color of a
marker, the marker name, or the text of the comment associated with a marker.
To edit Marker information in the Marker edit entry window:
1. Do one of the following:
2. Click the oval Marker icon in the Source or Record monitor.
3. Double-click the marker in the position indicator bar.
4. In the Markers window, right-click a marker item, and then select Edit Marker.
The Marker edit entry window opens.
5. Do one or more of the following:
tSelect from the Color menu to change the color of the Marker icon.
tType a new marker name.
tEnter new text or update the current text comment.
6. Click OK.
Copying Markers from Source Clips
You can copy all markers currently placed in source clips directly into the sequence as you edit.
The markers and the marker text appear in all sequence segments that reference the source clips.
To automatically copy source markers as you edit:
1. Double-click Composer in the Settings tab of the Project window.
The Composer Settings dialog box opens.
2. Click the Edit tab.
3. Select Copy Source Markers.
4. Click OK.
Marking an Area Using Markers
You can mark the area between two markers by using the Mark Marker button.
To mark the area between two markers:
1. Move the position indicator between two markers.
2. Click the Mark Markers button in the Edit tab of the Command palette.
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The area between the two markers is selected.
Moving to the Previous or Next Marker
You can move to a frame marked by a marker by using the Go to Previous Marker button or the
Go to Next Marker button.
To move to the previous marker:
tClick the Go to Previous Marker button in the Move tab of the Command palette.
To move to the next marker:
tClick the Go to Next Marker button in the Move tab of the Command palette.
Deleting Markers
You can delete markers using the Delete key, or the Markers window.
To delete a single marker:
1. Select a marker in the Timeline or in the position bar.
2. Press the Delete key.
The selected marker is removed.
To delete markers using the Markers window.
tSee “Working in the Markers Window” on page 521.
Using the Markers Window
The Markers window lets you quickly add comments, go to marker marks, copy and paste
markers, export and import markers, delete markers, and print a list of markers in the currently
loaded clip or sequence. Many features of the Markers window are similar to those of the Bin
window.
You can use the Markers window to:
• Go to the marker in the sequence or clip.
• Find frame, timecode, and footage information about each marker.
• Modify and sort the display.
• Display frames for easy visual reference.
• Change the color of the Marker icons.
• Delete a single marker or multiple markers.
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• Export markers to send out as a review and approval file.
• Print the Markers window.
This is especially useful for identifying and listing specific frames to be used in an effect, for
example. You can also make a list of IN and OUT points for adding music.
• Copy and paste markers from one clip or sequence to another.
The following illustration shows a Markers window with three markers.
Viewing Markers in the Markers Window
The Markers window is monitor specific. If you have selected the Source monitor, the Markers
window displays the markers for the clip in the Source monitor. If you have selected the Record
monitor, the Markers window displays the markers for the sequence in the Record monitor.
To view markers in the Markers window:
1. Load the sequence containing the markers.
2. Do one of the following:
tRight-click the Source or Record monitor and select Markers.
tSelect Tools > Markers.
Working in the Markers Window
You can perform a number of basic procedures in the Markers window. You can select markers,
go to the frame marked by a marker, display marker frames or additional information, sort
markers, change marker column widths, change marker colors, and delete markers.
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You can also:
• Export and import markers
For more information, see “Exporting and Importing Markers” on page 523.
• Copy and paste markers
For more information, see “Copying and Pasting Markers Using the Markers Window” on
page 524.
• Print the contents of the Markers window
For more information, see “Printing the Contents of the Markers Window” on page 526.
To select a marker item:
tClick anywhere in the marker item’s row except in the Comment column.
To browse through the list of marker items:
tPress the Up Arrow and Down Arrow keys.
To go to the frame marked by a marker item:
tDouble-click the marker in the Markers window.
tRight-click the marker, and select Jump to Marker.
To display the frame associated with a marker:
tRight-click, and select Show Images.
To display a timecode column, a footage column, or a frame number column in the
Markers window:
tRight-click, and select Display > Frame Number, Timecode, or Footage.
To display XML and Trigger columns:
tRight-click, and select Show MetaSync.
To sort markers:
1. Click the heading of the column that you want to sort.
2. Right-click, and select Sort Column (to sort in ascending order) or Reverse Sort Column (to
sort in descending order).
To change column widths:
1. Click the heading of the column that you want to resize.
2. Right-click, and select Enlarge Column or Reduce Column.
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To change the color of a Marker icon:
tRight-click the marker icon, select Change Marker Color, and select a color.
To delete markers:
1. Click a marker item, or Ctrl+click (Windows) or Command+click (Macintosh) multiple
marker items.
2. Press the Delete key.
Exporting and Importing Markers
You can export markers from a sequence or a clip. A text (.txt) file is created when you export
the marker and a tab-delimited file displays all the information about the marker. You can then
send the text file to those who need to review and give feedback about the sequence or clip. They
can place additional comments in the text file and send it back for you to reimport the marker
comments back into your sequence.
nYou can also import the text file into a spreadsheet program, such as Excel.
You can also use the Markers window to import markers back into your sequence.
For information about creating or editing a markers text file, see “Creating a Marker Text (.txt)
File” on page 524.
To export markers:
1. From the Markers window, right-click and select Export Markers.
A dialog box opens, asking if you want to export only the selected markers or export all
markers.
2. Click All or Selected.
The Choose location for Exported Markers dialog box opens.
3. Type a file name and click Save.
The marker is saved as a text file (.txt).
To import markers.
1. With a sequence loaded in the Record monitor, right-click and select Markers.
2. From the Markers window, right-click and select Import Markers.
The Import dialog box opens.
3. Select the tab-delimited file containing the markers you want to import, and then click Open.
4. (Option) Another way to import a marker file is to select the tab-delimited marker file and
drag it into the Markers window.
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Creating a Marker Text (.txt) File
You can create a Marker text file if you don’t have access to an Avid system. This lets you make
timecode-specific comments offline and give them to an editor to import into a sequence. The
Marker text file is a tab-delimited file which must be created with certain parameters. This file
can be edited in a text editor application or in a spreadsheet program. The Marker text file can be
exported from or imported into the Markers window. See “Exporting and Importing Markers” on
page 523.
The fields in the tab-delimited file are required and must be in the order shown in the following
procedure. The following lines are examples:
John<tab>203<tab>V1<tab>red<tab>Correct tint
Mary<tab>354<tab>A1<tab>blue<tab>A voice-over
To add comments or information into the Marker text file:
1. Type each line of the file using the following syntax:
Name<tab>Frame<tab>Track<tab>Color<tab>Comment
2. Enter the color names as follows:
red, green, blue, cyan, magenta, yellow,
black, white
3. Enter the track names as follows:
V1, V2, V3, etc, A1, A2, TC1
Copying and Pasting Markers Using the Markers Window
You can use the Markers window to copy a single marker or multiple markers and then paste
them into another clip or a sequence. The copied marker is placed in the same frame position
when it is pasted into the new clip. If the frame position does not exist in the new clip, then the
paste does not occur.
You can also use a text editor to cut and paste markers in the Markers window. This lets you
move markers easily between clips, sequences, tracks, or different users on your system.
Timecode, clip data, color, marker identification, and comments are all associated with a marker
entry. You can edit the entries before pasting them into a new clip or sequence using the Markers
window, or you can save the marker information as a text file and distribute it as needed.
To copy markers from a clip and paste them into a new clip using the Markers window:
1. Select the markers in the Markers window by doing one of the following:
tClick a single marker.
tCtrl+click (Windows) or Command+click (Macintosh) multiple markers.
2. Do one of the following:
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tSelect Edit > Copy.
tPress Ctrl+C (Windows) or Command+C (Macintosh).
3. Load a new clip in the Source monitor.
4. Click the Marker window and do one of the following:
tSelect Edit > Paste.
tPress Ctrl+V (Windows) or Command+V (Macintosh).
The marker is pasted into the new clip.
To copy markers from a clip and paste them into a sequence using the Markers window:
1. Select the markers in the Markers window by doing one of the following:
tClick a single marker.
tCtrl+click (Windows) or Command+click (Macintosh) multiple markers.
2. Do one of the following:
tSelect Edit > Copy.
tPress Ctrl+C (Windows) or Command+C (Macintosh).
3. Load a sequence into the Record monitor or into the Timeline.
4. Click the Marker window and do one of the following:
tSelect Edit > Paste.
tPress Ctrl+V (Windows) or Command+V (Macintosh).
The marker is pasted into the sequence.
To copy and paste markers using the Markers window and a text editor:
1. Select the markers in the Markers window by doing one of the following:
tClick a single marker.
tCtrl+click (Windows) or Command+click (Macintosh) multiple markers.
2. Do one of the following:
tSelect Edit > Copy.
tPress Ctrl+C (Windows) or Command+C (Macintosh).
3. Open a text editor application, and paste the selection into the document.
The marker information displays in the text document.
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526
Printing the Contents of the Markers Window
You can print the complete contents or the current view of the Markers window.
nIf you select Show Images to display the frame associated with each marker and you want to
print the frames, you must use the procedure for printing the current view of the Markers
window. Printing the complete contents does not print the frames.
To print the current view of the Markers window:
1. Make sure your printer is correctly set up.
2. Expand the view of the Markers window to display the information you want to print.
3. Select File > Page Setup.
The Page Setup dialog box opens, reflecting the specific options for your printer.
4. Select the Page Setup options.
5. Click OK.
6. Select File > Print.
The Print dialog box opens, reflecting the specific options for your printer.
7. Select the Print options.
8. Click OK (Windows) or Print (Macintosh).
The system prints the current view of marker information.
To print the complete contents of the Markers window:
1. Make sure your printer is correctly set up.
2. Click the Markers window to make it active.
3. Press Ctrl+Alt+P (Windows) or Command+Option+P (Macintosh) to place the marker
information in the Console window.
4. Select Tools > Console.
The Console window opens.
5. Select File > Page Setup.
The Page Setup dialog box opens, reflecting the specific options for your printer.
6. Select the Page Setup options.
7. Click OK.
8. Select File > Print.
The Print dialog box opens, reflecting the specific options for your printer.
9. Select the Print options.
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10. Click OK (Windows) or Print (Macintosh).
The system prints the marker information displayed the Console window.
Disabling the Marker Edit Window
If you want to add markers without including comments, you can modify the behavior of the
Marker edit window so that it does not open each time you create a new marker. This lets you
add markers quickly and then edit marker information later.
nThis option is selected by default if you upgraded your Avid editing application from a previous
version where the “Disable Markers Popup” option was selected.
You can also disable the Marker edit window so it only opens from the Markers window. For
information on accessing the Marker edit window, see “Editing Marker Information” on
page 519.
To keep the Marker edit window from opening each time you add a marker:
1. Select Tools > Markers.
The Markers window opens.
2. Select Disable Marker Popup when Adding from the Fast menu.
The Marker edit window now does not open when you add markers.
To keep the Marker edit window from opening:
1. Select Tools > Markers.
The Markers window opens.
2. Select Disable Marker Popup Always from the Fast menu.
The Marker edit window now does not open even if you double-click a marker.
Finding Frames, Clips, and Bins
Once you have captured, viewed, marked, and subcataloged numerous clips for a project, you
might have difficulty relocating specific clips or frames among several bins. Your Avid editing
application provides a number of features for quickly locating and cueing footage, including
conventional timecode and frame-offset techniques, text searches, and Match Frame and Find
Bin commands.
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Using Timecode to Find a Frame
You can cue a loaded clip or sequence to a specific frame by typing timecode values with the
numeric keypad on the right side of the keyboard. In addition, you can cue backward or forward
from the current location in the clip or sequence by a specified number of minutes and seconds,
or feet plus frames, by using positive or negative frame-offset values.
The system interprets the numbers you type with the numeric keypad according to the type of
tracking format you have selected from the Tracking Information menu (timecode or frames). If
you have two rows of information displayed above the monitor, the system looks at the top row.
For more information on selecting the display of tracking information, see “Displaying Tracking
Information” on page 481.
To use timecode to find a frame, the top row of information must include timecode, for example,
V1.
To cue to a frame based on a known timecode:
1. Click the monitor that is displaying the clip or sequence you want to search.
2. Select a timecode tracking format from the Tracking Information menu that appears above
the monitor.
If two rows of information are displayed above the monitor, make sure the timecode format
is in the top row.
3. (Option) If you are using a notebook computer or a keyboard that does not have a dedicated
numeric keypad, press and release the left Control key twice quickly.
This lets you enter timecode using standard keys on the keyboard, such as the number keys
and the Enter key (Windows) or Return key (Macintosh).
4. Enter the timecode for the frame by using the numeric keypad on the right side of the
keyboard.
If you have performed step 3 on a notebook computer or a keyboard that does not have a
dedicated numeric keypad, use the standard keyboard number keys.
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Example of timecode entry with the numeric keypad. The timecode appears in the monitor. In this example, the
interface displays master timecode.
Use one of the following formats:
5. Press Enter on the numeric keypad.
If you have performed step 3 on a notebook computer or a keyboard that does not have a
dedicated numeric keypad, press the Enter key (Windows) or Return key (Macintosh).
To cue a frame using frame offset timecode:
1. Click the monitor that is displaying the clip or sequence that you want to search.
2. (Option) If you are using a notebook computer or a keyboard that does not have a dedicated
numeric keypad, press and release the left Control key twice quickly.
This lets you enter timecode using standard keys on the keyboard, such as the number keys
and the Enter key (Windows) or Return key (Macintosh).
3. Using the numeric keypad, type a plus sign (+) to move forward or a minus sign (–) to move
backward from the current position.
Format Description
SMPTE timecode Use two digits each for the hours, minutes, seconds, and frames.
For example, type 01230200 to enter 01:23:02:00.
Current timecode To find a timecode that starts at the same hour, minute, or second as
the current timecode, type only the last digits. For example, if the
current timecode is 1:05:12:13 and you type 425, the system finds
the frame at 1:05:04:25.
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If you have performed step 2 on a notebook computer or a keyboard that does not have a
dedicated numeric keypad, use the standard keyboard plus (+) and minus (-) keys.
4. Type a number for the frame offset, and then press Enter on the numeric keypad.
If you have performed step 2 on a notebook computer or a keyboard that does not have a
dedicated numeric keypad, use the standard keyboard number keys, and then press the Enter
key (Windows) or Return key (Macintosh).
Use the following formats:
Searching for a Clip or Sequence with Text Find
Text find allows you to enter text and search bins, Scripts and the Timeline for the information
you enter. You can customize your search by selecting to only search the active bin or search all
bins across a single project. Bins do not have to be open for the system to search in them, Find
searches all bins and scripts within your project. The text find feature is included with your Avid
editing application.
PhraseFind (the phonetic find feature) is purchased as a separate option. Both text find and
PhraseFind can be used together or independently of each other.
For information about the phonetic search option, see “PhraseFind” on page 543. If you have not
purchased PhraseFind and would like more information, click the PhraseFind button in the Find
window, then click Buy. You will be redirected to the Avid website to get more information
about PhraseFind. If the dialog box in the editor asks you to quit your Avid editing application,
click Cancel.
Format Description
One or two digits Type
1
through
99
to specify a number of frames forward or backward.
For example, type
–42
to move backward 42 frames.
Three digits Type
100
or greater to move forward or backward a specified number of
seconds and frames. The results vary depending on the tracking format
you have selected in the Tracking Information menu that displays
information above the monitor. For example, if you type
+100
and the
master timecode is displayed in the top row of the tracking information
above the monitor, you move forward 1 second and zero frames. If you
select frames to display above the monitor and type
+100
, you move
forward 100 frames.
Frames only To move by frames (regardless of the display in the Tracking
Information menu) add an f to the end of the number you type. For
example, if you have a timecode displayed in the Tracking Information
menu and type
+100f
, the display changes to
3:10
(3 seconds and 10
frames) and you move forward 100 frames.
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For a table of all the options available in the Find Window, see “Find Window Attributes” on
page 560.
Things You Should Know About Text Find
• You can continue to work, while the system indexes your project.
• The system creates a SearchData folder located in your Projects folder when you index text
or phonetic searches. If you are working in an ISIS environment, the SearchData folder is
located inside the Project client (computer name) folder.
• All tabs: Clips and Sequences, Script Text, and Timeline and Monitors tab apply to text find.
• The system does not search and find referenced clips in a sequence.
• If you make a change to a bin (or add a new clip to the bin), you must save the bin first in
order for the system to find the changes.
• The system searches through all available columns in your bins including metadata columns,
even if they are not visible in your current bin.
• The use of quotes in search queries has no affect on your results.
• The following characters: @#$%^&*()=+[]\ are recognized by text find.
• When you perform an Edit While Capture in an Interplay environment, you need to update
the bin so that the system indexes your new media. After you capture, right-click the clip in
the bin and select Update from Interplay. Then save the bin. When you perform a text find,
the system should find the new captured clips.
• To make sure all your open bins are indexed, click the Project window and select File > Save
All. This will save all opened bins. When the Bin Index light turns solid green, perform your
search. This will ensure that your results include the most up-to-date files.
• Before you filter to refine your results, you need to first perform a find, then the Filter
columns are selectable.
To open a search window:
1. Press Ctrl+F (Windows) or Cmd+F (Macintosh), or select Edit > Find.
The Find window opens.
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nThe Bin Index status at the bottom of the window indicates if the data files in your bins have been
indexed. A full green display indicates that your files have been indexed and are ready to search.
A partial green display indicates that the index is in process and if you perform a search, your
results might not be complete.
2. Type a word or phrase that you are looking for in the text box.
3. Select to search in Clips and Sequences, Script Text, or Timeline and Monitors.
4. If you select Clips and Sequences, then select from the menu:
Bins in Project
Bins and Scripts in Project
The system searches for the text criteria in all the
bins/scripts within the project regardless if the
bin/script is currently opened.
Current Bin The system searches for the text criteria in the last
active bin. The system then selects the first occurrence
in the bin. Press Ctrl+G (Windows) or Cmd+G
(Macintosh) to take you to the next occurrence
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5. If you select Script Text, then select from the following:
6. A script text search displays all matches in the script, to find the next occurrence of your text
criteria, press Ctrl+G (Windows) or Cmd+G (Macintosh) in your script.
7. If you select Current Script, you can select “Whole words only” to search for only that word.
8. Select Ignore Case if you want the system to search for the text regardless if it is upper or
lower case characters.
9. If you select Timeline and Monitors, then select from the following:
10. If you would like to open the clip(s) in a Source monitor when you double-click a clip in the
Results window, then select Load into monitor.
nLoading the clip in the Source monitor is dependant on the option you have chosen for
“Double-click loads object in” in your Bin Settings.
11. With your text criteria entered, click Find or press Enter.
A Cancel button appears and the system informs you that it is finding your text criteria.
The results appear in the Results window. If you select Current Bin, the clips are selected in
the bin and do not display in the Results window. The system displays the total number of
items found after your search.
Scripts in Project The system searches for the text criteria in all the
scripts within the project regardless if the script is
currently opened.
Current Script The system searches for the text criteria in the last
active script. The script must be open and active in
order for the system to search within the script.
Markers The system searches for clips in the Timeline that contain
the marker text. The blue position bar jumps to the marker
position on the clip and displays the marker information in
the Source/Record monitor.
Clip Names The system searches for clips in the Timeline that contains
the clip name. The blue position bar jumps to the head frame
of the clip.
Timeline Text The system searches for clips in the Timeline that contain
Timeline text based on what is displayed in the Clip Text
pulldown menu. The blue position bar jumps to the head
frame of the clip.
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nTo select the next occurrence in your bin, press Ctrl+G (Windows) or Cmd+G (Macintosh).
12. (Option) To refine the number of results, you can enter additional criteria in the filters. Select
a specific column from the Filter menu that you would like to search in, then enter additional
text relating to that column. The column you are searching on does not have to display in the
bin.
nClick the “+” button to add additional filters. Click the “-” button to remove filters. If the last
filter appears, the “-” button removes the text, not the filter.
The filter menu populates after the initial search.
For information about filtering your results, see “The Results Window” on page 557 and
“Filtering Your Find Results” on page 559.
Using Match Frame
The Match Frame feature lets you locate the source clip for the frame currently displayed in
either the Record monitor or the Source monitor. This feature is useful when you want to relocate
and reedit source material, such as subclips and master clips.
Match framing loads the source clip into the Source monitor, cues to the matching frame in the
source clip, and marks an IN point. Any original IN and OUT points are removed from the
source clip.
You can also use the Match Frame feature to locate clips quickly, based on media relatives, when
you have forgotten their location. For example, you can matchframe a cut in the sequence to its
original subclip, matchframe the subclip to the original master clip, and then locate the bin in
which the master clip is saved. Match framing stops when you reach the master clip.
You can also use the Match Frame feature to locate the source clip for a traditional motion effect.
nYou can also locate frames in a sequence that match a selected source frame; see “Performing a
Reverse Match Frame” on page 535.
Match framing does not create a permanent sync relationship between clips but provides a
convenient way of locating, marking, and editing matching material.
The Match Frame button appears by default in the second row of buttons below the Source
monitor. To match frame from footage in the Record monitor, you must map the button from the
Other tab of the Command palette to the Record monitor palette or the Keyboard palette. For
information about mapping buttons, see “Mapping User-Selectable Buttons” on page 109.
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To use Match Frame to locate the source clip for a selected frame or motion effect:
1. Load a sequence into the Record monitor or a subclip into the Source monitor.
2. Move the position indicator to the frame or motion effect that you want to match.
3. In the Track Selector panel, select the track for the frame that you want to match.
For more information, see “Understanding the Track Selector Panel” on page 695 and
“Selecting Tracks for Matching Frames” on page 536.
4. Do one of the following:
tClick the Match Frame button.
The source clip is loaded into the Source monitor, and any previous IN or OUT points
are removed. A new IN point is marked at the matching frame.
tAlt+click (Windows) or Option+click (Macintosh) the Match Frame button.
The source clip is loaded into the Source monitor, and any previous IN or OUT points
are maintained.
tPress and hold Alt+Ctrl (Windows) or Option+Command (Macintosh), and click the
Match Frame button.
The source clip of the motion effect is loaded into the Source monitor.
Performing a Reverse Match Frame
The Reverse Match Frame feature lets you locate frames in a sequence that match a selected
source frame.
To perform a reverse match frame:
1. Load the source footage into the Source monitor.
2. Move the position indicator to the frame that you want to match.
3. Select the appropriate tracks in the Timeline.
For more information, see “Understanding the Track Selector Panel” on page 695 and
“Selecting Tracks for Matching Frames” on page 536.
The system searches all selected tracks in the Record monitor for the frame on all selected
tracks in the Source monitor.
4. Click the Reverse Match Frame button in the Other tab of the Command palette.
Your Avid editing application cues the sequence to the matching frame on the record side. If
the frame exists in more than one place, the sequence cues to the first location of the match
frame and continues through the sequence to subsequent locations each time you click the
Reverse Match Frame button.
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Selecting Tracks for Matching Frames
Track selection determines the match frame. If you select a video track, your Avid editing
application m matches a frame from the video. If you enable several tracks, your Avid editing
application matches the frame from the highest selected track level, in descending order: V1, A1,
A2, and so on.
You can match frame a single track without having to turn off all other tracks. With audio, you
can select the audio track that you want to match frame instead of having your Avid editing
application match frame the top audio track.
To matchframe a selected frame on a single track:
tRight-click the track number that you want to match frame, and select Match Frame Track.
Finding a Bin
With a clip or sequence loaded into a monitor, you can quickly find the original bin in which it is
stored by using the Find Bin button. Clicking this button finds the bin, opens it, and highlights
the clip or sequence within the bin. This works for sequences, subclips or clips within sequences,
or clips in the Source monitor.
To find the bin in which a specific clip is located:
1. Load a clip into the Source monitor.
2. Click the Source monitor to activate it.
3. Click the Find Bin button in the Other tab of the Command palette.
Your Avid editing application highlights the clip in the bin.
To find the bin in which a specific sequence is located:
1. Load a sequence into the Record monitor.
2. Click the Record monitor to activate it.
3. Click the Find Bin button.
Your Avid editing application highlights the sequence in the bin.
To find the bin in which a specific clip in a sequence is located:
1. Move the position indicator to the clip within the sequence.
2. Press and hold the Alt key (Windows) or the Option key (Macintosh), and click the Find Bin
button.
Your Avid editing application opens the bin and highlights the clip.
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537
Locating a Master Clip from a Subclip in a Sequence
You can use the Match Frame and Find Bin buttons together to find the original clip in the bin for
a subclip that was edited into a sequence.
nFor this operation, you must have the monitors in the two-monitor display and the Match Frame
button must be mapped below both the Source and Record monitors.
To locate a master clip from a subclip:
1. Cue to the subclip in the sequence.
2. Click the Match Frame button in the Record monitor to load the subclip into the Source
monitor.
3. Click the Match Frame button in the Source monitor to load the original master clip into the
Source monitor.
4. Click the Find Bin button in the Source monitor to open the bin and highlight the
master clip.
Finding a Frame
The Find Frame button, located in the Other tab of the Command palette, lets you trace a
captured frame of footage displayed in a sequence or source clip back to its analog source on
tape. This is useful for finding frames for color correction or for recapturing specific clips to
lengthen them or alter capture parameters.
To find a frame:
1. Make sure the source deck is properly connected to the system, and load the clip or
sequence.
2. In the Timeline or position bar, move the position indicator to the frame you want to find.
3. Click the Find Frame button in the Other tab of the Command palette.
If the tape is not in the deck (for example, you do not know which tape the footage is on), a
dialog box prompts you to insert the appropriate tape.
4. Insert the tape.
Your Avid editing application cues to the requested frame and displays the frame. You can
recapture as necessary.
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538
Sequence and Clip Information Summary
You can generate a report to display information about the contents of a sequence. For example,
you can generate a list of the types of effects in your sequence or the location of a particular
effect. You can also create a clip summary or a source summary. This allows you to display a list
of clip names, tape names, offline clips, and path locations of imported clips contained in your
selection.
You generate reports from the Sequence Report dialog box, which you can access from the
Source monitor, the Record monitor, or directly from a sequence in a bin. The Sequence Report
dialog box allows you to select your criteria and create a report that displays in a text editor. You
can then search the summary for the exact information you want.
Example 1: Preparing for Online Editing
When you move your sequence from an offline system to an online system, you can run an effect
summary and a source summary report. The Effect Summary displays a list of all effects,
including a separate list of plug-ins used. The Source Summary lists all the tapes you need for
recapture and all of the import paths for imported graphics.
Example 2: Finding Specific Effects
You use the Effect Summary and Effect Location List to find a particular effect. When you
output the summary to a text editor, you can search the report to find all occurrences of the
particular effect. In addition, you can type the start or end timecode value for each occurrence
into the Source/Record monitor to go to the start of the effect in the Timeline. You might find this
useful when you need to replace or modify a specific plug-in, for example.
Example 3: Plug-in Information
An Effect Summary displays a list of effects found in the selection, including how many times
the sequence uses an effect. For plug-ins loaded on your system, a section displays a summary of
the plug-ins used, displaying the name, the vendor, the version and the ID of the plug-in. This
can help by providing a list of the plug-ins needed for online work.
nIf a plug-in is not loaded on your system when you generate the summary, if you select the option
"Show Missing Effects Only" from the Sequence Report dialog box, the information displays
"unavailable effect," in addition to the plug-in name, the plug-in ID (is this gone?), and other
information associated with the effect. (Is the vendor and version number displayed). This is
helpful when identifying the effect.
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539
Creating a Summary of Effects and Source Information
Before you use the Sequence Report dialog box to create a summary of effects, source
information, or clip information, you might want to do the following:
• Determine if you want the report to cover specific tracks or a section of the sequence
between In and Out points. Loading a sequence in the Source/Record monitor before you
generate a report allows you to select which part of the sequence about which you want
information.
• Choose the summary options you want information on — types of effects, location of
effects, source information, or clip information.
nYou can modify the sequence name and the starting timecode in the Sequence Report dialog box.
To generate a summary report:
1. Do one of the following:
tFrom a bin, right-click a sequence and select Sequence Report. You can select multiple
sequences for generating reports.
tWith a sequence loaded in a monitor, right-click the monitor and select Sequence
Report.
The Sequence Report dialog box opens.
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540
2. (Option) Do the following:
tIf you selected specific tracks, click Enabled Tracks Only.
tIf you set In and Out points, click Use Marks.
If you want to run a report on the entire sequence regardless of tracks or marks, do not select
either of these options.
3. Select the Summary Info options you want to include in your report. For information on
report options, see “Summary Information Options” on page 541.
4. Click Generate Report.
The Save Summary Output File As dialog box opens.
5. Use the default file name or rename the report and choose a folder to save the report to, click
Save.
If you select more than 8 sequences, a dialog box asks if you want to generate sequence
reports for all selected items.
The application writes the report to a text file and opens a text editor.
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Summary Information Options
The following options allow you to select which information to include in the sequence report.
Summary Option Suboption Description
Create Effect
Summary
This displays the types of effects and how many
were found in your sequence, the breakdown by
effect type, and an effect plug-in summary. If you
have selected individual tracks or selected IN and
OUT points, only those effects that fall within those
parameters appear.
Create Effect
Location List
This displays the location of an effect. Depending on
the criteria you selected, this displays track, start
timecode, end timecode and effect name.
Skip Non-Renderable
Effects
Select this option if you do not want any
non-renderable effects, such as pan/volume effects,
to appear in the report.
Skip
Relationship-Only
Color Correction
Select this option if you do not want any color
correction effects with only relationships to appear
in the report.
Show Nested Effects
Only
Select this option if you want to only display the
nested effects in your sequence. Effects that are
nested inside of other effects show the parent effect
track they are applied to with the track name in
parentheses and indented to show the nesting
relationship.
Show Missing Effects
Only
Select this option if you want to only display the
plug-in effects missing from your sequence. Plug-in
effects that are missing in your sequence display as
“Unavailable Effect,” but also lists the type of effect
and other important information which help you
identify the type of effect. This option is helpful
when you move your sequence to a system that does
not have the plug-in installed.
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Create Clip Summary
or
Create Source
Summary
Depending on the criteria you selected, a Clip
Summary displays the number of clips found, type of
clip, track, offline information, clip name, and clip
Mob ID.
A Source Summary displays the number of
tape-based sources found, project name, tape name,
tape ID, and tape Mob ID. It also displays a list of
import paths for any imported clips, such as
graphics.
Offline Only Select this option if you want to display offline clips
and/or sources only.
Skip Non-Selected
Clips in Group Clips
Select this option if you do not want any
non-selected clips inside of a group clip to appear in
the report.
Show Globally
Unique Identifier
(UID)
Select this option if you want to display the unique
identifiers (Mob IDs) associated with the clips and
sources in your sequence.
Summary Option Suboption Description
13 PhraseFind
The PhraseFind option (phonetic find) searches and finds audio dialogue throughout bins in a
single project. PhraseFind starts by indexing all the audio in your bins (based on the language
you choose). You then enter search criteria, and the system searches through those bins for all
occurrences of the audio search criteria you enter. PhraseFind indexes and finds audio in master
clips, subclips and group clips. Only your project needs to be opened, you do need to have the
bins open for the system to search them. The database returns the results of your find in the
Results window. You can then continue to filter those results to find exactly what you are looking
for.
The Find window in the Avid editing application, includes both the text find feature and the
PhraseFind feature.
The PhraseFind feature is purchased separately. You must purchase and then activate your
PhraseFind license to use this feature. For more information, see “Purchasing and Activating
PhraseFind” on page 543.
For a table of all the options available in the Find Window, see “Find Window Attributes” on
page 560.
Purchasing and Activating PhraseFind
The PhraseFind (phonetic search) option is sold separately from your Avid editing application.
Once you purchase PhraseFind, you will receive a PhraseFind Activation ID that you use to
activate the PhraseFind feature. You activate the PhraseFind feature with the Avid License
Control tool. To find out the benefits of the PhraseFind feature, you can try out PhraseFind for a
free 30-day trial period before you purchase.
You can also purchase and activate multiple seats of PhraseFind. For information about installing
and activating volume licenses see the FlexNet Device Manager for Avid Guide on the Avid
Knowledge Base.
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544
How Do I Purchase PhraseFind?
• You can purchase PhraseFind through your Avid Reseller.
• You can purchase PhraseFind from your Avid editing application’s Find window.
• You can purchase PhraseFind directly through the Avid web store at http://shop.avid.com,
then search for PhraseFind.
How Do I Activate PhraseFind?
Once you purchase the PhraseFind feature and have received a PhraseFind Activation ID, you
activate this option through the Avid License Control tool in the following ways:
• You can use an Internet connection to activate PhraseFind. Avid’s License Control tool lets
you activate online using your system identification (System ID) number and the Activation
ID that came with the purchase of PhraseFind.
• If the system running your Avid editing application and PhraseFind is not connected to the
Internet, you can activate PhraseFind by using a different computer with an Internet
connection.
• If you do not have access to the Internet, you can activate PhraseFind over the telephone by
calling Avid customer service.
• You can activate multiple PhraseFind licenses using the FlextNet Device Manager for Avid.
For more information, see the FlexNet Device Manager for Avid Guide on the Knowledge
Base.
What Will I Need to Activate PhraseFind?
• The PhraseFind Activation ID (obtained after you purchase PhraseFind)
If you purchased through an Avid Reseller, the PhraseFind Activation ID is on a sticker
adhered to your Instruction letter. If you purchased through the Avid web store, you receive
your PhraseFind Activation ID through an Avid e-mail or you can also view your Activation
ID by logging in to your Store account at http://account.avid.com/.
• Your System ID
This number pre-displays if you have activated your Avid editing application. If the System
ID does not appear, you can get the number in the following ways:
- The License Profile tab of the Avid License Control tool
- If you purchased your Avid editing application online, you received your System ID
from Avid by e-mail
- The Avid editing application splash screen (Help > About Avid editing application)
- The Console of the Avid editing application (Tools > Console, then scroll to System ID)
- The inside cover of your Avid editing application Installation Guide
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- If you purchased your Avid editing application from the Avid store, you can also view
your System ID number by logging in to your Store account at http://account.avid.com/
If you have a dongle attached to your Avid editing application, check the License Profile tab
of the Avid License Control tool or use DongleManager to obtain your System ID. See the
steps below for information about this utility.
• Your Device ID (you only need this if you are running PhraseFind on a system without an
Internet connection). Check the License Profile tab of the Avid License Control tool.
To retrieve your System ID with a dongle attached:
1. Navigate to one of the following locations:
t(Windows) Program Files\Avid\Utilities\DongleManager
t(Macintosh) Applications/Utilities/Avid Utilities/DongleManager
2. Double-click DongleManager.
A window opens and displays your System ID.
3. Copy the System ID, and then close the terminal window.
Running the 30-Day Trial of PhraseFind
Before you purchase PhraseFind, you can try it out for a 30-day period. After the 30 days, if you
do not purchase PhraseFind, you will no longer have access to the PhraseFind feature. The
system keeps you informed of how many days you have left before the trial period ends.
nIf you are running the Avid editing application trial version, you do not need to run the trial
version of PhraseFind. The PhraseFind feature is included with the trial version of the Avid
editing application.
To run PhraseFind for a 30-day trial period:
1. Open your Avid editing application and an Avid project.
2. Press Ctrl+F or select Edit > Find.
The Find window opens.
3. Type a word or phrase in the text box, then click the PhraseFind button.
The system checks to see if you have PhraseFind on your system and then a dialog box
opens.
4. Click Run Trial.
The Avid editing application closes to start the phonetic indexer.
5. Restart your Avid editing system.
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Your trial is activated. Your 30-day trial of PhraseFind also includes access to all available
languages during the trial. You do not need to activate any additional language packs at this
time. However, you need to select your language from the Select a Language menu in the
PhraseFind window.
6. In the PhraseFind window, select your language from the Select a Language menu and wait
for the PhraseFind Index to turn green.
To purchase PhraseFind during your 30-day trial period:
1. Open your Avid editing application and an Avid project.
2. Press Ctrl+F or select Edit > Find.
The Find window opens.
3. Type a word or phrase in the text box, then click the PhraseFind button.
A dialog box opens which informs you of how many days you have left on your 30-day trial.
This message displays with the remaining time only when you restart the Avid editing
application and click PhraseFind again.
4. Click Buy.
nIf the Buy button does not appear, close the Find window and restart your Avid editing
application. Repeat the steps above.
The system opens the Avid web store, allowing you to purchase PhraseFind. Once you
purchase PhraseFind and obtain your PhraseFind Activation ID, you can activate
PhraseFind.
A dialog box opens informing you that Activation will quit your Avid editing application
and launch the Avid License Control tool.
5. Click Continue.
The Avid License Control tool opens.
To activate PhraseFind, see “Activating PhraseFind with the Avid License Control Tool” on
page 548 to continue.
If You Purchased PhraseFind Through the Find Window
If you are working in your Avid editing application, you can open the Find window and click
PhraseFind to purchase the PhraseFind feature. You will need an internet connection and you
will be directed to the Avid store. Once you make your purchase, you will receive your
PhraseFind Activation ID and be directed to the The Avid License Control tool to activate the
PhraseFind feature.
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547
To purchase PhraseFind through the Avid editing application’s Find Window:
1. Open your Avid editing application and an Avid project.
2. Press Ctrl+F or select Edit > Find.
The Find window opens.
3. Type a word or phrase in the text box, then click the PhraseFind button.
A dialog box opens which informs you that PhraseFind is not activated on this machine.
4. Click Buy.
nIf you have not purchased PhraseFind and if the Buy button does not appear, close the Find
window and restart your Avid editing application. Repeat the steps above.
The system opens the Avid web store, allowing you to purchase PhraseFind. Once you
purchase PhraseFind and obtain your PhraseFind Activation ID, you can activate
PhraseFind.
A dialog box opens informing you that Activation will quit your Avid editing application
and launch the Avid License Control tool.
5. Click Continue.
The Avid License Control tool opens, which allows you to activate PhraseFind.
To activate PhraseFind, see “Activating PhraseFind with the Avid License Control Tool” on
page 548 to continue.
If You Purchased PhraseFind through an Avid Reseller or Directly Online
Once you purchase PhraseFind, you will receive your PhraseFind Activation ID. You need to
open the Avid License Control tool to activate the PhraseFind feature.
The Avid License Control tool is installed with your Avid editing application and located in the
Utilities folder.
To open the Avid License Control tool:
1. Go to the following location:
(Windows) Start/All Programs/Avid/Utilities/License Control
(Macintosh) Applications/Utilities/Avid Utilities/License Control
The Avid License Control tool opens, which allows you to activate PhraseFind.
To activate PhraseFind, see “Activating PhraseFind with the Avid License Control Tool” on
page 548 to continue.
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Activating PhraseFind with the Avid License Control Tool
When you purchase PhraseFind and open the Avid License Control tool, you are ready to
activate the PhraseFind feature. You can only use and activate PhraseFind on a single machine at
one time.
If you have an Internet connection on the machine that you will be using PhraseFind, follow the
instructions “To activate PhraseFind with the Avid License Control tool and with an Internet
connection:” on page 549. If you do not have an internet connection, follow the instructions “To
activate PhraseFind with the Avid License Control tool and with no Internet connection:” on
page 551.
For more information on how to open the Avid License Control tool see, “If You Purchased
PhraseFind Through the Find Window” on page 546 or “If You Purchased PhraseFind through
an Avid Reseller or Directly Online” on page 547.
To open the Avid License Control tool:
1. Go to the following location:
(Windows) Start/All Programs/Avid/Utilities/License Control
(Macintosh) Applications/Utilities/Avid Utilities/License Control
The Avid License Control tool opens, this allows you to activate or deactivate PhraseFind.
The Status column displays if PhraseFind is Activated, Not Activated, Deactivated or Trial.
The Action button displays as Activate or Deactivate.
To copy system information from the License Profile tab:
1. With the Avid License Control tool open, click the License Profile tab.
The License Profile tab displays information about your system, including: Device ID, OS,
System ID, Activation ID, software Version, if your software is activated or deactivated.
2. Click Copy.
The information copies to your Clipboard.
You can cut and paste from the clipboard to an e-mail or create a text file, if you need to send
system information to Avid Customer Support.
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To activate PhraseFind with the Avid License Control tool and with an Internet connection:
1. With the Avid License Control tool open, click Activate next to PhraseFind.
A dialog box opens.
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2. If your computer has an Internet connection, select “I am connected to the Internet and will
use this computer.”
3. Click Continue.
The Avid Activation dialog box opens.
4. Enter your system identification number in the System ID text box.
This number pre-displays if you have activated your Avid editing application. If the System
ID does not appear, see “What Will I Need to Activate PhraseFind?” on page 544 for more
information.
nIf you have a dongle attached to your system, the system should pre-display your System ID.
nYou can copy and paste your system identification number and your Activation ID from a text file
to the appropriate text boxes.
5. Enter your PhraseFind Activation ID in the Activation ID text box.
Your Activation ID is located on the PhraseFind Instruction letter if you purchased through
an Avid Reseller. If you purchased PhraseFind online, you received your Activation ID from
Avid by e-mail. For more information, see “What Will I Need to Activate PhraseFind?” on
page 544.
6. Click Activate.
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The Activation tool confirms your system information, and the Select the default language
dialog box opens.
7. Select your language.
The language you choose is the one free language included with PhraseFind. You can also
purchase additional language packs and select different languages to search on in the Find
window. For information about the PhraseFind Regional language packs, see “Activating
Additional Regional Language Packs” on page 552 and “Selecting a Language” on
page 555.
8. Click Select.
9. Click Quit.
PhraseFind successfully activates.
To activate PhraseFind with the Avid License Control tool and with no Internet connection:
1. With the Avid License Control tool opened, click Activate next to PhraseFind.
A dialog box opens.
2. Select “I am not connected to the Internet and will be using another computer that is
connected to the Internet.”
3. Click Continue.
The Avid Activation dialog box opens.
4. On the second computer open a Web browser and navigate to http://avid.com/license.
The Avid Software License Activation page opens.
5. In the Software License Activation Web page, enter your Activation ID and if you would like
to have your Activation file sent to you, enter your e-mail address.
To find your Activation ID, see “What Will I Need to Activate PhraseFind?” on page 544.
Once the system verifies your Activation ID, the Device ID and System ID entries display.
6. Enter your Device ID and System ID.
To find your Device ID or System ID, see “What Will I Need to Activate PhraseFind?” on
page 544.
7. Click Activate.
The system creates a license.bin file. This file contains license information needed to
activate PhraseFind.
If you entered an e-mail address, the .bin file will be sent to you as an attachment. You can
also download the .bin file directly from the site.
8. Click Download to download the license.bin file to your system.
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Depending on your web browser, the license.bin file could be located on your desktop or in a
download folder.
9. Move the license.bin file to the system you need to activate PhraseFind.
You can use a removable storage device such as a USB drive or you can transfer the data
over your network.
10. Open the Avid License Control tool.
11. Click Browse and navigate to the license.bin file you moved to your system, then click
Open.
12. The Select the default language dialog box opens, click a language then click Select.
The Avid License Control tool confirms your system information. When the activation is
complete, a message informs you that PhraseFind has been successfully activated and the
button changes to Deactivate.
Activating Additional Regional Language Packs
If you purchased additional language packs, you need to activate and license all languages
through the Avid License Control tool.
Each language pack you purchase for PhraseFind has a specific Activation ID associated with it.
You cannot activate one language and then use the same Activation ID to activate another
language. If you want to enable two different languages, you need to purchase two different
Activation IDs.
Activating Additional Language Packs
1. Go to the following location:
(Windows) Start/All Programs/Avid/Utilities/License Control
(Macintosh) Applications/Utilities/Avid Utilities/License Control
The Avid License Control tool opens.
2. Next to PhraseFind Language Packs, click Activate.
A dialog box displays additional language packs.
3. Select your language and click Activate.
You can only select one language at a time to activate. Each language pack has a unique
Activation ID.
4. If your computer has an Internet connection, select “I am connected to the Internet and will
use this computer.”
5. Click Continue.
The Avid Activation dialog box opens.
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6. Enter your system identification number in the System ID text box.
This number pre-displays if you have activated your Avid editing application. If the System
ID does not appear, see “What Will I Need to Activate PhraseFind?” on page 544 for more
information.
nYou can copy and paste your system identification number and your Activation ID from a text file
to the appropriate text boxes.
7. Enter your language pack Activation ID in the Activation ID text box.
If you purchased the PhraseFind Regional language packs online, you received your
Activation ID from Avid by e-mail. You can also view your Activation ID by logging in to
your Store account at http://account.avid.com/.
8. Click Activate.
The systems activates the additional language packs.
Deactivating the PhraseFind License
nIf you need to move PhraseFind to a different computer, deactivate the PhraseFind license.
nYou must have an Internet Connection to deactivate PhraseFind.
nYou do not need to deactivate the Trial version of PhraseFind.
The steps below deactivates both PhraseFind and the PhraseFind Language Packs.
Deactivating PhraseFind
1. Go to the following location:
(Windows) Start/All Programs/Avid/Utilities/License Control
(Macintosh) Applications/Utilities/Avid Utilities/License Control
The Avid License Control tool opens.
2. Next to PhraseFind, click Deactivate.
A message appears informing you that the language packs associated with PhraseFind will
also be deactivated.
3. Click Yes.
PhraseFind deactivates and the button changes to Activate.
Follow the instructions on how to activate PhraseFind if you want to activate it on another
computer.
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554
Understanding PhraseFind
Now that you have purchased and activated PhraseFind, there are a few things that might help
you understand how PhraseFind works.
Things You Should Know About PhraseFind
• You can continue to work while the system indexes your project.
• The system creates a SearchData and a PhoneticData folder located in your Projects folder
when you index text or phonetic searches. If you are working in an ISIS environment, the
SearchData folder is located inside the Project client (computer name) folder. Within the
PhoneticData folder is a “1” folder that holds the first 5000 files, a second (2) folder is
created which holds the next 5000 files. If you delete these folders, the system creates a new
SearchData folder and indexes your bins the next time you open a project.
• The system does not index clips that are offline. PhraseFind does index AMA clips as long
as they are online.
• Only the Clips and Sequences tab applies to PhraseFind. The Script Text tab and Timeline
and Monitors tab do not apply. (These tabs are used with text find.)
• You can purchase and have multiple language packs installed on your system, however, you
can only choose one language at a time. A project can use multiple languages, but only one
at a time.
• The use of quotes in search queries has no affect on results in PhraseFind.
• The system does not search and find referenced clips in a sequence.
• PhraseFind searches words or phrases that are misspelled. You can enter search criteria that
is spelled like it sounds.
• If you make a change to a bin (or add a new clip to the bin), you must save the bin first in
order for the system to index and then find the changes.
• When you perform an Edit While Capture in an Interplay environment, you need to update
the bin so that the system indexes your new media. After you capture, right-click the clip in
the bin and select Update from Interplay. Then save the bin. When you perform a
PhraseFind, the system should find the new captured clips.
• If you want to refresh your results, save a bin.
• Before you filter to refine your results, you need to first perform a find, then the Filter
columns are selectable.
Using PhraseFind
555
Selecting a Language
Avid supports several different languages. Language packs are purchased separately. You receive
one free language with the purchase and activation of PhraseFind. You can purchase and have
multiple languages licensed on your system, however, you can only use one language per project.
Every time you choose a new language, the system re-indexes and re-populates with the new
language phonetic files.
If you only have one language licensed on your system, the system accepts the default language
and displays it in the Find window. You do not need to select a language in the Find window.
To select a language:
1. Open your Avid editing application and an Avid project.
2. Press Ctrl+F (Windows) or Cmd+F (Macintosh), or select Edit > Find.
The Find window opens.
3. If your default language does not display, select your language from the Language menu.
nLanguages only appear in the menu if you have purchased additional language packs.
The system indexes the phonetic files.
If you change the language, a dialog box opens asking if you are sure you want to change
your language. This is due to the fact that the system deletes the existing phonetic files and
then re-indexes the new language phonetic files. This might take some time. The Index
indicators at the bottom of the Find window displays green when the index is complete.
Using PhraseFind
To open the Find window:
1. Open your Avid editing application and an Avid project.
2. Press Ctrl+F (Windows) or Cmd+F (Macintosh), or select Edit > Find.
The Find window opens.
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556
nThe PhraseFind Index status at the bottom of the window indicates if the phonetic files in your
bins have been indexed. A full green display indicates that your files have been indexed and are
ready to search. A partial green display indicates that the index is in process and if you perform
a search, your results might not be complete.
3. Make sure a language is selected.
4. Type a word or phrase that describes the dialogue you are looking for in the text box.
5. Click the Clips and Sequences tab.
nThe Script Text tab and Timeline and Monitors tab do not apply to PhraseFind.
6. Select from the Search menu:
Bins in Project The system searches for the text criteria in all the bins within the project
regardless if the bin is currently opened. Results are limited to bins.
Scripts in Project The system searches for the text criteria in all scripts (takes and clips)
within this project. Results are limited to script bins.
Bins and Scripts in
Project
The system searches for the text criteria in all of the bins and script bins
(takes and clips) within this project. Results are limited to bins and
script bins.
Current Bin The system searches for the text criteria in the current active bin. The
system then selects the first occurrence in the bin. Press Ctrl+G
(Windows) or Cmd+G (Macintosh) to take you to the next occurrence.
(Applies to text find only.)
The Results Window
557
7. Select Ignore Case if you want the system to search for the text regardless if it is upper or
lower case characters (for Current Bin only).
8. Click PhraseFind or press Enter.
A Cancel button appears and the system informs you that it is finding your criteria.
The results appear in the Results window. The system displays the total number of items
found after your search.
9. If you would like to open the clip(s) in a Source monitor when you double-click a clip in the
Results window, then select Load into monitor.
The Load into monitor option is selected by default.
Double-clicking a phonetic clip loads the clip into the Source monitor and places the blue
position bar on the frame immediately before the dialogue starts. A Mark IN point displays
on the frame immediately preceding the audio dialogue, the bin opens and the clip highlights
inside the bin. Press the Space bar or Play key to play the clip from the search point.
nLoading the clip in the Source monitor is dependant on the option you have chosen for
“Double-click loads object in” in your Bin Settings.
10. (Option) To refine the number of results, you can enter additional criteria in the filters. Select
a specific column from the Filter menu that you would like to search in, then enter additional
text relating to that column.
nClick the “+” button to add additional filters. Click the “-” button to remove filters. If the last
filter appears, the “-” button will remove the text, not the filter.
The filter menu populates after the initial search.
For information about filtering your results, see “The Results Window” on page 557.
The Results Window
The results of your find display in the Results window for both text find and PhraseFind.You can
then filter your findings to narrow your results. You can also choose to display specific columns,
and sort or move columns.
In PhraseFind, the Score column lists your results in order of importance (ranging from 100 to
50). The system displays all the results, however, the score with the higher value is more
probable the audio dialogue you are searching for.
The system displays the total number of items Found after your search and the system also
displays the number of items found after filtering.
The system clears the Result window when you close the project.
The Results Window
558
To resize the Results window:
tClick and drag the corner of the window to enlarge or reduce the size of the window.
The window adjusts. If you enlarge the window, more results display in the Results window.
To display columns:
1. Click Select Columns.
The Click column names to select dialog box opens.
The default columns are pre-selected (Bin, Name, Duration, Video, Creation Date, Start,
End, Tracks, Mark IN-OUT, IN-OUT). The Icon, Name and Bin columns always display.
The Score column always display in PhraseFind.
Filtering Your Find Results
559
Column selections reset from search to search. The system does not remember columns you
have previously selected.
2. Click the columns you want to display in the Results window.
You can deselect the default columns.
3. Click OK.
The columns you selected appear in the Results window.
To move columns:
tIn the Results window, click and drag a column heading.
The column moves to the new location.
To sort a column:
tClick a column heading to sort the results in ascending or descending order based on that
column.
The column reformats. You can sort all columns. After you click a column heading, the
ascending or descending icon appears.
To load a clip in the Source monitor:
tClick Load into monitor.
When you double-click a clip in the Results window, the clip opens in the Source monitor.
To open multiple clips, you need to double-click each clip in the Results window to open in
a Source pop-up monitor.
nLoading the clip in the Source monitor is dependant on the option you have chosen for
“Double-click loads object in” in your Bin Settings.
Filtering Your Find Results
You can narrow your search results to display less results. This is achieved by selecting specific
columns and additional criteria. You need to perform a find before columns appear to filter.
For example, if you are looking for a clip with the name of Scene 2c and a duration of 03:00:00.
The initial result displays fifty items, you can filter the search by selecting Name as the column
and enter 2 in the contains field. In the second filter, select Duration as the column and enter 3 in
the contains field. As you enter each filter, the results get fewer and fewer.
nIf the audio you are searching for is in a specific bin, after you receive your initial results, select
Bins from the Filter menu and then enter the Bin name.
Find Window Attributes
560
To filter a search:
1. After you perform a text find or PhraseFind, select a specific column from the Filter menu
that you would like to search in and enter additional text criteria.
nYou need to perform a find before columns display in the Filter menu.
As you enter the text criteria, the results start to update and less results appear in the window
based on your criteria.
2. Click the “+” button to add additional filters.
A new row appears, enter additional rows and text criteria.
3. Click the “-” button to remove filters.
The filter row is removed, and displays your last filter.
If the last filter appears, the system removes the text criteria and the column selection and
leaves the filter.
nThe system saves your last find. If you close and reopen the Find window, the last find you
perform is saved in the Results window.
Find Window Attributes
The following table describes the attributes available in the Find window for PhraseFind and text
find.
Results Window Attributes Description
Find: Allows you to enter your search text criteria.
Find Click this button when you enter text in the textbox and
you are ready for the system to search for your
alphanumeric results.
PhraseFind Click this button when you enter phonetic text in the
textbox and you are ready for the system to search for your
audio dialogue results.
Cancel The Cancel button appears once you click either the Find
or PhraseFind button. This cancels the search.
Find Window Attributes
561
Clips and Sequences Select this option if you want the system to search through
your clips and sequences. The system does not search and
find referenced clips in a sequence. Then choose to search
in the current bin and script opened in your project or all
bins and scripts in the project regardless if they are opened
or not.
Script Text Select this option if you want the system to search through
your scripts. Then choose to search in the current script
opened in your project or all scripts in the project
regardless if they are opened or not. (text find only).
Timeline and Monitors Select this option if you want the system to search through
the Timeline and monitors. Then choose to search for text
in Markers, Clip Names, and Timeline Text. (text find
only).
Filter Allows you to select a specific column to search in from a
menu, then enter additional text to help narrow your search
results.
+ or - Allows you to add (+) or remove (-) filters
Ignore Case Select this option if you want the search to find results
whether the text is lower or upper case text.
Load into monitor Loads the clip in the Source monitor when you
double-click the clip in the Results window.
Whole words only Available when you select Current Script. Select this
option when you only want to find that word. For example
with this option selected, if you enter “eat,” the system will
only find eat. Not eating, eats, neat.
Select Columns Opens a dialog box which allows you to select columns to
display in the Results window.
Language menu Allows you to select a language from the languages you
have licensed on your system (language packs are
purchased separately.)
PhraseFind Index
and Bin Index
Displays the status of your indexed files. Full green
indicates that your data files have been indexed and are
ready to search. Partial green indicates that the index is in
process and if you perform a search, your results might not
be complete.
Results Window Attributes Description
Find Window Attributes
562
Found Displays the total number of results found after your
search.
after filtering Displays the total number of results found after you filter.
Results Window Attributes Description
14 Creating and Editing Sequences
This chapter introduces you to procedures that you use to build a sequence, as described in the
following topics:
•Entering Source/Record Mode
•Creating a New Sequence
•Making a First Edit
•Creating an Instant Rough Cut
•Undoing or Redoing Edits
•Editing Additional Clips into the Sequence
•Mixing Frame Rates and Field Motion Types
•Mixing Frame Sizes and Aspect Ratios
•Refreshing Sequences to Use Current Clip Attributes
•Lifting, Extracting, and Copying Material
•Adding Comments to Sequence Clips
•Playing Back a Sequence
•Understanding Sync Breaks
•Fixing Sync Breaks
•Understanding Sync Lock
•Ganging Footage in Monitors
•Sync Point Editing
•Autosyncing Clips
•Understanding AutoSequence
•Adding Audio or Video to Original Videotape Using AutoSequence
•Resyncing Subframe Audio
•Resyncing Audio for a Selected Subclip
•Working with Phantom Marks
Entering Source/Record Mode
564
•Creating Video and Audio Leaders
•Using MetaSync to Synchronize Metadata
Entering Source/Record Mode
Source/Record mode is the default editing mode. It includes the screens and controls used for the
Source and Record monitor. Use Source/Record mode to create new sequences from source
clips.
To enter Source/Record mode from another mode:
tClick the Source/Record Mode button.
Depending on the model of your Avid editing application, the Source/Record Mode button
might appear in a default location, for example, in the second row of buttons below the
monitors. You can map the Source/Record Mode button to any mappable button location, or
use it directly from the Command Palette. For information about mapping buttons, see
“Mapping User-Selectable Buttons” on page 109.
For more information about the Composer window, see “Customizing the Composer
Window and Monitors” on page 479.
Creating a New Sequence
You can create a new sequence in one of two ways, depending on the requirements of your
workflow:
• To set specific parameters for the sequence before you start editing, you can use the New
Sequence command to create and name a sequence, set the start timecode, (see “Changing
the Name and Timecode for a Sequence” on page 565) and determine the numbers and types
of tracks (see “Track Display for New Sequences” on page 567) to use before you make the
first edit.
• To begin editing right away and build the sequence as you go without setting parameters
ahead of time, you can create the sequence automatically by making an initial edit, as
described in “Making a First Edit” on page 569.
To create a sequence with the New Sequence command:
1. Do one of the following:
tSelect Clip > New Sequence.
tRight-click in either the Timeline or the Source/Record monitor, and select New
Sequence.
One of the following occurs:
Creating a New Sequence
565
- If just one bin is open or you activate a bin, the new sequence appears in that bin. It also
appears in the Record monitor and in the Timeline, with the generic title “Untitled
Sequence n.” Each new sequence is numbered incrementally until you rename it.
- If a bin is not activated, the Select dialog box opens.
Select the bin where you want to store the new sequence, or click New Bin to create and
open a new bin, then click OK.
An untitled sequence appears in the bin, in the Record monitor, and in the Timeline.
2. (Option) In the bin, click the Name field and rename the new sequence.
Changing the Name and Timecode for a Sequence
To rename a new sequence and set a start timecode:
1. Do one of the following:
tFrom a bin, right-click a sequence and select Sequence Report. You can select multiple
sequences for generating reports.
tWith a sequence loaded in a monitor, right-click the monitor and select Sequence
Report.
The Sequence Report dialog box opens.
Creating a New Sequence
566
Start timecode text box (left) and Start key number text box (right, for 24p or 25p projects only) in the
Sequence Report dialog box
2. Type a new name in the Name text box.
3. Drag the pointer across the start timecode (Starting TC) to select it, and type a new
timecode.
You need to type only the first colon (non-drop-frame timecode) or semicolon (drop-frame
timecode). For example, type 01:000000 for 01:00:00:00. For information about
non-drop-frame and drop-frame timecode, see “Understanding Timecode” on page 178.
4. For film projects, select the start key number (Starting EC) and type a new start key number.
5. Click Apply Changes.
6. Click OK.
You can also change the default start timecodes for all new sequences by using General
settings. For more information, see “General Settings” on page 1348.
Creating a New Sequence
567
To change the start timecode of a sequence in a bin:
1. In the bin, click the start time for the sequence in the Start column.
2. Type a new timecode.
Track Display for New Sequences
When you create a new sequence with the New Sequence command and no material is loaded in
the Source monitor, the Timeline displays a default set of tracks—the master timecode track
(TC1), at least one video track (V1), and at least two audio tracks (A1 and A2). For film projects,
the output timecode format tracks and EC (edgecode) track also display.
You can change the initial set of tracks that display in the Timeline in the Edit tab of the Timeline
Settings dialog box. For more information, see “Timeline Settings: Edit Tab” on page 1372.
You can add up to 24 audio or video tracks to a sequence. You can add Meta tracks for MetaSync
editing. For more information, see “Adding and Deleting Tracks” on page 703. For information
about MetaSync, see “Using MetaSync with Avid Editing Systems” in the Help. You can also
add one Data (D1) track for ancillary data (closed captioning). For more information, see
“Preserving HD Closed Captioning and Ancillary Data” on page 1069.
The following illustration shows the default Timeline for a new sequence, with no material
loaded in the Source monitor.
User Preferences for Creating Tracks
There are two options in the Edit tab of the Composer Settings dialog box that help automate the
way you create and enable tracks. You can adjust these settings in advance, based on personal
preference.
For information on opening and changing settings, see “Viewing and Modifying Settings” on
page 1277.
Creating a New Sequence
568
The default settings are:
• Auto-create New Tracks: Whenever you edit new source material from the Source monitor,
the system automatically creates any new tracks in the sequence that match enabled tracks
on the source side.
• Auto-enable Source Tracks: Whenever you load new source material into the Source
monitor, the system automatically enables all existing source tracks.
Alternatively, you can do the following:
• Deselect Auto-create New Tracks to have the existing tracks in the sequence remain the
same when you edit in new source material. This lets you create new tracks selectively as
you edit.
• Deselect Auto-enable Source Tracks to leave the tracks of newly loaded material in whatever
state they were in when they were last loaded. This lets you turn on the source tracks more
selectively as you edit.
Adding Filler
You can add a small amount of black filler at the start of your sequence. A brief moment of black
before the start of your sequence is sometimes useful during playback or when recording a
digital cut. You can also add filler to another part of the sequence at any time during editing.
nYou cannot add filler to the end of a sequence or to an empty sequence. You can create black title
media and insert it at the end of a sequence. For information about creating title media, see
“Creating Titles” in the Help.
To add filler at the start of a sequence, do one of the following:
tSelect Clip > Add Filler at Start.
tRight-click in the Timeline, and select Add Filler at Start.
Filler appears at the beginning of the sequence in the Timeline. You can set a default
duration for the filler in the Edit tab of the Timeline Settings dialog box. For more
information, see “Timeline Settings: Edit Tab” on page 1372.
To add filler anywhere in a sequence:
1. Click above the Source monitor, and select Load Filler from the Clip Name menu.
The system loads a 2-minute clip of filler into the Source monitor.
2. Mark the amount of filler that you want to add.
For more information, see “Marking IN and OUT Points” on page 508.
3. Do one of the following:
Making a First Edit
569
tMove the position indicator for the sequence to the point where you want to add the
filler.
tMark an In point at the point in the sequence where you want to add the filler.
4. Click the Splice-in or Overwrite button to edit the filler into the sequence.
Splice-in button (left) and Overwrite button (right)
For more information, see “Performing an Insert or Splice-in Edit” on page 572 and
“Performing an Overwrite Edit” on page 573.
Making a First Edit
This topic describes a method for adding a first clip to a sequence. You can use this method after
you create a new sequence, as described in “Creating a New Sequence” on page 564. You can
also use this method without creating a new sequence in advance, in which case the sequence is
created as soon as you make the edit.
To begin editing:
1. Load the first clip into a monitor.
For more information, see “Loading and Clearing Footage” on page 494.
2. (Option) If you have not already marked In and Out points for the clip in advance or created
a subclip, view and mark the clip.
For more information, see “Marking and Subcataloging Footage” on page 508.
3. Click buttons in the Track Selector panel to select the tracks you want to include in the edit.
Only the tracks that you capture for the clip appear as source tracks in the Timeline. For
more information on using the Track Selector panel, see “Understanding the Track Selector
Panel” on page 695.
Source tracks in the Track Selector panel
For example, with a talking head you might select tracks V1 (picture) and A2 (sound) if the
voice was recorded on that track. You would deselect track A1, that might have unwanted
wild sound picked up from a second microphone or no sound at all.
Creating an Instant Rough Cut
570
As another example, if you lay down a music track first, you would select track A1 or A2
depending on where the music was recorded, and deselect V1.
4. Click the Splice-in button to add the edit to the sequence in the Record monitor.
The Record monitor displays the end of the last frame of the new edit. (You can drag the
position indicator in the Timeline or the position bar beneath the monitor to review the clip.)
The edit also generates a graphical display of the cut in the Timeline.
Screen display for the first edit in a sequence. Top: monitor window with the source clip on the left and the
sequence on the right. The Splice-in button and the indicator of the end of the last frame for the edit are
highlighted. Bottom: the new edit in the Timeline.
Creating an Instant Rough Cut
As an alternative to creating a new sequence by editing clips one at a time, you can create a
rough cut by creating a storyboard in the bin, and then load these clips directly into the Timeline.
For additional information on editing directly from the bin into the Timeline, see “Bin Editing
into the Timeline” on page 693.
To create a rough cut from a bin:
1. In the bin, sort the clips in the order in which you want them to appear in the sequence.
For example, in Frame view, arrange the bin so that you can drag clips into the storyboard
order you want.
2. Select the tracks for the edit.
Undoing or Redoing Edits
571
nIf no sequences are loaded in the Record monitor, the Timeline has no features.
3. Do one of the following:
tCtrl+click (Windows) or Command+click (Macintosh) the clips.
tLasso the clips by dragging left to right and down to select more than one clip.
For more information, see “Selecting Clips and Sequences” on page 329.
tSelect Edit > Select All if there are no other clips in the bin.
4. Do one of the following:
tDrag the selected clips to the Timeline to splice the clips into place.
tShift-drag the selected clips to the Record monitor.
tAlt-drag (Windows) or Option-drag (Macintosh) the selected clips to the Record
monitor.
The clips splice together to form a new sequence based on the order in which they were
listed in the bin.
Undoing or Redoing Edits
You can undo or redo up to 100 previous actions listed in the Edit menu. You can undo or redo a
just completed command, or you can search through a submenu to undo or redo all commands
leading back to a particular command.
Undo and Redo commands in the Edit menu. Top: the Undo/Redo command for the previous edit. Bottom: the
Undo/Redo List command. In the Undo/Redo List submenu, prior Redo commands appear in the upper part of the
submenu, and prior Undo commands in the lower part.
Editing Additional Clips into the Sequence
572
You can limit the Undo function to undo only record actions by selecting the Undo Only Record
Events option in the Edit tab of the Composer Settings dialog box.
For example, you can select the Undo Only Record Events option and then mark several In and
Out points in clips loaded in the Source monitor. If you decide to undo the last edit made to the
sequence, then you would not lose the In and Out points in the source clips.
To undo only the previous edit or function, do one of the following:
tSelect Edit > Undo.
tPress Ctrl+Z.
To redo only the previous edit or function, do one of the following:
tSelect Edit > Redo.
tPress Ctrl+R.
To undo or redo every edit and function back to a particular command:
tSelect Edit > Undo/Redo List, and then select a command.
All the previous commands, including the command selected from the submenu, are undone
or redone
Editing Additional Clips into the Sequence
There are three primary edit functions for adding material to your sequence:
• Insert (splice-in)
•Overwrite
• Replace edit
In most cases, you perform three-point edits in which you set three marks—two in the source
material and one in the sequence, or the reverse. The fourth mark is determined automatically.
The way you set marks depends on the type of edit you perform.
You can use two marks or sometimes one mark to complete an edit using phantom marks. For
more information, see “Working with Phantom Marks” on page 608.
Performing an Insert or Splice-in Edit
An insert or splice-in edit inserts marked source material into the sequence without replacing
material already in the sequence.
Editing Additional Clips into the Sequence
573
Existing material moves beyond the spliced material, lengthening the overall duration of the
sequence.
A splice-in edit. Clip 3 in the sequence moves down when you splice clip 4 in at the insertion point (red line).
To perform an insert edit:
1. Load a clip into the Source monitor.
2. Mark an In point and an Out point.
3. Mark an In point in the sequence as follows:
a. Move the position indicator for the sequence to the point where you want to splice the
clip into the sequence.
b. Click the Mark In button, or press the Mark In key.
nIf you do not mark an In point, the system splices the new clip into the sequence at the current
location of the position indicator.
4. Click the Splice-in button (yellow) to complete the edit.
Performing an Overwrite Edit
An overwrite edit replaces a section of the sequence with the selected source material.
An overwrite edit replaces existing material and does not lengthen the overall duration of the
sequence unless the material used to overwrite goes beyond the end of the sequence.
An overwrite edit. Clip 4 overwrites parts of clips 2 and 3 (shaded in red) when you edit it in at the insertion point
(red line).
123
4
12 34
12 3
4
12 34
Editing Additional Clips into the Sequence
574
To perform an overwrite edit:
1. Load a clip into the Source monitor.
2. In the monitor, mark an In or Out point, but not both, to show the start or end of the clip you
want to use.
3. In the Record monitor, mark both an In point and an Out point to select the material in the
sequence you want to overwrite.
You can also mark an Out point and move the position indicator to the In point.
4. Click the Overwrite button (red) to complete the edit.
Performing a Replace Edit
The Replace Edit button (blue) replaces a clip in the sequence (video, audio, or both) with new
source material, while maintaining the original In and Out points of the previous edit.
A replace edit. Clip 4 replaces clip 3 and maintains the IN and OUT points for the original edit.
nBy default, the Replace Edit button is located on the Edit tab of the Command Palette. You can
use it from the Command Palette or map it to a monitor palette. For information about mapping
buttons, see “Understanding Button Mapping” on page 107.
Sync Point editing, which is similar to replace editing, lets you overwrite material in the
sequence based on the alignment of position indicators in the source material and in the
Timeline. The difference is that Sync Point edits end at the nearest marks in either the source or
record material, and replace edits always fill the In to Out portion of the clip in the sequence. For
more information on sync point editing, see “Sync Point Editing” on page 602.
To perform a replace edit:
1. Move the position indicator to select a sync frame in the source clip.
The frame displays in the monitor.
The sync frame can be an In point, Out point, or any frame in between that you want to sync
to a frame in the existing clip in the sequence.
2. Move the position indicator to select the sync frame in the sequence for the edited segment
that you want to replace.
3. Click the Replace Edit button (blue).
4
12 3
12 4
Mixing Frame Rates and Field Motion Types
575
The system calculates In and Out points for the source material by using the sync frames and
the existing In and Out points in the sequence for the previously edited clip that you want to
replace.
nWhen you select the tracks you want, check the durations before you perform the edit. If you
replace a clip in an overlap edit and the position indicator falls within the overlap, you might
end up replacing the wrong material unless you select the entire segment you want to replace.
See “Selecting and Deselecting Segments” on page 683.
Enabling Single-Mark Editing
Single-mark editing lets you establish a single mark, and then use the location of the position
indicator to determine the second mark when making the edit. You can use this procedure in
several ways to save steps:
• You can mark an In point in the Source monitor and then perform a splice-in, overwrite, or
replace edit without marking an Out point.
• You can mark an Out point, locate a frame for the In point, and then perform the edit without
marking the In point.
• You can mark the In or Out point, play, step (jog), or shuttle through the clip forward or
backward, and then press the Splice-in, Overwrite, or Replace Edit button to perform the edit
on-the-fly without adding the second mark.
To enable single-mark editing:
1. In the Project window, click the Settings tab.
2. Double-click Composer.
The Composer Settings dialog box opens.
3. In the Edit tab, select Single Mark Editing.
4. Click OK.
Mixing Frame Rates and Field Motion Types
You can work with clips of any frame rate or field motion type (interlaced or progressive) in a
project, regardless of the project’s type. For example, you can work with 30i clips in a 24p
project. In your Avid editing application and in this documentation, clips that do not match the
frame rate or field motion type of the project are known as mixed rate clips.
You can view and play mixed rate clips in the Source monitor or in pop-up monitors. You can
also edit mixed rate clips into a sequence.
Mixing Frame Rates and Field Motion Types
576
Mixed rate clips always play at the project’s frame rate, both in Source or pop-up monitors and in
sequences. Audio remains synchronized with video. You can stack clips with different frame
rates or field motion types on multiple video tracks, apply effects, and otherwise perform all
normal editing operations.
How Your Avid Editing Application Handles Mixed Rate Clips
Motion Adapter Effects
Your Avid editing application uses Motion Adapter effects to handle:
• Clips that have a different frame rate from the project’s frame rate
• Clips with field motion that need adjustment to be compatible with the project
• Clips with 2:3 pulldown or strobe frames
Motion Adapter effects allow mixed rate clips to play at the project’s frame rate and to have the
correct field motion.
Motion Adapter effects are different from other effects in several ways:
• You do not apply Motion Adapter effects manually. The Motion Adapter effect does not
appear in the Effect Palette and does not have an effect icon. Your Avid editing application
applies Motion Adapter effects and sets their parameter values automatically.
• Your Avid editing application applies Motion Adapter effects when they load into a Source
or pop-up monitor for viewing and playing as well as when they are edited into a sequence.
nIf you load a traditional (source-side) motion effect that has a different frame rate from the
project’s frame rate, it is automatically promoted. In the case of Strobe Motion effects, the update
rate of the strobe motion is adjusted so that the effect maintains the same look at the project’s
frame rate.
• You cannot remove a Motion Adapter effect that adjusts the speed of a clip with the Remove
Effect button. If you promote a Motion Adapter effect to a Timewarp effect and then use the
Remove Effect button to remove the Timewarp, your Avid editing application re-applies a
Motion Adapter effect.
• You often do not need to adjust Motion Adapter effects. Most of the time, they work
automatically and seamlessly to allow mixed rate clips to play correctly in a project. For
information on when you might want to adjust a Motion Adapter effect and on how to do so,
see “Viewing and Adjusting Motion Adapter Parameters” on page 578.
You might need to provide accurate frame layout information for a clip, such as its field motion
or whether it contains pulldown. For information on how to do this, and more details of the
circumstances that might require it, see “Modifying the Field Motion Attribute for a Clip” on
page 580.
Mixing Frame Rates and Field Motion Types
577
User Interface Summary for Mixed Rate Clips
Illustration Description
In the Timeline, several visual indicators highlight
mixed rate clips. For more information, see “Viewing
Mixed Rate Clips in the Timeline” on page 578.
In the Motion Effect Editor, you can view the
parameter values for a Motion Adapter effect, and
adjust the render type. To make further adjustments,
you need to promote the Motion Adapter effect to a
Timewarp effect. For more information, see “Viewing
and Adjusting Motion Adapter Parameters” on
page 578.
In the bin, the Field Motion column provides field
motion and frame layout information for a clip. Motion
Adapter effects use the Field Motion attribute value to
determine their Source parameter value. For more
information, see “Modifying the Field Motion Attribute
for a Clip” on page 580 and “Refreshing Sequences to
Use Current Clip Attributes” on page 589.
In the Modify dialog box, set a new format for a
sequence to create a version of the sequence that plays
at a different rate from its original rate. You can then
work with that sequence in a project that uses the new
frame rate. For more information, see “How Your Avid
Editing Application Reformats Clips in Sequences” on
page 584 and “Changing the Sequence Format” on
page 1461.
Mixing Frame Rates and Field Motion Types
578
Viewing Mixed Rate Clips in the Timeline
Mixed rate clips that are unrendered always appear with a green dot that represents the Motion
Adapter effect, the green dot appears on mixed rate clips edited into a sequence. If you use the
Toggle Source/Record button to view the Timeline for a mixed rate clip loaded in the Source
monitor, you also see the green dot on that clip.
Mixed rate clips also display with their original frame rate appended to the clip name. For
example, if you have a 24 fps clip named
sunset
that you edit into a sequence with a frame rate
other than 24 fps, the clip name displays as
sunset (24.00 fps)
.
The illustration shows a mixed rate clip in the Timeline.
To further distinguish mixed rate clips from other material in the Timeline, you can display them
in distinct colors. For more information, see “Displaying Clip Colors in the Timeline” on
page 660.
Viewing and Adjusting Motion Adapter Parameters
Use the Motion Effect Editor to view and adjust parameters for a Motion Adapter effect.
To change the appearance of a mixed rate clip, you can select a different rendering option from
the Type list to change the way your Avid editing application interprets and displays frames.
The other Motion Adapter effect parameters are inactive. You can check the values your Avid
editing application has calculated, but you cannot change them.
If you need to make other adjustments, promote the Motion Adapter effect to a Timewarp effect.
The full set of Timewarp effect parameters become available and you can freely change or
animate the speed at which the clip plays.
The illustration shows the Motion Adapter effect in the Motion Effect Editor, with the Type list
and the Promote button active, and other parameters inactive.
Mixing Frame Rates and Field Motion Types
579
nIn some circumstances, the Adaptive Deinterlace Source option is active in the Motion Effect
Editor for a Motion Adapter effect. Adaptive deinterlacing is a processing option that can
improve the look of interlaced source material that is being converted to progressive frames. For
more information, see “Using Adaptive Deinterlacing” in the Help.
To view parameter values for a motion adapter and adjust the render type:
1. Move the position indicator to the mixed rate clip that uses the Motion Adapter effect you
want to adjust.
2. Click the Motion Effect button.
The Motion Effect Editor opens and displays the current parameter settings for the Motion
Adapter effect.
The system displays the current parameter values for the adapter. If you have not yet made
any manual adjustments to the adapter, the values you see are those your Avid editing
application created automatically. For example, you see a Speed percentage value that
adjusts the clip’s speed to the project’s rate.
The Type list (render options) is active. The Adaptive Deinterlace Source option might also
be active. Other parameters are inactive.
Mixing Frame Rates and Field Motion Types
580
3. Select a rendering option from the Type list.
For information on the rendering types available, see “Rendering Options for Timewarp
Effects” in the Help.
To promote a motion adapter to a Timewarp effect
1. Move the position indicator to the mixed rate clip that uses the motion adapter you want to
adjust.
2. Click the Motion Effect button.
The Motion Effect Editor opens.
3. Click the Promote button.
The motion adapter is promoted to a Timewarp effect and all standard Timewarp effect
parameters are available.
4. Adjust the Timewarp parameters as necessary to create the motion that you want for the clip.
Modifying the Field Motion Attribute for a Clip
The Field Motion bin column contains information about the frame layout of a clip or subclip. It
indicates whether the clip is interlaced or progressive, or whether it contains 2:3 pulldown or
repeated (strobe) frames. The Field Motion attribute sets the default Source parameter value for
the Motion Adapter effect.
When you create a clip or subclip, its Field Motion attribute is set to either Interlaced or
Progressive, depending on the project type. In most cases this value accurately represents the
field motion of the clip or subclip, but you sometimes need to override the value to match the
actual field motion of the video source or to indicate that the source contains 2:3 pulldown or
repeated frames.
The illustration shows the Field Motion bin column and the menu that lets you change the Field
Motion attribute value.
Mixing Frame Rates and Field Motion Types
581
Changes you make to the Field Motion attribute apply only to the individual clip or subclip. You
can have several subclips derived from the same master clip, and set different Field Motion
values on each of them.
When you change the Field Motion attribute of a clip, it updates if it is loaded in a Source or
pop-up monitor, and new edits into a sequence from the clip use the new Field Motion attribute
value. However, edits that you made from that clip before you change the Field Motion attribute
continue to use the old value. If you want to update a sequence so that all its Motion Adapter
effects use the current Field Motion attribute values for their source clips, refresh the Motion
Adapter effects for the sequence. For more information, see “Refreshing Sequences to Use
Current Clip Attributes” on page 589.
To modify the Field Motion attribute for a clip or subclip:
1. Open the bin that contains the clip or subclip you want to modify.
For more information, see “Opening and Closing Bins” on page 69.
2. (Option) If it is not already visible, display the Field Motion bin heading.
For more information, see “Using Text View” on page 320.
3. Click the Field Motion item for the clip or subclip, and select one of the following:
Option Description
Interlaced Use for all video with interlaced field motion.
2:3 Film Only available for clips or subclips created in 30 fps projects.
Use for a clip or subclip that contains 2:3 pulldown.
Video material can contain pulldown frames in a number of circumstances,
such as the following:
• The telecine process inserts pulldown frames when it transfers film
footage shot at 24 fps to 30 fps video.
• Some cameras can shoot at 24 fps but record at 30 fps, and insert
pulldown frames to achieve the record frame rate.
• Some HD video decks insert pulldown frames when downconverting
material, for example, from 1080p/24 to NTSC 30i.
Progressive Use for progressive video.
Progressive Strobe Use for a clip or subclip that contains repeated frames, for example, a
traditional strobe motion effect clip, or a clip where the original video was
shot at a reduced frame rate such as 15 fps.
Usually results in a better finished look because blending between frames
reduces stuttering motion.
Mixing Frame Rates and Field Motion Types
582
Considerations When Working with Mixed Rate Clips
Playback of Mixed Rate Material with Different Frame Sizes
When your mixed rate sequence includes clips of different frame sizes, consider using the
High-Quality Scaling for Real-Time Decode setting. This setting improves image quality during
playback of mixed-format sequences where material requires resizing. For more information, see
“Video Display Settings” on page 1377.
Playback of Mixed Rate Material Using XDCAM AMA Media
Playback limitations when you work with XDCAM AMA media on an optical disk are
particularly noticeable with mixed rate sequences or with mixed rate clips loaded into the Source
monitor. Consider consolidating the media to a local disk. For more information, see “Workflow
for Editing XDCAM and XDCAM EX Clips with AMA” on page 423.
Behavior of Mixed Rate Material at Different Video Quality Settings
Be aware of the following if you work with mixed rate clips when you use the Draft Quality, Best
Performance, or DNxHD Native video quality options:
• You do not see an accurate pulldown cadence when you field-step through material where
pulldown is inserted. This is a limitation of Timewarp and Motion Adapter effects when you
work in draft qualities. If you switch to Full Quality, or render the Motion Adapter effects,
the pulldown cadence is correct.
• Playback of clips whose frame rate do not match the sequence frame rate might be jumpy
when you use Draft Quality. To achieve smooth playback, you can either use Full Quality or
render the motion adapters for the relevant clips.
Transcoding Mixed Rate Material
You can transcode clips of any edit rate, including clips that you have edited into a sequence, to
any resolution available within your current project.
You might need to transcode mixed-rate material as part of common workflows like
offline/online conversion or creation of a QuickTime reference movie. You also might want to
transcode mixed-rate material in order to homogenize your sequence and transfer it to an editing
application that cannot conform mixed-rate sequences, such as an Avid DS version older than
10.3, or an older Media Composer application. You can also use transcoding for general clip
conversion tasks such as removing 2:3 pulldown from 29.97i sources (to generate 23.976
sources), or generating NTSC material from a PAL source.
Once the transcode process completes, you can edit with the clips directly, or you can batch
capture or import if you have access to original sources at the new rate. The transcoded material
uses the project’s edit rate, so the new clips no longer require motion adapters when you edit
Mixing Frame Rates and Field Motion Types
583
them into sequences in the same project type. When existing material in a sequence is transcoded
across edit rates, your Avid editing application automatically removes motion adapters and
adjusts Timewarp effects.
Your Avid editing application creates new clips whose duration and start and end timecode
matches the original clips as closely as possible and which are as compatible as possible with the
project’s edit rate. However, due to roundoff error, you might see minor variations in clip
duration or in frame offset information that could result in such issues as minor audio/video
differences (for example, slips of 1 or 2 frames).
In some cases, the last frame of a transcoded clip might be offline. Avid recommends using
non-zero handles when you transcode sequences with mixed-rate clips to minimize the chance of
seeing offline frames.
You should check transcoded sequences carefully and adjust any variations from the original
sequences that are not acceptable to you, for example, by trimming.
nYou cannot transcode clips across edit rates using the Transcode Server in Interplay.
Grouped Clips and Mixed Rate Material
Be aware of the following if you group clips or work with grouped clips:
• You cannot group clips that have different frame rates
• You cannot load a grouped clip whose frame rate does not match the project's frame rate. If
you load this type of clip into the Source monitor or drag it into the Timeline, an error
message appears.
• You can create a sequence that includes both grouped clips that have the same frame rate as
the project and single clips of other frame rates.
Working with Markers on Mixed Rate Material
You should be aware of the following when you work with markers on mixed rate material:
• Depending on the frame rates of your clips and your project, you might not be able to add a
marker at the exact location of the position indicator. For example, if you add a marker to a
30 fps clip in a 720p/59.94 project, you can move the position indicator to a location that
does not match a frame in the clip. Your Avid editing application adds the marker at the
closest valid location in the clip.
• Depending on the frame rates of your clips and your project, you might not be able to access
all of the markers on a clip in the Source monitor. For example, if you load a 720p/59.94 clip
in a 30 fps project, the position bar in the Source monitor cannot display every marker
position. You can use the Markers Window to access all the markers. For more information,
see “Using the Markers Window” on page 520.
Mixing Frame Sizes and Aspect Ratios
584
Effect Templates and Mixed Rate Material
You can use effect templates that you save in bins with clips of all frame rates and in sequences
of any project type. When you apply a template, your Avid editing application adjusts keyframes
if necessary to account for differences in frame rate.
Dynamic Relink and Mixed Rate Material
You can enable the Dynamic Relink feature to work with mixed rate clips. However, Dynamic
Relink behaves slightly differently when it operates on clips that do not match the frame rate of
the project. For more information, see “Using Dynamic Relink with Mixed Rate Clips” on
page 1209.
cMotion adapters do not conform in versions of Avid DS prior to version 10.3. You cannot
play or adjust mixed rate material in these versions. Do not include mixed rate clips in
sequences that you intend to finish on an Avid DS system running an older version of Avid
DS than version 10.3.
Mixing Frame Sizes and Aspect Ratios
You can work with media of different frame sizes, aspect ratios, and pixel aspect ratios in the
same sequence. For example, you can mix SD 4:3, HD 16:9, and film formats.
How Your Avid Editing Application Reformats Clips in Sequences
Your Avid editing application reformats a clip in a sequence when the aspect ratio, pixel aspect
ratio, or frame size of the clip do not match those of the project. Your Avid editing application
automatically resizes and repositions these clips to match the project’s format settings.
You need to ensure that your project’s format settings are set correctly so that clips are
reformatted properly. For more information, see “Creating a New Project” on page 50 and
“Changing the Aspect Ratio for a Project” on page 585.
When you change a format setting, for example, the aspect ratio for an SD project, all clips
currently edited in a sequence immediately adapt to the new format. You do not need to re-edit
any clips in your sequences. When you next view the sequence, you see any changes to the size
and position of clips.
By default, your Avid editing application reformats clips to fill the frame by stretching. You can
set other reformatting options by changing the Reformat attribute for that clip in the bin. For
more information, see “Modifying the Reformat Attribute for a Clip” on page 586.
Mixing Frame Sizes and Aspect Ratios
585
Changing the Aspect Ratio for a Project
You typically set the aspect ratio for a project when you create the project (see “Creating a New
Project” on page 50). The aspect ratio can be changed at any time, however this will affect any
titles that you have created, so the titles also need to be recreated at the new aspect ratio.
nFor HD projects, only the 16:9 aspect ratio is available as this is the only aspect ratio allowed in
the HD standard.
To change the aspect ratio for a project, do one of the following:
tClick the Format tab in the Project window, then click the Aspect Ratio menu, and select
either 4:3 or 16:9, depending on the aspect ratio you want to use.
Aspect Ratio menu in the Format tab of the Project window
tRight-click in the monitor window in Source/Record or in Trim mode, select Project Aspect
Ratio, and then select either 4:3 or 16:9, depending on the aspect ratio you want to
use.Right-click in the monitor window in editing or in Trim mode, select Project Aspect
Ratio, and then select either 4:3 or 16:9, depending on the aspect ratio you want to use.
Your Avid editing application changes the aspect ratio of the monitors, and resizes and
repositions any material in the project’s sequences that does not match the new aspect ratio
so that it conforms to that aspect ratio. You see these changes when you next open and view
an affected sequence. You do not need to re-edit the media into the sequence, and the source
media remains unchanged.
To recreate titles at the new aspect ratio:
1. After you have switched to the new aspect ratio, select a clip on the timeline that has a title
that you need to recreate.
2. From the main menu, select Clip > Recreate Title Media.
A new title will be recreated in the bin with the new aspect ratio.
3. Continue recreating all other titles on your timeline using the same steps.
Mixing Frame Sizes and Aspect Ratios
586
Modifying the Reformat Attribute for a Clip
Your Avid editing application uses the Reformat attribute of a clip to resize and reposition the
clip so that it conforms to the current frame size and aspect ratio specified in the Project Settings.
When you create a clip or subclip, the Reformat attribute is automatically set to Stretch. If you
are using AMA to link to clips, then the default is set to Center Keep Size.
You can modify this Reformat attribute at any time. Reformat options apply only when a clip
does not match the project aspect ratio. For a list of these options, see “Reformatting Options
Reference” on page 587.
nIf you are working in an Interplay environment, do not change the Reformat attribute from the
Stretch setting. If you use a different setting, and you then use Interplay Transcode or Send to
Playback, the results might not be what you expect.
The illustration shows the Reformat bin column and the menu that lets you choose a
Reformatting Option.
Changes you make to the Reformat attribute apply only to the selected clip in the bin. You can
have several subclips derived from the same master clip, and set different Reformatting Options
on each of them.
When you change the Reformat attribute of a clip, it updates if it is loaded in a Source or pop-up
monitor, and new edits into a sequence using this clip use the new Reformatting Option.
However, previous edits using this clip continue to use the old value. If you want to update a
sequence so that all versions of this clip in a sequence use the current Reformat attribute, refresh
the Reformatting Options for the sequence. For more information, see “Refreshing Sequences to
Use Current Clip Attributes” on page 589.
To set the Reformat value for an individual clip or subclip:
1. Open the bin containing the clip or subclip you want to modify.
For more information, see “Opening and Closing Bins” on page 69.
Mixing Frame Sizes and Aspect Ratios
587
2. Click the Text tab.
3. (Option) If it is not already visible, display the Reformat bin heading.
For more information, see “Using Text View” on page 320.
4. Click the Reformat field for the clip or sub-clip, and select an option.
Options apply only to clips that do not match the frame size and aspect ratio of the project.
For more information, see “Reformatting Options Reference” on page 587.
Reformatting Options Reference
The table describes the choices available under the Reformat bin heading and their effect when
you edit a clip into a sequence of a different size or aspect ratio. These options have no effect on
clips that do match the project size and aspect ratio. For information on how to set the
reformatting options for a clip, see “Mixing Frame Sizes and Aspect Ratios” on page 584.
nIn all reformatting options, the center of the source material is set by default to the center of the
sequence frame. You can reformat the clip manually by using the “Center Keep Size”
reformatting option and then using the Resize effect to modify the position of a clip after you edit
it into a sequence.
Option Description
Stretch Scales the clip to match the width and height dimensions of the
sequence. If the clip’s aspect ratio does not match the sequence’s
aspect ratio the image is distorted (stretched or squeezed).
The illustration shows an example where a 4:3 clip is placed in a 16:9 sequence. The clip is
stretched horizontally to accommodate the width of the sequence.
Mixing Frame Sizes and Aspect Ratios
588
Pillarbox/Letterbox preserve
aspect ratio
Scales the clip to create the largest possible image without
cropping, while maintaining the original aspect ratio.
The illustration shows two examples. When you edit a 16:9 clip into a 4:3 sequence (left), the
resulting segment has horizontal bars at the top and the bottom. When you edit a 4:3 clip into a 16:9
sequence (right), the resulting segment has vertical bars at the sides.
Center crop, preserve aspect
ratio
Scales and crops the clip to be the smallest size possible while
filling the entire frame. The resulting image is centered in the
frame.
The illustration shows two examples. When you edit a 16:9 clip into a 4:3 sequence (left), the
resulting segment is cropped at the sides. When you edit a 4:3 clip into a 16:9 sequence (right), the
top and the bottom of the segment are cropped.
Center, keep original size Centers the clip in the sequence but does not resize it. If the
source clip is not the same size as the sequence, the clip is either
cropped or does not cover the whole of the sequence frame.
Option Description
Refreshing Sequences to Use Current Clip Attributes
589
Refreshing Sequences to Use Current Clip Attributes
You can change certain attribute values or settings for a clip at any time. You can change a clip’s
Field Motion attribute value or its Reformat attribute value. You can also change the source
settings for a RED clip that has been linked in a sequence. For more information, see “Modifying
the Field Motion Attribute for a Clip” on page 580, “Modifying the Reformat Attribute for a
Clip” on page 586, and “Adjusting RED Source Settings” on page 391.
When you place a clip in a sequence, it uses the clip’s current attribute values. (In the case of
RED clips, it uses the RED source settings). If you change attribute values at a later point, the
sequence will not automatically reflect the change.
If you want the change to be reflected, you can refresh the sequence to use the latest values for
just one, or all attributes.
To refresh a sequence, do one of the following:
tLoad the sequence into the Record monitor and then, with either the Composer window or
the Timeline window active, select Clip > Refresh Sequence > refresh command.
tRight-click the sequence in the bin, and then select Refresh Sequence > refresh command.
The following table describes the commands available from the Refresh Sequence submenu:
To refresh multiple sequences:
tUse the Shift or Control keys to select multiple sequences in the bin, then right-click the
selection, and select Refresh Sequence > refresh command.
Command Description
Motion Adapters/Timewarps Refreshes the sequence so that material with Motion Adapters
or Timewarps use the current Field Motion attribute value from
their source clip.
Reformatting Options Refreshes the sequence so that material whose frame size or
aspect ratio are reformatted use the current Reformat attribute
value from their source clip.
Source Settings Refreshes the sequence so that material from RED source clips
uses the current source settings for those clips.
Stereo Correction Effects Refreshes the sequence so that all source-side effects applied to
stereoscopic clips in the bins are updated accordingly in the
sequence.
All Refreshes the sequence so that it uses the current values for all
of the individual options listed above.
Lifting, Extracting, and Copying Material
590
Lifting, Extracting, and Copying Material
Lifting, extracting, and copying let you remove or reposition material quickly in your sequence.
For example, you can move a clip from the end of your sequence to the beginning; or you can
remove the material from the sequence altogether. Your Avid editing application places the
material you remove into the Clipboard. You can then paste the material elsewhere in the
sequence or into another sequence.
You can also remove and reposition segments. For more information, see “Working with
Segments” on page 681.
Lifting removes selected material from a track in the sequence and leaves black filler or silence
to fill the gap. You can later move or fill this gap with other footage. When you lift material, the
overall duration of the track (or sequence) remains the same.
Extracting removes selected material from a track in the sequence and closes the gap left by its
removal. When you extract material, you shorten the duration of the track or sequence.
Comparison of Lift and Extract operations. Lifting material (left) leaves a gap that is replaced with black filler, and
the length of the sequence remains the same. Extracting material (right) closes up the gap that the material
previously occupied, and the sequence becomes shorter. In both cases, the material you remove is placed into the
Clipboard.
The Copy to Clipboard function makes a duplicate of selected material in the sequence and
leaves the material intact. When you copy material, the sequence remains unaffected. You can
then insert the material elsewhere in the sequence or into another sequence.
To lift material:
1. Mark In and Out points at the start and end of the material in the sequence that you want to
lift.
2. Select the tracks containing the material.
The system performs the function on selected tracks only. For more information on track
selection, see “Understanding the Track Selector Panel” on page 695.
3. Click the Lift button in the Edit tab of the Command palette to complete the edit.
Lifting, Extracting, and Copying Material
591
To extract material:
1. Mark In and Out points at the start and end of the material in the sequence that you want to
extract.
2. Select the tracks containing the material.
The system performs the function on selected tracks only. If sync locks are on, all material
on all tracks is extracted. For more information, see “Understanding the Track Selector
Panel” on page 695 and “Understanding Locking and Sync Locking” on page 701.
3. Click the Extract button in the Edit tab of the Command palette to complete the edit.
To copy material to the Clipboard:
1. Mark In and Out points at the start and end of the material in the sequence that you want to
copy.
2. Select the tracks containing the material.
The system performs the function on selected tracks only. For more information on track
selection, see “Understanding the Track Selector Panel” on page 695.
3. Click the Copy to Clipboard button.
The system copies the selected material to the Clipboard, and leaves the sequence
untouched.
Using the Avid Clipboard
The Avid Clipboard is a cut, copy, and paste tool adapted to the special needs of the editing
environment.
The Copy to Clipboard function is useful for moving or repeating material in a sequence without
moving multiple segments or for rebuilding the section at another location. For example, you
can:
• Copy a portion of a sequence for pasting into another sequence.
• Isolate and copy a portion of an audio track for looping music or repeating a sound effect.
• Copy graphic elements for repeating at other locations in a format cut.
The Clipboard stores only one clip at a time. Each time you copy, lift, or extract additional
material, you delete and replace the previous contents. However, you can preserve clipboard
content for the duration of your working session when you add it as a clip to the Source
monitor’s Clip Name menu. All the clips added remain available in menu until you select Clear
Menu or close the project.
Lifting, Extracting, and Copying Material
592
The Clipboard lets you restore lifted or extracted segments quickly. This is useful if you have
performed one or more edits since removing the material. In contrast, if you use the Undo
function to restore the material, your Avid editing application also undoes all edits performed in
the meantime.
nMaterial in the Clipboard does not appear as a clip in the bin and is deleted when you close the
project. To save a portion of a sequence for future use, mark the section and create a subclip.
To place a marked section of the sequence into the Clipboard at any time:
tClick the Lift, Extract, or Copy to Clipboard buttons.
Left to right: Lift, Extract, and Copy to Clipboard buttons
To keep the Clipboard contents throughout a session, do one of the following:
tClick the Clip Name menu above the Source monitor, and select Clipboard Contents.
The contents appear as a clip in the Source monitor, and the name “Clipboard Contents.n”
appears above the monitor and in the Clip Name menu. The n is an incremental numbering
of clips placed in the Clipboard during the session.
tPress Alt key (Windows) or Option key (Macintosh) when you copy, lift, or extract the
material. The contents appear as a clip in the Source monitor, and the name “Sequence
name.Sub” appears above the monitor and in the Clip Name menu.
To restore material from the Clipboard:
1. Load the Clipboard contents by doing one of the following:
tClick the Clip Name menu above the Source monitor, and select Clipboard Contents to
place the Clipboard contents into the Source monitor and add the clip name to the Clip
Name menu.
tClick the Clipboard Contents button in the Edit tab of the Command Palette.
tOpen the Clipboard as a pop-up monitor by selecting Tools > Clipboard Monitor.
2. Click the Mark Clip button to mark the entire segment.
3. (Option) Click the Toggle Source/Record button in the Timeline toolbar to view, mark and
select specific tracks.
4. Locate the In point in the sequence from which the segment was removed. Move the position
indicator here, or mark an In point.
5. Splice or overwrite the material into the sequence.
Adding Comments to Sequence Clips
593
Adding Comments to Sequence Clips
When you add comments to sequence clips, they appear in the Timeline or in lists that you
create, such as an EDL or a cut list. Comments can include instructions for color correction or
for adjusting an effect.
To add comments to the clips in a sequence:
1. Click one of the Segment buttons (located in the Timeline palette), and highlight the clip to
which you want to add a comment in the Timeline.
Segment Overwrite button (red) and the Segment Insert button (yellow)
2. Click the Clip Name menu above the monitor, and select Add Comments.
The Comments dialog box opens.
3. Type your comments in the text box, and click OK.
To display comments in the Timeline:
tClick the Timeline Fast menu button, and select Clip Text.
Playing Back a Sequence
You can play a sequence at any time to see the results of your editing. You can view the sequence
in the Record monitor or a Client monitor.
You can also play back your sequence in a continuous loop by augmenting the Play In to Out
command with the Alt key (Windows) or Control key (Macintosh). You must set marks in the
sequence to determine the range of the playback loop.
nUse looping playback to isolate and continuously play back a small portion of a sequence during
a difficult edit.
If you need to prepare a screening of the current cut or sequence away from the system, see the
Avid FilmScribe Help for information on preparing a conformed cut or preview reel from
workprint.
nIf you have several tracks of audio, you might need to mix them down and adjust levels before
playback. For more information, see “Mixing Down Audio Tracks” on page 815.
Playing Back a Sequence
594
To play a sequence:
1. Click the Video Track Monitor icon located on the uppermost video track to display all
video tracks and effects during playback.
2. Click the Active/Inactive button to ensure proper playback of the audio tracks.
3. Click the Data Track Monitor button to ensure proper playback of the data track.
You can only monitor and view the data on a client monitor capable of handling ancillary
data. The hardware or client monitor needs to be able to decode ancillary data to playback
your media. You can not playback from the Source or Record monitor.
4. Go to the start of the sequence. Click the left side of the position bar to reposition the
position indicator at the beginning or press the Home key on the keyboard.
5. Use the position indicator, buttons, mouse, or keyboard to play, step, or shuttle through
footage. View the sequence in the Record monitor or the Client monitor.
To start a playback loop:
1. Mark In and Out points in the sequence. To play back the entire sequence, mark the In point
at the beginning and the Out point at the end.
2. Press and hold the Alt key (Windows) or Ctrl key (Macintosh) while you press the Play In to
Out key, or click the Play In to Out button in the Play tab of the Command palette.
The playback loop begins and continues until you press the space bar or click anywhere with
the mouse.
nYou can also press and hold the Alt key (Windows) or Ctrl key (Macintosh) while you click the
Play to Out button. The location of the position indicator acts as the In point for a continuous
loop.
Playback Performance Tips
As you edit, you might find the playback performance of your Avid editing application
diminishing as the sequence grows in length and layers. This happens when you use a great deal
of system memory for playback of large and complex sequences. The following are a few tips for
improving playback performance:
• Check the number of media objects in use for your project in the Memory window (see
“Using the Info Tab” on page 82). If this number is large, reduce the number of media
objects by doing one of the following:
- Close bins that are not in use.
- Reduce the number of clips in the open bins.
- Unmount drives that are currently not in use.
Understanding Sync Breaks
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See “Mounting and Unmounting Drives” on page 439. You can remount the drives at
any time by selecting File > Mount All.
• When displaying real-time effects, adjust the video quality (see “Setting the Video Quality
for Playback” on page 508).
• Restart your computer once a day to refresh the system memory.
• Split the sequence into two or more segments, if possible.
Playing a Limited Duration of a Sequence
Long sequences with many effects can be time-consuming to work with in the Timeline.
Working with a shorter sequence can save time. The Play Length Toggle feature lets you switch
between playing the entire sequence and playing a limited duration centered around the current
position of the sequence. When you use the Play Length Toggle feature, the Play button and Play
Length Toggle button change to white.
To play a limited duration of a sequence:
1. Map the Play Length Toggle button from the Play tab of the Command palette to a monitor
toolbar button.
For information about mapping buttons, see “Understanding Button Mapping” on page 107.
2. Move the position indicator to the location where you want to start playing the sequence.
3. Click the Play Length Toggle button.
The Play button and the Play Length Toggle button change to white, indicating the Play
Length Toggle feature is active.
4. Click the Play button.
The sequence plays for the default Play Length, which is 1 minute.
5. To set the Play Length back to play the entire sequence, click the Play Length Toggle button
again.
Understanding Sync Breaks
Sync breaks occur when a frame-accurate relationship between two clips or between the audio
and video tracks within a single clip is offset during editing. Your Avid editing application
provides several features to avoid, track, and remove sync breaks.
In many cases, sync breaks are the unavoidable result of selecting only one track in a synced
relationship (for example, audio only or video only), and performing edit functions that change
the duration of that track when you extract, splice-in, or add or remove frames.
Understanding Sync Breaks
596
By default, the Timeline displays sync breaks whenever they occur while you edit. They appear
at break points as white numbers indicating negative or positive offset values relative to zero.
The Sync Breaks option also displays match-frame edits as an equal sign (=) on the edits. For
more information on match frames, see “Working with Add Edits (Match Frames)” on page 710.
Match frames (left) and sync breaks (right) in the Timeline
You encounter sync breaks and match frames in different circumstances:
• You can encounter sync breaks in one or several video tracks, audio tracks, data track, or all.
Sync-break offset numbers appear by default only in the affected tracks.
• You encounter match-frame cuts whenever you perform an add edit or whenever you move a
segment next to footage from the same clip and the timecode is continuous across the edit.
You can customize the Timeline view to display sync breaks and match-frame edits in video
tracks only, audio tracks only, or neither. For more information, see “Fixing Sync Breaks” on
page 598.
nThe Sync Breaks feature applies only to master clips in which audio and video tracks were
captured simultaneously, to autosynced subclips, or to any other subclip with video and audio
tracks.
Tips for Avoiding Sync Breaks
One way to avoid breaking sync is to maintain the duration of the track when you add or remove
material. The following table provides tips on how to do this in different circumstances:
Task Tips
Add material
to a track
Use the Overwrite or Replace functions instead of Splice-in.
For more information on overwrite and replace editing, see “Performing an
Overwrite Edit” on page 573 and “Performing a Replace Edit” on page 574.
Remove material
from a track
Use Lift instead of Extract. (The Lift function leaves filler of the same duration
when you remove footage.)
For more information, see “Lifting, Extracting, and Copying Material” on
page 590.
Understanding Sync Breaks
597
Tips for Fixing Sync Breaks
Perform Segment
edits
Use the Lift/Overwrite function instead of Extract/Splice-in. (Lift/Overwrite
leaves filler behind and overwrites material at the new destination, maintaining
sync in both cases.)
For more information, see “Working with Segments” on page 681.
Trimming Sync lock tracks to avoid breaking sync or use the Alt (Windows) or Option
(Macintosh) key function for adding black during trims.
For more information, see “Maintaining Sync While Trimming” on page 737.
You can also perform dual-roller trims, which maintain duration, instead of
single-roller trims.
Task Tips
Working
Mode Tips
While
trimming
• Sync lock any additional tracks that are synced to the track you are trimming.
Otherwise, you might restore sync in one track and break it in the others. For
more information, see “Understanding Locking and Sync Locking” on
page 701.
• Do not perform a dual-roller trim.
• Do not perform the trim on the Out point (A-side transition) of the out-of-sync
segment. Always perform the trim on the In point (B-side transition) of the
segment.
Source/Record
mode
• Do not use the Overwrite or Lift functions. You can, however, overwrite or lift
the out-of-sync material entirely to eliminate the break.
• Splice in or extract selected frames of filler when necessary.
• Use the Add Edit function to isolate only a portion of a clip or filler segment in
the sequence for extracting or replacing.
Segment mode • Use the Lift/Overwrite function to leave filler behind and maintain any other
sync relationships affected by the move.
• Use the Lift/Overwrite function to delete the entire segment and leave filler to
eliminate the break.
• Use the Add Edit function to isolate a portion of the clip for moving or deleting.
• Move the out-of-sync track, if possible, beyond the overlapping range with the
synced material to eliminate the sync break.
Fixing Sync Breaks
598
Fixing Sync Breaks
You fix sync breaks by eliminating the overlapping portion of out-of-sync tracks. You can do this
in one of several ways, depending on the type of break and your sequence. For more information,
see “Tips for Fixing Sync Breaks” on page 597.
You can customize the sync breaks display in the Timeline, for example to limit the display to
video tracks only. This can reduce clutter and help you focus on a particular set of fixes.
To restore frames to sync while Trimming:
tPerform one or more single-roller trims on the out-of-sync tracks.
Trim the exact number of sync-break frames displayed in the Timeline to reverse the break.
For more information on performing trims, see “Working with Trim Edits” on page 718.
To fix sync in Source/Record mode:
tAdd new material or extract material from the out-of-sync track.
Add or extract the exact number of offset frames displayed in the Timeline.
To fix sync when Segment editing:
tSelect and move the entire out-of-sync segment.
You can move the segment forward or backward in the opposite direction of the break to
reverse it. For more information on editing segments, see “Working with Segments” on
page 681.
To customize the Sync Breaks display:
tClick the Timeline Fast Menu button, and select Sync Breaks > option.
Understanding Sync Lock
The Sync Lock feature lets you maintain sync among several tracks while you add, move, trim,
or remove material in a sequence. For example, if you insert an edit into one track that is sync
locked to a second track, the system automatically inserts filler in the second track to maintain
sync between the two.
Sync Lock icon (top) and Sync Lock All button (bottom) in the Track Selector Panel
Understanding Sync Lock
599
There are several unique aspects to sync locking:
• You control sync lock by the Segment Drag Sync Locks option in the Edit tab of the
Timeline Settings dialog and the Sync Lock icons in the Timeline. For more information on
sync locking tracks, see “Maintaining Sync with Segment Edits” on page 688.
• When trimming, sync lock applies only to single-roller trims because dual-roller trims do
not break sync. For more information on sync locking tracks when trimming, see
“Maintaining Sync While Trimming” on page 737.
• You can sync lock any number of tracks in any combination. The tracks do not require
matching timecode or common sources and can include multiple video tracks as well as
audio tracks.
• Sync lock affects entire tracks. This means that parallel segments in other sync-locked tracks
are affected when you add, move, trim, or remove material anywhere in the sequence.
Syncing with Tail Leader
You can add tail leader to the audio or video material to provide a useful visual reference in the
Timeline for tracking and fixing sync breaks across any number of tracks.
Film editors traditionally use standard head and tail leaders for this purpose. You can create your
own leader according to any specification, as described in “Creating Video and Audio Leaders”
on page 610.
With tail leader added to synchronized tracks, you can go to the end of the sequence after you
make a complicated edit and see if the leaders line up. If they are out of line, this indicates a sync
break that you can eliminate.
To eliminate a sync break when the leaders do not line up:
1. Move the position indicator to the black segment that follows the out-of-sync leader.
2. Select the track, and then click the Mark Clip button. You can measure the break by
checking the In to Out duration of the marked segment.
3. Find the point at which the sync was lost.
4. Use the appropriate edit function to add or remove frames, as described in “Fixing Sync
Breaks” on page 598.
5. (Option) For a quick fix, click the Segment insert (yellow arrow) button. Drag the black
segment at the end of the out-of-sync tail leader to the location where the sync was lost.
This segment of black, created when the track went out of sync, is the exact length of the
sync break.
Understanding Sync Lock
600
Syncing with Markers
You can add markers to material in the Timeline to track and adjust breaks in sync between any
number of tracks. You can place markers anywhere in the sequence and you can add specific
notes.
For more information on using markers, see “Using Markers” on page 513.
To mark sync points with markers:
1. Move the position indicator to the point in the sequence where you want to maintain sync
between two or more tracks.
2. Select all tracks where you want the markers to appear.
3. Click an Add Marker button.
The system adds a marker to the enabled tracks in the Timeline and in the Record monitor.
Example of markers in sync in the Timeline
To add a note whenever you park on the marker frame (such as Music sync or Sound
Effect sync):
1. Double-click the marker in the Source/Record monitor.
2. Type your comments in the comment entry area of the Marker window.
The note appears in the Source/Record monitor.
To determine if sync is broken after an edit:
tReturn to the segment that contains the markers and click the Focus button.
If the markers are not lined up, the sync is broken.
t(Option) Use the Find procedure to go to a marker quickly with text. For more information,
see “Finding Frames, Clips, and Bins” on page 527.
To adjust the sync break:
1. Measure the sync break:
a. Move the position indicator to the leftmost marker and click the Mark In button.
b. Move the position indicator to the other markers, and click the Mark Out button.
2. Check the In to Out duration of the marked section.
Ganging Footage in Monitors
601
To restore sync:
1. Find the point at which the sync was lost.
2. Use the appropriate edit function to add or remove frames, as described in “Fixing Sync
Breaks” on page 598.
Using Add Edit When Trimming
When you trim with several audio tracks in sync, you can create an edit in the silent or black
areas of the synced tracks. They occur in line with the track you trim, and they trim all the tracks
at once to maintain sync.
nYou can also add an edit to filler. For more information, see “Working with Add Edits (Match
Frames)” on page 710.
To use the Add Edit button while trimming:
1. Move the position indicator to the edit that you want to trim.
2. Select only the additional tracks that are in sync, and click the Add Edit button.
The system adds a transition at the location of your position indicator in the Timeline.
3. Select the transition and trim (be sure to select all the synced tracks).
As you trim, the system adds or removes frames from the additional tracks.
4. When you finish trimming, select Clip > Remove Match Frame Edits to remove the add edits
from the sync tracks .
Ganging Footage in Monitors
The Gang function does not combine tracks into a synced relationship but locks monitors in sync
so that you can move through footage in two or more monitors simultaneously. This function is
convenient when you view and mark the sequence and source material simultaneously, based on
syncing of the position indicators in each monitor.
You can gang the Source monitor and any number of pop-up monitors with the Record monitor.
For instance, before you edit them into a sequence, you can gang a music track in a pop-up
monitor, source footage in the Source monitor, and a sequence in the Record monitor. Then you
can view the footage, adjust the sync points, and mark them before you complete the edit.
nThe Gang button appears by default in the second row of buttons below the Source and Record
monitors.
Sync Point Editing
602
To gang footage in monitors:
1. Load a sequence into the Record monitor.
2. Load one or more clips into the Source monitor and pop-up monitors.
3. Click the Gang button for each monitor that you want to synchronize (the Record monitor is
always ganged).
4. View the footage in any of the monitors.
As you move through footage in one monitor, the footage in all other monitors freezes. The
footage is updated when the play stops. Simultaneous full-motion playback is not possible,
although the system maintains sync at all times.
Sync Point Editing
Sync Point editing lets you overwrite material onto your sequence so that a particular point in the
source material is in sync with a particular point in the sequence. For example, you can sync an
action in the source video with an audio event, such as a musical beat in the Record monitor, and
then edit it so that the action occurs on the beat.
Like a replace edit, Sync Point editing uses the relative location of the position indicator in both
the source and record material as the sync point. Sync Point editing, however, determines the
duration of the new edit according to marks that you set, as opposed to a replace edit, which uses
the head-to-tail frame duration already established in the Timeline. You can apply these marks
across multiple tracks when you mark a sequence. This lets you add overlap cuts.
Sync Point editing requires two pieces of information:
• Sync points: The points where the synchronized relationship between the source and record
material is established.
• Duration of the relationship: This is determined by the positions of the head and tail frames
(and sometimes by the position indicator). Both marks are in one monitor, or one mark is in
one monitor and the other mark is in the other monitor. The duration of the material being
edited into the sequence is sufficient for the size of the edit.
To perform a sync point edit:
1. Load a clip or sequence into the Source monitor.
2. Load a sequence into the Record monitor.
3. Mark the material in one of the following ways:
tMark the In and Out points in either the Source or Record monitor, leaving the opposite
monitor clear of marks.
Autosyncing Clips
603
tMark an In or Out point in the Source monitor, or an In or Out point in the Record
monitor. For example, if you marked an In point in the Source monitor, mark the Out
point in the Record monitor.
4. Move the source position indicator to the sync frame in the clip.
This establishes the source sync point.
5. Move the record position indicator to the sync frame in the sequence.
6. Select Sync Point Editing (Overwrites) in the Edit tab of the Composer Settings dialog box
or select Special > Sync Point Editing.
The orange mark on the Overwrite button signals Sync Point editing is active.
7. Select the source and record tracks for this edit, then click the Overwrite button.
The system completes the sync point edit.
Autosyncing Clips
When you capture footage that includes both audio and video, your Avid editing application
automatically establishes sync when it creates clips in the bin. Autosyncing applies to audio and
video clips that you capture separately, usually from two separate sources. Autosyncing creates a
new subclip that displays sync breaks in the Timeline as though the audio and video were
captured simultaneously.
Example of sync break information in the Timeline
nFor more information on tracking sync breaks, see “Fixing Sync Breaks” on page 598.
Understanding Autosyncing
Autosyncing is often used for projects in which picture and sound were captured separately.
These clips are often synced based on common film timecode, sound timecode, or auxiliary
timecode.
You can also autosync™ any audio and video clips based on a user-defined In point or Out point
relationship that you establish with marks. For example, you can use the slate as a common
visual and audio reference for autosyncing the clips.
Autosyncing Clips
604
Use the following guidelines when autosyncing:
• You can autosync audio clips with video clips only. To link two or more video clips or audio
clips, use the Grouping option described in “Understanding Grouping and Multigrouping
Clips” on page 1229.
• You can create only one autosynced subclip at a time. You cannot autosync numerous pairs
of audio and video clips simultaneously.
• If the audio and video clips do not have matching source or auxiliary timecode, you must
establish common sync frames. To do this, mark In points (or Out points) on both clips
before you autosync. When you autosync using this method, the whole clip is taken into the
subclip.
• If you autosync clips of different lengths, the longer clip is truncated to the length of the
shorter clip; video clips override audio clips.
• If you autosync according to common timecodes that are staggered (one clip starts later than
the other), the later starting timecode becomes the start of the new subclip. The clip with the
earlier starting timecode is trimmed accordingly.
Creating an Autosynced Subclip
To create an autosynced subclip:
1. Highlight two or more clips in the bin.
2. Select Bin > AutoSync.
The Sync Selection dialog box opens.
3. Select an option, based on the following:
Option Description
Film TC/Sound TC Use this option if you sync clips with matching film and sound
timecode recorded in the field. This option appears dimmed if you
are not in a 24p or 25p project.
Inpoints Use this option if you sync two clips at a time according to In
points set in both clips.
Outpoints Use this option if you sync two clips at a time according to Out
points set in both clips.
Source Timecode Use this option if the two clips have matching timecode or to
Autosync multiple clips, use the Start timecode. The default
option.
Understanding AutoSequence
605
4. Click OK.
The subclip is created and named by default after the video clip with the file name extension
.sync.n, where n is the incremental number of subclips created with the same name.
You can change the name according to preference. You can load an autosynced subclip into
the Source monitor and immediately edit it into a sequence.
nIn a 35mm 4 perf or 35mm 3 perf project type, you can "perf slipped" the subclip up to a 1/4
frame in either direction for even tighter sync.
Understanding AutoSequence
AutoSequence is used when picture and sound are captured separately. AutoSequence lets you
add audio or video to the original videotape if it was transferred without sound or picture. You
can also use the AutoSequence feature to organize dailies without having to duplicate source
clips when you move them to other bins.
nFor information and procedures for Autosync, see “Autosyncing Clips” on page 603.
Auxiliary TC1–TC5 Use this option if the two clips have matching timecode in the
same Auxiliary Timecode column or to Autosync multiple clips,
use the Aux 1-5 timecode. Select an Aux TC, 1 through 5, from
the menu.
Keep audio on clip
with video
Use this option if you want to keep the selected video clip’s audio
tracks. Specify which audio tracks you want to keep from the
Start and End range. All audio tracks within this range will be
kept. Off by default.
Include audio from
audio-only clips
Use this option to keep the selected audio tracks with the
audio-only clip. Specify which audio tracks you want to keep
from the Start and End range. All audio tracks within this range
will be kept. Off by default.
Collapse Audio
Tracks
Use this option to remove any unused audio tracks and then move
the audio tracks to the next available tracks. For example, if you
have 8 audio tracks but tracks A2, A4, A6 and A8 did not have
audio. If you select this option, tracks A2, A4, A6 and A8 would
be removed and A1, A3, A5 and A7 would move into the A1
through A4 tracks. Off by default.
Option Description
Adding Audio or Video to Original Videotape Using AutoSequence
606
To establish sync with the original videotape, use filler to add where gaps in audio or video exist
in the sequence. After you finish editing the audio or video, you can use the Digital Cut
command to output only the audio, or both audio and video only the video onto the original
videotape.
If you do not use AutoSync and the video clip timecode does not match the audio clip timecode,
you should select only video clips when you use AutoSequence. You can then add audio to the
sequence and sync the audio with the video by using the Splice-in and Overwrite functions.
You can use the AutoSequence command with imported or AMA linked clips. You can also
AutoSequence multiple clips together with non-continuous timecode, closing the gap on the
filler in your sequence. This is helpful if you want to create a rough cut sequence with imported
or linked clips.
Use the following guidelines when you create a synchronized sequence:
• Your original videotape must have continuous timecode.
• Use only master clips, subclips, autosynced subclips, and/or group clips to create the
synchronized sequence.
• If you select two unrelated clips with overlapping timecodes, a message box indicates you
cannot do this operation. If the clips are related (for example, one clip is a subclip of the
other master clip), then one of the clips is selected automatically.
• The system removes and ignores points in the clips. A message box provides you with a
choice to continue and remove the points or to cancel the operation.
• Synchronized sequences are named from the Tape Name column for tape-based media and
the Source File column for file-based media.
Adding Audio or Video to Original Videotape
Using AutoSequence
cIf you add audio only, make sure the video tracks are not enabled when you begin
recording a digital cut. If you add video only, make sure you do not enable audio tracks
when you record a digital cut.
To add audio or video to your original videotape:
1. (Option) Use the AutoSync command to create synchronized subclips from your tape’s
master clips and your audio or video clips.
2. Open the bins that contain the clips you want to include in the sequence.
3. Select the clips.
4. Select Bin > AutoSequence.
Resyncing Subframe Audio
607
The system creates a synchronized sequence with the clips you selected. The new sequence
appears in the Record monitor and in the Timeline. The sequence also appears in the bin
with the same name as the tape name (for tape-based media) or the same name as the source
file name (for file-based media) with a .xx (.01, .02, .03) extension.
5. Edit the audio or video tracks.
6. Record a digital cut of the audio or video directly onto the original videotape when you
finish editing the sequence.
7. (Option) Press and hold the Alt (Windows) or Option key (Macintosh) while you select
Bin > AutoSequence to build a sequence without filler.
The system creates a sequence without gaps by placing the clips in ascending timecode
order.
Resyncing Subframe Audio
When you work with a 24p or 25p project (35mm, 4-perf or 35mm, 3-perf only), you can adjust
the sync between the audio and video portions of subclips at the subframe or perforation level
(1/4-frame adjustments for 4-perf and 1/3-frame adjustment for 3-perf) for more exact sync.
When you perform a subframe resync, you can obtain a closer relationship between audio
samples and film frames than the relationship established in the film-to-tape transfer process. For
example, when a film lab punches the correct clapsticks frame to match the audio clap, during
telecine transfer, the process of aligning the sync points is inexact. As a result, true sync might be
off by one or more perforations.
The following conditions apply to resyncing at the perforation level:
• You can adjust the sync between a single video and a single audio track within subclips only.
Use the subclips created:
- When you autosync
- Manually from master clips in preparation for editing
- From an imported shot log
- While you capture
Resyncing Audio for a Selected Subclip
608
- From imported audio media (OMFI, AIFF-C, or WAVE format), master clips generated
by AudioSuite plug-ins, or tone generator media
• You cannot slip at the perforation level of the imported QuickTime audio media.
nThe batch import process does not create new clips; therefore, slipping at the perforation level is
not available when you batch import audio clips from Avid editing application versions earlier
than v10.5.3.
• You cannot slip beyond the duration boundaries of the source master clip.
• The sync adjustments you make are referenced in any cut list you output for any sequence
that uses the adjusted subclip.
• The number of perfs you slip appears in the Slip column when you select the Slip heading to
display in the bin.
Resyncing Audio for a Selected Subclip
To resync audio for a selected subclip:
1. Load the subclip into the Source monitor.
2. Use one of the audio scrub techniques described in “Using Audio Scrub” on page 754 to
locate the closing slate frame.
3. Click Slip Left One Perf or Slip Right One Perf button to move the audio sync either
backward or forward in 1-perf increments.
Each click of the perf button performs the sync adjustment.
4. Play the subclip in the Source monitor to evaluate your sync adjustment. Repeat the previous
steps to further adjust the sync, up to eight perfs in either direction.
5. Use the resynced clip to edit into the sequence.
nIf you find a subclip frame sync problem within an edited sequence, be sure to correct the audio
sync in the original subclip used in the edit. The sequence is then updated. The telecine facility
must correct sync problems with 16mm format.
Working with Phantom Marks
Phantom marks provide visual guidance when you edit according to the three-mark rules. For
information on editing using three marks, see “Editing Additional Clips into the Sequence” on
page 572.
Working with Phantom Marks
609
To enable phantom marks:
1. In the Settings tab of the Project window, double-click Composer.
The Composer Settings dialog box opens.
2. In the Edit tab, select Phantom Marks., and then click OK.
When you enable phantom marks, your Avid editing application displays blue mark In or
Out icons in the position bars below both the Source and the Record monitors. These
phantom marks indicate one, two, or sometimes three edit points calculated by your Avid
editing application to complete an edit.
The following examples illustrate two typical scenarios.
Setting One Mark
In this example, you set only the mark In on the source side. By default, your Avid editing
application uses the location of the position indicator as the mark In for the sequence and
calculates both Out points based on the length of the source clip.
One mark IN set (left) and three phantom marks (right)
You can see your Avid editing application calculations instantly and can make the edit after you
set just one mark.
Adding a Second Mark
If you decide that a mark Out is required — to shorten the source clip, for example — then your
Avid editing application recalculates and displays new phantom marks.
Phantom marks can help you see the results of marks you set before you complete the edit and
are useful when you perform a Sync Point edit or other complicated replace edits in which two or
more marks calculate automatically.
Creating Video and Audio Leaders
610
Creating Video and Audio Leaders
Film editors use standard head and tail leaders to cue and sync material. You can use digital
leaders in your Avid editing application to mark the beginning and end of tracks and to help you
maintain sync, as described in “Syncing with Tail Leader” on page 599. You can create your own
leader for video or film. Whatever you choose for specifications, make all your leader clips the
same length, with common sync points.
To create leaders for picture tracks:
1. Create a black screen in the Title tool for tail leader, or a white screen for head leader.
For information on using the Title tool, see “Creating Titles” in the Help.
2. (Option) Type a title onto the screen that says Tail Leader or Head Leader.
3. Name this clip Head Leader or Tail Leader when you save the title.
4. Create a subclip from an appropriate length of the clip, according to your chosen
specifications.
5. (Option) Mark a sync frame in the subclip as follows:
a. Load the clip into the Source monitor.
b. Find an appropriate sync point, and add a marker.
For more information, see “Using Markers” on page 513.
c. (Option) Double-click the marker in the Source monitor to add a sync point notation that
appears on the monitor.
Once you prepare the leader, you can splice the leader while you edit onto the tracks that
you want to keep in sync. You can use the sync points for visually aligning tracks.
To create tail leader for audio tracks:
1. Load a clip that includes a section of captured tone into the Source monitor.
2. Create a subclip according to your chosen specifications.
3. Name this new subclip Head Leader or Tail Leader.
4. Load this subclip into the Source monitor.
5. To prepare the sound levels for leader without a sync point (no audio pop), open the Audio
Mixer tool and bring the audio level all the way down for the entire clip.
6. Prepare the sound levels for leader that include a sync point (audio pop) by doing the
following:
a. Find the appropriate sync point.
Step one frame backward and place an add edit before the sync frame; then step two
frames forward and place an add edit after the sync frame.
Using MetaSync to Synchronize Metadata
611
For information on placing add edits, see “Working with Add Edits (Match Frames)” on
page 710.
b. Move the position indicator before the first add edit, and open the Audio Mixer tool.
c. Bring the audio level all the way down.
d. Move the position indicator after the second add edit, and use the Audio Mixer tool to
bring the level all the way down.
After you prepare the leader, you can splice the leader while you edit onto the audio
tracks that you want to keep in sync. You can use the sync points for visually aligning
tracks.
Using MetaSync to Synchronize Metadata
Avid MetaSync gives editors the tools to synchronize metadata with traditional video and audio
content. With MetaSync, you can insert pointers to metadata directly into the Timeline and
modify the timing and duration of the enhanced material. The metadata, in turn, points to
additional content, such as files from a script writing program, closed captioning, HTML files,
database records, machine controls, or remote commands. Other applications can then process
this additional content for final production and distribution, opening new opportunities for
content creation in the emerging areas of ITV (interactive television), DVD, broadband, and
converging media.
For more information, see “MetaSync Overview” in the Help.
15 Script-Based Editing
The following topics provide information about working with script-based editing:
•Understanding Lined Scripts
•Script Integration — Lining in the Digital Realm
•Understanding the Script Window
•Working with the Script Window
•Working with Script Text
•Working with Page or Scene Numbers and Searching in a Script
•Linking Clips to a Script
•Interpolating Position for Script Integration
•Working with Slates in the Script Window
•Working with Takes in the Script Window
•Indicating Off-Screen Dialog in a Script
•Using Color Indicators in the Script Window
•Script Marks
•Finding Clips and Script
•Editing From the Script Window
Understanding Lined Scripts
The conventional lined script evolved during decades of trial and error in Hollywood. It provides
assistant editors and chief editors with a road map that helps them find the coverage they need to
edit scenes in a film or television show.
The script-based editing feature in your Avid editing application lets you adapt the lined script to
the digital realm for use in any type of production, from drama to documentary to spot
advertising. For more information, see “Script Integration — Lining in the Digital Realm” on
page 614.
Understanding Lined Scripts
613
A traditional lined script is created by hand at the time of shooting. The following is an example
of a scene from a lined script.
Each vertical line drawn through the scene represents a single take from the moment the director
says “Action” to the moment the director says “Cut.” Each scene might require several camera
angles and positions, with one or more takes, all of which are lined and identified
alphanumerically.
The following table summarizes the lining techniques and numbering system shown in the
example.
33/1
33A/1 33A/2
33B/133B/2
33B/3 33C/1 33C/2
Master shot The line labeled 33/1 is the master shot that usually covers all the action in a wide
shot. The first number in the label indicates the scene number as written on the script
(scene 33). The number following the slash indicates that this is the first take captured
on film for the master shot. A second take of the master shot, for example, would be
labeled 33/2.
Script Integration — Lining in the Digital Realm
614
When the scene is recorded — for example, in a sitcom shoot — the lined script can also include
timecode notes written next to specific lines of dialog that represent a sync point between the
dialog on the page and the recorded dialog. These sync points provide assistant editors or chief
editors with a quick path to specific points in the source material.
Script Integration — Lining in the Digital Realm
Script integration in your Avid editing application enhances the traditional lined script system
described in “Understanding Lined Scripts” on page 612.
Unlike the traditional lining of a script, digital script integration usually happens after the shoot.
For example, the assistant editor uses the notes of the continuity person as the basis for script
integration. The following is an example of the script shown in “Understanding Lined Scripts”
on page 612, prepared and lined using script integration.
Additional
setups
The lines for each subsequent camera setup within the scene are labeled with the
scene number (33 in our example) followed by a letter for each setup, followed by a
slash and the number of the take within that setup. These lines can be any length,
depending upon what portion of the script is covered by the particular shot.
Off-screen
dialog
The jagged lines in the script represent the parts of dialog where the actor is off
screen. For example, the character Mary Sue is off camera during the action described
in the second paragraph (when the waitress character enters), so a jagged line is drawn
through the shots that cover Mary Sue (33A/1 and 2).
Script Integration — Lining in the Digital Realm
615
In addition to the standard lining conventions, script integration includes the following
enhancements:
1
2
3
4
5
6
7
1 Toolbar 5 Off-screen indicator
2 Slates 6 Color indicator
3 Takes tabs 7 Script mark
4 Takes
Slates Takes are organized into slates that display a representative frame and clip name for
the take that is currently selected.
Takes The Takes tabs and lines extending from the bottom of each slate indicate the number
of takes for that scene. Click a Takes tab to select the take.
Indicators You can apply off-screen dialog indicators or colors to indicate such things as
preferred takes, takes used in the current active sequence, or line changes in dialog.
Script marks The double arrows marking the takes at various points represent marked lines of
dialog in the script that are synchronized to matching dialog in the source clip. Script
marks are especially effective during editing, allowing the editor to quickly locate
dialog and piece together parts of a scene.
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616
The Script window provides additional controls for matching back to clips in the source bins,
loading and playing back takes, and searching for takes and script text.
Script Integration Workflow
The basic workflow for script integration is as follows:
1. The continuity person or an assistant creates the lined script in hardcopy form during
shooting.
2. Source footage from the shoot is prepared and captured by using methods described in
“Creating a New Project” on page 50.
3. The assistant editor uses the lined script from the shoot, a text file of the script itself, and
methods described throughout this chapter to import and line the script, link clips to the
script, place script marks, and customize the display of takes prior to editing. In some Avid
editing applications, the assistant can also use the ScriptSync™ feature to automatically place
script marks.
4. The editor uses the fully prepared Script window to edit the program.
Using Script Integration in Video Projects
Script integration is an effective tool for editing any type of production, not just feature films and
television drama. For example:
• You can adapt many of the procedures described in this chapter for use in audiovisual scripts
for documentaries, corporate spots, news magazine segments, and spot advertisements.
• You can turn script integration into a quick storyboarding tool by positioning selected slates
in the Script window and printing storyboard bins that include your script.
The following is an example of an audiovisual script for a news magazine piece imported into the
Script window, with the basic features of script integration applied.
Understanding the Script Window
617
Left to right: narration track synced to the script, B-roll shots ready to be loaded and cued (color indicates preferred
shots), music cuts linked to appropriate sections of the script.
Understanding the Script Window
You begin the script integration process by importing a script into a project. The script appears in
a script bin, and opens in a Script window.
Script Settings
You use settings in the Script Settings dialog box to control how scripts display in the Script
window and how the Script window behaves. You should make changes to these settings before
you open a Script window. After the Script window is open, any changes you make in the Script
Settings dialog box are ignored by the window. You must close the Script window and then
reopen it for the new settings to take effect.
However, the Script menu provides several commands that override the Script settings. Script
menu commands are described throughout this chapter.
Working with the Script Window
618
You can also specify the text encoding of the script from the Script menu. This ensures that
diacritical marks and multibyte character sets appear correctly in your script.
Script Window Behavior
The Script window behaves in many respects like a bin:
• When you make changes in the Script window, an asterisk appears in the title bar to indicate
that the changes are not yet saved.
• The Script window has the same auto-save functionality as bins, based on the auto-save
options in the Bin settings.
• Your Avid editing application saves Script window files in the project folder along with bins,
and stores backup copies automatically in the Avid Attic folder.
When you save a Script window, the saved file has an .avc file name extension.
You can navigate to any point in the text of a script by using basic techniques available in most
word processors. You can also use several search features, as described in “Working with Page or
Scene Numbers and Searching in a Script” on page 623.
You can resize a Script window at any time to show more script or to enlarge the right margin.
The default size of the left margin is established on import, based on the current Script settings,
but you can override the margin setting and adjust the left margin after importing the script.
You can open the Info window, which displays statistical information about a clip or sequence,
directly from the Script window. The window updates the information automatically.
For details of basic Script window procedures, see “Working with the Script Window” on
page 618.
Working with the Script Window
This topic describes basic procedures for working with Script windows, including importing
script text, navigating through the script, displaying clip information, opening and closing
windows, saving windows, and adjusting margins. For more information on the Script window,
see “Understanding the Script Window” on page 617.
Before you begin creating Script windows, make sure you have established the proper defaults in
the Script Settings dialog box for font, margin, and display of frames and takes.
To set Script settings:
1. Double-click Script in the Settings list in the Project window.
The Script Settings dialog box opens.
Working with the Script Window
619
2. Make the changes to settings that you need, and then click OK.
For information on the settings, see “Script Settings” on page 1370.
To import a new script:
1. Place the script file in a local or network directory that is available to your
Avid editing system.
cThe imported script must be in text format. To maintain the original formatting, however,
export the script from your word processor by using the “Text Only with Line Breaks”
option. If you export the script as “text” only, the formatting is lost.
2. Click the Bins tab in the Project window of your Avid editing application.
The Bins list appears.
3. Select File > New Script.
The Open dialog box opens.
4. Select the file, and then click Open.
A script bin appears in the Bins list in the Project window. The script, with its original
layout, appears in the Script window.
5. Change the name of the script bin by clicking the title in the Bins list in the Project window,
and typing a new name.
Working with the Script Window
620
To select text encoding:
tSelect Script > Text Encoding, and then select one of the following:
To open, close, or save the Script window:
tTo open a new script (.txt) file and add it to the Bins list in the Project window, select File >
New Script.
tTo open existing Script window (.ave) files and add them to the Other Bins folder in the Bins
list in the Project window, select File > Open Bin.
tTo close Script windows, select File > Close.
tTo save changes, select File > Save Script.
tTo save a copy of the Script window, select File > Save a Script Copy As.
To explore the Script window:
tUse the bar on the right to scroll up or down.
tResize the window by dragging the size box in the lower right corner.
tPress the Page Down or Page Up key to move one screen at a time.
tPress the Home or End key to move to the beginning or end of the script.
tPress the Up Arrow or Down Arrow key to move your line selection up or down by one line.
Option Description
None Your Avid editing application uses your system’s default encoding.
Select this option when the text was created on a system with the same
system character set you are currently using. Use this option for
non-Latin-based encoding where UTF-8 was not used.
Mac
(MacRoman)
Select this option when the script was created on a Macintosh system
using the MacRoman character set. This is the default encoding on
Macintosh systems for plain text using the Latin character set.
PC (Latin-1) Select this option when the script was created on a Windows-based
system using the Latin-1 character set. This is the default encoding on
Windows-based systems for plain text using the Latin character set.
UTF-8 Select this option when the script was created using the Unicode
UTF-8 character set.
nNon-native characters might not display correctly even if they
are encoded in UTF-8. The ability to display non-native
characters is limited at this time.
Working with Script Text
621
To adjust the left margin of an imported script:
1. Select Script > Left Margin.
The Left Margin dialog box opens.
2. Type a new margin size (in pixels) in the text box, and click OK.
The Script window reflects the new setting.
To open the Info window from a Script window:
1. Press the Alt key (Windows) or the Option key (Macintosh), and click the Takes tab.
2. Drag the window to a new location to leave the Info window open.
Working with Script Text
The default font and font size for a script is established when you import the script, based on the
current Script settings. You can override the settings and change the font and size after importing
the script.
You can also cut, copy, paste, or remove selected lines of script to reflect changes that might
occur during the course of a project. Selecting text in the Script window is similar to making
selections in a word processor, except that the smallest unit you can select is an entire line of text.
You cannot select or otherwise manipulate individual characters or words.
nTo rearrange or rewrite individual words or characters in a script, make the changes in a word
processor, import them into a separate Script window, and then use the procedures in this topic
to copy and paste the new lines into the existing Script window, overwriting the incorrect lines.
cYou cannot undo cut, copy, or paste operations in the Script window.
To change the font and font size of imported script:
1. Select Edit > Set Font.
The Set Font dialog box opens.
2. Click the Font menu, and select a new font.
The menu includes all fonts currently installed on your system.
3. Type a new font size in the text box, and click OK.
The Script window reflects the new settings.
nAs you enlarge font size, the available sizes for the slate frames also increase. This is useful for
presentation or screening purposes, when you need to display extra-large text and slate frames
for a large audience or across a room. For information on enlarging slate frames, see “Working
with Slates in the Script Window” on page 628.
Working with Script Text
622
To select a single line of script:
tClick anywhere in the line to highlight it.
To select several lines of script, use one of the following methods:
tLasso the first line of the selection, drag through the text, and release the mouse button when
you finish lassoing the lines you want to select.
As you drag, a box outlines your selection. After you release the mouse button, the text is
highlighted.
Example of a lasso to select a portion of a script
tClick the first line of the selection, and then Shift+click the last line. The entire block of text
is highlighted.
tPress Ctrl+A (Windows) or Command+A (Macintosh) to select all the text and takes.
To extend an existing selection:
tShift+click a line of text preceding or following the existing selection.
To cut or copy lines of script and then paste them:
1. Select the lines.
2. Select Edit > Cut or Edit > Copy.
3. Select the line below the location where you want to insert the text.
4. Select Edit > Paste.
Working with Page or Scene Numbers and Searching in a Script
623
If you select only one line at the insertion point, a message box asks if you want to replace
the selected line.
If you select more than one line at the insertion point, no message box opens. When you
select Edit > Paste, your Avid editing application replaces the selected lines with the text you
cut or copied in step 2. You cannot use the Undo command after performing this step.
5. Do one of the following:
tClick Replace to overwrite the selected line.
tClick Insert Before to insert the text above the selected line.
tClick Insert After to insert the text below the selected line.
The text is pasted into the script.
To remove lines of script:
1. Select the lines of script you want to delete.
2. Select Edit > Cut.
Unlike a normal deletion, the text remains in the Windows Clipboard or Macintosh
Clipboard until the next time you copy or cut a selection.
nYou cannot delete lines of text from the Script window by using the Delete key as you would in a
normal word processor. Use the Cut command to remove the text.
Working with Page or Scene Numbers and Searching
in a Script
Script integration provides a number of search tools you can use during the preparation phase,
during editing, or during screenings. You can use page or scene numbers, or you can conduct a
full-text search.
When you add page and scene numbers to the Script window, you gain the ability to search for
them during preparation of the script and during editing. You can change a scene or page number
to correct any errors that occur when adding numbers, and to reposition scene and page
numbering to match script changes during postproduction.
nYou can use the Find Bin and Find Script buttons to match back and forth between script and
clips. For more information, see “Finding Clips and Script” on page 651.
Working with Page or Scene Numbers and Searching in a Script
624
To add a page or scene number:
1. Select the line of the script at the beginning of the scene or page.
2. Click the Add Scene (AS) or the Add Page (AP) button in the Script window toolbar, or
select Script > Add Scene or Script > Add Page.
A dialog box opens.
3. Type the number for the scene or page, and click OK.
The scene number appears in the left margin. The page number appears in the right margin
next to the first line of the selected region. Scene and page numbers both appear in the status
bar at the bottom of the Script window and reflect your current position within the script.
Each scene or page number continues throughout the script until you mark another line as
the beginning of a new scene or page.
Top left: new scene number. Top right: new page number. Bottom: Scene and page number indicators in the
status bar.
To change a page or scene number:
1. Select the beginning line of the scene or page.
2. Do one of the following:
tClick the Add Scene or the Add Page button in the Script window toolbar.
tSelect Script > Add Scene or Script > Add Page.
A dialog box opens.
3. Type a new number for the scene or page, and click OK.
4. If the renumbering affects page or scene numbers that precede or follow the current change,
then repeat these steps as necessary.
Linking Clips to a Script
625
To delete a page or scene number:
1. Select the first line of the scene or page.
You can also delete all page or scene numbering throughout a range of the script by selecting
the range of lines or the entire script.
2. Press the Delete key.
The Delete dialog box opens.
3. Select the options for Delete scene(s) or Delete page break(s) as appropriate, and click OK.
Your Avid editing application deletes the numbering from the Script window.
To search for a page or scene number:
1. Select Script > Go To Page or Script > Go To Scene.
You can also click in the page or scene display in the status bar at the bottom of the Script
window.
The Go To Scene/Page dialog box opens.
2. Type the number of the scene or page, and click OK.
The Script window scrolls to the page or scene, and the first line is highlighted. If you type a
page or scene number that is not in the script, then no action occurs.
To search for text in a script:
1. With the Script window active, select Edit > Find.
The Find dialog box opens.
2. Type the text you are looking for.
3. Select one of the optional search parameters, when appropriate:
tIf you do not want the search to be case sensitive, select Ignore Case.
tIf you do not want the search to highlight instances where your text is part of another
word, select Whole Word.
4. Click OK.
The first occurrence of the text is highlighted in the Script window.
5. Select Edit > Find Again to search for the next occurrence of the text.
Linking Clips to a Script
You can link clips to the script by hand, or, if your Avid editing application includes the
ScriptSync feature, you can use ScriptSync to automatically link clips to the script. For more
information about ScriptSync, see “Marking with ScriptSync” on page 638.
Linking Clips to a Script
626
To link clips to the script:
1. Open the script bin by double-clicking the Script Bin icon.
2. Open the source bin for the clips that you want to link to the script.
3. (Option) Sort the source clips to make the job easier:
tYou can sort the Scene/Take column for an alphanumeric list of clips that matches their
relative order in the script.
tIf you are not working with scene and take information (for example, in a video
documentary project), you can provide your own numbering for the clips in a custom
column, or you can sort the clips manually in Frame view according to their order in the
script. For more information on adding a custom column, see “Adding Customized
Columns to a Bin” on page 341.
4. Select the portion of the script that is covered by the first clip or clips.
5. Select the clip or clips in the source bin, and drag them to the highlighted text.
Make sure the pointer is over the highlighted text before releasing the mouse button.
Drag one or more clips to the highlighted material in the Script window
A slate frame appears above the text, with one or more of the takes covering the scene as
lines.
Interpolating Position for Script Integration
627
6. Continue to apply clips to additional portions of the script until you have finished creating
all your slates.
Alternatively, you can create slates one at a time, place script marks, and fine-tune the lining
of each scene before proceeding to the next portion of the script.
Interpolating Position for Script Integration
Interpolate Position matches a clip to a take and lets you see where a particular line in the script
would appear in the clip footage.
When you set Interpolate Position, your Avid editing application matches the length of the take
in the script to the length of the clip in the Source monitor. The position indicator in the Source
monitor corresponds to wherever you double-click in the take.
If you set a script mark in the take, the portions of the take on either side of the script mark are
matched to the portions of the clip on either side of the IN point in the Source monitor.
nYou can change the default behavior before opening a script in the Script window by selecting
Interpolate Position in the Script Settings dialog box. See “Script Settings” on page 617.
To set Interpolate Position:
tSelect Script > Interpolate Position.
Working with Slates in the Script Window
628
Working with Slates in the Script Window
Once you create a slate by dragging a clip into the Script window, you can manipulate the slate’s
appearance and position. You can:
• Select one or more slates.
Selecting multiple slates is especially useful when you are adding or deleting color or
off-screen dialog indicators across takes, as described in “Working with Takes in the Script
Window” on page 631.
• Resize slates in the same way that you resize frames in the bin in Frame view.
You can also enlarge the font size of the script to increase the size of the slate frames. This
can be useful for presentation or screening purposes when you need a large display for an
audience. For information on resizing the font, see “Working with Script Text” on page 621.
• Hold slates on screen so that, as you scroll a script in the Script window, each slate remains
on screen as long as the take lines to which it is linked remain on screen.
• Hide the representative frame that your Avid editing application displays by default for each
slate.
When you do this, your Avid editing application shows only the clip name to simplify the
interface or speed up scrolling and movement in a complex Script window.
• Show only one take for each nonactive slate to minimize screen clutter.
• Adjust the position of slates to make room for more slates, to avoid blocking words, or to
display takes over specific lines.
• Delete slates, for example, if you find that you no longer need the takes in the slate.
To select slates, do one of the following:
tClick a slate to select it.
tShift+click additional slates to select all the active takes.
tDrag a lasso through a region of the script containing slates.
All slates and takes within the lasso are selected.
To enlarge or reduce the slates:
tSelect Edit > Enlarge Frame or Edit > Reduce Frame.
To hold slates on screen, do one of the following:
tSelect Hold Slates Onscreen in the Script Settings dialog box before you open the Script
window.
For more information, see “Script Settings” on page 617.
tSelect Script > Hold Slates Onscreen.
Working with Slates in the Script Window
629
To hide or show the slate frames, do one of the following:
tSelect or deselect Show Frames in the Script Settings dialog box before you open the Script
window.
For more information, see “Script Settings” on page 617.
tSelect or deselect Script > Show Frames.
When Show Frames is enabled, a check mark appears to the left of the Show Frames
command.
When Show Frames is deselected, the Script window shows only the clip names for the
takes.
To control the number of takes that display for a nonactive slate, do one of the following:
tSelect or deselect Show All Takes in the Script Settings dialog box before you open the
Script window.
For more information, see “Script Settings” on page 617.
tSelect or deselect Script > Show All Takes.
When Show All Takes is enabled, a check mark appears to the left of the Show Frames
command.
When Show All Takes is deselected, the Script window shows only one take for each
nonactive slate.
Working with Slates in the Script Window
630
To move a slate, do one of the following:
tTo move a slate horizontally, drag it to the left or the right. If necessary, resize the Script
window by dragging the size box.
tTo move a slate vertically without moving the position of the take lines in the script, drag it
up or down.
The take lines remain fixed over the text to which they have been previously linked.
tTo move the slate and all its take lines vertically to a new location in the script, Ctrl+drag
(Windows) or Command+drag (Macintosh) the slate to the new location.
As you move the slate, the takes continue to cover the same number of lines in the script. To
lengthen or shorten the number of lines covered in the takes at the new location, see
“Working with Takes in the Script Window” on page 631.
To delete a slate:
1. Select all the takes in the slate by pressing the Shift key and clicking the tab for each take.
2. Press the Delete key.
The Delete dialog box opens.
3. Select Delete Takes, and click OK.
The slate and all its takes are deleted from the script.
nWhen you delete slates and takes from the Script window, the captured source clips remain in the
source bins.
Working with Takes in the Script Window
631
cYou cannot undo the deletion of slates. To restore a slate after deletion, you need to
re-create the slate. See “Linking Clips to a Script” on page 625.
Working with Takes in the Script Window
Script integration provides a number of tools and techniques for manipulating the relationship
between lined takes in the Script window and their source clips. You can:
• Select takes.
• Add and delete takes.
You might want to delete a take if it has been applied to the wrong scene, or delete a bad take
to simplify the script interface.
• Display take numbers.
• Change the representative frame that appears in the slate for a take.
• Load and play takes in the Source monitor.
• Change the length of a take line when you find that a take or group of take lines should begin
earlier or end later in the script.
To select takes, do one of the following:
tClick any take tab to select it.
The outline of the take changes to red, indicating that the take is active.
tDouble-click any line in the take to select the take and load it into a monitor.
tShift+click additional takes in the same slate or across slates to select them.
Selecting multiple takes is especially useful when you add or delete color or off-screen
dialog indicators. See “Using Color Indicators in the Script Window” on page 634 and
“Indicating Off-Screen Dialog in a Script” on page 633.
tDrag a lasso through an entire region of the script.
All takes within the lasso are selected.
To add another take to an existing slate:
1. Select the region of the script that the take covers.
2. Open the bin that contains the clip for the take.
3. Drag the clip to the slate.
The new take appears in the slate and is applied to the selected region of the script. You need
to manually adjust the take lines if the new take covers a region different from the existing
slate. See the procedure below.
Working with Takes in the Script Window
632
To delete one or more takes:
1. Select the takes in the Script window.
2. Press the Delete key.
The Delete dialog box opens.
3. Select Delete Takes, and click OK.
The takes are deleted.
cYou cannot undo the deletion of takes. To restore a take after deletion, add the take again
using the procedure above.
To display the take numbers in the tab of each take:
tType the numbers in the Take column of the source bin for the clips.
Numbers in the Take column appear in the tabs for each take
To change the representative frame that appears in the slate for a take:
1. Select the Takes tab in the Script window.
2. Press the appropriate arrow keys or step keys on the keyboard to advance the footage
displayed in the slate forward or backward to the frame you want.
You can also select multiple takes and advance them all at once.
To load individual takes into the Source monitor:
tDouble-click any Takes tab.
To load multiple takes into the Source monitor:
tSelect multiple takes, and then double-click any take you selected.
Indicating Off-Screen Dialog in a Script
633
To play back a take, do one of the following:
tDouble-click a take to load it into the Source monitor, and then click the Play button or press
the Play key.
The clip plays back and stops when it reaches the end.
tSelect a take in the script, and then click the Play button at the top of the Script window.
The clip loads and plays back in a continuous loop until you press the space bar. If you select
more than one take, each take plays in sequence.
To change the length of a take line:
1. Press the Ctrl key (Windows) or the Command key (Macintosh).
Notice the movement icon that appears when you place the pointer at either end of the take.
2. Click the end mark or beginning mark of a take, and drag it until you reach the correct line in
the script.
3. Ctrl+drag (Windows) or Command+drag (Macintosh) the opposite end of the take to a new
location, if necessary.
4. Repeat the procedure for other takes in the slate as necessary.
Indicating Off-Screen Dialog in a Script
In a traditional lined script, a jagged line next to the dialog indicate off-screen dialog. You can
apply a similar effect to lines in the Script window.
To indicate off-screen dialog:
1. Select the range of script containing the off-screen dialog.
2. Select one or more takes that you want to mark with the off-screen indicator.
3. Click the Set Offscreen button in the Script window toolbar.
The off-screen indicator appears, superimposed on the selected takes of the highlighted
range of the script. You can switch the indicators on or off by clicking the button repeatedly.
To remove one or more off-screen indicators:
1. Select the range of script containing the off-screen indicators.
2. Select only those takes that display the indicators.
3. Click the Set Offscreen button.
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634
Using Color Indicators in the Script Window
You can use color to indicate several pieces of information, including:
• Preferred takes or takes used in the current active sequence.
• Picture versus audio track used in the current active sequence.
• Line changes in dialog.
• Use of multiple cameras.
To apply color to takes:
1. Select Script > Color > color.
2. Select the region of the script that covers the range within the take or takes that you want to
highlight with color.
3. Select one or more takes.
4. Click the Set Color button in the Script window toolbar.
The color appears only in the highlighted script region of the selected takes. You can switch
the indicators on or off by clicking the button repeatedly.
To remove one or more color indicators:
1. Select the range of script containing the color indicators.
The first take in the selected region determines the color indicator status that displays in the
Set Color button.
2. Select only those takes that display the indicators.
3. Click the Set Color button.
Script Marks
Script marks let you synchronize individual lines of script with matching points in captured
clips. When you place a mark in the script, an IN point also appears in the clip when you load it
into a monitor for editing. This provides line-by-line control over alternative takes that the editor
can instantly load and edit into the sequence.
You can place script marks in several ways. You can:
• Place marks manually, one take at a time.
For more information, see “Placing Script Marks Manually” on page 635.
• Place marks in a playback loop in real time.
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For more information, see “Using Real-Time Screening and Marking” on page 636.
• Place marks automatically using ScriptSync, if you have purchased the ScriptSync feature in
your Avid editing application.
For more information, see “Marking with ScriptSync” on page 638 and “Moving or Deleting
a Script Mark” on page 650.
Once you have created script marks, you can load and play marked segments. You can also move
or delete existing marks. For more information, see “Loading and Playing Marked Segments” on
page 650
Placing Script Marks Manually
To place script marks manually:
1. Map the Add Script Mark button from the Other tab in the Command palette to a
user-customizable palette or to the Keyboard palette.
For more information, see “Mapping User-Selectable Buttons” on page 109.
2. Double-click in the Script window at the intersection of a take and the line of dialog that you
want to mark.
The take is selected in the slate, the selected line of the dialog is highlighted, and the clip
loads into the Source monitor.
3. Click the Play button, or press the Play key.
The take plays in the monitor.
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You can also step (jog) or shuttle through the footage, place the position indicator on the
exact frame, or scrub the audio to find the exact line of dialog. The clip does not have to be
playing.
4. When the playback reaches the selected line of dialog, click the Add Script Mark button or
press the Add Script Mark key.
The line is marked in the Script window with a small horizontal bar, and play stops.
5. Repeat these steps to add more script marks.
Using Real-Time Screening and Marking
The Script window provides controls for automating the process of screening and placing script
marks for a single take or across multiple takes.
To use real-time screening and marking:
1. Select one or more takes.
2. Click the Record button in the Script window toolbar.
The first selected take changes to green in the Script window, your Avid editing application
loads the clip into the Source monitor, and the clip begins to play.
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Example of real-time screening and marking: several takes are selected for automatic playback, and the
current playback is highlighted in green
3. As you hear a line of dialog or see a particular clip that you want to mark, click the matching
line in the Script window.
A script mark appears at that location in the take, and the clip continues to play.
You can scroll through the Script window without affecting playback.
4. Continue to mark additional sync points by doing one of the following:
tClick a line that already contains a mark to replace the previous mark and update the
sync point in the clip.
tClick a line in the script before or after the range of the existing take line to add the mark
and extend the take line to include the new line.
tUse variable-speed play controls (J-K-L keys on the keyboard) to shuttle, step, or pause
during playback.
tPress the Tab or Shift+Tab keys on the keyboard to begin playback of the next or the
previous take.
As each take reaches its end, your Avid editing application automatically loads and plays the
next take.
5. Continue to place marks until all takes have been screened.
To stop the playback loop:
tPress the space bar.
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Marking with ScriptSync
Some Avid editing applications include the ScriptSync feature (purchased separately).
ScriptSync uses phonetic-indexing technology from Nexidia™ to analyze the audio portion of a
clip and match it to lines of the script text.
To add script marks with ScriptSync:
1. Select one or more takes that include audio.
2. Double-click any line in the take to select the take and load it into a monitor.
3. Select Script > ScriptSync.
The ScriptSync dialog box opens.
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4. Select options as described in the following table.
Option Description
Language Select the language of your script (this setting is for both the audio and
the text).
nDepending on the language you select, the Acoustic model
(Broadcast or Telephony) that Nexidia uses changes. Only one
model applies per language. Broadcast has a higher resolution
and can be more accurate than Telephony in some cases. The
Broadcast model is used for North American English, Dutch,
Latin American Spanish, and Modern Standard Arabic.
Tracks Select the audio tracks you want as input to ScriptSync.
Skip lines that only
contain CAPITAL
letters
Select this option if lines that contain only all-capital letters are not part
of the spoken dialog. Dramatic scripts often use all-capital letters to
identify the speaker or for scene descriptions.
Skip text in
parentheses ‘()’ or
brackets ‘[]’
Select this option if parenthetical expressions in your script are not
spoken.
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5. Click OK.
The syncing process starts and displays a progress tracker.
6. (Option) Press Ctrl+. (period) to cancel the process after it has started.
When ScriptSync finishes, your take includes a script mark for every line of text your Avid
editing application found in the audio.
7. Check through the marks. If ScriptSync missed any, add them manually as described in
“Placing Script Marks Manually” on page 635.
Skip text before
colon ‘:’
Select this option to skip all text before the first colon in a line of text.
For example, select this option if your script uses the convention of
placing a character’s name before a colon when the character begins to
speak.
Skip lines indented
less than dialog
Select this option if action is indented less than dialog in your script. If
you select this option, type the number of characters that dialog is
indented in the Dialog Indent (characters) text box, or click the Select
Dialog button, select a line of dialog from the Script so your Avid
editing application can automatically infer the correct number of
characters, and then click OK.
Overwrite existing
marks
Select this option if the take you are syncing already contains script
marks and you want ScriptSync to update those marks.
Option Description
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Purchasing and Activating ScriptSync
The ScriptSync option is sold separately from your Avid editing application. Once you purchase
ScriptSync, you will receive a ScriptSync Activation ID that you use to activate the ScriptSync
feature. You activate the ScriptSync feature with the Avid License Control tool. To find out the
benefits of the ScriptSync feature, you can try out ScriptSync for a free 30-day trial period before
you purchase.
You can also purchase and activate multiple seats of ScriptSync. For information about installing
and activating volume licenses see the FlexNet Device Manager for Avid Guide on the Avid
Knowledge Base.
How Do I Purchase ScriptSync?
• You can purchase ScriptSync through your Avid Reseller.
• You can purchase ScriptSync from your Avid editing application’s Script > ScriptSync
menu.
• You can purchase ScriptSync directly through the Avid web store at http://shop.avid.com,
then search for ScriptSync.
How Do I Activate ScriptSync?
Once you purchase the ScriptSync feature and have received a ScriptSync Activation ID, you
activate this option through the Avid License Control tool in the following ways:
• You can use an Internet connection to activate ScriptSync. Avid License Control tool lets
you activate online using your system identification (System ID) number and the Activation
ID that came with the purchase of ScriptSync.
• If the system running your Avid editing application and ScriptSync is not connected to the
Internet, you can activate ScriptSync by using a different computer with an Internet
connection.
• If you do not have access to the Internet, you can activate ScriptSync over the telephone by
calling Avid customer service.
• You can activate multiple ScriptSync licenses using the FlextNet Device Manager for Avid.
For more information, see the FlexNet Device Manager for Avid Guide on the Knowledge
Base.
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What Will I Need to Activate ScriptSync?
• The ScriptSync Activation ID (obtained after you purchase ScriptSync)
If you purchased through an Avid Reseller, the ScriptSync Activation ID is on a sticker
adhered to your Instruction letter. If you purchased through the Avid web store, you receive
your ScriptSync Activation ID through an Avid e-mail or you can also view your Activation
ID by logging in to your Store account at http://account.avid.com/.
• Your System ID
This number pre-displays if you have activated your Avid editing application. If the System
ID does not appear, you can get the number in the following ways:
- The License Profile tab of the Avid License Control tool
- If you purchased your Avid editing application online, you received your System ID
from Avid by e-mail
- The Avid editing application splash screen (Help > About Avid editing application)
- The Console of the Avid editing application (Tools > Console, then scroll to System ID)
- The inside cover of your Avid editing application Installation Guide
- If you purchased your Avid editing application from the Avid store, you can also view
your System ID number by logging in to your Store account at http://account.avid.com/
If you have a dongle attached to your Avid editing application, check the License Profile tab
of the Avid License Control tool or use DongleManager to obtain your System ID. See the
steps below for information about this utility.
• Your Device ID (you only need this if you are running ScriptSync on a system without an
Internet connection). Check the License Profile tab of the Avid License Control tool.
To retrieve your System ID with a dongle attached:
1. Navigate to one of the following locations:
t(Windows) Program Files\Avid\Utilities\DongleManager
t(Macintosh) Applications/Utilities/Avid Utilities/DongleManager
2. Double-click DongleManager.
A window opens and displays your System ID.
3. Copy the System ID, and then close the terminal window.
Running the 30-Day Trial of ScriptSync
Before you purchase ScriptSync, you can try it out for a 30-day period. After the 30 days, if you
do not purchase ScriptSync, you will no longer have access to the ScriptSync feature. The
system keeps you informed of how many days you have left before the trial period ends.
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nIf you are running the Avid editing application trial version, you do not need to run the trial
version of ScriptSync. The ScriptSync feature is included with the trial version of the Avid editing
application.
To run ScriptSync for a 30-day trial period:
1. Open your Avid editing application and an Avid project.
2. Create a script, File > New Script.
3. Browse to your script then click Open.
4. In the script, click the section where you want to place the clip (take).
The section highlights.
5. From a bin, drag the clip to the selected section in the script.
The box below the clip in the script, should highlight black. This indicates that the clip is
selected in the script.
6. Select Script > ScriptSync.
The system checks to see if you have ScriptSync on your system and then a dialog box
opens.
7. Click Run Trial.
Your trial is activated.
8. Click Continue to begin using ScriptSync for your 30-day trial period.
To purchase ScriptSync during your 30-day trial period:
1. Open your Avid editing application and an Avid project.
2. Create a script, File > New Script.
3. Browse to your script then click Open.
4. In the script, click the section where you want to place the clip (take).
The section highlights.
5. From a bin, drag the clip to the selected section in the script.
The box below the clip in the script, should highlight black. This indicates that the clip is
selected in the script.
6. Select Script > ScriptSync.
A dialog box opens which informs you of how many days you have left on your 30-day trial.
This message displays with the remaining time only when you restart the Avid editing
application and click ScriptSync again.
7. Click Buy.
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The system opens the Avid web store, allowing you to purchase ScriptSync. Once you
purchase ScriptSync and obtain your ScriptSync Activation ID, you can activate ScriptSync.
A dialog box opens informing you that Activation will quit your Avid editing application
and launch the Avid License Control tool.
8. Click Continue.
The Avid License Control tool opens.
To activate ScriptSync, see “Activating ScriptSync with the Avid License Control Tool” on
page 645 to continue.
If You Purchased ScriptSync Through Script > ScriptSync Menu Selection
If you are working in your Avid editing application, you can select Script > ScriptSync to
purchase the ScriptSync feature. You will need an internet connection and you will be directed to
the Avid store. Once you make your purchase, you will receive your ScriptSync Activation ID
and be directed to the The Avid License Control tool to activate the ScriptSync feature.
To purchase ScriptSync through the Avid editing application’s Script > ScriptSync menu:
1. Open your Avid editing application and an Avid project.
2. Select Script > ScriptSync.
A dialog box opens which informs you that ScriptSync is not activated on this machine.
3. Click Buy.
nIf you have not purchased ScriptSync and if the Buy button does not appear, close and restart
your Avid editing application. Repeat the steps above.
The system opens the Avid web store, allowing you to purchase ScriptSync. Once you
purchase ScriptSync and obtain your ScriptSync Activation ID, you can activate ScriptSync.
A dialog box opens informing you that Activation will quit your Avid editing application
and launch the Avid License Control tool.
4. Click Continue.
The Avid License Control tool opens, which allows you to activate ScriptSync.
To activate ScriptSync, see “Activating ScriptSync with the Avid License Control Tool” on
page 645 to continue.
If You Purchased ScriptSync through an Avid Reseller or Directly Online
Once you purchase ScriptSync, you will receive your ScriptSync Activation ID. You need to
open the Avid License Control tool to activate the ScriptSync feature.
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The Avid License Control tool is installed with your Avid editing application and is located in
the Utilities folder.
To open the Avid License Control tool:
1. Open the Avid License Control tool from your Avid editing application. Go to the following
location:
(Windows) Start/All Programs/Avid/Utilities/License Control
(Macintosh) Applications/Utilities/Avid Utilities/License Control
The Avid License Control tool opens.
To activate ScriptSync, see “Activating ScriptSync with the Avid License Control Tool” on
page 645 to continue.
Activating ScriptSync with the Avid License Control Tool
When you purchase ScriptSync and open the Avid License Control tool, you are ready to activate
the ScriptSync feature. You can only use and activate ScriptSync on a single machine at one
time.
If you have an Internet connection on the machine that you will be using ScriptSync, follow the
instructions “To activate ScriptSync with the Avid License Control tool and with an Internet
connection:” on page 646. If you do not have an internet connection, follow the instructions “To
activate ScriptSync with the Avid License Control tool and with no Internet connection:” on
page 648.
For more information on how to open the Avid License Control tool see, “If You Purchased
ScriptSync Through Script > ScriptSync Menu Selection” on page 644 or “If You Purchased
ScriptSync through an Avid Reseller or Directly Online” on page 644.
To open the Avid License Control tool:
1. Go to the following location:
(Windows) Start/All Programs/Avid/Utilities/License Control
(Macintosh) Applications/Utilities/Avid Utilities/License Control
The Avid License Control tool opens, this allows you to activate or deactivate ScriptSync.
The Status column displays whether ScriptSync is Activated, Not Activated, Deactivated, or
Trial.
The Action button displays as Activate or Deactivate.
To copy system information from the License Profile tab:
1. With the Avid License Control tool open, click the License Profile tab.
The License Profile tab displays information about your system, including: Device ID, OS,
System ID, Activation ID, software Version, if your software is activated or deactivated.
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2. Click Copy.
The information copies to your Clipboard.
You can cut and paste from the clipboard to an e-mail or create a text file, if you need to send
system information to Avid Customer Support.
To activate ScriptSync with the Avid License Control tool and with an Internet connection:
1. With the Avid License Control tool open, click Activate next to ScriptSync.
A dialog box opens.
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2. If your computer has an Internet connection, select “I am connected to the Internet and will
use this computer.”
3. Click Continue.
The Avid Activation dialog box opens.
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4. Enter your system identification number in the System ID text box.
This number pre-displays if you have activated your Avid editing application. If the System
ID does not appear, see “What Will I Need to Activate ScriptSync?” on page 642 for more
information.
nIf you have a dongle attached to your system, the system should pre-display your System ID.
nYou can copy and paste your system identification number and your Activation ID from a text file
to the appropriate text boxes.
5. Enter your ScriptSync Activation ID in the Activation ID text box.
Your Activation ID is located on the ScriptSync Instruction letter if you purchased through
an Avid Reseller. If you purchased ScriptSync online, you received your Activation ID from
Avid by e-mail. For more information, see “What Will I Need to Activate ScriptSync?” on
page 642.
6. Click Activate.
The Activation tool confirms your system information.
ScriptSync successfully activates.
To activate ScriptSync with the Avid License Control tool and with no Internet connection:
1. With the Avid License Control tool opened, click Activate next to ScriptSync.
A dialog box opens.
2. Select “I am not connected to the Internet and will be using another computer that is
connected to the Internet.”
3. Click Continue.
The Avid Activation dialog box opens.
4. On the second computer open a Web browser and navigate to http://avid.com/license.
The Avid Software License Activation page opens.
5. In the Software License Activation Web page, enter your Activation ID and if you would like
to have your Activation file sent to you, enter your e-mail address.
To find your Activation ID, see “What Will I Need to Activate ScriptSync?” on page 642.
Once the system verifies your Activation ID, the Device ID and System ID entries display.
6. Enter your Device ID and System ID.
To find your Device ID or System ID, see “What Will I Need to Activate ScriptSync?” on
page 642.
7. Click Activate.
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The system creates a license.bin file. This file contains license information needed to
activate ScriptSync.
If you entered an e-mail address, the .bin file will be sent to you as an attachment. You can
also download the .bin file directly from the site.
8. Click Download to download the license.bin file to your system.
Depending on your web browser, the license.bin file could be located on your desktop or in a
download folder.
9. Move the license.bin file to the system you need to activate ScriptSync.
You can use a removable storage device such as a USB drive or you can transfer the data
over your network.
10. Open the Avid License Control tool.
11. Click Browse and navigate to the license.bin file you moved to your system, then click
Open.
The Avid License Control tool confirms your system information. When the activation is
complete, a message informs you that ScriptSync has been successfully activated and the
button changes to Deactivate.
Deactivating the ScriptSync License
nIf you need to move ScriptSync to a different computer, deactivate the ScriptSync license.
nYou must have an Internet Connection to deactivate ScriptSync.
nYou do not need to deactivate the Trial version of ScriptSync.
Deactivating ScriptSync
1. Open the Avid License Control tool from your Avid editing application. Go to the following
location:
(Windows) Start/All Programs/Avid/Utilities/License Control
(Macintosh) Applications/Utilities/Avid Utilities/License Control
The Avid License Control tool opens.
2. Next to ScriptSync, click Deactivate.
ScriptSync deactivates and the button changes to Activate.
You will need to follow the instructions on how to activate ScriptSync if you want to activate
it on another computer.
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Loading and Playing Marked Segments
Once you place marks syncing lines in your script to points in the source clips, you can quickly
load and cue takes for selected lines of dialog. You can load a single take, or you can load all the
coverage for any given range of lines.
To load the marked segment of a take:
tDouble-click the script mark at the line of dialog that you want to cue.
Your Avid editing application loads the take into the Source monitor, cues it to the synced
line of dialog, and places an IN point at the sync location.
To load all the coverage for a range of lines:
1. Select the lines in the Script window, dragging through all intersecting takes.
The script lines and takes are highlighted.
2. Click the Play button in the Script window if you want to screen the takes for those lines, or
click the Record button if you want to add script marks.
Play button (left) and Record button (right)
The takes load and play back one after another. You can use the Tab key or J-K-L keys to
jump between takes and to control playback.
Moving or Deleting a Script Mark
When you move a script mark up or down, the mark in the source clip remains at the same frame
but is resynced to a new line in the script.
When you remove a script mark, you do not delete the marked portion of the take, only the sync
point between the script and the source clip.
cYou cannot undo the deletion of script marks. To restore a script mark after deletion, see
“Placing Script Marks Manually” on page 635.
To move a script mark:
1. Press the Ctrl key (Windows) or the Command key (Macintosh) and mouse over the mark in
the script.
The pointer changes to a movement indicator.
2. Click the mark, and drag it to the new position.
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To delete a script mark:
1. Click once on a script mark to select it.
You can select multiple script marks for removal by highlighting an entire region of text and
selecting the takes containing the script marks you want to remove.
2. Press the Delete key.
The Delete dialog box opens.
3. Select Delete 1 mark(s), and click OK.
The mark is deleted.
Finding Clips and Script
After you place script marks, which synchronize lines in the Script window to frames in the
source clips, you can use the Find Script or Find Bin buttons to search back and forth between
the two items.
To find the script linked to a loaded clip:
1. Place the position indicator in the clip at the line of dialog (or within a range of dialog) that
you want to find.
2. Click the Find Script button in the Other tab of the Command palette.
The Script window scrolls to and highlights the portion of script that most closely matches
the clip location.
To find source clips and bins:
1. Select the takes that you want to find.
2. Click the Find Bin button in the Script window toolbar.
Your Avid editing application searches through bins linked to the project, opens the bin
containing the linked clips, and highlights them in the bin.
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Editing From the Script Window
To use the Script window most effectively during an editing session, make sure the Script
window is fully prepared, including preferred takes, alternative takes (indicated with colors), and
script marks for matching lines of text to sync points in the clips.
Consider using the Single Mark Editing option, which lets you skip several steps by performing
edits on-the-fly while playing back clips (without marking OUT points). For more information,
see “Enabling Single-Mark Editing” on page 575.
For procedures that let you assemble a rough cut quickly from the Script window and to splice
clips linked to ranges of script into a sequence, see “Assembling a Rough Cut From the Script
Window” on page 653 and “Splicing a Script Range” on page 653.
Revising the Script
During or after each session, or when a scene or segment is completed, the editor or assistant
editor can update the Script window to reflect the final edit decisions made during the day. This
maintains a complete record of the elements used to construct the scene or segment, as well as all
existing alternatives. You can quickly retrieve all the source material in one window whenever
you need to make further changes.
Interactive Screenings
The Script window is a valuable tool during screenings of work in progress. You can:
• Quickly search for scenes and pages with clips attached for instant retrieval.
You cannot load sequences into the Script window. Instead, you can perform a video
mixdown and load the resulting master clips. For more information, see “Performing a
Video Mixdown” in the Help.
• Match back and cue source material to compare alternative takes.
• Quickly find and open bins for retrieval of additional material not included in the Script
window.
• Enlarge script font and slate frames for better viewing by your audience.
The Script window provides a visual, interactive look at the content of the original script against
the elements in the final piece.
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Assembling a Rough Cut From the Script Window
To quickly assemble a rough cut from the Script window:
1. Open the Script window for the current cut.
2. Double-click the first preferred take to load it into the Source monitor.
Your Avid editing application automatically marks and cues to the IN point.
3. Play the take until the appropriate OUT point is reached, and stop play.
4. Click the Splice-in or the Overwrite button to make the first edit.
Splice-in button (left) and Overwrite button (right)
5. Prepare the sequence for the next edit:
a. Create new tracks, if necessary.
b. Enable the appropriate source and record tracks.
c. Patch the tracks, if necessary.
d. Mark an IN point in the sequence for the next edit.
6. Double-click the next preferred take to load it.
7. Play the clip until you reach the appropriate OUT point, and stop play.
8. Perform the edit on-the-fly.
9. Repeat steps 5 through 8 until you have moved through the entire scene or segment.
10. Fine-tune the edits by using normal trimming and editing procedures. Continue to use the
Script window to quickly load and cue alternative takes as necessary.
Splicing a Script Range
You can splice clips linked to ranges of script directly from the Script window into the sequence.
To use this feature with accuracy, you should carefully add script marks to the ranges of script
during the screening and marking phase. For more information, see “Script Marks” on page 634.
To splice a range:
1. Mark an IN point or place the position indicator at the location in the sequence where you
want to splice in the segment.
2. Press the Ctrl and Alt keys (Windows) or the Command and Option keys (Macintosh).
Notice that the Splice-in arrow appears when you point to a take.
3. Double-click the preferred take within the range of dialog that is marked with script marks.
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The marked section of the clip is spliced into the sequence.
16 Using the Timeline
Your Avid editing application represents each edit and effect on a timeline to help you track and
manipulate the elements of your sequence. The Timeline continuously updates as you work,
displaying icons and information that you can customize in various ways. The Timeline also has
its own set of editing tools for creating and revising edits and transitions across multiple tracks.
The audio and video tracks in the Timeline play in the Record monitor. You can continually edit
your sequence and review your changes until you are pleased with the result.
Timeline features are described in the following topics:
•Customizing Timeline Views
•Navigating in the Timeline
•Working with Segments
•Working with Multiple Tracks
•In to Out Highlighting in the Timeline
•Editing in Heads or Heads Tails View
•Performing a Quick Edit Using the Top and Tail Commands
•Working with Add Edits (Match Frames)
•Dupe Detection
•Editing with the Film Track
•Tracking Color Frame Shifts
•Finding Black Holes and Flash Frames
•Printing the Timeline
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Customizing Timeline Views
You can customize your view of the Timeline to display a variety of information about your
sequence as well as the clips and transitions it contains. You can do the following:
• Use options in the Timeline Fast menu to change the display in a variety of ways
For more information, see “Using the Timeline Fast Menu” on page 658 and “Timeline Fast
Menu Options” on page 658.
• Manipulate the height of tracks or move tracks as part of a view
For more information, see “Enlarging and Reducing Timeline Tracks” on page 660 and
“Moving Timeline Tracks” on page 660.
• Highlight clips in the Timeline for special purposes
For more information, see “Displaying Clip Colors in the Timeline” on page 660.
• Hide or display audio waveforms or pan and gain automation.
For more information, see “Audio Displays in the Timeline” on page 757.
• Hide or display the Track Control panel. The Track Control panel defaults to hidden the first
time you start your Avid editing application.
For more information, see “Using the Track Control Panel” on page 672.
• Save different custom views that you can call up instantly in various circumstances.
For more information, see “Managing Customized Timeline Views” on page 674 and “Using
Timeline View Buttons” on page 675.
nYou can also change your view of the Timeline by using on-the-fly procedures — for example, the
Zoom and Focus functions. You cannot save these as part of a Timeline view.
For illustrated examples of custom timeline views, see “Examples of Customized Timeline
Views” on page 656.
Examples of Customized Timeline Views
The following table describes several examples of custom timeline views that you might find
useful while editing:
Purpose Description
Effects Editing If you are editing complex visuals with multiple tracks and effects, you can display
Effect contents, Effect and Dissolve icons, Clip Frames, and Clip Transition
Durations within enlarged video tracks in the Timeline.
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Complex audio work If you are doing advanced audio work with multiple tracks or fine-tuning difficult
audio edits, you can hide video tracks and enlarge audio tracks while displaying
waveform plots. If you enable per track settings in the Track Control panel to display
waveforms on specific tracks, these settings are not saved in custom Timeline views.
Film and animation
editing
If you are working on a film or animation project, you can display the film track,
show several frames in the sequence, and display sync breaks where they occur.
Editing for online If you are editing offline with plans to generate an EDL and finish the sequence in an
online videotape suite, you can track detailed clip and dupe-reel information by
displaying and enabling Dupe Detection.
Purpose Description (Continued)
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Using the Timeline Fast Menu
You can customize the appearance of the Timeline by using various options from the Timeline
Fast Menu.
To use the Timeline Fast menu:
tClick the Fast Menu button, and select or deselect an option from the menu.
For information on the options, see “Timeline Fast Menu Options” on page 658.
Timeline Fast Menu Options
The following table describes the options available in the Timeline Fast Menu.
Selected options have check marks next to them in the menu. You can select some options only
from submenus.
Basic trimming If you are fine-tuning and trimming simple edits at the early stages of a project, you
can view the sequence in Heads and Tails view to see a display of the first and last
frame of every clip. You cannot use Trim mode in this view.
Purpose Description (Continued)
Option Description
Default Setup Returns Timeline display settings to the system default settings; see
“Managing Customized Timeline Views” on page 674.
View Type Displays a submenu for selecting different segment display formats; see
“Editing in Heads or Heads Tails View” on page 708.
Track Panel Displays or hides the Track Selector panel.
Effect Icons Switches the display of effect icons; see “Changing Timeline View Settings
for Effects” in the Help.
Render Ranges Indicates unrendered or partially rendered effects; see “Using Partial
Render” in the Help.
Dissolve Icons Switches the display of transition dissolve icons.
Clip Frames Switches the display of start frames for each segment in the Timeline.
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Clip Text Displays a submenu of clip text display options.
Sync Breaks Displays a submenu of sync break display options; see “Fixing Sync
Breaks” on page 598.
Dupe Detection Enables color-coded dupe material display for V1 track; used in 24p projects
and matchback projects. See “Dupe Detection” on page 711.
Color Correction Displays indicator lines to show which segments have Source or Program
color correction.
Audio Data Displays a submenu for customizing audio tracks with waveforms or volume
gain automation; see “Displaying Audio Waveforms” on page 758 and
“Displaying Volume and Pan Values” on page 760.
Clip Color Displays and controls the color coding assigned to clips. For more
information, see “Displaying Clip Colors in the Timeline” on page 660.
You can also color clips to provide information when you are working in a
MultiRez environment. For more information, see “Using Clip Coloring to
Show Available Resolutions” on page 1212.
Track Color Displays a palette for changing the color of the tracks in the Timeline; see
“Changing the Timeline Background or Track Color” on page 664.
nA track must be selected in the Timeline for the Track Color command
to appear.
Background Color Displays a palette for changing the color of the background in the Timeline;
see “Changing the Timeline Background or Track Color” on page 664.
nThe Background Color command appears only when all tracks are
deselected.
Show Markers Displays a submenu for selecting the markers to be displayed in the
Timeline; see “Showing Markers in the Timeline” on page 666.
Show Track Displays a submenu for displaying tracks; see “Displaying Timecode Tracks
in the Timeline” on page 665.
Track Control Panel Displays or hides the Track Control panel; see “The Track Control Panel” on
page 671.
More Detail Expands the Timeline horizontally around the position indicator.
Less Detail Shrinks the Timeline horizontally around the position indicator.
Show Every Frame Displays every frame in the Timeline if you select Show Track > Film.
Show Entire Sequence Shows the entire sequence within the Timeline.
Option Description (Continued)
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Enlarging and Reducing Timeline Tracks
You can enlarge or reduce the height of one or more tracks to improve visibility and display more
information within the tracks.
To enlarge or reduce the height of tracks:
1. Select the tracks in the Timeline that you want to resize.
For more information, see “Selecting Tracks” on page 696.
2. Do one of the following:
tSelect Edit > Enlarge Track or Edit > Reduce Track.
tPress Ctrl+L (Windows) or Command+L (Macintosh) to enlarge the track, or Ctrl+K
(Windows) or Command+K (Macintosh) to reduce the track, which changes the height
of all highlighted tracks in the Timeline.
Moving Timeline Tracks
You can move a track to reposition it vertically relative to the Timeline. Surrounding tracks are
repositioned above or below the track.
nDo not move a track when patching to another track is more appropriate.
To move a track:
tPress and hold the Ctrl key (Windows) or Option key (Macintosh), click the Track button for
the track that you want to move, and drag the track to its new position.
Displaying Clip Colors in the Timeline
You can use colors to highlight the following types of clips in the Timeline:
• Clips that have offline media.
nWhen you work with nested layers, a clip that contains offline media appears colored even if the
missing media is located in a nested layer.
Zoom Back Restores the Timeline to the previous view before zoom; see “Zooming and
Focusing in the Timeline” on page 679.
Zoom In Zooms the Timeline into a detailed view for a selected area; see “Zooming
and Focusing in the Timeline” on page 679.
Option Description (Continued)
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• Clips whose frame rate does not match the sequence frame rate (mixed-rate clips).
• Clips that do not match the video resolution type of the project — for example, HD clips in
an SD project, or SD clips in an HD project.
• Clips to which you assign a local color in the Timeline.
• Clips to which you assign a color in the bin.
When working in a MultiRez environment, you can also use colors to track available resolutions.
You can control which types of clip coloring to enable, and customize the colors themselves.
Clip color options are saved when you save a customized Timeline View, so you can set up
several coloring schemes and then switch between them. For more information, see “Managing
Customized Timeline Views” on page 674.
Displaying clip colors overrides any track color you assign from the Timeline Fast menu.
nFor HD and SD projects, DVCPRO HD clips are colored light red. You cannot customize this
color, which is an indicator that DVCPRO HD media plays by skipping frames. To avoid skipped
frames, use the Transcode command and select a compatible resolution.
To display clip colors in the Timeline:
1. Click the Timeline Fast Menu button, and select Clip Color.
The Clip Color dialog box opens.
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2. Select one or more of the following:
Option Description
Resolution Tracking Colors clips to indicate the availability of particular resolutions in a
MultiRez environment. For more information, see “Using Clip
Coloring to Show Available Resolutions” on page 1212.
This option is only available if you are working in a MultiRez
environment.
Offline Colors clips that have offline media.
In a MultiRez environment, colors clips that do not match the working
resolution, if you have selected Relink to Offline in the Dynamic
Relink Settings dialog box. For more information, see “Using Clip
Coloring to Show Available Resolutions” on page 1212.
Mixed Rates Colors clips whose frame rates do not match the sequence frame rate.
A different color is available for each frame rate.
SD/HD Colors clips that do not match the video definition type of the project
format — in an HD project this option colors the SD clips, while in an
SD project this colors the HD clips.
nYou can also display clip text that can help you to identify
particular clips by selecting Clip Text > Clip Resolutions from
the Timeline Fast menu.
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The order of the options in the Clip Color dialog box indicates the priority order in which
your Avid editing application applies colors when you select more than one option. For
example, if you have Offline and SD/HD selected, an offline SD clip in an HD project uses
the higher-priority Offline color rather than the SD/HD color.
To change the display colors for the Resolution Tracking, Offline, Mixed Rates, or SD/HD
options:
1. Click the Timeline Fast Menu button, and select Clip Color.
The Clip Color dialog box opens.
2. Click the color swatch for the option you want to change.
A color picker grid opens.
3. Click a color in the grid.
Timeline Local Colors clips to which you have assigned a local color in the Timeline.
For more information, see “Assigning Local Colors to Clips in the
Timeline” on page 664.
Source Colors clips to which you have assigned a color in the bin. (Colors
assigned to sequences, groups, motion effects, and title clips do not
appear as source colors in the Timeline.) For more information, see
“Assigning Colors to Objects in a Bin” on page 335.
Option Description
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The color you select becomes the display color for that option.
To reset the display colors for the Resolution Tracking, Offline, Mixed Rates, and SD/HD
options:
1. Click the Timeline Fast Menu button, and select Clip Color.
The Clip Color dialog box opens.
2. Click Default Colors.
The Offline, Mixed Rates, and SD/HD color swatches reset to their default colors.
Changing the Timeline Background or Track Color
To change the background color of the Timeline:
1. Deselect all the tracks in the Timeline.
The Background Color command appears only when all tracks are deselected.
2. Click the Timeline Fast Menu button, and select Background Color > color.
To change the color of the selected tracks in the Timeline:
1. Click in the Timeline to activate it.
2. Select the tracks whose color you want to change.
3. Click the Timeline Fast Menu button, and select Track Color > color.
4. (Option) If you want to choose a custom color for the tracks, press the Alt key (Windows) or
Option key (Macintosh) while performing this procedure.
When you release the mouse button on the color palette, the Windows Color dialog box or
the Macintosh Colors panel opens.
Assigning Local Colors to Clips in the Timeline
You can assign local colors to clips in the Timeline — for example, to indicate clips that you
want to group together or to make clips stand out while you work in the Timeline.
For more information on clip colors in the Timeline, see “Displaying Clip Colors in the
Timeline” on page 660.
To assign a local clip color:
1. Click the Timeline Fast Menu button, and select Clip Color.
The Clip Color dialog box opens.
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2. Select Timeline Local, and then click OK.
3. Select one of the segment tools in the Timeline palette, and select a clip you want to color.
4. Do one of the following:
tSelect Edit > Set Local Clip Color > color to select a standard color.
tSelect Edit > Set Local Clip Color > Pick to select a custom color from the Windows
Color dialog box.
The assigned local color appears in the clip in the Timeline.
To remove a local clip color:
1. Select one of the segment tools in the Timeline palette, and select the clip whose color you
want to remove.
2. Select Edit > Set Local Clip Color > None.
The assigned local color no longer appears in the clip in the Timeline.
Displaying Timecode Tracks in the Timeline
When you are working with 24p or 25p projects (PAL with pulldown), you can display separate
tracks for 24, 25, 25P, and 30 timecodes in the Timeline. You can also display an edgecode track
in the Timeline. By default, the Timeline displays all the tracks. You can hide the timecode tracks
by deselecting them in the Show Track submenu of the Timeline Fast menu.
The master timecode also displays in the Timeline ruler above the Timeline.
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To customize the tracks to be displayed in the Timeline:
tClick the Timeline Fast Menu button, and select Show Track > tracks.
nThe TC1 track represents the timecode of the active project.
Showing Markers in the Timeline
When you add markers to a sequence, the markers are displayed in the Timeline. You can modify
which markers to display in the Timeline by selecting Show Markers from the Timeline Fast
menu. When you select a color from the Show Markers submenu, only markers of that color
appear in the Timeline. You can select All from the Show Markers submenu to display all the
markers, or you can select None to prevent any markers from being displayed in the Timeline.
nShow Markers affects only how the marker icons display in the Timeline and does not affect the
markers.
To change the display of markers in the Timeline:
1. Load a sequence that contains markers into the Record monitor.
2. Click the Timeline Fast Menu button, select Show Markers, and then select the colors of the
markers you want to display in the Timeline.
The Timeline displays only those markers with the colors you selected.
Setting the Playback Option for the Timeline
You can control how the Timeline displays during playback by setting a preference in the
Timeline Settings dialog box:.
• The Timeline display can page to the next section of your sequence when the position
indicator gets to the end of the visible section of the Timeline as you play.
• The Timeline display can scroll over the position indicator while you play a sequence
• The Timeline display can remain stationary as the sequence plays, even when the position
bar moves beyond the right of the Timeline.
nFor the Timeline to page or scroll, you might need to display more detail in the Timeline to
expand the sequence. Click the slider and drag it to the right to expand the Timeline. All effect
icons are hidden as you scroll.
To set the playback option:
1. Double-click Timeline in the Settings list in the Project window.
The Timeline Settings dialog box opens, displaying a list of your current Timeline settings.
For more information, see “Timeline Settings” on page 1371.
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2. Click the Display tab, and select one of the following:
tPage
tScroll
tNone
3. Click OK.
Disabling the Smart Tool in the Timeline
Using the Smart tool enables a dynamic, cursor-based editing method in the Timeline. This
changes the standard behavior of the mouse pointer so that you cannot scrub through the
Timeline as you do in normal edit mode. If you want to move or scrub through the Timeline
without making segment edits, you can turn off the editing tools by using the Smart tool toggle
bar or by clicking the Timecode ruler or Timecode track to deselect the edit tools if you set this
option in the Timeline Settings dialog box.
To disable the Smart tool using the Timecode ruler or the Timecode track:
1. Double-click Timeline in the Settings list in the Project window.
The Timeline Settings dialog box opens, displaying a list of your current Timeline settings.
For more information, see “Timeline Settings” on page 1371.
2. Click the Display tab, and select Clicking the TC Track or Ruler Disables Smart Tools.
3. Click OK.
Using the Full-Screen Timeline
As an alternative to constantly scrolling through the Timeline window or resizing tracks to get a
view of the material, you can resize the Timeline window to full-screen display. You can also
enlarge the tracks to view complex audio or video layers in greater vertical detail.
A Timeline with reduced tracks wraps around to show more of the sequence. As you reduce
tracks in a full-screen Timeline, the sequence wraps around, allowing you to examine a long
sequence in greater horizontal detail.
nIf the Timeline or monitor window is hidden behind another window, select the window again
from the Tools menu.
To resize the Timeline window:
tClick the Resize box at the lower right corner of the window, and drag it.
t(Macintosh only) Click the Maximize button in the top right corner of the window.
The Timeline expands to full-screen size.
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To restore a resized Timeline window to its default position:
tClick the Timeline and select Windows > Home.
To control whether the Timeline wraps around in the Timeline window:
tClick the Timeline Fast Menu button, and select Wrap Around.
To enlarge tracks:
tSelect the tracks, and press Ctrl+L (Windows) or Command+L (Macintosh).
To reduce tracks:
tSelect the tracks, and press Ctrl+K (Windows) or Command+K (Macintosh).
You can also continue to work in Source/Record mode by resizing the Timeline window so
that it overlaps the Composer window.
You can click either window to activate it and bring it forward at any time, or you can click
the title bar of the Timeline window and drag it to the Bin monitor to place each window in
its own monitor.
The Timeline Palette
Your Avid editing application provides a quick way to edit sequences in the Timeline without
having to enter a specific editing mode such as Trim mode. By using the Timeline palette, you
can perform the following editing actions:
• Select and move segments in the Timeline
• Copy and delete segments
• Edit with Lift/Overwrite and Extract/Splice-in edits
• Create single- and dual-roller trims, such as ripple trims and overlap edits
• Adjust transition effects in the Timeline
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Timeline palette, located to the left of the Timeline, with the Timeline ruler at the top of the Timeline
The Timeline palette provides you with the most common tools you need for Timeline editing, as
well as several buttons you can use to enable editing modes such as Effect mode or Color
Correction mode.
Icon Tool Description
Link Selection Allows you to select segments in the Timeline that are
linked by common source media and timecode.
Lift/Overwrite Replaces a section of the sequence with the selected source
material.
Extract/Splice-in Inserts marked source material into the sequence without
replacing material already in the sequence.
Overwrite Trim Creates a single-roller trim and adds a black segment to fill
the duration of trimmed frames.
Ripple Trim Creates a single-roller trim with no sync lock and maintains
the duration of all other clips.
Transition Manipulation Allows you to modify transition effects without using the
Quick Transition dialog box.
Trim Mode Allows you to enter traditional Trim Mode without selecting
a trim tool.
Source/Record mode Enters Source/Record mode.
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The editing tools at the top of the Timeline palette make up the Smart tool. The Smart tool lets
you access the most common segment editing tools and to combine functions by selecting
multiple tools.
The Smart tool, with all of the functions selected by the toggle bar (left)
The Smart Tool buttons also appear on the Smart Tool tab of the Command palette, so you can
map them to the keyboard, a toolbar, or the Tool palette. For more information on mapping
buttons, see “Mapping User-Selectable Buttons” on page 109.
When you combine functions on the Timeline palette, you modify how the mouse pointer
functions in the Timeline:
• When you select the Lift/Overwrite or Extract/Splice-in button, the mouse pointer changes
to a segment edit pointer for either Lift/Overwrite or Extract/Splice-in edits. If you select
both buttons, the segment edit depends on which region of the segment in the Timeline that
you activate. For more information, see “Working with Segments” on page 681.
• When you select the Overwrite Trim or Ripple Trim button, the mouse pointer changes to a
trim roller when you mouse over a transition point and lets you perform the selected trim
edit. If you select both trim buttons, the trim edit depends on which region of the transition
in the Timeline that you activate. For more information, see “Timeline Trim States” on
page 722.
Effects mode Enters Effects mode, opening the Effect Editor and
changing the Record monitor to the Effect Preview monitor.
Color Correction mode Enters Color Correction mode, opening the color correction
controls.
Motion Effect Opens the Motion Effect Editor, allowing you to edit
Timewarp effects.
Keyframe Selection Lets you select and move audio keyframes in the Timeline.
Icon Tool Description
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• The Transition Manipulation tool lets you select and modify transition effects in the
Timeline. You can adjust the duration and position of the transition effect by moving the
effect handles or the effect icon. For more information, see “Adjusting Transitions in the
Timeline” in the Help.
• The Smart tool toggle bar lets you turn off the Timeline palette editing tools. When you use
the toggle bar to enable Timeline palette tools, the toggle bar enables the tools that you had
previously selected.
Since using the Timeline palette tools change the behavior of the mouse pointer in the Timeline,
you cannot scrub through the Timeline as you do in normal edit mode. Instead, you can use the
Timeline ruler above the Timeline or the Timecode track to move the position indicator. (The
Timeline ruler displays the master timecode for your sequence.) If you want to scrub through the
Timeline without making segment edits, you can also turn off the segment tools by using the
Smart tool toggle bar or by clicking the Timecode ruler or Timecode track to deselect the edit
tools if you set this option in the Timeline Settings dialog box (see “Disabling the Smart Tool in
the Timeline” on page 667).
The Track Control Panel
Timeline tracks include a Track Control panel that provides features useful when you edit audio
tracks. The Track Control panel arranges components in two rows of tools, and it allows you to
do the following:
• Show or hide waveforms and clip gain, auto gain, and pan displays on individual tracks (see
“Displaying Audio Waveforms” on page 758 and “Displaying Volume and Pan Values” on
page 760).
• Add, delete, move, and copy RTAS® (Real-Time AudioSuite) effects (see “Real-Time
AudioSuite Plug-Ins” on page 897).
• Mark tracks as inactive or solo or mute tracks so you can monitor the audio on a track.
Track Control panel
Component Description
Waveform Turns on or off the waveform display for individual tracks.
Clip Gain/Pan Turns on or off the clip gain, auto gain, and pan display for individual tracks.
Inactive Removes a track from audio monitoring so you can play back your sequence
without process the plug-in effects or automation for the inactive track.
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Using the Track Control Panel
The Track Control panel displays two rows of tools. If you reduce the size of the Timeline tracks,
you might not see the Track Control panel tools. For more information on resizing Timeline
tracks, see “Enlarging and Reducing Timeline Tracks” on page 660.”
To show the Track Control panel, do one of the following:
tClick the Timeline fast menu and select Track Control Panel. To hide the Track Control
panel, deselect Track Control Panel.
tClick the Track Control Panel button above the Timeline.
Track Control panel, with the Track Control Panel button above the Timeline
Solo Allows you to monitor a single track of audio without deselecting other
tracks.
RTAS plug-ins Lists the RTAS plug-ins inserted on the track. Clicking the button for an
existing RTAS insert opens the RTAS plug-in window so you can edit the
plug-in parameters. Clicking a blank RTAS button opens the RTAS tool so
you can insert a plug-in on the track.
Mute Allows you to mute a single track of audio without deselecting it.
Component Description
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Displaying Source Material in the Timeline
You can display source material in the Timeline. This feature is useful when you edit with a
sequence or subclip created from a sequence. You can also use it to look at the contents of any
source clip in a Timeline display.
nHeads and Tails view is disabled when you are displaying material from the Source monitor.
To view multitrack source material quickly in the Timeline for selecting and marking
specific tracks:
tClick the Toggle Source/Record in Timeline button.
By default, the Timeline displays only the available tracks for source material. Both the
button and the position indicator turn green to indicate that you are viewing source material.
Displaying the Timeline Top Toolbar
You can display a top toolbar in the Timeline for easy access to editing buttons. You can also
map additional buttons to the Timeline top toolbar. For information about mapping buttons, see
“Mapping User-Selectable Buttons” on page 109.
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To show the Timeline top toolbar:
1. In the Project window, double-click the Timeline Setting.
The Timeline Settings dialog box opens.
2. Select Show Toolbar in the Display tab.
3. Click OK.
To hide the Timeline top toolbar:
tDeselect Show Toolbar, and then click OK.
Managing Customized Timeline Views
You can save a customized Timeline view. Timeline views appear in the Settings list in the
Project window. You can save, rename, and copy multiple views.
Your Avid editing application saves the Timeline information from the Timeline Fast menu with
each view.
You can select alternate views from the View menu located in the Timeline bottom toolbar. The
Timeline view is labeled Untitled until you name and save a customized Timeline view.
You can replace a Timeline view with a different view, while keeping the same name. You can
also restore the default Timeline setup at any time.
nYou can also change the name of a Timeline view or delete a view from the Settings list in the
Project window. For more information, see “Naming Settings” on page 1281 and “Deleting
Settings” on page 1282.
To name a Timeline view or to change a view’s name:
1. Click the View Menu button, and select Save As.
The View Name dialog box opens.
2. Type a name for the view, and click OK.
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3. Press and hold the Alt key (Windows) or Option key (Macintosh) while you click the View
Menu button to display the list of saved view names, each appended with the Replace
command.
4. (Option) If you want to replace a Timeline view, select a view name from the list that you
want to replace.
Your Avid editing application applies the current Timeline view to the selected name and
displays that name in the Settings list in the Project window.
To restore the default view in the Timeline:
tClick the Timeline Fast Menu button, and select Default Setup.
Using Timeline View Buttons
The More tab of the Command Palette contains eight Timeline View buttons that you can use to
switch between Timeline views. You can map these buttons to any mappable button location or
to the keyboard, or you can use them directly in the Command Palette.
You must create at least one Timeline view to use the Timeline View buttons. For more
information, see “Managing Customized Timeline Views” on page 674.
The Timeline View buttons are assigned to your Timeline views in the order that they appear on
the View menu in the Timeline bottom toolbar and in the Settings list. For example, the T1
button is assigned to the first Timeline view that appears in the menu and the Settings list, the T2
button is assigned to the second view, and so on.
Your Avid editing application sorts the Timeline views alphabetically, and the button
assignments might change if you add Timeline views. To keep a designated order, name your
Timeline views with a number preceding the first letter (for example, you might have views
named 1default, 2headframes, 3waveforms, and so on).
To map a Timeline view button:
1. Select Tools > Command Palette.
2. Click the More tab.
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Timeline View buttons in the More tab of the Command Palette
3. Select Button to Button Reassignment.
4. Click a Timeline view button (T1 – T8), and drag the button to a location on another palette
(for example, the Tool palette) or the Keyboard settings window.
For more information, see “Mapping User-Selectable Buttons” on page 109.
The Timeline view button appears in the new location.
To use a Timeline View button or key, do one of the following:
tClick the Timeline view button in the location to which you have mapped it.
tPress the key on the keyboard that you have associated with the Timeline View button.
tIn the More tab of the Command Palette, select Active Palette, and then click the Timeline
View button.
Navigating in the Timeline
The Timeline window provides various controls for quickly moving through a sequence and
adjusting your view of details displayed in the tracks while editing. You can use the position
indicator, the Timeline scroll bar/position bar, the Timeline scale bar, the Zoom In and Zoom
Back commands, or the Focus button. In addition, you can highlight marked sections of the
sequence for visual reference.
You can also use the Video Quality Menu button in the Timeline bottom toolbar to control the
quality level at which media plays back. For more information about the Video Quality Menu
button, see “Real-Time Playback of Video Effects” in the Help.
The following illustration shows the Timeline window.
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Timeline window: (left to right) Timeline palette, Track Control panel, Position indicator, with the Timeline bottom
toolbar under the Timeline (left to right: Timeline Fast Menu, Focus, Toggle Source/Record in Timeline, Video
Quality, DNxHD Native, Step In, Step Out, Scale bar Timeline scroll bar)
Understanding the Timeline Position Indicator and Scroll Bar
The position indicator in the Timeline marks your place in the sequence. It also determines how
your Avid editing application interprets some of your commands. For example, when you
perform an edit, the system takes the location of the position indicator as the In point in the
absence of established marks.
When you move the position indicator in the Timeline, the smaller position indicator within the
Record monitor’s position bar also moves.
By default, the Timeline scroll bar appears on the right side of the Timeline bottom toolbar. You
can drag the scroll slider to reposition yourself within the Timeline, or click the arrows to scroll
left or right.
Timeline scroll bar with scroll slider at the bottom of the Timeline
You can change the Timeline scroll bar to a position bar that acts like the position bar in the
Record monitor, except that you can manipulate it without deactivating the Timeline window.
For more information, see “Switching to the Timeline Position Bar” on page 678.
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An advantage of the position bar is that when you focus on only a portion of the sequence, both
the Timeline and Record monitor’s position bars show a highlighted region around the position
indicator. This represents the range of material displayed in the window.
Position indicators with highlighted regions in the monitor and in the Timeline
Switching to the Timeline Position Bar
To switch to the Timeline position bar:
1. Double-click Timeline in the Settings list in the Project window.
The Timeline Settings dialog box opens.
2. Select the Show Position Bar option in the Display tab.
A check mark appears in the box. To deselect an option, click it again.
3. Click OK.
The scroll bar changes to a position bar.
nFor information on all Timeline settings, see “Timeline Settings” on page 1371.
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Zooming and Focusing in the Timeline
You can change your view of the Timeline to focus in on particular information in the following
ways:
• You can use the scale bar to stretch and contract the Timeline area centered around the
position indicator.
This lets you either zoom in to focus on a specific area of your sequence or zoom out to
display your whole sequence. This feature is especially useful when you have a lengthy
sequence with many edits.
• You can use the Zoom In command in the Timeline Fast menu to select a portion of the
Timeline of any size to instantly expand to fill the window, and the Zoom Back command to
instantly restore the Timeline to its former size.
The Zoom In and Zoom Back commands do not depend on the placement of the position
indicator. You can select any portion of the Timeline to expand and contract.
• You can use the Focus button to quickly change your view of the Timeline so that you focus
on a few seconds of material on either side of the position indicator.
The Focus button centers the position indicator and scales the Timeline so each second of
time in the sequence fills 90 pixels in the display. The Focus button is located in the Timeline
bottom toolbar next to the Timeline Fast Menu button.
Left to right: Timeline Fast Menu button, Focus button, and scale bar in the Timeline bottom toolbar
To zoom in the Timeline using the scale bar:
1. Click the scale slider, and drag it to the right.
The Timeline expands horizontally and shows more detail. The position indicator splits into
a solid blue line and a dotted blue line (or “shadow”), marking the beginning and end of the
current frame. You can click either the line or the shadow to move exactly one frame forward
or back.
2. To shrink the Timeline to its original size, drag the scale slider back to the left.
To zoom in the Timeline using the Zoom In and Zoom Back commands:
1. Click the Timeline Fast Menu button, and select Zoom In.
The pointer arrow changes to a selection bar.
2. Position the pointer at either the start or end of the place you want to zoom in on, and drag to
select the section.
When you release the mouse button, the material inside the Zoom In box expands to fill the
Timeline window.
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3. To return to the previous Timeline display, click the Timeline Fast Menu button, and select
Zoom Back.
To focus the Timeline using the Focus button:
1. Make sure none of the edit tools in the Smart tool is active.
2. Move the position indicator to the frame or transition you want to expand.
3. Click the Focus button.
Your Avid editing application centers and enlarges the region of the Timeline immediately
surrounding the position indicator.
4. To return the Timeline to its previous view, click the Focus button again.
Controlling Movement in the Timeline
While working in the Timeline window, you can use modifier keys to control the movement of
both the position indicator and any segments that you move.
The motion mode indicator in the Timeline toolbar displays a specific icon, depending on the
keys you press to facilitate your movement within the Timeline.
To snap to the head of transitions:
tPress the Ctrl key (Windows) or Command key (Macintosh) as you drag either the position
indicator or any selected segments.
Motion Mode Icon Description
Snaps the position indicator to head frame.
Snaps the position indicator to tail frame.
Snaps the position indicator to the edit point in a track above or below the
current track.
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To snap to the tail of transitions:
tPress Ctrl+Alt (Windows) or Command+Option (Macintosh) as you drag either the position
indicator or any selected segments.
To snap the selected segments to an edit point in the track above or below the current
track:
tClick a segment edit button in the Timeline palette, and then press Ctrl+Shift while dragging
the segments.
Working with Segments
Your Avid editing application provides editing controls for moving, deleting, marking, and
editing entire segments in the Timeline. A segment is a portion of a sequence between two clip
transitions.
There are two basic ways to edit segments:
• Select one of the segment tools on the Timeline palette (Lift/Overwrite or Extract/Splice-in).
This lets you manipulate segments by positioning the cursor over the segment and
performing either a Lift/Overwrite or Extract/Splice-in edit.
Timeline showing the active segment selection zones
• Select both segment tools on the Timeline palette. This lets you edit segments by positioning
the cursor over either the upper half of the segment (for Lift/Overwrite actions) or the lower
half of the segment (for Extract/Splice-in actions) and then clicking the segment.
You can also edit directly from a bin, as described in “Bin Editing into the Timeline” on
page 693.
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Guidelines for Segment Editing
General Guidelines
• Moving a selection with an Extract/Splice-in edit deletes transition effects on either side of
the selection. If the selection includes multiple segments around a transition effect, moving
the segments preserves transition effects inside the selection.
• You can track the audio while moving segments by pressing the Caps Lock key to enable
audio scrub. For more information, see “Using Audio Scrub” on page 754.
• You can select segments linked by common source media and timecode by enabling link
selection. For more information, see “Linked Clips” on page 684.
• When you finish making an edit, the active segment tool continues to affect edits you make
unless you deactivate the segment tool on the Timeline palette.
Guidelines When Selecting Segments
• You cannot simultaneously move segments separated along a track. You can, however, move
segments separated on different tracks.
• You cannot overlap the source and destination tracks. For example, you can move audio
segments from A3 and A4 to A1 and A2, but you cannot move them from A3 and A4 to A2
and A3 (A3 overlaps). You can move mono audio tracks only to other mono audio tracks,
and you can move stereo audio tracks only to stereo tracks.
• With a group or with linked clips, you can click any selected segment to drag the entire
group to a new position.
• You can select black filler as a segment, except when filler is used at the head or tail of a
sequence.
Guidelines When Lassoing Segments
• Position the pointer above the tracks before dragging. If you click within the tracks, you
either select a segment or a transition (if an edit tool is active on the Timeline palette) or you
relocate the position indicator to that position. To lasso segments in the middle of the
Timeline between multiple tracks, press and hold the Alt key (Windows) or Option key
(Macintosh) while you drag the lasso.
• Lasso at least two transitions or all transitions included in multiple segments. If your lasso
surrounds only one transition, you enter Trim mode.
• Drag from left to right. If you drag from right to left, you enter Trim mode with slip rollers
selected.
• Link selection does not affect which segments you select when you lasso segments in the
Timeline.
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Selecting and Deselecting Segments
You can select segments for moving or editing by activating tools on the Timeline palette and
then clicking segments in the Timeline, or you can lasso one or more segments. You can also
select linked clips when you enable Link Selection. For more information, see “Linked Clips” on
page 684.
You can then continue to select or deselect additional segments. The selected segment or group
of segments becomes highlighted and remains in its original position during the move until you
select its new position.
For additional guidelines when selecting and lassoing segments, see “Guidelines for Segment
Editing” on page 682.
To select segments with the pointer:
1. Select one of the segment tools on the Timeline palette.
The mouse pointer arrow changes to a large red or yellow arrow when inside the Timeline,
depending on where you position the pointer or which segment tool you click.
2. Click a segment in any track to select it. Shift+click to select additional segments. You can
Shift+click a selected segment to deselect it.
If you have Link Selection enabled, all segments linked to your selection are selected in the
Timeline. If you Shift+click a selected segment, all segments linked to your selected are
deselected as well.
3. (Option) If you enable Link Selection and want to select a single segment and not the
segments linked to it, Alt+click (Windows) or Option+click (Macintosh) the segment.
To lasso segments:
tDraw a lasso beginning in the area above the tracks in the Timeline. Drag left to right and
then down to select more than one segment.
nWhen you draw a lasso, if neither segment tool in the Timeline palette is selected, Lift/Overwrite
mode is enabled by default. To switch the mode, click the Extract/Splice-in button, after drawing
the lasso.
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To deselect one or more selected segments, do one of the following:
tTo deselect an entire track, click the Track button in the Track Selector panel.
For example, if you lasso segments on V1, V2, and A1, you can click the V2 and A1 Track
buttons to leave only the segment on the middle track, V1, selected.
tClick one of the segment tools on the Timeline palette, and then Shift+click specific
segments on any track.
This deselects the segments you click on any track, leaving the remaining tracks selected. If
you have Link Selection enabled, all segments linked to your selection are deselected in the
Timeline.
tTo deselect a linked segment if you have Link Selection enabled, Shift+Alt+click
(Windows) or Shift+Option+click (Macintosh) the segment.
Linked Clips
Media objects in bins can contain media on more than one track, such as a master clip with a
video track and two audio tracks. When you add media to a sequence that come from the same
source and share the same timecode, the Timeline displays the associated tracks. By default, the
Avid editing application treats these tracks as linked so that when you select a segment, the
application automatically selects any linked segments. You can select linked clips for both
segment editing and trim editing.
The following apply to linked clip selection:
• Track linking affects segments. If you use the same master clip in more than one place in
your sequence, each segment maintains its own linking relationship unless the segments
overlap in the Timeline.
• When you select a non-video track, clip linking selects only the first appropriate video
segment. Other video segments are not selected.
• When you select a trim roller, clip linking selects trim rollers on all linked segments.
• You can turn off linked clip selection in the Timeline by using the Link Selection button.
• If you enable Link Selection, you can select a segment without selecting all segments linked
to it by Alt+clicking (Windows) or Option+clicking (Macintosh) the segment.
• If you disable Link Selection, you can select a segment and all segments linked to it by
Alt+clicking (Windows) or Option+clicking (Macintosh) the segment.
• A video segment cannot link to another video segment.
• Link selection operates across tracks, not along the same track. However, if a video segment
links to an audio segment that includes a cut point, link selection operates on both audio
segments.
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• When two or more video tracks from the same clip overlap in the Timeline and sync is
broken with the linked audio segments, link selection links to the video segment with the
smallest sync break point.
• When you move a linked clip independently of the tracks to which it is linked so it no longer
vertically overlaps the linked segments, the link relationship is broken.
Selecting Linked Clips
Link selection allows you to select segments in the Timeline that are linked by common source
media and timecode. When you select a non-video segment that has more than one linked video
segment, the video segment closest to the selected segment is selected. If sync breaks exist, the
video segment with the smallest sync break is selected.
To enable or disable link selection in the Timeline, do one of the following:
tClick the Link Selection button.
tPress Shift+L.
To select linked clips:
1. Click a segment with linked clips.
The application selects all linked segments.
2. (Option) If you want to select additional linked clips, Shift+click additional segments.
3. (Option) If you want to deselect selected segments, Shift+Alt+click (Windows) or
Shift+Option+click (Macintosh) a linked segment.
Selecting Multiple Segments
Instead of lassoing segments in the Timeline to edit, you can select multiple segments on enabled
tracks quickly by using the multiple segment selection buttons in the Edit tab of the Command
palette. This allows you to select segments to the left or right of the position indicator, or to select
all segments within In and Out marks. The multiple segment edit buttons also appear in the
Timeline top toolbar if you create a new user profile (for information on creation user profiles,
see “Managing User Profiles” on page 85).
When you use the multiple segment selection buttons, your Avid editing application activates the
Segment Extract/Splice-in button if you have not selected one of the segment buttons on the
Timeline palette.
You can also use the Shift key to add segments on enabled tracks to the current selection.
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To select segments on enabled tracks using the multiple segment selection buttons:
1. Move the position indicator to the first or last segment you want to select.
2. Select Tools > Command Palette, and click the Edit tab.
3. Do one of the following:
tClick the Select Left button to select segments under the position bar and all segments to
the left.
tClick the Select Right button to select segments under the position bar and all segments
to the right.
tClick the Select In/Out button to select segments intersecting In and Out marks if both
marks are present.
If the Timeline has only an In mark or an Out mark, or no In and Out marks, the Select
In/Out button selects all segments under the position bar.
Four-Frame Display
When you begin to drag the segments, the interface changes to the four-frame display:
• The Source and Record monitors change to a four-frame monitor display. The two outer
frames update while you drag the segment forward or backward in the Timeline, indicating
the frames you pass as you drag the segment. The two outer frames in the four-frame display
allow you to view and analyze the frames between which you might want to drop the
selected segment.
• A centered numeric offset counter appears below the frame monitors. The offset counter
tracks the number of frames or feet+frames (24p and 25p projects) that you move while
dragging the selected segment from its starting point.
nWhen you drag segments with only the Record monitor displayed, the interface changes to a
two-frame display. Only the outer two frames in the four-frame display appear in the Record
monitor.
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Four-frame display. The two outer frames indicate ending and beginning frames of clips before and after the
segment. The two inner frames represent the start and end frames of the segment. The offset counter is
highlighted.
When you drag the segments, the original highlighted segment remains in place, while a “ghost”
segment enclosed in a dotted white box moves along with the pointer until you release it at a new
edit point.
When you release the segment into its new position, the actual lift (Overwrite) or extract
(Splice-in) occurs. Until then, the segment position is preserved in the Timeline, allowing you to
maintain your perspective of the sequence while selecting the new edit point.
Suppressing Four-Frame Display
The four-frame display of incoming or outgoing frames can occasionally slow the movement of
segments as you drag them through the sequence. You can improve the speed of segment editing
by suppressing the four-frame display.
To suppress the four-frame display:
1. Double-click Timeline in the Settings list in the Project window.
The Timeline Settings dialog box opens.
2. Deselect the Show Four Frame Display option in the Display tab, and click OK.
3. Select one of the segment tools on the Timeline palette.
The mouse pointer arrow changes to a large red or yellow arrow when inside the Timeline,
depending on where you position the pointer or which segment tool you click.
4. Click the segment, and drag it to its new position.
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As you drag the segment, the monitors maintain their Source/Record configuration rather
than shift to the four-frame display or two-frame display.
Maintaining Sync with Segment Edits
When you use the Lift/Overwrite tool, the application adds filler to the sequence to maintain
sync. When you move segments in the Timeline using Extract/Splice-in, the sync might be
broken.
To maintain sync when you use Extract/Splice-in, select the Segment Drag Sync Locks option in
the Edit tab of the Timeline Settings dialog box. After you move a segment in the Timeline with
Extract/Splice-in, this option maintains sync by adding filler to the following locations:
• Where the segment was moved from in the sequence
• On all other sync-locked tracks that correspond to the new location of the segment you
moved
You can move either an audio segment or a video segment. You can also maintain sync for some
edits if you enable link selection in the Timeline (see “Linked Clips” on page 684).
To move a segment and keep sync:
1. Double-click Timeline in the Settings list in the Project window.
The Timeline Settings dialog box opens.
2. Select the Segment Drag Sync Locks option in the Edit tab.
3. Click OK.
4. In the Track Selector panel, click the Sync Lock button for the video, audio and data tracks
that you want to keep in sync.
5. Click the Extract/Splice-in button.
6. Click an audio or video segment, and drag it to the new location.
In the following example, an audio segment in track A2 is moved. The new location for the audio
segment has filler added to the video track. All segments remain in sync.
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Top: before segment drag sync lock, showing the segment that will move. Bottom: after segment drag sync lock,
showing the moved segment and filler added after the move (left), and the filler left in the original location (right).
Moving Segments with Drag and Drop
You cannot move segments to locked tracks. If you attempt to drop a selection on a locked track,
the move fails and all selected segments return to their original position in the Timeline.
If you move audio segments, you can only move segments on mono tracks to other mono tracks
and segments on stereo tracks to stereo tracks.
To perform a segment edit:
1. Do one of the following:
tSelect both of the segment tools on the Timeline palette, and then position the mouse
pointer over the top of the segment (for Lift/Overwrite operations) or the bottom of the
segment (for Extract/Splice-in operations).
tSelect one of the segment tools on the Timeline palette.
The mouse pointer arrow changes to a large red or yellow arrow when inside the Timeline,
depending on where you position the pointer or which segment tool you click.
2. Click the segment you want to move (Shift+click to select multiple segments), and drag it to
its new position. If you enable link selection, all linked segments move when you drag the
selected segment (see “Selecting Linked Clips” on page 685).
Use the four-frame monitor display, the offset counter, and the segment image in the
Timeline to carefully determine the new position. You can also snap to the head or tail of the
new edit point (see “Controlling Movement in the Timeline” on page 680).
If you select multiple segments on the same track, they must be adjacent segments
(horizontally contiguous). You can select black filler segments.
3. Release the mouse button.
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If you used the Extract/Splice-in method, the system extracts the selected segment from its
old position, closes the gap left by its removal, and then splices the material back into the
sequence at the newly selected location.
If you used the Lift/Overwrite method, the system lifts the selected segment from its old
position, leaving black filler, and then overwrites the material onto the sequence at the newly
selected location.
nIf the segment contains transition effects, and you move or extract the segment, the transition
effect remains. For information about how the system preserves transition effects, see
“Transition Effect Preservation” in the Help.
To cancel a segment move, do one of the following:
tIf you have not dropped the selected segment at a new location, drag the selection out of the
Timeline window and release the mouse button.
tIf you have dropped the selected segment at a new location, select Edit > Undo.
Deleting Segments
You can use the segment tools in the Timeline palette to delete whole segments in the Timeline
quickly without having to mark In and Out points. You can also select multiple segments in
separate tracks anywhere along the Timeline to delete them all at once.
By default, your Avid editing application deletes the selected segment and leaves blank space or
silence in its place (a Lift segment edit). You can use In and Out points to perform a standard
Extract edit.
You can also delete segments by using the Cut command. See “Cutting, Copying, and Pasting in
the Timeline” on page 692.
To delete segments quickly:
1. Do one of the following:
tSelect both of the segment tools on the Timeline palette, and then position the mouse
pointer over the top of the segment (for Lift/Overwrite operations) or the bottom of the
segment (for Extract/Splice-in operations).
tSelect one of the segment tools on the Timeline palette.
The mouse pointer arrow changes to a large red or yellow arrow when inside the Timeline,
depending on where you position the pointer or which segment tool you click.
- Lift/Overwrite (red) deletes the segments but leaves blank space or silence in their place.
The total duration of the sequence remains the same, and sync is maintained.
- Extract/Splice-in (yellow) deletes the segments and closes the remaining gaps. The total
duration of the sequence is shortened, and any synchronized tracks lose sync.
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2. Select one or multiple segments.
3. Press the Delete key.
The system deletes the segments and any effects applied to them.
nIf the segment contains transition effects, and you delete the segment, the transition effect
remains. For information about how the system preserves transition effects, see “Transition
Effect Preservation” in the Help.
Marking Clips and Sequences
As an alternative to marking sections of the Timeline in Source/Record mode for deleting,
copying, subclipping, rendering, or creating an EDL or digital cut, you can use the segment tools
to mark segments quickly.
To mark segments in the Timeline:
1. Do one of the following:
tSelect both of the segment tools on the Timeline palette, and then position the mouse
pointer over the top of the segment (for Lift/Overwrite operations) or the bottom of the
segment (for Extract/Splice-in operations).
tSelect one of the segment tools on the Timeline palette.
The mouse pointer arrow changes to a large red or yellow arrow when inside the Timeline,
depending on where you position the pointer or which segment tool you click.
2. Click one or more segments to highlight a section of the sequence.
3. Click the Mark Clip button.
The system marks an In point at the start and an Out point at the end of the selected
segments. If you selected more than one track, the In and Out points mark where the edit
points across tracks line up.
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Cutting, Copying, and Pasting in the Timeline
You can use the shortcut keys for cutting, copying, and pasting segments selected in the
Timeline.
To cut or copy and paste segments:
1. Do one of the following:
tSelect both of the segment tools on the Timeline palette, and then position the mouse
pointer over the top of the segment (for Lift/Overwrite operations) or the bottom of the
segment (for Extract/Splice-in operations).
tSelect one of the segment tools on the Timeline palette.
The mouse pointer arrow changes to a large red or yellow arrow when inside the Timeline,
depending on where you position the pointer or which segment tool you click.
2. Click the segment to highlight it.
3. Press Ctrl+C (Windows) or Command+C (Macintosh) to copy, or Ctrl+X (Windows) or
Command+X (Macintosh) to cut.
4. Move the position indicator to the new In point, and press Ctrl+V (Windows) or
Command+V (Macintosh) to paste the segment in the Timeline.
If you selected both segment tools in the Timeline palette, the paste operation uses the
default segment tool specified in the Timeline Settings dialog box.
Setting the Default Segment Edit Tool
When you perform a segment edit without first selecting a segment edit tool, the Avid editing
application uses the default segment tool for the edit. You can use the Timeline Settings dialog
box to define which tool to use by default. Selecting a specific segment edit tool in the Timeline
palette overrides the default tool.
To set the default tool used for segment editing:
1. Double-click Timeline in the Settings list in the Project window.
The Timeline Settings dialog box opens, displaying a list of your current Timeline settings.
For more information, see “Timeline Settings” on page 1371.
2. Click the Edit tab, and select one of the following:
tSegment Insert for Extract/Splice-In edits
tSegment Overwrite for Lift/Overwrite edits
3. Click OK.
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Enabling Only One Segment Edit Tool at a Time
You can use the Timeline Settings dialog box to specify the behavior of the segment tools in the
Timeline palette to allow only one segment tool to be enabled at a time. This overrides the
default behavior, which allows both segment tools to be enabled at once, and is useful in some
workflows.
For more information on Timeline settings, see “Timeline Settings” on page 1371.
To specify that the segment tools in the Timeline palette be enabled one at a time:
1. Double-click Timeline in the Settings list in the Project window.
The Timeline Settings dialog box opens.
2. Click the Edit tab, and select Only One Segment Tool Can Be Enabled At A Time.
3. Click OK
Bin Editing into the Timeline
You can use the segment tools on the Timeline palette to edit clips directly from a bin into the
sequence in the Timeline. Bin editing lets you bypass the process of loading clips into the
monitor, setting marks, and clicking the Splice-in button or Overwrite button.
You can also use keyboard shortcut keys to edit clips directly from a bin into the sequence in the
Timeline.
For information on editing multiple clips directly from the bin into the RecordSource/Record
monitor, see “Creating an Instant Rough Cut” on page 570.
To activate bin editing:
1. Double-click Bin in the Settings list in the Project window.
The Bin settings dialog box opens.
2. Select the “Enable edit from bin (Splice, Overwrite)” option.
3. Click OK.
To perform a direct edit from a bin into your Timeline:
1. (Option) For a more accurate edit, mark In and Out points for each clip or create subclips.
Otherwise, the entire clip is edited into the sequence.
2. Click one of the segment tools in the Timeline palette:
tLift/Overwrite (red) acts as an overwrite edit, causing the clip to overwrite material of
the same length in the sequence while maintaining the same duration of the sequence.
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tExtract/Splice-in (yellow) acts as a splice edit, inserting the clip into the sequence,
moving existing material down, and lengthening the total duration.
If you do not select a segment tool, or if you select both tools, your Avid editing application
defaults to the segment tool specified in the Timeline Settings dialog box. For more
information, see “Setting the Default Segment Edit Tool” on page 692.
3. Drag a clip from the bin into the Timeline.
You can edit only one clip at a time.
The pointer changes to the selected segment icon, and the interface changes to the
four-frame monitor display. As you drag, a white outline of the clip indicates the segment
position.
4. When you find the right placement for the clip, release the mouse button.
The Timeline reflects the new edit. After the edit is completed, the segment tool you selected
remains active until you click the active segment tool button to deactivate it.
To perform a direct edit from a bin into a sequence:
1. Mark an In or Out point in the Timeline, or move the position indicator to the location where
you want the clip to appear.
2. Select a clip in the bin.
3. Do one of the following:
tPress the V key to perform a splice-in edit, which inserts the clip into the sequence and
moves existing material down, lengthening the total duration of the sequence.
tPress the B key to perform an overwrite edit, which causes the clip to overwrite material
of the same length in the sequence while maintaining the same duration of the sequence.
The Timeline reflects the new edit.
Working with Multiple Tracks
Your Avid editing application lets you edit up to 24 tracks of video and 24 tracks of audio,
including multichannel audio tracks, and one data track. While working with multiple tracks,
you can use the Track Selector panel to select, manipulate, delete, lock, patch, and monitor your
tracks. You can use multiple tracks to layer audio effects and sound or to add video titles and
other effects.
Multichannel audio tracks contain more than one channel of audio in a single track. Stereo
multichannel tracks, for example, contain two stereo channels in one track. You can edit
multichannel audio tracks in the same way that you edit mono audio tracks.
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nMultiple video tracks do not immediately play back at the same time until you apply an
appropriate effect that composites the layers. Multiple audio layers, however, do play back
immediately if correctly monitored.
Occasionally, effects editing involves a procedure known as nesting. Nesting involves stepping
into existing tracks to reveal added layers for combining multiple images and digital video
effects. When you apply an effect, you can step out to view and render the effect as one segment
on the track. You can nest up to 24 additional tracks within each track.
nFor more information on nesting techniques, see “Nesting Effects” in the Help.
Understanding the Track Selector Panel
The Track Selector panel provides a quick display of track information. You can see which tracks
are available, active, patched, monitored, or locked on the source and record sides at any time.
The Track Selector panel can look very different depending on the nature of the source material
or the work underway in the sequence. The following configuration shows only one example.
nYou cannot patch a data (D) track.
Track Selector and Track Control panels, with Source tracks (left) and Record tracks (right). See the following table
for a list of Track Selector buttons.
Icon Button
Video Track Monitor button
Video Track, Source and Record
Sync Lock button
Audio Mono Track Monitor button
Audio Stereo Track Monitor button
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The source side of the panel displays only those tracks available for the clip currently loaded. For
example, a clip that has audio captured only for track A1 does not display an A2 track in the
Track Selector panel.
The record side of the panel displays only those tracks currently in use for the sequence. When
you edit source material with a track selected that does not yet exist on the record side, by default
the track appears on the record side after the edit takes place.
Selecting Tracks
You can select tracks on the source side or the record side of the Track Selector panel to control
your options for editing. For example, you might select the source and record tracks for V1, A1,
and A2 to edit picture and audio from the source clip into the sequence. To edit the picture
without sound, select only V1 source and record tracks. To edit the sound without the picture,
select only A1 and A2 source and record tracks.
The following guidelines apply to track selection when you edit:
• You can edit selected tracks on the source side directly into the sequence, assuming you have
selected parallel tracks on the record side.
• You cannot edit deselected tracks on the source side into the sequence, regardless of record
track selections.
• You cannot edit deselected tracks on the record side into the sequence, regardless of source
track selections.
The Tracks tab of the Command Palette contains buttons for all available Timeline tracks. You
can map these buttons to any mappable button location or to the keyboard, or you can use them
directly in the Command Palette. For more information, see “Mapping User-Selectable Buttons”
on page 109 and “Activating Commands from the Command Palette” on page 111.
Audio 5.1 Surround Track Monitor button
Audio 7.1 Surround Track Monitor button
Audio Track, Source and Record
Timecode button
Icon Button
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Track buttons in the Tracks tab of the Command Palette
To select one or more tracks, do one of the following:
tClick the Track button of any inactive track to select the track.
tDrag a lasso around multiple tracks to select them at once.
tWith the Timeline active, select Edit > Select All Tracks to select all tracks on the record and
source sides.
tClick the Cycle Picture/Sound button in the Edit tab of the Command palette to cycle among
selected video tracks, audio tracks, data track, or all tracks.
To use a Command Palette button for track selection, do one of the following:
1. Click the appropriate button in the location to which you have mapped it.
2. Press the key on the keyboard that you have associated with the track button.
3. In the Tracks tab of the Command Palette, select Active Palette, and then click the track
button.
To deselect a track:
tClick the Track button of any active track.
Understanding Track Monitoring
The following information describes how track monitoring functions and your options for
monitoring tracks. For procedures on monitoring or soloing tracks, see “Monitoring and Soloing
Tracks” on page 699.
Monitoring Video
The Video Track Monitor button determines whether you see video during playback. You can
turn it off at any time to monitor only audio during editing. When there are multiple video tracks,
all tracks below the monitored track are active during playback. The Video Track Monitor button
displays a Monitor icon when the track is monitored for playback and output.
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When you edit with multiple tracks, you can activate the monitoring of a lower track to monitor
only the video on that track and below. You can use this feature when you have multiple layers of
video effects and need to isolate lower tracks for viewing. You can also monitor a solo track.
nIf you monitor a video track below the topmost track, return monitoring to the topmost track to
view, export, mix down, or record all the tracks together. Unmonitored tracks are not included in
playback.
Monitoring Audio
You can monitor up to 16 audio tracks at a time.
The following characteristics apply to audio track monitoring:
• The system pans odd-numbered mono tracks to the left speaker and even-numbered mono
tracks to the right speaker by default. Stereo tracks include channels for the left and right
speakers, with the stereo mix panned to the center.
• If your sequence includes more than 16 audio tracks, you can select any 16 tracks to monitor
at one time by selecting the Audio Track Monitor button for each audio track you want to
monitor. The Audio Track Monitor button displays either with a black border (primary
monitored audio track) or without the black border (monitored audio track), when you select
the audio track for monitoring playback and output.
• An Audio Track Monitor button with a black border indicates that the tracks are the primary
monitored tracks and audio information is not dropped when the play speed increases during
scrubbing. By default, the Avid editing application sets the two top audio tracks as the
primary monitored tracks. For more information about setting an audio track to ensure it is
not dropped during scrubbing, see “Selecting Tracks for Audio Scrubbing” on page 754.
• To hear more than 16 tracks at once, you must mix down some of them to a maximum of 16.
For more information, see “Mixing Down Audio Tracks” on page 815.
• By default, all monitored audio tracks are selected for scrubbing. To isolate specific audio
tracks for scrubbing, see “Soloing Audio Tracks” on page 752.
• By default, Direct Out maps all audio tracks in numerical sequence to existing output
channels.
• You can customize the output of audio tracks, as described in “Setting Audio Output
Options” on page 1035.
Advantages of Solo Monitoring
When editing, you can isolate individual video or audio tracks for monitoring without having to
deselect monitoring of all other tracks.
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Solo monitoring provides several advantages:
• You can eliminate slow cueing and playback when working with a complex sequence by
monitoring a specific track.
• You can view any individual layer of a composited effect.
• You can isolate an individual audio track with a single mouse click (without manually
deselecting the other audio tracks).
• You can isolate audio tracks for audio scrubbing without having to deselect monitoring of all
other audio tracks.
Monitoring and Soloing Tracks
The Track Monitor buttons allow you to choose which tracks to monitor in the Source monitor,
the Record monitor, and the speakers. You can monitor a single track or monitor multiple tracks
at the same time. You can also isolate, or solo, an individual track for monitoring without having
to deselect other tracks.
For more information on monitoring video and audio tracks, and on the benefits of solo
monitoring, see “Understanding Track Monitoring” on page 697.
nYou cannot monitor or solo a data (D) track.
To activate or deactivate monitoring for a track:
tClick the Track Monitor button for the track on either the source-side or the record-side.
Track Selection panel, with video and audio tracks selected for monitoring
To select a track for solo monitoring:
1. Ctrl+click (Windows) or Command+click (Macintosh) the Track Monitor button for the
video track you want to solo monitor.
2. Click the Solo button for the audio track you want to solo monitor.
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The Track Monitor button changes to green with a black Monitor icon (video track) and the
Solo button changes to green (audio track) to indicate solo monitoring. The Mute button on
all other audio tracks changes to orange.
Track Selection panel, with video and audio tracks selected for solo monitoring
To deselect solo monitoring:
tClick the Track Monitor button or the Solo button again.
Patching Tracks
When working with multiple tracks, you can encounter a circumstance in which you must edit
source audio or video onto a track other than the parallel track displayed in the Track Selector
panel. To edit the source material onto another record track above or below it, you must patch the
source track to the targeted record track.
You can perform only one patch per edit, but there is no limit on the number of times you can
patch from the same source track. Audio can patch only to audio, and video only to video. Also,
you can only patch multichannel audio tracks to multichannel audio tracks, or mono tracks to
mono tracks. Your Avid editing application dims the track selector buttons on tracks with
unsupported track formats when you patch tracks.
nYou can also patch tracks by using the Auto-Patching option in the Edit tab of the Timeline
Settings dialog box. For more information, see “Timeline Settings” on page 1371.
cWhen you patch from one video track to another, the Video Track Monitor icon moves to
the track you are patching to if you selected the Auto-Monitoring option in the Edit tab of
the Timeline Settings dialog box. Return to monitoring the topmost track, when necessary,
to play back and output all video tracks.
nYou cannot patch a data (D1) track to another track.
To patch a track:
tDrag from a source track (audio or video) to the targeted record track (a white arrow appears
during the patch). You can also drag from a record track to a targeted source track.
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Track selection buttons for tracks with unsupported track formats dim as you drag the source
track to a record track and you cannot patch to those tracks. For example, if you patch a
source mono audio track, then all record stereo and record video tracks are disabled and you
can only patch to a record mono audio track.
nIf you move the mouse pointer over a track selector button, and then press and hold the mouse
button, a list of available tracks displays.
Audio patch from a source track to an audio record track (left) and the new source track order identifying the
patch (right).
nAfter you patch tracks, it is helpful to display the destination track of the clips in the Timeline.
Select Clip Text > Clip Tracks from the Timeline Fast menu to display the destination track.
To undo a patch:
1. Click in the Record monitor or Timeline.
2. Select Special > Restore Default Patch, or manually repatch to the previous track.
The selected source track moves beside the record track to which it is patched as soon as you
draw the arrow and release the mouse. The patched track remains highlighted in preparation
for your edit. You can proceed to select any other tracks required for the edit.
After you make the edit, you can continue to work on the same track or patch to a different
track as necessary.
Understanding Locking and Sync Locking
Your Avid editing application provides two ways of locking tracks, locking tracks and sync
locking tracks. You can sync lock selected tracks so that trimming one track also trims the other
tracks. Sync locking is useful when you work with multiple tracks and want to maintain sync
between two or more tracks.
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Locking tracks prevents further editing from being performed on them and can help in the
following workflows:
• For video or picture editing, you can lock tracks when you have completed a set of complex,
multilayer edits and want to avoid making accidental changes while you work on adjacent
tracks.
• For audio editing, you can lock audio tracks containing sync dialog that should be
maintained while you edit adjacent video tracks or audio tracks.
• For projects involving multiple editors, you can lock tracks to prevent unnecessary or
accidental changes.
nFor more information on using the sync lock feature in Trim mode, see “Understanding Sync
Lock” on page 598.
The Sync Lock and Lock buttons of the Track Selector panel display different icons for
sync-locked and locked tracks. For more information on applying the locks, see “Locking and
Sync Locking Tracks” on page 702.
Locking and Sync Locking Tracks
The following illustration shows the location of the Sync Lock and Lock buttons in the Track
Selector panel, and the icons that appear on these buttons. For more information on your options
for locking tracks, see “Understanding Locking and Sync Locking” on page 701.
Top to bottom: Lock icon, Sync Lock icon, and Sync Lock All button in the Track Selector panel
To lock tracks:
1. Select the tracks you want to lock (Source, Record, or both).
2. Do one of the following:
tSelect Clip > Lock Tracks.
tRight-click in the Timeline, and select Lock Tracks.
tIf you want to lock a single track, right-click the track selector button and select Lock
Track.
The Lock icon indicates that the selected tracks are locked. No further editing can occur on
locked tracks until you unlock them.
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To unlock tracks:
1. Select the tracks you want to unlock.
2. Do one of the following:
tSelect Clip > Unlock Tracks.
tRight-click in the Timeline, and select Unlock Tracks.
tIf you want to unlock a single track, right-click the track selector button and select
Unlock Track.
The Lock icon disappears and the tracks are unlocked.
To sync lock tracks, do one of the following:
tClick a Sync Lock button to activate the Sync Lock icon for each synchronized track.
tClick the Sync Lock All button to switch sync lock on and off for all tracks.
To resume editing on individual tracks:
tClick a Sync Lock button or the Sync Lock All button to remove the Sync Lock icon.
Adding and Deleting Tracks
Your Avid editing application lets you create up to 24 video and 24 audio tracks in the Timeline
when building a sequence. (You can monitor 16 audio tracks at a time.) You can also add a data
track, which is used for ancillary data. For more information, see “Preserving HD Closed
Captioning and Ancillary Data” on page 1069.
By default, new tracks are numbered consecutively. For example, if a sequence contains video
tracks numbered V1 and V2, a new video track is numbered V3. However, you can customize the
numbering, and you can also assign custom names to tracks.
You can remove one or more tracks from a sequence if you no longer need the tracks. When you
delete a track, you remove it permanently from the sequence. If you want to remove the track
temporarily, hide the tracks as described in “Customizing Timeline Views” on page 656.
To add a new track to a sequence, do one of the following:
tWith a sequence loaded in the Record monitor, select the type of track you want to add:
- Select Clip > New Video Track.
- Select Clip > New Audio Track Mono.
- Select Clip > New Audio Track Stereo.
- Select Clip > New Meta Track.
- Select Clip > New Data Track.
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tRight-click in the Timeline, and select one of the following:
- New Video Track.
- New Audio Track Mono.
- New Audio Track Stereo.
-New Meta Track.
-New Data Track.
The new track appears in the Timeline.
To add a new track to a sequence and customize its numbering:
1. Press and hold the Alt key (Windows) or Option key (Macintosh) and select the type of track
you want to add:
tSelect Clip > New Video Track.
tSelect Clip > New Audio Track Mono.
tSelect Clip > New Audio Track Stereo.
tSelect Clip > New Meta Track.
tSelect Clip > New Data Track.
The Add Track dialog box opens.
2. (Option) Select the type of track you want to add (for example, a video or an audio stereo
track) by clicking the Track Type menu, and selecting that option.
3. (Option) Select a track number other than the default number displayed in the dialog box by
selecting another number from the Track Number menu.
4. Click OK.
One of the following occurs:
- The new track appears in the Timeline and in the Track Selector panel. Stereo tracks in
the Timeline display with a horizontal divider, indicating two channels of audio.
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- If you selected the number of an existing track in step 3, a dialog box asks if you want to
insert the new track. Click Insert to add the new track below the current track with that
number. Your Avid editing application labels the new track with the number you
selected and renumbers the existing tracks in consecutive order.
To add a custom name to a track in the Timeline:
1. Right-click the Track Selector button, and select Rename Track.
The Comments window opens.
2. Type a new name for the track.
3. Click OK.
To remove a custom track name:
1. Right-click the Track Selector button, and select Rename Track.
The Comments window opens.
2. Click Remove.
The track name returns to the default track name, such as V1.
To delete one or more tracks from a sequence:
1. Click one or more Track Selector buttons to select the tracks you want to delete.
2. Press the Delete key.
The Delete Track(s) dialog box opens.
3. Click OK.
The tracks are deleted.
Splitting Stereo Tracks to Mono Tracks
You can split a stereo audio track in the Timeline into separate mono tracks if you want to edit
separate audio channels or if you need to export a sequence either to an older version of the Avid
editing application. You can also split a clip or sequence with stereo tracks to mono from a bin.
You can split individual stereo tracks to mono, or you can split all stereo tracks in your sequence.
When you split a stereo track, the original stereo track becomes a mono track and a new mono
track is added below the original track. For example, if you split a stereo track on A1 in the
Timeline, the application makes A1 a mono track holding one stereo channel and adds a second
mono track on A2 for the other stereo channel. If A2 already exists in the Timeline, the
application renumbers tracks to allow for the split mono tracks. Also, the application renumbers
tracks to preserve the odd and even track numbers for left and right mono channels. Renumbered
tracks start at the highest track available.
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If you duplicate a clip in a bin and split the copy to mono, or if you edit a stereo clip into a
sequence on multiple tracks and split one track to mono, your sequence can contain both a stereo
and a mono instance of the same master clip. This does not cause a problem with editing,
playback, or any other operation.
nIf splitting stereo tracks to mono tracks causes your sequence to exceed 24 audio tracks, or if
splitting to mono cannot maintain the relative order of tracks or the left/right channel alignment,
the Avid editing application cannot complete the operation and an error message displays. You
can reduce the number of audio tracks in your sequence and retry the operation.
Stereo track A4 (left) split into mono tracks A4 and A5 (right)
When the Avid editing application splits a stereo track to two mono tracks, it changes some
audio properties of the track:
• Removes stereo track effects such as RTAS plug-in effects.
• Converts stereo AudioSuite plug-in effects to mono effects.
• Applies any existing gain automation to the resulting mono tracks.
• Applies any existing pan automation to the resulting mono tracks, panning odd-numbered
tracks to the left and even-numbered tracks to the right.
• Clears rendered effects. If you have effects on audio segments on stereo tracks, you need to
render them after splitting the tracks to mono.
When you split all tracks in a sequence to mono, the Avid editing application automatically
duplicates your original sequence and saves a copy to your bin before splitting stereo tracks to
mono.
To split a stereo audio track to mono, do the following:
tRight-click the stereo track you want to split, and select Split Track to Mono.
tRight-click a stereo clip in a bin that you want to split, and select Split Track to Mono.
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The stereo track splits into two mono tracks, with the second mono track added below the
original stereo track. A copy of your original sequence is saved to your bin as
[sequence_name].Copy.[number].
To split all stereo audio tracks in the Timeline to mono, do one of the following:
tRight-click in the Timeline, and select Split All Tracks to Mono.
tSelect Clip > Split All Tracks to Mono.
All stereo tracks in the Timeline split into two separate mono tracks, with the new mono
tracks added below each original stereo track. . A copy of your original sequence is saved to
your bin as [sequence_name].Copy.[number].
Backtiming Edits
Backtiming an edit is effectively the reverse of the process you normally use for marking
footage: instead of marking from the In points forward, you mark according to the Out points.
For example, you might have a track of audio (music or voice) that ends at a specific point, and
you want to synchronize a video clip to end on a particular clip. You can backtime the edit to
match the end points of the tracks.
Consider the following:
• Your Avid editing application needs only three marks to perform a backtimed edit. The In
and Out points set on the record side always take precedence.
• If you do not mark an In point in the sequence, your Avid editing application uses the In
point and Out point in the source clip (if both are marked) to determine the In point in the
sequence. If you do not set both marks in the source clip, the system uses the position
indicator as the In point.
• If you do not mark an Out point in the clip and an Out point in the sequence, your Avid
editing application uses the end of the source clip as the Out point.
• If you mark Out points in both the Source monitor and in the Record monitor, your Avid
editing application uses the Out point on the record side.
To backtime an edit:
1. Mark In and Out points in the sequence where you want the edit to start and end.
2. Select the appropriate tracks.
3. Load the source clip into the Source monitor.
4. Mark an Out point for the source clip to synchronize to the Out point in the sequence.
5. Click the Overwrite button.
The source material is added to the sequence, with the synchronized ending.
In to Out Highlighting in the Timeline
708
In to Out Highlighting in the Timeline
When you mark a sequence with In to Out points, the system indicates the selection by
highlighting the marked region on selected tracks in the Timeline.
Marked region highlighting in the Timeline
This visual guide helps you monitor track and segment selection more carefully when mixing or
applying effects across multiple tracks and segments.
To turn the highlighting feature on and off:
tSelect the Show Marked Region option in the Display tab of the Timeline Settings dialog
box.
Editing in Heads or Heads Tails View
While in the early stages of editing a project, you can rearrange clips in the sequence visually by
using Heads view or Heads Tails view. These display formats are useful for rearranging simple
straight-cut edits.
cIf you rearrange a split edit (in which the audio extends beyond the video, or the reverse),
the system cuts all tracks to the same edit point. To rearrange split edits or edits on
multiple video tracks, or to move audio and video separately, use the Segment editing
techniques described in “Working with Segments” on page 681.
To edit in Heads view or Heads Tails view:
1. Click the Track buttons to select the tracks to be edited.
2. Click the Timeline Fast Menu button, and select View Type > Heads or Heads Tails.
The Timeline changes to one of the following displays.
Performing a Quick Edit Using the Top and Tail Commands
709
Heads view (top) and Heads Tails view (bottom) in the Timeline. Heads view shows the Head frame for each
clip. Heads Tails view shows both the head and tail frames for each clip.
3. Press and hold the Alt key (Windows) or Option key (Macintosh), click the frames
representing the clip you want to move, and drag the clip to its new position.
The sequence is rearranged to match the changes you made.
Performing a Quick Edit Using the Top and Tail
Commands
The Top and Tail commands let you perform quick edits to segments in the Timeline.
Use the Top button in the Edit tab of the Command palette to extract footage from the start of the
clip or segment to the position indicator. This action is equivalent to the T-R-X keyboard
command sequence: Mark Clip, Mark Out, Extract.
Use the Tail button in the Edit tab of the Command palette to extract footage from the position
indicator to the end of the clip or segment. This action is equivalent to the T-E-X keyboard
command sequence: Mark Clip, Mark In, Extract.
For information about how the Mark Clip button works, see “Marking an Entire Clip or
Segment” on page 510.
To edit using the Top and Tail commands:
1. Load a sequence into a monitor.
2. Select the track or tracks you want to edit, and deselect all other tracks.
3. Move the position indicator to the location where you want to perform an edit.
4. Do one of the following:
tClick the Top button to extract footage from the start of the clip or segment to the
position indicator.
Working with Add Edits (Match Frames)
710
tClick the Tail button to extract footage from the position indicator to the end of the clip
or segment.
Working with Add Edits (Match Frames)
The Add Edit function places an artificial edit point between frames of a clip. The edit appears in
the Timeline as a transition between two clips, but when you play the clip, the footage appears
unchanged because the frames are continuous. This form of edit is also known as a match frame.
You use add edits primarily to isolate a portion of a clip or sequence, which lets you modify that
portion without affecting the rest of the footage. You can also add edits to filler segments to
maintain sync while trimming. Once you make the adjustment, playback of the clip is no longer
seamless because the two portions of the clip are different.
You can add an edit to a single audio or video track, or you can place the Add Edit across several
tracks at once. You can add an edit to all tracks with filler, regardless of the track selection.
The Add Edit button appears in the Edit tab of the Command palette. Depending on the model of
your Avid editing application and your button mappings, it might appear in other locations such
as the Tool palette or the Timeline top toolbar. You can also map the Add Edit button to a custom
location. For more information, see “Mapping User-Selectable Buttons” on page 109.
If you make a mistake when adding an edit, or if you have finished performing edit functions
with multiple Add Edits and want to remove them, you can remove all Add Edits in the entire
sequence or within a selected portion of the sequence.
You can also remove individual match frames by using the Undo command, or by selecting them
in Trim mode and pressing the Delete key. For more information, see “Undoing or Redoing
Edits” on page 571 and “Working with Trim Edits” on page 718.
cYou cannot remove match-frame edits between segments in which segment effects and
audio pan or volume adjustments have been applied.
To add a match-frame edit:
1. Move the position indicator to the selected frame.
2. Select the tracks where you want to add the edit.
3. Click the Add Edit button.
The edit appears in the sequence with an equal sign to indicate a match frame.
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711
nBy default, the match-frame indicator is white. If a change in level occurs, the match-frame
indicator changes to red.
To add an edit to filler clips at the position indicator:
1. Move the position indicator to the selected frame.
2. Alt+click (Windows) or Option+click (Macintosh) the Add Edit button.
The edit appears on all tracks with filler in the sequence at the position indicator.
To remove match-frame edits:
1. Select the entire sequence or a portion of it as follows:
tSelect the entire sequence by removing any In and Out points.
tSelect a portion of the sequence by marking an In point and an Out point surrounding
the match-frame edits (Add Edits) you want to remove.
2. Select the tracks from which you want to remove the edits.
3. Select Clip > Remove Match Frame Edits.
Your Avid editing application removes the edits.
Dupe Detection
When you edit offline with plans to generate an EDL, the Dupe Detection feature lets you
visually track duplicate frames of footage while editing so that you can eliminate or manage the
requirements of an online dupe reel.
nThe Dupe Detection feature works only for track V1.
When you activate Dupe Detection, each set of duplicate frames is tagged with a different color.
(Up to 10 color sets can be distinguished during a single detection process.) Matching frames
have matching colors. You can use any of the Trim Mode options to remove the duplicate frames,
if necessary.
The colored bars that distinguish duplicate frames in the sequence appear automatically above
the frames in the Timeline.
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Two duplicate frames marked above the clip in the Timeline by the automatic Dupe Detection feature
Orange bars mark the first set of duplicate frames, green bars mark the second set, and so on.
You can use Dupe Detection while you edit to locate duplicate frames, and remove them as the
sequence evolves.
Activating Dupe Detection
nYou can change the handle size used by Dupe Detection in the Edit tab of the Timeline Settings
dialog box. For more information, see “Adjusting Handle Length in Dupe Detection” on
page 714.
cYour Avid editing application might mark a special effect optical (such as a blowup) as a
duplicate frame. Double-check your sequence for this possibility before deleting frames.
To activate Dupe Detection:
tClick the Timeline Fast Menu button, and select Dupe Detection.
Dupe Detection occurs instantaneously and retroactively; if duplicate frames already exist in
your sequence, the colored bars appear immediately. As you edit, your Avid editing
application dynamically displays the duplicate frames.
Methods for Changing Handle Length in Dupe Detection
In 35mm film editing (using the single-strand method), one extra frame, known as the safety
frame, provides tabs for the negative cutter to use when cutting two segments of film together.
However, this frame is always lost during the negative conform.
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713
Example of a splice on a safety frame. Frames 1 and 3 are still usable, but frame 2 has been cut in the middle and
is lost.
In 16mm film editing (using the multiple-strand method), labs sometimes use the zero-frame
cutting method to avoid seeing each splice in a 35mm blowup print. In this method, the negative
is conformed along with the handles so that the cuts appear as soft frame handles rather than
jumps in the resulting 35mm blowup.
Different labs have different standards depending on the equipment used. Usually, a minimum of
four frame handles is needed.
Example of zero-frame cutting with multiple strands. The handles are shown in lighter gray.
Adding specific handle lengths to dupes (as they appear both in the sequence and in film lists)
has the following advantages:
• In 35mm single-strand conforming — Editors can better track duplicate frames and provide
the negative cutter with more than one safety frame to avoid losing specific frames.
• In 16mm multiple-strand conforming — For labs using the zero-frame cutting method,
editors can track the number of handles during editing according to the specific standards of
a particular lab.
12 3
Editing with the Film Track
714
Adjusting Handle Length in Dupe Detection
To adjust handle lengths in Dupe Detection:
1. Double-click Timeline in the Settings list in the Project window.
The Timeline Settings dialog box opens.
2. Click the Dupe Detection Handles menu in the Edit tab, and select the number of handle
frames. The typical 35mm safety frame setting is 0.5 frame (amounting to a 1-frame total
with both sides of a cut).
3. Click OK.
The selected value is applied to the head and tail of every event.
When you enable Dupe Detection during editing, the handles are added to the colored dupe
indicators that appear in the Timeline.
Editing with the Film Track
You can use the film track to examine each frame of the sequence in a linear display, much as
you would when looking at a strand of film on a flatbed or workbench. Unlike your view of the
footage in the monitors, that display one frame at a time, the film track within the Timeline lets
you compare individual frames side by side within a range of frames.
To display the film track:
tClick the Timeline Fast Menu button, and select Show Track > Film.
A row of film frames appears at the top of the Timeline. The film track displays as many
representative frames as possible within the window.
Film track in the Timeline
To adjust your view of the Timeline quickly for frame-by-frame viewing and editing:
tClick the Timeline Fast Menu button, and select Show Every Frame.
The film track displays frames for the topmost video track only. You cannot display more
than one film track at a time.
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715
To quickly view more frames as you scroll:
tDrag the resize box in the lower right corner of the Timeline for a full-screen view.
You can reduce the size of Timeline tracks to wrap the sequence around several times.
As you continue to scroll, each strand of the Timeline wraparound is updated.
Tracking Color Frame Shifts
In preparation for an online edit using 1-inch reel-to-reel sources, you can enable the Color
Framing options to track and correct instances where an edit cuts between the four fields (two
frames) required to create a complete NTSC color sync signal phase (or eight fields — four
frames — required for PAL).
When you enable Color Framing, green bars appear above the Overwrite and Splice-in buttons
(Source and Record monitors) or above the position bar which blink whenever a color sync
signal is interrupted by an edit. The blinking lights indicate that color framing is out of phase at
the edit transition.
Color-frame phase bars above the position bar
To enable color-frame tracking while editing:
1. Double-click Composer in the Settings list in the Project window.
The Composer Settings dialog box opens.
2. Click the Color Framing menu in the Edit tab, and select the appropriate option:
tFor NTSC video, select 4-field.
tFor PAL video, select 8-field.
3. Click OK to complete the setting selection.
To correct color-frame interruption as you edit:
1. Note any edits that cause the green lights to blink.
You can adjust the edits now or place markers to return to these edits and correct them later.
2. To adjust the edit, enter Trim mode.
In Trim mode, your Avid editing application displays small green boxes at the top corners of
adjacent frames. When the color sync signals are in phase, the boxes align horizontally.
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Example of color-framing boxes. Top: color sync signals are in phase and the boxes align horizontally. Bottom:
color-sync signals are out of phase.
3. Trim one frame at a time on one side of the transition or the other until the green boxes align
and the color-frame phase bars stop blinking.
If you pay attention to color framing while editing, you do not need to think about it when
assembling your master tape. If you ignore color framing during the edit session, you might
have to make adjustments during online editing if your edits interrupted any color-frame
fields in the sequence.
Finding Black Holes and Flash Frames
You can use the Find Black Holes and Find Flash Frames commands to help you quickly find
parts of your sequence that you might want to delete from the final sequence:
Black holes are segments of the sequence consisting of one or more frames of filler. Flash frames
are clips with an extremely short duration — for example, fewer than 10 frames.
To find black holes:
1. Click the Timeline to activate it.
2. Select the tracks you want to search.
3. Move the position indicator to the beginning of the sequence or before the part of the
sequence you want to search.
4. Select Clip > Find Black Holes.
The position indicator moves to the first segment that contains filler. You can then edit or
delete the filler, if necessary.
To find the next segment that contains filler:
tSelect Clip > Find Black Holes again.
Printing the Timeline
717
To find flash frames:
1. Set the maximum frame length that you want to detect:
a. In the Project window, double-click the Timeline Setting.
The Timeline Settings dialog box opens.
b. Click the Edit tab.
c. In the option Find Flash Frames Shorter Than, type the maximum number of frames you
want to detect. The default is 10, which indicates the system will detect clips with 9 or
fewer frames.
d. Click OK.
2. Click the Timeline to activate it.
3. Select the tracks you want to search.
4. Move the position indicator to the beginning of the sequence or before the part of the
sequence you want to search.
5. Select Clip > Find Flash Frames.
The position indicator moves to the first flash frame.
To find the next flash frame:
tSelect Clip > Find Flash Frames again.
Printing the Timeline
To print the Timeline:
1. Click the Timeline to activate it.
2. Select File > Print Timeline.
The Print dialog box opens. The name of the printer and details of the dialog box vary,
depending on your facility.
3. Select the Print options.
4. Click OK (Windows) or Print (Macintosh).
Your Avid editing application prints the current view of the Timeline. You can also use the
Print Timeline command to print the Timeline in Heads view or in Heads Tails view.
17 Working with Trim Edits
Basic editing of a sequence initially produces a rough cut, which is loosely defined as a series of
straight-cut edits with many rough edges and few effects. After creating a rough cut, you can use
trim edits to fine-tune the transitions between each clip or between whole segments. You can also
trim edits as you build a sequence rather than create a rough cut first. The following sections
describe trim editing procedures:
•Trimming with the Timeline Palette
•Understanding Trim Displays
•Setting Small Trim Display
•Trim Settings Overview
•Timeline Trim States
•Selecting Trim Sides
•Overwrite Trimming
•Ripple Trimming
•Dual-Roller Trimming
•Refining Trims
•Reviewing Trim Edits
•Trimming On-the-Fly
•Using Dual-Image Playback During Trims
•Trimming During a Playback Loop
•Creating Overlap Edits
•Extending an Edit
•Maintaining Sync While Trimming
•Slipping or Sliding Segments
•Using the Transition Corner Display
Trimming with the Timeline Palette
719
Trimming with the Timeline Palette
You can perform trim edits by using the trim tools on the Timeline palette. This lets you create
trims quickly in your sequence which you can later fine-tune by using the advanced functionality
of trimming.
You can make the following basic kinds of trim edits using the Timeline palette:
• Overwrite trim — single-roller trims which either add black or overwrite frames while
trimming
• Ripple trim — single-roller trims with no sync lock
• Dual-roller trim — edits that move the transition boundary between segments without
affecting the duration of the sequence
Some trims, such as overwrite trim edits, maintain sync between video and audio clips. Other
trims, such as ripple trims, might break sync. For more information on keeping video and audio
clips in sync, see “Maintaining Sync While Trimming” on page 737.
The following limitations apply to trim edits:
• You cannot trim a clip so that its duration equals zero frames.
• You can only trim until you encounter another segment in the same track. If you trim
multiple clips, you can trim until any of the transitions encounters a segment in the same
track or until the reach the duration of the shortest clip in the group.
• You cannot perform an overwrite trim beyond the duration of the selected clip.
Understanding Trim Displays
Different trim displays provide unique sets of controls for fine-tuning edits with various trim
procedures. You can perform many of the same functions from any of these trim displays, such
as removing and adding frames or slipping and sliding segments. For information about
accessing these modes, see “Trim Settings Overview” on page 722.
nYou can render transition effects while trimming, but you cannot render segment effects once you
select a transition for trimming. If the position indicator is on a segment effect or if the marked
portion of your sequence includes a segment effect, you cannot access Render menu commands
and buttons.
Small Trim Display
Small Trim display leaves the monitor display intact and has smaller displays of outgoing and
incoming frames.
Understanding Trim Displays
720
Small Trim display — replaces Record monitor in two-monitor view. Outgoing and incoming frames appear
side-by-side on the right, with playback loop parameter controls above them, and with frame offset counters and
Trim buttons beneath them.
Quick Trim Display
If you display only the Record monitor (for example, as you review the final version of a
sequence), you can use Quick Trim display for making quick adjustments to transitions in your
sequence.
Like Small Trim display, Quick Trim display replaces the Record monitor with smaller displays
of outgoing and incoming frames.
Quick Trim display — replaces Record monitor in single monitor view. Outgoing and incoming frames appear
side-by-side on the right, with playback loop parameter controls above them, and with frame offset counters and
Trim buttons beneath them.
Setting Small Trim Display
721
nWhen you click the Trim Mode button with the Record monitor active, the system enters Big Trim
display. If you click the Trim Mode button again, the interface switches back to the Record
monitor. This toggle feature is useful if you like to trim quickly as you finish your sequence.
Big Trim Display
Big Trim display replaces the Source and Record monitors with displays of outgoing and
incoming frames. Big Trim display also shows transition playback loop parameters.
Big Trim display — replaces both monitors in two-monitor view. Outgoing frames appear on the left and incoming
frames appear on the right. Bottom, left to right: Playback loop parameter controls, frame offset counters, and Trim
buttons.
Setting Small Trim Display
When you click the Trim Mode button from Source/Record mode, by default the system
activates Big Trim display. If you want to keep the Source monitor displayed, you can enter
Small Trim display, which lets you access the Source monitor controls.
To set Small Trim display:
1. Double-click Trim in the Settings list in the Project window.
The Trim Settings dialog box opens.
2. Click the Features tab and select “Always use Small Trim mode.”
Your Avid editing application defaults to Small Trim display when you use the Trim Mode
button.
Trim Settings Overview
722
Trim Settings Overview
You can customize how trimming works from the Trim Settings dialog box. The Trim Settings
dialog box has two tabs: Features and Play Loop. The Play Loop feature continuously replays the
last trim you performed for review purposes.
You can learn about specific Trim settings as follows:
• For setting some default behavior for trimming, see “Dual-Roller Trimming” on page 730.
• For information on transition playback loop parameters, see “Trimming During a Playback
Loop” on page 734.
• For information on dual-image playback during trims, see “Using Dual-Image Playback
During Trims” on page 734.
• For more information about the Play Loop feature, see “Reviewing Trim Edits” on page 732.
For information about all Trim settings, see “Trim Settings” on page 1376. For general
information on accessing and working with settings, see “Working with Settings” on page 1277.
You can also do the following:
• Map trim-related buttons onto palettes or the keyboard, as described in “Understanding
Button Mapping” on page 107.
• Configure a Trim-mode-specific Timeline view, as described in “Customizing Timeline
Views” on page 656.
Timeline Trim States
When you trim using the Timeline palette, the kind of edit you can perform depends on which
trim tools you select and the position of the mouse pointer relative to the transition you want to
trim. If you enable both the Overwrite Trim and Ripple Trim tools and then hover the pointer
over the upper half of your clip, you can perform an overwrite trim edit on either the outgoing
frames (A-side) or the incoming frames (B-side). When you hover the pointer over the lower half
of your clip, you can perform a ripple trim. Positioning the pointer over the transition between
clips lets you perform a dual-roller trim.
When you select one of the trim tools on the Timeline palette, you can perform only that type of
trim on your sequence.
The trim edit buttons also appear on the Smart Tool tab of the Command palette, so you can map
them to the keyboard, a toolbar, or the Tool palette. For more information on mapping buttons,
see “Mapping User-Selectable Buttons” on page 109.
Selecting Trim Sides
723
As you move the pointer back and forth across a transition, notice that the roller icon changes
from an A-side roller (facing left), to a dual roller, to a B-side roller (facing right) to indicate the
type of trim.
Trim icons for the outgoing frames of the A-side clip (left) and the incoming frames of the B-side clip (right)
The following table describes the kinds of trim you can perform in each zone adjacent to your
transition.
Selecting Trim Sides
You can trim a transition on either the outgoing side (A-side or tail), the incoming side (B-side or
head), or both sides (dual-roller).
Once you select a trim side, the following happens:
• The selected parts of the transition are highlighted
• The corresponding rollers appear in the Timeline, colored to represent the type of trim: red
for overwrite trim, yellow for ripple trim, and pink for dual-roller trim. This provides visual
feedback so you always know what type of trim you can perform.
Icon Trim Type Trim Zone
Overwrite trim (outgoing) Upper right corner of the outgoing clip
Overwrite trim (incoming) Upper left corner of the incoming clip
Ripple trim (outgoing) Lower right corner of the outgoing clip
Ripple trim (incoming) Lower left corner of the incoming clip
Dual-roller trim Transition between outgoing and incoming clips
Selecting Trim Sides
724
Single trim rollers: Overwrite trim selected (left), Ripple trim selected (center), Dual-roller trim selected (right)
• Your Avid editing application highlights one or both of the frame counter indicators below
the monitors to reflect the active trim sides: A-side, B-side, or both. The number indicates
the frames added to or subtracted from the transition.
When you clear your trim selections, the trim tools remain active. You can turn off the trim tools
by clicking the trim tool buttons in the Timeline palette or by clicking the Smart tool toggle bar.
You can use different methods to select a transition for trimming. The optimal selection method
depends on your workflow.
To select the sides of a transition to trim, do one of the following:
tSelect one or both of the trim tools on the Timeline palette, and then click the outgoing
(A-side) or incoming (B-side) monitor to define which side of the transition to trim.
The pointer changes to an overwrite trim or an ripple trim icon over either the A-side or the
B-side of the transition, depending on the position of the pointer.
tUse the Trim buttons in the Trim tab in the Command palette or the Trim keys on the
keyboard to select side A, side B, or both.
You can map these buttons to other locations, as described in “Mapping User-Selectable
Buttons” on page 109.
tUse the Cycle Trim Sides button to cycle between selection for a single transition of the
A-side, B-side, or both.
tLasso a transition to select both sides of a transition for trimming.
If you lasso multiple transitions from left to right, you select the segment and not the
transitions. If you lasso multiple segments from right to left, you select transitions for slip
trim.
tUse one of the keyboard shortcut keys to select both sides of a transition relative to the
position indicator:
Shortcut Key Selection
U Nearest transition
A Previous transition
Selecting Trim Sides
725
tUse the Trim Counter frame indicators located below the monitors. Click the A-side or
B-side of a frame indicator to select single-roller trimming, or Shift+click both frame
indicators to select dual-roller trimming.
The Trim Counter frame indicators: A-side (left) and B-side (right). The counter is purple when the side is
active.
To clear trim selections, do one of the following:
tClick the Smart tool toggle bar to turn off the Timeline palette Smart tools.
tClick the Trim mode button.
tClick the Source/Record Mode or the Effect Mode button.
Source/Record Mode button (left) and Effect Mode button (right)
tClick a frame step, or press the Right Arrow key or Left Arrow key.
tClick a location in the Timecode (TC1) track at the bottom of the Timeline or the Timeline
ruler at the top of the Timeline.
The position indicator moves to that location.
Click in the TC1 track to clear trim rollers and relocate the position indicator
Selecting Video Tracks for Trimming
When you click the outgoing (A-side) or incoming (B-side) monitor with a transition selected for
trimming, or the A-side or B-side of a transition in the Timeline, all trim rollers are set to the
selected side. You can modify this behavior to select only the video tracks for trimming.
S Next transition
Shortcut Key Selection
Selecting Trim Sides
726
To change only the trim rollers on the video tracks:
tAlt+click (Windows) or Option+click (Macintosh) either the outgoing monitor or incoming
monitor, or either the A-side or the B-side.
The trim rollers change only on the video tracks.
To return to the last position of the trim rollers:
tPress the Alt key when you click the Trim Mode button.
Selecting Additional Transitions
You can select additional transitions for trimming in different contexts.
To quickly select additional transitions on contiguous tracks for trimming on the same
side:
tClick the corresponding Record track buttons in the Track Selector panel.
For more information, see “Selecting Tracks” on page 696.
For example, if you select a single transition in track V1 for single-roller A-side trimming
and want to add tracks A1 and A2 at the same transition, click the corresponding track
selectors.
You can also deselect tracks in the Track Selector panel to remove transitions on those tracks
from the trim procedure.
To select additional transitions for single-roller trimming in varying locations on different
tracks:
tShift+click the transitions in the Timeline.
This method is useful when you work with staggered transitions across multiple tracks, This
also lets you select both A-side and B-side transitions for simultaneous trimming in opposite
directions (asymmetrical trim). You cannot do this with dual-roller trims.
Example of two A-sides and one B-side selected for asymmetrical trimming
To quickly add multiple transitions to the currently selected transitions:
tPress and hold the Shift key, and lasso the additional transitions.
Overwrite Trimming
727
You can select and trim two heads or tails simultaneously, in any combination, for each track
in the sequence. All selected transitions are trimmed the same number of frames. This lets
you save time and, in some cases, maintain sync by performing a single-trim procedure
across multiple tracks and transitions.
Tail frames on two clips selected for simultaneous trimming across an overlap edit
To select transitions on clips linked by common source and timecode:
1. Click the Link Selection button.
2. Click a selection with linked clips.
The application selects all transitions on linked segments.
For more information on link selection, see “Linked Clips” on page 684.
Soloing Audio while Trimming
Soloing audio lets you listen to a single audio track while trimming multiple tracks.
To solo an audio track while trimming, do the following:
tClick the Solo button in the Track Control panel for the track you want to solo.
The Solo button turns green, and Mute buttons on all other audio tracks turn orange.
Overwrite Trimming
If you want to trim one side of a transition but still maintain synchronization between video and
audio, you can create an overwrite trim on either the A-side (outgoing frames) or the B-side
(incoming frames) of a transition while maintaining the overall duration of the track and the sync
relationships. This procedure either adds a black segment or overwrites frames to fill the duration
of trimmed frames. For more information on preserving sync by adding black filler, see
“Maintaining Sync While Trimming” on page 737.
You can lasso transitions in the Timeline to select more than one transition for trimming. This
method is useful when you need to select multiple transitions staggered across parallel tracks
(overlap cuts) for simultaneous trimming.
Overwrite Trimming
728
If you enable link selection, clicking a transition also selects transitions on linked segments (see
“Linked Clips” on page 684).
To perform and overwrite trim:
1. Do one of the following:
tSelect the Overwrite Trim tool on the Timeline palette, and then click a transition to
select it for trimming. Shift+click to select multiple clips aligned at the same transition.
tSelect the Overwrite Trim tool on the Timeline palette, and then lasso the transitions in
the Timeline.
Draw the lasso by clicking at a point above the top track in the Timeline and dragging to
surround the transitions. You can drag from right to left or left to right to lasso one
transition across several contiguous tracks. Avoid lassoing more than one transition on a
single track because lassoing left to right selects the segment and activates segment
editing tools, and lassoing right to left activates slip trim.
nTo select transitions located below several track layers, you can draw a lasso within the Timeline
by pressing and holding the Alt key (Windows) or Option key (Macintosh) while you drag.
tIf you selected both the Overwrite Trim tool and the Ripple Trim tool on the Timeline
palette, position the mouse pointer over the upper corner of either the outgoing or
incoming clip next to the transition you want to trim and click the transition to select it
for trimming. Shift+click to select multiple clips aligned at the same transition.
The cursor changes to a red single-roller trim icon, and the transition displays red trim
rollers.
2. Click and drag in the direction you want to trim.
The new incoming frame displays in the Record monitor as you trim, and one of the
following occurs:
- If you trim from an A-side trim handle toward the outgoing segment or from a B-side
trim handle to the incoming segment, black filler is added.
- If you trim from an A-side trim handle toward the incoming segment or from a B-side
trim handle to the outgoing segment, frames are added to the segment with the trim
handle and removed from the other segment.
After you add black filler to a video track, you can replace the filler with footage by
performing a replace edit. For more information, see “Performing a Replace Edit” on
page 574.
Ripple Trimming
729
Ripple Trimming
If you make a single-roller trim on either the outgoing or the incoming frames of your transition
on an unlocked track, you can move the rest of the your sequence in the direction of the trimmed
segment while maintaining the duration of all other clips. Ripple trims “ripple” the effects of
your trim along the sequence. However, ripple trims can change the duration of your sequence if
you select all tracks, and it can break synchronization with any unselected track. For more
information about preserving sync, see “Maintaining Sync While Trimming” on page 737.
You can lasso transitions in the Timeline to select more than one transition for trimming. This
method is useful when you need to select multiple transitions staggered across parallel tracks
(overlap cuts) for simultaneous trimming.
If you enable link selection, clicking a transition also selects transitions on linked segments (see
“Selecting Linked Clips” on page 685).
To perform a ripple trim:
1. Do one of the following:
tSelect the Ripple Trim tool on the Timeline palette, and then click a transition to select it
for trimming. Shift+click to select multiple clips aligned at the same transition.
tSelect the Ripple Trim tool on the Timeline palette, and then lasso the transitions in the
Timeline.
Draw the lasso by clicking at a point above the top track in the Timeline and dragging to
surround the transitions. You can drag from right to left or left to right to lasso one
transition across several contiguous tracks. Avoid lassoing more than one transition on a
single track because lassoing left to right selects the segment and activates segment
editing tools, and lassoing right to left activates slip trim.
nTo select transitions located below several track layers, you can draw a lasso within the Timeline
by pressing and holding the Alt key (Windows) or Option key (Macintosh) while you drag.
tIf you selected both the Ripple Trim tool and the Overwrite Trim tool on the Timeline
palette, position the mouse pointer over the lower corner of either the outgoing or
incoming clip next to the transition you want to trim and click the transition to select it
for trimming. Shift+click to select multiple clips aligned at the same transition.
The cursor changes to a yellow single-roller trim icon, and the transition displays yellow
trim rollers.
2. Click and drag in the direction you want to trim.
The new outgoing frame displays in the Source monitor as you trim, and all segments
located on the selected tracks move with the trim.
Dual-Roller Trimming
730
Dual-Roller Trimming
Using a dual-roller trim allows you to move the transition point between segments without
changing the duration of the sequence. This adds frames to one side of the transition and
subtracts them from the other side.
There are several ways to select a transition for dual-roller trimming. Which method you use
depends on your editing workflow.
If you enable link selection, clicking a transition also selects transitions on linked segments (see
“Selecting Linked Clips” on page 685).
To select a transition for dual-roller trimming, do one of the following:
tPosition the mouse pointer over the transition you want to trim so the pointer changes to a
dual-roller icon, and click the transition.
tClick the Trim Mode button.
Your Avid editing application selects the transition nearest the position indicator for
dual-roller trimming. The dual-roller icon appears on all highlighted tracks. This method is
useful for selecting straight-cut transitions on one track or across video and audio tracks.
Default trim selection for a straight cut (showing dual-roller icons)
If you selected the option in the Trim Settings dialog box to “Auto focus when entering Trim
mode,” the Timeline enlarges at the transition selected for trimming.
If the transitions are not straight cuts (overlap cuts or L-edits), the dual-roller icon appears
only on the transition nearest the position indicator of the topmost track, and all other tracks
are deselected.
tAlt+click (Windows) or Option+click (Macintosh) the Trim Mode button to select the
previous trim roller configurations.
By default, when you click the Trim Mode button, the trim rollers are set for dual-roller
trimming. For more information about selecting trim sides, see “Selecting Trim Sides” on
page 723.
tClick the Go to Previous Edit or Go to Next Edit button.
By default, the system selects the nearest transition in either direction of the selected track
for dual-roller trimming.
Refining Trims
731
If the transitions are a straight cut, the system selects all selected tracks. If the nearest
transition is an overlap edit with staggered transition points, the system selects the next
transition where all selected tracks have transitions at the same point.
tClick the Play Loop button on a palette twice, or press the Play Loop key on the keyboard
twice.
When you click the Play Loop button once, the system plays the transition in a playback
loop. Clicking the Play Loop button a second time stops the playback.
This method is useful if you want to trim quickly as you edit, going back and forth between
trimming and other edit modes. The action takes you to the last trimmed transition. For more
information on this method, see “Trimming During a Playback Loop” on page 734.
nThe Play Loop button does not appear in Source/Record mode by default. You must map it to the
keyboard or a palette in advance. For information on button mapping, see “Understanding
Button Mapping” on page 107.
Refining Trims
After you select your transitions and trim sides, you can make your trim more accurate by using
the advanced features of trim editing.
To refine a trim, do one of the following:
tUse the Trim buttons to trim forward or backward by 1-frame or 10-frame (NTSC or PAL)
or by 1-frame or 8-frame (24p) increments.
Left to right: Trim Backward 10 Frames (or 8 Frames) button, Trim Backward 1 Frame button, Trim Forward 1
Frame button, Trim Forward 10 Frames (or 8 Frames) button
tUse the J-K-L keys to trim forward or backward in the sequence.
tUse the numeric keypad at the right side of the keyboard, as follows:
- To move the transition a specific number of frames, type a plus sign (+) or minus sign
(–) and the number of frames (from 1 to 99), and then press Enter.
If the number of frames exceeds 99, type an
f
after the number to indicate frame count.
For example, to enter 200 frames, type
200f
and press Enter.
- To move the transition to an exact point in the timecode, type a timecode number larger
than 99, including frames. For example, type
102
to enter 1 second and 2 frames (1:02).
Reviewing Trim Edits
732
For greater control while performing a trim, do one of the following:
tPress Ctrl+Alt (Windows) or press the Command+Option key (Macintosh) as you drag one
frame at a time.
tPress the Ctrl key (Windows) or Command key (Macintosh) to snap to other transition
points.
As you trim, all selected transitions in the Timeline move in unison. The Trim counter
displays the frame count backward or forward for one or both trim sides, and the monitors
display the new incoming or outgoing frames.
Reviewing Trim Edits
You can review an edit by using the Play Loop button or the Edit Review button.
The Edit Review button (in the Play tab of the Command Palette) lets you review an edit or other
change that you made to a transition. You can set how far the position indicator moves backward
by using the Preroll option in the Play Loop tab of the Trim Settings dialog box. For more
information, see “Trim Settings Overview” on page 722.
nUsing the Edit Review command causes your Avid editing application to deselect trim rollers on
all transitions.
To review the most recent trim edit or to play the currently selected transition:
1. (Option) To see the Timeline in a closer view while you review the trim, click the Focus
button. (To return to your original view of the Timeline, click the Focus button again.)
You can also select an option in the Features tab of the Trim Settings dialog box to focus the
Timeline automatically when you select a transition by entering trim mode with no trim edits
or trim tools selected. For more information, see “Trim Settings: Features Tab” on
page 1376.
2. Click the Play Loop button.
The system enters a playback loop. This loop begins at a preroll point before the transition
and ends at a postroll point.
3. Modify the length of the preroll, postroll, and transition effect duration by clicking the
appropriate timing text box and typing a new value.
Preroll length text box (top left), postroll length text box (top right), and transition effect duration
text box (bottom)
Trimming On-the-Fly
733
nYou must display two rows of buttons in the Composer window to see the trim controls. For more
information, see “Composer Settings” on page 1304.
4. To stop the playback loop, click the Play Loop button again.
5. To deselect trim points, click the Source/Record Mode button.
To review footage starting from the previous transition:
1. Move the position indicator to the transition you want to review.
2. Click the Edit Review button.
The position indicator moves before the previous transition and begins to play.
In a sequence with multiple selected tracks, the Edit Review command moves the position
indicator before the first set of edits that line up on all the selected tracks.
3. To stop play, press the space bar.
Trimming On-the-Fly
You can use the J-K-L keys on the keyboard to play outgoing or incoming material and mark
trim points. This is similar to the procedure for marking footage on-the-fly, as described in
“Marking and Subcataloging Footage” on page 508.
For convenience, this method isolates the trim controls to just three keys.
nWhen trimming with the J-K-L keys, you cannot completely trim away all frames in a segment.
Your Avid editing application always leaves one frame. To remove the remaining frame, see
“Refining Trims” on page 731.
To trim on-the-fly:
1. Click either the outgoing (A-side) or incoming (B-side) monitor to play in real time during
the trim.
2. Select one or more transitions for overwrite trimming, ripple trimming, or dual-roller
trimming.
For more information, see “Selecting Trim Sides” on page 723.
3. Use the J-K-L keys to step (jog), play, or shuttle through the footage at varying speeds:
tPress and hold the K key while pressing the J or L key to step slowly backward or
forward through the footage. When you find the frame where you want to relocate the
transition, release the K key to complete the trim.
tPress the J or L key once to play at normal speed, or more than once to shuttle at higher
speeds. When you see the frame where you want to relocate the transition, press the
space bar or the K key to complete the trim.
Using Dual-Image Playback During Trims
734
The monitors and the Timeline update to reflect the trim.
Using Dual-Image Playback During Trims
Dual-image playback lets you view A-side and B-side frames in real time while performing a
trim. You can play through the transition by using the J-K-L keys or the Play and Trim buttons.
n Using the Dual Image Play option disables real-time effects.
To use dual-image playback during trims:
1. Double-click Trim in the Settings list in the Project window.
The Trim Settings dialog box opens.
2. Select the Dual Image Play option in the Features tab.
3. Click OK.
4. Select a transition for trimming.
For more information, see “Selecting Trim Sides” on page 723.
5. Press one or a combination of the J-K-L keys.
As the transition plays, notice that both the A-side and B-side of the trim play back in the
Trim monitors.
6. When you see or hear the point at which you want to trim, press the space bar to stop
playback and update the transition in the sequence.
Trimming During a Playback Loop
An alternative method for trimming is to view the transition continuously in a playback loop and
use the keyboard to adjust the transition in 1-frame or 10-frame (8-frame for 24p) increments
until you achieve the trim you want. You can perform this procedure using single-roller or
dual-roller trims.
To trim during a playback loop:
1. Select a transition for trimming.
For more information, see “Selecting Trim Sides” on page 723.
2. Click the Play Loop button to repeatedly play the selected transitions.
nTo make adjustments to the playback loop for preroll, postroll, or intermission intervals, see
“Reviewing Trim Edits” on page 732.
3. Press a keyboard equivalent to perform a Trim function.
Creating Overlap Edits
735
If you are having difficulty determining which side of the transition to trim (for example,
during a difficult audio edit), use the Go to In and Go to Out keys to review only one side.
Your Avid editing application performs the trim before the next playback loop. You can then
view the trimmed transition during playback and make further changes until you are satisfied
with the result.
4. When you finish, exit the playback loop by doing one of the following:
tPress the space bar.
tClick the Play Loop button.
Creating Overlap Edits
You can use an overlap edit (or L-edit) to smooth a transition by giving the viewer the illusion
that the audio or video is shared between two adjacent clips.
Example of an audio overlap edit. After the trim, the audio for Clip B is extended so that it overlaps the beginning of
the video for Clip C.
To create an overlap edit:
1. Perform a straight-cut edit between two clips, including audio and video tracks:
tIf the timing of the video edit is crucial, mark edit points according to video.
tIf the timing of the audio transition is crucial, mark edit points according to audio.
2. Perform a dual-roller trim on either the video track or the audio track, but not on both:
tIf the video transition occurs at the correct place but you want an audio transition either
before or after the video cut, trim the audio tracks accordingly.
tIf the audio transition occurs at the correct place but you want a video transition either
before or after the audio cut, trim the video track accordingly.
Extending an Edit
736
3. (Option) You can also create an overlap edit for an audio track by using the Audio Mark
buttons (see “Marking Audio Clips” on page 513).
Extending an Edit
Use an extend edit to perform dual-sided (A-side and B-side) trims on selected tracks. An extend
edit lets you quickly create a split edit without selecting trim sides at a transition. It also lets you
establish the exact frame that you want to trim to by using the position indicator.
You can extend edits backward or forward in the Timeline. In either case, like a dual-roller trim,
extend edits always maintain sync relationships.
To perform an extend edit:
1. Select the tracks you want to extend.
To extend multiple tracks, all the tracks must have the same edit point in the Timeline.
Otherwise, you must extend the tracks separately.
2. Find the point in the sequence to which you want to trim. If the trim point is before the edit,
mark an In point. If the trim point is after the edit, mark an Out point.
3. (Option) If you are extending the edit to an Out point, remove any In points on the track.
Otherwise, the extend edit goes in the wrong direction.
Example of an extend edit. The video track is selected for extending backward (left), and the Mark In point
(right) indicates where you want the edit to extend to.
4. Click the Extend button.
The Extend button appears in the Trim tab of the Command palette. You can map the Extend
button to a custom location. For information on the Command palette and button mapping,
see “Understanding Button Mapping” on page 107.
The adjustment appears in the Timeline.
After the Extend edit. The edit point on the video track moves backward to the location of the Mark In point.
Maintaining Sync While Trimming
737
Maintaining Sync While Trimming
Because single-roller trims (A-side or B-side) can change the duration of the track being
trimmed, any relationships that exist with other tracks downstream of the trim lose sync. Trim
editing uses two features that prevent unintentional sync breaks between two or more video and
audio tracks when performing trims:
• You can use an overwrite trim to add black filler on either the A-side or the B-side of a
transition while maintaining the overall duration of the track and the sync relationships.
For more information, see “Overwrite Trimming” on page 727.
• You can sync lock tracks that maintain a synchronized relationship.
If you perform an overwrite trim moving across the edit point and away from the selected
side of the transition, your Avid editing application performs a dual roller trim on
sync-locked tracks.
nBecause dual-roller trims do not cause sync breaks, you can add black only while performing
single-roller trims, and sync-locked tracks only aid single-roller trim functions.
To trim with sync-locked tracks:
1. Do one of the following:
tClick the Sync Lock button in the Track Selector panel for the track you want to keep in
sync.
The Sync Lock icon appears.
tClick the Sync Lock All button to switch sync lock on and off for all tracks.
Sync Lock icon (top) and Sync Lock All button (bottom) in the Track Selector panel
2. Perform single-roller trims as necessary, with the following results:
- When you trim the A-side of a transition forward, all other segments locked in sync
move forward with the trim. If the transitions are staggered, this action might split one
or more of the segments at the sync point established by the position indicator, leaving
filler.
Slipping or Sliding Segments
738
If you trim the B-side of the transition in the same direction, the additional sync-locked
segments slide back in the sequence to maintain sync until they encounter another
segment in the same track. At this point, you can trim no further and the system emits a
warning sound.
- When you trim back the A-side of a transition, additional segments locked in sync move
back as well. If the segments are staggered and one of the additional sync-locked
segments encounters another segment on the same track, you can trim no further and the
system emits a warning sound.
If you trim the B-side of the transition in the same direction, all other segments locked
in sync move forward to stay in sync. If the transitions are staggered, this action might
split one or more of the sync-locked segments at the sync point established by the
position indicator. The trim adds Filler where the split occurs.
3. (Option) Select all synced tracks for simultaneous slipping or sliding to avoid sync breaks.
Slip and slide trims are not protected for sync.
Slipping or Sliding Segments
Slip and slide procedures constitute two unique trim techniques that let you make frame-accurate
adjustments to a selected segment. They do not affect the overall duration of the sequence or the
sync relationships between multiple tracks.
Slip or Slide trimming lets you do the following:
• Slip or slide the video and audio segments together.
• Slip or slide a single segment of video or audio independently from the rest of the segment.
• Slip segments in Source/Record mode by using the Slip Left or Slip Right buttons.
Slipping or Sliding Segments
739
The type of trim you perform (slip or slide) determines which frames update:
• In slip trimming, the two inner monitors for the head and tail frames of the clip change
because this adjusts only the contents of the clip. It does not affect the frames that precede
and follow the clip.
Example of a one-frame slip to the right. The head and tail frames of the segment change by one frame. The
material before and after the segment remains fixed.
• In slide trimming, the two outer monitors for the outgoing (A-side) and incoming (B-side)
frames change because the clip remains fixed while the footage before and after it is
trimmed.
Example of a one-frame slide to the right. The segment does not change, but the material before the segment is
trimmed out by one frame and the material after the segment is trimmed back by one frame.
Once you select the clips for slipping or sliding, the trim display changes to a four-frame display.
1234
5234
1 234 1 234
52341234
Slipping or Sliding Segments
740
Four-frame display for slip and slide trimming. Left to right: outgoing video at position indicator, head and tail frames
of the selected clip, incoming video at position indicator.
Selecting Segments for Slip or Slide Trimming
To select segments for slip or slide trimming by dragging a lasso:
1. In Source/Record mode, select a segment for slipping or sliding.
2. Drag a lasso from right to left around a segment (two or more transitions).
Your Avid editing application enters slip trim by default.
3. To switch to slide trim, press and hold the Shift+Alt keys (Windows) or Option key
(Macintosh) while dragging the lasso from right to left.
To select segments on a lower track:
1. Press and hold the Alt key (Windows) or Option key (Macintosh) while dragging a lasso
around the segment.
2. To switch to slide trim, press the Alt key (Windows) or Option key (Macintosh) and
double-click the segment.
You can also select two or more contiguous segments within a track for slipping or sliding
by dragging the lasso around four or more transitions.
cBe sure to drag the lasso from right to left. If you drag from left to right, you select the
segment, not the transition.
Slipping or Sliding Segments
741
To select segments for slip or slide trimming:
1. Position the mouse pointer over one of the transitions for the segment you want to trim so
the pointer changes to a trim icon, and double-click the transition to select the segment for
slip trimming.
2. To select a segment for slide trimming, double-click the transition.
To select two or more segments on different tracks for simultaneous slip or slide
trimming, do one of the following:
tPress Shift and select the head and tail of a segment for slipping.
tPress Shift and select the outgoing tail frame of the preceding segment and the incoming
head frame of the following segment in a sequence for sliding.
Performing a Slip or Slide Trim
To slip or slide a shot:
1. After selecting the segments, as described in “Selecting Segments for Slip or Slide
Trimming” on page 740, do one of the following:
tClick any roller in the Timeline, drag the selected material to the left or right, and
release the mouse button.
tUse the numeric keypad to enter specific frame-count or timecode values, and press
Enter.
tUse the trim keys or buttons to shift the selection by 1-frame or 10-frame (8-frame for
24p) increments.
tUse the J-K-L keys.
2. Monitor the progress of the trim by using the monitors, the Trim counters, and the Timeline.
When you reach the end of available material while slipping a shot, the trim stops. Similarly,
when you reach the next transition while sliding a shot along a track, the trim stops. A red
bracket at the transition indicates the limit. After completing the initial slide, you can
perform another slide in the same direction.
3. When you finish, exit Slip mode or Slide mode by doing one of the following:
tClick another transition for trimming.
tClick either the Source/Record Mode or the Effect Mode button.
tClick the Trim Mode button on the Tool palette.
tPress the Escape key.
Trimming in Two Directions
742
To slip a shot in Source/Record mode:
1. Select the tracks for the clips to be slipped.
2. Move the position indicator within the shot that you want to slip.
3. Slip the shot by doing one of the following:
tClick the Slip Left button to slip the shot one frame left (revealing later material from
the source clip).
tClick the Slip Right button to slip the shot one frame right (revealing earlier material
from the source clip).
tAlt+click (Windows) or Option+click (Macintosh) the Slip Left or Slip Right button to
trim 10 frames (8 frames for 24p) at a time.
The Slip Left and Slip Right buttons do not appear on the interface by default. You must map
them from the Trim tab in the Command palette to use this procedure.
Trimming in Two Directions
You can select non-contiguous transitions in the Timeline and perform a trim simultaneously on
all selected transitions. This allows you to trim segments without altering the duration of the
sequence in cases where you cannot perform a simple dual-roller trim. For example, if you need
to trim the outgoing frames of one segment, but you do not want to trim the incoming frames of
the segment at the same transition, you can select another edit point to use in the trim.
You can also trim in two directions by trimming frames from one segment while adding frames
to a second segment. This can help to keep video and audio aligned when you do not have the
alternative of using a dual-roller trim or sync locked tracks.
Using the Transition Corner Display
743
To trim in two directions:
1. Select one or both of the trim tools on the Timeline palette, and then click the outgoing
(A-side) or incoming (B-side) monitor to define which side of the transition to trim.
The pointer changes to an overwrite trim or a ripple trim icon over either the A-side or the
B-side of the transition, depending on the position of the pointer.
2. Shift+click the other transitions in the Timeline you want to trim.
3. Click and drag in the direction you want to trim.
Using the Transition Corner Display
The Transition Corner Display is a trim editing interface that shows six frames you can use as
reference points when trimming a transition effect.
Transition Corner display. Left: the two frames on which the transition effect starts. Center: the two frames between
which the cut point defines the transition. Right: the two frames on which the transition effect ends.
Use the Transition Corner Display to trim the transition effect’s start frames, end frames, and
duration in timecode or feet+frames (for 24p and 25p projects). As you trim the transition effect,
you can see the corresponding frame adjustments in all six monitors simultaneously.
cThe Transition Corner Display applies only to the trimming of transition effects (for
example, dissolves, wipes, picture-in-picture, and so on). It is not designed for trimming
key, image, or segment effects.
nThe Transition Corner Display feature is only available when you use Big Trim display. To
ensure that you use Big Trim display when you make a trim, select “Never use Small Trim mode”
in the Features tab of the Trim Settings dialog box. For more information, see “Trim Settings:
Features Tab” on page 1376.
Using the Transition Corner Display
744
To trim a transition using the Transition Corner Display:
1. Select a transition effect for trimming by doing one of the following:
tPosition the mouse pointer over the transition you want to trim so the pointer changes to
a dual-roller icon, and click the transition.
tLasso the effect in the Timeline from right to left.
tClick the Trim Mode button, and click in the transition in the Timeline, or use the Go to
Edit buttons to step through transitions until you highlight the transition you want.
For more information, see “Dual-Roller Trimming” on page 730.
2. Click the Transition Corner Display button.
The button changes to green, and the display is enabled.
nTo use this button, you must display two rows of buttons in the Composer window or map the
button to a palette or a keyboard key. For more information, see “The Command Palette” on
page 107.
3. Trim the transition effect by clicking the outgoing or incoming frame you want to trim, and
then position your pointer on the rollers and drag the transition backward or forward. Press
and hold the Alt key (Windows) or Option key (Macintosh) to roll forward or backward
slowly one frame at a time.
4. To review your edit, click the Play Loop button.
18 Working with Audio
You edit audio by using many of the same techniques and tools you use to edit video. Your Avid
editing application also provides several unique features that facilitate audio editing, such as
audio scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between
speakers as well as the frequency ranges of segments.
Basic audio editing is described in the following topics:
•Overview of Audio Tools
•Working with Multichannel Audio Tracks
•Displaying Track Formats in Bins
•The Track Control Panel
•Using Audio Scrub
•Audio Displays in the Timeline
•Displaying Audio Formats in Bins
•Working with Surround Sound Audio
•Adjusting the Play Buffer Size for Audio (Software-only Models)
•Using the Audio Mixer Tool
•Rendering and Unrendering Order for Audio Effects
•Audio Volume Staging and an Audio Editing Workflow
•Using Clip Volume and Pan Mode
•Using Volume and Pan Automation
•Using Live Mix Mode
•Fading and Dipping Audio
•Audio Sample Rate Conversion
•Changing the Audio Sample Rate for Sequences and Audio Clips
•Mixing Down Audio Tracks
•Splitting Multichannel Tracks to Mono Tracks
Overview of Audio Tools
746
•Using the Audio EQ Tool
•Recording Voice-Over Narration
Overview of Audio Tools
The following table describes the general purpose of each audio tool in your Avid editing
application:
Accessing Audio Effect Tools
The following audio effect tools can display in a single tabbed window or in separate windows:
•Audio Mixer
• AudioSuite
•Audio EQ
You can arrange these tools in a single, tabbed tool window to make it easy to switch to another
tool.
Audio tool Description
Audio Mixer tool This tool adjusts pan and volume levels on clips or whole tracks within a
sequence. For more information, see “Using the Audio Mixer Tool” on
page 773.
Audio EQ tool This tool adjusts the sound characteristics of audio clips in the sequence
based on three-band control over high, low, and midrange frequencies. For
more information, see “Using the Audio EQ Tool” on page 818.
Avid AudioSuite
Plug-In tool
This tool accesses third-party audio plug-ins. For more information, see
“Avid AudioSuite Plug-Ins” on page 904.
RTAS tool This tool inserts Real-Time AudioSuite (RTAS) track effects on selected
tracks. For more information, see “Real-Time AudioSuite Plug-Ins” on
page 897.
Audio tool This tool adjusts and calibrates global input and output levels when
capturing from analog sources or output to tape. For more information, see
“Understanding the Audio Tool” on page 198 and “Preparing for Audio
Output” on page 1032.
Audio Punch-In tool This tool records up to two or four channels of audio (depending on the
model of your Avid editing application) directly into the Timeline for
voice-over narration. For more information, see “Recording Voice-Over
Narration Using Audio Punch-in” on page 833.
Overview of Audio Tools
747
To access one of the audio effect tools:
tSelect Tools > tool name.
To keep more than one tool open at the same time:
tSelect Tools > tool name, and then drag the tool to a tabbed tool window.
To prevent confusion, your Avid editing application allows only one copy of an audio effect
tool to be open at a time. For example, you can open only one copy of the Audio EQ tool.
Using Audio Timecode
Your Avid editing application can read audio timecode (LTC, or longitudinal timecode, recorded
on an audio track). If you captured the LTC as an audio track, use the Read Audio Timecode
command. This command instructs your Avid editing application to access this track for
timecode information to be displayed in the bins and used in editing.
To use timecode on an audio track:
1. In the bin, select the appropriate clips.
2. Select Special > Read Audio Timecode.
The Read Audio Timecode dialog box opens.
3. Select User Bit Timecode to read timecode stored in the user bits of the LTC.
If you do not select this option, the system reads the LTC timecode.
cInformation contained in the user bits of the LTC must be timecode only. Other data stored
in the user bits does not appear in your Avid editing application.
4. Click the Audio Timecode Source menu, and select the audio track containing the timecode.
A1 is the default.
5. Click the Destination Track menu, and select the target auxiliary timecode bin column for
recording the audio timecode.
Auxiliary TC1 is the default selection.
Working with Multichannel Audio Tracks
748
6. Do one of the following:
tSelect Fill Undecodeable Frames to instruct the system to fill in any timecode breaks
with continuing timecode. This is the default.
tDeselect Fill Undecodeable Frames if you do not want to fill timecode breaks.
For example, in a 3-minute master clip, the audio timecode starts at 1:00:20:20. At
1:00:22:10, the timecode ends. With the Fill Undecodeable Frames option selected, the
system assigns 1:00:22:11 to the next frame and continues assigning timecode.
7. Click OK to complete the procedure.
The timecode appears in the bin in the auxiliary timecode column that you selected.
Working with Multichannel Audio Tracks
Video and audio information in your project can be represented as tracks, channels, and voices.
The following list defines these terms as used in this documentation:
•Tracks
- A region of a clip or sequence on which audio or video is placed.
- A playback channel represented in a sequence as either a video track or an audio track.
You edit tracks in the Timeline.
• Channels
- A physical audio input or output. You capture audio channels, which then become audio
tracks in your clip or sequence.
- The separate audio signals that compose an audio track. Stereo tracks have two audio
channels. 7.1 surround sound tracks have 8 channels.
•Voices
- Discrete audio streams that you send from audio tracks to physical audio outputs, such
as speakers or output channels. Typically, any audio channel for a track in your sequence
uses a single voice. A mono audio clip uses one voice, a stereo clip uses two voices, and
a 5.1 or 7.1 surround sound clip uses six or eight voices. You can monitor up to 16
voices with your Avid editing application — for example, 16 mono tracks, 8 stereo
tracks, or two 7.1 surround sound tracks.
You can edit multichannel audio tracks in the same way you edit mono audio tracks. Your Avid
editing application supports the following audio track formats:
•Mono
•Stereo
Working with Multichannel Audio Tracks
749
• 5.1 surround sound
• 7.1 surround sound
The Track Formats column in the bin Text view displays the format for all multichannel audio
tracks in a master clip. You can modify the audio format by grouping or ungrouping selected
audio tracks. You can modify audio formats for master clips only. Track formats for sequences,
group clips, or subclips cannot be modified.
For more information on surround sound multichannel audio, see “Working with Surround
Sound Audio” on page 765.
Displaying Track Formats in Bins
You can select a bin heading to display the track formats in the bin. Multichannel formats appear
in the Track Formats column for master clips and list the audio tracks in the clip that combine
multiple channels in a single audio track. For example, a track format marked as “Stereo A1A2”
indicates that the clip includes a stereo track with two channels.
To add the Track Formats column to a bin:
1. With a bin in Text view, select Bin > Choose Column.
The Bin Column Selection dialog box opens.
2. Click Track Formats in the list to select it.
3. Click OK.
The Track Formats column appears in the bin.
Modifying Track Formats in Bins
You use the Modify command to set or change the multichannel formats for your audio tracks.
For example, this lets you create a stereo track from two associated mono tracks or to split a
stereo track into two separate audio tracks. You can set the multichannel format for multiple
master clips at the same time.
If you duplicate a clip in a bin and modify the track format in the copy, you can create a sequence
that contains both a multichannel and a mono instance of the same master clip. This does not
cause a problem with editing, playback, or any other operation.
You can also split multichannel tracks in the Timeline into mono tracks. for more information,
see “Splitting Multichannel Tracks to Mono Tracks” on page 817.
Working with Multichannel Audio Tracks
750
To set the multichannel audio format for audio tracks:
1. Open the bin and click the Text tab.
2. Click the icon to the left of the clip you want to modify. Ctrl+click (Windows) or Cmd+click
(Macintosh) each additional object you want to modify.
3. Do one of the following:
tSelect Clip > Modify.
tRight-click a clip and select Modify.
The Modify dialog box opens.
4. Click the Modify Options menu, and select Set Multichannel Audio.
The Modify dialog box displays the audio tracks for all selected clips with format buttons
beneath paired tracks. If an audio track is not used by the selected clips, it does not appear.
nTrack formats for sequences, group clips, or subclips cannot be modified.
5. Do one of the following:
tClick the Format buttons to cycle through the available options until you find the
appropriate format.
tClick the Format menu on a Format button and select the appropriate multichannel
format.
Option Description
Mixed tracks Does not modify the audio track formats. The Mixed
Format Tracks button appears only when you select
more than one clip and the clips contain both mono and
multichannel tracks.
The Track Control Panel
751
6. Click OK.
The bin information updates to reflect the audio format modifications. Check the Track
Formats column in bin Text view to see all multichannel audio tracks.
The Track Control Panel
Timeline tracks include a Track Control panel that provides features useful when you edit audio
tracks. The Track Control panel arranges components in two rows of tools, and it allows you to
do the following when editing either a sequence or source material displayed in the Timeline:
• Show or hide waveforms, volume, and pan displays on individual tracks or on all tracks (see
“Displaying Audio Waveforms” on page 758 and “Displaying Volume and Pan Values” on
page 760).
• Add, delete, move, and copy RTAS® (Real-Time AudioSuite) effects (see “Real-Time
AudioSuite Plug-Ins” on page 897).
• Mark tracks as inactive or solo or mute tracks so you can monitor the audio on a track.
Track Control panel
Mono tracks Sets the paired audio tracks to two mono tracks.
Stereo tracks Sets the paired audio tracks to one stereo track.
5.1 Surround
sound tracks
Sets the selected tracks to one 5.1 surround sound track.
7.1 Surround sound tracks
Sets the selected tracks to one 7.1 surround sound track.
Option Description
Component Description
Waveform Turns on or off the waveform display for individual tracks.
Clip Volume/Pan Turns on or off the clip volume and pan display for audio tracks.
Inactive Disables a track so you can play back your sequence without processing the
plug-in effects or automation for the inactive track.
The Track Control Panel
752
Using the Track Control Panel
The Track Control panel displays two rows of tools. If you reduce the size of the Timeline tracks,
you might not see the Track Control panel tools. For more information on resizing Timeline
tracks, see “Enlarging and Reducing Timeline Tracks” on page 660.”
To show the Track Control panel, do one of the following:
tClick the Timeline fast menu and select Track Control Panel. To hide the Track Control
panel, deselect Track Control Panel.
tClick the Track Control Panel button above the Timeline.
Track Control panel, with the Track Control Panel button above the Timeline
Soloing Audio Tracks
You can solo multiple tracks in the Timeline, which lets you do the following:
• Listen to several tracks at once without deactivating or deselecting the other audio tracks off
or reducing volume.
• Isolate audio tracks for audio scrubbing without having to deselect monitoring of all other
audio tracks.
Solo Allows you to monitor a single track of audio without deselecting other
tracks.
RTAS plug-ins Lists the RTAS plug-ins inserted on the track. Clicking the button for an
existing RTAS insert opens the RTAS plug-in window so you can edit the
plug-in parameters. Clicking a blank RTAS button opens the RTAS tool so
you can insert a plug-in on the track.
Mute Allows you to mute a single track of audio without deselecting it.
Component Description
The Track Control Panel
753
For more information about audio scrubbing, see “Using Audio Scrub” on page 754.
nYou can also use the Track Solo buttons in the Audio Mixer tool. See “Using the Track Solo and
Track Mute Buttons” on page 778.
To solo an audio track:
tClick the Solo button in the Track Control panel for the track you want to solo.
The Solo button turns green, and Mute buttons on all other audio tracks turn orange.
Solo button (green) and Mute buttons (orange) in the Track Control panel
To turn off soloing for the track:
tClick the Solo button again.
To turn off the solo feature for all audio tracks:
tAlt+click (Windows) or Option+click (Macintosh) the Solo button on any track.
Making Tracks Inactive
Unlike muted audio tracks, inactive audio tracks process no plug-in effects or automation. You
can make any audio track inactive if you want to play back your sequence without audio
information. This allows you to limit the number of voices you monitor so you can manage
output voices as you play your sequence.
The Active/Inactive button displays the monitoring status of the track:
Icon State Description
Primary active track — Audio information in these tracks is not dropped when the
play speed increases during scrubbing.
Active track — Audio information in these tracks might be dropped when the play
speed increases during scrubbing, depending on your settings and track effects.
Using Audio Scrub
754
To make an audio track inactive, do the following:
tDeselect the Active/Inactive button in the Track Control panel.
You can click the Active/Inactive button again to restore audio monitoring to the track.
Using Audio Scrub
You have two options for scrubbing audio in either the sequence or the source material:
• Smooth audio scrub — Mimics the variable pitch playback of traditional analog tape
• Digital audio scrub — Takes advantage of the digital environment by sampling incoming
frames, outgoing frames, or both at a normal pitch and playback rate
Digital audio scrub enables you to sample selected frames of incoming or outgoing audio as you
move through the footage, without a change in pitch or speed. Digital scrub has the following
unique characteristics:
• The frames of audio you hear are always at your point of destination. For example, if you
step forward 10 frames (8 frames for 24p), you hear a selected number of audio frames from
a point behind the position indicator (outgoing frames) to a point in front of the position
indicator (incoming frames) as it reaches the new destination point.
• Digital scrub samples audio in a forward playback direction. Whether you step backward or
forward through the material, you hear the same audio sampling at each destination frame.
Each type of scrub has its advantages:
• Smooth scrub makes it easier to examine sound at varying speeds.
• Digital scrub lets you focus quickly on individual bits of incoming or outgoing audio for
frame-accurate edits and adjustments.
nIf you attach a 002 to Avid input/output hardware, you cannot hear the results of audio
scrubbing.
Selecting Tracks for Audio Scrubbing
By default, all monitored audio tracks are selected for scrubbing. However, as the play speed
increases during audio scrubbing, some monitored audio tracks are dropped. You can select up to
two tracks to ensure they play during scrubbing, even if the system has to drop some tracks.
Inactive track — Voices and audio plug-ins are not processed for these tracks during
playback.
Icon State Description
Using Audio Scrub
755
The following table shows how many tracks you can scrub at the varying speeds of play.
To ensure an audio track is monitored during scrubbing:
tEnable the Active/Inactive button in the Track Control panel for the selected track.
Active/Inactive buttons, displaying a black border to indicate tracks that can play without dropping audio
information
The Active/Inactive button displays a black border to indicate which tracks can be played if
the system has to drop tracks during audio scrubbing. By default, the two top Active/Inactive
buttons display black border.
You can isolate specific audio tracks for scrubbing without having to deselect monitoring of
all other audio tracks by soloing the audio tracks. See “Soloing Audio Tracks” on page 752.
Performing Smooth Audio Scrub
You can use three-button play with the J-K-L keys to perform smooth audio scrubbing of
selected tracks of audio at variable speeds but not digital audio scrub. You can monitor while
stepping (jogging) or while shuttling at fixed rates up to three times normal speed. The audio
cuts out at greater than three times the normal speed and comes back in after the speed drops
below three times.
To monitor audio with three-button play:
1. Select the correct track, and adjust the playback volume as necessary.
2. Play the audio by using the three-button variable speed playback procedures described in
“Playing Footage with the J-K-L Keys (Three-Button Play)” on page 503.
When you play footage forward or backward at: You can scrub:
Normal speed 16 tracks
Two times normal speed 16 tracks
Three times normal speed 2 tracks
Greater than three times normal speed 0 tracks
Using Audio Scrub
756
Adjusting Digital Scrub Parameters
The default parameters for the number of frames you hear as you scrub are zero frames of
outgoing audio (behind the position indicator) and one frame of incoming audio (ahead of the
position indicator). To isolate frames for marking or trimming, the default parameters are
sufficient.
You can increase these settings to include more frames of audio on either side — for example,
when you want to sample whole words or parts of words as you scrub to find edit points within a
phrase. You can also reverse the settings to sample frames behind the position indicator
(outgoing frames) as you scrub. You should avoid increasing the number of sampled frames on
both sides at once because this can make it difficult to isolate an edit point or trim point based on
the location of the position indicator.
To adjust the parameters for digital scrub:
1. Double-click Audio in the Settings list in the Project window.
The Audio Settings dialog box opens.
nThe Play Buffer Size in Samples option and the Tool Buffer Size in Samples option appear only if
your Avid editing application is not using Avid input/output hardware (software-only).
2. Click in a text box and type a new number of outgoing or incoming frames on the source
side, the record side, or both.
The new parameters take effect.
Performing Digital Audio Scrub
To locate an audio edit point by using digital scrub:
1. Solo an audio track for scrubbing and adjust the output volume, if necessary.
2. Press the Caps Lock key to activate digital audio scrub.
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757
You can also activate digital audio scrub by pressing and holding the Shift key while you
drag the position indicator or click the Step buttons as described in step 3.
3. Move through the material in one of the following ways to hear the scrub:
tDrag the position indicator.
tClick the Step buttons to step through in fixed increments: 1 frame backward, 1 frame
forward, 10 frames (8 frames for 24p) backward, or 10 frames (8 frames for 24p)
forward.
Step Buttons. Left to right, top to bottom: 1 frame backward, 1 frame forward, 10 frames (8 frames for
24p) backward, or 10 frames (8 frames for 24p) forward
4. When you find the correct frame, mark the location, trim the transition, or perform any other
function you choose.
When you sample incoming frames (with the default scrub parameters, for example), the
system places the position indicator at the head of the last sampled audio point. When you
sample outgoing frames, the system places the position indicator at the tail of the last
sampled audio point.
Audio Displays in the Timeline
You can display audio waveforms in the Timeline to help you visually locate points in an audio
track for editing or trimming. Waveforms for multichannel tracks in the Timeline display
waveforms for all channels within a single track, separated by a horizontal divider. For more
information, see “Displaying Audio Waveforms” on page 758.
You can also view a graph for pan and volume information in the Timeline. For more
information, see “Displaying Volume and Pan Values” on page 760.
If you have a sequence with several different sample rates, you can identify a specific sample rate
by color. For more information, see “Identifying Sample Rates by Color” on page 761.
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758
The following notes apply to audio displays:
• When you click a Waveform or Clip Volume/Pan button in the Track Control panel, or when
you Alt+click (Windows) or Option+click (Macintosh) a Waveform or Clip Volume/Pan
button to display all waveforms or pan displays, the Avid editing application maintains the
display setting with the sequence. You cannot save specific per track settings in a custom
Timeline view.
• You can map the Allow Per Track Settings menu command on the Timeline fast menu to the
keyboard. This provides you a quick method of turning selected track waveform displays off
and on as you edit. For example, if you display waveforms for audio tracks A1 and A2 but
not A3 and A4, and then disable per track settings, no waveforms display in the Timeline.
When you enable per track settings, only A1 and A2 display waveforms. You can save the
menu command state in a custom Timeline view.
nThe Avid editing application stores per track settings with the sequence and does not apply them
to other sequences. Timeline views are saved as user settings, so you can apply them to any of
your sequences.
Displaying Audio Waveforms
Audio waveforms in the Timeline display a sample plot of the entire amplitude of the track. This
is the same as the sample voltage values seen on an analog oscilloscope waveform. You can
display waveform plots for all audio tracks in the Timeline or you can select individual tracks for
waveform display.
Audio waveform plots can slow your navigation through the Timeline. Therefore, you might
want to display waveforms on only some of your audio tracks. To do this, you can activate per
track settings, or you can create a custom Timeline view as described in “Customizing Timeline
Views” on page 656.
You can also select Show Marked Waveforms in the Timeline Settings dialog box to narrow the
view of the tracks in the Timeline. This option allows the Timeline to display faster because the
waveform displays only between the Mark In and the Mark Out points.
To display audio waveforms for all tracks:
1. To search for a point in a known section of the tracks, zoom in and show more detail in the
sequence to isolate a section of the audio. With less audio to display, the system draws the
waveform plot faster.
2. Do one of the following:
tClick the Timeline fast menu and select Audio Data > Allow Per Track Settings, and
then Alt+click (Windows) or Option+click (Macintosh) the Waveform button in the
Track Control panel for any track.
tClick the Timeline Fast menu button, and select Audio Data > Waveform.
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Press Ctrl+period (Windows) or Command+period (Macintosh) at any time during the
redraw of the waveform plot to stop the redraw.
The waveform appears in all audio tracks.
3. (Option) Maximize the visibility of your waveform display using one of the following
procedures:
tContinue to expand or shrink your view of the Timeline by using the scale bar,
spreading out the waveform plots to show detailed variations in the audio levels.
tTo enlarge the height of selected audio tracks and subsequently the waveform display,
press Ctrl+L (Windows) or Command+L (Macintosh).
tTo reduce the height of selected audio tracks and subsequently the waveform display,
press Ctrl+K (Windows) or Command+K (Macintosh).
tTo enlarge the size of the waveform plot image without enlarging its track, press
Ctrl+Alt+L (Windows) or Command+Option+L (Macintosh).
This procedure is useful when you view detail in loud passages.
tTo reduce the size of the sample plot image without reducing its track, press Ctrl+Alt+K
(Windows) or Command+Option+K (Macintosh).
This procedure is useful when you view detail in quiet passages.
4. Move through the audio shown in the waveform using any of the playback methods.
You hear sound as you track the audio visually. When the position indicator reaches the
point you want in the waveform, you can mark, trim, or perform any other function.
To display audio waveforms for selected tracks:
1. Click the Timeline fast menu and select Audio Data > Allow Per Track Settings.
2. Click the Timeline fast menu and select Audio Data > Allow Per Track Settings, and then
click the Waveform button in the Track Control panel for the tracks you want to display
audio waveform plots.
The waveform appears in the selected tracks.
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760
You can turn off all waveforms on selected tracks by disabling Allow Per Track Settings.
This disables the display of waveforms, but it does not change the per track settings.
Enabling per track settings again restores your per track waveform displays. You can also
save the Allow Per Track Settings state as part of a customized Timeline view. For more
information, see “Customizing Timeline Views” on page 656.
Displaying Volume and Pan Values
You can view the volume and pan automation values in the Timeline, including surround sound
pan values for sequences using a surround sound mix. If you choose to view volume and pan on
individual tracks rather than on the entire sequence, you can view volume values on one track
and pan values on another.
When you display pan information in surround sound sequences, you can select which speaker
layout you want to view. For example, if you want to view the pan information for a stereo track
in a 5.1 surround sound sequence, you can view how either the left or right stereo channel pans in
the following speaker configurations:
• Front speaker position
• Front speaker position
• Front and rear speaker positions
• Center speaker position, displayed as a percentage
nFor information on displaying audio waveform information and using per track settings, see
“Displaying Audio Waveforms” on page 758.
To turn on the display of clip volume values and volume automation values for all tracks,
do the following:
tAlt+click (Windows) or Option+click (Macintosh) the Clip Volume/Pan button in the Track
Control panel for any track, and select Clip Volume or Volume.
To turn on the display of clip volume values and volume automation values for selected
tracks, do the following:
tClick the Clip Volume/Pan button in the Track Control panel for the tracks you want to
display clip or volume automation information, and select Clip Volume or Volume.
The volume values appear in the selected tracks.
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761
t(Option) If you want to view both clip volume and volume values, repeat the previous step
and select an additional volume value to display.
To turn on the display of pan values in the Timeline:
1. If you want to view pan values for all tracks, Alt+click (Windows) or Option+click
(Macintosh) the Clip Volume/Pan button in the Track Control panel and select one of the pan
value options (pan value options depend on the sequence format and track format in your
project):
tPan
tPan L > [speaker layout]
tPan R > [speaker layout]
2. If you want to view pan values for individual tracks, click the Clip Volume/Pan button in the
Track Control panel for the tracks you want to display pan information, and select the
appropriate pan option:
tPan
tPan L > [speaker layout]
tPan R > [speaker layout]
The pan values appear in the selected tracks.
Identifying Sample Rates by Color
To apply a color coding to a sample rate:
1. Load a sequence with multiple sample rates into the Timeline.
2. Do one of the following:
tTo display waveforms for all tracks, click the Timeline Fast Menu button, and select
Audio Data > Waveform.
tTo display waveforms for a single track, click the Waveform button in the Track Control
panel.
3. In the Project window, double-click Audio Project.
The Audio Project Settings dialog box opens.
4. Click the Main tab.
5. Click the Convert Sample Rates When Playing menu, and select Always.
6. Click the Show Mismatched Sample Rates as Different Color menu, and select Yes.
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762
Depending on which sample rate you selected for your project, the color black is displayed
on those clips. For example, if you selected 48 kHz from the Sample Rate menu in the Main
tab in the Audio Project Settings dialog box, the sample plot of these clips (48 kHz) is
displayed as black, and the sample plot of all other clips with different sample rates (32 kHz
and 44.1 kHz) is displayed as white.
Example of mismatched sample rates displaying with different colors in the Timeline. Clips with a 48 kHz
sample rate display as black, while clips with other sample rates display as white.
Using Audio Meters in the Timeline
The Audio meters in the Timeline let you view and adjust audio levels without opening the
Audio tool.
The Meter menu options are the same options as those available in the Audio tool. For more
information, see “Understanding the Audio Tool” on page 198.
To display the Audio meters in the Timeline:
tClick the Meter Menu button, and select Show Audio Meters.
The Audio meters display in the Timeline.
Audio meters display in the Timeline. Left to right: Master Volume button, Tracks indicators, In/Out Toggle
buttons, Meter menu button
When you load a sequence in the Timeline and press the Play button, the Audio meter
displays the audio levels of the audio tracks in your sequence.
nWhen the Audio meter is hidden, extra mappable buttons are available. For more information on
mapping buttons, see “Mapping User-Selectable Buttons” on page 109.
Adjusting Volume
You can adjust your speaker or headphone volume without leaving your Avid editing application.
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763
You can also mute audio in several ways:
• Using the Master Volume button in the Timeline
• Using the Mute button in the Play tab of the Command palette
The Mute button lets you quickly make all audio tracks inactive or active during editing.
This is convenient when you fine-tune complex audio and video edits, making it possible to
shift quickly between the two. You can set your audio levels and speaker volumes and mute
them whenever necessary without changing the settings.
• Using the Mute buttons in the Audio Mixer tool to mute selected tracks
For more information, see “Using the Track Solo and Track Mute Buttons” on page 778.
• Using the Mute button in the Track Control panel.
For more information, see “Soloing Audio Tracks” on page 752.
(Windows) To adjust the volume control (software-only models):
1. From the Timeline, click and hold the Master Volume button.
Master Volume button (left) and Audio Meter menu button (right) in the Timeline
If you do not see the Master Volume button, click the Audio Meter menu button, and then
select Show Audio Meters. The Master Volume button displays with the Audio Meters.
The Windows Mixer appears.
2. On the Windows Mixer, drag the volume control to the audio level you prefer.
(Macintosh) To adjust the volume control (software-only models):
1. From the Timeline, click and hold the Master Volume button.
Master Volume button (left) and Audio Meter menu button (right) in the Timeline
If you do not see the Master Volume button, click the Audio Meter menu button, and then
select Show Audio Meters. The Master Volume button displays with the Audio Meters.
The Volume Control slider appears.
Displaying Audio Formats in Bins
764
2. Continue to click and hold, and drag the volume control to the audio level you prefer.
3. Release the mouse button.
To adjust the volume control (models using Avid input/output hardware):
tAdjust the volume control on your Avid input/output hardware to the desired audio level.
nAdjusting the volume control affects the volume only while you work in your Avid editing
application. Once you exit your Avid editing application, the volume control defaults to your
desktop setting.
To mute volume from the Timeline:
tClick the Master Volume button.
A line appears through the button, and you cannot hear audio through your speakers or
headphone. The Mute buttons on individual tracks do not change when you use the Master
Volume button to mute audio.
nThis does not apply to software-only models using Windows Vista and later.
To mute an individual audio track:
tClick the Mute button in the Track Control panel for the track you want to mute.
To mute all audio tracks:
tCtrl+click (Windows) or Command+click (Macintosh) the Mute button on any track.
To turn the volume for audio tracks back on:
tClick the Mute button to deselect it.
Displaying Audio Formats in Bins
You can select a bin heading to display the audio formats in the bin. The applicable audio format,
AIFF-C, WAVE, PCM, or SDII (Macintosh), appears in the Audio Format column for master
clips.
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765
To add the Audio Format column to a bin:
1. With a bin in Text view, select Bin > Choose Columns.
The Bin Column Selection dialog box opens.
2. Click Audio Format in the list to select it.
3. Click OK.
The Audio Format column appears in the bin.
Working with Surround Sound Audio
Avid editing applications let you edit audio in mono and multichannel formats, including
surround sound audio. You can hear this audio as either mixdown multichannel audio or as true
stereo and surround sound using two, six, or eight speakers.
Six-channel and eight-channel digital surround sound systems use several different 5.1 and 7.1
speaker formats that constitute a standard in major motion pictures, music, and digital television.
Speaker layouts generally use left and right speakers, left rear and right rear surround speakers,
left side and right side surround speakers, center speaker, and a low frequency effects (LFE)
speaker. The following table summarizes the supported multichannel formats and standard
speaker configurations.
nThe 5.1 Film format is the default surround sound format for monitoring 5.1 surround sound
audio and 7.1 Pro Tools is the default surround sound format for monitoring 7.1 surround sound
audio.
The following illustrations show sample surround sound speaker arrangements (5.1 and 7.1
SMPTE surround sound formats).
Mixing Format Surround Format Speaker Layout
Stereo Left, Right
5.1 Film Left, Center, Right, Left surround rear, Right surround
rear, LFE
5.1 SMPTE Left, Right, Center, LFE, Left surround rear, Right
surround rear
7.1 Pro Tools Left, Center, Right, Left surround side, Right surround
side, Left surround rear, Right surround rear, LFE
7.1 SMPTE Left, Right, Center, LFE, Left surround side, Right
surround side, Left surround rear, Right surround rear
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5.1 SMPTE surround sound configuration, with left (L), center (C), right (R), left surround rear (Lsr), right surround
rear (Rsr), and low frequency effects (LFE) speakers
7.1 SMPTE surround sound configuration, with left (L), center (C), right (R), left surround side (Lss), right surround
side (Rss), left surround rear (Lsr), right surround rear (Rsr), and low frequency effects (LFE) speakers
The Output tab in the Audio Project Settings dialog box lets you select which surround sound
option you want to use when you export a sequence with surround sound audio. You can also use
the Output tab to select the 5.1 or 7.1 option to designate a project with surround sound audio
even if you do not have surround tracks in your sequence. If you have more than six or eight
tracks, or if the tracks are given in a different order, you can use the Direct Out channel map to
designate which tracks of the sequence go to which channels.
nThe Direct Out channel map affects the audio on the desktop monitors and the output. When you
use direct out to export a clip or to play a clip in the Source monitor, the channel order reflects
the channel order used when you captured the audio. You might need to reset the channels prior
to a Digital Cut to preserve a required channel order on the output tape.
When you select a surround sound format, the Avid editing application displays the appropriate
pan tools to use when you edit your sequence. Setting the surround sound format determines in
which format you can mix your audio. For example, if you want to mix your audio in 5.1
surround sound, you need to assign that format to your sequence.
To assign a surround sound sequence format:
1. Select Tools > Audio Mixer.
The Audio Mixer tool opens.
LCR
LFE
Lsr Rsr
L
C
R
LFE
Lss Rss
Lsr Rsr
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767
Audio Mixer tool: Sequence Format button
2. Click the Sequence Format button and select one of the following:
tStereo Sequence
t5.1 Sequence
t7.1 Sequence
Channel meters in the Audio Mix tool default to the Film format (for 5.1 sequences) or
Pro Tools (for 7.1 sequences). Channel meters in the Audio tool reflect the monitor mix
format.
Surround Mixing
Your Avid editing application allows you to mix in surround sound and create output in different
formats. You can also mix down your surround sound sequences to mono, stereo, or different
surround sound formats.
Surround sound audio tracks contain an individual channel for each signal in the track (for
example, a 5.1 track has six channels, one each for left, center, right, left surround, right
surround, and LFE). You can add surround sound master clips to your project in different ways:
• You can capture the audio from your source (see “Selecting Source Tracks and Audio
Channels” on page 184).
• You can import the audio using standard import procedures (see “Importing with
Multichannel Audio” on page 285).
• You can modify existing audio clips to create surround sound audio (see “Working with
Multichannel Audio Tracks” on page 748).
Stereo and multichannel tracks consist of multiple audio signals, linked together. The Audio
Mixer tool displays a channel faders for each multichannel track, in addition to solo and mute
buttons. If you need discrete control of signals, you can convert multichannel tracks to individual
mono tracks (see “Splitting Multichannel Tracks to Mono Tracks” on page 817).
You can mix mono, stereo, and surround sound audio tracks in any supported multichannel
format. The Audio Mixer tool indicates the track format by the number of track meters contained
in its fader strip (for example, a single meter for mono tracks, a pair of meters for stereo tracks,
and six meters for 5.1 tracks). Assigning track output determines the format of that output. For
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768
example, a mono track always has a single track meter, even when assigned to a stereo output
path. If you assign a mono track to a 5.1 output path, the output splits among six output channels,
depending on the position of the panner.
Surround Monitoring
In order to monitor your multichannel mix, you must have appropriate hardware connected to
your computer — for example, an audio card that supports surround sound or a Nitris DX
connected to your system. You also need to set up the proper speaker placement and calibrate
your audio system for the surround sound format of your sequence. When your audio system
does not match your surround sound mix — for example, if your workspace includes only stereo
speakers while your sequence uses a 5.1 Film format — you need to understand how your Avid
editing application delivers surround sound tracks to the available output channels.
When your monitoring setup does not support the audio format selected for a sequence, your
Avid editing application downmixes the audio tracks to the desired monitor mix. The following
table describes the speaker arrangements of mono, stereo, and surround mix formats and the
corresponding monitoring structure. Sequence format indicates which format you select for your
sequence, and speaker layout describes how the Avid editing application outputs audio tracks to
a mono speaker, two stereo speakers, and six and eight surround sound speakers. Speaker
placement, alignment, and calibration depend on your specific hardware and audio
configuration. See the documentation that came with your speakers and other monitoring
equipment.
Sequence format Speaker Layout
Mono Mono: Audio channels panned to center
Stereo Mono: L and R channels panned to center
Stereo: L and R channels panned to Left/Right
5.1 Mono: All channels panned to center
Stereo: C and LFE channels panned to center; L and R channels panned to
Left/Right; Lr and Rr channels panned to Left/Right and volume lowered by 3dB
5.1: All channels panned to the appropriate speakers, depending on 5.1 format of
the sequence
7.1: C, L, R, Lsr, Rsr, and LFE channels panned to appropriate speakers; Lss and
Rss channels are not used
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For example, if your sequence uses the 5.1 Film surround sound format, but your studio has two
stereo speakers, the Avid editing application mixes down your six audio tracks to the following
monitoring layout:
Top: 5.1 Film sequence format; bottom: stereo speaker layout, with center pan indicated by the double arrow
In addition to monitoring your audio through your speakers, you can monitor surround sound
audio as it plays by watching the channel faders in the Audio Mix tool and in the Audio tool.
When playing a sequence in the Timeline, the Audio Mix tool matches the default 5.1 Film
surround sound format or the default 7.1 Pro Tools format. The channel faders in the Audio tool
match the format of the sequence mix (see “Assigning Surround Sound Mix Output” on
page 770).
7.1 Mono: All channels panned to center
Stereo: C and LFE channels panned to center; L and R channels panned to
Left/Right; Lsr, Rsr, Lss, and Rss channels panned to Left/Right and volume
lowered by 3dB
5.1: C, L, R, Lsr, Rsr, and LFE channels panned to appropriate speakers; Lss and
Rss channels panned to center of the Left/Left Rear and Right/Right Rear speaker
pair
7.1: All channels panned to the appropriate speakers
Sequence format Speaker Layout
Lsr Rsr
LR
LCR
LFE
C
(-3 dB)
(-3 dB)
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Assigning Surround Sound Mix Output
You can set a surround sound mix output for any sequence in your project. This specifies how the
Avid editing application sends surround sound signals to your speakers and determines what you
hear when you monitor the audio in your sequence.
Your monitor mix output might differ from your sequence format. If you want to mix your audio
in a surround sound format but only have two stereo speakers connected to your system, you can
set your sequence format to surround sound and your mix output to stereo. If you need to mix
your sequence in stereo but you have configured your speakers for surround sound output, you
can set your sequence format to stereo and your mix output to surround sound. This ensures that
the Avid editing applications sends the correct signals of your stereo channels to your surround
sound speaker system.
To designate a surround sound mix output:
1. Select Tools > Audio Mixer.
The Audio Mixer tool opens.
Audio Mixer tool: Monitor Mix Format button
2. Click the Monitor Mix Format button and select one of the following:
t5.1 Film: L C R Ls Rs Lfe
t5.1 SMPTE: L R C Lfe Ls Rs
t7.1 Pro Tools: L C R Lss Rss Lsr Rsr Lfe
t7.1 SMPTE: L R C Lfe Lsr Rsr Lss Rss
When you play a clip in the Source monitor, the monitor mix respects the channel order used
when you captured the audio.
Setting Up the Analog Audio Output for Surround Sound Audio (Avid
Nitris DX and Avid Mojo DX Only)
Depending on the Avid input/output hardware attached to your system, you can have two
balanced TRS audio outputs labeled Monitor and four balanced XLR audio outputs labeled
Analog. The TRS outputs are always left and right speakers. You can configure the XLR outputs
in the Output tab of the Audio Project Settings dialog box.
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If your workflow requires analog output to a tape deck, you configure the XLR outputs to
connect to a deck. You see these channels, 1 through 4, in the Direct Out Channel Menu map in
the Output tab of the Audio Project Settings dialog box.
If your workflow does not require analog output to a tape deck, you can use the XLR outputs to
provide Center, LFE, Left Rear and Right Rear channels for desktop monitoring.
When the analog output is marked for use as desktop surround monitors, you should set the
audio connectors as shown in the following table.
To set up for an analog audio output:
1. Double-click Audio Project in the Settings tab of the Project window.
The Audio Project Settings window opens.
2. Click the Output tab.
3. Click the Analog tab.
4. Depending on your setup, select Use as Output to Tape Deck or Use as Desktop Surround
Monitors.
5. Click the Mix Mode Selection Menu button to select Direct Out.
6. If necessary, assign the tracks and channels through the Direct Out channel menu.
nIf the sequence in the Timeline is multichannel or is direct out without being surround sound
audio, the four analog XLR outputs remain silent and only the left and right speakers are active.
Setting Up the Audio Output with HDMI (Avid Nitris DX and Avid Mojo DX
Only)
Avid supports two ways to configure your audio output, either 2-channel stereo speaker setup or
6-channel surround sound setup. To achieve the 6-channel surround sound setup, connect your
audio output through an High-Definition Multimedia Interface (HDMI) connection.
Channel Speaker
TRS Channel 1 Left Front
TRS Channel 2 Right Front
XLR Channel 1 Center
XLR Channel 2 LFE
XLR Channel 3 Left Rear
XLR Channel 4 Right Rear
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772
HDMI carries both video and audio in an uncompressed, all-digital signal. HDMI is an interface
standard for audiovisual equipment such as high-definition television.
In order to use HDMI for audio, the HDMI device attached to your system must receive at least
two channels of PCM (uncompressed) audio at the project sample rate and receive 6 channels or
more of PCM audio.
If you send the HDMI output to a deck, the deck receives the channels in the Timeline in the
same order as the channels set in the Direct Out Channel map in the Audio Project Settings
window. If you configure your system for surround sound audio, the output is sent in the HDMI
standard channel order as shown in the following table.
To set up for a surround sound (HDMI) audio output:
1. Double-click Audio Project in the Settings tab of the Project window.
The Audio Project Settings window opens.
2. Click the Output tab.
3. Click Direct Out, then select First six tracks are 5.1 surround: L, R, C, LFE, LR, RR.
4. Click the HDMI tab.
5. Depending on your setup, select Use as Output to Tape Deck or Use as Desktop Surround
Monitors.
When you select Use as Output to Tape Deck, LFE and Center are swapped from the
recommended track order.
nIf your HDMI device cannot play six channels of audio or if the 5.1 option in the Direct Out tab
is not selected, the option to Use as Desktop Stereo Monitors does not appear.
6. Click the Mix Mode Selection Menu button to select Direct Out.
7. If necessary, assign the tracks and channels through the Direct Out channel menu.
Channel Speaker
1Left
2Right
3 LFE or Subwoofer
4Center
5 Left Rear
6 Right Rear
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773
Adjusting the Play Buffer Size for Audio
(Software-only Models)
You can use third-party host audio devices, such as a Sound Blaster® audio card, in software-only
configurations of Avid editing applications. Although most host audio devices work properly
within Avid editing applications, some exhibit problems during output (for example, audio
clicking). You might also encounter audio latency issues when adding audio effects such as
volume automation. To counteract these problems, use the Play Buffer Size in Samples slider and
the Tool Buffer Size in Samples slider in the Audio Settings window.
Avid strongly recommends that you use the default “recommended sample” setting, which is
determined by the host audio device connected to your system.
For more information on the Buffer Size in Samples sliders, see “Audio Settings” on page 1290.
To adjust the samples in the play buffer or tools buffer:
1. Double-click Audio in the Settings tab of the Project window.
The Audio Settings window opens.
2. In the Play Buffer Size in Samples, click and drag the slider to select a sample size.
3. In the Tool Buffer Size in Samples, click and drag the slider to select a sample size.
If you change the default setting, a warning dialog box opens informing you of how this
change might affect your system.
4. Click Change.
5. To select the Avid recommended default setting, click the rs (recommended sample) button.
Using the Audio Mixer Tool
The Audio Mixer tool has three modes that let you perform the following tasks:
Mode Task Description
Clip Volume and
Pan
Lets you adjust the overall volume and pan values for a clip, in a bin or in
the Timeline.
For more information, see “Using Clip Volume and Pan Mode” on page 782.
volume
automation and
Pan
Lets you adjust and record volume and pan changes within a clip in the
Timeline.
For more information, see “Using Volume and Pan Automation” on
page 797.
Using the Audio Mixer Tool
774
Accessing the Audio Mixer and Audio Mixer Modes
To open the Audio Mixer tool, do one of the following:
tIf one of the Audio tools is already open, click the Effect Mode Selector menu, and select
Audio Mixer.
tSelect Tools > Audio Mixer.
The Audio Mixer tool opens.
To select the Audio Mixer mode, do one of the following:
tClick and hold the Audio Mixer mode button, and select the mode from the menu.
tClick the Audio Mixer mode button and cycle through the Audio Mixer mode settings to the
mode you want to select.
Audio Mixer Tool Controls
The following illustrations and tables identify the controls of the Audio Mixer tool in Clip
Volume and Pan mode, including controls common to all three modes. The elements described in
the following tables appear in all Audio Mixer modes unless otherwise noted. For specific
information on Volume and Pan Automation mode, see “Using Volume and Pan Automation” on
page 797. For specific information on Live Mix mode, see “Using Live Mix Mode” on page 805.
Top part of Audio Mixer tool
Live Mix Lets you temporarily override any existing volume and pan automation
settings. You can use the controls on the Audio Mixer tool or use an external
controller to change volume and pan settings without modifying the existing
volume and pan automation settings.
For more information, see “Using Live Mix Mode” on page 805.
Mode Task Description
12 3
6
7
8
9
10
4 5
Element Description
1 Sequence Mix
Format button
Lets you select the sequence mix format.
Using the Audio Mixer Tool
775
2 Monitor Mix button Controls how your system interprets audio values during playback:
• Stereo: Mixes the currently monitored audio tracks into a stereo pair. Depending
on your Avid input/output hardware, you can customize the mix using the Stereo
Mix Tracks option.
• Mono: Pans all the currently monitored tracks to center and ignores pan effects.
• 5.1 as L C R Lr Rr Lfe: Mixes currently monitored tracks to the appropriate
surround sound channel. See “Surround Monitoring” on page 768.
• 5.1 as L R C Lfe Lr Rr: Mixes currently monitored tracks to the appropriate
surround sound channel. See “Surround Monitoring” on page 768.
• 7.1 as L C R Lss Rss Lr Rr Lfe: Mixes currently monitored tracks to the
appropriate surround sound channel. See “Surround Monitoring” on page 768.
• 7.1 as L R C Lfe Lr Rr Lss Rss: Mixes currently monitored tracks to the
appropriate surround sound channel. See “Surround Monitoring” on page 768.
• Direct (available depending on your Avid input/output hardware): Maps tracks
directly to the available output channels. Ignores pan settings. You can remap a
track to any channel by clicking the Channel Assignment menu and selecting
another channel.
3 Audio Loop Play
button
Lets you adjust audio effects while looping over a portion of audio. This button is
also available in the Play tab of the Command palette. For more information, see
“Adjusting Volume While Playing a Clip Volume Effect” on page 794.
4 Render Effect button Lets you render audio effects. For example, if you change the level of a clip that
contains a rendered audio dissolve, the effect becomes unrendered. You can use the
Render Effect button to rerender the audio dissolve directly from the Audio Mixer
tool. Then you can play back the clip immediately to hear the effect of the level
change with the dissolve in place.
5 Fast Menu button Lets you select from a list of functions that vary according to the Audio Mixer mode.
For more information, see the following topics:
•“Audio Mixer Fast Menu: Clip Volume and Pan Mode” on page 792
•“Audio Mixer Tool Fast Menu: Volume and Pan Automation Mode” on page 803
•“Audio Mixer Tool Fast Menu: Live Mix Mode” on page 808
6 Bypass button Lets you temporarily turn off any Clip Volume or volume automation effects. This
button functions the same as the Bypass panel in the Effects tab in the Audio Project
Settings dialog box. (This control does not appear in Live Mix mode.)
7 Number of Mix
Panes
Lets you display four or eight panes. For more information, see “Resizing the Audio
Mixer Tool” on page 777.
Element Description (Continued)
Using the Audio Mixer Tool
776
Bottom part of Audio Mixer tool
8 Display/Hide Sliders
button
Lets you switch between hiding and displaying the Volume Level sliders.
9 Which Set of Tracks
to Display in Mix
Panes buttons
Lets you select which enabled tracks to display in the mix panes. When you display
8 panes (with the Number of Mix Panes button), Grp 1 displays tracks 1-8. Click the
Which Set of Tracks to Display in Mix Panes button to change it to Grp 2, which
displays tracks 9-16. When you display 4 panes, each click of the Which Set of
Tracks to Display in the Mix Panes button displays the next group of 4 tracks.
10 Audio Mixer mode
button
Lets you select the mode for the Audio Mixer tool:
• Auto (volume and pan automation)
• Clip (Clip Volume and Pan)
• Live (Live Mix)
The default mode is Clip Volume and Pan. The mode that you select is saved as a
project setting. If you want to change the default mode, select the mode you want in
the Audio Mixer tool, then save the Audio Project settings as a site setting. See
“Using Site Settings” on page 1284.
You cannot save Live Mix mode as a project setting.
Element Description (Continued)
1
2
5
6
4
3
10
78 9
Using the Audio Mixer Tool
777
Resizing the Audio Mixer Tool
You can change the number of mix panes that display in the Audio Mixer tool, or hide the
volume level sliders altogether. Both of these customizations can reduce the amount of space that
the Audio Mixer tool occupies. You can continue to adjust levels by typing values when the
sliders are hidden.
Element Description
1 Pan value and knobs Displays the pan value and lets you adjust it. These controls appear only when you
select a surround sound format using the Sequence Mix Format menu or when you
set Stereo, 5.1 Surround, or 7.1 Surround as output in the Audio Project settings.
2 Track Solo and Track
Mute buttons
Lets you solo or mute selected tracks. The values persist when you switch to another
group, switch to another Audio Mixer mode, and when you close the Audio Mixer
tool. For more information, see “Using the Track Solo and Track Mute Buttons” on
page 778.
3 Volume Level sliders Lets you adjust the volume level of the clip.
4 Volume Level
Displays
Displays the volume level of the track. You can click and type in a new value. In Clip
Volume mode, if the track has an volume and pan automation value associated with
it, the word Auto appears. In Volume and Pan Automation mode, if the track has a
system clip volume value associated with it, the word Clip appears.
5 Position Indicator
Lights
Indicates whether the external fader controller or mixer is connected and configured
correctly. For more information, see “Interpreting Position Indicator Lights” on
page 778.
6 Track Selection
Menu buttons
Lets you enable tracks for mixing audio. When you select an item from this menu,
the system selects or deselects the corresponding track in the Timeline.
7 Group buttons Lets you group adjustments across tracks and have two or more sliders move at the
same time.
8 Stereo Link For stereo sequences, links the two pan controls so that when you move one Pan
Location cursor, the other moves in a parallel direction.
9 Stereo Mirror For stereo sequences, links the two pan controls so that when you move one Pan
Location cursor, the other moves in a mirrored direction — for example, if you drag
the Pan Location cursor to the left, the corresponding cursor in the second X/Y grid
moves to the right.
10 Mix Panes Displays controls for each audio track, including controls for modifying volume and
pan.
Using the Audio Mixer Tool
778
To switch between displaying four tracks and eight tracks:
tClick the Number of Mix Panes button.
To show or hide the Volume Level sliders:
tClick the Display/Hide Sliders button.
To adjust levels when the sliders are hidden, do one of the following:
tSelect a track, and type level values by using the numeric keypad on the keyboard.
tType values into the Volume Level display.
Track Selection in the Audio Mixer Tool and in the Timeline
When you select a track in the Audio Mixer tool, your Avid editing application selects the
corresponding track in the Timeline. Similarly, when you select an audio track in the Timeline,
your Avid editing application selects the corresponding track in the Audio Mixer tool.
You can use the audio track buttons in the Tracks tab of the Command Palette to select tracks in
the Audio Mixer tool. You can map these buttons to any mappable button location or to the
keyboard. For more information, see “Mapping User-Selectable Buttons” on page 109.
A track needs to be monitored in the Timeline before you can work with it in the Audio Mixer
tool.
Using the Track Solo and Track Mute Buttons
The Track Solo and Track Mute buttons let you mute and solo individual audio tracks in all three
modes. The settings persist between modes and stay in effect when you close the Audio Mixer
dialog box. When you solo or mute tracks in the Audio Mixer tool, the system solos or mutes the
corresponding tracks in the Timeline.
You can also use the buttons above each fader on the external fader controller or mixer to solo or
mute an individual audio track as follows:
• Some EUCON devices have solo and mute buttons above the fader. Additionally, some
devices include an On key, which indicates that a specified track is unmuted.
• 002, Command|8® and MCS-3000X have separate buttons for solo and mute.
Interpreting Position Indicator Lights
The position indicator lights indicate whether the external fader controller or mixer is connected
and configured correctly. They also provide information about the current location of the volume
faders on the external fader controller or mixer.
Rendering and Unrendering Order for Audio Effects
779
Position indicator lights in the Audio Mixer tool
The following table describes how to interpret the position indicator lights.
nThe position indicator lights are not used for pan recording. However the blue lights do indicate
that the device is connected and configured correctly.
The position indicator lights are especially useful for the FaderMaster Pro because you must
position the faders close to the track volume before you start recording. Otherwise, you might
create an unwanted jump in the volume when you move the faders during a recording.
nYour Avid editing application does not record values from a fader on the FaderMaster Pro until
you move the fader. Then it reads the current position of the fader and adjusts the volume
accordingly. In many cases, it is not possible to exactly match the Timeline value.
You do not have to reposition the faders on the 002, MCS 3000X, Command|8, Yamaha 01V, and
Yamaha 01V/96 because the units automatically reset the faders to match the volume data in the
Timeline.
For more information on fader controllers or mixers, see “Using External Audio Devices” on
page 837.
Rendering and Unrendering Order for Audio Effects
Your Avid editing application processes audio effects in the following order (you can also think
of this as the audio volume staging):
1. Clip Volume and Pan (Audio Mixer tool in Clip Volume mode — real-time).
2. AudioSuite plug-ins (AudioSuite tool — non-real-time).
Colors Description
Both lights are blue. The fader matches the current Timeline volume.
Only top light is blue. The fader is higher than the Timeline volume.
Only bottom light is blue. The fader is lower than the Timeline volume.
Both lights are gray. Either there is no fader controller or mixer attached to the system or
the Avid system does not recognize the fader controller or mixer.
Audio Volume Staging and an Audio Editing Workflow
780
3. EQ (Audio EQ tool — real-time, can be rendered).
4. Audio Fade or Dissolve (Quick Dissolve button — real-time, can be rendered).
5. Volume and pan automation (Audio Mixer tool in Volume and Pan Automation mode —
real-time).
Changing an audio effect unrenders any audio effect that follows it in the render order but does
not affect audio effects that precede it in the render order. For example, if you have a clip that
contains clip volume, an AudioSuite plug-in effect, and volume automation, and you change the
volume automation, the system does not unrender the AudioSuite plug-in effect. This preserves
the workflow because you use volume automation for finishing the audio levels. You need to
hear how changes in the volume automation affect the rendered effects. You could add, render,
and modify EQ and audio dissolves on the same clip and you still would not unrender the
AudioSuite plug-in effect.
However, if you change the clip volume on the same clip, the system unrenders the AudioSuite
plug-in. This preserves the workflow because when you reset the level of the clip, you need to
reprocess any effects applied to the clip.
nIf you have an AudioSuite plug-in and an Audio EQ effect applied to the same effect, only the
Audio EQ effect icon displays. The AudioSuite plug-in still applies even though the icon is not
visible.
Audio Volume Staging and an Audio Editing
Workflow
You can adjust the volume of an audio clip at several points during an editing session. For
example, you can adjust volume using the Audio Mixer tool in Clip Volume mode and Volume
and Pan Automation mode. Also, the EQ tool and many of the AudioSuite and RTAS plug-in
effects let you modify the volume of the clip. When you can adjust the volume in a signal chain
at several points, the process is referred to as audio volume staging. This section describes the
audio volume staging model used by Avid editing applications. It also describes a basic
workflow for taking advantage of the volume staging.
Audio Volume Staging and an Audio Editing Workflow
781
You can set audio volume levels with the Audio Mixer tool. When you use the Audio Mixer tool
in Clip Volume mode, values set by the volume level sliders are referred to as system clip volume
values. When you use the Audio Mixer tool in Volume and Pan Automation mode, values set by
the Audio Mixer tool are additive to the system clip volume values. This lets you adjust the
values separately. You typically adjust clip volume values first, as in the following workflow:
1. Adjust overall volume (Clip Volume).
2. Apply effects (Audio Effect Processing).
3. Fine-tune volume (volume automation).
This workflow lets you apply effects to an audio clip in a way similar to the signal flow in a
mixing console.
In this workflow, clip volume is like a trim level, where you can lower (attenuate) or increase
(amplify) the levels of a clip before applying any other effects. For example, when importing a
sound file from an audio CD, you notice when the level of the clip is very high and close to
clipping (distortion). If you add an EQ effect to raise the level of the bass, the audio starts to
distort. To solve this problem, you can use clip volume to lower the signal level. Then you can
adjust the bass in the EQ tool without distorting the audio.
The following workflow illustrates this procedure:
1. Use the Audio Mixer tool in Clip Volume mode to lower the overall volume.
2. Apply an EQ effect and any other audio effects.
3. Use the Audio Mixer tool in Volume and Pan Automation mode to fine-tune the volume of
different sections of the audio in the sequence.
This workflow also applies to using AudioSuite and RTAS plug-ins because some plug-ins affect
the level of the audio. Often, if you use clip volume to raise or lower the level before you apply
an audio effect, you can achieve higher quality results.
In this workflow, the Audio Mixer tool in Volume and Pan Automation mode acts like the level
faders on a console for final mixing of the audio material.
For more information, see “Using the Audio Mixer Tool” on page 773.
Using Clip Volume and Pan Mode
782
Using Clip Volume and Pan Mode
The Audio Mixer tool in Clip Volume and Pan mode lets you do the following:
• Adjust volume and pan for an individual clip, a whole track, several tracks at once, or a
whole sequence.
• Adjust the volume, pan, or both for one track at a time.
• Adjust the volume, pan, or both for multiple tracks simultaneously by grouping them
together.
The system uses these adjustments for all playback, including output to a digital cut.
nFor additional information on audio levels for digital cut output, see “Preparing for Audio
Output” on page 1032.
When the Audio Mixer tool is in Clip Volume and Pan mode, you can adjust the volume and pan
values for entire clips only. You can use Volume and Pan Automation mode and Live Mix mode
to adjust volume and pan levels within a clip in the Timeline. For more information, see “Using
Volume and Pan Automation” on page 797 and “Using Live Mix Mode” on page 805.
The default volume for master clips is set to zero (that is, with no attenuation) when you first
capture the media. For a description of how to integrate clip volume into your workflow, see
“Audio Volume Staging and an Audio Editing Workflow” on page 780.
There are two basic ways to work with pan values:
• Create or modify an audio pan effect. This method creates an effect that is stored with the
sequence, as described in “Adjusting Clip Volume and Pan for Audio Tracks” on page 782
and “Using the Center Pan Command” on page 796.
• Modify the way that your Avid editing application interprets pan values during playback, as
described in “Modifying How Your Avid Editing Application Interprets Pan” on page 795.
nYou can create pan effects only when you select stereo or surround sound output (in the Output
tab of the Audio Project Settings window).
Adjusting Clip Volume and Pan for Audio Tracks
To adjust clip volume and pan for audio tracks:
1. Load a clip or sequence, and activate the appropriate monitor:
tTo adjust a track in a source clip, click the Source monitor to make it active.
To view a source clip’s tracks in the Timeline, click the Toggle Source/Record in
Timeline button.
Using Clip Volume and Pan Mode
783
tTo adjust a track in a sequence, click the Record monitor to make it active.
2. Select the track or portion of a track you want to adjust:
tTo adjust the track in a single edited clip in a sequence, place the position indicator in
the clip.
tTo adjust an isolated section of audio on a track, mark In and Out points.
tTo adjust levels from an In point through the end of the track, mark an In point only. One
mark also adjusts the entire track from the beginning of the clip that includes the mark.
tTo adjust levels globally throughout the track, make no marks.
3. Select Tools > Audio Mixer.
The Audio Mixer tool opens.
4. Select Clip Volume and Pan mode by doing one of the following:
tClick and hold the Audio Mixer mode button, and select Clip Mode from the menu.
tClick the Audio Mixer mode button and cycle through the Audio Mixer mode settings to
Clip.
5. In the Audio Mixer tool, select the audio track to be adjusted by doing one of the following:
tClick the Track Selection Menu button for the appropriate audio track.
tAlt+click (Windows) or Option+click (Macintosh) the Track Selection Menu button,
and then select a track.
To select more than one track, click the Group button for each track you want to group.
nThe Track Selection buttons in the Audio Mixer tool match the track selection buttons in the
sequence or source clip. When you select a track in the Audio Mixer tool, the system selects the
corresponding track in the Timeline or source clip. Selecting a track in the Timeline selects the
corresponding track in the Audio Mixer tool.
To verify or change the output channels, use the Audio tool (select Tools > Audio Tool).
6. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the
keyboard) to play, shuttle, or step through the audio to check for necessary volume or pan
adjustments.
The keyboard can control either the Source or Record monitor, depending on which monitor
was active when you opened the Audio Mixer tool. Switch your selection by clicking the
appropriate monitor.
7. Decide whether to raise or lower the volume.To change an audio level value in a mix pane,
do one of the following:
tClick a number along the vertical edge of the Level slider.
tClick the Level slider, type a value, and press Enter (Windows) or Return (Macintosh).
Using Clip Volume and Pan Mode
784
Values are cumulative until you press Enter (Windows) or Return (Macintosh). For example,
if you want to enter the value 12, type it. However, if you enter 1 and then want to change the
value to 2, press Enter (Windows) or Return (Macintosh) before typing the 2.
- Click the Volume Level display, type a value, and press Enter (Windows) or Return
(Macintosh).
- Click the Level slider, and then drag the slider to a new position.
- Alt+click (Windows) or Option+click (Macintosh) the Level slider to reset the value to 0
dB.
Top to bottom: Group, Stereo Link, and Stereo Mirror buttons; Pan controls and pan display; Audio Level
sliders and meters; and Volume Level display in the Audio Mixer tool
8. Decide if you want to adjust pan values. To adjust the pan values in a mix pane, do one of the
following:
tClick the Pan control, and then drag the control to a new position. Drag left or up to pan
to the left, or drag right or down to pan to the right.
tAlt+click (Windows) or Option+click (Macintosh) the Pan Value display for MID.
tIf you are working with a stereo sequence, two Pan controls appear in the Audio Mix
tool for each track. Click the Pan control, and then drag the control to a new position.
Drag left or up to pan to the left, or drag right or down to pan to the right.
Using Clip Volume and Pan Mode
785
t(Option) If you are working with a stereo sequence, click the Stereo Link button if you
want to link the two Pan controls so that when you move one control the other moves
correspondingly. You can also click the Stereo Mirror button so that the two Pan
controls mirror each other as you adjust them.
tIf you mix for a surround sound format, a multichannel Pan grid appears for each track.
Click the panner icon and drag it to the desired pan position. For more information
about surround panning, see “Using the Pan Grid for Surround Panning” on page 787.
If the sequence is playing, play stops when you make an adjustment.
nYou can adjust volume while playing the clip. For more information, see “Adjusting Volume
While Playing a Clip Volume Effect” on page 794.
9. Apply the adjustments to a chosen region of the track by using the Fast Menu button located
in the top bar of the tool. See “Audio Mixer Fast Menu: Clip Volume and Pan Mode” on
page 792.
10. Play through the audio again, using the J-K-L keys.
11. Repeat steps 7 through 10 until you are satisfied with the pan and volume levels.
Your Avid editing application stores the new settings and uses them whenever you play back
or capture the sequence.
Surround Sound Pan Controls
When you work with surround sound sequences, you might need to pan tracks to the appropriate
speakers. For example, if your surround sound sequence includes mono or stereo tracks, you
might need to pan them to the left rear or right rear speaker positions. Your Avid editing
application provides a multichannel Pan grid and an Advanced Panner which allow you to
control audio panning.
• The Pan grid provides a simple control to pan your audio to any speaker position.
• The Advanced Panner provides a larger panning display and more controls to adjust the pan
values for your sequence, including an X/Y grid, Position controls, and an LFE slider.
The following illustration shows the Pan grid and the Advanced Panner for mono tracks. Stereo
tracks include a second Pan grid and Advanced Panner.
Using Clip Volume and Pan Mode
786
The following table describes the Pan grid and Advanced Panner controls:
1
2
7
14
5
3 4
8
10 11 12 13
9
6
Element Description
1 Pan Grid Allows you to input pan information by dragging the Pan Location cursor
anywhere within the grid.
2 Advanced Panner
button
Opens the Advanced Panner.
3 Stereo Link button For stereo sequences, links the two pan controls so that when you move one
Pan Location cursor, the other moves in a parallel direction.
4 Stereo Mirror button For stereo sequences, links the two pan controls so that when you move one
Pan Location cursor, the other moves in a mirrored direction — for
example, if you drag the Pan Location cursor to the left, the corresponding
cursor in the second X/Y grid moves to the right.
5 LFE slider Indicates the amount of the audio signal routed to the LFE channel. Scale is
0 - 100.
6 Speaker icon Allows you to snap the Pan Location cursor to the selected speaker. This
pans the audio fully to that speaker position.
Using Clip Volume and Pan Mode
787
Using the Pan Grid for Surround Panning
The Pan grid displays for all mono and stereo tracks in a 5.1 or 7.1 multichannel sequence. The
grid allows you to quickly adjust the pan for these tracks. For greater control over pan values,
you can use the Advanced Panner (see “Using the Advanced Panner for Surround Sound
Panning” on page 788.
To pan using the Pan grid:
1. Select Tools > Audio Mixer.
The Audio Mixer tool opens.
2. Select Clip Volume and Pan mode by doing one of the following:
tClick and hold the Audio Mixer mode button, and select Auto Mode from the menu.
tClick the Audio Mixer mode button and cycle through the Audio Mixer mode settings to
Auto.
3. In the Audio Mixer tool, select the audio track to be adjusted by doing one of the following:
tClick the Track Selection button for the appropriate audio track.
tAlt+click (Windows) or Option+click (Macintosh) the Track Selection button, and then
select a track.
7 Volume Level sliders Lets you adjust the volume level of the clip.
8 Audio meter Displays the volume level for each channel in a track.
9 X/Y Grid Allows you to input pan information by dragging the Pan Location cursor
anywhere within the grid, by using 3-Knob mode, or by entering numeric
values in the Position data fields.
10 Front Position control Displays and controls the current front X-axis (left/right) position of the
panner.
11 Rear Position control Displays and controls the current rear X-axis (left/right) position of the
panner.
12 F/R (Front/Rear)
Position control
Displays and controls the current Y-axis position of the panner.
13 Center percentage Indicates the amount of the audio signal routed to the center channel. Scale
is 0 - 100, with 100 sending the full signal to the center channel.
14 Side/Center
percentage
For 7.1 surround sound sequences, indicates the amount of the audio signal
routed to the right surround and the left surround speaker positions. Scale is
0 - 100.
Element Description
Using Clip Volume and Pan Mode
788
4. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the
keyboard) to play, shuttle, or step through the audio to check for necessary pan adjustments.
5. (Option) If you are working with a stereo track, click the Stereo Link button if you want to
link the two Pan controls so that when you move one control the other moves
correspondingly. You can also click the Stereo Mirror button so that the two Pan controls
mirror each other as you adjust them.
6. Click the Pan Location cursor and drag it to adjust pan.
Using the Advanced Panner for Surround Sound Panning
The controls in the Advanced Panner provide different ways to pan mono and stereo tracks in
your surround sound sequence:
• You can use the Pan Location cursor in the X/Y Grid to pan audio to any position in the
surround sound mix.
• You can use the Position controls to pan in straight lines — moving the Pan Location cursor
to the front, rear, and front-rear position — and to pan discretely between pairs of speakers.
For example, when panning left front to right rear with the Position controls, you hear audio
from just those two speakers. By comparison, when panning in the X/Y Grid, a diagonal pan
might result in audio being heard in some or all channels. The difference is that the Position
controls pan discretely between the front and rear positions of the panning trajectory, while the
X/Y Grid panning takes place in the full surround sound panning grid.
To pan using the X/Y Grid:
1. Select Tools > Audio Mixer.
The Audio Mixer tool opens.
2. Select Clip Volume and Pan mode by doing one of the following:
tClick and hold the Audio Mixer mode button, and select Auto Mode from the menu.
tClick the Audio Mixer mode button and cycle through the Audio Mixer mode settings to
Auto.
3. In the Audio Mixer tool, select the audio track to be adjusted by doing one of the following:
tClick the Track Selection button for the appropriate audio track.
tAlt+click (Windows) or Option+click (Macintosh) the Track Selection button, and then
select a track.
4. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the
keyboard) to play, shuttle, or step through the audio to check for necessary pan adjustments.
5. Click the Advanced Panner button.
The Advanced Panner opens.
Using Clip Volume and Pan Mode
789
6. (Option) If you are working with a stereo track, click the Stereo Link button if you want to
link the two Pan controls so that when you move one control the other moves
correspondingly. You can also click the Stereo Mirror button so that the two Pan controls
mirror each other as you adjust them.
7. Drag the Pan Location cursor to pan the track. The location of the Pan Location cursor
determines the pan position of the signal. For example, to pan something to the left rear
speaker, move the Pan Location cursor to the lower-left corner of the grid.
You can snap the Pan Location cursor to one speaker position by double-clicking a speaker
icon. This pans the audio fully to that speaker position. For example, if you click the upper
left speaker icon, the Pan Location cursor moves to the upper left corner of the grid and pans
the audio fully to the left speaker position.
8. When you finish adjusting pan with the Advanced Panner, click the Close button to return to
the Audio Mixer tool.
Using Clip Volume and Pan Mode
790
To pan using the Position controls:
1. Adjust the Front and Rear Position controls to set the trajectory line.
2. Rotate the Front/Rear Position control to pan along the trajectory. The Pan Location cursor
is constrained to the trajectory line.
3. If you want to change the trajectory angles, do one of the following:
tDrag either end point (Front or Rear) of the trajectory line.
tAdjust the Front or Rear Position controls.
4. If you want to change the current trajectory position (left-to-right) and retain its current
angles, drag the trajectory line (not its end points) to a new position.
Using the Center Percentage and LFE Controls
The Advanced Panner provides you with additional controls:
• Center Percentage controls whether there is a discrete center channel for the track or a
phantom center channel. For example, in film and video production, the center channel often
contains dialog. To enhance the clarity of dialog, you might need to reduce the Center
Percentage on music tracks, which forces music panned only to the left and right speakers
and leaves a variable phantom center image.
• The LFE slider controls how much of the track is sent to LFE.
To adjust the Center Percentage:
1. Select Tools > Audio Mixer.
The Audio Mixer tool opens.
2. Select Clip Volume and Pan mode by doing one of the following:
tClick and hold the Audio Mixer mode button, and select Auto Mode from the menu.
tClick the Audio Mixer mode button and cycle through the Audio Mixer mode settings to
Auto.
3. In the Audio Mixer tool, select the audio track to be adjusted by doing one of the following:
tClick the Track Selection button for the appropriate audio track.
tAlt+click (Windows) or Option+click (Macintosh) the Track Selection button, and then
select a track.
4. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the
keyboard) to play, shuttle, or step through the audio to check for necessary pan adjustments.
5. Click the Advanced Panner button.
The Advanced Panner opens.
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6. Turn the Center Percentage control as needed.
7. When you finish adjusting the Center Percentage with the Advanced Panner, click the Close
button to return to the Audio Mixer tool.
To adjust the LFE control:
1. Select Tools > Audio Mixer.
The Audio Mixer tool opens.
2. Select Clip Volume and Pan mode by doing one of the following:
tClick and hold the Audio Mixer mode button, and select Auto Mode from the menu.
tClick the Audio Mixer mode button and cycle through the Audio Mixer mode settings to
Auto.
3. In the Audio Mixer tool, select the audio track to be adjusted by doing one of the following:
tClick the Track Selection button for the appropriate audio track.
Using Clip Volume and Pan Mode
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tAlt+click (Windows) or Option+click (Macintosh) the Track Selection button, and then
select a track.
4. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the
keyboard) to play, shuttle, or step through the audio to check for necessary pan adjustments.
5. Click the Advanced Panner button.
The Advanced Panner opens.
6. Adjust the LFE slider as needed.
7. When you finish adjusting the LFE with the Advanced Panner, click the Close button to
return to the Audio Mixer tool.
Audio Mixer Fast Menu: Clip Volume and Pan Mode
The commands in the Audio Mixer tool Fast menu operate differently, depending on the types of
points you set within the clip or sequence, as described in the following table:
Using Clip Volume and Pan Mode
793
The following table describes the Audio Mixer tool Fast menu commands for Clip Volume and
Pan mode:
Note the following:
• The commands in the Fast menu appear dimmed until you select a track.
• Levels set in master clips carry across to the sequence after you edit the clips.
• Clip volume values are the values for the entire segment; for example, you cannot set
volume for a portion of a segment without affecting the entire segment. To set volume for a
portion of a segment, use Volume and Pan Automation mode. For more information, see
“Using Volume and Pan Automation” on page 797.
Points Set Description
Both In and Out points Commands apply adjustments to selected tracks between the points.
In point only Commands apply adjustments to full clips from the In point to the end of
selected tracks.
Out point only Commands apply adjustments to full clips from the beginning of selected
tracks to the Out point.
None Commands apply globally (across entire tracks).
Command Description
Set Level on Track,
Set Pan on Track
Applies the same pan or volume levels currently set in the Audio Mixer
tool to all segments in the marked regions of the tracks.
Adjust Pan/Vols on Track Opens a dialog box for making incremental adjustments to all current
settings across segments in the marked regions of selected tracks.
For example, when you type –1 in the Volume Adjustment text box, the
various audio level settings across all segments of the marked region of
selected tracks are lowered by exactly 1 dB when you click OK.
Remove Clip Volume on
Track, Remove Pan on
Track
Removes clip volume or pan values from the marked regions of selected
tracks.
Remove Pan/Vols on
Track
Deletes all audio mix adjustments that have been applied to segments in
the marked regions of selected tracks. Each audio clip is restored to its
default pan and volume settings.
Disable Track
Monitoring
Makes an audio track inactive so that it does not process any audio
information.
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Bypassing Existing Volume Settings
You can instruct your Avid editing application to ignore the volume settings established with the
Audio Mixer tool when playing back or recording a sequence.
To turn off current volume adjustments, do one of the following:
tClick the Bypass button in the Audio Mixer tool.
tClick the Clip Volume/Pan button in the Effects Bypass panel in the Effects tab of the Audio
Project Settings window. See “Audio Project Settings: Effects Tab” on page 1297.
The volume controls disappear.
To restore the previous settings:
tClick the Bypass button or the Clip Volume/Pan button again.
Adjusting Volume While Playing a Clip Volume Effect
You can use the Audio Loop Play button to change the volume on an existing Clip Volume effect
while you play the clip. The Audio Loop Play button appears in several of the audio effect tools
and is also a mappable button in the Play tab of the Command palette. For more information on
mapping buttons, see “Mapping User-Selectable Buttons” on page 109.
While your Avid editing application plays the loop, you can do the following:
• Adjust audio effects.
• Use the Peak Hold menu in the Audio tool to change between Peak Hold and Infinite Hold.
• Use the Reset Peak button in the Audio tool.
For more information on the Audio tool, see “Understanding the Audio Tool” on page 198. For
information on improving response time, see “Improving Response Time When Adjusting
Volume” on page 795.
nFor additional ways to change the volume while playing audio, see “Understanding Volume or
Pan Automation Recording” on page 801.
To adjust volume while playing a Clip Volume effect:
1. Do one of the following:
tSelect an existing Clip Volume effect.
tIdentify an area of the clip with In and Out points.
tPlace the position indicator over an audio clip.
2. Click the Audio Loop Play button in the Audio Mixer tool.
Using Clip Volume and Pan Mode
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Your Avid editing application repeatedly loops through the selected area as follows:
- If you have In and Out points on your sequence, the command loops over the selected
area.
- If there are no In or Out points, the command loops over the shortest segment on the
selected audio track at the position indicator.
- If you have only an In point or only an Out point, the system uses the location of the
position indicator as the second point. For example, if there is an In point and no Out
point, the system loops from the In point to the end of the (smallest selected) audio
segment under the position indicator.
3. Adjust the volume as necessary.
4. Click the Audio Loop Play button to stop.
Your Avid editing application automatically saves your changes as part of a Clip Volume
effect.
Improving Response Time When Adjusting Volume
If there is no Clip Volume effect on the clip before you start, you do not hear any changes until
you click the Audio Loop Play button to stop and replay the effect.
As you adjust the volume values on an existing Clip Volume effect, you might not hear the
results immediately. It takes a few seconds for your Avid editing application to apply the changes
to the clip. The response time for this feature is considerably longer than it is when changing EQ
parameters while using Audio Loop Play. You might need to click the Audio Loop Play button to
complete the edit and then play the effect to hear the result.
You can also do any of the following:
• Monitor as few audio tracks as possible.
• Deselect the video track, if practical.
• Use In and Out points to select a narrow interval to adjust.
Modifying How Your Avid Editing Application Interprets Pan
The way you record footage in the field and capture it with your Avid editing application affects
the way sound pans between the speakers. By default, the system pans mono audio tracks 1 and 3
to the left speaker output and pans mono tracks 2 and 4 to the right speaker output.
When you adjust pan values on multichannel stereo tracks, you pan the stereo mix of the
left/right audio pair for the clip. For example, when you pan to the right output channel, you
move the full stereo mix further to the right channel.
Using Clip Volume and Pan Mode
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You can set global pan settings before or during editing by using the Audio Settings dialog box
or the Audio Project Settings dialog box. You can also set pan for individual mono clips by using
the Center Pan command.
To modify the way the system interprets pan during playback:
tSet the default pan values in the Audio Settings dialog box, which you access from the
Settings list in the Project window.
By default, the mono audio tracks for clips alternate with track 1 on the left speaker and
track 2 on the right speaker for monitoring and output. The All Tracks Centered option
instructs the system to center the pan of all tracks between the two speakers for monitoring
and output. The system pans stereo tracks to the center by default, with the left speaker
panned full left and the right speaker panned full right.
tClick the Mix Mode Selection Menu button in the Output tab in the Audio Project Settings
window, and select one of the following modes (the options in the Mix Mode Selection
menu depend on your audio hardware):
Using the Center Pan Command
You can use the Center Pan command on source material in bins. Use it prior to editing or at any
time during the editing process.
Instead of adjusting pan on individual clips by using the Audio Mixer tool, Center Pan lets you
create a standard distribution of audio between left and right speakers. You can adjust the pan on
selected clips or all clips with a single command. This is especially useful when you have clips
with field audio recorded (and subsequently captured) variably between A1 and A2. Panning all
the audio to center eliminates the distraction of having to listen to left and right speakers, in turn.
It also smooths the playback of the edited sequence because all shots are panned to center.
To adjust the pan on clips:
1. In a bin, select the clips you want to pan to the center.
2. Select Clip > Center Pan.
A dialog box opens and asks you to confirm the pan.
3. Click OK.
Mode Description
Stereo Uses the default pan settings and lets you create pan effects.
Mono Pans all mono tracks to center during output. This mode ignores pan effects.
Direct This mode uses the default pan settings and ignores pan/vol effects.
Using Volume and Pan Automation
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The system pans all the selected clips to the center.
Isolating Clip Portions for Audio Adjustment
When making audio level and pan adjustments, your Avid editing application looks at either an
individual clip in the Source monitor, a segment in the sequence, or entire tracks. To change level
or pan settings in an area not defined by a discrete clip or group of clips, use the Add Edit
function to define your own custom area.
To isolate clip portions for adjustment:
1. Find the start of the area where you want to change the pan or level, leaving your position
indicator on that frame as a marker.
2. Select the appropriate track in the Track Selector panel.
3. Click the Add Edit button.
This places an edit where the position indicator is parked.
4. Find the end of the area where you want to change the pan or level, leaving your position
indicator on that frame as a marker.
5. Select the appropriate track.
6. Click the Add Edit button.
7. Use the process described in “Using the Audio Mixer Tool” on page 773 to change the level
or pan within this new segment.
Using Volume and Pan Automation
Volume and pan automation lets you change the volume or pan values of a segment by adding
and manipulating volume or pan automation keyframes in the Timeline. The following
illustration shows an expanded audio track containing volume keyframe information.
Example of the graphic representation of keyframes and volume ramps in the Timeline. Volume values in decibels
are highlighted on the left.
Using Volume and Pan Automation
798
Your Avid editing application uses a linear ramp to change the volume or pan from one keyframe
to the next.
When you adjust pan parameters, you can select which parameter displays in the Timeline. The
pan parameters available depend on your sequence format and the audio track format. The
following table lists the volume and pan displays available in the Timeline:
You adjust volume and pan automation directly in the Timeline or by using the Audio Mixer tool.
Sequence Format Audio Track Format Volume and Pan Parameters
Stereo Mono None, Clip Volume, Volume, Pan
Stereo None, Clip Volume, Volume, Pan l, Pan R
5.1 None, Clip Volume, Volume
7.1 None, Clip Volume, Volume
Surround Sound 5.1 Mono None, Clip Volume, Volume, Pan (Front, Rear,
FrontRear, Center %), LFE Volume
Stereo None, Clip Volume, Volume, Pan L (Front, Rear,
FrontRear, Center %), Pan R (Front, Rear, FrontRear,
Center %), LFE Volume
5.1 None, Clip Volume, Volume
7.1 None, Clip Volume, Volume
Surround Sound 7.1 Mono None, Clip Volume, Volume, Pan (Front, Rear,
FrontRear, Center %, Side Center %), LFE Volume
Stereo None, Clip Volume, Volume, Pan L (Front, Rear,
FrontRear, Center %, Side Center %), Pan R (Front,
Rear, FrontRear, Center %, Side Center %), LFE
Volume
5.1 None, Clip Volume, Volume
7.1 None, Clip Volume, Volume
Using Volume and Pan Automation
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Using Volume and Pan Automation in the Timeline
To use volume and pan automation to adjust volume or pan in the Timeline:
1. Select an audio track for adjusting volume or pan.
2. Click the Clip Volume/Pan button in the Track Control panel, and select the Volume or Pan
option you want to adjust. Alt+Click the Clip Volume/Pan button to select all tracks. For
more information on volume and pan options, see “Using Volume and Pan Automation” on
page 797
nIf a clip contains volume automation or pan data and you do not select Volume or Pan from the
Clip Volume/Pan menu, the system displays a pink triangle on the clip to indicate that
automation data is present but not displayed.
You can enable Clip Volume, Volume, and Pan in the Clip Volume/Pan menu to display audio
information superimposed over waveform plots in the Timeline. However, you cannot display
Volume and Pan at the same time.
3. (Option) Expand the audio track by doing one of the following:
tPress and hold Ctrl+L (Windows) or Command+L (Macintosh).
tPress and hold the Ctrl key (Windows) or the Option key (Macintosh) while dragging in
the Track Selector panel. When the pointer changes to a cross, drag the cross to expand
or shrink the track.
If you expand the audio tracks enough, you can display volume data. The following
illustration shows the expanded audio track with volume data.
4. Click the Add Keyframe key on the keyboard (
“
) or the Add Keyframe button on the Tool
palette to add keyframes along the Timeline.
Your Avid editing application adds a keyframe to each enabled track. If you add a keyframe
for pan, the keyframe applies only to the automation value displayed in the Timeline. For
example, if you are working with pan left automation, the keyframe is added to the pan left
automation values.
A straight line appears in the selected audio track. The line shows the current volume level
for that track in the Audio Mixer tool.
Using Volume and Pan Automation
800
After you add the first keyframe to a segment, you can adjust the volume for the entire clip.
After you add a second keyframe, you can adjust the volume between keyframes.
5. Adjust the volume automation or pan keyframes by doing one of the following:
tClick a keyframe and drag it up or down to increase or decrease the volume or pan at
that point. If there is a point at the same position on another enabled track, it moves also.
When you move the keyframe up or down, the corresponding Volume Level slider or
Pan Value slider in the Audio Mixer tool also moves.
tClick a keyframe and use the sliders, Pan controls, Position controls, or other controls in
the Audio Mixer tool to adjust the volume or pan.
tTo snap to the decibel lines, press and hold the Ctrl key (Windows) or the Command key
(Macintosh) while you drag the point.
tMove a keyframe horizontally to move the start or end of a ramp. Place the pointer over
a keyframe. When the pointer changes to the hand pointer, press and hold the Alt key
(Windows) or the Option key (Macintosh), click the keyframe, and drag it.
tMove several keyframes vertically on a track at the same time by placing In and Out
points to select the area you want. When you move one keyframe up or down within the
marked area, all keyframes within the marked area move in relation to each other. This
works for all enabled audio tracks.
This procedure is similar to grouping sliders on an audio mixing board or in the Audio Mixer
tool.
To delete a single volume automation or pan keyframe:
1. Move the pointer over the keyframe.
2. When the pointer changes to the hand pointer, press the Delete key.
nDon’t press the mouse button. If you press the mouse button, you might change the volume.
If there are identical keyframes in other active tracks, your Avid editing application deletes
them also.
Using Volume and Pan Automation
801
To delete groups of volume automation or pan keyframes:
1. Mark an In point and an Out point or mark the entire segment.
2. Delete any keyframes in the marked area.
Volume and Pan Automation Mode
This topic describes controls in the Audio Mixer tool that are active only in Volume and Pan
Automation mode.
In Volume and Pan Automation mode, record controls are available, as shown in the following
illustration and described in the table. These controls are similar to those in the Audio Punch-In
tool:
Left to right: Record button, Cancel button, and preroll and postroll text boxes in the Audio Mixer tool when in
Volume and Pan Automation mode
The volume slider areas appear blue in Volume and Pan Automation mode.
For descriptions of other controls in the Audio Mixer tool, see “Audio Mixer Tool Controls” on
page 774.
Understanding Volume or Pan Automation Recording
You can instruct your Avid editing application to record your actions while playing the clip as
you move sliders to adjust volume or turn pan knobs to adjust pan values. Your Avid editing
application creates the corresponding keyframes and saves them as part of a pan/volume audio
effect. After you finish the recording, you can move, add, and delete keyframes to achieve the
results you want.
Feature Description
Record button Starts and stops the recording.
Cancel button Stops a recording without saving the recorded data.
Preroll text box Lets you provide a visual cue before the recording begins. Your Avid editing
application backs up the blue position indicator for the prescribed number of
seconds.
Postroll text box Lets you provide the same kind of visual cue at the end of the recording
Using Volume and Pan Automation
802
You can do the following:
• Use sliders in the Audio Mixer tool to adjust volume values while you play the clip, as
described in “Using the Audio Mixer Tool for Volume and Pan Automation” on page 802.
For additional information, see “Audio Mixer Tool Fast Menu: Volume and Pan Automation
Mode” on page 803 and “Using Keyboard Shortcuts with Audio Keyframes” on page 804.
• Use the stereo pan controls or surround sound controls to adjust pan values as you play the
clip. For more information on using the multichannel pan controls, see “Surround Sound Pan
Controls” on page 785.
• Attach an optional fader controller or mixer to the system, and use the faders on the unit to
adjust volume.
• Attach an Avid Artist Mix or Avid Artist Control to the system, and use the pan knobs to
adjust pan values for the active tracks.
For information about using an Avid Artist Mix or Avid Artist Control, see “Using Avid Artist
Series Controllers” on page 869.
Using the Audio Mixer Tool for Volume and Pan Automation
You can record volume automation or pan information without using an external fader controller
or mixer. You can also use command in the Audio Mixer tool Fast menu in Volume and Pan
Automation mode for other tasks such as removing or incrementally adjusting volume
automation or pan on a marked region. For more information, see “Audio Mixer Tool Fast Menu:
Volume and Pan Automation Mode” on page 803.
To record volume automation or pan information by using the Audio Mixer tool sliders:
1. Select Tools > Audio Mixer.
2. Do one of the following:
tClick and hold the Audio Mixer Mode button and select Auto Mode from the menu.
tClick the Audio Mixer Mode button and cycle through the Audio Mix mode settings to
the Auto mode setting.
3. Select an audio track for adjusting volume or pan.
4. Click the Clip Volume/Pan button in the Track Control panel and select the Volume or Pan
option you want to adjust. Alt+Click the Clip Volume/Pan button to select all tracks.
nIf a clip contains volume automation or pan data and you do not select Volume or Pan from the
Clip Volume/Pan menu, the system displays a pink triangle on the clip to indicate that
automation data is present but not displayed.
5. (Option) Expand the audio track by pressing Ctrl+L (Windows) or Command+L
(Macintosh).
Using Volume and Pan Automation
803
6. Move the blue position indicator to the section of audio that you want to adjust and mark In
to Out points.
7. Click the Record button or press the B key to start recording your actions.
8. Listen to the audio and do one of the following:
tAdjust the Audio Level sliders in the Audio Mixer tool as necessary.
tClick the Pan Location cursor in the Pan grid in the Audio Mixer tool and adjust the
position.
tClick the Advanced Panner button in the Audio Mixer tool to open the Advanced Panner
and adjust the pan controls. For more information, see “Using the Advanced Panner for
Surround Sound Panning” on page 788.
9. Click the Record button again to stop recording.
Your Avid editing application adds volume automation or pan keyframes to the audio in the
Timeline. Because it records every movement of the sliders, there are usually more
keyframes than you need.
10. Decrease the number of keyframes:
a. Click the Track Selection Menu button for the track to enable the Fast menu.
b. Click the Audio Mixer Tool Fast Menu button, and select Filter volume automation on
Track or Filter Pan on Track.
11. Repeat step 10 until you have decreased the number of keyframes to an acceptable level.
You should remove as many excess keyframes as possible while still maintaining the volume
changes.
You can move, add, and delete keyframes individually or as groups to further adjust the
volume or pan. For details on how to adjust the keyframes, see “Using Volume and Pan
Automation in the Timeline” on page 799.
Audio Mixer Tool Fast Menu: Volume and Pan Automation Mode
The commands in the Audio Mixer tool Fast menu operate differently, depending on the types of
points you set within the clip or sequence, as described in the following table:
Points Set Description
Both In and Out points Commands apply adjustments to selected tracks between the points.
In point only Commands apply adjustments to full clips from the In point to the end of
selected tracks.
Out point only Commands apply adjustments to full clips from the beginning of selected
tracks to the Out point.
Using Volume and Pan Automation
804
The commands in the Fast menu appear inactive until you select a track.
The following table describes the Audio Mixer tool Fast menu commands for Volume and Pan
Automation mode:
Using Keyboard Shortcuts with Audio Keyframes
You can map the Fast Forward and Rewind buttons on your keyboard to speed your editing of
audio keyframes. For more information, see “Mapping User-Selectable Buttons” on page 109.
None Commands apply globally (across entire tracks).
Points Set Description
Command Description
Filter volume automation
on Track
Removes approximately 50 percent of the volume automation keyframes
in the marked region. If you press and hold the Alt key (Windows) or the
Option key (Macintosh) while selecting the menu item, the system
removes all keyframes in the selected area, except for the minimum and
maximum peaks. Your Avid editing application tries to save major
gestures while removing redundant points and points on a linear ramp.
This is useful for deleting extra keyframes after a recording.
Filter Pan on Track Removes approximately 50 percent of the pan keyframes in the marked
region.
Adjust Volume/Pan on
Track
Opens a dialog box for making incremental adjustments to all current
settings across segments in the marked regions of selected tracks.
For example, if you type –1 in the Volume Adjustment text box, the
various audio level settings across all segments of the marked region of
selected tracks are lowered by exactly 1 dB when you click OK.
Remove volume
automation on Track
Removes all of the volume automation keyframes within the marked
region.
Remove Pan on Track Removes all of the pan keyframes within the marked region.
Remove Volume/Pan on
Track
Deletes all volume and pan automation adjustments applied to segments
in the marked regions of selected tracks and restores each audio clip to its
previous pan and volume settings.
Calibrate Hardware
Sliders
Takes the place of the HW (hardware) button. When you enable the
Calibrate Hardware Sliders option, the external faders control the sliders
in the Audio Mixer tool. This is a test mode. Select the Fast menu option
again to disable the test mode.
Using Live Mix Mode
805
nThe Audio Mixer tool must be active when you use the Fast Forward or Rewind keys.
To use the Fast Forward and Rewind keys when editing volume automation or pan
keyframes:
1. Click the Audio Mixer tool to make it active.
2. Do one of the following:
tClick and hold the Audio Mixer Mode button and select Auto Mode from the menu.
tClick the Audio Mixer Mode button and cycle through the Audio Mix mode settings to
the Auto mode setting.
3. Select the appropriate track or tracks.
4. Press the Fast Forward key or the Rewind key.
The position indicator moves to the next or previous audio keyframe.
Using Live Mix Mode
Live Mix mode lets you temporarily override existing volume and pan automation settings
currently applied to a sequence. The most common way to use Live Mix mode is with a 002 or
Command|8 attached as a control surface. When you use an external controller you can play the
audio and override existing volume and pan automation settings in real time. For example, you
want to loop through a portion of audio and want to lower the dialog on one track while you
concentrate on the other tracks. You could mute the track that contains the dialog, but it might be
more useful to simply lower the volume of the track without changing any existing volume
automation or pan settings.
The volume slider areas appear red in Live Mix mode.
The following illustration shows the Audio Mixer tool in Live Mix mode.
Using Live Mix Mode
806
Entering Live Mix Mode
To enter Live Mix mode:
1. Select Tools > Audio Mixer.
2. Do one of the following:
tClick and hold the Audio Mixer Mode button and select Live Mix Mode from the menu.
tClick the Audio Mixer Mode button and cycle through the Audio Mix mode settings to
the Live mode setting.
The Audio Mixer tool changes to Live Mix mode.
Using Live Mix Mode
807
Using Live Mix Mode with an External Controller
To use a control surface in Live Mix mode:
1. Connect and configure the control surface.
For more information, see “Using the 002 and the Command|8” on page 844 or “Using Avid
Artist Series Controllers” on page 869.
2. Double-click Controller Settings in the Settings list and make sure that the Controller, Port,
and Gain Controller Port options identify the controller you are using.
The following illustration shows the controller settings for an Avid Artist Series controller.
3. Press the Mix button on your controller to open and put focus on the Audio Mixer tool.
4. Enter Live Mix mode in the Audio Mixer tool (see “Entering Live Mix Mode” on page 806).
5. Play and listen to the audio.
6. While the audio plays, you can adjust the faders or turn the pan knobs on the controller.
This temporarily adjusts the audio without changing the volume automation or pan settings.
7. (Option) Change to Volume and Pan Automation mode and play the audio.
The faders jump back to the volume automation settings and automatically move with any
volume automation keyframes on the track.
8. (Option) Change back to Live Mix mode and play the audio.
The faders jump back to the settings you last used in Live Mix mode and the audio plays at
the Live Mix mode setting.
You cannot save the Live Mix mode settings between editing sessions. For information on
applying or overwriting the Live Mix mode settings, see “Audio Mixer Tool Fast Menu: Live
Mix Mode” on page 808.
For information on using controllers in Volume and Pan Automation mode, see “Using
External Audio Devices” on page 837.
Using Live Mix Mode
808
Using Live Mix Mode Without an External Controller
You can use Live Mix mode without an external controller but you cannot change the volume or
pan sliders in real time.
To use the controls in the Audio Mixer tool:
tMove the volume sliders or change the pan settings, and then play the audio.
When you play the audio, the system uses your new settings without saving any volume
automation information.
Switching Between Live Mix Mode and Other Audio Mixer Modes
When you switch between Live Mix mode, Clip Volume mode, and Volume and Pan Automation
mode, your Avid editing application displays your previous view of the values for that mode.
Your Avid editing application saves Clip Volume mode and volume and pan automation settings
between editing sessions, but it does not save Live Mix mode settings between editing sessions.
The Live Mix mode settings are not tied to the sequence. If you load a different sequence into the
Timeline, the Live Mix mode settings on the controller (and in the Audio Mixer tool) do not
change. You can think of the Live Mix mode as an external mixer connected to the Avid editing
system. Changing to another sequence has no effect on the Live Mix mode settings.
Audio Mixer Tool Fast Menu: Live Mix Mode
The commands in the Audio Mixer tool Fast menu operate differently depending on the types of
points you set within the sequence, as described in the following table:
The following table describes the Audio Mixer tool Fast menu options in Live Mix mode:
Points Set Description
Both In and Out points Commands apply adjustments to selected tracks between the points.
In point only Commands apply adjustments to full clips from the In point to the end of
selected tracks.
Out point only Commands apply adjustments to full clips from the beginning of selected
tracks to the Out point.
None Commands apply globally (across entire tracks).
Using Live Mix Mode
809
Live Mix Mode Example
The following illustration shows the Live Mix mode settings on two tracks in the Timeline. Track
A1 is at 0 dB, and the volume of track A2 is set to -45. The Live Mix mode settings are not
represented in the Timeline, but you can hear the difference when you play the audio.
Command Description
Set Live Mix to Default Sets the active tracks to 0 dB and does not modify any existing
volume automation keyframes.
Set Live Mix to Automation Sets the Live Mix mode settings to match the volume and pan
settings where each track crosses the Position bar in the Timeline.
When you use this option, the system permanently removes the
existing automatic volume or pan key frames between the In and Out
points.
Set Live Mix as Automation Removes the existing volume automation or pan keyframes and
replaces them with the current Live Mix mode settings. You usually
use this option with In and Out points. The system applies the Live
Mix mode levels to the portions of the selected tracks between the
points.
Using Live Mix Mode
810
Live Mix level settings at 0 dB and -45 dB
The following illustration shows a sequence in the Timeline with volume automation applied.
The following illustration shows the result after choosing Set Live Mix to Automation In/Out
from the Audio Mixer Fast menu. The portion of the Timeline between the In and Out on Track
A1 is changed to 0 dB and the same portion of Track A2 is changed by -45 dB to match the Live
Mix settings. The system adds volume automation keyframes at the In and Out points and creates
ramps from the In and Out points to the new value.
Fading and Dipping Audio
811
After changing the levels in this way, you might enter Volume and Pan Automation mode and
further adjust the volume between the In and Out points.
Fading and Dipping Audio
In traditional analog editing, you manually change volume levels to smooth audio transitions
between elements in an edited sequence by doing any of the following:
• Fading audio up or down.
• Crossfading between audio elements on two separate channels.
• Dipping audio to a lower level.
In Avid editing applications, these effects are more accurately termed “audio dissolves” because
they occur instantly when you apply the same dissolve effect that you use for video tracks.
Crossfading in an Avid editing application differs from crossfading in analog editing. In the
analog world, unless you are using a mixer, you must lay down audio on two separate channels
and fade one down, and then fade up the second on an overlapping section. In an Avid editing
application, you simply apply an audio dissolve.
To fade or crossfade audio, use the procedures described in “Using Volume and Pan
Automation” on page 797 or the procedure below. To dip audio from a higher level to a lower
one — for example, when bringing music down and under a voice-over track, use the procedures
described in “Using Volume and Pan Automation” on page 797 or the procedure below.
For an overview of when to use clip volume and when to use volume automation, see “Audio
Volume Staging and an Audio Editing Workflow” on page 780.
To apply a fade or crossfade:
1. Move the position indicator to a transition.
2. Click the Quick Transition button (which appears by default in the second row of buttons
below the Record monitor or in the Timeline top toolbar).
The Quick Transition dialog box opens.
Fading and Dipping Audio
812
3. Click the Add menu, and Select Dissolve.
Only dissolves work with audio tracks.
4. Click the Position menu, and select the location for the dissolve.
5. Select a duration for the dissolve by doing one of the following:
tType a duration, measured in frames (30 frames equals 1 second of NTSC footage; 25
frames equals 1 second of PAL footage), in the Duration text box.
tClick either the left or right edge of the Dissolve Effect icon, and drag it to change the
duration.
The graphic display changes—the size of the effect icon gets smaller or larger, and the
numbers in the Duration and Start text boxes change—to reflect the new duration.
nThe number of frames available for a dissolve depends on how much of the clip has been edited
into the sequence. For more information, see “Using the Quick Transition Button” in the Help.
6. If you selected Custom Start, type the number of frames before the transition to begin the
effect in the “Start n frames before cut” text box. Otherwise, leave the default value in the
text box.
7. (Option) Click the Target Drive menu, and select a media drive other than the default.
8. (Option) If you have In and Out points marked in your sequence, the Quick Transition dialog
box contains the following two options:
- Apply to All Transitions (In -> Out)
- Skip Existing Transition Effects
Audio Sample Rate Conversion
813
nThe Skip Existing Transition Effects option is useful when you want to add a number of dissolves
to a sequence that already has transition effects.
Do one of the following:
tSelect Apply to All Transitions (In -> Out) to overwrite all existing transition effects
between the In and Out points.
tSelect both options to avoid overwriting any existing transition effects.
9. Click Add to move the effect to the transition point without rendering. Click Add and
Render to do both at once.
nIn most cases, you can select Add and Render for immediate real-time playback of the audio
effect (rendering of audio dissolves is usually instantaneous).
The effect is completed.
To apply a dip in audio:
1. Play back the section of the sequence where you want to dip the audio to determine the start
point for the dip, and apply an add edit to the audio track.
For information on add edit, see “Working with Add Edits (Match Frames)” on page 710.
2. Repeat the action in step 1 for the end point where the audio dips back up.
3. Move the position indicator to the new segment of audio, and open the Audio Mixer tool.
4. Adjust the track to the volume level you want, as described in the section “Using Clip
Volume and Pan Mode” on page 782.
5. Apply a dissolve to both Add Edit points, using the techniques described in “Fading and
Dipping Audio” on page 811.
Be sure to click the Position menu, and select Centered on Cut or Custom Start.
After rendering, the audio dips smoothly from the higher levels of the adjacent segments of
the track to the lower level applied to the middle segment.
Audio Sample Rate Conversion
The following options are available for audio sample rate conversion:
• You can perform sample rate conversion on a clip or sequence, as described in “Changing
the Audio Sample Rate for Sequences and Audio Clips” on page 814.
• You can perform sample rate conversion as part of a Transcode operation. See “Using the
Transcode Command” on page 451.
• You can perform sample rate conversion as part of a Consolidate operation. See “Using the
Consolidate Command” on page 447.
Changing the Audio Sample Rate for Sequences and Audio Clips
814
• You can perform on-the-fly sample rate conversion while playing when the system
encounters different sample rates. See “Audio Projects Settings: Main Tab” on page 1292.
• You can instruct the system to perform sample rate conversion during an import operation if
it encounters a sample rate different from the project sample rate. See “Sample Rate
Conversion and Audio Import” on page 288 and “Import Settings: Audio Tab” on
page 1355.
• You can instruct the system to automatically perform sample rate conversion during capture
if it encounters an audio sample rate different from the project sample rate. Sample rate
conversion on input applies to the following digital inputs: SDI embedded, AESEBU,
SPDIF, and ADAT. For more information, see “Selecting the Audio Sample Rate and
Controlling Audio Sample Rate Conversion” on page 194.
Changing the Audio Sample Rate for Sequences and
Audio Clips
You can change the sample rate for sequences and audio clips from within the Change Sample
Rate dialog box. Because you can combine clips with different sample rates in the same
sequence, this feature is useful when you need to ensure that the entire sequence has the same
sample rate for a digital cut or export.
For information on setting the sample rate for a project, see “Audio Project Settings for Capture”
on page 193.
To change the sample rate for a sequence or an audio clip:
1. Select one or more sequences or audio clips in the bin.
2. Select Clip > Change Sample Rate.
The Change Sample Rate dialog box opens.
3. Choose from the following options:
Option Description
Sample Rate Lets you choose between 32 kHz, 44.1 kHz and 48 kHz. The broadcast
standard for most high-end video postproduction houses is 48 kHz.
Choose the rate based on the requirements of your facility.
Quality Lets you choose the conversion quality: High, Medium, and Low.
Delete Original
Media
When you select this option, the system automatically deletes the
original media after the conversion process completes.
Mixing Down Audio Tracks
815
4. Click OK.
Mixing Down Audio Tracks
When you work with multiple audio tracks while editing your material, you might need to mix
down the final audio to a multichannel track or to a mono track. When you mix down audio, your
Avid editing application inserts the mixdown audio in the next available track in the Timeline by
default. You can override the default target track by selecting another one in the Audio Mixdown
dialog box.
nYou cannot mix down compressed audio.
To mix down several edited audio tracks to one or two audio tracks:
1. Load a sequence into the Record monitor.
2. Click the Track buttons in the Track Selector panel to select the audio tracks you want to mix
down.
3. Mark an In point and an Out point at the start and end of the material you want to mix down.
If you do not mark the section of audio you want to mix down, the system mixes down all of
the selected audio tracks.
4. Select Special > Audio Mixdown.
The Audio Mixdown dialog box opens. The Source Tracks area lists the source audio tracks
and the Range area lists the start and end timecodes for the section of audio you have
selected to mix down.
Target Drive Identifies the drive for the new media files. Make sure that you choose
a target drive with enough storage space for the generated media files
and the ability to play back media.
Option Description
Mixing Down Audio Tracks
816
5. Select Mono, Stereo, 5.1, or 7.1 and select the target track to which you want to mix down
the audio.
A mono mixdown goes to the next available mono track in the Timeline, and a stereo or
surround sound mixdown goes to the next available stereo or surround sound track. If there
are no appropriate tracks in the Timeline, the mixdown operation creates them.
6. Select a drive and a bin.
The drive is the media drive where the system stores the media files for the mixed-down
audio.
7. Select Save Premix Sequence if you want to save the sequence before mixing down the
audio.
8. Click OK.
Your Avid editing application mixes down the audio, displays the new master clip in the bin,
and edits the mixdown clip into the sequence.
Splitting Multichannel Tracks to Mono Tracks
817
Splitting Multichannel Tracks to Mono Tracks
You can split a multichannel audio track in the Timeline into separate mono tracks if you want to
edit separate audio channels or if you need to export a sequence either to an older version of the
Avid editing application or to Avid Pro Tools. You can also split a clip or sequence with
multichannel tracks to mono from a bin. You can split individual multichannel tracks to mono, or
you can split all multichannel tracks in your sequence.
When you split a multichannel track, the original multichannel track becomes a mono track and
a new mono tracks are added below the original track. For example, if you split a stereo track on
A1 in the Timeline, the application makes A1 a mono track holding one stereo channel and adds
a second mono track on A2 for the other stereo channel. If A2 already exists in the Timeline, the
application renumbers tracks to allow for the split mono tracks. Also, the application renumbers
tracks to preserve the odd and even track numbers for left and right mono channels. Renumbered
tracks start at the highest track available.
If you duplicate a clip in a bin and split the copy to mono, or if you edit a multichannel clip into
a sequence on multiple tracks and split one track to mono, your sequence can contain both a
multichannel and a mono instance of the same master clip. This does not cause a problem with
editing, playback, or any other operation.
nIf splitting multichannel tracks to mono tracks causes your sequence to exceed 24 audio tracks,
or if splitting to mono cannot maintain the relative order of tracks or the left/right channel
alignment, the Avid editing application cannot complete the operation and an error message
displays. You can reduce the number of audio tracks in your sequence and retry the operation.
Stereo track A4 (left) split into mono tracks A5 and A6 (right)
Using the Audio EQ Tool
818
When the Avid editing application splits a stereo track to two mono tracks, it changes some
audio properties of the track:
• Removes stereo track effects such as RTAS plug-in effects.
• Converts stereo AudioSuite plug-in effects to mono effects.
• Applies any existing volume automation to the resulting mono tracks.
• Applies any existing pan automation to the resulting mono tracks, panning odd-numbered
tracks to the left and even-numbered tracks to the right.
• Clears rendered effects. If you have effects on audio segments on stereo tracks, you need to
render them after splitting the tracks to mono.
When you split all tracks in a sequent to mono, the Avid editing application automatically
duplicates your original sequence and saves a copy to your bin before splitting multichannel
tracks to mono.
To split a multichannel audio track to mono, do the following:
tRight-click the multichannel track you want to split, and select Split Track to Mono.
tRight-click a multichannel clip in a bin that you want to split, and select Split Track to
Mono.
The multichannel track splits into mono tracks, with the additional mono tracks added below
the original multichannel track. A copy of your original sequence is saved to your bin as
[sequence_name].Copy.[number].
To split all multichannel audio tracks in the Timeline to mono, do one of the following:
tRight-click in the Timeline, and select Split All Tracks to Mono.
tSelect Clip > Split All Tracks to Mono.
All multichannel tracks in the Timeline split into separate mono tracks, with the new mono
tracks added below each original multichannel track. A copy of your original sequence is
saved to your bin as [sequence_name].Copy.[number].
Using the Audio EQ Tool
The Audio Equalization (EQ) tool supports real-time, segment-based frequency equalization on
individual clips, which lets you adjust the high, low, and midrange frequency ranges of an audio
clip. You can also save a variety of audio EQ effects and apply them in different circumstances.
To access the Audio EQ tool, do one of the following:
tSelect Tools > Audio EQ.
Using the Audio EQ Tool
819
tIf one of the Audio tools is already open, click the Effect Mode Selector menu, and select
EQ.
The Audio EQ tool opens.
Audio EQ Tool Features
This topic describes the basic buttons and menus on the Audio EQ tool as well as the EQ-specific
items on the tool.
Top part of the Audio EQ tool
123
5
7
6
4
Button Description
1 Effect icon Lets you create an EQ template. Drag the icon to an open bin to create the
template.
2 Audio Loop
Play
Lets you make adjustments to an EQ effect while you play the effect. This
button is also a mappable button on the Command palette. For more
information about using this button, see “Adjusting Volume While Playing a
Clip Volume Effect” on page 794.
3 Render Effect Lets you render an effect without leaving the Audio EQ tool.
4 Fast Menu Lets you perform the following tasks:
• Set EQ for enabled tracks.
• Remove EQ for one or more tracks.
• Apply an effect template. See “Using Audio EQ Templates” on page 827.
5 Track Selection
Menu button
Lets you enable tracks for the EQ effect. When you select an item from this
menu, the system selects or deselects the corresponding track in the Timeline.
nIf you enable more than one track in the Timeline, the tracks are designated by plus signs
(+) indicating the effect is applied to more than one track.
6 Enable/Disable
EQ Effect
Lets you enable or disable the current EQ effect. When the button is yellow,
the effect is enabled. (The button text “In” stands for “Inline.”)
Using the Audio EQ Tool
820
EQ-Specific Features
Bottom part of the Audio EQ tool
The Audio EQ tool provides three bands of control:
• The first band, the low shelf, has four turnover points (50 Hz, 80 Hz, 120 Hz, and 240 Hz).
A turnover point is the point at which the curve starts to return to 0.
A shelf affects all frequency values within the range of the shelf. The low shelf affects all
frequencies from 20 Hz to the low shelf turnover point. For more information, see “Audio
EQ Examples” on page 826.
7 Bypass RT EQ Lets you instruct the system to ignore all the EQ effects. This button is also
available in the Audio Mixer tool and the Output tab in the Audio Project
Settings dialog box. If you select this feature in one place, it is selected in the
others as well.
Button Description
1
6
7
2
3
4
5
1 EQ Parameter display 5 3-band controls
2 Low shelf 6 EQ Range slider
3 Parametric midrange 7 EQ Parameter graph
4 High shelf
Using the Audio EQ Tool
821
• The second band is the parametric midrange. This band has two bandwidth values, 1/4
octave and 2 octaves. These values control the width of the curve. For more information, see
“Audio EQ Examples” on page 826.
• The third band, the high shelf, has four turnover points (6 kHz, 8 kHz, 12 kHz, and 15 kHz).
The high shelf affects all frequencies from the high shelf turnover point to 20 kHz.
The horizontal center line of the graph is 0 (zero). As you move the curve below the zero line, the
corresponding frequencies are de-emphasized. Above the zero line, the corresponding
frequencies are emphasized. The parametric midrange allows a smooth transition from
de-emphasized frequencies to emphasized frequencies.
The In button lets you turn off an individual EQ effect (the currently selected effect). The button
is yellow when the EQ effect is on (inline) and gray when the EQ effect is off.
The Ignore EQ option turns off all EQ effects for the sequence. Rendered EQ effects still play
correctly.
When you apply Audio EQ effects, consider the following:
• Apply Audio EQ to entire segments only. You cannot isolate portions of a segment for an
Audio EQ effect by using In to Out points. You must use add edits (match frames) to mark
off a smaller segment.
• Use In to Out points to select a range of complete segments for applying an Audio EQ effect.
Segments that fall within the marks, either in part or whole, have the effect applied to them.
The following illustration shows the Audio EQ tool with the frequency response curve displayed
and identifies the related areas of the tool.
Using the Audio EQ Tool
822
Example of shelf, parametric midrange, and turnover point information in the Audio EQ tool. The current value for all
EQ parameters is 0 dB. Top: buttons that display turnover points (for the low shelf and high shelf curve) and
bandwidth (in this case, 2 octaves) around the center point of the parametric curve. Bottom: EQ Range slider
showing the center point of the parametric midrange curve.
The Audio EQ tool lets you emphasize or de-emphasize audio frequencies. The height of the
curve in the bottom pane shows the amount of emphasis or de-emphasis (also called boost or cut)
that is being applied. The range is from +15 dB to –20 dB.
Applying Audio EQ Effects
To adjust audio EQ for a track:
1. Load the sequence or clip containing the audio track:
tTo adjust a track in a source clip, click the Source monitor to make it active.
To view a source clip’s tracks in the Timeline, click the Toggle Source/Record in
Timeline button.
tTo adjust a track in a sequence, click the Record monitor to make it active.
2. (Option) Isolate a portion of an audio segment by placing add edits.
3. (Option) Mark a range of audio segments by adding In to Out points in the track.
4. Select Tools > Audio EQ.
5. Click and hold the Track Selection Menu button in the Audio EQ tool, and select a track to
be adjusted.
Using the Audio EQ Tool
823
Track Selection Menu button in the Audio EQ tool
The Track Selector panel in the Timeline updates to reflect your selection. If you enable
multiple tracks in the Timeline, plus signs (+) appear next to the enabled tracks in the Audio
EQ tool.
6. Click the Audio Loop Play button to play the currently selected audio clip within the current
In to Out range. To stop playing the loop, click the button again or click anywhere in the
Timeline.
7. Use one of the following methods to change a value in the Audio EQ tool:
tClick a number along the vertical edge of the Low Shelf, Parametric Midrange, or High
Shelf sliders.
tClick the Low Shelf, Parametric Midrange, or High Shelf slider, and type a value.
Values are cumulative until you press Enter (Windows) or Return (Macintosh). For
example, if you want to enter the value 12, simply type it. However, if you enter 1 and
then want to change the value to 2, press Enter (Windows) or Return (Macintosh) before
typing the 2.
tClick a slider, and then drag the slider to a new position.
tClick the EQ Parameter display, and type a value on the numeric keypad.
tSet a value of 0 dB by clicking the slider and entering 0, or by clicking 0 along the
vertical edge of the Low Shelf, Parametric Midrange, or High Shelf sliders.
8. Click the Audio EQ Tool Fast Menu button, and select Set EQ to apply the adjustments to
the track.
The command works as follows on the selected tracks:
- In and Out points — Applies the EQ effect to selected tracks between the points.
- An In point (no Out point) — Applies the EQ effect to full clips from the In point to the
end of selected tracks.
- No points — Applies the EQ effect globally (across entire tracks).
9. Play through the audio again, using the Audio Loop Play button.
10. Repeat steps 6 to 9 until you are satisfied with the EQ adjustments.
Using the Audio EQ Tool
824
Saving Audio EQ Effects
Your Avid editing application treats an EQ setting as an effect. You can save EQ settings in a bin
just as you save any other effect template. This makes it easy to save EQ settings and apply them
whenever you need them. The following illustration shows an EQ Effect icon in a bin and in the
Timeline.
Examples of an EQ effect icon in the bin and in the Timeline
To save EQ settings in a bin:
tDrag the effect icon in the Audio EQ tool to a bin.
To copy the settings to another audio clip:
tDrag the effect icon in the Audio EQ tool to another audio clip in the Timeline.
For more information on using effect templates, see “Working with Effect Templates” in the
Help.
Removing Audio EQ Effects with the Fast Menu
You can remove audio EQ effects with the Audio EQ Tool Fast menu or with the Remove Effect
button.
The Audio EQ Tool Fast menu lets you remove EQ effects from one track or all enabled tracks
and provides access to a number of predefined EQ templates. For a description of predefined
audio templates, see “Using Audio EQ Templates” on page 827.
Using the Audio EQ Tool
825
For example, the following illustration shows a segment with one EQ effect applied to the second
audio clip on the first audio track. If you select Set EQ In/Out, the current EQ effect is also
applied to the first and third audio clips on the first audio track.
If there is no EQ setting on the currently selected clip, selecting Set EQ In/Out deletes the EQ
settings on all clips within the In to Out range. For example, because there is no EQ setting on
the third audio clip in the following example, Set EQ In/Out deletes the EQ effect from the first
and second audio clips.
Set EQ In/Out applies only to the audio track currently selected by the Audio EQ tool. You can
change your selected region by eliminating or adding marks in the Timeline, or by selecting a
different track.
Removing Audio EQ Effects with the Remove Effect Button
To remove an Audio EQ effect:
1. Move the position indicator to the effect in an active track.
2. Do one of the following:
tIn Source/Record mode, click the Remove Effect button.
Using the Audio EQ Tool
826
tIn Effect mode, press the Delete key.
Audio EQ Examples
The following procedures are examples of two different ways to use the Audio EQ tool to
remove excess bass from an audio track. Assume that a bass drum in the sound track is very
pronounced. You want to use the Audio EQ tool to de-emphasize it, but there are voices on the
same track as the music. The human voice covers a wide range of frequencies, and the challenge
is to preserve the bass frequencies of the voices while de emphasizing the bass drum sound.
Consider that the goal of the adjustments is the final sound. You should use small adjustments to
preserve as much of the original sound track as possible. Do not be overly concerned about
specific parameter values.
The first procedure adjusts the low shelf to de-emphasize the bass. By dropping the low shelf to
–20 dB, you can de-emphasize it. However, there are voices on this track, and simply dropping
the low shelf also removes some bass from the voices.
The remaining procedures use the parametric midrange to isolate the particular frequency to
de-emphasize.
To compensate for the loss of bass by adjusting the low shelf:
1. Use the 2-octave midrange setting to create a wide midrange.
2. Move the midpoint of the parametric curve to 88 Hz (Windows) or 90 Hz (Macintosh).
3. Boost the midrange of the parametric curve to +7.7 dB.
Using the Audio EQ Tool
827
To isolate the frequency:
1. Use the ¼-octave influence range.
2. Set the midrange EQ parameter to –15 dB.
3. Use the EQ Range slider to move the midpoint of the parametric curve until it isolates the
bass frequency.
In this case, the bass frequency to de-emphasize is approximately 80 Hz.
Once you locate the frequency you want, you can adjust it as needed.
To locate a specific frequency and either emphasize or de-emphasize it:
tUse the ¼-octave influence range and a large negative decibel value.
tKeep both the high shelf and low shelf set to zero.
tUse the EQ Range slider to move the center point of the parametric curve along the
frequency range while you play the audio track.
Using Audio EQ Templates
Your Avid editing application provides a set of predefined audio EQ templates. The EQ
templates are designed to fix problems that you often encounter with audio clips. For example,
Tape Hiss Filter rolls off frequencies above 4 kHz. NTSC Hum Buster cuts the bass on
frequencies that often cause hum on NTSC systems. The templates are accessible from the Fast
menu in the Audio EQ tool. You can also add your own custom EQ templates to the Fast menu.
Using the Audio EQ Tool
828
Predefined EQ templates in the Audio EQ tool Fast menu
The following illustration shows the contents of the Audio EQ tool when you select the Female
Voice with Presence template in the Timeline. As explained in the tool, you cannot change the
parameters of a predefined EQ template.
Using the Audio EQ Tool
829
nTo see the parameter values of one of the EQ templates that cannot be edited, view the Console
window after you apply the effect. For more information, see “Using The Console Window” on
page 112.
If you create an EQ effect, you can use it again as a template in another sequence or on another
track.
Your Avid editing application stores predefined EQ templates in a special bin named
Site_EQs_Bin.avb. You can add your own EQ templates to the Audio EQ Tool Fast menu by
storing your EQ templates in the same bin as the predefined templates.
To apply an EQ template from the Audio EQ Tool Fast menu:
1. Move the position indicator to the audio clip in the Timeline.
2. Click the Audio EQ Tool Fast Menu button, and select the template.
Your Avid editing application places the EQ effect on the audio clip.
To create your own EQ effect template:
1. Drag the effect icon from the Audio EQ tool to a bin.
Your Avid editing application creates an EQ effect in the bin.
2. Rename the template by clicking the text and typing a new name.
To add an EQ template to Site_EQs_Bin:
1. Open the bin containing your EQ templates.
2. Select File > Open Bin.
A dialog box opens.
3. Navigate to the bin named Site_EQs_Bin.avb in one of the following locations:
(Windows) drive:\Program Files\Avid\Avid editing application\
SupportingFiles\Site_Effects
(Macintosh) Macintosh HD/Applications/Avid editing application/
SupportingFiles/Site_Effects
4. Double-click the Site_EQs_Bin.avb file.
The Site_EQs_Bin window opens.
5. Drag one of your EQ templates into the Site_EQs_Bin window.
6. Name the template by clicking the text and typing a name.
7. Close the bin.
Your Avid editing application does not save the effect to the bin until you close the bin.
8. Click the Audio EQ Tool Fast Menu button, and look for your new template.
Recording Voice-Over Narration
830
Adjusting EQ While Playing an Audio Effect
You can use the Audio Loop Play button to create or change an EQ effect while a clip is playing.
Use the same procedure as described in “Adjusting Volume While Playing a Clip Volume Effect”
on page 794.
If the clip has no existing EQ effect before you start, you do not hear any changes until you click
the Audio Loop Play button to stop and replay the effect.
As you adjust the EQ values on an existing EQ effect, you might not hear the results
immediately. It takes a few seconds for the changes to be applied to the clip.
You can improve the response time by doing any of the following:
• Monitor as few audio tracks as possible.
• Deselect the video track, if practical.
• Use In and Out points to choose a narrow interval to adjust.
Recording Voice-Over Narration
You can use the Audio Punch-in tool to record audio directly into the Timeline for voice-over
narration.
Recording voice-over narration directly into your Avid editing application saves you the extra
steps of recording the narration to tape first, capturing the narration audio to your Avid system,
and then editing the audio clip into the sequence.
Hardware Connections for Voice-Over Recording
Before you can record voice-over narration, you need to connect a microphone or other input
device to your system. The following are typical examples:
• Connect a microphone to a mixer, and connect the mixer to the audio interface I/O device on
your Avid system.
• Connect a microphone to an external audio device — for example, one of the Mbox family
devices — and connect the device to your Avid editing system.
• Connect a microphone to a microphone preamplifier, and connect the preamplifier to the
audio interface I/O device on your Avid system.
For information on connecting the hardware, see “Using the Avid Input/Output Hardware” in the
Help.
Recording Voice-Over Narration
831
Audio Punch-in Tool Features
You can use the Audio Punch-in tool to record voice-over narration directly into the Timeline.
However, you can only record to mono tracks when you use the Audio Punch-In tool.
You can “rehearse” the voice-over while listening to the sequence. The voice-over is not
recorded while you rehearse. You can continue to rehearse until you get it right. While recording,
you can watch and listen to the sequence and hear the playback of edited sound tracks.
The following illustration shows the features of the Audio Punch-In tool. The following table
describes the features of the tool.
1234
5
6
7
8
9
10
11
12
13
14
Audio Punch-In
Tool Feature Description
1 Play In/Out button Starts playing with the ability to perform a real-time punch-in. The play loops from
the In point to the Out point but stops looping once recording completes. This button
blinks bright green while playing.
2 Record button Starts and stops the recording. If you set an In point and Out point, recording
automatically starts at the In point and stops at the Out point. This button blinks bright
red while recording.
3 Stop button Stops playing or recording and saves the last recorded data. This button is bright blue
when recording stops.
Recording Voice-Over Narration
832
4 Go to Mark In
button
Moves the position indicator to the In point. If there is no In point, your Avid editing
application goes to where the position indicator was previously located or to the start
of the sequence.
5 Cancel button Stops a recording without saving the recorded data.
6 Audio Tool button Opens the Audio tool so you can monitor and adjust the audio levels during recording.
7 Input Channels
button
Identify the channels on the audio hardware used for recording. Click the appropriate
button to select the channel. Alt+click (Windows) or Option+click (Macintosh) the
button to display a menu and select another channel.
The selected input channels are not used for playback. Do not select the same
channels as mix output on the Audio Mixer tool.
8 Passthrough Mix
Tool button
Opens the Passthrough Mix tool so you can monitor the audio levels during
recording.
9 Preroll and postroll
text boxes
Let you provide audiovisual cues before the recording begins and after it ends. For
preroll, your Avid editing application backs up the position indicator for the
prescribed number of seconds. You can hear the audio during preroll.
When starting a punch-in with the Record button, a preroll lets you provide the
duration, in seconds, of the audiovisual cue before the recording begins.
nThe Record button takes precedence over preroll. During preroll, if you press the Record button, the
system starts recording immediately.
10 Handles text box Instructs your Avid editing application to record audio at the beginning and end of the
clip. This lets you perform trim edits on the audio.
This feature applies only when you start recording with the Record button. You can
record real-time punch-in only until the end of the handle.
11 Input Source menu Includes several optional sources for audio input, depending on your system and audio
board.
nTo view the audio input sources available on your system, see the Input Source menu in the Input tab
in the Audio Project Settings dialog box.
12 Timeline Track
menus
Allow you to specify where your Avid editing application places the audio in the
Timeline. Select either New Track or an existing track. When you select an existing
track, your Avid editing application overwrites the audio on that track and silences
that portion during playback.
You can only use mono audio tracks for punch-in. You cannot select stereo tracks or
locked tracks.
13 Target Drive menu Lets you choose a target drive.
Audio Punch-In
Tool Feature Description
Recording Voice-Over Narration
833
Audio Punch-in Tool Scenarios
You can punch-in audio in several ways:
• Scenario 1 — Set only an Out point. The position indicator is used as the In point. Set a
preroll time. Click the Play In/Out button to loop continuously through the sequence. Click
the Record button when you find what you want to punch-in, and then click the Record
button again to end recording.
• Scenario 2 — Set an In point and an Out point around the material you want to record. Set a
preroll time. Click the Record button to start the preroll. When the system arrives at the Out
point, recording ends. The last region including the Out point is recorded. Repeat recording
over the same region until you are satisfied with the results.
• Scenario 3 — With no In point or Out point set, click the Record button continuously
throughout your sequence. Click the Record button to start recording, and then click the
Record button again to end recording. Continue this process to record multiple punch-ins.
Recording Voice-Over Narration Using Audio Punch-in
The steps below represent general guidelines for recording audio punch-ins, regardless of your
scenario. You should determine when to add the In and Out points, when to use the Play In/Out
button, and when to use the Record button, based on your needs. For more information, see the
scenarios described in “Audio Punch-in Tool Scenarios” on page 833.
nWhen performing an audio punch-in, the video resolution is dropped a quarter-frame due to
bandwidth limitations.
To use the Audio Punch-In tool:
1. Load a sequence into the Timeline.
2. Select Tools > Audio Punch-In.
The Audio Punch-In tool opens. For information on the buttons and other controls in the
Audio Punch-In tool, see “Audio Punch-in Tool Features” on page 831.
14 Target Bin menu Lets you choose a target bin.
Audio Punch-In
Tool Feature Description
Recording Voice-Over Narration
834
Audio Punch-In tool. Top, left to right: Play In/Out button, Record button, and Stop button. Center: Input Source
menu. Bottom left: Input Channels buttons. Bottom right: Timeline Track menus.
3. Select the input source and input channels that correspond to your hardware setup, and set
other values in the window as appropriate.
To select the input channels you want, click and hold the appropriate Input Channels button.
4. Click the Timeline Track menus, and select either New Track or an existing track to specify
where your Avid editing application places the audio voice-over in the Timeline.
You can only use mono audio tracks for punch-in. You cannot select stereo tracks or locked
tracks.
You can replace part (or all) of an existing track, or you can create a new track for the
voice-over.
5. (Option) Set In and Out points in the Timeline to specify the part of the sequence to which
you want to add narration.
6. Click the Play In/Out button or press the V key.
Loop play begins over the entire sequence. If you set an In point and an Out point, loop play
begins from the In point to the Out point.
The Play In/Out button blinks bright green while playing.
7. When you are ready to start the voice-over, click the Record button or press the B key.
The Record button blinks bright red while recording, and the Play In/Out button is a steady
green. The Audio Meter Channel button in the Audio tool becomes an I and changes to
orange.
8. Continue to click the Record button to record additional voice-overs.
During the audio punch-in process, you have the ability to record over the duration of the
sequence or from the In point to the Out point.
Recording Voice-Over Narration
835
9. Click the Stop button, or press the space bar to stop play and recording.
Your Avid editing application automatically names the voice-over and saves it as an audio
clip. You can change the clip name as you would for any other clip. The position indicator
stops to get ready for your next voice-over.
10. (Option) To go to the In point at any time, click the Go to Mark In button.
Your Avid editing application creates one master clip, regardless of how many punch-ins
you perform.
The following illustrations show the results of adding a voice-over.
Examples of adding a voice-over in the Timeline. Top: voice-over adding a new track. Bottom: voice-over
replacing a portion of a track.
Three Undo functions can be performed during one session. The first undo removes the most
recent punch-in, the second undo removes the second-to-last punch-in, and the third undo
removes all the punch-ins.
Monitoring Previously Recorded Tracks While Recording
Voice-Over Narration
You can monitor previously recorded audio tracks while you record a voice-over narration.
To monitor other audio tracks:
1. Select Tools > Audio Tool.
The Audio tool opens.
2. Click the Output Options menu, and select Mono.
3. Record your voice-over as described in “Recording Voice-Over Narration Using
Audio Punch-in” on page 833.
4. As you record, monitor the previously recorded audio tracks along with your current
recording from the meters in the Audio tool and from the sound on the speakers.
Recording Voice-Over Narration
836
Using Peak Hold While Recording Voice-Over Narration
Peak Hold lets you customize the meter displays, and sets and plays back the internal calibration
tone. You can use Peak Hold while recording a punch-in as follows:
• Use the Peak Hold menu in the Audio tool to change between Peak Hold and Infinite Hold.
• Use the Reset Peak button in the Audio tool.
For more information about Peak Hold, see “Understanding the Audio Tool” on page 198.
19 Using External Audio Devices
Avid editing applications support the following external fader controllers or mixers for volume
automation and pan recording or as control surfaces.
nExternal fader controllers or mixers are optional. You do not need them to perform volume
automation or pan recording on an Avid editing system.
• 002 (Windows only) and Command|8 — These units support touch-sensitive flying faders.
While recording volume automation, the faders automatically move. Touch sensitivity
means that you can grab a fader and move it during a volume automation recording to
quickly punch in a small change in volume. Each track has a separate pan control knob that
you can use for pan recording. You can use the 002 as a standalone audio mixer, but not at
the same time that you use it as a volume or pan controller or as a control surface. The 002
and Command|8 are the only controllers that can be used as control surfaces to control other
parts of your Avid editing application.
You can also use these units as control surfaces for other parts of your Avid editing
application. Besides basic functions such as Play, Stop, and Rewind, you can map buttons
and menu items to the different buttons on the control surface.
• Mbox family of audio devices — These devices include the Mbox, Mbox Pro, and Mbox
Mini. You can use these devices in supported configurations to control audio input and
output, as well as to monitor audio playback. For more information, see “Using Mbox
Family Audio Devices” on page 851.
• EUCON devices — These devices include the MC Control, MC Mix, and MC Transport.
You can use these devices to perform various audio navigation and transport functions as
well as some video and audio editing operations such as recording volume automation. For
more information, see “Using Avid Artist Series Controllers” on page 869.
The following table compares Avid external controllers and mixers.
Feature Digi 002 (MC/NC only) Command|8 MC Control MC Mix MC Transport
Control surface for
transport controls
and other
functions
Yes Yes Yes Yes (transport
only, no soft
keys)
Yes
838
The following list provides additional information on touch sensitivity and automatically
stopping recording:
• Touch sensitivity — As soon as you touch a moving fader on the 002 or Command|8, the
unit passes control of the fader to you.For more information, see “Using the Latch Mode
Feature on the 002 and Command|8” on page 850.
• Latch mode — In Latch mode, you record gain information only while touching the fader. In
Latch mode, recording begins when you touch and ends when you stop playback. For more
information, see “Using the Latch Mode Feature on the 002 and Command|8” on page 850.
For more information on using these external fader controllers or mixers, see “Understanding
Volume or Pan Automation Recording” on page 801.
Provides audio
play, input, and
output
Yes No No No No
Record volume
automation
Yes Yes Yes Yes No
Record pan Yes Yes Yes Yes No
Flying faders Yes (8) Yes (8) Yes (4) Yes (8) No
Touch-sensitive
faders
Yes Yes Yes Yes No
Touch-sensitive
panners
No No Yes Yes No
Solo/mute Yes Yes Yes Yes No
Supports audio
mixing
NoaNo No No No
Latch mode Yes Yes Yes Yes No
Number of steps of
fader accuracy
1024 1024 1024 1024 Not applicable
a. The Digi 002 can be used as a standalone audio mixer but not at the same time as it is being used as a volume
automation or pan controller or control surface.
Feature Digi 002 (MC/NC only) Command|8 MC Control MC Mix MC Transport
Configuring an External Controller
839
Configuring an External Controller
Some fader controllers require specific configuration procedures before you can use the devices
with your Avid editing application. For more information, see the following topics:
•“Configuring the Command|8” on page 845
•“Configuring the Mbox Device” on page 852
•“Using Avid Artist Series Controllers” on page 869
For information about using third-party devices, see the documentation that came with your
fader controller.
To set the correct port in the Controller Settings:
1. Start your Avid editing application.
2. Click the Settings tab in the Project window.
3. Double-click Controller Settings.
4. In the Gain Controller Port menu, select the port that corresponds to your controller.
5. Click OK.
nAn external fader controller is optional. It is not required to perform volume automation
recording.
To test the external fader controller:
1. Select Tools > Audio Mixer.
The Audio Mixer tool opens.
2. Do one of the following:
tClick and hold the Audio Mixer Mode button and select Automation Mode from the
menu.
tClick the Audio Mixer Mode button and cycle through the Audio Mix mode settings to
the Automation Mode setting.
3. Click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders.
The box changes to blue.
4. Check the color of the position indicator lights.
If the external fader controller is connected, at least one of the lights should be on (blue). If
the external fader controller is not connected properly, the lights will probably appear gray.
Configuring External Controller Settings
840
Position indicator lights in the Audio Mixer tool
5. Move the faders on the external fader controller.
The corresponding fader should move in the Audio Mixer tool.
Configuring External Controller Settings
You use the Controller Settings dialog box to configure your system so that it can communicate
with supported fader controllers. You can use the Controller Settings dialog box for your device
to configure several aspects of the controller’s behavior:
• You can map the Command palette functions of your choice to the fader controller buttons.
For information on mapping Avid Artist Series buttons, see “Customizing Avid Artist Series
Controls” on page 881.
• Depending on your controller, you might be able to customize the maximum jog or shuttle
speed. You can view footage at the maximum speed when you turn the jog/shuttle wheel all
the way to the right or the left position.
Because you cannot map all the Command palette functions to supported controllers, you might
want to create multiple Controller settings in the Settings list of the Project window for different
sets of editing functions. For more information, see “Duplicating Settings” on page 1280 and
“Selecting Among Multiple Settings” on page 1281.
To configure your Avid editing application for a controller and open the Controller Settings
dialog box:
1. Double-click Controller Settings in the Settings list of the Project window.
The Controller Settings dialog box opens.
Configuring External Controller Settings
841
2. Click the Port menu, and do one of the following, depending on your operating system, to
select the appropriate port:
t(Windows) Select COM1 or COM2
t(Macintosh) Select Port #1, #2, #3, or #4
3. Select Controller > [controller].
4. Click Edit Settings.
The Controller Settings dialog box for your controller opens. For information on the layout
of the dialog box and the default button mappings, see the documentation that came with
your controller.
To map from the Command palette to the fader controller buttons:
1. Open the Controller Settings dialog box for your device.
2. If the Command palette is not already open, click Open Command Palette.
The Command palette opens.
3. Select ‘Button to Button’ Reassignment.
4. Do one of the following:
tTo map an unshifted function, click the function in the Command palette and drag it to
the button in the Controller Settings dialog box whose function you want to program.
Using an External Fader Controller or Mixer to Record Volume Automation
842
tIf your controller uses shifted functions, press and hold the Shift key on your keyboard,
click the function in the Command palette, and drag it to the button in the Controller
Settings dialog box whose function you want to program.
As you drag between the Command palette and dialog box, the pointer changes to the hand
pointer.
The new function appears on the controller button.
Using an External Fader Controller or Mixer to
Record Volume Automation
For more information on using third-party controllers with your Avid editing system, see the
documentation that came with your device.
To record audio gain information using an external fader controller or mixer:
1. Attach the fader controller or mixer to your system.
The position indicator lights change to blue when the fader controller or mixer is on and
correctly attached to the system.
Position indicator lights
2. Move the blue position indicator to the section of audio that you want to adjust and mark In
to Out points.
3. Set Preroll and Postroll values, if necessary.
4. Click the Record button to start recording your actions.
5. Listen to the audio, and when you want to start recording volume information either touch or
move the corresponding fader.
Depending on the fader controller or mixer, you might have to click the fader’s On button
before moving the fader.
6. Click the Record button again to stop recording.
7. Click the Audio Loop Play button to play the clip and test your results.
Adjusting the Volume or Pan of Individual Keyframes
843
8. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and
select Filter Volume Automation on Track — In/Out. (Click the Track Selection button for a
track to enable Filter Automation.)
If you delete too many keyframes, use the Undo command to restore them.
9. Repeat the previous step until you have decreased the number of keyframes to an acceptable
level.
You should remove as many excess keyframes as possible while still maintaining the volume
changes.
Adjusting the Volume or Pan of Individual Keyframes
To edit the volume for individual keyframes using an external fader controller or mixer:
1. Check the color of the position indicator lights.
Position indicator lights
If the external fader controller or mixer is on and is correctly attached to the system, at least
one of the position indicator lights on each enabled track is blue.
2. Click an audio gain keyframe.
On the 002 (Windows only) and the Command|8, the faders automatically adjust to the
volume setting.
3. Move the corresponding fader to adjust the volume for the keyframe.
For information on connecting a fader controller or mixer, see “Using an External Fader
Controller or Mixer to Record Volume Automation” on page 842.
To edit the pan values for individual keyframes using a 002 or Command|8:
1. Click an audio gain keyframe.
2. Activate the track on the 002 (Windows only) or Command|8.
3. Move the corresponding pan knob to adjust the pan for the keyframe.
Your Avid editing application displays the values in the Pan Value display for the
corresponding track in the Audio Mixer tool.
Using the 002 and the Command|8
844
For information on connecting a fader controller or mixer, see “Using an External Fader
Controller or Mixer to Record Volume Automation” on page 842.
nThe position indicator lights do not apply to pan.
Using the 002 and the Command|8
You can use the Command|8 as a control surface for your Avid editing application as well as a
controller for volume automation and pan recording.
On Windows systems, you can use the 002 as an audio input and output device for your Avid
editing application. You can also make use of its control surface capabilities and use it as a
controller for live mix mode and for volume automation and pan recording.
nAvid does not support the use of the Avid 002 with Avid video editing applications on Macintosh
systems. However, you can use the Avid 002 with Avid Pro Tools on Macintosh systems,
The following table compares some of the features of the 002 and Command|8.
Using the Command|8 with Your Avid Editing System
The Command|8 is primarily a control surface. You can use it for controlling aspects of the user
interface as well as for volume automation and pan recording. You can use it with all Avid
editing applications that use Avid input/output hardware.
If your Avid input/output hardware provides four audio channels, you can connect channels 1
and 2 from the input/output hardware to the first Command|8 stereo pair input and connect
channels 3 and 4 to the second pair. Then you can switch between the two inputs. If your Avid
input/output hardware does not provide four audio channels, you can connect the hardware’s
audio outputs to one of the Command|8 stereo inputs.
Feature 002 (Windows only) Command|8
Connection type FireWire USB
Use as an audio device for Avid editing application
(play, record, output)
Yes No
Works with Avid editors for controlling pan and
gain and as a control surface
Yes Yes
Using the 002 and the Command|8
845
Configuring the Command|8
Before you configure your Command|8 with your Avid editing application, install and configure
the device as described in the documentation that comes with Command|8.
nYou must start Command|8 before you start your Avid editing application. If you start your Avid
editing application when the controller is turned off, you must exit your Avid editing application,
turn the controller on, and then start your Avid editing application.
To set the correct ports in the Controller Settings dialog box.
1. Connect the 002 (Windows only) or Command|8 to your Avid editing system and turn on the
unit.
2. Start your Avid editing application.
3. Click the Settings tab in the Project window.
4. Double-click Controller Settings.
The Controller Settings dialog box opens. The Controller menu, Port menu, and Edit
Settings button apply to the control surface. For Windows systems, you can use either an 002
or a Command|8. For Macintosh systems, you can use a Command|8. The Gain Controller
Port applies to any controller that you connect for volume automation or pan recording.
5. From the Controller menu, select one of the following:
t002 Controller (Windows only)
tCommand|8
6. From the Port menu, select one of the following:
tWindows - “002 Control Port” or “C|8 Surface”
tMacintosh - Command|8 Port 1
7. From the Gain Controller Port menu, select a controller for volume automation or pan
recording.
The Gain Controller Port menu displays all COM or MIDI ports that are available on the
system.
8. (Option) Click Edit Settings to view or modify the button assignments.
Mapping Buttons and Menu Commands for the Avid 002 or Command|8
On Windows systems, you can map the buttons in the 002 Controller Settings dialog box to
buttons on the Command palette and to menu commands.
Using the 002 and the Command|8
846
The buttons on the 002 (for Windows systems only) and Command|8 can have different
functions depending on the modifier key you press. You can either use the keyboard or press one
of the Keyboard Modifier switches on the controller surface.
n For the 002 and the Command|8, pressing the Option key on a Macintosh system is equivalent to
pressing the Alt key on a Windows system. Pressing the Command key on a Macintosh system has
no equivalent on a Windows system.
To display the dialog box for mapping buttons and menu commands:
tClick the Edit Settings button in the Controller Settings dialog box.
The 002 Controller Settings or Command|8 Controller Settings dialog box opens.
The following illustration shows the 002 Controller Settings dialog box.
Groups of controls in the 002 Controller Settings dialog box. Top left: Console View controls, Display Controls
and Foot Switch. Center left: Keyboard Modifier switches. Bottom left: Open Command Palette button. Right:
Transport and Navigation controls.
The following illustration shows the Command|8 Controller Settings dialog box.
Using the 002 and the Command|8
847
Groups of controls in the Command|8 Controller Settings dialog box. Top, left to right: Console View controls,
Transport and Navigation controls, Display Controls and Foot Switch. Center: Keyboard Modifier switches.
Bottom: Open Command Palette button.
To view the different button settings on the Controller Settings dialog box:
tPress the Shift, Control, Option, or Command key while viewing the Command|8 Controller
Settings dialog box.
Mapping Controller Menu Commands for the 002 or Command|8
You can change the Keyboard Modifier switches by selecting a new button from the appropriate
menu in the Keyboard Modifiers area.
Each Controller Settings dialog box has an Open Command Palette button. Use the standard
techniques for mapping buttons and menu selections from the Avid interface to the buttons on
the control surface. For more information, see “Mapping User-Selectable Buttons” on page 109
and “Mapping Menu Commands” on page 110.
To map a menu command to a button on a Controller Settings dialog box:
1. Click the Settings tab on the Project window.
2. Double-click Controller Settings.
The Controller Settings dialog box opens.
3. From the Controller menu, select either 002 Controller (Windows only) or Command|8.
Using the 002 and the Command|8
848
4. Click Edit Settings.
The 002 Controller Settings dialog box or Command|8 Controller Settings dialog box opens.
5. Click Open Command Palette.
The Command palette opens.
6. Click Menu to Button Reassignment on the Command palette.
As you move the mouse over a button, the cursor changes to a menu icon.
7. Click the button on the dialog box that you want to change.
The system highlights the button.
8. Select a menu command. For example, select Tools > Audio Punch-In.
The system maps the menu command to the button.
9. When you finish mapping menu commands, click Active Palette on the Command palette or
Button to Button Reassignment to map buttons.
10. When you finish mapping menu commands and buttons, click OK to save your changes.
The 002 Controller Settings dialog box or the Command|8 Controller Settings dialog box
closes and the Controller Settings dialog box appears.
11. Click OK.
The system makes the new button assignments.
cThe assignments do not take effect until you click OK in both dialog boxes.
Using 002 or Command|8 Buttons to Change Focus in your Avid Editing
Application Interface
Many buttons perform different functions depending on which window in the Avid interface is
active. For example, if the Timeline is active, pressing Play plays the sequence in the Timeline. If
a bin is in Frame view and a clip is selected, pressing Play plays the footage in the clip.
nYou cannot assign a function to the F1 key on a Command|8. The F1 key is a local function on
the device.
cDo not press the Standalone button on the 002 while you are using it as a control surface for
your Avid editing application. This puts the controller in Standalone mode and closes the
FireWire connection. To use the controller again, you must exit your Avid editing
application, power cycle the controller, and then restart your Avid editing application.
Using the 002 and the Command|8
849
To ensure that you perform the correct operation when you press a button on the control
surface:
1. Map some buttons to menu commands that makes a particular window or tool active.
For example, on the 002, the F5 key is mapped to Tools > Timeline by default for Windows
systems. Pressing the F5 button on the 002 makes the Timeline active.
2. (Option) To see the function of a mapped button, hold the cursor over the button to view the
tooltip.
Using a Foot Pedal as a Foot Switch with the 002 or Command|8
The 002 (Windows only) and Command|8 each have a connection on the back for a foot pedal.
The system accepts any “normally open” foot pedal. For example, you can use a standard
normally-open sustain pedal for an electronic keyboard.
You can assign any button or menu item to the foot pedal. By default, the system assigns the foot
pedal to the Record button on the Audio Punch-In tool. You could also assign the foot pedal to
the Shift key function.
Switching Between the 002 and Command|8
The button mappings for the 002 for Windows systems carry over to the Command|8. The
button-mapping dialog boxes for the 002 and Command|8 are set up differently to match the
layout of the controllers, but the same settings are used for both controllers.
There are several buttons on the Command|8 that are not on the 002:
•Mon 0
• Default
•MemLock
These buttons appear in the Command|8 Controller Settings dialog box and do not appear in the
002 Controller Settings dialog box.
Using a 002 or Command|8 to Record Pan
To record pan information using a Command|8:
1. Attach the 002 (Windows only) or Command|8 to your system. (See “Configuring the
Command|8” on page 845.)
The position indicator lights change to blue when the fader controller or mixer is on and
correctly attached to the system.
Using the 002 and the Command|8
850
Position indicator lights
2. Click the Timeline Fast Menu button and select Audio Data > Pan.
3. Move the blue position indicator to the section of audio that you want to adjust and mark In
to Out points.
4. Set Preroll and Postroll values, if necessary.
5. Click the Record button to start recording your actions.
6. Listen to the audio and turn the pan knob for the track.
The system displays the values in the Pan Value display for the corresponding track in the
Audio Mixer tool.
7. Click the Record button again to stop recording.
8. Click the Audio Loop Play button to play the clip and test your results.
9. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and
select Filter Pan on Track — In/Out. (Click the Track Selection button for a track to enable
Filter Automation.)
10. (Option) If you delete too many keyframes, use the Undo command to restore them.
11. Repeat step 9 until you have decreased the number of keyframes to an acceptable level.
You should remove as many excess keyframes as possible while still maintaining the pan
changes.
Using the Latch Mode Feature on the 002 and Command|8
The 002 (Windows only) and Command|8 have a Latch Mode button for each track that lets you
easily punch-in and punch-out small sections of volume automation information. The Channel
View buttons on the 002 are used as the Latch Mode buttons. These buttons are directly above
the display on the 002 and directly below the display on the Command|8. The first two buttons
are labeled EQ and Dynamics.
When a fader is not in Latch Mode, it automatically stops recording as soon as you release it.
When you release the fader, it begins moving again as it follows the volume information in the
Timeline.
nThe light inside the Latch mode button is on when a fader is not in Latch mode.
Using Mbox Family Audio Devices
851
To use Latch Mode:
1. Click the Latch Mode button for the appropriate tracks on the controller.
You can click the button before or during a recording session.
2. Set In and Out points, and click the Record button.
The system begins playing the section and the faders move accordingly.
3. When you want to make an adjustment, move the fader to change the volume.
The system immediately begins recording.
4. When you are finished adjusting the section, release the fader.
The system stops recording (but keeps playing) and the fader snaps back to the level in the
Timeline.
When the track is in Latch mode, the system continues to record audio volume information
after you release the fader.
5. (Option) Press the Latch Mode button to stop recording and snap the button back to its
current Timeline position.
Using Mbox Family Audio Devices
You can use the Mbox® family of audio input/output hardware as external audio devices for your
Avid editing application. This means you can use the Mbox devices to record source audio and to
monitor output audio.
When you attach the Mbox device to your Avid editing system, all of its audio input and output
connections are live. If you use a video input/output hardware device, you can use a an Mbox
device with either a USB or an IEEE 1394 (FireWire) connection. (For more information on
using an input/output device with a 1394 connection, see “Selecting a DV Device” on page 229.)
The Mbox device and the video I/O device remain as two separate audio sub-systems. They are
not combined to increase the number of available audio channels. For audio input/output, the
system creates a list of input options based on the audio devices that are present — for example,
Mbox Mic/Line, Mbox S/PDIF, or Host 1394.
The following table lists some of the features of the Mbox 2 and the Mbox (3rd Generation)
family of audio devices.
Device Connection Type Input/Output Types
Mbox 2 USB Analog, S/PDIF, MIDI
Mbox 2 Pro 1394 Analog, S/PDIF, MIDI, Word Clock In
Using Mbox Family Audio Devices
852
Mbox (3rd Generation) devices support audio sample rates up to 96 KHz. For a full description
of MBox specifications, see the documentation that came with your device.
For a list of currently supported Mbox devices, see the ReadMe for your Avid editing
application.
Configuring the Mbox Device
You must start the Mbox device before you start your Avid editing application. If you start your
Avid editing application when the audio device is turned off, you must exit your Avid editing
application, turn the device on, and then start your Avid editing application.
n(Macintosh only) S/PDIF inputs appear in the Capture tool as Tracks 3-4.
To select the Mbox device in the Audio Project Settings dialog box.
1. Connect the Mbox device to your Avid editing system.
2. Start your Avid editing application.
3. Click the Settings tab in the Project window.
4. Double-click Audio Project Settings.
The Audio Project Settings dialog box opens.
5. Click the Hardware tab.
Mbox 2 Mini USB Analog
Mbox 2 Micro USB Analog (monitor audio only; no input/output available)
Mbox (3rd
Generation)
USB Analog, S/PDIF, MIDI
Mbox Pro (3rd
Generation)
1394 Analog, S/PDIF, MIDI, Word Clock In
Mbox Mini (3rd
Generation)
USB Analog
Device Connection Type Input/Output Types
Using Mbox Family Audio Devices
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6. Click the Peripheral menu, and then select your Mbox device.
7. Close the Audio Project Settings dialog box.
Once you configure the Mbox device, you can select the audio input interface in the Capture
tool and the Audio Punch-in tool. For more information, see “Preparing to Capture Audio”
on page 193 and “Recording Voice-Over Narration” on page 830.
You can also use your device to monitor output audio by connecting headphones or speakers
to the Mbox device.
Setting Up the Mbox Pro for Passthrough Monitoring (Windows Only)
If you use the Mbox Pro to monitor source audio, you must set the source for your headphone
output in the Mbox Pro Control Panel to Stereo Mix 1. This allows you to monitor audio with
your Avid editing application using the Passthrough Mix tool.
To set your Mbox Pro to monitor passthrough audio:
1. Make sure your Avid editing application is not running.
2. Click the Start button, and select Control Panel.
3. Do one of the following:
t(Windows 7) If the View by menu is set to Category, click Hardware and Sound, and
then click Avid Mbox Pro.
t(Windows 7) If the View by menu is set to Large icons or to Small icons, click Avid
Mbox Pro.
Configuring USB-to-MIDI Software for External Controllers
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t(Windows XP) Click Avid Mbox Pro.
The Mbox Pro Control Panel opens.
4. Select your headphone output, and then click the Audio Source menu and select Stereo Mix
1.
5. Close the Mbox Pro Control Panel.
Configuring USB-to-MIDI Software for External
Controllers
If your fader controller uses USB-to-MIDI software, you can install and configure the software
to recognize your fader controller once you have connected a fader controller to your Avid
editing system.
For information on connecting your controller and installing USB-to-MIDI software, see the
instructions that came with your controller.
Configuring USB-to-MIDI Software for External Controllers
855
Testing External Fader Controller Connections
To test the external fader controller connections:
1. Connect all MIDI hardware devices.
MIDI port A is the default port used by the Avid system. To change the port configuration,
see “Switching Between MIDI Connections on the USB-to-MIDI Converter” on page 856.
2. Move the sliders on the fader controller, and confirm that the MIDI In LED indicator on the
USB-to-MIDI converter turns on and off appropriately.
The USB LED indicator pulses — this is expected behavior.
3. Start your Avid editing application, and open the Project window.
4. Click the Settings tab and double-click Controller Settings.
The Controller Settings dialog box opens.
5. Choose the appropriate port for the device from the Gain Controller menu.
6. Click OK.
7. Select Tools > Audio Mixer.
8. Do one of the following:
tClick and hold the Audio Mixer Mode button and select Automation Mode from the
menu.
tClick the Audio Mixer Mode button and cycle through the Audio Mix mode settings to
the Automation Mode setting.
9. Click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders.
If the external fader controller is connected and the system is using the correct MIDI port,
then the Audio Mixer tool displays the following:
- At least one of the position indicator lights is on (blue).
- The Recording Status Light changes to gold.
Position indicator lights
10. If the lights do not change to blue, see “Troubleshooting MIDI Connections” on page 856.
Configuring USB-to-MIDI Software for External Controllers
856
11. To disable the hardware calibration, click the Audio Mixer Tool Fast Menu button, and
select Calibrate Hardware Sliders.
The Recording Status Light changes to black.
12. Move the sliders on the external fader controller.
The corresponding sliders move in the Audio Mixer tool.
Now you are ready to use the fader controller with your Avid editing application. For more
information on using the Audio Mixer tool, see “Using Volume and Pan Automation” on
page 797.
Switching Between MIDI Connections on the USB-to-MIDI Converter
If you need to switch to a different MIDI port connection, change the hardware connections and
then make the appropriate change in the Controller Settings dialog box.
To change the MIDI port connection in your Avid editing application:
1. Click the Settings tab in the Project window.
2. Double-click Controller Settings.
The Controller Settings dialog box opens.
3. Select the correct MIDI port from the Gain Controller menu.
4. Click OK.
5. Select Tools > Audio Mixer.
6. Do one of the following:
tClick and hold the Audio Mixer Mode button and select Automation Mode from the
menu.
tClick the Audio Mixer Mode button and cycle through the Audio Mix mode settings to
the Automation Mode setting.
If the fader or mixer is on and correctly configured, the indicator lights on the Audio Mixer
tool should change to blue. If the lights do not change to blue, see “Troubleshooting MIDI
Connections” on page 856.
Troubleshooting MIDI Connections
Do the following if the Audio Mixer tool does not respond to the external fader controller:
1. Make sure the MIDI hardware devices are connected and configured.
For more information, see the documentation that came with your fader controller.
2. Check that the MIDI cable connections are correct. Check that the cables are connected from
Out to In and from In to Out.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems
857
3. Check the Controller Settings dialog box in the Settings list of the Project window. Verify
that the correct Gain Controller port is selected.
4. (Macintosh only) Use the Apple System Profiler to check whether the system is recognizing
the MIDI device:
a. Select Apple menu > About This Mac.
b. Click More Information.
The Apple System Profiler opens.
c. Click the Devices and Volumes tab.
The USB Information portion of the display identifies the USB devices that the system
recognizes. The system might not display the name of each device, but the number of
USB devices should match the number of devices you have connected to the system.
Avid Pro Tools|HD Native Hardware Configuration for
Avid Editing Systems
Avid Pro Tools v8.5 and later supports Native audio hardware, and Pro Tools v9.0 supports both
Native and HD hardware. If you install your Avid editing application on a system with Pro
Tools|HD Native, you can use the same audio hardware for both applications. The supported
versions of Avid Pro Tools installs the necessary audio drivers.
Not all version of Avid editing applications are compatible with Pro Tools|HD Native hardware.
For up-to-date information on co-installation and supported configurations, see the ReadMe for
your Avid editing application.
If you use Matrox MX02 Mini hardware or if you have Avid DX hardware installed with your
system, you cannot access the Pro Tools|HD Native hardware. You can use the Pro Tools|HD
Native hardware in a software-only Avid editing system or with supported Avid hardware in
1394 mode.
nPro Tools|HD Native audio hardware is supported only in some co-installation configurations,
and for Pro Tools v9.0 the HD hardware is supported only on Macintosh systems and 32-bit
Windows systems. For more information about co-installation, see the ReadMe documentation
that came with your Avid editing application.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems
858
With Pro Tools|HD Native hardware installed on a supported Avid editing system, you can
perform the following:
• Play back audio through up to 8 audio outputs. You can also play back audio with a SYNC
HD or SYNC I/O device connected. The Avid editing application does not control the clock
settings for these devices.
• If you have multiple audio interfaces connected (“daisy-chained”) to your HD or Native
card, the playback defaults to outputs 1 and 2 of the first device.
• The Avid editing application can input and output audio up to 48 kHz with HD or Native
hardware.
To set up your system to use the HD or Native hardware with your Avid editing application, see
the following topics:
•“Configuring the ASIO Driver (Windows)” on page 858
•“Configuring the CoreAudio Driver (Macintosh)” on page 860
Configuring the ASIO Driver (Windows)
You can configure the ASIO driver settings by using the ASIO Control Panel, which you access
from the Audio Project Settings dialog box.
To configure the ASIO driver:
1. In the Avid editing application, click the Settings tab in the Project window.
2. Double-click Audio Project in the Settings list.
The Audio Project Settings dialog box opens.
3. Click the Hardware tab.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems
859
4. Click the Control Panel button.
The ASIO Control Panel opens.
5. (Optional) Click the Buffer Size menu and select a buffer size.
Generally, smaller buffer sizes are preferable. However, if you experience any problems with
performance (such as clicks and pops during recording or playback), try increasing the
Buffer Size setting.
6. Click the Device menu and select the audio device connected to your HD or Native
hardware.
7. Click Advanced.
The Hardware Setup dialog box opens.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems
860
8. Select the options you want for your audio input/output operations. For more information on
the settings in the Hardware Setup dialog box, see “Configuring Your Pro Tools|HD Native
System” in the Pro Tools|HD Native User Guide that came with your Pro Tools system.
Your Avid editing application uses only 8 channels of audio output. Also, the application
controls the audio sample rate, not your HD or Native hardware.
9. Click OK to close the Hardware Setup dialog box.
10. Click OK to close the ASIO Control Panel.
Once you configure the audio device, you can use your device to monitor output audio by
connecting headphones or speakers to the audio device.
11. Close the Audio Project Settings dialog box.
Configuring the CoreAudio Driver (Macintosh)
You can configure the CoreAudio driver using CoreAudio Manager. The CoreAudio Manager
application launches automatically the first time your Avid editing application accesses the
CoreAudio driver — for example, the first time you play audio on a system with an HD or Native
card installed. If the CoreAudio Manager icon is hidden when first launched, click the icon in the
dock.
Use CoreAudio Manager to change the CoreAudio Buffer Size setting and control volume and
mute for the CoreAudio Driver. CoreAudio Manager also identifies your audio hardware, the
supported number of input and output channels and the number of attached clients (applications).
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems
861
To configure the CoreAudio driver:
1. Do one of the following:
tIf your Avid editing application is running and you have an audio sequence loaded in the
Source/Record monitor, click Play and then click the CoreAudio Manager icon in the
dock.
tDouble-click the CoreAudio Manager file (located in /Applications/Digidesign/).
The CoreAudio Manager opens.
2. (Optional) Click the Buffer Size menu and select a buffer size.
Generally, smaller buffer sizes are preferable. However, if you experience any problems with
performance (such as clicks and pops during recording or playback), try increasing the
CoreAudio Buffer Size setting. You can also change the buffer size from within the Avid
editing application if it is the only client attached to the CoreAudio Driver.
3. Click HW Setup.
The Hardware Setup dialog box opens.
Using a GPI Device with the Audio Punch-In Tool
862
4. Select the options you want for your audio input/output operations. For more information on
the settings in the Hardware Setup dialog box, see “Configuring Your Pro Tools|HD Native
System” in the Pro Tools|HD Native User Guide that came with your Pro Tools system.
Your Avid editing application uses only 8 channels of audio output. Also, the application
controls the audio sample rate, not your HD or Native hardware.
5. Click OK to close the Hardware Setup dialog box.
Once you configure the audio device, you can use your device to monitor output audio by
connecting headphones or speakers to the audio device.
6. If your Avid editing application is not running, you can click Quit to close the CoreAudio
Manager.
cIf the Avid editing application connected to the CoreAudio Manager is running when you
quit the Manager, you might receive an error message and lose your connection to the Pro
Tools ha rdware.
7. Close the Audio Project Settings dialog box.
Using a GPI Device with the Audio Punch-In Tool
Your Avid editing application can send signals to a V-LAN® VLXi® deck controller and a
general-purpose interface (GPI) device that trigger GPI actions. These signals are sent when
playback begins and ends, and also when recording with the Audio Punch-In tool begins and
ends.
If you have a V-LAN VLXi deck controller and a GPI device connected to your Avid system and
they are configured correctly, you can use the GPI to control additional external hardware while
you are working with the Audio Punch-In tool. For example, you might want to control an
indicator light in a recording studio to provide a visual cue for performers or a control light
outside the studio that indicates when recording is in progress.
To make use of this feature, you must:
• Understand when your Avid editing application sends GPI trigger signals. For more
information, see “Understanding GPI Trigger Signals” on page 863.
• Connect a V-LAN VLXi deck controller and a VLXi-GT GPI to your Avid system. For more
information, see “Connecting a V-LAN VLXi Controller and GPI” on page 864.
• Configure the V-LAN VLXi deck controller and the GPI. For more information, see
“Configuring a V-LAN VLXi Controller and GPI” on page 865.
• Create GPI settings for your specific needs. For more information, see “Working with GPI
Settings” on page 866.
Using a GPI Device with the Audio Punch-In Tool
863
Understanding GPI Trigger Signals
Your Avid editing application sends three different GPI trigger signals under the following
circumstances:
For more information on using the Audio Punch-In tool, see “Recording Voice-Over Narration
Using Audio Punch-in” on page 833.
GPI Signal Sequences
GPI signal sequences differ, depending on whether or not you are using the Audio Punch-In tool
with preroll and postroll.
When you use the Audio Punch-In tool without any preroll or postroll, the following occurs:
• Record Out is sent when recording begins.
• Stop Out is sent when recording (and playback) ends.
When you use the Audio Punch-In tool with preroll and postroll, the following occurs:
• Play Out is sent when preroll begins (the position indicator begins moving in the Timeline,
and the Play In/Out button in the Audio Punch-In tool blinks green).
• Record Out is sent when recording begins (the Record button in the Audio Punch-In tool
blinks red).
• Play Out is sent when recording ends and postroll begins (the Stop button in the Audio
Punch-In tool changes to blue).
• Stop Out is sent when postroll ends (the position indicator stops moving).
nRecord Out and Play Out repeat if you perform additional recordings.
Trigger Signal Sent When
Play Out Playback begins.
Recording with the Audio Punch-In tool ends but playback
continues because a postroll value is set in the Audio Punch-In
tool (that is, the signal is sent when the Stop button in the Audio
Punch-In tool changes to blue).
Record Out Recording with the Audio Punch-In tool begins.
Stop Out Playback stops.
Using a GPI Device with the Audio Punch-In Tool
864
Example of Linking GPI Actions to Trigger Signals
You can configure the GPI to respond to each signal sent by your Avid editing application in a
specific manner. For a simple indicator light, you might create a GPI setting linking the Record
Out signal from your Avid editing application to the GPI Set action (to turn the light on) and a
setting linking the Stop Out signal from your Avid editing application to the GPI Reset action (to
turn the light off).
For information on GPI actions, see “Working with GPI Settings” on page 866.
If you are working with preroll and postroll values, you might also link the Play Out signal to the
GPI’s Pulse action to flash the light on and off repeatedly during the preroll and postroll periods.
(Since the Pulse action does not switch between on and off very rapidly, your preroll and postroll
durations might need to be quite long to allow for the light to flash enough times to be
meaningful.)
For more information on configuring the GPI, see “Configuring a V-LAN VLXi Controller and
GPI” on page 865.
Connecting a V-LAN VLXi Controller and GPI
The V-LAN VLXi controller and VLXi-GT GPI connect to your Avid system through a direct
serial connection as shown in the following illustration.
Using a GPI Device with the Audio Punch-In Tool
865
Top left: GPI terminals on the VLXi-GT GPI (for connections to external hardware). Top right: V-LAN connection
(from VLXi-GT to V-LAN VLXi controller) and terminator (required when cable length is more than 50 feet (15.24
meters). Bottom: Serial connection from V-LAN VLXi controller serial port connector to serial port connector on your
Avid system (or on a USB-to-serial adapter). Note that all cables are customer supplied.
You must configure the V-LAN VLXi controller to work with the VLXi-GT GPI. Assign the
VLXi-GT to a V-LAN node address between 16 and 19. LAN connections of more than 50 feet
(15.24 meters) must have a terminator. For more information on configuring the V-LAN, see the
Videomedia VLXi User’s Guide.
Configuring a V-LAN VLXi Controller and GPI
Once you have connected a V-LAN VLXi controller and VLXi-GT GPI to your Avid system,
you can configure the system to communicate with the controller and the GPI, and create GPI
settings appropriate to your needs. For more information on creating settings, see “Working with
GPI Settings” on page 866.
To configure the V-LAN VLXi controller and the VLXi-GT GPI:
1. In the Project window, double-click Deck Configuration.
The Deck Configuration dialog box opens.
2. Click Add Channel.
3. Click the Channel Type menu, and select VLAN VLX.
4. Click the Port menu, and select the serial port to which the V-LAN VLXi is connected.
SERIAL PARALLEL REF LAN CF
AC
SERIAL A SERIAL B
TIMECODE A
IN INOUT OUT
TIMECODE B
VLX TRANSMITTER VLX 2R DUAL RECEIVER
SERIAL LAN CF
AC
IN OUT
1
IN OUT
2
IN OUT
3
IN OUT
4
IN OUT
5
IN OUT
6
Using a GPI Device with the Audio Punch-In Tool
866
5. Click OK.
The Autoconfigure message box opens.
6. Click Yes.
The connected GPI is automatically detected and appears in the Deck Configuration dialog
box.
Working with GPI Settings
You must create a separate GPI setting for each trigger signal you want the GPI to recognize. For
example, you would need one setting for the Record Out signal and another for the Stop Out
signal.
You can also edit an existing GPI setting or delete a GPI setting so that it no longer appears as an
option in the GPI Settings dialog box.
To create a GPI setting:
1. In the Project window, double-click Deck Configuration.
The Deck Configuration dialog box opens.
2. Double-click the VLXi-GT text box.
The GPI Settings dialog box opens.
3. Select the appropriate settings.
For more information about GPI settings option, see “GPI Settings Options” on page 867.
4. Click Add.
The GPI Node Settings dialog box opens.
5. Select the appropriate settings.
For more information about GPI Node settings option, see “GPI Settings Options” on
page 867.
6. Click OK.
The GPI Settings dialog box opens.
7. Click OK to set the GPI.
8. Click Apply in the Deck Configuration dialog box.
To edit a GPI setting:
1. In the Project window, double-click Deck Configuration.
The Deck Configuration dialog box opens.
2. Click the VLXi-GT text box.
Using a GPI Device with the Audio Punch-In Tool
867
3. Select the name of the GPI you want to edit.
4. Click Edit.
5. Make the applicable changes to the setting.
6. Click OK.
7. Click Apply.
The GPI setting is updated.
To delete a GPI setting:
1. In the Project window, double-click Deck Configuration.
The Deck Configuration dialog box opens.
2. Click the VLXi-GT text box.
3. Select the name of the GPI you want to delete.
4. Click Delete.
5. Click OK.
6. Click Apply.
The GPI setting is deleted.
GPI Settings Options
The following tables describe the GPI settings and GPI Node settings options.
GPI Option Description
Name Keep the default V-LAN VLXi name, or type a new name.
Description (Option) Add a description of the GPI trigger.
Device Type Select V-LAN, which is the Avid-supported device type.
Address Select the V-LAN network address to which the VLXi-GT is assigned.
Valid addresses on the V-LAN network are 16 through 19. This address
must match the internal V-LAN address.
Pulse Duration Leave this setting at its default value; it does not alter the length of the
Pulse action in the GPI.
GPI Control Enable When you deselect this option, you disable the GPI but keep the GPI
settings. This is useful for troubleshooting purposes.
Edit Click to edit an existing GPI node setting.
Using a GPI Device with the Audio Punch-In Tool
868
Delete Click to delete an existing GPI node setting.
Add Click to add another GPI node setting.
GPI Node Option Description
Function Select one of the three active functions:
• Record Out
• Play Out
• Stop Out
Seven options are listed, but only the three signals described in
“Understanding GPI Trigger Signals” on page 863 are active.
Node Click the Node menu, and select a node. Nodes 1 through 6 correspond to
the physical connectors on the back of the VLXi-GT GPI device.
Action Select an action:
•Set activates a command.
•Reset deactivates a command.
•Pulse switches the state between active and inactive.
GPI Option Description
20 Using Avid Artist Series Controllers
This section includes topics that provide information on configuring and using the Avid Artist
Series controllers with your Avid editing application: Avid Artist Control, Avid Artist Transport,
and Avid Artist Mix. These controllers employ the EUCON™ (Extended User Control) protocol,
which allows for integrated control of your Avid editing application and EUCON-compatible
devices. You can use the controllers with your Avid editing application to perform audio
navigation and transport functions, as well as some video and audio editing features such as
recording volume automation.
•Installing EuControl Software
•Configuring Avid Artist Series Controller Settings
•Configuring Ethernet Connections (Macintosh)
•Setting the IP Address
•Configuring EuControl Settings
•Artist Series Controller Button Mappings
•Customizing Avid Artist Series Controls
•Moving Through Footage with Artist Series Controllers
•Volume Automation and Pan on Artist Series Controllers
•Recording Volume Automation and Pan with Artist Series Controllers
•Using the Latch Mode Feature on Artist Series Controllers
•Using the Artist Series Controller for Editing Media
•Controller Application Sets
Installing EuControl Software
The EuControl application controls your Artist Series controller and communicates with your
Avid editing application. You must install EuControl before you use any Artist Series controller.
Installing EuControl Software
870
If you want to connect your Artist Series controller to an Avid editing system that is part of an
Avid ISIS shared storage environment, the following requirements apply:
• (Macintosh only) Avid recommends that you connect your Artist Series controller to the
built-in Ethernet 1 port on your Macintosh system. If you have limits to the number of
Ethernet connections you use — for a corporate network or for shared storage — you might
need to set the service order for your Artist Series controller to a lower priority than your
other Ethernet connection. For more information on configuring your Ethernet connections,
see “Configuring Ethernet Connections (Macintosh)” on page 872. You can change port
assignments in the EuControl Settings application if necessary.
• Avid also recommends that you disable the network interface you use for your Artist Series
controller in the ISIS Client Manager preferences. This prevents ISIS from trying to use the
Ethernet port assigned to EUCON for your shared storage operations. For more information,
see the Avid ISIS Client Guide that came with your ISIS product.
• Avid ISIS supports dual Ethernet connections to maximize bandwidth use and increase
performance. Since your Artist Series controller must use one Ethernet port to connect to
your Avid editing system, Avid does not support dual connection on Macintosh systems
connected to an ISIS switch.
• Artist Series controllers do not support connection through a third-party Ethernet card.
To install EuControl:
1. Do one of the following:
tIf you downloaded the latest software from the Avid Web site, double-click the installer.
tInsert the installation CD into your system, and double-click the installer.
2. Follow the on-screen instructions to install the software.
nDownload the most current version of EuControl if prompted to do so during installation.
When installation completes, EuControl launches automatically.
3. You should check for updated firmware for your Artist Series controller by doing the
following:
a. Do one of the following:
t(Windows) Double-click the EUCON icon in the notification area.
Installing EuControl Software
871
EUCON icon in the notification area
t(Macintosh) Click the EUCON icon in the dock, and then select Window >
EuControl Settings.
The EuControl Settings dialog box opens.
b. Click the Surfaces tab, and then click Update Firmware.
If there is updated firmware for your Artist Series controller, EuControl automatically
downloads it.
c. Follow the on-screen instructions to install the new firmware.
4. Shut down your system.
5. Connect your Artist Series controller. For information on setting up your Artist Series
controller, see the documentation that came with your equipment.
Configuring Avid Artist Series Controller Settings
872
Configuring Avid Artist Series Controller Settings
You use the Controller Settings dialog box to configure your Avid editing application so that it
can communicate with your Artist Series controllers.
To configure your Avid editing application for an Artist Series controller:
1. Double-click Controller Settings in the Settings list of the Project window.
The Controller Settings dialog box opens.
2. Select Controller > EUCON Controller.
3. Click OK.
Configuring Ethernet Connections (Macintosh)
You can connect your Artist Series controller to either the Ethernet 1 or Ethernet 2 port on your
Macintosh system. By default, the EuControl application is configured to use Ethernet 1. You
might need to change this configuration if your system connects to a corporate network or if it is
part of a shared storage environment — for example, if you connect your Macintosh system to an
Avid ISIS system.
The following procedure describes how to configure your network connections if you need to
reserve one Ethernet port for a network or shared storage connection. You can use either Ethernet
port for your Artist Series controller, but you should set the network priority for your network or
storage connection higher than the priority for your Artist Series controller.
To configure Ethernet ports on a Macintosh system:
1. Connect your Artist Series controller to either the Ethernet 1 or Ethernet 2 port on your
Macintosh system.
2. Select the Apple menu > System Preferences.
3. In the Other area, click Euphonix.
Setting the IP Address
873
The Euphonix dialog box opens.
4. Click the Network Interfaces menu and select either Ethernet 1 or Ethernet 2, depending on
which Ethernet port you want to use for your Artist Series controller.
5. Close the Euphonix dialog box.
6. Select the Apple menu > System Preferences.
7. In the Internet & Wireless area, click Network.
The Network dialog box opens.
8. Click the Action menu and select Set Service Order.
The Service Order dialog box opens.
9. If the Ethernet connection you want to use for your corporate network or shared storage
connection is not at the top of the network connections list, select that Ethernet connection
and drag it to the top of the list. For more information on setting the service order, see the
Apple Help for your Macintosh system.
10. Click Apply, and then close the Network dialog box.
Setting the IP Address
Avid Artist Series controllers typically use Dynamic Host Configuration Protocol (DHCP) to
obtain its IP address, usually from a router. The controllers revert to link-local addressing to
generate an IP address if a DHCP server is not found on the network — for example, when you
Setting the IP Address
874
connect a controller to a system using an Ethernet cable. You can override these methods of
obtaining IP addresses by supplying a static IP address, which the devices use in all cases when
turned on.
nAvid does not recommend setting up static IP addresses unless you have experience in
configuring network properties.
To set a static IP address (Avid Artist Control):
1. Press and hold the Page Left and Page Right keys while you press and release the Power
button.
The Network Setup screen appears on the Touchscreen.
2. Touch Use DHCP (Obtain IP Address automatically).
The parameter is deselected, and the Touchscreen displays the IP Address and Subnet Mask
fields.
Setting the IP Address
875
3. Touch the first box of the IP Address field to select it, and then adjust its value by turning
any of the eight knobs or the Jog wheel.
4. Repeat the previous step to adjust all values of the IP Address and the Subnet Mask fields.
5. Touch OK to save this static IP address. Turn off the controller and then turn it on to use the
new IP address.
You can touch Cancel at any time to discard changes made to the IP address.
To set a static IP address (Avid Artist Transport):
1. Press and hold the two soft keys on the left while you press and release the Power button.
Hold down the soft keys until the Use DHCP screen appears in the display.
2. Turn the Jog wheel clockwise to change the Use DHCP value from yes (default) to no.
You can use the + (plus) and – (minus) keys instead of the Jog wheel to decrease or increase
the value, respectively.
3. Press the Enter key to move the cursor to the next screen.
4. Do one of the following:
tUse the Jog wheel to set the value of the IP Address field.
tPress the + (plus) key or the – (minus) key on the numeric keypad to increment or
decrement the value. You can also use the numeric keypad to enter the number directly.
5. Repeat step 3 and step 4 to adjust all values of the IP Address and the Subnet Mask fields.
You can press the Enter key to move the cursor forward until the first screen reappears to
change a parameter to a different value.
6. Press the two soft keys on the left at the same time to save this static IP address. Turn off the
controller and then turn it on to use the new IP address.
You can discard changes made to the IP address at any time by turning off the controller
before saving your changes.
Configuring EuControl Settings
876
To set a static IP address (Avid Artist Mix):
1. Press and hold the Page Left and Page Right keys while you press and release the Power
button.
The Use DHCP screen appears in the channel display for fader strip 1.
2. Turn the knob underneath the display clockwise to change the Use DHCP value from yes
(default) to no.
You can use the SEL and ON keys instead of the knob to decrease or increase the value,
respectively.
3. Press the Page Right key or the Top key to move the cursor to the next screen.
4. Use the knob to set the value of the IP Address field.
5. Repeat step 3 and step 4 to adjust all values of the IP Address and the Subnet Mask fields.
You can press the Page Left key to move the cursor back to the previous field or screen to
change a parameter to a different value.
6. Press the Page Left and Page Right keys at the same time to save this static IP address. Turn
off the controller and then turn it on to use the new IP address.
You can discard changes made to the IP address at any time by turning off the controller
before saving your changes.
Configuring EuControl Settings
Before you can use an Artist Series controller with your Avid editing application, you must
configure the EuControl settings. You can connect your Artist Series controller to the EuControl
application on your system so you can use it as a controller, connect additional workstations so
they can access the controllers, and assign functions to buttons and keys on the Artist Series
controller.
Configuring EuControl Settings
877
The EuControl application starts when you start your computer and runs in the background. Avid
recommends that you make sure EuControl is running before you start your Avid editing
application.
For a full description of configuration procedures and options, see the documentation that came
with your Artist Series controller.
To connect an Artist Series controller to your system:
1. Connect your Artist Series controller to your system and turn on the power for the device.
2. Start your Avid editing application.
3. Do one of the following:
t(Windows) Double-click the EUCON icon in the notification area.
EUCON icon in the notification area
t(Macintosh) Click the EUCON icon in the dock, and then select Window > EuControl
Settings.
EuControl Settings application opens. The All Surfaces list displays all available Artist
Series controllers.
Configuring EuControl Settings
878
4. Click the Automatically add: menu, and select one of the following:
tTo add all controllers listed in the All Surfaces list — which lists all devices available on
your subnet — select All Surfaces. This setting is useful when you are the only person
running EuControl on your network.
tTo add only those controllers listed in the My Surfaces, select My Surfaces Only. Since
only one user at a time can control a surface, this avoids claiming surfaces needed by
other users on your network.
The selected devices are connected to EuControl.
5. (Option) If you select My Surfaces Only and you want to specify additional controllers to
connect to your EuControl application, select a controller in the All Surfaces list, and then
click Add.
The controller appears in the My Surfaces list. You can rearrange the order of the controllers
using the up and down arrows, and you can remove controllers from the list using the
Remove button. You can also rename the controller, which allows you to easily identify
multiple controllers in the My Surfaces list.
6. Click the Workstation tab.
The Workstations tab opens. The All Workstations list displays all systems on your subnet
that have been configured for access to the available Artist Series controllers.
Artist Series Controller Button Mappings
879
7. (Option) If you want more than one workstation to access your Artist Series controllers, do
the following:
a. Select the workstation in the All Workstations list and click Add.
b. Select the workstation in the My Workstations list and click Attach.
A check mark appears in the Attached column in the My Workstations list. The workstation
can now access the Artist Series controllers connected to EuControl.
8. Close the EuControl Settings application.
Artist Series Controller Button Mappings
When EuControl opens for the first time, it includes a set of default Avid editing functions
mapped to the Artist Series controller buttons (the default mappings are called the “application
set”). For a full list of the default application sets used with Avid editing applications, see
“Controller Application Sets” on page 889. To modify the button mappings, see “Customizing
Avid Artist Series Controls” on page 881.
The Soft Keys tab controls Surface, Wheel, and Touchscreen soft key assignments. With Artist
Series controllers that include a Touchscreen, you can access the Surface soft keys with the
circular buttons below the Touchscreen, and you can access the Touchscreen soft keys with the
Soft Keys Setup Touchscreen.
nThe mappings included in the Soft Keys tab apply only to Artist Control and Artist Transport.
Artist Series Controller Button Mappings
880
Artist Control and Artist Transport can control multiple applications, each with its own soft key
assignments. Since the EuControl application responds dynamically as you move between
applications, soft key assignments might change in the Soft Keys tab as the active application
changes. Changing the focus to the desired application and then to the EuControl application
restores the current assignments. You can save your soft key assignments at any time while using
EUCON.
n Be sure to check that the proper application is active before you click Save, Restore, or Revert.
The Soft Keys tab displays the name of the active application above the option menus and the
soft key assignments.
EuControl Settings: active application, option menus, soft key display buttons
The default EuControl button mappings include the following:
• Surface — The Surface keys control the functions assigned to the 12 buttons located below
the Touchscreen on Artist Control. The Surface section organizes the buttons in 6 pages. You
can click the Page menu to select a different set of commands.
• Touchscreen — The Touchscreen keys control the keys displayed on the Soft Keys Setup
Touchscreen on Artist Control. The Touchscreen section organizes the buttons in 6 pages.
• Wheel — The Wheel keys control the keys displayed above the Jog and Shuttle wheels on
the Artist Control and Artist Transport.
Customizing Avid Artist Series Controls
881
Customizing Avid Artist Series Controls
You can modify the default Soft Key functions of the controls on your Artist Series controller by
mapping them to buttons and keyboard shortcuts in your Avid editing application. You can also
add custom key sequences, EUCON commands, pages to the surface controls or the touchscreen,
and jog and shuttle wheel functions for some devices.
The following procedure provides a generic description of how to customize your controller. For
a full description of the customizations available, see the documentation that came with your
Artist Series controller.
To change a function in the Artist Series controls:
1. In the EuControl application, click the Soft Keys tab.
2. Click the Section menu, and select one of the following:
- Surface
- Touchscreen
-Numpad
-TU Softkeys
- TU Wheel
The Soft Keys tab displays the existing controls for the selected section.
The Artist Transport controls for the Touchscreen.
Customizing Avid Artist Series Controls
882
3. Do one of the following:
tSelect a button whose function you want to customize, and click Command.
tDouble-click a button whose function you want to customize.
The Soft Key Command Editor opens.
4. Specify the action you want to associate with the control button.
The Soft Key Command Editor organizes the default commands as they appear in the
Command palette or in menus.
5. Close the Soft Key Command Editor.
The Soft Key tab updates and displays the new function.
6. Click Save.
7. Close the EuControl Settings application.
To add a function to the Artist Series controls:
1. In the EuControl application, click the Soft Keys tab.
2. Click the Section menu, and select one of the following:
- Surface
- Touchscreen
-Numpad
-TU Softkeys
- TU Wheel
The Soft Keys tab displays the existing controls for the selected section.
Customizing Avid Artist Series Controls
883
The Artist Transport controls for the Touchscreen.
3. If the display does not include any blank keys, click the Page menu and select a new page.
You can also click the Add button to add a new page.
4. Do one of the following:
tSelect a blank key and click Command.
tDouble-click a blank key.
The Soft Key Command Editor dialog opens.
5. Click Add and select one of the following:
-Key
Moving Through Footage with Artist Series Controllers
884
- EuCon
-Page
-MC
- Wheel
6. In the Details column, select the function you want to associate with the new soft key.
EUCON commands automatically label the button but do not select an icon.
7. Close the Soft Key Command Editor.
The Soft Key tab updates and displays the new function.
Moving Through Footage with Artist Series
Controllers
You can use your Artist Series controller to control how you move through footage. Depending
on the functions available on your controller and the default and customizable controls, you can
use the following methods:
• The Jog wheel allows for frame-by-frame positioning, depending on how fast you turn the
wheel right (clockwise) or left (counterclockwise). Use the Jog wheel when you want to
locate a specific frame by slowly viewing footage.
nYou can modify the sensitivity of the Jog wheel and the Shuttle ring by adjusting parameters in
the EuControl application — for example, you can set the Jog wheel to step through your footage
frame by frame. For more information, see the user’s guide that came with your controller.
• The Shuttle ring alters the speed of playback by how far you turn the ring. The more you
turn the ring to the right, the faster the footage moves forward. To move the footage in
reverse, turn the ring to the left of the midpoint position. When held in position, footage
continues to moves at a fixed rate. When you release the Shuttle ring, it automatically returns
to its center position and footage stops changing. Use the Shuttle ring when you want to
quickly scan footage.
• The Transport Controls allow you to play, pause, rewind, and fast forward in your sequence.
• You can use the Rewind, Pause, and Fast Forward keys on your Artist Series controller to
move through your footage as you do with J-K-L play in your Avid editing application. For
more information on using the J-K-L keys, see “Playing Footage with the J-K-L Keys
(Three-Button Play)” in the Help.
Volume Automation and Pan on Artist Series Controllers
885
• The track selection buttons on your Artist Series controller allow you to select and deselect
tracks in the Timeline. Selecting tracks in the Timeline or in the Audio Mixer tool updates
the track selection display in your Artist Series controller.
• You can solo and mute tracks on your Artist Series controller to isolate tracks as you monitor
the audio playback. Using the solo and mute buttons on your Artist Series controller
automatically updates the display in the Track Control panel and the Audio Mixer tool in
your Avid editing application. You can use these buttons during playback.
Some commands only apply to specific windows in your Avid editing application. You might
need to click the appropriate window — for example, the Timeline — before you can perform a
specific function. For more information on moving through footage, see the documentation that
came with your Artist Series controller.
Volume Automation and Pan on Artist Series
Controllers
Some Artist Series controllers provide fader strips, each with a touch-sensitive fader, that control
audio tracks for recording gain. Faders control assigned tracks and reflect changes made in the
audio track properties, such as volume automation. Some Artist Series controllers also provide
pan soft knobs that control audio tracks for recording pan automation. Pan soft knobs control
assigned tracks and reflect changes made in the audio track pan values.
You can use the features available in the Audio Mixer tool to group faders on the Artist Series
controller. When the faders for two or more tracks are grouped, the fader sends identical volume
or pan messages for the tracks when you move one fader. This can be useful when you want to
adjust audio on multiple tracks.
For information on grouping faders, see “Adjusting Clip Volume and Pan for Audio Tracks” on
page 782.
Some Artist Series controllers include an On key, which indicates that a specified track is
unmuted. Deselecting the On key mutes the track and changes the Mute button in your Avid
editing application to orange for the specified track.
nA second On button is located next to the faders on Artist Mix controllers. This button currently
is not used.
You can also use the Bank and Nudge keys available on some Artist Series controllers to change
the track assignments of the faders on the controller if the number of tracks you want to automate
gain or pan on exceeds the number of faders on the controller. The Bank button changes track
Recording Volume Automation and Pan with Artist Series Controllers
886
assignments by the number of available faders — for example, shifting assignments from tracks
1 – 8 to tracks 9 – 16. The Nudge button changes track assignments by one track — for example,
shifting assignments from tracks 1 – 8 to tracks 2 – 9.
Artist Mix provides buttons and indicator lights mapped to standard audio editing functions:
Once you record your gain or pan automation, you can use the Artist Mix or the Artist Control to
modify gain or pan values on any audio keyframe selected in the Timeline.
nYou can disable the faders on your controller by pressing the Shift button and then pressing the
Solo button on the left of the control surface. You might find this useful when you do not need to
use the faders and you switch between the Source and Record monitors or the Source and Record
views in the Timeline. To enable the faders, press the Shift button and the Solo button again.
Recording Volume Automation and Pan with Artist
Series Controllers
If you record your automation in unlatched mode, releasing the fader returns the gain or pan
values to the original values of the audio in your sequence. For information on enabling latch
mode, see “Using the Latch Mode Feature on Artist Series Controllers” on page 888.
To record volume automation and pan information using an Artist Series controller:
1. Select Tools > Audio Mixer.
The Audio Mixer tool opens.
2. (Optional) Click the Audio Mixer mode button and cycle through the Audio Mixer mode
settings to the mode you want to select.
Button Function
SEL Controls and indicates pan recording.
SOLO Controls and indicates when a track is set to solo.
ON Controls and indicates when a track is unmuted or muted. The indicator is on
when the track is not muted.
REC N Controls and indicates volume automation recording. The track display
indicates the automation state by either an R (Read) or a W (Write).
Shift + REC/AUTO Controls and indicates automation mode. Latch mode (the default) is
indicated by an unlit LED button; touch mode is indicated by a lit LED.
SEL Y Controls and indicates if a track is selected or deselected.
Recording Volume Automation and Pan with Artist Series Controllers
887
3. Attach the Artist Series controller to your system. (See “Configuring Avid Artist Series
Controller Settings” on page 872.)
The position indicator lights in the Audio Mixer tool change to blue when the fader
controller or mixer is on and correctly attached to the system.
Position indicator lights
4. Click the Timeline Fast Menu button and select Audio Data > Auto Gain or Audio Data >
Audio Pan.
5. Move the blue position indicator to the section of audio that you want to adjust and mark In
to Out points.
6. Set Preroll and Postroll values, if necessary.
7. Click the Record button to start recording your actions.
8. Listen to the audio and adjust the slider or the pan control on the Artist Series controller for
the track.
The system displays the slider values for the corresponding track in the Audio Mixer tool as
you adjust the gain or pan.
9. Click the Record button again to stop recording.
10. Click the Audio Loop Play button to play the clip and test your results.
11. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and
select Filter Volume Automation on Track — In/Out or Filter Pan on Track — In/Out. (Click
the Track Selection button for a track to enable Filter Automation.)
12. (Option) If you delete too many keyframes, use the Undo command to restore them.
13. Repeat step 11 until you have decreased the number of keyframes to an acceptable level.
You should remove as many excess keyframes as possible while still maintaining the pan or
gain changes.
To change the tracks assigned to faders on the Artist Series controller, do one of the
following:
tTo move the track assignments to the left or right by the number of available faders, click the
Bank Left or Bank Right button.
Using the Latch Mode Feature on Artist Series Controllers
888
tTo move the track assignments to the left or right by one track, click the Nudge Left or
Nudge Right button.
Using the Latch Mode Feature on Artist Series
Controllers
Some Artist Series controllers have an Auto REC button for each track that lets you enable or
disable latch mode for recording volume automation and pan information.
When a track is not in latch mode (sometimes called “touch mode”), it automatically stops
recording as soon as you release it. When you release the fader, it begins moving again as it
follows the volume information in the Timeline.
If you enable latch mode, the controller continues to record gain and pan after you release the
fader or pan knob, with the gain and pan values remaining at the last values set during your
recording session.
To use latch mode:
1. Click the Auto REC button for the appropriate tracks on the controller.
You can click the button before or during a recording session.
2. Set In and Out points, and click the Record button in the Audio Mixer tool.
The system begins playing the section and the faders move accordingly.
3. When you want to make an adjustment, move the fader or pan soft knob to change the
volume.
The system immediately begins recording.
4. When you are finished adjusting the section, release the fader or pan soft knob.
When the track is in latch mode, the system continues to record audio volume information
after you release the fader or soft knob.
5. (Option) Press the Auto REC button to stop recording and snap the button back to its current
Timeline position.
Using the Artist Series Controller for Editing Media
889
Using the Artist Series Controller for Editing Media
You can use your Artist Series controller to perform some of the basic editing functions available
in your Avid editing application, including the following:
• Mark In and Out points
• Splice in and Overwrite edits
• Lift and Extract edits
•Trim edits
• Multicamera edits
These functions allow you to edit and trim clips in your sequences using the controller rather
than the buttons and tools in your Avid editing application. For example, you can use the Jog
wheel to navigate to a transition in the Timeline, and then you can use the Soft Key functions to
activate Trim mode, and then perform a single- or dual-roller trim.
Some editing commands only apply to specific windows in your Avid editing application. You
might need to click the appropriate window — for example, the Timeline — before you can
perform a specific function.
Some editing functions are mapped to your Artist Series controller by default. If you want to
access other editing functions, you can customize the controls by mapping other functions to the
soft keys or Touchscreen on your controller. For more information, see “Customizing Avid Artist
Series Controls” on page 881.
Controller Application Sets
The following sections include a list of the default key assignments (called an application set) for
the Avid Artist Series controllers when used with an Avid editing application. You can customize
the key assignments for your controller by using the EuControl application and save your
customizations in a separate application set. For more information, see the user’s guide that came
with your Avid Artist controller. You can find PDF versions of the user’s guide on the EuControl
installation DVD that came with your product.
•Avid Artist Control
•Avid Artist Transport
•Installing EuControl Software
Controller Application Sets
890
Avid Artist Control
The following table lists the default application set for Avid Artist Control when used with your
Avid editing application.
nNot all hardware and software versions support all of the functionality listed in this section.
Some buttons might be unavailable on your controller.
Avid Artist Control: A — Solo/On track keys, Soft knobs, Rec/Sel keys, Fader strips, Soft key navigation, Shift key; B
— Display, Soft keys; C — Soft knobs, Volume/Power, Transport navigation, Transport keys and jog wheel, Shift key
CFG
PAGE
BANK
HOME
NUDGE
MIXER
END
BANK
CLOSE
NUDGE
WO KRS OITATN
LPPANOITACI
POT
KCAB
JOG
SHUTTLE
ZOOM HORIZ
ZOOM VERT
POWER
REC
REW
FF
STOP
PLAY
SOFT KEYS
HOME
END
MONI OTR
RTNOCMOOR LO
PAGE
CFG
ATUO
CER N
ASSGIN
ESL Y
ATUO
C
E
RN
ASSGIN
ESL Y
ATUO
CE
RN
ASSGIN
ESL
Y
ATUO
CER N
AGISSN
LES Y
12
60
40
6
0
5
10
20
30
8
12
60
40
6
0
5
10
20
30
8
12
60
40
6
0
5
10
20
30
8
12
60
40
6
0
5
10
20
30
8
SOLO ON ON ON ONSOLO SOLO SOLO
CAB
Control Function
Solo button Solos the selected track.
On button Unmutes and mutes the selected track.
Soft knobs Eight continuously rotating knobs allowing you to adjust parameters such as
pan levels. The knob has a built-in switch allowing it to be pressed from the
top. The Touchscreen displays the current functions of the knobs.
Rec Enables the selected track for recording.
Rec+Shift (Auto) Changes the automation mode for a track. Press Rec+Shift to cycle through
the automation modes (the Touchscreen displays the selected automation
mode).
Sel Selects an audio track.
Sel+Shift (Assign) Opens the EuControl Settings dialog box and displays the Assign tab.
Controller Application Sets
891
Fader strips Allow you to adjust parameters while recording volume automation or pan.
Press the Shift key and touch a fader to set it to unity gain.
Soft key navigation Moves through the pages listing soft key functions in the display. Press
Shift+up arrow (Home) or Shift+down arrow (End) to go to the first or last
page.
Display Displays functional information and controls, including the knob functions,
Touchscreen controls, soft key labels.
Soft keys Provide editing and navigation functions specified in the soft key pages in the
display. Moving through the soft key pages with the soft key navigation
buttons changes the functions assigned to the soft keys.
Volume Adjusts the volume.
Power Turns the controller on or off.
Back Moves the knob set functions up one level if the knob set in the display is a
submenu.
Top Moves the knob set functions to the topmost level if the knob set in the
display is a submenu.
Application Switches between the most recently used open applications. Press and hold
the Bank (left or right) button to cycle among all open applications.
Workstation
(Shift+Application)
Allows you to change the active workstation if you have more than one
system attached to your controller. For information on attaching multiple
workstations, see the documentation that came with your Artist Series
controller.
Page (left and right) Changes the knob set functions by one page.
Cfg (Shift+Page left
and right)
Opens a knob set configuration page if available.
Nudge (left and right) Moves the set of four tracks assigned to the faders one track to the left or
right — for example, if the faders are assigned to tracks 5 – 8, pressing the
Nudge Left button changes the assignments to tracks 4 – 7.
Bank (left and right) Moves the set of four tracks assigned to the faders four tracks to the left or
right — for example, if the faders are assigned to tracks 5 – 8, pressing the
Bank Left button changes the assignments to tracks 1 – 4.
Mixer (Shift+Nudge
Left)
Opens the Audio Mixer tool.
Control Function
Controller Application Sets
892
Avid Artist Transport
The following table lists the default application set for Avid Artist Transport when used with
your Avid editing application.
nNot all hardware and software versions support all of the functionality listed in this section.
Some buttons might be unavailable on your controller.
Close (Shift+Nudge
Right)
Closes the active dialog box or tool.
Home (Shift+Bank
Left)
Moves the set of four tracks assigned to the faders to tracks 1 – 4.
End (Shift+Bank
Right)
Moves the set of four tracks assigned to the faders to the last bank of four
faders.
Zoom Horz Allows you to use the Jog wheel to zoom horizontally in the Timeline.
Zoom Vert
(Shift+Zoom Horz)
Allows you to use the Jog wheel to zoom vertically in the Timeline.
Jog Allows you to use the Jog wheel to jog through media in the Timeline or a
monitor.
Shuttle (Shift+Jog) Allows you to use the Jog wheel to adjust playback. You can alter the speed
of playback depending on how far you turn the Jog wheel.
Rew Moves to the previous transition in the sequence.
FF Moves to the next transition in the sequence.
Stop Stops playback.
Play Starts playback.
Rec Starts recording at the present location. Recording can use all active tracks.
Jog wheel Turn the wheel to move through media in the Timeline or monitor (jog) or
adjust playback speed (shuttle).
Control Function
Controller Application Sets
893
Avid Artist Transport: Display, Soft keys, Numeric keypad (Show/Redo/Undo), Transport keys, Application change
key, Shift key
Control Function
Display Displays functional information including timecode, active application, and
soft key labels.
Soft keys Provide editing and navigation functions specified in the soft key pages in
the application set. You can view the soft key functions by pressing the Show
button.
The default soft key assignments for your Avid editing application, from left
to right, include the following (Shift+soft key functions are listed in
parentheses):
• Jog (Horizontal Zoom)
• Shuttle (Vertical Zoom)
• Splice-in (Toggle Source/Record)
• Overwrite (Timeline)
• Go to Start (Lift)
• Undo (Extract)
Show Opens the EuControl application and displays the Soft Keys tab.
Controller Application Sets
894
Show+soft key Shows the label for the selected soft key in the display. You can lock the
Show key by pressing the key and then quickly pressing a soft key. Press the
Show key again to unlock it.
Redo (Shift+period) Redoes the last undone edit.
Undo (Shift+asterisk) Undoes the previous edit.
Transport keys Allow you to perform navigation and editing functions specified in the
application set.
The default Transport key assignments for your Avid editing application,
from left to right, include the following (Shift+Transport key functions are
listed in parentheses):
• Mark In (Trim Left 1 Frame)
• Previous Edit (Previous Edit)
• Reverse Play (Trim A Side)
• Stop (Trim Mode)
• Forward Play (Trim B Side)
• Next Edit (Next Edit)
• Mark Out (Trim Right 1 Frame)
Application Switches between the two most recently used open applications. Press and
hold the Application button while turning the Jog wheel in either direction to
cycle among all open applications.
Workstation
(Shift+Application)
Allows you to change the active workstation if you have more than one
system attached to your controller. For information on attaching multiple
workstations, see the documentation that came with your Artist Series
controller.
Control Function
Controller Application Sets
895
Avid Artist Mix
The following table lists the default application set for Avid Artist Mix when used with your
Avid editing application.
Avid Artist Mix: Display, Knob Set navigation, Sel/On keys and touch-sensitive knobs, Solo/On keys, Fader
navigation, Knob Set selections, Fader strips, Shift key, Shift key
RECPLAYFFTXENSTOPPREV WERZTR
SEL
ON
END
BANK
HOME
W KROSTATION
APLPNOITACI
INSERTS
INPUT
BANK
CLOSE
NUDGE
MIXER
NUDGE
POWER
CHAN
FLIP
EQ
DYN
AUX
GROUP
PAN
MIX
BACK
TOP
SEL
ON
SEL
ON
SEL
ON
SEL
ON
SEL
ON
SEL
ON
SEL
ON
CFG
PAGE
CFG
PAGE
A TU O
CER N
NGISSA
ESL Y
AUTO
CER N
NGISSA
ESL Y
AUTO
CER N
N
GISSA
ES L Y
A TU O
CER N
NGISSA
ESL Y
AUTO
CER N
NGISSA
ESL Y
A TU O
CER N
ASSIGN
LES Y
A TU O
CER N
ASSIGN
LES Y
AUTO
CER N
NGISSA
ES L Y
12
60
40
6
0
5
10
20
30
8
12
60
40
6
0
5
10
20
30
8
12
60
40
6
0
5
10
20
30
8
12
60
40
6
0
5
10
20
30
8
12
60
40
6
0
5
10
20
30
8
12
60
40
6
0
5
10
20
30
8
12
60
40
6
0
5
10
20
30
8
12
60
40
6
0
5
10
20
30
8
SOLOSOLOSOLOSOLO NONONONO SOLO ONSOLO ON SOLO ON SOLO ON
Control Function
Display Displays functional information including timecode, active application, and
soft key labels.
Back Moves the knob set functions up one level if the knob set in the display is a
submenu.
Top Moves the knob set functions to the topmost level if the knob set in the
display is a submenu.
Page (left and right) Changes the knob set functions by one page.
Cfg (Shift+Page left
and right)
Opens a knob set configuration page if available.
Sel Changes the knob function or switches a secondary function’s value.
Controller Application Sets
896
On Switches two-state parameters, such as EQ Band 1 on/off.
Soft knobs Eight continuously rotating knobs allowing you to adjust parameters such as
pan levels. The knob has a built-in switch allowing it to be pressed from the
top. The Touchscreen displays the current functions of the knobs.
Solo button Solos the selected track.
On button Unmutes and mutes the selected track.
Chan Enables channel mode.
Flip (Shift+Chan) Switches control between the fader controls to the knobs. A vertical double
arrow appears in the display when the faders and knobs are flipped.
Insert Allows you to select the plug-in effect listed in the display. Press the soft
knob for a track to select the plug-in.
Input (Shift+Input) Displays the Input knob set to configure input routing, mic gains, phantom
power, and other application-specific parameters when pressed.
EQ Allows you to adjust a track’s EQ parameters.
Dyn (Shift+EQ) Displays the Dynamics knob set to configure compressors, limiters,
expanders, and gates when pressed.
Aux Assign a track’s first aux send to a soft knob.
Group (Shift+Aux) Displays the Group knob set to configure group bus routing or control group
(VCA) membership.
Pan Enables selected channels for pan control using the soft knob.
Mix (Shift+Pan) Displays the Mix knob set to configure output routing.
Fader strips Allow you to adjust parameters while recording volume automation or pan.
Press the Shift key and touch a fader to set it to unity gain.
Control Function
21 Using Audio Plug-Ins
This chapter describes how to access and use the audio plug-ins, including the Real-Time
AudioSuite (RTAS) and AudioSuite plug-ins that come with your Avid editing application.
•Real-Time AudioSuite Plug-Ins
•Avid AudioSuite Plug-Ins
•Core Avid Audio Plug-Ins
Real-Time AudioSuite Plug-Ins
Your Avid editing application supports up to five RTAS plug-in inserts on each audio track.
RTAS plug-ins are audio effects that you apply (or insert) on tracks, rather than on segments
within your sequence. These inserts let you process audio material on a track in real time so that
you can apply the effects to a sequence and play them back or output them without rendering
them first. This lets you add a type of audio track effect that Avid Pro Tools® also supports.
When you use more than one plug-in on a track, your Avid editing application processes them in
a series. Each effect gets added to that of any previous effect (moving from left to right in the
Track Control panel). You can only apply mono RTAS plug-ins to mono audio tracks and stereo
plug-ins to stereo audio tracks.
Avid qualifies a number of RTAS plug-ins manufactured by Avid for use with the current version
of your Avid editing application. This includes RTAS plug-ins in the DigiRack and Bomb
Factory plug-ins series. For a description of available RTAS plug-ins, see “Avid AudioSuite
Plug-Ins” on page 904.
Avid also supports some plug-ins from third-party vendors that you can purchase separately.
These plug-ins have their own detailed documentation. For information on Avid and third-party
plug-ins, go to the Avid Web site at www.avid.com.
If you move your sequence from one Avid editing application to another system and the RTAS
plug-in is not installed on that system, information about the effects display. In addition to the
“Unavailable Effect” text, the effect name and other information displays which allows you to
identify the effect. The information is displayed in the RTAS Tool.
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Inserting an RTAS Plug-In on a Track in the Timeline
You can insert up to five RTAS plug-in track effects (inserts a through e) on an audio track. When
you insert a plug-in effect to a track, you select the track where you want to apply the effect,
which insert location you want to use on the track, and the specific effect you want to add to your
sequence.
You can also insert an RTAS plug-in track effect by dragging an RTAS effect template from a bin
to your sequence. For more information, see “Using RTAS Effect Templates” on page 903.
To insert an RTAS plug-in from the Timeline, do the following:
tRight-click the Record Track button or the Track Control panel for the track where you want
to apply the insert and select RTAS Effects [track number] > Insert [a-e] > [insert].
The plug-in effect is inserted in the track.
To insert an RTAS plug-in using the RTAS insert button, do the following:
1. Click an RTAS insert button in the Track Control panel for the track where you want to
apply the insert.
The RTAS tool opens.
2. Click the Select Effect button, and select an RTAS plug-in effect:
The plug-in effect is inserted in the track.
To insert an RTAS plug-in using the Effect Palette:
1. In the Project window, click the Effects tab.
The Effect Palette appears.
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2. Click an RTAS effect category, select the RTAS effect you want, and drag it to the segment
or to the RTAS insert button where you want to apply the insert. You can only insert mono
effects on a mono track, stereo effects on a stereo track, and surround sound effects on a
surround sound track.
The Select Insert dialog box opens.
3. Do one of the following:
tIf you want to add a new insert, click an [Empty] insert button.
tIf you want to replace an existing insert, click the appropriate insert button.
The plug-in effect is inserted in the track to which you dragged the effect icon.
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Editing an RTAS Plug-In on a Track in the Timeline
After you insert an RTAS plug-in on an audio track, you can access the plug-in controls by using
the Track Control panel or the RTAS tool. When you select an RTAS insert button in the Track
Control panel or an effect in the RTAS tool, the controls for the plug-in appear in the RTAS tool
window.
RTAS plug-inserts in the Track Control panel
RTAS tool: Select Track, Select Insert, and Select Effect buttons (left), Bypass button (center), and Save Effect
button (right)
You can modify the parameters of the effect as you play your sequence so you can hear how your
modifications affect the sound of your audio.
nIf you have more than one insert on a track, you can dynamically change the plug-in controls
that display in the RTAS tool as you play your sequence.
To edit an RTAS effect:
1. If the Track Control panel is not visible, click the Track Control Panel button or click
Timeline fast menu and select Track Control Panel.
2. Click the RTAS insert button for the RTAS effect you want to edit.
If a plug-in is inserted on the track, the Select Effect button displays the name of the plug-in
and the RTAS tool opens a window associated with the plug-in.
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The Compressor/Limiter Dyn 3 plug-in window displayed in the RTAS tool dialog box.
You can also open the RTAS tool by selecting Tools > RTAS or right-clicking the Record
Track button for the track where you want to edit an insert and selecting RTAS tool. You can
use the buttons in the RTAS tool to select a specific insert to edit.
3. (Option) If you want to change the plug-in effect for your insert, click the Select Effect
button and select a new plug-in.
4. Make any necessary adjustments to your effect.
If you play your sequence, you can modify the effect dynamically without stopping
playback.
5. (Option) If you have multiple inserts on a track, do one of the following to change the
plug-in controls that display in the RTAS tool:
tClick the Select Track or the Select Insert button and select a different insert.
tPress the arrow keys to cycle through the available inserts.
Up and down arrow keys change the selected track. Right and left arrow keys change the
selected insert.
6. (Option) Click the Bypass button if you want to play audio without processing the track
effect. This lets you compare the audio with or without the plug-in effect.
If you click Ctrl+Bypass (Windows) or Cmd+Bypass (Macintosh), you can disable RTAS
effects on all tracks in the Timeline.
The Bypass button and the RTAS insert buttons on the selected track change to blue.
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7. To save your changes, do one of the following:
tClick the Save Effect icon in the RTAS tool.
tClose the RTAS tool.
Moving and Copying RTAS Inserts
You can move and copy RTAS inserts from one track to another. However, you can only move
mono inserts to mono tracks and stereo inserts to stereo tracks.
RTAS plug-in effects on inserts a, b, and c in the Track Control panel
To move an RTAS insert from one position to another, do the following:
tClick an RTAS insert button and drag it to an RTAS insert button on a new track or to a new
insert button on the same track. If the destination RTAS button already has an insert on it, the
new insert replaces the existing one.
To copy an RTAS insert from one position to another, do the following:
tAlt+drag (Windows) or Option+drag (Macintosh) an insert button to an insert button on a
new track or to a new insert button on the same track.
Ordering RTAS Inserts on a Track
When you combine RTAS plug-ins on an audio track, the order in which you insert them affects
how your Avid editing application applies the effects. This can produce different results for your
sequence. Your Avid editing application processes RTAS effects in order from left to right as
they appear in the Track Control panel (insert a through insert e). For example, if you insert a
compressor plug-in to the right of an EQ plug-in, your Avid editing application applies EQ effect
first and then applies the compressor effect to the result.
You must have one empty insert on your audio track so you do not replace an existing insert
when you reorder the inserts.
To modify the order of RTAS inserts on a track, do the following:
tClick an RTAS insert button and drag it to an empty insert button in the Track Control panel.
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Removing RTAS Inserts on a Track
Removing an insert deletes the effect from the track.
To remove an RTAS insert:
1. Do one of the following:
tSelect Tools > RTAS.
tRight-click the Record Track button for the track where you want to edit an insert and
select RTAS tool.
tClick the RTAS insert button for the RTAS effect.
The RTAS tool opens.
2. Click the Select Track button and select the track where you want to delete an insert.
3. Click the Select Insert button and select “no insert.”
Your Avid editing application removes the insert from the track.
4. Close the RTAS tool to save your changes.
Using RTAS Effect Templates
If you apply an RTAS track effect and make a set of adjustments to it, you can quickly recreate
the same sound on other tracks in your sequence or project. You can save an RTAS effect with its
parameter settings to a bin as an effect template. You can then apply the template to other audio
tracks at any time.
You can apply an RTAS track effect template with all its parameters directly to an RTAS insert
button in the Track Selection panel or to clips in the Timeline.
To save an RTAS effect as a template, do one of the following:
tClick the Save Effect button in the RTAS tool and drag it to a bin.
tClick an RTAS button and drag it to a bin.
A new RTAS track effect template appears in the bin, containing the parameter setting
information for the effect. The new RTAS effect template is identified in the bin by an effect
icon. By default, your Avid editing application names the template by the plug-in name.
To apply an RTAS effect template to an audio track, do one of the following:
tDrag the RTAS effect template from the bin to an RTAS insert button in the Track Selection
panel.
tDrag the RTAS effect template from the bin to a segment on the track where you want to
apply the effect. The Select Insert dialog box opens so you can select the insert where you
want to apply the effect.
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The RTAS effect is applied to the track.
Avid AudioSuite Plug-Ins
Your Avid editing application supports AudioSuite, the Avid host-based, file-based plug-in
specification. Users have access to mono and stereo audio-processing plug-ins developed by
Avid and by Avid third-party developers. These plug-ins perform pitch modifications, artifact
removal, audio reversal, and many other processes.
Avid qualifies a broad range of the AudioSuite plug-ins manufactured by Avid for use with the
current version of your Avid editing application. This includes all AudioSuite plug-ins in the
DigiRack and Bomb Factory plug-ins series.
Avid supports other AudioSuite plug-ins that do not install with your Avid editing application.
You can use these plug-ins on a trial basis and then purchase them through Avid. These plug-ins
have their own detailed documentation.
For information on Avid and third-party plug-ins, go to the Avid Web site at www.avid.com.
For information on plug-ins that are not supported by your Avid editing application, see
“AudioSuite Plug-in Limitations” on page 914.
AudioSuite Plug-Ins Installation
The installer for your Avid editing application automatically creates a Plug-Ins folder that stores
AudioSuite plugins in the following location:
(Windows) drive:\Program Files\Common Files\DSM\DAE
(Macintosh) Macintosh HD/Library/Application Support/DSM
Your Avid editing application automatically installs a set of core plug-ins. When you purchase
additional plug-ins, the third-party vendor provides instructions on how to load the plug-ins.
cYour Avid editing application requires the files in the Plug-Ins folder named
AvidAppPlugIn.dpm and AvidAppPlugIn.dpm.rsr (Windows) or Avid_Application_PlugIn
(Macintosh). Do not delete them.
nAudioSuite Plug-ins supported by Avid appear in the Plug-In Selection menu in the AudioSuite
window.
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Using Avid AudioSuite Plug-Ins
You can use AudioSuite plug-ins in two ways.
• You can apply a plug-in to a clip in the Timeline and then create a rendered effect. For more
information, see “Applying an AudioSuite Plug-in to a Clip in the Timeline” on page 905.
• You can use the controls in the AudioSuite window to create a new master clip. This method
lets you process more than one channel at a time and to create new media with a duration
longer or shorter than the source media. For more information, see “Creating New Master
Clips with AudioSuite Plug-Ins” on page 908.
By default, the AudioSuite window displays the controls for applying a plug-in to a clip in the
Timeline. When you drag a master clip into the window, the window expands to display
additional parameters for working with master clips.
The AudioSuite tool automatically applies stereo plug-ins to stereo tracks and mono plug-ins to
mono tracks.
Applying an AudioSuite Plug-in to a Clip in the Timeline
The following illustration shows the default layout of the AudioSuite window.
2341
8
9
576
1 Effect icon 6 Activate Current Plug-In button
2 Audio Loop Play button 7 Status display
3 Render Effect button 8 Plug-In Selection menu
4 Fast Menu button 9 Target Drive menu
5 Track Selection Menu button
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nIf you want to use plug-ins that operate on stereo pairs or that change the length of the audio
clip, use the methods described in “Creating New Master Clips with AudioSuite Plug-Ins” on
page 908.
To apply an AudioSuite plug-in to a clip in the Timeline:
1. Open the AudioSuite window by doing one of the following:
tSelect Tools > AudioSuite.
tIf an audio tool is already open, click the Effect Mode Selector menu, and select
AudioSuite.
2. Use the Track Selection Menu button to select the tracks that you want to modify.
When you select an item from this menu, the system selects or deselects the corresponding
track in the Timeline.
3. (Option) To select multiple tracks, press the Shift key while you select additional tracks from
the Track Selection menu.
Plus signs (+) mark the additional tracks and indicate that the effect is applied to more than
one track.
4. Click the Plug-In Selection menu, and select a plug-in.
Your Avid editing application automatically applies the plug-in effect to the track or tracks
in the Timeline. It applies stereo effects to stereo tracks and mono effects to mono tracks.
5. Click the Activate Current Plug-In button.
A dialog box associated with the plug-in opens.
6. Make any necessary adjustments, and click the Preview button to preview the effect.
For more information, see “Common Buttons in the AudioSuite Plug-In Dialog Box” on
page 906.
7. To save the effect, click OK.
To close the dialog box without saving the effect, click Cancel.
8. (Option) To save the effect as a template, drag the effect icon to a bin.
Common Buttons in the AudioSuite Plug-In Dialog Box
The contents of the plug-in dialog boxes vary, but the top six buttons are always visible. Buttons
unavailable for a plug-in appear dimmed. The following illustration shows the Gain plug-in.
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Common buttons in the AudioSuite Plug-In dialog box
The following table describes the six common buttons:
AudioSuite Fast Menu
The AudioSuite Fast menu lets you do the following:
• Apply an existing AudioSuite template. See “Using AudioSuite Effect Templates” on
page 913.
• Set, render, or remove AudioSuite plug-ins. The menu text differs, depending on whether
you have In to Out points in the sequence.
Button Description
OK Saves the effect and closes the dialog box.
Cancel Closes the dialog box and does not save the effect.
Preview Plays back a portion or all of the currently selected audio clip with processing.
Some plug-ins can preview in real time and some cannot. If a plug-in cannot preview in real time,
your Avid editing application plays back the processed audio in 2-second intervals: it processes
2 seconds of audio, plays it, and repeats the operation.
Render Renders the effect and creates a new audio media file.
Bypass Plays the selected audio without processing. This is useful for comparing the audio with and
without processing applied.
Find level Performs an analysis pass on the audio. Depending on the plug-in, the text and function of this
button might change.
Some plug-ins require an analysis pass on the audio data before they can process the information.
If so, they perform the first pass automatically. Other plug-ins do not require a first pass but can
achieve more accurate results if you allow them to perform a first pass. The Find Level button is
available only if the plug-in supports the optional pass.
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The following commands appear in the menu:
Rendering AudioSuite Plug-in Effects
You need to render all AudioSuite plug-ins before you can play back the effect. If you do not
render the effect manually, your Avid editing application automatically renders the effect before
it creates an audio mixdown or audio dissolve containing the effect.
nWhen you render an audio effect on an AMA media clip, all audio media files are written as
PCM (MXF), regardless of what you set for the audio file format.
For more information, see “Troubleshooting AudioSuite Plug-Ins” on page 914.
Creating New Master Clips with AudioSuite Plug-Ins
You can use AudioSuite plug-ins to create new master clips. This lets you use multiple input and
output channels and to change the length of the media. You can perform the following operations
on the media you create:
• Apply AudioSuite plug-ins to more than one track at the same time. For example, a plug-in
might let you process two separate tracks as a stereo pair. This enables you to use plug-ins
that perform linked compression, reverb, and other effects that allow multichannel input.
• Create new media with a longer or shorter duration than the source media. This lets you use
effects that perform time compression and expansion. For example, you can use a Time
Compression Expansion plug-in to change the length of the audio file, or you can lengthen
the file in order to add a reverb trail.
• Apply one mono AudioSuite effect to multiple inputs of a master clip in a multiple-mono
fashion.
Command Description
Global The segment has no In points. The command affects all the plug-ins on the
enabled tracks.
IN/OUT The segment has In to Out points. The command affects the plug-ins on the
enabled tracks within the marked region.
From IN The segment has an In point but no corresponding Out point. The command
affects all plug-ins on enabled tracks, starting with the In point.
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AudioSuite Controls for Creating New Master Clips
When you drag a master clip onto the AudioSuite window, the window automatically expands to
display additional controls. You can also click the Display/Hide Master Clip Controls button to
display or hide the additional parameters.
The following illustration identifies the controls in the expanded AudioSuite window. For
information on the controls in the top part of the window, see “Applying an AudioSuite Plug-in
to a Clip in the Timeline” on page 905.
The following table describes the controls in the AudioSuite window.
1
2
3
4
56
10
11
7
9
8
Control Description
1 Clip Selection menu Lets you choose the active clip. It lists the current active clip and other clips
you dragged into the AudioSuite window. The window controls change to
reflect the active clip.
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2 Input Source Track
selectors
Let you choose the input source tracks for the effect.
The system automatically chooses a preview track and displays a blue Speaker
icon on the track. To change the preview track, Alt+click (Windows) or
Option+click (Macintosh) the appropriate source track. If the source track used
as the current preview track is deselected, the system chooses the lowest
available track.
The track selection buttons do not reflect multichannel track grouping on
master clips, so the selection buttons might differ from those in the Source
monitor.
3 Processing Mode Selection
menu
Displays the current processing mode of the AudioSuite effect on a given clip.
For more information, see “Mono, Stereo, and Multichannel Processing in
AudioSuite Plug-Ins” on page 911.
4 Target Bin for New Master
Clip menu
Lets you choose the target bin. The system places the new media and a
corresponding AudioSuite effect template in the bin. The template lets you
modify the effect at a later time.
5 Status display Provides information about the current state of the DAE (the software that
manages the AudioSuite plug-ins) and the currently applied effect. For stereo
and multichannel processing plug-ins, the Status display identifies the
maximum number of tracks that the plug-in can process. If you initially select
more than the maximum, the system automatically disables tracks until it
reaches the plug-in’s maximum number.
nOn the Macintosh, you can Command+click the status display to close
the DAE. This might reclaim a small amount of system memory,
especially if you have a large number of AudioSuite plug-ins installed.
However, when you close the DAE in this way, the Status display
changes to “Must relaunch application to reconnect to DAE,” and you
cannot start the DAE again without quitting and reopening your Avid
editing application.
6 Load Result check box When enabled, instructs the system to automatically load the resulting master
clip into the Source monitor.
7 Handle Length for End of
Master Clip (seconds) text
box
Lets you add filler at the end of a master clip. The value represents the number
of seconds to add. For example, use this feature to add filler at the end of a
master clip when you use a reverb effect to add a reverb trail to the end of the
clip. Select the value before you run the plug-in.
8 Load In Source Monitor
button
Loads the current source master clip into the Source monitor. You can use
when you want to add or change In to Out points on the clip.
9 Toggle Master Clip Mode
button
Activates the master clip processing mode. The button displays as yellow when
master clip processing mode is active.
Control Description
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Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins
AudioSuite plug-ins let you select the following types of processing:
• Mono processing only — This option is available for plug-ins that operate on only one mono
audio track at a time. The other option (Stereo) appears dimmed. The plug-in applies the
effect to each source track individually, in a serial manner.
• Mono and stereo processing — These options are available for plug-ins that can operate on
stereo tracks or that can treat two tracks as a stereo pair. This allows the system to apply the
audio effect simultaneously to each track. For example, the Time Compression Expansion
plug-in typically operates on a stereo pair. You can choose mono if you want the plug-in to
operate on each track individually, in a serial manner.
• Mono and multichannel processing — These options are available for plug-ins that can
process multiple channels or tracks simultaneously. For example, the Normalize plug-in lets
you adjust the volume separately for each channel or track or to adjust the volume for all
channels or tracks at the same time. In the latter case, the system examines all enabled
channels and tracks for the loudest volume and then adjusts them relative to that value.
For mono processing and for stereo processing of stereo clips, the system creates a new master
clip with the same number of tracks that you selected in the AudioSuite window.
For stereo and multichannel processing of mono audio clips, the plug-in creates a master clip
with the number of tracks equal to the number of output tracks from the plug-in. For example, a
plug-in that operates on stereo pairs creates a two-track master clip. A plug-in that operates on
multiple tracks creates a master clip with the same number of tracks that were selected in the
AudioSuite window.
The Status display at the bottom of the AudioSuite Plug-in window indicates how many tracks
the plug-in can process. If you enable more tracks than it can be process, the plug-in
automatically selects the correct number of tracks. You can change the track selection based on
your needs.
10 Mark IN to OUT indicators These lights change to green when a mark In or mark Out exists on the current
master clip.
11 Find Source From Effect
button
Lets you find the master clip associated with an AudioSuite template. When
you drop an AudioSuite effect template into the AudioSuite window, the
system activates this button. Click the button to load the master clip into the
AudioSuite window as the active master clip.
nA template in the AudioSuite window must reference an existing master
clip.
Control Description
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Most AudioSuite plug-ins automatically select the appropriate processing mode and label the
values in the Processing Mode Selection menu. For example, the Normalize plug-in offers two
choices: Level On Each Chan-Track and Levels On All Chans-Tracks (default).
You select the processing mode from a menu in the AudioSuite window as described in the next
section.
Using AudioSuite Plug-ins to Create New Master Clips
To create new master clips using the AudioSuite plug-ins:
1. Drag one or more master clips or subclips into the AudioSuite window.
Your Avid editing application automatically enters Master Clip Processing mode and
expands the AudioSuite window, if necessary.
2. If you dropped more than one master clip in the AudioSuite window, select a clip to work on
from the Clip Selection menu.
3. Select the input sources from the Input Source Track selectors.
4. (Option) Alt+click (Windows) or Option+click (Macintosh) the Input Source Track selector
to change the preview source track.
5. (Option) Type a value in the Handle Length text box to lengthen the clip by a specific
amount.
For example, type
2
if you plan to add a 2-second reverb trail.
If you are using Time Compression/Expansion plug-ins, the plug-ins automatically lengthen
or shorten the clip.
6. Click the Plug-In Selection menu, and select a plug-in.
7. Click the Activate Current Plug-In button to open the plug-in’s dialog box.
For more information, see “Common Buttons in the AudioSuite Plug-In Dialog Box” on
page 906.
8. Make any changes, and click the Preview button to preview the effect.
9. Either render the plug-in from the Plug-In dialog box, or return to the AudioSuite window.
For more information on rendering, see “Rendering AudioSuite Plug-in Effects” on
page 908.
When you click the Render Effect button, your Avid editing application creates a new master
clip in the target bin. Your Avid editing application names the new master clip by combining
the original clip name with the effect name, for example, Test Audio clip_Normalize
(Windows) or QuietClip.Normalize (Macintosh).
Your Avid editing application also creates an AudioSuite effect template in the bin as
described in “Using AudioSuite Effect Templates” on page 913.
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Using AudioSuite Effect Templates
When you create a new master clip, your Avid editing application also creates an AudioSuite
effect template in the bin. This effect template contains a reference to the original master clip to
which you applied the effect.
Template names take the following format:
• (Windows) Your Avid editing application combines the original clip name with the effect
name — for example, Test Audio clip - AudioSuite Plug-In Effect: Normalize.
• (Macintosh) Your Avid editing application adds an effect file name extension to the effect
name — for example, QuietClip.NormalizeQuietClip.Normalize.effect.
You can use the template if you want to modify an effect on a clip.
To use a template to modify a master clip:
1. Drag an AudioSuite plug-in template into the AudioSuite window.
The Find Source From Effect button becomes active.
2. Click the Find Source From Effect button to load the master clip into the AudioSuite
window.
If a corresponding master clip exists, the system loads the master clip with its associated
plug-in values.
3. Modify the effect as described in “AudioSuite Controls for Creating New Master Clips” on
page 909.
To add a template to the AudioSuite Fast menu:
1. Open the bin containing your AudioSuite templates.
2. Select File > Open Bin.
A dialog box opens.
3. Navigate to the AudioSuite Site bin file in the following location:
(Windows) drive:\Program Files\Avid\Avid editing application\
SupportingFiles\Site_Effects\Site_AudioSuite_Bin.avb
(Macintosh) Macintosh HD/Applications/Avid editing application/
SupportingFiles/Site_Effects/Site_AudioSuite_Bin
4. Double-click the Site_AudioSuite_Bin file.
The Site_AudioSuite_Bin window opens.
5. Drag one of your AudioSuite templates to the Site_AudioSuite_Bin window.
6. If you have not already done so, name the template by clicking the text and typing a name.
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7. Close the bin.
Your Avid editing application does not save the effect to the bin until you close the bin.
8. Click the AudioSuite Fast Menu button to locate your new template.
Using AudioSuite Plug-Ins in Stereo
You can use some AudioSuite plug-ins on either mono or stereo tracks.
To use AudioSuite plug-ins in stereo, be aware of the following:
• To process a mono track and obtain a stereo result, select the desired track or mark an In
point and Out point, then either select an empty track or add an new one. When you process
the audio, the result will be two tracks or regions that represent the right and left channels of
the processed audio. You should then pan these tracks hard right and hard left in your mix.
• If you work with mono tracks and set a plug-in to Stereo mode, then select an odd number of
tracks for processing, the plug-in processes the selected tracks in pairs to create the stereo
effect. However, the last odd, unpaired track will be processed as mono, using the left
channel settings of the stereo plug-in. If you want the last track to be processed in stereo, you
must select an additional track to pair it with — an empty one, if necessary.
AudioSuite Plug-in Limitations
The following limitations apply to the AudioSuite plug-ins:
• Avid does not support some plug-ins that perform analysis passes on the audio data. This
includes plug-ins that use playlist information to cache analysis data.
• If you want to use plug-ins that change the length of an audio clip or that operate on multiple
inputs at the same time, use the method described in “Creating New Master Clips with
AudioSuite Plug-Ins” on page 908. Applying an effect to a clip in the Timeline does not
work for these operations.
Troubleshooting AudioSuite Plug-Ins
You might need to respond to an error message or cancel a render operation when rendering
AudioSuite plug-ins. If the DAE is not running when you start to render an AudioSuite plug-in
effect, the system displays an error message stating that the DAE connection does not exist.
To respond to error messages:
1. Do one of the following:
tSelect Cancel to stop the rendering process. This lets you open the AudioSuite tool and
then start rendering again.
tSelect Bypass to continue the rendering process. The plug-in effect does not render.
Working with Dolby E Surround Sound Plug-ins
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In most cases, you should click Cancel and open the AudioSuite window.
If you have not installed the plug-in when you go to render a plug-in effect, your Avid
editing application displays an error message informing you which plug-in you must install.
At that time, you can cancel or bypass the rendering process.
2. To cancel a render operation, press Ctrl+period (Windows) or Command+period
(Macintosh).
Be careful not to press these keys multiple times. If you press Ctrl+period (Windows) or
Command+period (Macintosh) after the render operation stops from a previous Ctrl+period
(Windows) or Command+period (Macintosh), your Avid editing application closes the
window after it cancels the render operation.
Working with Dolby E Surround Sound Plug-ins
Dolby E is an audio coding technology created by Dolby Labs that compresses up to 8 channels
of audio and metadata into 2 channels. You can capture or import media clips that include
encoded Dolby E surround sound data, and you can then edit those clips in the Timeline. When
you want to monitor tracks with Dolby E surround sound encoding, you can use supported
third-party Dolby E plug-ins to decode the metadata. You can also encode Dolby E metadata in
order to export surround sound media for use in your production environment.
For more information on capturing Dolby E media, see “Capturing Media with Dolby E
Information” on page 258.
When you work with Dolby E encoder and decoder plug-ins, keep in mind the following:
• You can add an RTAS Dolby E decoder plug-in to a track to decode Dolby E data in the
Timeline in real time. This allows you to easily monitor and edit the surround sound audio in
your sequence.
• You can use an AudioSuite decoder plug-in to decode the Dolby E data on a clip, but you
must use the plug-in to create a new master clip in master clip processing mode. (For
information on creating master clips with plug-ins, see “Using AudioSuite Plug-ins to
Create New Master Clips” on page 912.) Supported Dolby E decoder plug-ins decode the
metadata and create separate mono audio clips in the bin, which you can then edit into your
sequence or use the Modify dialog box to create a surround sound audio clip.
• When you use a Dolby E encoder plug-in to encode Dolby E data in an audio clip or a
surround sound audio track in the Timeline, the plug-in creates a new media file in the
specified location on your system. If you render the plug-in effect or create a mixdown of a
sequence with a Dolby E encoder effect applied to it, you can no longer use the Dolby E
metadata to monitor your audio because the effect has been rendered. Instead, you should
encode the Dolby E data, creating a new media file on your system, and then remove the
Core Avid Audio Plug-Ins
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Dolby E plug-in effect from your sequence. This allows you to continue to monitor and edit
the surround sound audio. Alternately, you can leave the effect in the Timeline as long as
you do not perform either a render or mixdown of the sequence.
For more information, see the documentation that came with your Dolby E plug-in.
Core Avid Audio Plug-Ins
A set of core audio plug-ins installs with your Avid editing application. RTAS and AudioSuite
Plug-ins supported by Avid, such as the core set, appear in the RTAS tool and the AudioSuite
Plug-in Selection menu with their plug-in name.
nOther audio plug-ins might get installed on your system for use with Pro Tools, or you might
download plug-ins. Avid does not recommend using unsupported plug-ins with Avid editing
applications.
Avid supports other RTAS and AudioSuite plug-ins that do not install with your Avid editing
application. You can use these plug-ins on a trial basis and then purchase them through Avid.
These plug-ins have their own detailed documentation. For information on Avid and third-party
plug-ins, go to the Avid Web site at www.avid.com.
The following table provides a brief description of each of the core plug-ins, with
cross-references to more detailed information in the remaining topics in this section.
You can use RTAS track effect plug-ins on both mono and stereo tracks. You can use some
AudioSuite plug-ins in either mono or stereo clips. For more information, see “Using AudioSuite
Plug-Ins in Stereo” on page 914.
Audio Plug-ins
Plug-In Description
AIR Chorus Gives depth and space to the audio signal.by applying a short modulated delay. For
more information, see “AIR Chorus (RTAS)” on page 920.
AIR Distortion Modifies the audio signal with various types of distortion. For more information, see
“AIR Distortion (RTAS)” on page 920.
AIR Dynamic Delay Creates a delay line that can synchronize to the tempo of your audio sequence. For
more information, see “AIR Dynamic Delay (RTAS)” on page 922.
AIR Enhancer Enhances the low and high broadband frequencies of the audio signal. For more
information, see “AIR Enhancer (RTAS)” on page 924.
Core Avid Audio Plug-Ins
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AIR Ensemble Creates fluid, shimmering modulation effects. For more information, see “AIR
Ensemble (RTAS)” on page 924.
AIR Filter Gate Breaks the audio signal into staccato rhythmic patterns with variable filtering,
amplitude, and panning. For more information, see “AIR Filter Gate (RTAS)” on
page 925.
AIR Flanger Applies a short modulating delay. For more information, see “AIR Flanger (RTAS)” on
page 926.
AIR Frequency Shifter Shifts the audio signal’s individual frequencies inharmonically. For more information,
see “AIR Frequency Shifter (RTAS)” on page 928.
AIR Fuzz-Wah Modifies the audio signal with different types and varying amounts of transistor-like
distortion. For more information, see “AIR Fuzz-Wah (RTAS)” on page 929.
AIR Kill EQ Removes the Low, Mid, or High broadband frequency range from an audio signal. For
more information, see “AIR Kill EQ (RTAS)” on page 930.
AIR Lo Fi Lets you bit-crush, down-sample, clip, rectify, and mangle the input signal. For more
information, see “AIR Lo Fi (RTAS)” on page 930.
AIR Multi-Chorus Applies a thick, complex chorus effect to the audio signal. For more information, see
“AIR Multi-Chorus (RTAS)” on page 933.
AIR Multi-Delay Applies up to six delay lines to the audio signal. For more information, see “AIR
Multi-Delay (RTAS)” on page 934.
AIR Non-Linear Reverb Creates special gated or reversed reverb effects. For more information, see “AIR
Non-Linear Reverb (RTAS)” on page 935.
AIR Phaser Creates a unique sweeping sound by applying a phaser effect. For more information,
see “AIR Phaser (RTAS)” on page 936.
AIR Reverb Creates a sense of room or space by applying a reverb to the audio signal. For more
information, see “AIR Reverb (RTAS)” on page 938.
AIR Spring Reverb Creates a classic analog, spring reverb sound. For more information, see “AIR Spring
Reverb (RTAS)” on page 940.
AIR Stereo Width Lets you enhance the stereo presence for mono audio signals. For more information,
see “AIR Stereo Width (RTAS)” on page 941.
AIR Talkbox Adds voice-like resonances to audio signals. For more information, see “AIR Talkbox
(RTAS)” on page 942.
Audio Plug-ins
Plug-In Description
Core Avid Audio Plug-Ins
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AIR Vintage Filter Applies a modulating, resonant filter to the audio signal. For more information, see
“AIR Vintage Filter (RTAS)” on page 944.
BF Essential Clip
Remover
Repairs clipped audio recordings. For more information, see “BF Essential Clip
Remover (AudioSuite)” on page 945.
Bomb Factory BF76 Provides compression modeled after the 1176 studio compressor. For more
information, see “Bomb Factory BF76 (RTAS and AudioSuite)” on page 946.
Chorus Provides time-delay and pitch-shift effects, added to the clip to create a multi-layered
sound. For more information, see “Chorus (AudioSuite)” on page 946.
Compressor/Limiter III Applies either compression or limiting to audio material, depending on the ratio of
compression used. For more information, see “Compressor/Limiter III — Dynamics III
(RTAS and AudioSuite)” on page 948.
D-Verb™Provides a studio-quality reverberation or ambience processing to single or multiple
tracks. For more information, see “D-Verb (RTAS and AudioSuite)” on page 952.
DC Offset Removal Removes an audio artifact that is common in digital audio files. A DC offset is caused
by poorly calibrated analog-to-digital converters (A/Ds), and can produce clicks and
pops on clip edit transitions if not removed. For more information, see “DC Offset
Removal (AudioSuite)” on page 953.
De-Esser III Reduces sibilants and other high frequency noises that can occur in vocals, voiceovers,
and wind instruments such as flutes. For more information, see “DeEsser III —
Dynamics III (RTAS and AudioSuite)” on page 953.
Delay Provides time-delay-based effects. Effects obtained through the use of Delay include
slap echo, doubling, chorusing, and flanging. For more information, see “Delay Plug-In
(RTAS and AudioSuite)” on page 955.
Duplicate Creates a new master clip from a selected audio clip. The plug-in uses the In and Out
points on the selected clip to define the boundaries of the new clip. For more
information, see “Duplicate (AudioSuite)” on page 956.
EQ Lets you adjust frequency equalization on individual audio clips. Four EQ plug-ins are
available: 1-Band EQ II, 4_Band EQ II, 1-Band EQ III, and 7-Band EQ III. For more
information, see “EQ (AudioSuite)” on page 957.
Expander/Gate III Applies expansion or gating to audio material, depending on the ratio setting. For more
information, see “Expander/Gate III — Dynamics III (RTAS and AudioSuite)” on
page 962.
Flanger Creates a flange effect that approximates a true tape-generated flange. For more
information, see “Flanger (AudioSuite)” on page 964.
Audio Plug-ins
Plug-In Description
Core Avid Audio Plug-Ins
919
Funk Logic
Mastererizer
Provides low-fidelity sound design capabilities for the creative degredation of audio.
For more information, see “Funk Logic Mastererizer (AudioSuite)” on page 965.
Gain Same as Normalize, but allows positive or negative gain adjustment. For more
information, see “Gain (AudioSuite)” on page 965.
Invert Inverts the polarity (phase) of the audio file. For more information, see “Invert
(AudioSuite)” on page 966.
Lo-Fi Processes audio by reducing its sample rate and bit resolution. For more information,
see “Lo-Fi Plug-In (RTAS and AudioSuite)” on page 966.
Multi-Tap Delay Lets you control up to four independent delays applied to the audio clip. For more
information, see “Multi-Tap Delay (AudioSuite)” on page 968.
Normalize Finds the peak value in the source audio file and scales the entire file proportionally to
that maximum value. For more information, see “Normalize (AudioSuite)” on
page 969.
PhaseScope Provides signal level and phase information by way of multichannel metering for stereo
tracks only. For more information, see “PhaseScope (RTAS)” on page 969.
Ping-Pong Delay Lets you add a delay to an audio clip to create a ping-pong echo effect. For more
information, see “Ping-Pong Delay (AudioSuite)” on page 972.
Pitch Shift Changes pitch with or without changing length. For more information, see “Pitch Shift
(AudioSuite)” on page 972.
Recti-Fi Provides additive synthesis effects through waveform rectification, multiplying the
harmonic content of an audio track and adding subharmonic or superharmonic tones.
For more information, see “Recti-Fi (RTAS and AudioSuite)” on page 974.
Reverse Rewrites the selected audio in reverse. For more information, see “Reverse
(AudioSuite)” on page 975.
Sci-Fi Adds effects such as ring modulation, resonation, and sample & hold, that are typically
found on older, modular analog synthesizers. For more information, see “Sci-Fi (RTAS
and AudioSuite)” on page 975.
Signal Generator Produces audio test tones in a variety of frequencies, waveforms, and amplitudes. For
more information, see “Signal Generator (RTAS and AudioSuite)” on page 977.
Time Compression
Expansion
Lets you adjust the duration of a selected clip by creating a new master clip. This
increases or decreases the selection’s length without changing pitch. For more
information, see “Time Compression Expansion (AudioSuite)” on page 978.
Audio Plug-ins
Plug-In Description
Core Avid Audio Plug-Ins
920
AIR Chorus (RTAS)
You can use the AIR Chorus plug-in to apply a short modulated delay to give depth and space to
the audio signal.
The following table lists the AIR Chorus plug-in parameters:
AIR Distortion (RTAS)
You can use the AIR Distortion plug-in to color the audio signal with various types and varying
amounts of distortion.
Time Shift Adjusts both the duration and the pitch of a selected clip. For more information, see
“Time Shift (AudioSuite)” on page 980.
Trim Attenuates an audio signal from -[Infinity] dB to +6 dB or [Infinity] dB to +12 dB. For
more information, see “Trim (RTAS)” on page 983.
Audio Plug-ins
Plug-In Description
Parameter Description
Rate Lets you adjust the rate of the low frequency oscillator (LFO) applied to the delayed signal as
modulation. The higher the setting, the more rapid the modulation. You can select either a sine
wave or a triangle wave as a modulation source, using the LFO Waveform selector.
Depth Lets you adjust the depth of the low frequency oscillator (LFO) applied to the delayed signal as
modulation.
Chorus • Feedback — Controls the amount of feedback applied from the output of the delayed signal
back into its input. Negative settings provide a more intense effect.
• Pre Delay — Sets the delay time between the source chorus signal and the processed signal
in milliseconds. The higher the setting, the longer the delay and the wider the chorusing
effect.
LFO • Waveform — Selects a triangle or a sine wave for the LFO. This affects the character of the
modulation. The sine wave has a gentler ramp and peak than the triangle wave.
• L/R Phase — Sets the relative phase of the LFO’s modulation in the left and right channels.
Mix Lets you adjust the balance between the Dry (source) signal and the Wet (processed) signal,
giving you control over the depth of the effect. 0% is all dry, and 100% is all wet, while 50% is
an equal mix of both.
Core Avid Audio Plug-Ins
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The following table lists the AIR Distortion plug-in parameters:
Parameter Description
Drive Lets you increase the drive (input volume) of the signal from 0 dB (no distortion) to 60 dB
(extreme distortion). An increase or decrease of 1– 2 decibels can make a big difference on the
amount and quality of distortion.
Output Lets you lower the Output level of the distorted signal from 0–100%. At 0%, no distorted signal
passes through the output. At 100%, the distorted signal passes through the output at full
volume.
Tone Lets you shape the timbral quality of the distortion.
• Pre Shape — Lets you increase or decrease a broad gain boost (or attenuation) of treble
frequencies in the processed signal. Pre-Shape is essentially a pre-distortion tone control that
makes the distortion bite at different frequencies. Set to 0%, the Pre-Shape control doesn’t
affect the tone at all. Higher settings provide a boost in the high end of the distorted signal
(more treble distortion), while lower setting suppress the high end, with some mid-range
boost, for a darker less distorted tone.
• High Cut — Lets you adjust the frequency for the High Cut filter. To attenuate the high-end
of the processed signal, lower the frequency.
Clipping • DC Bias — Lets you change clipping from being symmetrical to being asymmetrical, which
makes it sound richer and more extreme at high settings. The difference is most noticeable at
lower Drive settings.
• Threshold — Lets you adjust the headroom for the dynamic range of the distorted signal
between –20.0 dBFS and 0.0 dBFS. Rather than using the Drive to adjust the signal level
relative to a fixed clipping level, use the Threshold control to adjust the clipping level
without changing the signal level.
Stereo When you enable Stereo, the control processes the left and right channels of the incoming stereo
signal separately. When you disable Stereo, the control sums and processes the incoming stereo
signal as mono.
Mix Lets you balance the amount of dry signal with the amount of wet (distorted) signal. At 50%, the
output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it
is all wet.
You can use the Mix control in conjunction with the Output control to find just the right balance
of the distorted signal with the input (dry) signal. For example, with Mix set to 50%, equal
amounts of the dry and wet signal pass to the output. You can then lower the Output control to
decrease the amount of distorted signal passed to the output until you get exactly the right mix
between the two signals and the right overall level.
Core Avid Audio Plug-Ins
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AIR Dynamic Delay (RTAS)
You can use the Dynamic Delay Plug-In for a delay line that can synchronize to the tempo of
your audio sequence, and you can modulate the delay using an envelope follower.
The following table lists the AIR Dynamic Delay plug-in parameters:
Parameter Description
Sync When you enable Sync, the delay time synchronizes to the tempo of your audio sequence. When
you disable Sync, you can set the delay time in milliseconds independently of the tempo. The
Sync button is lit when it is enabled.
Delay When you enable Sync, the Delay control lets you select a rhythmic subdivision or multiple of
the beat for the delay time (based on the tempo). Select from the following rhythmic values:
• 16 (sixteenth note)
• 8T (eighth-note triplet)
• 16D (dotted sixteenth-note)
• 8 (eighth note)
• 4T (quarter-note triplet)
• 8D (dotted eighth-note)
• 4 (quarter note)
• 2T (half-note triplet)
• 4D (dotted quarter-note)
• 2 (half note)
• 1T (whole-note triplet)
• 3/4 (dotted half note)
• 4/4 (whole note)
• 5/4 (five tied quarter notes)
• 6/4 (dotted whole note)
• 7/4 (seven tied quarter notes)
• 8/4 (double whole note)
When you disable Sync, the Delay control lets you set the delay time in milliseconds and
seconds (1 ms to 4.00 seconds).
Core Avid Audio Plug-Ins
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Feedback Lets you adjust the amount of delay feedback. At 0% the delayed signal repeats only once. As
you increase the feedback, the number of times the delay repeats increases. At 100%, the delay
repeats for an extended period of time.
Each Delay mode produces a different feedback pattern, especially when you do not center the
L/R Ratio.
Delay Section • L/R Ratio — Lets you set the ratio of left to right delay times. If you move the control all the
way to the left (50:100), the left channel delay time equals half the right channel delay time.
If you move the control all the way to the right (100:50), the right channel delay time equals
half the left channel delay time.
• Stereo Width — Lets you adjust the width of the delay effect in the stereo field.
EQ • Low Cut — Lets you adjust the frequency for the Low Cut filter. For less bass, raise the
frequency.
• High Cut — Lets you adjust the frequency for the High Cut filter. For less treble, lower the
frequency.
Env Mod The Dynamic Delay plug-in provides Envelope Modulation (an envelope follower) to control
various parameters in real time.
• Rate — Determines how quickly the Feedback and Mix parameters respond to input from
the envelope follower.
• FBK — Determines how much the envelope follower affects the Feedback (FBK) amount.
• Mix — Determines how much the envelope follower affects the wet/dry mix. At 0%, the
envelope follower has no effect on the given parameter. At +/– 100%, the parameter’s value
increases or decreases in direct proportion to the incoming signal’s amplitude envelope.
Feedback
Mode
Select one of the following options for the Feedback Mode:
• Mono — Sums the incoming stereo signal to mono, then offers separate left and right delay
output taps from that signal.
• Stereo — Processes the left and right channels of the incoming stereo signal independently
and outputs the processed signal on the corresponding left and right channels.
• Cross — Processes the left and right channels of the incoming stereo signal independently,
and feeds the each side’s delayed signal back to the opposite channel.
Mix Lets you balance the amount of dry signal with the amount of wet (delayed) signal. At 50%, the
output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it
is all wet.
Parameter Description
Core Avid Audio Plug-Ins
924
AIR Enhancer (RTAS)
You can use the Enhancer plug-in to enhance the low and high broadband frequencies of the
audio signal.
The following table lists the AIR Enhancer plug-in parameters:
AIR Ensemble (RTAS)
You can use the Ensemble plug-in to apply fluid, shimmering modulation effects to the audio
signal.
The following table lists the AIR Ensemble plug-in parameters:
Parameter Description
High Gain Adjusts the frequency to boost the high end.
Low Gain Adjusts the frequency to boost the low end.
Tune Lets you set the center frequency for low and high-end enhancement.
• Low — Sets the center frequency for the bass boost.
• High — Sets the center frequency for the treble boost.
Harmonic
Generation
Lets you generate additional high-frequency harmonics, which can brighten up dull signals.
• Depth — Generates additional high frequency harmonics in the signal (0.0–12.0 dB).
• Phase — Toggles the polarity of the generated harmonics, changing their phase relationship
with the dry signal.
Output Lets you lower the Output level from 0.0 dB to –INF dB.
Parameter Description
Rate Changes the frequency of the modulating LFO (0.01–10.0 Hz).
Depth Adjusts the amount of modulation applied to the Delay time.
Modulation Lets you adjust and randomize the delay time.
• Delay — Adjusts the Delay time.
• Shimmer — Lets you randomize the Delay time, adding texture to the effect.
Stereo Width Lets you widen or narrow the effect’s stereo field.
Core Avid Audio Plug-Ins
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AIR Filter Gate (RTAS)
You can use the Filter Gate effect to chop up the audio signal into staccato rhythmic patterns with
variable filtering, amplitude, and panning.
The following table lists the AIR Filter Gate plug-in parameters:
Mix Lets you balance the amount of dry signal with the amount of wet (processed) signal. At 50%,
the output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at
100% it is all wet.
Parameter Description
Parameter Description
Pattern Lets you select from a number of preset rhythmic patterns that the gate will follow.
Gate • Attack — Lets you adjust the duration of the attack as a percentage of the step duration.
• Hold — Lets you adjust the duration of the hold (or sustain) as a percentage of the step
duration.
• Release — Lets you adjust the duration of the release as a percentage of the step duration.
Filter Provides controls for the selected filter type:
• Mode — Lets you select the type of Filter:
- Off (no filtering)
- LP (Low Pass filter)
- BP (Band Pass filter)
- HP (High Pass filter)
- Phaser (Phaser)
• Cutoff — Lets you adjust the Filter Cutoff frequency.
• Res — Lets you adjust the Resonance at the Cutoff frequency.
Modulation • Env — Lets you adjust how much an envelope follower affects the Cutoff frequency. Note
that the Cutoff is fixed for the duration of each step, so it will not respond to a peak in the
envelope until the start of the next step.
• LFO — Lets you adjust the amount of LFO modulation of the Cutoff frequency.
• LFO Steps — Sets the duration of one cycle of the LFO to the selected number of steps.
Changes to the Step Rate consequently affect the durations of cycles of the LFO. When set
to Random mode, the level of the LFO changes randomly every step, for a “sample and
hold” waveform.
Core Avid Audio Plug-Ins
926
AIR Flanger (RTAS)
You can use the Flanger plug-in to apply a short modulating delay to the audio signal.
The following table lists the AIR Flanger plug-in parameters:
Rate Lets you select the duration, or frequency of the Low Frequency Oscillator (LFO). The duration
of one cycle of the LFO is measured in Steps.
Mix Lets you balance the amount of dry signal with the amount of wet (filtered) signal. At 50%, the
output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it
is all wet.
Parameter Description
Parameter Description
Sync Synchronizes the modulation rate to the audio sequence tempo. When you enable Sync, you can
select a rhythmic subdivision or multiple of the beat for the Flanger modulation rate. When you
disable Sync, you can set the delay time in milliseconds independently of the sequence tempo.
Select from the following rhythmic values:
- 16 (sixteenth note)
- 8T (eighth-note triplet)
- 16D (dotted sixteenth-note)
- 8 (eighth note)
- 4T (quarter-note triplet)
- 8D (dotted eighth-note)
- 4 (quarter note)
- 2T (half-note triplet)
- 4D (dotted quarter-note)
- 2 (half note)
- 1T (whole-note triplet)
- 3/4 (dotted half note)
- 4/4 (whole note)
- 5/4 (five tied quarter notes)
- 6/4 (dotted whole note)
- 8/4 (double whole note)
• Depth — Lets you adjust the amount of modulation applied to the Delay time.
Core Avid Audio Plug-Ins
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Rate Lets you select from the following rhythmic values:
• 16 (sixteenth note)
• 8T (eighth-note triplet)
• 16D (dotted sixteenth-note)
• 8 (eighth note)
• 4T (quarter-note triplet)
• 8D (dotted eighth-note)
• 4 (quarter note)
• 2T (half-note triplet)
• 4D (dotted quarter-note)
• 2 (half note)
• 1T (whole-note triplet)
• 3/4 (dotted half note)
• 4/4 (whole note)
• 5/4 (five tied quarter notes)
• 6/4 (dotted whole note)
• 8/4 (double whole note)
Depth Lets you adjust the amount of modulation applied to the Delay time.
Pre-Delay Sets the minimum delay time in milliseconds.
LFO Provides controls for the Low Frequency Oscillator (LFO) used to modulate the Delay time.
• Retrigger — Resets the LFO phase. This lets you manually start the filter sweep from that
specific point in time (or using automation, at a specific point in your arrangement). Clicking
the Retrigger button also forces the Mix control up if it is too low while the button is held.
This ensures that the sweep is audible.
• Wave — lets you interpolate between a triangle wave and a sine wave for the modulating
LFO.
• L/R Offset — Lets you adjust the phase offset for the LFO waveform applied to the left and
right channels.
Parameter Description
Core Avid Audio Plug-Ins
928
AIR Frequency Shifter (RTAS)
You can use the Frequency Shifter plug-in to shift the audio signal’s individual frequencies
inharmonically, creating a unique effect.
The following table lists the AIR Frequency Shifter plug-in parameters:
EQ Provides controls for cutting lows from the Flanger signal, and inverting phase.
• Phase Invert — When enabled, Phase Invert flips the wet signal’s polarity, which changes
the harmonic structure of the effect.
• Low Cut — Lets you adjust the Low Cut frequency for the Flanger, to limit the Flanger
effects to higher frequencies.
Feedback Lets you adjust the amount of delay feedback for the Flanger. At 0%, the delay repeats only
once. At +/–100%, the Flanger feeds back on itself.
Mix Lets you balance the amount of dry signal with the amount of wet (flanged) signal. At 50%, the
output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it
is all wet.
You can use the Mix control to create an “infinite phaser” effect between the dry and shifted
signals, which always rises or always falls (depending on the direction of shift).
Parameter Description
Parameter Description
Frequency Sets the amount of frequency shifting.
Shifter Provides control over the direction of frequency shift, and feedback of the signal through the
algorithm.
• Mode — Sets the direction of the frequency shifting effect:
- Up — Shifts frequencies up.
- Down — Shifts frequencies down.
- Up & Down — Shifts frequencies equally up and down, and the two shifted signals are
heard simultaneously.
- Stereo — Shifts the right channel frequencies up, and the left channel down.
• Feedback — Lets you run the signal through the pitch shifting algorithm multiple times,
creating a cascading, layered effect.
Mix Lets you balance the amount of dry signal with the amount of wet (delayed) signal. At 50%, the
output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it
is all wet.
Core Avid Audio Plug-Ins
929
AIR Fuzz-Wah (RTAS)
You can use the Fuzz-Wah plug-in to color the audio signal with different types and varying
amounts of transistor-like distortion.
The following table lists the AIR Fuzz-Wah plug-in parameters:
Parameter Description
Fuzz Turns the distortion effect on and off.
Drive Sets the level of gain in the Fuzz algorithm.
Mix (Fuzz) Lets you balance the amount of dry signal with the amount of wet (distorted) signal. At 50%, the
output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it
is all wet.
Post Wah Lets you reverse the Fuzz section and the Wah section, placing one before the other.
Fuzz section Provides tonal and volume control over the plug-in.
• Tone — Lets you change the brightness of the Fuzz algorithm.
• Output — Sets the overall output volume of the Fuzz section.
Pedal Min • Freq — Sets the low (Pedal Min) limit of the wah filter’s frequency sweep.
• Res — Sets the low (Pedal Min) limit of the wah filter’s resonance.
Pedal Max • Freq — Sets the high (Pedal Max) limit of the wah filter’s frequency sweep.
• Res — Sets the high (Pedal Max) limit of the wah filter’s resonance.
Modulation Provides controls for the Low Frequency Oscillator (LFO) and Envelope Follower (ENV) that
can be used to modulate the wah filter’s sweep.
• Rate — Sets either the LFO frequency, or the response time of the envelope follower,
depending on the setting of the Mode control.
• Type — Lets you select either the LFO or the Envelope follower as the modulation source
for the wah filter.
• Depth — Sets the amount of modulation sent by the LFO or envelope follower.
Wah Lets you turn the wah filter on and off.
Pedal Sweeps the wah center frequency up and down.
Filter Switches the wah filter between LP (lowpass), BP (bandpass), and HP (highpass) modes.
Mix (Wah) Lets you balance the amount of dry signal with the amount of wet (wah-processed) signal. At
50%, the output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at
100% it is all wet.
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AIR Kill EQ (RTAS)
You can use the Kill EQ plug-in to remove the Low, Mid, or High broadband frequency range
from an audio signal. This is a popular effect with DJs and is commonly used in electronic music
production (especially in dance music).
The following table lists the AIR Kill EQ plug-in parameters:
AIR Lo Fi (RTAS)
You can use the Lo Fi effect to bit-crush, down-sample, clip, rectify, and mangle the input signal.
The following table lists the AIR Lo Fi plug-in parameters:
Mix (overall) Lets you balance the amount of fuzz-processed signal with the amount of wah-processed signal.
At 50%, there are equal amounts of fuzz and wah signal. At 0%, the output is all fuzz, and at
100% it is all wah.
Parameter Description
Parameter Description
High Switches the high frequency band on and off.
Mid Switches the middle frequency band on and off.
Low Switches the low frequency band on and off.
Gain • Low — Controls the volume of the low frequency band.
• Mid — Controls the volume of the middle frequency band.
• High — Controls the volume of the high frequency band.
Freq • Low — Sets the crossover frequency of the low pass filter.
• Sweep — Changes both the low and high-band cutoff frequencies simultaneously. When you
kill the high and low bands, manipulating this control creates a swept bandpass filter effect.
• High — Sets the crossover frequency of the high pass filter.
Output Sets the final output volume.
Parameter Description
Sample Rate Lets you resample the audio signal at another sample rate.
Core Avid Audio Plug-Ins
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Anti-Alias Provides control over anti-aliasing filters that you can use before and after downsampling to
reduce aliasing in the resampled audio signal.
• On — Lets you enable or disable the Anti-Alias filter. Disabling the filter creates a much
grittier sound.
• Pre — Lets you adjust the anti-aliasing filter cutoff applied to the audio signal before
resampling. The filter is applied as a multiplier of the sample frequency (Fs) between 0.12 Fs
and 2.00 Fs.
• Post — Lets you adjust the range of anti-aliasing filter cutoff applied to the audio signal after
resampling. The filter is applied as a multiplier of the sample frequency (Fs) between 0.12 Fs
and 2.00 Fs.
Parameter Description
Core Avid Audio Plug-Ins
932
LFO Lets you apply a Low Frequency Oscillator to modulate the Sample Rate.
• Sync — Synchronizes the LFO Rate to the audio sequence tempo. When you enable Sync,
you can select a rhythmic subdivision or multiple of the beat for the LFO Rate. When you
disable Sync, you can change the modulation rate independently of the sequence tempo.
• Rate — Select from the following rhythmic values:
- 16 (sixteenth note)
- 8T (eighth-note triplet)
- 16D (dotted sixteenth-note)
- 8 (eighth note)
- 4T (quarter-note triplet)
- 8D (dotted eighth-note)
- 4 (quarter note)
- 2T (half-note triplet)
- 4D (dotted quarter-note)
- 2 (half note)
- 1T (whole-note triplet)
- 3/4 (dotted half note)
- 4/4 (whole note)
- 5/4 (five tied quarter notes)
- 6/4 (dotted whole note)
- 8/4 (double whole note)
• Wave — Select from the following waveforms for the LFO:
- Sine (sine wave)
- Tri (triangle wave)
- Saw (saw-tooth wave)
- Square (square wave)
- Morse (Morse code-like rhythmic effect)
- S&H (Sample and Hold modulation)
- Random (random modulation)
• Depth — Lets you adjust the amount of modulation applied to the Sample Rate.
Parameter Description
Core Avid Audio Plug-Ins
933
AIR Multi-Chorus (RTAS)
You can use the AIR Multi-Chorus plug-in to apply a thick, complex chorus effect to the audio
signal.
The following table lists the AIR Multi-Chorus plug-in parameters:
Env Mod Provides Envelope Modulator control over an envelope follower that can affect the sample rate.
You can use this for accentuating and enhancing signal peaks (such as in drum loops) with
artificially generated high-frequency aliasing.
• Attack — Sets the time it takes to respond to increases in the audio signal level.
• Release — Sets the time it takes to recover after the signal level falls.
• Depth — Determines how much the envelope follower affects the sample rate.
- At 0%, the envelope follower has no affect on the sample rate.
- At +100%, the attack ramps up to the sample rate setting; and the release starts from
the sample rate setting and ramps down.
- At –100%, the attack starts from the sample rate setting and ramps down; and the
release ramps up to the sample rate setting.
Distortion Provides controls for adding dirt and grunge to the signal.
• Clip — Adds transistor-like distortion to the signal
• Noise — Adds a noisy, buzz-like edge to the signal.
• Rectify — Acts as a waveshaper, adding aggressive, harsh distortion to the signal.
Bit Depth Lets you truncate the bit depth of the incoming signal from 16 bits all the way down to 1 bit.
Mix Lets you balance the amount of dry signal with the amount of wet (processed) signal. At 50%,
the output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at
100% it is all wet.
Parameter Description
Parameter Description
Rate Sets the rate for the oscillation of the LFO in Hertz.
Depth Sets the depth of LFO modulation of the audio signal in milliseconds.
Chorus Provides control over the low-frequency content and stereo width of the Multi-Chorus effect.
• Low Cut — Lets you adjust the Low Cut frequency for the chorus, to limit the Multi-Chorus
effects to higher frequencies.
• Width — Lets you widen or narrow the effect’s stereo field.
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934
AIR Multi-Delay (RTAS)
You can use the Multi-Delay Plug-In to apply up to six delay lines to the audio signal.
The following table lists the AIR Multi-Delay plug-in parameters:
Mod • Pre Delay — Sets the Pre-Delay in milliseconds.
• Waveform — Selects a triangle or a sine wave for the LFO. This affects the character of the
modulation. The sine wave has a gentler ramp and peak than the triangle wave.
Voices Sets the number of layered chorus effects that are applied to the audio signal. The more voices
you use, the thicker the effect.
Mix Lets you adjust the balance between the dry signal and the wet (processed) signal, giving you
control over the depth of the effect. 0% is all dry, and 100% is all wet, while 50% is an equal mix
of both.
Parameter Description
Parameter Description
Sync When you enable Sync, the delay time synchronizes to the tempo of your audio sequence. When
you disable Sync, you can set the delay time in milliseconds independently of the tempo. The
Sync button is lit when it is enabled.
Delay When you enable Sync, the Delay control lets you set the main delay length in 16th-note lengths
(based on the tempo).
When you disable Sync, the Delay control lets you set the delay time in milliseconds and
seconds.
Feedback Lets you adjust the amount of delay feedback. At 0% the delayed signal repeats only once. As
you increase the feedback, the number of times the delay repeats increases. At 100%, the delay
repeats for an extended period of time.
The From and To controls let you feed signal from one delay tap to another, or back to the main
input, to create complex delay/feedback effects. If the delay time of the To tap is greater than the
delay time of the From tap, then the result is “feed-forward” rather than feedback, so you can
hear only one delay repeat.
• From — Sets the tap from which signal is cross-routed.
• To — Sets the tap (or the main input) to which the cross-routed signal is routed.
Core Avid Audio Plug-Ins
935
AIR Non-Linear Reverb (RTAS)
You can use the Non-Linear Reverb effect to apply special gated or reversed reverb effects to the
audio signal, creating a synthetic, processed ambience.
The following table lists the AIR Non-Linear Reverb plug-in parameters:
Delay Taps Provides five Taps (delay lines). Each tap provides the same set of controls. You can edit the
controls for each tap independently of the other taps.
• On — Turns the selected tap’s signal on or off.
• Delay — Sets the length of delay for the tap, relative to the main Delay setting.
• Level — Changes the output level of the tap.
• Pan — Pans the audio signal from the tap left or right in the stereo field.
High Cut Lets you adjust the frequency for the High Cut filter. For less treble, lower the frequency.
Low Cut Lets you adjust the frequency for the Low Cut filter. For less bass, raise the frequency.
Mix Lets you balance the amount of dry signal with the amount of wet (delayed) signal. At 50%, the
output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it
is all wet.
Parameter Description
Parameter Description
Reverse Turns Reverse mode on and off. In Reverse mode, the tail of the reverb signal fades up to full
volume, then disappears, rather than fading out.
• Pre-Delay — Determines the amount of time that elapses between the original audio event
and the onset of reverberation.
• Dry Delay — Applies a specified amount of delay to the dry portion of the signal, which can
create a “reverse reverb” effect, where the reverb tail is heard before the dry signal.
Reverb Provides control over the reverb’s diffusion and stereo width.
• Diffusion — Changes the rate at which the sound density of the reverb tail increases over
time. Higher Diffusion settings create a smoother reverberated sound. Lower settings result
in more fluttery echo.
• Width — Lets you widen or narrow the effect’s stereo field.
Core Avid Audio Plug-Ins
936
AIR Phaser (RTAS)
You can use the Phaser effect to apply a phaser to the audio signal for a unique sweeping sound.
The following table lists the AIR Phaser plug-in parameters:
EQ Provides tonal control over the reverb signal.
• Low Cut — Adjusts the frequency for the Low Cut filter. For less bass, raise the frequency.
• High Cut — Adjusts the frequency for the High Cut filter. For less treble, lower the
frequency.
Reverb Time Changes the length of the reverberation’s decay.
Mix Lets you balance the amount of dry signal with the amount of wet (processed) signal. At 50%,
the output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at
100% it is all wet.
Parameter Description
Parameter Description
Sync When you enable Sync, the delay time synchronizes to the tempo of your audio sequence. When
you disable Sync, you can set the delay time in milliseconds independently of the tempo. The
Sync button is lit when it is enabled.
Core Avid Audio Plug-Ins
937
Rate When you enable Sync, the Rate control lets you select a rhythmic subdivision or multiple of the
beat for the Phaser Modulation Rate. When you disable Sync, you can change the phaser rate
independently of the sequence tempo. Select from the following rhythmic values:
• 16 (sixteenth note)
• 8T (eighth-note triplet)
• 16D (dotted sixteenth-note)
• 8 (eighth note)
• 4T (quarter-note triplet)
• 8D (dotted eighth-note)
• 4 (quarter note)
• 2T (half-note triplet)
• 4D (dotted quarter-note)
• 2 (half note)
• 1T (whole-note triplet)
• 3/4 (dotted half note)
• 4/4 (whole note)
• 5/4 (five tied quarter notes)
• 6/4 (dotted whole note)
• 8/4 (double whole note)
• Wave — Select from the following waveforms for the LFO:
- Sine (sine wave)
- Tri (triangle wave)
- Saw (saw-tooth wave)
- Square (square wave)
- Morse (Morse code-like rhythmic effect)
- S&H (Sample and Hold modulation)
- Random (random modulation)
Depth Lets you adjust the depth of modulation, which in turn affects the amount of phasing applied to
the audio signal.
Parameter Description
Core Avid Audio Plug-Ins
938
AIR Reverb (RTAS)
Different physical environments have different early reflection signatures that our ears and brain
use to localize sound. These reflections affect our perception of the size of a space as well as
where an audio source sits within it. You can use the Reverb effect to apply Reverb to the audio
signal, creating a sense of room or space.
The following table lists the AIR Reverb plug-in parameters:
Phaser Provides control over the effect’s center frequency and number of phaser stages (or poles).
• Center — Lets you change the frequency center (100 Hz to 10.0 kHz) for the phaser poles.
• Poles — Lets you select the number of phaser poles (stages): 2, 4, 6, or 8. The number of
poles changes the character of the sound. The greater the number of poles, the thicker and
more sweeping the sound.
LFO Provides control over the waveform and stereo offset of the LFO.
• Wave — Lets you interpolate between a triangle wave and a sine wave for modulating the
phaser.
• L/R Phase — Lets you adjust the relative phase of the LFO modulation applied to the left
and right channels.
EQ Provides tonal control over the phase signal. The Low Cut control lets you adjust the frequency
of the Low Cut Filter in the phaser’s feedback loop. This can be useful for taming low frequency
“thumping” at high feedback settings.
Feedback Feeds the output signal of phaser back into the input, creating a resonant or singing tone in the
phaser when set to its maximum.
Mix Lets you balance the amount of dry signal with the amount of wet (effected) signal. At 50%, the
output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it
is all wet.
Parameter Description
Parameter Description
Pre-Delay Determines the amount of time that elapses between the original audio event and the onset of
reverberation. Under natural conditions, the amount of pre-delay depends on the size and
construction of the acoustic space, and the relative position of the sound source and the listener.
Pre-Delay attempts to duplicate this phenomenon, and you can use it to create a sense of
distance and volume within an acoustic space. Long Pre-Delay settings place the reverberant
field behind rather than on top of the original audio signal.
Room Size Changes the apparent size of the space.
Core Avid Audio Plug-Ins
939
Early
Reflections
Changes the perceived location of the reflecting surfaces surrounding the audio source.
Reverb simulates early reflections by using multiple delay taps at different levels that occur in
different positions in the stereo spectrum (through panning). Long reverberation generally
occurs after early reflections dissipate.
Type — Provides the following Types of Early Reflection models:
• Booth (a vocal recording booth)
• Club (a small, clear, natural-sounding club ambience)
• Room (the center of a small room without many reflections)
• Small Chamber (a bright, small-sized room)
• Medium Chamber (a bright, medium-sized room)
• Large Chamber (a bright, large-sized room)
• Small Studio (a small, live, empty room)
• Large Studio (a large, live, empty room)
• Scoring Stage (a scoring stage in a medium-sized hall)
• Philharmonic (the space and ambience of a large, symphonic, concert hall)
• Concert Hall (the space and ambience of a large concert hall)
• Church (a medium-sized space with natural, clear-sounding reflections)
• Opera House (the space and ambience of an opera house)
• Vintage 1 (a vintage digital reverb effect)
• Vintage 2 (a vintage digital reverb effect)
Spread — Controls the length of the early reflections.
Reverb Provides control over the stereo width of the reverb algorithm.
• In Width — Widens or narrows the stereo width of the incoming audio signal before it enters
the reverb algorithm.
• Out Width — Widens or narrows the stereo width of the signal once reverb has been applied.
• Delay — Sets the size of the delay lines used to build the reverb effect. Higher values create
longer reverberation.
EQ Provides tonal control over the reverb signal.
• Low Cut — Adjusts the frequency for the Low Cut filter. For less bass, raise the frequency.
• High Cut — Adjusts the frequency for the High Cut filter. For less treble, lower the
frequency.
Parameter Description
Core Avid Audio Plug-Ins
940
AIR Spring Reverb (RTAS)
You can use the Spring Reverb effect to apply a classic spring reverb sound. The analog spring
reverb feeds a signal to a transducer at the end of a suspended metal coil spring. The transducer
causes the spring to vibrate so that the signal reflects from one end of the spring to the other. At
the other end of the spring another transducer converts the motion of the spring back into an
electrical signal, which creates a delayed and reverberated version of the input signal. The Spring
Reverb effect models this analog effect.
Room Controls the overall spatial feel of the simulated room.
• Ambience — Affects the attack of the reverb signal. At low settings, the reverb arrives
quickly, simulating a small room. At higher settings, the reverb ramps up more slowly,
emulating a larger room.
• Density — Changes the rate at which the sound density of the reverb tail increases over time.
Higher Density settings create a smoother reverberated sound. Lower settings result in more
fluttery echo.
High
Frequencies
Provides controls that let you shape the tonal spectrum of the reverb by adjusting the decay
times of higher frequencies.
• Time — Decreases or increases the decay time for mid- to high-range frequency bands.
Higher settings provide longer decay times and lower settings provide shorter decay time.
With lower settings, high frequencies decay more quickly than low frequencies, simulating
the effect of air absorption in a hall.
• Freq — Sets the frequency boundary between the mid- and high-range frequency bands.
• Cut — Adjusts the frequency for the High Cut filter (1.00–20.0 kHz). Adjusting the High
Cut control changes the decay characteristics of the high frequency components of the
Reverb. To cut the high-end of the processed signal, lower the frequency.
Low
Frequencies
Controls the low-frequency-heavy tail of the reverb signal.
• Time — Decreases or increases the decay time for the low-range frequency band. Higher
settings provide longer decay times and lower settings provide shorter decay time.
• Freq — Sets the frequency boundary between the low and high-range frequency bands.
Reverb Time Changes the rate at which the reverberation decays after the original direct signal stops. At its
maximum value, infinite reverberation is produced.
Balance Changes the output level of the early reflections. Setting the level control to 0% produces a
reverb effect that is only the reverb tail.
Mix Lets you balance the amount of dry signal with the amount of wet (processed) signal. At 50%,
the output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at
100% it is all wet.
Parameter Description
Core Avid Audio Plug-Ins
941
The following table lists the AIR Spring Reverb plug-in parameters:
AIR Stereo Width (RTAS)
You can use the Stereo Width effect to create a wider stereo presence for mono audio signals.
The following table lists the AIR Stereo Width plug-in parameters:
Parameter Description
Pre-Delay Determines the amount of time (0–250 ms) that elapses between the original audio event and the
onset of reverberation.
Reverb Provides control over the diffusion and stereo width of the reverb signal.
• Diffusion — Changes the rate at which the sound density of the reverb tail increases over
time. Higher Diffusion settings create a smoother reverberated sound. Lower settings result
in more fluttery echo.
• Width — Changes the spread of the reverberated signal in the stereo field. A setting of 0%
produces a mono reverb, but leaves the panning of the original source signal unprocessed. A
setting of 100% produces a open, panned stereo image.
Low Cut Lets you adjust the frequency of the Low Cut Filter (20.0 Hz–1.00 kHz). Use the Low Cut filter
to reduce some of the potential low frequency resonance (or booming) you can get with longer
reverb times.
Reverb Time Changes the reverberation decay time (1.0–10.0 seconds) after the original direct signal stops.
Shorter times result in a tighter, more ringing and metallic reverb, such as when walking down a
narrow hall with hard floors and walls. Longer times result in a larger reverberant space, such as
an empty, large, concrete cistern.
Mix Lets you balance the amount of dry (non-reverb) signal with the amount of wet (reverb) signal.
At 50%, the output includes equal amounts of dry and wet signal. At 0%, the output is all dry
and at 100% it is all wet.
Core Avid Audio Plug-Ins
942
AIR Talkbox (RTAS)
You can use the Talkbox effect to add voice-like resonances to audio signals.
The following table lists the AIR Talkbox plug-in parameters:
Parameter Description
Mode Lets you specify the method by which the Stereo Width plug-in will create the artificial stereo
field.
• Adjust — Adjusts the existing stereo width of the signal by M-S encoding, equalizing the S
component with the Low/Mid/High controls and boosting/attenuating it with the Width
control, then M-S decoding back to stereo. The Delay control delays the right signal relative
to the left for an additional widening effect (known as “Haas panning”).
• Comb — Adds artificial width to the signal by M-S encoding then adding a delayed version
of the M component to the S component. This creates a comb filtering effect that shifts some
frequencies to the left and others to the right.
• Phase — Affects how the Low/Mid/High controls set the centre frequencies of 3 phase
shifters. This shifts the relative phase of the left and right channels, giving a much more
subtle effect than Comb mode.
Process Boosts or cuts the Low, Mid and High-frequency bands of the generated stereo signal.
Trim Adjusts the perceived center/source of the generated stereo signal.
• Level — Sets the volume of the perceived center of the stereo signal.
• Pan — Sets the position left-to-right of the perceived center of the stereo signal.
Delay Lets you specify the duration of delay used in Phase mode (0–8 ms).
Width Sets the final width of the generated stereo field.
Parameter Description
Vowel Lets you choose the shape of the formant filter, by the vowel sound that is simulated
(OO/OU/AU/AH/AA/AE/EA/EH /EE/ER/UH/OH).
Env Depth Creates a positive or negative offset in the setting of the Vowel control, effected by the envelope
follower. At its center, the knob has no effect. Turned to the right or left of center, the Env Depth
knob shifts the value of the Vowel control up or down.
When you trigger the envelope follower, the Vowel parameter moves to its normal setting (in
time with the envelope’s attack), then back to the offset value (in time with the envelope’s
release).
Core Avid Audio Plug-Ins
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LFO Provides controls that let you apply a Low Frequency Oscillator to modulate the Formant
setting.
Sync — Synchronize the LFO Rate to the audio sequence tempo. When you enable Sync, you
can select a rhythmic subdivision or multiple of the beat for the LFO Rate. When you disable
Sync, you can change the modulation rate independently of the sequence tempo.
Rate — Select from the following rhythmic values:
• 16 (sixteenth note)
• 8T (eighth-note triplet)
• 16D (dotted sixteenth-note)
• 8 (eighth note)
• 4T (quarter-note triplet)
• 8D (dotted eighth-note)
• 4 (quarter note)
• 2T (half-note triplet)
• 4D (dotted quarter-note)
• 2 (half note)
• 1T (whole-note triplet)
• 3/4 (dotted half note)
• 4/4 (whole note)
• 5/4 (five tied quarter notes)
• 6/4 (dotted whole note)
• 8/4 (double whole note)
Wave — Select from the following waveforms for the LFO:
• Sine (sine wave)
• Tri (triangle wave)
• Saw (saw-tooth wave)
• Square (square wave)
• S&H (Sample and Hold modulation)
• Random (random modulation)
Depth — Lets you adjust the amount of modulation applied to the Formant setting.
Parameter Description
Core Avid Audio Plug-Ins
944
AIR Vintage Filter (RTAS)
You can use the Vintage Filter effect to apply a modulating, resonant filter to the audio signal.
You can experiment with filter sweeps or give your sounds a large, resonant sound.
The following table lists the AIR Vintage Filter plug-in parameters:
Envelope Modulates the Formant setting by using an envelope follower. This allows you to accentuate and
enhance signal peaks in rhythmic material.
• Thresh — Sets the amplitude threshold at which the Formant setting begins to be modulated
by the envelope follower.
• Attack — Sets the time (10.0 ms to 10 seconds) it takes to respond to increases in the audio
signal level.
• Release — Sets the time (10.0 ms to 10 seconds) it takes to recover after the signal level
falls.
Mix Lets you balance the amount of dry signal with the amount of wet (processed) signal. At 50%,
the output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at
100% it is all wet.
Parameter Description
Parameter Description
Cutoff Lets you adjust the Cutoff frequency (20.0 Hz to 20.0 kHz) of the filter.
Resonance Lets you adjust the amount filter Resonance (0–100%). The filter can go into self-oscillation at
high values creating a sine wave-like overtone at the Cutoff frequency.
Fat Lets you adjust the amount of overdrive in the resonant peak. At lower settings the signal gets
quieter at high resonance settings for clean distortion. At higher settings the signal is over-driven
at high resonance settings.
Core Avid Audio Plug-Ins
945
BF Essential Clip Remover (AudioSuite)
The BF Essential Clip Remover repairs clipped audio recordings. If you have an audio clip
where acceptable levels are exceeded in at some points, try applying this plug-in. In many cases,
it can save you from having to re-record the audio.
Envelope Provides an envelope follower for controlling the Cutoff frequency, which allows you to control
the envelope’s shape and depth of modulation.
• Attack — Sets the time (10.0 ms to 10 seconds) it takes to respond to increases in the audio
signal level.
• Release — Sets the time (10.0 ms to 10 seconds) it takes to recover after the signal level
falls.
• Depth — Determines how much the envelope follower affects the Cutoff frequency.
- At 0%, the envelope follower has no effect on the Cutoff frequency.
- At +100%, the Attack ramps up to the Cutoff frequency setting, and the Release starts
from the Cutoff frequency setting and ramps down.
- At –100%, the Attack starts from the Cutoff frequency setting and ramps down, and
the Release ramps up to the Cutoff frequency setting.
LFO Provides a sinusoidal Low Frequency Oscillator (LFO) for modulating the filter cutoff
frequency, which allows you to control the rate, depth and synchronization of the modulation.
• Sync — Turns on and off the synchronization between the LFO and the sequence tempo.
• Rate — Increases or decreases the frequency (0.01–100.0 Hz) of the LFO. Lower settings
are slower and higher settings are faster. When you enable Sync, the Rate knob changes from
counting in milliseconds to rhythmic values.
• Depth — Increases or decreases the amount of modulation (0–100%) of the Cutoff
frequency by the LFO. Lower settings create a slight vibrato (with the rate set high) and
higher settings create a wide sweep of the Cutoff frequency range.
Mode Select one of the following options for the type of filter:
• LP24 — Provides a low pass filter with a 24 dB cutoff.
• LP18 — Provides a low pass filter with a 18 dB cutoff.
• LP12 — Provides a low pass filter with a 12 dB cutoff.
• BP — Provides a band pass filter.
• HP — Provides a high pass filter.
Output Lets you lower the Output level from 0.0 dB to –INF dB.
Parameter Description
Core Avid Audio Plug-Ins
946
Bomb Factory BF76 (RTAS and AudioSuite)
The Bomb Factory BF76 plug-in is a compressor modeled after the solid-state (transistor) 1176
studio compressor. Introduced in the late 1970s, the 1176 offers a much different compression
sound than other compressors.
The following table lists the Bomb Factory BF76 plug-in parameters:
Chorus (AudioSuite)
The Chorus plug-in modifies an audio signal by combining a time-delayed, pitch-shifted copy
with the original signal. You can use it to thicken and add a shimmering quality to guitars,
keyboards, and other instruments.
The following table lists the Chorus plug-in parameters:
Parameter Description
Input Sets the input signal level to the compressor, which, in the 1176 design, determines both the
threshold and amount of peak reduction.
Output Sets output level. Use this control to bring the signal back to unity after applying gain reduction.
Attack Sets the attack time of the compressor. Full counterclockwise is slowest, and full clockwise is
fastest. Attack times vary between 0.4 milliseconds to 5.7 milliseconds.
Release Sets the release time of the compressor. Full counterclockwise is slowest, and full clockwise is
fastest. Attack times vary between 0.06 milliseconds to 1.1 seconds.
nSetting either the attack or release time too fast generates signal distortion (as it did on the original 1176
compressor). This may or may not be the effect you want to achieve.
Ratio Selects the compression ratio. Available ratios range from 4:1 to 20:1.
You can also Shift-click any one of the Ratio buttons to enable “All Buttons In” mode. The
compression ratio is still only 20:1, but the knee changes drastically and the compressor starts
(mis)behaving a little bit like an expander—watch the meter for details.
Meter Determines how the meter operates.
• GR shows the amount of gain reduction
• –18 and –24 show the output level (calibrated so that 0VU indicates –18dB FS and –24dB
FS respectively)
• Off turns off the meter
Core Avid Audio Plug-Ins
947
Parameter Description
Gain Lets you adjust the input volume of the chorus to prevent clipping or to increase the level of the
processed signal. This slider is set to a default of +3 dB. If you recorded your source audio close
to peak level, this +3 dB default setting might cause clipping. Use this control to reduce the
input level.
Sum Inputs
button
When you use the Chorus plug-in in Stereo mode, a Sum Inputs button appears next to the right
channel Gain slider. Clicking the Sum Inputs button sums the source input signals (regardless of
whether the input is mono or stereo) before processing them. The source signal then appears in
the center of the stereo field, and the processed signal is output in stereo. When you click the
Sum Inputs button, the LFO waveform on the right channel is automatically phase-inverted to
enhance the mono to stereo effect.
Mix Lets you adjust the balance between the Dry (source) signal and the Wet (processed) signal,
giving you control over the depth of the effect.
Low Pass
Filter
Controls the cutoff frequency of the Low Pass Filter, allowing you to attenuate the high
frequency content of the feedback signal. The lower the setting, the more high frequencies are
removed from the feedback signal. The range of the Low Pass Filter is 20 Hz to 19.86 kHz, with
a maximum value of Off (which effectively means bypass).
Delay Sets the delay time between the source signal and the processed signal. The higher the setting,
the longer the delay and the wider the chorusing effect. Delay is adjustable from
0 to 20 milliseconds.
LFO Rate Lets you adjust the rate of the low frequency oscillator (LFO) applied to the delayed signal as
modulation. The higher the setting, the more rapid the modulation. You can select either a sine
wave or a triangle wave as a modulation source, using the LFO Waveform selector.
LFO Width Lets you adjust the intensity of the LFO applied to the delayed signal as modulation. The higher
the setting, the more intense the modulation. Use the LFO Waveform selector to select a sine or
a triangle wave as a modulation source.
Feedback Controls the amount of feedback applied from the output of the delayed signal back into its
input. Negative settings provide a more intense effect.
LFO
Waveform
Selects a sine wave or triangle wave for the LFO. This affects the character of the modulation.
The sine wave has a gentler ramp and peak than the triangle wave.
Core Avid Audio Plug-Ins
948
Compressor/Limiter III — Dynamics III (RTAS and AudioSuite)
The Compressor/Limiter III plug-in applies either compression or limiting to audio material,
depending on the ratio of compression used.
Compression reduces the dynamic range of signals that exceed a chosen threshold by a specific
amount.
Limiting prevents signal peaks from ever exceeding a chosen threshold, and is generally used to
prevent short-term peaks from reaching their full amplitude. Used judiciously, limiting produces
higher average levels, while avoiding overload (clipping or distortion), by limiting only some
short-term transients in the source audio. To prevent the ear from hearing the gain changes,
extremely short attack and release times are used.
nLimiting is used to remove only occasional peaks because gain reduction on successive peaks
would be noticeable. If audio material contains many peaks, the threshold should be raised and
the gain manually reduced so that only occasional, extreme peaks are limited.
The following table lists the Compressor/Limiter III plug-in parameters:
Parameter Description
Levels panel
Phase invert button Inverts the phase (polarity) of the input signal, to help compensate for phase
anomalies that can occur either in multi-microphone environments or because of
mis-wired balanced connections.
Input/Output level meters Show peak signal levels before and after processing.
• Green indicates nominal levels
• Yellow indicates pre-clipping levels, starting at –6 dB below full scale
• Red Indicates full scale levels (clipping)
nUnlike scales on analog compressors, metering scales on a digital device
reflect a 0 dB value that indicates full scale (fs)—the full-code signal level.
There is no headroom above 0 dB.
The clip indicators at the top of the Output meters indicate clipping at the input or
output stage of the plug-in. Click an indicator to clear it.
Threshold arrow The orange Threshold arrow next to the Input meter indicates the current threshold.
You can drag the arrow up or down to adjust the threshold. For more information on
threshold, see the Threshold row below in this table.
Core Avid Audio Plug-Ins
949
Gain Reduction meter
(GR)
Indicates the amount the input signal is attenuated (in dB) and shows different
colors during dynamics processing.
• Light orange indicates that gain reduction is within the “knee” and has not
reached the full ratio of compression
• Dark orange indicates that gain reduction is being applied at the full ratio (for
example, 2:1)
Graph display Shows a curve that represents the level of the input signal (on the x–axis) and the
level of the output signal (on the y–axis). The orange vertical line represents the
threshold. Use this graph as a visual guideline to see how much dynamics
processing you are applying.
Side-Chain panel The side-chain is the split-off signal used by the plug-in’s detector to trigger
dynamics processing. The Side-Chain panel lets you toggle the side-chain between
the internal input signal or an external key input, and tailor the equalization of the
side-chain signal so that the triggering of dynamics processing becomes
frequency-sensitive.
For full information on how to work with the side-chain controls, see “Using the
Side-Chain Input in Dynamics III” in the Avid DigiRack Plug-Ins Guide. Search for
“digirack plug-ins guide” at www.avid.com.
Parameter Description
Core Avid Audio Plug-Ins
950
Compressor/Limiter panel (COMP/LIMIT)
Knee Sets the rate at which the compressor reaches full compression once the threshold
has been exceeded. As you increase this control, it goes from applying “hard-knee”
compression to “soft-knee” compression. Values range from 0dB (hardest response)
to 30dB (softest response).
With hard-knee compression, compression begins when the input signal exceeds the
threshold. This can sound abrupt and is ideal for limiting.
With soft-knee compression, gentle compression begins and increases gradually as
the input signal approaches the threshold, and reaches full compression after
exceeding the threshold. This creates smoother compression.
The following illustration shows examples of hard knee and soft knee compression
in the graph display.
Hard knee (left) and soft knee (right)
Ratio Sets the compression ratio, or the amount of compression applied as the input signal
exceeds the threshold. For example, a 2:1 compression ratio means that a 2 dB
increase of level above the threshold produces a 1 db increase in output. Values
range from 1:1 (no compression) to 100:1 (hard limiting).
Limiting generally begins with the ratio set at 10:1 and higher. Large ratios
effectively limit the dynamic range of the signal to a specific value by setting an
absolute ceiling for the dynamic range.
Parameter Description
Core Avid Audio Plug-Ins
951
Attack Sets the attack time, or the rate at which gain is reduced after the input signal
crosses the threshold. Values range from 10 microseconds (fastest attack time) to
300 milliseconds (slowest attack time).
The smaller the value, the faster the attack. The faster the attack, the more rapidly
the Compressor/Limiter applies attenuation to the signal. If you use fast attack
times, you should generally use a proportionally longer release time, particularly
with material that contains many peaks in close proximity.
To use compression most effectively, the attack time should be set so that signals
exceed the threshold level long enough to cause an increase in the average level.
This helps ensure that gain reduction does not decrease the overall volume too
drastically, or eliminate desired attack transients in the program material. Of course,
compression has many creative uses that break these rules.
Release Sets the length of time it takes for the Compressor/Limiter to be fully deactivated
after the input signal drops below the threshold. Values range from 5 milliseconds
(fastest release time) to 4 seconds (slowest release time).
Release times should be set long enough that if signal levels repeatedly rise above
the threshold, the gain reduction “recovers” smoothly. If the release time is too
short, the gain can rapidly fluctuate as the compressor repeatedly tries to recover
from the gain reduction. If the release time is too long, a loud section of the audio
material could cause gain reduction that continues through soft sections of program
material without recovering.
Gain Lets you boost overall output gain to compensate for heavily compressed or limited
signals. Values range from 0 dB (no gain boost) to +40 dB (loudest gain boost). 0
dB is the default value.
Threshold (THRESH) Sets the level that an input signal must exceed to trigger compression or limiting.
Signals that exceed this level will be compressed. Signals that are below it will be
unaffected. Values range approximately from -60 dB to 0 dB (no compression or
limiting). -24 dB is the default value.
In the Levels panel, the orange Threshold arrow on the Input meter indicates the
current threshold. You can drag the arrow up and down to adjust the Threshold
setting.
In the graph display, the threshold appears as an orange vertical line.
Parameter Description
Core Avid Audio Plug-Ins
952
D-Verb (RTAS and AudioSuite)
Digital reverberation processing can simulate the complex natural reflections and echoes that
occur after a sound has been produced. Reverberation can take relatively lifeless mono source
material and create a stereo acoustic environment that gives the source a perceived weight and
depth in a mix. In addition, digital signal processing can be used creatively to produce
reverberation characteristics that do not exist in nature.
The character of reverberation depends on a number of factors. These include proximity to the
sound source, the shape of the space, the absorptivity of the construction material, and the
position of the listener. D-Verb provides control over these reverberation parameters so that
extremely natural sounding reverb effects can be created and applied.
The D-Verb plug-in has the following parameters:
Parameter Description
Input Lets you adjust the input volume of the reverberation.
Mix Lets you adjust the balance between the Dry (source) signal and the Wet (processed) signal,
giving you control over the depth of the effect.
Algorithm Lets you select one of seven reverberation algorithms. Selecting an algorithm changes the preset
provided for it.
• Hall — Good, general-purpose concert hall with a natural character
• Church — Dense, diffuse space simulating a church or cathedral
• Plate — Simulation of the acoustic character of a metal plate–based reverberation, which has
the general effect of thickening the initial sound itself
• Room 1 — Medium-sized, natural, rich-sounding room with an adjustable range from very
small to large
• Room 2 — Smaller, brighter reverberant characteristic than Room 1, with an adjustment
range that extends to very small
• Ambient — Transparent response for adding a sense of space without adding a lot of depth
or density
• Nonlin — Nonlinear reverberation with a natural buildup and an abrupt cutoff similar to a
gate
Size In conjunction with the Algorithm parameter, lets you adjust the overall size of the reverberant
space. There are three sizes: Small, Medium, and Large. The character of the reverberation
changes with each setting (as does the relative value of the Decay parameter).
Diffusion Sets the degree to which initial echo density increases over time. High settings result in high
initial buildup of echo density. Low settings cause low initial buildup. This control interacts with
the Size and Decay parameters to affect the overall reverberation density.
Core Avid Audio Plug-Ins
953
DC Offset Removal (AudioSuite)
The DC Offset Removal plug-in removes DC offset from your audio files. DC offset describes a
specific type of audio artifact that might appear in digital audio signals.
You can identify DC Offset in a waveform because it appears as a near-vertical fade-in with a
constant or “steady-state” offset from zero when the file is actually “silent” (it contains no
audible audio). The DC Offset plug-in can help remove (or at least reduce) the DC offset from
your source audio files.
DeEsser III — Dynamics III (RTAS and AudioSuite)
The DeEsser III plug-in reduces sibilants and other high frequency noises that can occur in
vocals, voiceovers, and wind instruments such as flutes. These sounds can cause peaks in an
audio signal and lead to distortion.
The De-Esser reduces these unwanted sounds using fast-acting compression. A Threshold
control sets the level above which compression starts, and a Frequency control sets the frequency
band in which the De-Esser operates.
To use de-essing most effectively, insert the De-Esser after compressor or limiter plug-ins.
nThe De-Esser has no control to directly adjust the threshold level (the level that an input signal
must exceed to trigger de-essing). The amount of de-essing will vary with the input signal.
The following table lists the DeEsser III plug-in parameters:
Decay Controls the rate at which the reverberation decays after the original direct signal stops. The
value of the Decay parameter is affected by the Size and Algorithm parameters. You can set this
parameter to infinity on most algorithms for infinite reverberation times.
Pre-Delay Lets you determine the amount of time that elapses between the original audio event and the
onset of reverberation.
HF (High
Frequency)
Cut
Controls the decay characteristic of the high frequency components of the reverberation. It acts
in conjunction with the LP Filter control to create the overall high frequency contour of the
reverberation.
LP Filter Controls the overall high frequency content of the reverberation by allowing you to set the
frequency above which a 6-dB-per-octave filter attenuates the processed signal.
Parameter Description
Core Avid Audio Plug-Ins
954
Parameter Description
Levels panel
Input/Output level meters Show peak signal levels before and after processing.
• Green indicates nominal levels
• Yellow indicates pre-clipping levels, starting at –6 dB below full scale
• Red Indicates full scale levels (clipping)
nUnlike scales on analog compressors, metering scales on a digital device
reflect a 0 dB value that indicates full scale (fs)—the full-code signal level.
There is no headroom above 0 dB.
The clip indicators at the top of the Output meters indicate clipping at the input or
output stage of the plug-in. Click an indicator to clear it.
Gain Reduction meter
(GR)
Indicates the amount the input signal is attenuated (in dB) and shows different
colors during de-essing.
• Light orange indicates that gain reduction is being applied, but has not reached
the maximum level set by the Range control
• Dark orange indicates that gain reduction has reached the maximum level set by
the Range control
Options panel
HF Only button When this button is enabled, gain reduction is applied only to the active frequency
band set by the Frequency control. When this button is disabled, the De-Esser
applies gain reduction to the entire signal.
Listen button When this button is enabled, you monitor the sibilant peaks used by the De-Esser as
a side-chain to trigger compression. This is useful for listening only to the sibilance
for fine-tuning De-Esser controls. To monitor the whole output signal without this
filtering, deselect the Listen button.
Graph display Shows a curve that represents the level of gain reduction (on the y–axis) for the
range of the output signal’s frequency (on the x–axis). The white line represents the
current Frequency setting, and the animated orange line represents the level of gain
reduction being applied to the signal. Use this graph as a visual guideline to see
how much dynamics processing you are applying at different points in the
frequency spectrum.
Core Avid Audio Plug-Ins
955
Delay Plug-In (RTAS and AudioSuite)
There are six different Mod Delay II plug-ins, capable of different maximum delay times:
• The AudioSuite only version of the Delay plug-in provides up to 10.9 seconds of delay at all
sample rates.
• The Short Delay provides 43 ms of delay at all sample rates.
• The Slap Delay provides 171 ms of delay at all sample rates.
• The Medium Delay provides 341 ms of delay at all sample rates.
• The Long Delay provides 683 ms of delay at all sample rates.
• The Extra Long Delay provides 2.73 seconds of delay at all sample rates.
nShort Delay and Slap Delay do not have Tempo, Meter, Duration, and Groove controls.
The following table lists the Delay plug-in parameters.
De-Esser panel
Frequency Sets the frequency band in which the De-Esser operates. Values range from 500 Hz
(lowest frequency) to 16 kHz (highest frequency).
When HF Only is disabled in the Options panel, gain is reduced in frequencies
within the specified range. When HF Only is enabled, the gain of frequencies above
the specified value will be reduced.
Set the Frequency control to remove sibilants (typically the 4–10 kHz range) and
not other parts of the signal. This helps prevent deessing from changing the original
character of the audio material in an undesired manner.
Range Defines the maximum amount of gain reduction possible when a signal is detected
at the frequency set by the Frequency control. Values range from –40 dB (maximum
de-essing) to 0 dB (no de-essing).
Set the Range control to a dB level low enough so that de-essing is triggered only
by sibilants. If the Range is set too high, a loud, non-sibilant section of audio
material could cause unwanted gain reduction or cause sibilants to be
over-attenuated.
To improve de-essing of material that has both very loud and very soft passages,
automate the Range control so that it is lower on soft sections.
Parameter Description
Parameter Description
Input Controls the input volume of the delay to prevent clipping.
Core Avid Audio Plug-Ins
956
Duplicate (AudioSuite)
The Duplicate plug-in creates a new master clip from a selected audio master clip. The plug-in
uses the In and Out points on the selected clip to define the boundaries of the new clip. This
plug-in applies only when you use the Create New Master Clips features of the AudioSuite
plug-ins.
Mix Lets you control the balance between the delayed signal and the original signal. If you use a
delay for flanging or chorusing, you can control the depth of the effect somewhat with the
Mix setting.
LPF (Low-Pass
Filter)
Controls the cutoff frequency of the low-pass filter. This parameter lets you attenuate the
high-frequency content of the feedback signal. The lower the setting, the more high
frequencies are attenuated.
Delay Sets the delay time between the original signal and the delayed signal.
Depth Controls the depth of the modulation applied to the delayed signal.
Rate Controls the rate of modulation of the delayed signal.
Feedback Controls the amount of feedback applied from the output of the delay back into its input.
Also controls the number of repetitions of the delayed signal. Negative Feedback settings
give a more intense “tunnel-like” sound to flanging effects.
Tempo Sets the desired tempo in beats per minute. When a specific Duration is selected, moving this
control will affect the Delay setting.
Meter Lets you enter either simple or compound time signatures. The default time signature is 4/4.
Duration Specifies a desired delay from a musical perspective. You can click one of the note value
buttons (whole note, half note, quarter note, eighth note, sixteenth note). If necessary, click
the Triplet modifier or Dot modifier button to dot the selected note value or make it a triplet.
Groove Provides fine adjustment of the delay in percentages of a 1:4 subdivision of the beat. You can
use this parameter to add “swing” by slightly offsetting the delay from the precise beat of the
track.
Parameter Description
Core Avid Audio Plug-Ins
957
EQ (AudioSuite)
EQ plug-ins provide a set of high-quality options for adjusting the frequency spectrum of audio
material:
• 1-Band EQ III
• 4-Band EQ III
• 7-Band EQ III
1-Band EQ III Parameters
The following table lists the 1-Band EQ III plug-in parameters.
Parameter Description
Input Sets the input gain of the plug-in before EQ processing, letting you make up gain or prevent
clipping at the plug-in input stage.
Input Polarity
control
Inverts the phase (polarity) of the input signal, to help compensate for phase anomalies
occurring in multi-microphone environments, or because of mis-wired balanced connections.
Type Lets you select an EQ type (High-Pass, Notch, High-Shelf, Low-Shelf, Peak, or Low-Pass).
The name of the type you select appears in the text field.
Filter
Q (Peak and Notch) Controls the width of the EQ band. Higher values represent narrower
bandwidths. Lower values represent wider bandwidths.
(High-Shelf and Low-Shelf) Changes the Q of the shelving filter. Higher Q values represent
steeper shelving curves. Lower Q values represent broader shelving curves.
(High-Pass and Low-Pass) Lets you select from any of the following Slope values: 6 dB,
12 dB, 18 dB, or 24 dB per octave.
Freq Lets you set the center frequency (Peak, High-Shelf, Low-Shelf, and Notch) or the cutoff
frequency (High-Pass and Low-Pass).
Gain Lets you control the amount that the selected frequencies are cut or boosted (for High-Shelf,
Low-Shelf, and Peak only).
Frequency Graph
Display
Shows a control dot that indicates the center frequency or cutoff frequency for the currently
selected filter type, and a frequency response curve. You can adjust the parameters by
dragging the control dot.
Core Avid Audio Plug-Ins
958
4-Band EQ III Parameters
The following table lists the 4-Band EQ III plug-in parameters.
Parameter Description
In and Out meters Show peak signal levels before and after EQ processing. Green indicates nominal levels.
Yellow indicates pre-clipping levels, starting at –6 dB below full scale. Red indicates full
scale (clipping) levels.
The clip indicators to the right of each meter indicate clipping at the input of output stage of
the plug-in. Click a clip indicator to clear it.
Input Sets the input gain of the plug-in before EQ processing, letting you make up gain or prevent
clipping at the plug-in input stage.
Input Polarity
control
Inverts the phase (polarity) of the input signal, to help compensate for phase anomalies
occurring in multi-microphone environments, or because of mis-wired balanced
connections.
Output Sets the output gain after EQ processing, letting you make up gain or prevent clipping on the
channel where the plug-in is being used.
Bands The plug-in has separate parameter controls for each of the following 7 bands (only 4 bands
are active at one time):
• High-Pass/Low-Notch (HPF) — out of circuit by default
• Low-Pass/High-Notch (LPF) — out of circuit by default
• Low Shelf/Low Peak (LF)
• Low-Mid Peak (LMF)
• Mid-Peak (MF) — out of circuit by default
• High-Mid Peak (HMF)
• High Shelf/High Peak (HF)
Band Enable
button
Toggles the band in and out of the circuit. When a band’s Enable button is highlighted, the
band is in circuit. When a band’s Enable button is dimmed, the band is bypassed.
Core Avid Audio Plug-Ins
959
7-Band EQ III Parameters
The following table lists the 7-Band EQ III plug-in parameters.
Type selectors The HPF, LPF, LF, and HF band sections have type selectors that toggle between the two
available filter types for that section, as follows:
• High-Pass Filter (HPF band) — Attenuates all frequencies below the Frequency setting
at the selected slope while letting all frequencies above pass through.
• Low-Notch EQ (HPF band) — Attenuates a narrow band of frequencies centered around
the Frequency setting. The Q setting determines the width of the attenuated band.
• Low-Pass Filter (LPF band) — Attenuates all frequencies above the Frequency setting at
the selected slope while letting all frequencies below pass through.
• High-Notch EQ (LPF band) — Attenuates a narrow band of frequencies centered around
the Frequency setting. The Q setting determines the width of the attenuated band.
• Low-Shelf EQ (LF band) — Boosts or cuts frequencies at and below the Frequency
setting. The amount of boost or cut is determined by the Gain setting. The Q setting
determines the shape of the shelving curve.
• Low Peak EQ (LF band) — Boosts or cuts a band of frequencies centered around the
Frequency setting. The Q setting determines the width of the selected band.
• High-Shelf EQ (LF band) — Boosts or cuts frequencies at and above the Frequency
setting. The amount of boost or cut is determined by the Gain setting. The Q setting
determines the shape of the shelving curve.
• High Peak EQ (LF band) — Boosts or cuts a band of frequencies centered around the
Frequency setting. The Q setting determines the width of the selected band.
Q (Peak and Notch bands) Controls the width of the EQ band. Higher values represent
narrower bandwidths. Lower values represent wider bandwidths.
(Shelf bands) Changes the Q of the shelving filter. Higher Q values represent steeper
shelving curves. Lower Q values represent broader shelving curves.
(High-Pass and Low-Pass bands) Lets you select from any of the following Slope values: 6
dB, 12 dB, 18 dB, or 24 db per octave.
Freq Lets you set the center frequency (Peak, Shelf, and Notch EQs) or the cutoff frequency
(High-Pass and Low-Pass filters).
Gain Lets you control the amount that the selected frequencies are cut or boosted (for Shelf and
Peak only).
Frequency Graph
Display
Shows a color-coded control dot that corresponds to the color of the Gain control for each
band, and a frequency response curve. You can adjust the parameters by dragging one or
more of the control dots.
Parameter Description
Core Avid Audio Plug-Ins
960
Parameter Description
In and Out meters Show peak signal levels before and after EQ processing. Green indicates nominal levels.
Yellow indicates pre-clipping levels, starting at –6 dB below full scale. Red indicates full
scale (clipping) levels.
The clip indicators to the right of each meter indicate clipping at the input of output stage of
the plug-in. Click a clip indicator to clear it.
Input Sets the input gain of the plug-in before EQ processing, letting you make up gain or prevent
clipping at the plug-in input stage.
Input Polarity
control
Inverts the phase (polarity) of the input signal, to help compensate for phase anomalies
occurring in multi-microphone environments, or because of mis-wired balanced
connections.
Output Sets the output gain after EQ processing, letting you make up gain or prevent clipping on the
channel where the plug-in is being used.
Bands The plug-in has separate parameter controls for each of the following 7 bands:
• High-Pass/Low-Notch (HPF)
• Low-Pass/High-Notch (LPF)
• Low Shelf/Low Peak (LF)
• Low-Mid Peak (LMF)
• Mid-Peak (MF)
• High-Mid Peak (HMF)
• High Shelf/High Peak (HF)
Band Enable
button
Toggles the band in and out of the circuit. When a band’s Enable button is highlighted, the
band is in circuit. When a band’s Enable button is dimmed, the band is bypassed.
Core Avid Audio Plug-Ins
961
Type selectors The HPF, LPF, LF, and HF band sections have type selectors that toggle between the two
available filter types for that section, as follows:
• High-Pass Filter (HPF band) — Attenuates all frequencies below the Frequency setting
at the selected slope while letting all frequencies above pass through.
• Low-Notch EQ (HPF band) — Attenuates a narrow band of frequencies centered around
the Frequency setting. The Q setting determines the width of the attenuated band.
• Low-Pass Filter (LPF band) — Attenuates all frequencies above the Frequency setting at
the selected slope while letting all frequencies below pass through.
• High-Notch EQ (LPF band) — Attenuates a narrow band of frequencies centered around
the Frequency setting. The Q setting determines the width of the attenuated band.
• Low-Shelf EQ (LF band) — Boosts or cuts frequencies at and below the Frequency
setting. The amount of boost or cut is determined by the Gain setting. The Q setting
determines the shape of the shelving curve.
• Low Peak EQ (LF band) — Boosts or cuts a band of frequencies centered around the
Frequency setting. The Q setting determines the width of the selected band.
• High-Shelf EQ (LF band) — Boosts or cuts frequencies at and above the Frequency
setting. The amount of boost or cut is determined by the Gain setting. The Q setting
determines the shape of the shelving curve.
• High Peak EQ (LF band) — Boosts or cuts a band of frequencies centered around the
Frequency setting. The Q setting determines the width of the selected band.
Q (Peak and Notch bands) Controls the width of the EQ band. Higher values represent
narrower bandwidths. Lower values represent wider bandwidths.
(Shelf bands) Changes the Q of the shelving filter. Higher Q values represent steeper
shelving curves. Lower Q values represent broader shelving curves.
(High-Pass and Low-Pass bands) Lets you select from any of the following Slope values: 6
dB, 12 dB, 18 dB, or 24 db per octave.
Freq Lets you set the center frequency (Peak, Shelf, and Notch EQs) or the cutoff frequency
(High-Pass and Low-Pass filters).
Gain Lets you control the amount that the selected frequencies are cut or boosted (for Shelf and
Peak only).
Frequency Graph
Display
Shows a color-coded control dot that corresponds to the color of the Gain control for each
band, and a frequency response curve. You can adjust the parameters by dragging one or
more of the control dots.
Parameter Description
Core Avid Audio Plug-Ins
962
Expander/Gate III — Dynamics III (RTAS and AudioSuite)
The Expander/Gate III plug-in applies expansion or gating to audio material, depending on the
ratio setting.
Expansion decreases the gain of signals that fall below a chosen threshold. It is particularly
useful for reducing noise or signal leakage that creeps into recorded material as its level falls, as
often occurs in the case of headphone leakage. Expanders can be thought of as soft noise gates
since they provide a gentler way of reducing noisy low-level signals than the typically abrupt
cutoff of a gate.
Gating silences signals that fall below a chosen threshold. To enable gating, simply set the Ratio
and Range controls to their maximum values.
The following table lists the Expander/Gate III plug-in parameters:
Parameter Description
Levels panel
Phase invert button Inverts the phase (polarity) of the input signal, to help compensate for phase
anomalies that can occur either in multi-microphone environments or because of
mis-wired balanced connections.
Input/Output level meters Show peak signal levels before and after processing.
• Green indicates nominal levels
• Yellow indicates pre-clipping levels, starting at –6 dB below full scale
• Red Indicates full scale levels (clipping)
nUnlike scales on analog compressors, metering scales on a digital device
reflect a 0 dB value that indicates full scale (fs)—the full-code signal level.
There is no headroom above 0 dB.
The clip indicators at the top of the Output meters indicate clipping at the input or
output stage of the plug-in. Click an indicator to clear it.
Threshold arrow The orange Threshold arrow next to the Input meter indicates the current threshold.
You can drag the arrow up or down to adjust the threshold. For more information on
threshold, see the Threshold row below in this table.
Core Avid Audio Plug-Ins
963
Gain Reduction meter
(GR)
Indicates the amount the input signal is attenuated (in dB) and shows different
colors during dynamics processing.
• Light orange indicates that gain reduction is within the “knee” and has not
reached the full ratio of compression
• Dark orange indicates that gain reduction is being applied at the full ratio (for
example, 2:1)
Graph display Shows a curve that represents the level of the input signal (on the x–axis) and the
level of the output signal (on the y–axis). The orange vertical line represents the
threshold. Use this graph as a visual guideline to see how much dynamics
processing you are applying.
Options panel
Look Ahead button Normally, dynamics processing begins when the level of the input signal crosses the
threshold. When this button is enabled, dynamics processing begins 2 milliseconds
before the level of the input signal crosses the threshold.
The Look Ahead control is useful for avoiding the loss of transients that may have
been otherwise cut off or trimmed in a signal.
Side-Chain panel The side-chain is the split-off signal used by the plug-in’s detector to trigger
dynamics processing. The Side-Chain panel lets you toggle the side-chain between
the internal input signal or an external key input, and tailor the equalization of the
side-chain signal so that the triggering of dynamics processing becomes
frequency-sensitive.
For full information on how to work with the side-chain controls, see “Using the
Side-Chain Input in Dynamics III” in the Avid DigiRack Plug-Ins Guide. Search for
“digirack plug-ins guide” at www.avid.com.
Expander/Gate panel (EXP/GATE)
Range Sets the depth of the Expander/Gate when closed. Setting the gate to higher range
levels allows more and more of the gated audio that falls below the threshold to
peek through the gate at all times. Values range from -80 dB (lowest depth) to 0 dB
(highest depth).
Ratio Sets the amount of expansion. For example, if this is set to 2:1, it will lower signals
below the threshold by one half. At higher ratio levels (such as 30:1 or 40:1) the
Expander/Gate functions like a gate by cutting off signals that fall below the
threshold. As you adjust the ratio control, refer to the built-in graph to see how the
shape of the expansion curve changes. Values range from 1:1 (no expansion) to
100:1 (gating).
Parameter Description
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Flanger (AudioSuite)
The Flanger plug-in combines a time-delayed, pitch-shifted copy of an audio signal with itself.
The Flanger differs from other digital flangers in that it uses a through-zero flanging algorithm
that results in a truer tape-like flange. This technique delays the source signal very slightly
(approximately 256 samples), and then modulates the delayed signal back and forth in time in
relation to the source signal, passing through its zero point on the way.
The Flanger plug-in is ideal for thickening and adding a swirling, moving quality to guitars and
other instruments. The following table lists the Flanger plug-in parameters:
Attack Sets the attack time, or the rate at which gain is reduced after the input signal
crosses the threshold. Use this along with the Ratio setting to control how soft the
Expander’s gain reduction curve is. Values range from 10 microseconds (fastest
attack time) to 300 milliseconds (slowest attack time).
Release Sets how long it takes for the gate to close after the input signal falls below the
threshold level and the hold time has passed. Values range from 5 milliseconds
(fastest release time) to 4 seconds (slowest release time).
Hold Specifies the duration (in seconds or milliseconds) during which the Expander/Gate
will stay in effect after the initial attack occurs. This can be used as a function to
keep the Expander/Gate in effect for longer periods of time with a single crossing of
the threshold. It can also be used to prevent gate chatter that may occur if varying
input levels near the threshold cause the gate to close and open very rapidly. Values
range from 5 milliseconds (shortest hold) to 4 seconds (longest hold).
Threshold (THRESH) Sets the level below which an input signal must fall to trigger expansion or gating.
Signals that fall below the threshold will be reduced in gain. Signals that are above
it will be unaffected. Values range approximately from -60 dB to 0 dB (no
expansion or gating). -24 dB is the default value.
In the Levels panel, the orange Threshold arrow on the Input meter indicates the
current threshold. You can drag the arrow up and down to adjust the Threshold
setting.
In the graph display, the threshold appears as an orange vertical line.
Parameter Description
Parameter Description
Input Level Lets you adjust the input volume of the flanger to prevent clipping or increase the level of the
processed signal. This slider is set to a default of +3 dB. If your source audio has been recorded
very close to peak level, this +3 dB default setting could cause clipping. Use this control to
reduce the input level.
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Funk Logic Mastererizer (AudioSuite)
The Funk Logic Mastererizer plug-in is a low-fidelity sound design tool, designed for the
creative degradation of audio. By experimenting with adjustments to the controls, you can
introduce varying amounts of hiss, hum, distortion, crackle, and other audio characteristics that
are associated with old or flawed equipment, media decay, and so on.
Gain (AudioSuite)
Gain lets you boost or lower amplitudes in a file or selection by a specified amount. Use Gain for
smoothing out undesirable peaks and other dynamic inconsistencies.
Sum Inputs
button
When you use the Flanger plug-in in Stereo mode, a Sum Inputs button appears next to the right
channel Input Level slider. Clicking the Sum Inputs button sums the source input signals
(regardless of whether the input is mono or stereo) before processing them. The source signal
then appears in the center of the stereo field, and the processed signal is output in stereo. When
you click the Sum Inputs button, the LFO waveform on the right channel is automatically phase
inverted to enhance the mono-stereo effect.
Mix Lets you adjust the balance between the Dry (source) signal and the Wet (processed) signal,
giving you control over the depth of the effect.
High Pass
Filter
Controls the cutoff frequency of the High Pass Filter, allowing you to attenuate the frequency
content of the feedback signal and the frequency response of the flanging. The higher the setting,
the more low frequencies are removed from the feedback signal.
LFO Rate Lets you adjust the rate of the low frequency oscillator (LFO) applied to the delayed signal as
modulation. The higher the setting, the more rapid the modulation. Use the LFO Waveform
selector to select either a sine wave or a triangle wave as a modulation source.
LFO Width Lets you adjust the intensity of the LFO applied to the delayed signal as modulation. The higher
the setting, the more intense the modulation.
Feedback Controls the amount of feedback applied from the output of the delayed signal back into its
input. Negative settings provide a more intense effect.
LFO
Waveform
Selects a sine wave or triangle wave for the LFO. This affects the character of the modulation.
The sine wave has a gentler ramp and peak than the triangle wave.
Parameter Description
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You can specify the desired gain level in several ways:
• Enter a numeric decibel value.
• Enter a percentage value.
•Drag the slider.
• Press and hold the Ctrl key (Windows) or the Command key (Macintosh), then drag the
slider to fine-adjust.
• Use the rms and peak buttons to switch the calibration of gain adjustment between RMS and
Peak modes.
Peak adjusts the gain of the signal to the maximum possible level without clipping. RMS
adjusts the input signal to a level consistent with the root-mean-square value, or the effective
average level of the selected material.
Invert (AudioSuite)
The Invert plug-in reverses the polarity of the selected audio. All positive sample amplitude
values become negative, and all negative amplitudes become positive. You can use this process
for permanently altering the phase (polarity) relationship of tracks. Inverting can be useful when
mixing because it alters frequency response between source tracks recorded with multiple
microphones and also lets you correct for audio that was recorded out of phase.
Lo-Fi Plug-In (RTAS and AudioSuite)
Lo-Fi down-processes audio by reducing its sample rate and bit resolution. It is ideal for
emulating the grungy quality of 8-bit samplers.
The following table lists the Lo-Fi plug-in parameters:
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Parameter Description
Sample Rate The Sample Rate slider adjusts an audio file’s playback sample rate in fixed intervals from 700
Hz to 33 kHz in sessions with sample rates of 44.1 kHz, 88.2 kHz, or 176.4 kHz; and from 731
Hz to 36 kHz in sessions with sample rates of 48 kHz, 96 kHz, or 192 kHz. Reducing the sample
rate of an audio file has the effect of degrading its audio quality. The lower the sample rate, the
grungier the audio quality
The maximum value of the Sample Rate control is Off (which effectively means bypass).
nThe range of the Sample Rate control is slightly different at different session sample rates
because Lo-Fi’s subsampling is calculated by integer ratios of the session sample rate.
Anti-Alias
Filter
The Anti-Alias control works in conjunction with the Sample Rate control. As you reduce the
sample rate, aliasing artifacts are produced in the audio. These produce a characteristically dirty
sound. Lo-Fi’s anti-alias filter has a default setting of 100%, automatically removing all aliasing
artifacts as the sample rate is lowered.
This control is adjustable from 0% to 100%, letting you add precisely the amount of aliasing you
want back into the mix. This slider only has an effect if you have reduced the sample rate with
the Sample Rate control.
Sample Size The Sample Size slider controls the bit resolution of the audio. Like sample rate, bit resolution
affects audio quality and clarity. The lower the bit resolution, the grungier the quality. The range
of this control is from 24 bits to 2 bits.
Quantization Lo-Fi applies quantization to impose the selected bit size on the target audio signal. The type of
quantization performed can also affect the character of an audio signal. Lo-Fi provides you with
a choice of Linear or Adaptive quantization.
Linear Linear quantization abruptly cuts off sample data bits in an effort to fit the audio into the selected
bit resolution. This imparts a characteristically raunchy sound to the audio that becomes more
pronounced as the sample size is reduced. At extreme low bit-resolution settings, linear
quantization will actually cause abrupt cut-offs in the signal itself, similar to gating. Thus, linear
resolution can be used creatively to add random percussive, rhythmic effects to the audio signal
when it falls to lower levels, and a grungy quality as the audio reaches mid-levels.
Adaptive Adaptive quantization reduces bit depth by adapting to changes in level by tracking and shifting
the amplitude range of the signal. This shifting causes the signal to fit into the lower bit range.
The result is a higher apparent bit resolution with a raunchiness that differs from the harsher
quantization scheme used in linear resolution.
Noise
Generator
The Noise slider mixes a percentage of pseudowhite noise into the audio signal. Noise is useful
for adding grit into a signal, especially when you are processing percussive sounds. This noise is
shaped by the envelope of the input signal. The range of this control is from 0 to 100%. When
noise is set to 100%, the original signal and the noise are equal in level.
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Multi-Tap Delay (AudioSuite)
The Multi-Tap Delay plug-in adds up to four independently controlled delays (or “taps”) to the
original audio signal. By allowing you to control the delay time and number of repetitions of
each tap individually, the Multi-Tap Delay plug-in provides greater flexibility than standard
single-delay devices.
The Multi-Tap Delay plug-in is ideal for adding spatialization or complex rhythmic echo effects
to virtually any instrument or sound.
The following table lists the Multi-Tap Delay plug-in parameters:
Distortion/Sat
uration
The Distortion and Saturation sliders provide signal clipping control.
The Distortion slider determines the amount of gain applied and lets clipping occur in a smooth,
rounded manner.
The Saturation slider determines the amount of saturation added to the signal. This simulates the
effect of tube saturation with a roll-off of high frequencies.
Output Meter The Output Meter indicates the output level of the processed signal. Note that this meter
indicates the output level of the signal — not the input level. If this meter clips, the signal may
have clipped on input before it reached Lo-Fi. Monitor your send or insert signal levels closely to
prevent this from happening.
Parameter Description
Parameter Description
Gain Controls the input level of each of the four delay lines for individual delay taps. Adjust Gain to
prevent clipping or increase the level of the processed signal.
Feedback Controls the amount of feedback applied from the output of the delay into its input. It also
controls the number of repetitions of the delayed signal. For the feedback parameter to function,
you must raise the Gain slider above its lowest setting.
Pan Controls the apparent location of each tap in the stereo field.
Delay Sets the delay time between the original signal and the delayed signal. The higher the setting, the
longer the delay. This parameter is adjustable from 0 to 1500 milliseconds (1.5 seconds).
Mix Lets you adjust the balance between the source signal and the processed signal, giving you
control over the depth of the effect.
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Normalize (AudioSuite)
In cases where a sound file has been recorded with too little amplitude, the Normalize plug-in
ensures that the inherent dynamics of the performance remain unchanged while the overall
volume level of the passage is raised.
The controls let you specify how close to maximum level (the clipping threshold) the peak level
of your selection or file is boosted. You can enter this information in several ways.
• Enter a numeric decibel value below the clipping threshold.
• Enter a percentage of the threshold.
•Drag the slider.
• Press and hold the Ctrl key (Windows) or the Command key (Macintosh), then drag the
slider to fine-adjust.
• Use the rms and peak buttons to switch the calibration of normalizing between RMS and
Peak modes.
Peak normalizes the signal at the maximum possible level without clipping. RMS
normalizes the input signal at a level consistent with the root-mean-square value, or the
effective average level of the selected material.
PhaseScope (RTAS)
PhaseScope is a multichannel metering plug-in that provides signal level and phase information
for stereo tracks only. (Mono and LCR or greater multichannel tracks are not supported.)
The PhaseScope Lissajous Meter displays the relationship between the amplitude and phase of a
stereo signal, enabling you to monitor stereo imaging graphically.
The Lissajous Meter display is divided into four quadrants, with left and right channels arranged
diagonally. When audio is panned predominantly to a particular speaker channel, a diagonal line
appears, indicating the channel.
The Lissajous Meter displays in-phase material as a vertical line and out-of-phase material as a
horizontal line.
Sum Inputs
button
When you use the Multi-Tap Delay plug-in in Stereo mode, a Sum Inputs button appears next to
the Mix sliders. Clicking the Sum Inputs button sums the source input signals (regardless of
whether the input is mono or stereo) before processing them. The source signal then appears in
the center of the stereo field, and the processed signal is output in stereo.
Parameter Description
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You can select one of two display options by clicking the corresponding button in the Options
area of the plug-in window.
You can select either or both channel for Leq(A) metering by clicking the channel buttons in the
corners of the Lissajous display. Selected channels are indicated in green.
You can select the following meter types:
Display
Option Description
Phase Meter The Phase Meter indicates the phase coherency of two channels of a multichannel signal.
The Phase Meter is green when the channels are positively out of phase (values from 0 to +1) and
red when the channels are negatively out of phase (values from 0 to –1).
At the center or zero position, the signal is a perfect stereo image. At the +1 position, the signal
is a perfect mono image. At the –1 position, the signal is 100% out of phase.
Leq(A) Meter The Leq(A) Meter display lets you view the true weighted average of the power level sent to any
channel or combination of channels (except the LFE channel) in a multichannel track.
The Leq(A) Meter display shows a floating average for the level over the interval chosen in the
Window menu. For example, with a setting of 2 seconds, the display shows the average value for
the most recent 2 seconds of audio playback.
The Leq(A) Meter provides the following metering controls:
• Window — The Leq(A) window menu lets you choose the length of time the signal is
measured before an average value is calculated. Settings range from 1 second to 2 minutes.
When the Leq(A) meter is in INF (infinite) mode it is constantly averaging the signal without
a floating averaging window.
• Reset — The Reset button lets you manually reset the start time of the Leq(A) measurement
window.
• Auto Reset — When enabled, causes the start time of the Leq(A) measurement window to be
automatically reset whenever playback starts.
• Hold on Stop — When enabled, causes the Leq(A) measurement window timer to pause
when playback stops, and resume when playback begins again.
Core Avid Audio Plug-Ins
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You can select the style of peak hold when peaks are shown in the plug-in meters:
• 3 Sec Hold — Displays peak levels for 3 seconds.
• Inf Hold — Displays peak levels until meters are cleared.
• No Hold — Does not display peak levels.
You can also adjust the level of the reference mark on the side of the meter display by dragging
the reference mark to a different location on the meter scale.. The mark is set by default to the
reference level for the corresponding meter type.
nMeters also change color to show different ranges of level. The relative range of color
automatically adjusts to follow the current Reference Mark setting in all meter types (except
Peak+RMS).
Meter Description
Peak (Default meter type) Uses the metering scale in DigiRack EQ III and Dynamics III plugins.
RMS (Root Mean Square) was used in previous versions of the Avid SurroundScope plugin and uses
the same “true” RMS metering scale.
nThe “true” RMS meter scale is not the same as the AES 17 RMS scale. For a sine wave
with a peak value of –20 dBFS, the “true” RMS meter will show a value of –23 dBFS.
(The same sine wave will show a value of –20 dBFS on an AES 17 RMS meter.‚
Peak + RMS Uses a multi-color display to show both types of metering. Peak metering is shown in
conventional green color, while RMS metering is shown in blue.
VU (Volume Unit) Uses AES standards for signal level indication.
BBC Uses IEC-IIa standards for signal level indication. This style of metering suppresses short
duration peaks that would not affect broadcast program material. Reference calibration (4 dB) is
–18 dBFS.
Nordic Uses IEC Type I standards for signal level indication and provides greater resolution for readings
between –10 dBu and +4 dBu. Reference calibration (0 dB) is –18 dBFS.
DIN Uses IEC Type I standards for signal level indication and provides greater resolution for readings
between –10 dBu and +5 dBu. Reference calibration (–9 dB) is –18 dBFS.
VENUE Provides Peak metering behavior with a meter scale calibrated specifically for Avid VENUE
systems. Reference calibration (0 dB) is –20 dBFS.
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Ping-Pong Delay (AudioSuite)
The Ping-Pong Delay plug-in modifies an audio signal by adding a controllable delay to the
original signal. It is ideal for adding spatialization and creating a characteristic ping-pong echo
effect.
The following table lists the Ping-Pong Delay plug-in parameters:
Pitch Shift (AudioSuite)
The Pitch Shift plug-in lets you adjust the pitch of any source audio file with or without a change
in its duration. This powerful function allows sounds to be transposed a maximum of a full
octave up or down in pitch with or without altering playback speed.
Edit the Pitch Shift parameters by double-clicking and typing in any Destination text box or by
dragging a slider to adjust. All Pitch Shift plug-in controls are linked, so that changing one
changes the others.
The following table lists the Pitch Shift plug-in parameters.
Parameter Description
Gain Adjusts the input volume of the Ping-Pong Delay to prevent clipping or increase the level of
the processed signal.
Sum Inputs
button
When you use the Ping-Pong Delay plug-in in Stereo mode, a Sum Inputs button appears next
to the Gain sliders. Clicking the Sum Inputs button sums the source input signals (regardless
of whether the input is mono or stereo) before processing them.The source signal then appears
in the center of the stereo field, and the processed signal is output in stereo.
Mix Lets you adjust the balance between the source signal and the processed signal, giving you
control over the depth of the effect.
Delay Sets the delay time between the original signal and the delayed signal. The higher the setting,
the longer the delay. This parameter is adjustable from 0 to 1500 milliseconds (1.5 seconds).
Lowpass Filter Controls the cutoff frequency of the Lowpass Filter, allowing you to attenuate the high
frequency content of the feedback signal. The lower the setting, the more high frequencies are
removed from the feedback signal. The range of the Lowpass Filter is 20 Hz to 19.86 kHz,
with a maximum value of Off (which effectively means bypass).
Feedback Controls the amount of feedback applied from the output of the delay into its input. It also
controls the number of repetitions of the delayed signal.
Cross-Feedback Feeds the delayed signals to their opposite channels. The result is a stereo echo that
ping-pongs back and forth between the right and left channels.
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Parameter Description
Gain The Gain controls set the input level, in tenths of a decibel. Set the input level so that the
plug-in can adequately handle amplitude peaks in the selection. Dragging the slider to the
right increases gain, and dragging the slider to the left decreases gain.
Coarse and Fine Adjust the pitch by dragging either of the two faders, or by typing values in the Coarse and
Fine text boxes. The Coarse slider transposes in semitones (half steps); the Fine slider
transposes in cents (hundredths of a semitone).
Ratio The Ratio slider lets you set the amount of transposition (pitch change). Dragging the slider
to the right raises the pitch of the processed file, and dragging the slider to the left decreases
its pitch. Press and hold the Ctrl key (Windows) or the Command key (Macintosh) when you
drag the slider to fine-adjust.
Crossfade, Min
Pitch, Accuracy
For information on these parameters, see the parameters table in “Time Compression
Expansion (AudioSuite)” on page 978.
Time Correction Click the Time Correction check box to enable or disable time correction.
cYou can deselect the Time Correction check box if you use the Create New
Master Clips feature of the AudioSuite plug-ins. However, you must select the
Time Correction check box when you apply AudioSuite plug-ins to audio clips in
the Timeline.
If the Time Correction check box is deselected, it has the effect of “permanently
varispeeding” your audio file. Like working with tape, the file’s duration is compressed or
extended according to the settings of the Coarse and Fine controls. Playback speed increases
proportionally as the sound file is transposed up in pitch and decreases proportionally as it is
transposed down in pitch, just like a tape recorder that is varispeeding.
Altering a file in this way has little detrimental effect on the fidelity of audio files, whereas
time correction can affect fidelity in a pronounced way.
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Recti-Fi (RTAS and AudioSuite)
Recti-Fi provides additive synthesis effects through waveform rectification. Recti-Fi multiplies
the harmonic content of an audio track and adds subharmonic or superharmonic tones.
The following table lists the Recti-Fi plug-in parameters:
Reference Pitch The Reference Pitch feature generates a sine wave tone that you can adjust to match a
selected portion of audio material, and then use as an audible reference when pitch-shifting
other audio material in your session.
To use the Reference Pitch feature:
1. Select the audio material you want to use as a pitch reference. Click the Preview button to
begin playback of the selected audio.
2. Click the Reference Pitch button to activate the reference sine wave tone.
3. Adjust the Note and Detune settings to match the reference tone to the pitch of the audio
playback. Adjust the Level setting to change the relative volume of the reference tone.
You can also switch the Reference Pitch on and off to compare pitch.
4. Select the audio material where you want to shift pitch.
5. Adjust the Coarse and Fine controls to match the pitch of the audio playback to the
reference pitch.
Parameter Description
Parameter Description
Pre-Filter The Pre-Filter control filters out high frequencies in an audio signal prior to rectification. This
is desirable because the rectification process can cause instability in waveform output —
particularly in the case of high-frequency audio signals. Filtering out these higher frequencies
prior to rectification can improve waveform stability and the quality of the rectification effect.
If you wish to create classic subharmonic synthesis effects, set the Pre-Filter and Post-Filter
controls to a relatively low frequency, such as 250 Hz.
The range of the Pre-Filter is from 43 Hz to 21 kHz, with a maximum value of Thru (which
effectively means bypass).
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Reverse (AudioSuite)
Reversed sounds are useful effects in many music and film and video projects. The Reverse
plug-in lets you easily perform this type of processing.
Sci-Fi (RTAS and AudioSuite)
Sci-Fi is designed to mock-synthesize audio by adding effects such as ring modulation,
resonation, and sample & hold, that are typically found on older, modular analog synthesizers.
Sci-Fi is ideal for adding a synth edge to a track.
Rectification • Positive Rectification — This rectifies the waveform so that its phase is 100% positive.
The audible effect is a doubling of the audio signal’s frequency.
• Negative Rectification — This rectifies the waveform so that its phase is 100% negative.
The audible effect is a doubling of the audio signal’s frequency.
• Alternating Rectification — This alternates between rectifying the phase of the first
negative waveform excursion to positive, then the next positive excursion to negative, and
so on, throughout the waveform. The audible effect is a halving of the audio signal’s
frequency, creating a subharmonic tone.
• Alt-Max Rectification — This alternates between holding the maximum value of the first
positive excursion through the negative excursion period, switching to rectify the next
positive excursion, and holding its peak negative value until the next zero crossing. The
audible effect is a halving of the audio signal’s frequency, and creating a subharmonic tone
with a hollow, square wave-like timbre.
Gain Gain lets you adjust signal level before the audio reaches the Post-Filter. This is particularly
useful for restoring unity gain if you have used the Pre-Filter to cut off high frequencies prior
to rectification. The range of this control is from –18dB to +18dB.
Post-Filter Waveform rectification, particularly alternating rectification, typically produces a great
number of harmonics. The Post Filter control lets you remove harmonics above the cutoff
frequency and smooth out the sound. This is useful for filtering audio that contains
subharmonics. To create classic subharmonic synthesis effects, set the Pre-Filter and
Post-Filter to a relatively low frequency.
The range of the Post-Filter control is 43 Hz to 21 kHz, with a maximum value of Thru (which
effectively means bypass).
Mix Mix adjusts the mix of the rectified waveform with the original, unprocessed waveform.
Output Meter The Output Meter indicates the output level of the processed signal. Note that this meter
indicates the output level of the signal — not the input level. If this meter clips, the signal may
have clipped on input before it reached Recti-Fi. Monitor your send or insert signal levels
closely to prevent this from happening.
Parameter Description
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The following table lists the Sci-Fi plug-in parameters:
Parameter Description
Input Level Input Level attenuates signal input level to the Sci-Fi processor. Since some Sci-Fi controls (such
as Resonator) can cause extreme changes in signal level, adjusting the Input Level is particularly
useful for achieving unity gain with the original signal level. The range of this control is from
–12 dB to 0 dB.
Effect Type Sci-Fi provides four different types of effects:
• Ring Mod — Modulates the signal amplitude with a carrier frequency, producing harmonic
sidebands that are the sum and difference of the frequencies of the two signals. The carrier
frequency is supplied by Sci-Fi itself. The modulation frequency is determined by the Effect
Frequency control. Ring modulation adds a characteristic hard-edged, metallic sound to
audio.
• Freak Mod — Modulates the signal frequency with a carrier frequency, producing harmonic
sidebands that are the sum and difference of the input signal frequency and whole number
multiples of the carrier frequency. Frequency modulation produces many more sideband
frequencies than ring modulation and an even wilder metallic characteristic. The Effect
Frequency control determines the modulation frequency of the Freak Mod effect.
• Resonator+ and Resonator — Adds a resonant frequency tone to the audio signal. This
frequency is determined by the Effect Frequency control. The difference between these two
modules is that Resonator– reverses the phase (polarity) of the effect, producing a hollower
sound than Resonator+. The Resonator can be used to produce metallic and flanging effects
that emulate the sound of classic analog flangers.
Effect Amount Effect Amount controls the mix of the processed sound with the original signal. The range of this
control is from 0-100%.
Effect
Frequency
Effect Frequency controls the modulation frequency of the ring modulator and resonators. The
frequency range is dependent on the effect type. For Ring Mod, the frequency range of this
control is from 0 Hz to 22.05 kHz. For Freak Mod, the frequency range is from 0 Hz to 22.05
kHz. For Resonator+, the frequency range is from 344 to 11.025 kHz. For Resonator–, the
frequency range is from 172 Hz to 5.5 kHz.
You can also enter a frequency value using keyboard note entry.
Modulation
Type
Modulation Type determines the type of modulation applied to the frequency of the selected
effect. Depending on the type of modulation you select here, the sliders below it will change to
provide the appropriate type of modulation controls. If the Mod Amount is set to 0%, no
dynamic modulation is applied to the audio signal. The Effect Frequency slider then becomes the
primary control for modifying the sound.
LFO Produces a low-frequency triangle wave as a modulation source. The rate and amplitude of the
triangle wave are determined by the Mod Rate and Mod Amount controls, respectively.
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Signal Generator (RTAS and AudioSuite)
The Signal Generator plug-in produces audio test tones in a variety of frequencies, waveforms,
and amplitudes. The plug-in has the following options:
Envelope
Follower
Causes the selected effect to dynamically track the input signal by varying with the amplitude
envelope of the audio signal. As the signal gets louder, more modulation occurs. This can be
used to produce a very good automatic wah-wah-type effect. When you select the Envelope
Follower, the Mod Amount slider changes to a Mod Slewing control. Slewing provides you with
the ability to smooth out extreme dynamic changes in your modulation source. This provides a
smoother, more continuous modulation effect. The more slewing you add, the more gradual the
changes in modulation will be.
Sample+Hold Periodically samples a random pseudo-noise signal and applies it to the effect frequency. Sample
and hold modulation produces a characteristic random stair-step modulation. The sampling rate
and the amplitude are determined by the Mod Rate and Mod Amount controls, respectively.
Trigger+Hold Trigger and hold modulation is similar to sample and hold modulation, with one significant
difference: If the input signal falls below the threshold set with the Mod Threshold control,
modulation will not occur. This provides interesting rhythmic effects, where modulation occurs
primarily on signal peaks. Modulation will occur in a periodic, yet random way that varies
directly with peaks in the audio material. Think of this type of modulation as having the best
elements of both sample and hold modulation and with an envelope follower.
Mod Amount
and Mod Rate
These two sliders control the amplitude and frequency of the modulating signal. The modulation
amount ranges from 0% to 100%. The modulation rate, when LFO or Sample+Hold are selected,
ranges from 0.1 Hz to 20 Hz. If you select Trigger+Hold as a modulation type, the Mod Rate
slider changes to a Mod Threshold slider, which is adjustable from –95 dB to 0 dB. It determines
the level above which modulation occurs with the trigger and hold function. If you select
Envelope Follower as a modulation type, the Mod Rate slider changes to a Mod Slewing slider,
which is adjustable from 0% to 100%.
Output Meter The Output Meter indicates the output level of the processed signal. Note that this meter
indicates the output level of the signal — not the input level. If this meter clips, the signal may
have clipped on input before it reached Sci-Fi. Monitor your send or insert signal levels closely
to prevent this from happening.
Parameter Description
Option Description
Frequency Sets the frequency of the signal in hertz. Values range from a low of 20 Hz to a high of 20
kHz.
Level Sets the amplitude of the signal in decibels. Values range from a low of –95 dB to a high
of 0.0 dB.
Core Avid Audio Plug-Ins
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Use the rms and peak buttons to switch the calibration of the generated signal between RMS and
Peak modes. Peak generates the signal at the maximum possible level without clipping. RMS
generates the signal at levels consistent with the root-mean-square value, or the effective average
level of the signal.
nThe Signal Generator produces a tone as soon as it is inserted on a track. To mute the tone, click
the Bypass button.
Time Compression Expansion (AudioSuite)
The Time Compression Expansion plug-in lets you adjust the duration of selected regions by
increasing or decreasing the selection’s length without changing pitch. This function is
particularly important in audio postproduction applications because it lets you adjust sounds to
specific time lengths or timecode durations for synchronization.
nTo change duration (length) and pitch simultaneously, use the Pitch Shift plug-in.
The Time Compression Expansion plug-in can compress or expand two tracks as a “stereo pair,”
processing the two sides of the stereo signal relative to each other.
The Time Compression Expansion plug-in has special parameters that let you enter time
compression or expansion values in different formats. They are located in the Source and
Destination columns, and include the Ratio slider. You can also fine-tune the compression and
expansion process in the following ways:
• Press and hold the Ctrl key (Windows) or the Command key (Macintosh) to engage slider
fine-tune mode.
• Alt+click (Windows) or Option+click (Macintosh) a field or slider to reset its default value.
The following table lists the Time Compression Expansion plug-in parameters.
Signal Lets you select the waveform:
•Sine
• Square
• Sawtooth
• Triangle
• White Noise
• Pink Noise
Option Description
Core Avid Audio Plug-Ins
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Parameter Description
Source and
Destination
The Source text boxes display the length of the current selection before processing in each of
the listed formats. All the text boxes in both columns update dynamically, so a change made
to one value is immediately reflected in the values displayed in the other text boxes.
The text boxes in the Destination column display and control the length of the selection after
processing using the current settings. You can enter the length of the Destination file by
double-clicking the appropriate text box in the Destination column. Type the number of
samples in min:secs:msec format or type timecode values as start and end locations. All the
Destination text boxes update dynamically, so a change made to one value is immediately
reflected in the values displayed in the other text boxes.
You can also enter a new tempo, bars:beats:ticks length, or time signature for regions that
have tempo or Bars & Beats settings. This can be any region associated with a MIDI
Metronome value (such as an overdub recorded to a MIDI click) or regions that have been
processed with the Pro Tools Identify Beat command.
The Ratio slider lets you set the destination length in relation to the source length. Dragging
the slider to the right increases the length of the destination file, and dragging the slider to
the left decreases its length.
The controls below the bar line lets you fine-tune the time compression and expansion
process. They include the Crossfade, Min Pitch, and Accuracy sliders.
Crossfade The Crossfade slider lets you manually adjust the crossfade length in milliseconds to
optimize performance of the Time Compression Expansion plug-in according to the type of
audio material you process. The Time Compression Expansion plug-in achieves length
modification by replicating or subtracting very small portions of audio material and very
quickly crossfading between these alterations in the waveform of the audio material.
Crossfade length essentially affects the amount of smoothing performed on audio material to
prevent audio artifacts such as clicks. In general, small narrow-range time (length) changes
require longer crossfades while larger changes in length require shorter crossfades. The
disadvantage of long crossfade times is that they smooth the signal, including any transients.
While this can be desirable for audio material such as vocals, it is not appropriate for
material with sharp transients such as drums or percussion.
The default setting for this parameter is Auto (leftmost position), in which crossfade times
are set automatically according to the percentage of change in length for the current process.
This setting should suffice for most applications, but you can use this slider to manually
adjust and optimize crossfade times, if necessary. For audio material with sharper attack
transients, use shorter crossfade times. For audio material with softer attack transients, use
longer crossfade times with a range in values of 1 to 200 ms.
Core Avid Audio Plug-Ins
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Time Shift (AudioSuite)
The Time Shift plug-in provides high quality time compression and expansion algorithms and
formant-correct pitch-shifting. Time Shift is ideal for music production, sound design, and
post-production applications. You can use it to manipulate audio loops for tempo matching or to
transpose vocal tracks using formant-correct pitch-shifting, or you can use it in audio
postproduction for pullup and pulldown conversions as well as for adjusting audio to specific
time or SMPTE durations for synchronization purposes.
The Time Shift plug-in has special parameters that let you enter time compression or expansion
values in different formats and edit the pitch shift parameters displayed in the plug-in window.
Time Shift plug-in controls are organized in four parts: Audio, Time, Formant/Transient, and
Pitch.
The following table lists the Time Shift plug-in parameters.
Min Pitch The Min Pitch slider lets you select the minimum (lowest) pitch that is used in the plug-in’s
calculations during the time compression and expansion process. The slider has a range of
40 Hz to 1000 Hz. By controlling the minimum pitch, you can focus the time compression
and expansion process for maximum efficiency depending on the audio’s spectral shape.
Set this slider lower when you process bass guitar or another instrument with a similarly low
range. Set the min pitch higher when processing instruments such as snare drums, violins,
and other higher range instruments and sounds. Experiment with combinations of the other
fine-tune controls in relation to the Min Pitch slider.
Accuracy Use the Accuracy slider to prioritize the processing resources allocated to audio quality
(sound) or timing (rhythm). Dragging the slider toward sound generally results in better
sonic quality and fewer audio artifacts. Dragging the slider toward rhythm puts the emphasis
on keeping the tempo consistent. When working with loops, listen carefully and adjust
accuracy until you find the setting that keeps timing solid within the region. Start and end
times are precise, but the perception of beats might be “shuffled” if the Accuracy slider’s
rhythm setting is too low.
cThe smallest time ratio allowed for time compression and expansion is 0.25. The
largest time ratio allowed is 4.0.
nNormalizing a selection before applying the Time Compression Expansion plug-in can
sometimes produce better-sounding results.
Parameter Description
Core Avid Audio Plug-Ins
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Parameter Description
Audio You use the Audio parameter controls to select the most appropriate time compression and
expansion mode for the type of material you want to process, and to attenuate the gain of the
processed audio to avoid clipping.
Audio parameter controls let you select the following Mode settings to determine the correct
time compression and pitch shift algorithms:
• Monophonic — for processing monophonic sounds (such as a vocal melody)
• Polyphonic — for processing complex sounds (such as a multipart musical selection)
• Rhythmic — for processing percussive sounds (such as a mix or drum loop)
• Varispeed — for linking time and pitch change for tape-like pitch and speed change
effects, and postproduction workflows
You can also select the following frequency Range settings:
• Low — for low-range material, such as a bass guitar
• Mid — for mid-range material, such as male vocals
• High — for material with a high fundamental frequency, such as female vocals
• Wide — for more complex material that covers a broad frequency spectrum
nIn Polyphonic mode, Wide is the default Range setting and is usually best for all
material. In Monophonic mode, Mid is the default Range setting and usually matches
the range of most monophonic material. Range settings are not available when you
select either Rhythmic mode or Varispeed mode.
The Audio Gain control attenuates the input level to avoid clipping. Adjust the Gain control
from 0.0 dB to –6.0 dB to avoid clipping in the processed signal.
The Clip indicator is active when clipping occurs in the processed signal. If the processed
signal clips, remove the AudioSuite plug-in effect, attenuate the input gain using the Gain
control, and then reapply the plug-in.
The Level indicator displays the level of the output signal, which uses the full range of
plasma-level meter colors.
Core Avid Audio Plug-Ins
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Time You use the Time parameter controls to specify the amount of time compression or
expansion you want to apply.
The Original column displays the Start and End times, and Length of the edit selection.
Times are displayed in units of the timebase selected in the Units menu.
The Processed column displays the target End time and Length of the processed signal.
Times are displayed in units of the timebase selected in the Units menu. You can click the
Processed End and Length text boxes to type the desired values. These values update
automatically when you are adjusting the Time control.
The Tempo row displays the Original Tempo and Processed Tempo in beats per minute
(bpm). You can click the Original Tempo and Processed Tempo text boxes to type the
desired values. The Processed Tempo value updates automatically when adjusting the Time
control.
You use the Units menu to select the desired timebase for the Original and Processed time
fields:
•Bars|Beats
• Min:Sec
• Time Code
• Feet+Frames
•Samples
The Shift text box displays the target time compression or expansion as a percentage of the
original. You can adjust the Time control, or click the Shift text box and type the desired
value. You can shift time from 25.00% to 400.00% of the original speed (or 4 to 1/4 times
the original duration). The default setting is 100.00%, or no time shift. Selecting 25.00%
results in 4 times the original duration and 400.00% results in 1/4 of the original duration.
nThe Shift field displays up to 2 decimal places, but you can type in as many decimal
places as you require (up to the IEEE standard). While the display rounds to 2
decimal places, the actual time shift is applied based on the number typed in the Shift
text box. This is useful for postproduction pullup and pulldown factors.
Parameter Description
Core Avid Audio Plug-Ins
983
Trim (RTAS)
The Trim plug-in can be used to attenuate an audio signal from -[Infinity] dB to +6 dB or
[Infinity] dB to +12 dB. For example, using a multi-mono Trim plug-in on a multichannel track
provides simple, DSP-efficient muting control over the individual channels of the track.
This capability is useful, since Mute buttons mute all channels of a multichannel track and do not
allow muting of individual channels within the track.
Formant/Transient You use the Formant or Transient parameter controls to adjust either the amount of formant
shift or the transient detection parameters, depending upon which mode you select in the
Audio section.
nThe Formant parameter is available only when you select Monophonic as the Audio
mode. The Transient section is available with slightly different controls, depending on
whether you select Polyphonic or Rhythmic as the Audio mode.
The Formant section provides a single control for transposing the formants of the selected
audio by –24.00 semitones (–2 octaves) to +24.00 semitones (+2 octaves). You can specify a
Formant value by adjusting the Formant Shift control or typing a value in the Shift text box.
Transient material tends to change its content quickly in time, as opposed to parts of the
sound which are more sustained. You can use the controls in the Transient section to adjust
the following:
• Threshold — the transient detection threshold in the processed audio when you are
time-stretching. You can set the threshold from 0.0 dB to –40.0 dB (the default
is –6.0 dB).
• Window — the analysis window length for processing audio (Polyphonic mode only).
You can set the window length from 6.0 milliseconds (ms) to 185.0 ms (the default is
18.0 ms) by adjusting the Window control or typing in the Window text box.
• Decay Rate — the amount of decay, or audio fade, from a transient that is heard in the
processed audio when you time-stretch (Rhythmic mode only).
The Follow button enables an envelope follower that simulates the original acoustics of the
audio being stretched (Polyphonic mode only). Click the Follow button to enable or disable
envelope following.
Pitch You use the Pitch parameter controls to shift the pitch of the audio. You can pitch shift audio
by using the Transpose and Shift text boxes:
• Transpose — displays the transposition amount in semitones; you can transpose pitch
from –24.00 semitones (–2 octaves) to +24.00 semitones (+2 octaves).
• Shift — displays the pitch shift amount as a percentage. You can pitch shift from 25.00%
(–2 octaves) to +400.00% (+2 octaves).
nIn Monophonic mode, pitch shift can also be formant-correct.
Parameter Description
Core Avid Audio Plug-Ins
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The following table lists the Trim plug-in parameters:
Parameter Description
Phase Invert Inverts the phase (polarity) of the input signal to change the frequency response characteristics
between multi-miked sources or to correct for miswired microphone cables.
Gain Provides -[Infinity] dB to +6 dB or +12 dB of gain adjustment, depending whether the Gain
toggle is set to +6 or +12.
+6/+12 Gain
Toggle
Switches the maximum level of attenuation between -[Infinity] dB to +6 dB and -[Infinity] dB to
+12 dB.
Output Meter Indicates the output level, including any gain compensation added using the Gain control.
Mute Mutes the signal output.
22 Exporting Frames, Clips, or Sequences
This chapter describes how to export files for use with another system, application, or platform.
•Understanding Export
•Preparing to Export a Sequence
•Exporting With the Send To Templates
•Send To Templates Reference
•Creating a Custom Send To Template for Exporting to Third-Party Applications
•Exporting With the Export Command or the Drag-and-Drop Method
•Customizing Export Settings
•Guidelines for Exporting OMFI and AAF Files
•Exporting Projects and Bins Using AFE Files (Windows Only)
•Exporting QuickTime Movies
•Installing or Copying the Avid Codecs for QuickTime on Other Systems
•Exporting from a Third-Party QuickTime or AVI Application
•Exporting as Windows Media (Windows Only)
•Creating a Custom Profile for Windows Media Export (Windows Only)
•Exporting as Windows Media Using a VC1 Resolution
•Exporting to XDCAM
•Exporting XDCAM OP1a Media
•Exporting Your Clip or Sequence to a P2 Card
•Using Avid Interplay Media Services
For information about linking file-based media, see File Based Media - AMA.
Understanding Export
986
Understanding Export
You can export material directly from your Avid editing application to many supported file types.
You can export an individual frame, a selected region of footage, or an entire clip or sequence.
cIf a power failure or application error occurs during the export process, the entire file is
unusable. You need to repeat the export process. The only exception is a sequential file
sequence, where all frames up to the point of failure are usable.
Reasons for Exporting Material
You can export video, audio, or both for many reasons, including the following:
• You can export video files for touching up or creating special effects in third-party
applications or other Avid applications.
• You can export files to view as AVI or QuickTime movies.
• You can export files for further processing to create streaming media files in formats such as
RealVideo®, QuickTime, and Windows Media™.
• You can export files for use in multimedia projects distributed on CD or DVD, or for DVD
authoring workflows.
• You can export audio files for audio sweetening in a digital audio workstation, such as a Pro
Tools system.
• You can use the export process to convert audio media files from one supported audio format
to another. Your Avid editing application supports the AIFF-C, Sound Designer II
(Macintosh only), and WAVE formats.
Export Settings and Send To Templates
Your Avid editing application uses Export settings and Send To templates to control the format
of the exported file. Your Avid editing application ships with a default Export setting and a set of
templates for common types of export. You can also create any custom Export settings that you
might need.
Depending on how you choose to export and the type of export you are performing, you select
the Export setting or Send To template you need in one of the following ways:
• Choose a Send To command from the File menu.
• Select from the Export Settings list in the Export As dialog box.
• Select from the Settings list in the Project window.
Preparing to Export a Sequence
987
Depending on how you choose to export, you can:
• Use the Export setting or Send To template you select without modification.
• Modify the options in the setting or template for use in the current export only.
• Modify the Export setting and save the modifications to that setting.
• Modify the setting or template and save the modifications as a new Export setting or a new
custom Send To template.
Preparing to Export a Sequence
When you export part or all of a sequence — for example, to create an OMFI file, an AAF file, a
QuickTime file, an AVI file, or a graphic sequence — you might want to prepare the sequence in
advance in one or more of the ways described in the following table. These preparation tasks can
speed the export process or otherwise help with your workflow.
Preparation Task Description
Make sure all media for the sequence is
online.
For more information about selecting offline items in a bin, see
“Displaying Clip Colors in the Timeline” on page 660 and
“Selecting Offline Items in a Bin” on page 337.
Consider archiving the source sequence
before making any alterations.
Duplicate the sequence, place the duplicate in another bin, and
prepare the duplicate for export. The original sequence is
unaffected.
Consider rendering all effects in advance. Although any unrendered effects are rendered on export (except
for an OMFI or AAF export), rendering effects in advance saves
time during the export process. For information on rendering
effects, see “Basics of Effects Rendering” in the Help.
Render fast-saved titles. You must do this before using OMFI or AAF to export a sequence,
or before creating an EDL from the sequence.
Consider mixing down tracks. If your sequence contains numerous video or audio tracks, export
is faster if you mix down the tracks in advance. However, you
should not mix down if you need to preserve multiple-track
information.
For more information about mixing down video tracks, see
“Performing a Video Mixdown” in the Help. For more information
about mixing down audio tracks, see “Mixing Down Audio
Tracks” on page 815.
Exporting With the Send To Templates
988
Exporting With the Send To Templates
The Send To option lets you to send clips or sequences from your Avid editing system to other
applications. You choose a Send To template that uses options customized for the specific
workflow. In many instances you can choose to automatically launch your Avid editing
application to which you are sending your clip or sequence.
To export by using a Send To template:
1. Select a clip or sequence in a bin.
2. Do one of the following:
tSelect File > Send To > template.
tRight-click the clip or sequence in the bin, and select Send To > template.
If you are sending to Avid Pro Tools®, a template options dialog box opens. Otherwise, the
Send To dialog box opens.
Make sure all audio clips have the same
sample rate.
For more information, see “Changing the Audio Sample Rate for
Sequences and Audio Clips” on page 814.
You can also use OMFI or AAF to change the sample rate. For
more information, see Guidelines for Exporting OMFI and AAF
Files.
Check and adjust all pan and audio levels. All current Pan and Level settings in the sequence are carried to
the exported media. For information on adjusting level and pan,
see “Using the Audio Mixer Tool” on page 773.
Consider consolidating the sequence before
OMFI export.
You cannot export OMFI files that are larger than 2 GB.
Consolidating the sequence to create smaller source clips saves
time and disk space. In addition to consolidating in advance, you
can also consolidate as part of the export. For more information,
see Using the Consolidate Command and Guidelines for
Exporting OMFI and AAF Files.
Consider breaking the sequence into smaller
sequences before OMFI or AAF export.
OMFI or AAF files with very complex sequences might fail
during import into some applications due to memory limitations.
You can also consider adding more physical memory.
Create a sequence from multiple clips to
export them as a single file.
You can select all the clips, Alt+drag (Windows) or Option+drag
(Macintosh) them into the Record monitor to create an instant
sequence, and then export the sequence.
Preparation Task Description
Exporting With the Send To Templates
989
3. (Option) If you are sending to Avid Pro Tools, select one of the template options in the
following table.
The last three options are only available when you send to Pro Tools over an Avid shared
storage using Send To > Pro Tools on Avid Unity.
The Send To dialog box opens. The Filename text box displays the name of the sequence or
clip you chose.
Option Description
Avid Video -
Consolidate
Audio
Select this option to send to a Avid Pro Tools system that supports playback
of Avid standard definition (SD) video using a video peripheral. Your Avid
editing application creates a video mixdown of the tracks at DV 25,
consolidates the audio, and saves the audio into the AAF file.
QuickTime -
Embed Audio
Select this option to send to a Pro Tools system that supports QuickTime
video only. The Pro Tools system does not have a video peripheral. Your
Avid editing application creates a QuickTime movie for the SD video,
consolidates the audio, and embeds the audio into the OMF file.
QuickTime -
Consolidate
Audio
Select this option to send to a Avid Pro Tools system that supports playback
of Avid high definition video using a video peripheral. Your Avid editing
application creates a video mixdown of the tracks, consolidates the audio,
and saves the audio into the AAF file.
Link to Video
and Audio
Select this option to export AAF metadata only (no media is exported). Pro
Tools links to, or references, the Avid video and audio files located on Avid
shared storage. The Pro Tools user can copy media during the AAF import
into Pro Tools. This is the fastest export from Avid.
Video Mixdown -
Link to Audio
Select this option to create a flattened video mixdown of the tracks. The
AAF links to the Avid audio media files located on Avid shared storage. The
Pro Tools user can copy media during the AAF import into Pro Tools.
QuickTime -
Link to Audio
Select this option to send to a Pro Tools system that supports QuickTime
video only. The AAF links to the Avid audio media files located on Avid
shared storage. The Pro Tools user can copy media during the AAF import
into Pro Tools.
Exporting With the Send To Templates
990
4. (Option) Type a new file name in the Filename text box.
5. (Option) If you are sending to Sorenson Squeeze, click the Options button to select Sorenson
Squeeze settings.
For more information, see the Sorenson Squeeze documentation.
6. Click Set to browse to the drive and folder where you want to store the exported file.
Whenever you return to a Send To dialog box, the destination folder that you set last appears
in the destination field.
7. (Option) If the template you are using can automatically launch the application that handles
the exported file, an Auto Launch option appears in the Send To dialog box and is selected.
Auto Launch might also have sub-options. You typically do not change these settings, but
you can deselect Auto Launch if you do not want the application to launch automatically,
and you can change the selection of sub-options.
Exporting With the Send To Templates
991
8. Review the current Export settings to ensure that they meet your needs.
The Export Setting Summary area at the bottom of the dialog box lists all the settings that
affect the current export.
9. (Option) If you need to make any Export settings changes, click the appropriate Options
button, make the changes, and click Save.
Avid recommends that you use the default options in the Send To templates wherever
possible. If you are sending to DVD One Step in particular, accept the default options to
keep the DVD authoring and burning process as quick and simple as possible.
10. (Option) If your sequence includes MetaSync tracks, do the following:
a. Select Export MetaSync tracks, and then select XML or AAF. If you select XML, the
system performs an AAF export, and then automatically opens MetaSync Publisher,
which produces the XML file.
b. (Option) If you want to automatically load the XML files in another application, choose
Auto Launch, and select the application.
11. (Option) If you want to save your changes in the Send To dialog box as a new template, do
the following:
a. Click the Save As Template button.
b. Rename the file.
Make sure you leave the .stt extension.
c. Click Save.
Your Avid editing application saves the new template. The next time you select a
sequence and choose File > Send To, the new template appears in the list.
12. (Option) If you are sending to DVD One Step, insert a blank DVD in your DVD drive.
13. Click OK.
Your Avid editing application exports the file. Depending on the settings you choose, you
application might automatically launch an application to handle the exported file.
If you are sending to DVD One Step, the Burn to DVD dialog box opens.
14. (Option) If you are sending to DVD One Step, select the capacity of your DVD medium
from the Capacity menu, and then click OK.
The capacity of your DVD medium must match the size you select from the Capacity menu.
For information about the other options in the Burn to DVD dialog box, see the Sonic
documentation.
Your DV D is burned.
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992
Send To Templates Reference
The following table describes the Send To templates that Avid supplies. If you create custom
Send To templates, they also appear as Send To menu commands.
nIf you are running an Avid Studio package, an Avid Studio products Send To submenu might
appear in your Avid editing application.
Template Description
Pro Tools, Pro Tools
on Avid Unity
You can export a sequence to Avid Pro Tools® by sending it to movable storage and then
taking the storage to a Pro Tools system, or you can export it directly to Pro Tools over an
Avid shared storage system. Sending the sequence to movable storage lets you assemble
all the media in one location for moving to a Pro Tools system. For each export method,
you can select a template that meets your needs.
You can also transfer files to Pro Tools through Interplay. For more information, see
“Using Pro Tools and Interplay” in Avid Interplay Best Practices.
DVD Authoring,
DVD One Step
You can export your sequence directly to Avid DVD by Sonic and then perform
authoring functions in the Avid DVD by Sonic application. If your sequence includes
MetaSync tracks, your Avid editing application exports the MetaSync tracks by default
as XML into Avid DVD by Sonic.
You can also export directly to Avid DVD by Sonic and burn your DVD in one step. This
eliminates further authoring work and lets you create a DVD that plays without the
graphics, menus, or other navigation devices that are typically added during DVD
authoring.
Sorenson Squeeze You can export a sequence to Sorenson Squeeze as a QuickTime Reference movie.
Avid DS You can send a sequence to Avid DS as an AFE file or an AAF file.
The Avid DS Send To template does not auto-launch Avid DS by default. If you have
Avid DS installed on your system and want to launch it automatically, you can select
Auto Launch and browse for Avid DS. Select Auto Load Exported File(s) if you want the
files you export to automatically load in the Avid DS application. Select Reveal file if
you want your system to search available drives, open Windows Explorer or the folder
(Macintosh), and highlight related media files.
If you are editing an offline sequence that you want to finish on Avid DS, make sure to
consult the conform information in the Avid DS Conform Guide, which contains
important information about the most efficient way of preparing a sequence for the
conform process.
Make New This option lets you to create your own custom Send To templates for third-party
applications. For more information, see “Creating a Custom Send To Template for
Exporting to Third-Party Applications” on page 993.
Creating a Custom Send To Template for Exporting to Third-Party Applications
993
Creating a Custom Send To Template for Exporting
to Third-Party Applications
To create a custom Send To template:
1. Select a clip or a sequence in a bin.
2. Do one of the following:
tSelect File > Send To > Make New.
tRight-click the clip or sequence in the bin, and select Send To > Make New.
The Send To dialog box opens with a default export template.
Creating a Custom Send To Template for Exporting to Third-Party Applications
994
3. (Option) Type a new file name in the Filename text box.
4. Click Set to browse to the drive and folder that you want to be the default location for storing
the exported file.
Whenever you return to a Send To dialog box, the destination folder you set last appears in
the destination field.
5. (Option) Do the following if you want the third-party application to automatically launch
after you export.
a. (Option) Click the Auto Launch button, and select Add Item.
b. (Option) Browse to find the third-party application.
c. Click Open.
d. Select Auto Load Exported File(s) if you want the files you export to automatically load
in the third-party application.
e. Select Reveal file if you want the system to search available drives, open Windows
Explorer or the folder (Macintosh), and highlight related media files.
6. Make any changes to the Export settings that you need by clicking the appropriate Options
button, making the changes, and then clicking Save.
7. (Option) Do the following if the template needs to handle MetaSync tracks:
a. Select Export MetaSync Tracks and then select XML or AAF. If you select XML, the
system performs an AAF export, and then automatically opens MetaSync Publisher
which produces the XML file.
For more information on MetaSync Publisher, see “Using MetaSync Publisher” in the
Help.
b. (Option) If you want to automatically load the XML files in another application, choose
Auto Launch, and select the application.
8. Click OK.
The Save As dialog opens.
9. Name the new Send To (.stt) template.
10. Click Save.
Your Avid editing application creates the new template. It is now available as a Send To
menu command for use when working with the third-party application.
Exporting With the Export Command or the Drag-and-Drop Method
995
Exporting With the Export Command or the
Drag-and-Drop Method
You can export frames, clips, or sequences using the Export menu command. This method lets
you modify the Export settings as part of the export process.
You can also export most types of files by dragging and dropping. This method is a quick and
simple way to perform the actual export, but it requires you to set up the Export setting you want
to use in advance.
nYou cannot use the drag-and-drop method to export ALE, tab-delimited, or sequential files.
You can also perform some types of Export using the Send To commands. For more information,
see “Exporting With the Send To Templates” on page 988.
Regardless of the method you use for the export itself, you must first identify and select the
material you want to export.
nYour Avid editing application saves an intermediate file in a temporary folder as part of the
export process. Ensure that the temporary folder is on a drive with plenty of space. You can view
and change the location of the temporary folder in the General Settings dialog box. To save time
when exporting with the drag-and-drop method, locate the temporary folder on the drive where
you want to store the exported file.
Exporting With the Export Command or the Drag-and-Drop Method
996
To identify and select the material you want to export:
1. Identify the portion of the clip or sequence you want to export.
nFor information on setting options in the Export Settings dialog box, see “Customizing Export
Settings” on page 999.
2. Select the clip or sequence by doing one of the following:
tClick the monitor that displays the clip or sequence you want to export.
tClick the clip or sequence in a bin. Ctrl+click (Windows) or Shift+click (Macintosh) to
select multiple clips or sequences.
To export a frame, clip, or sequence by using the Export menu command:
1. Identify and select the material you want to export as described above.
2. Do one of the following:
tSelect File > Export.
tRight-click the clip or sequence, and then select Export.
The Export As dialog box opens with a default file name in the File name text box
(Windows) or the Save As text box (Macintosh), based on the file type.
Option Description
To export specific
tracks in a clip or
sequence:
Enable the tracks in the Track Selector panel, and disable all others.
Ensure that Use Enabled Tracks is selected in the Export Settings
dialog box.
To export a
single-frame graphic:
Mark an IN point to export the marked frame from a bin or a monitor,
or move the position indicator to the frame you want to export.
Ensure that Use Marks is selected and that Sequential Files is
deselected in the Export Settings dialog box.
To export part of a
clip or sequence:
Mark IN and OUT points to export the marked range from a bin or a
monitor. If you mark an IN point and no OUT point, your Avid
editing application exports from the IN point to the end of the clip or
sequence.
Ensure that Use Marks is selected in the Export Settings dialog box.
To export the entire
clip or sequence:
Make sure the topmost track is monitored.
Ensure that Use Enabled Tracks and Use Marks are deselected in the
Export Settings dialog box.
Exporting With the Export Command or the Drag-and-Drop Method
997
3. Click the Export Setting menu, and select a setting.
Exporting With the Export Command or the Drag-and-Drop Method
998
This setting determines the format of the exported file. The default setting is labeled
Untitled. Any settings that appear in the Settings list in the Project window appear in the
menu. For information on the standard settings, see “Common Export Settings” on
page 1320. For information on creating custom settings, see “Customizing Export Settings”
on page 999.
4. (Option) If you want to view or modify the current Export setting, or create a new one, click
Options.
The Export Settings dialog box opens. For more information, see “Customizing Export
Settings” on page 999.
Depending on the export format, Export settings can be complicated. In some cases, options
in the Export Settings dialog box open additional dialog boxes with further options. If you
are modifying Export settings, consult the appropriate reference tables in “Export Settings”
on page 1320 for detailed information.
5. In the Export As dialog box, select the destination folder for the file.
6. (Option) Change the file name.
In most cases, keep the file name extension the same.
7. Click Save.
Your Avid editing application exports the file.
To export a frame, clip, or sequence by dragging and dropping:
1. Identify and select the material you want to export as described above.
2. In the Settings list in the Project window, select the setting you want to use for export.
You can select the default Export setting, the preset templates, or any additional Export
setting you have created. After you select a setting in the Settings list, the parameters remain
the default settings for all exported files, unless you change them during the export. This is
especially useful when you batch export a number of files directly from a bin at the same
time. To view or modify the parameters, double-click the setting. For information on
modifying options, see “Customizing Export Settings” on page 999.
3. Click the clip or sequence from which you want to export and drag it to the location (folder
or drive) where you want to store the file. To select multiple objects, Ctrl+click (Windows)
or Shift+click (Macintosh) the objects and drag them to the folder or drive.
Customizing Export Settings
999
Customizing Export Settings
You can create and customize your own Export settings, either from the Project window or while
performing an export by using the Export menu command.
To create a new Export setting from the Project window:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click Export.
3. Select Edit > Duplicate.
4. Name the setting by doing the following:
a. Click the custom name column.
b. Type a name.
c. Press Enter (Windows) or Return (Macintosh).
nThe custom name column is the center column in the Project window. When you move the pointer
over the custom name column, the pointer changes from a pointing finger to a text insertion bar.
5. Double-click the new Export setting.
The Export Settings dialog box opens.
6. Select the appropriate file type and options based on the descriptions in “Export Settings” on
page 1320.
7. Click OK.
You can select this new setting whenever you export.
To modify an Export setting or create a new Export setting while performing an Export by
using the Export menu command:
1. Click Options in the Export As dialog box.
The Export Settings dialog box opens.
For complete information on using the Export menu command, see “Exporting With the
Export Command or the Drag-and-Drop Method” on page 995.
2. Select the appropriate file type and options based on the descriptions in “Export Settings” on
page 1320.
3. To save your settings in the existing settings file, click Save.
4. To create a new settings file, click Save As.
The Save Export Setting dialog box opens.
Guidelines for Exporting OMFI and AAF Files
1000
Type a name in the Setting Name text box, and click OK. The new setting appears in the
Settings list in the Project window.
Guidelines for Exporting OMFI and AAF Files
OMFI and AAF are industry-standard file formats that let you exchange compositions and media
between applications. OMF Interchange and AAF, as implemented in Avid editing applications,
provide two basic methods for exporting files.
When you export to OMFI or AAF, select OMF 1.0, OMF 2.0, or AAF from the Export As menu
in the Export Settings dialog box, and then select other options as described in “Export Settings:
OMFI, AAF, and AFE” on page 1323.
Understanding OMF Interchange
OMF Interchange® (OMFI) is a platform-independent file format that stores both the digital
media (video, audio, graphics, animation) and the information describing how the media is
edited together to form a final sequence. This editing information, called a composition, is the
OMFI representation of the sequence created in your Avid editing application. The OMF
Interchange format is the result of cooperative efforts of many industry and standards partners
and Avid.
Any other program that supports OMFI can read OMFI files, even if the program resides on a
different computer platform. As a result, with OMFI, you can transfer between different
applications on different platforms without worrying about cross-platform translations. This can
be very effective for importing animation or audio files created on proprietary platforms.
When you export audio to OMFI, the export option splits stereo audio tracks to separate mono
tracks (for more information, see “Splitting Multichannel Tracks to Mono Tracks” on page 817).
The operation also removes any Real-Time AudioSuite track effects.
cTo avoid errors and incompatibilities when you import and export OMFI files, observe the
recommendations in “File Format Specifications” on page 1386.
nYou cannot export OMFI files that are larger than 2 GB. If you exceed this limit, an error
message appears. For information on exporting large sequences, see “Preparing to Export a
Sequence” on page 987.
Understanding Advanced Authoring Format
Advanced Authoring Format (AAF), is a cross-platform, multimedia file format that allows
interchange of media and composition information between AAF-compliant applications.
Guidelines for Exporting OMFI and AAF Files
1001
There are two general types of data in an AAF file:
• Media such as audio and video
• Composition information, or metadata, that describes how to combine and modify the media
portions of the AAF file to produce a complete multimedia program
nWhen you export sequences with effects through AAF, certain effect types are not exported to the
AAF file. When you check compositions into an asset manager through AAF, all effects are
exported. For export to Avid DS, use AFE files. See “Exporting Projects and Bins Using AFE
Files (Windows Only)” on page 1003.
When you export audio to AAF, the export option splits stereo audio tracks to separate mono
tracks (for more information, see “Splitting Multichannel Tracks to Mono Tracks” on page 817).
The operation also removes any Real-Time AudioSuite track effects.
OMFI and AAF Export Method 1: Compositions with Linked Media
Avid editing applications can export an OMFI or an AAF file that contains only the editing
information about a selected master clip or sequence. The file also contains links to the media
used in the clip or sequence. You transfer the OMFI or AAF file to the other system, and also
either transfer the media files or recapture the media. After you transfer or recapture the media,
you can transfer revised composition-only files. However, if you consolidate the media, you must
transport the consolidated media files as well. You can consolidate media during the export (see
“Export Settings: OMFI, AAF, and AFE” on page 1323), or before the export (see Consolidating
Media).
OMFI and AAF Export Method 2: Compositions with Embedded Media
Avid editing applications can export an OMFI or an AAF file that contains all the editing
information for the selected master clip or sequence along with the video and audio media files
for that master clip or sequence. See “Export Settings: OMFI, AAF, and AFE” on page 1323.
Guidelines for Exporting AAF Files to Pro Tools
You use the same basic method to create an AAF export for use with Pro Tools that you use when
creating any other type of AAF export.
Several of the options you can select in the Export Settings dialog box have particular
significance for exports to Pro Tools, so you need to select your options with care. The following
table provides information on these settings. (For complete information on all the options
available in the Export Settings dialog box for AAF export, see “Export Settings: OMFI, AAF,
and AFE” on page 1323.)
Guidelines for Exporting OMFI and AAF Files
1002
Setting Guidelines
Media Destinations
(Video Details and
Audio Details tabs)
• Using the Folder option with “Use Same Folder as AAF File” is very convenient for
moving files back and forth between your Avid editing application and Pro Tools.
If you select Folder and then check “Use Same Folder as AAF File,” your Avid
editing application stores the media in the same folder as the exported AAF files (the
folder that you select in the Export As dialog box when your start the export
process). For example, you can easily store both the AAF files and the media in a
single folder on a Firewire drive that you can move between your editing system and
the Pro Tools system.
You can also select Consolidate Media from the Export Method menu to copy
consolidated media instead of all media.
• The Embedded in AAF option is not generally useful for exporting video to
Pro Tools because Pro Tools does not support embedded video media in AAF files.
Pro Tools only supports embedded audio
Export Method: Video
Mixdown
(Video Details tab)
• The Mixdown with Video Edits option is only compatible with Pro Tools v7.2 or
later, and takes advantage of the fact that Pro Tools v7.2 or later can display multiple
video tracks. This lets you add a video track that shows the video edits. This can be
very useful to Pro Tools editors because it allows them to view the edit points
between the various video clips without actually importing the individual video files
into Pro Tools.
Your Avid editing application creates the following tracks as part of the export:
• - Video tracks that represent each track and edit in the original sequence
• - A “render track” that contains the single video mixdown track
The system stores the metadata for the video mixdown “render track” within the
AAF file. The render track points to the actual mixed-down video media file. If you
open the exported sequence in an Avid editing application, you do not see the video
mixdown track. However, when you import the file into Pro Tools v7.2 or later, Pro
Tools imports the video mixdown track as a separate video track. Pro Tools
composites the edit points from all of the original Avid video tracks into a single
track.
Pro Tools displays the video edit track as well as the video mixdown (render) track.
This allows the Pro Tools editor to view the video edits. One benefit to this method
is that you only bring the video mixdown into Pro Tools. The clips in the edit tracks
do not reference any media. They simply match up with the video mixdown.
• The Mixdown without Video Edits option is compatible with all versions of Pro
Tools, and is the only option suitable for versions of Pro Tools earlier than v7.2. This
option replaces all of the video tracks with a single video track named Video
Mixdown in the Track Panel.
Exporting Projects and Bins Using AFE Files (Windows Only)
1003
Exporting Projects and Bins Using AFE Files
(Windows Only)
AFE (Avid File Exchange) files are an efficient way to transfer project information between Avid
applications. For example, you can use AFE files to transfer projects and bins from an offline
system to an Avid DS finishing system.
AFE files are based on AAF (Advanced Authoring Format) technology. AFE files, however, are
especially designed for sharing project information among Avid applications. AFE files let you
transfer one or more bins, their contents, and information about the contents, including master
clips, subclips, titles, and sequences.
To create an AFE file:
1. Do one of the following:
tTo include all bins in a project, click the Project window
tTo include the contents of a single bin, open and click the bin.
2. Select File > Export
The Export Project As or the Export Bin As dialog box opens.
3. If it is not already selected, select Avid File Exchange from the Save As Type or Export Bin
As list at the bottom of the dialog box.
4. Select a location, name the file, and click Save.
5. Transfer the AFE file to a location you can access from the other Avid application.
You can use removable media, a network connection, or an Avid shared storage system.
Remove Track Effects Selecting this option removes all audio track effects — for example, Real-Time
AudioSuite (RTAS) effects — during export. This option is selected by default.
Split Tracks to Mono Selecting this option splits all multichannel audio tracks to separate mono tracks. For
more information, see “Splitting Multichannel Tracks to Mono Tracks” on page 817.
This option is selected by default.
Setting Guidelines
Exporting QuickTime Movies
1004
Exporting the AFE File to Avid DS
Once the edits are completed in the Avid Media Composer, export the sequence as an AFE to
Avid DS for finishing.
To export an AFE from Avid Media Composer to Avid DS:
1. Select the sequence in the bin, right-click on it and select Send To > Avid DS.
The Send To: Avid DS dialog box opens with the default export template.
2. (Optional) Change the file name.
3. Click the Set button and browse to the drive and folder to which you want to export the
sequence, and click OK.
4. Select Export Settings 1.
All current settings are displayed in the summary panel below.
5. Click the button after the Export Settings 1, and select Avid DS from the drop-down list.
6. Click the Options button.
The Export Settings - Avid DS dialog box opens.
7. Select AFE from the Export As drop-down list and click Save.
8. In the Send To: Avid DS dialog box, click OK.
Exporting QuickTime Movies
You can export a sequence as a QuickTime movie for final distribution or for further processing
in another application. The following table describes the three basic methods for QuickTime
export. For more information on Export settings for QuickTime, see “Export Settings” on
page 1320.
nYour Avid editing application does not support sample rates higher than 48kHz for QuickTime
audio export. If you export material that has a higher audio sample rate, the resulting QuickTime
movie has 48kHz audio.
Exporting QuickTime Movies
1005
Option Description
Same as Source This option is available when you select QuickTime Movie from the Export Settings dialog
box. When you select this option, your Avid editing application copies the media files directly
with no resolution change. This method is fast and creates output that uses the same quality as
your source files. Same as Source is the best method to use if you plan to process the video on
another system, using a third-party application.
You should select Same as Source for your export option when you select Direct Out as your
audio format for media that includes surround sound. This allows you to export the track
assignments in your source sequence accurately.
nYou cannot perform a QuickTime export using the Same as Source option if all of the
material you are attempting to export is SD but the project is HD, or if all of the
material you are attempting to export is HD but the project is SD. You also cannot
perform a QuickTime export using the Same as Source option if the material you are
attempting to export does not match the raster size for the project. In these situations,
there is no valid resolution available for the export, and a message box informs you that
you cannot perform the export. You can transcode the material to a resolution
supported by the project and then perform the export.
Custom This option is available when you select QuickTime Movie from the Export Settings dialog
box. When you select this option, your Avid editing application decompresses the files,
processes them, and compresses the files at the requested resolution and audio format. This
method is slower and often loses quality. In general, use the Custom option only if you have to
directly export a clip or sequence in a particular file format.
The Custom format is useful if you plan to export to an older ABVB or NuVista system.
QuickTime
Reference
QuickTime Reference is available from the Export As menu in the Export Settings dialog box.
This option is similar to Same as Source, but your Avid editing application links to the original
media files. This is the fastest method of export, but the movie can only be run or processed on
your local system or in an Avid shared storage workgroup environment. If you want to transfer
a QuickTime movie to another system, you must also move the associated media files by
creating a self-contained QuickTime movie.
A QuickTime reference movie contains composition information but no movie data. Instead,
the movie contains pointers to the original media in the OMFI MediaFiles directory or the
Avid MediaFiles directory on local or network media drives. Because the QuickTime
reference movie does not contain media, the file is much smaller than a QuickTime movie,
usually only a few kilobytes per file. Therefore, exporting a sequence as a QuickTime
reference movie is faster and takes up less disk space than exporting a sequence as a
QuickTime movie. When you play the movie in QuickTime Player, the movie references the
media files for playback.
Installing or Copying the Avid Codecs for QuickTime on Other Systems
1006
A set of Avid codecs for QuickTime are installed automatically when you install your Avid
editing application. You can use these codecs to export QuickTime files from your Avid system,
or to export QuickTime files from third-party applications for fast import into an Avid system.
For more information, see “Export Settings: QuickTime Compression Settings” on page 1331
and “Installing or Copying the Avid Codecs for QuickTime on Other Systems” on page 1006.
You might install additional QuickTime Export formats on your system. These formats appear in
the Export As menu of the Export Settings dialog box with tildes (~) before their names. These
formats have not been qualified and are not supported by Avid.
Timecode Preservation With QuickTime Import and Export
Avid supports the import and export of QuickTime movies while preserving their timecode
information.
When you export a QuickTime clip or sequence from your Avid editing application, the
timecode information of the clip or sequence is embedded in the QuickTime movie. If you move
these QuickTime movies to another Avid editing application and import them, the timecode
information is included in the clip or sequence information.
If a third-party application supports the preservation of timecode on import and export, the
exported timecode track is visible when you export a QuickTime clip from your Avid editing
application and then import it into or view it in the third-party application.
Installing or Copying the Avid Codecs for QuickTime
on Other Systems
If you want to export a QuickTime movie from a third-party application such as Adobe After
Effects® for use on an Avid system, install the appropriate Avid codec on the system running the
third-party application. You can either install the Avid Codecs directly from your Avid editing
application DVD or copy them from one system to another.
To install the Avid QuickTime Codecs from your Avid editing application DVD on a system
without an Avid editor:
1. Insert your Avid editing application DVD.
2. Click Install Products.
3. Click Install Avid QuickTime Codecs.
4. Follow the instructions in the installation program.
The Avid QuickTime Codecs install on your system.
Installing or Copying the Avid Codecs for QuickTime on Other Systems
1007
To copy the Avid QuickTime Codecs from one system to another system:
1. On your Avid system, open one of the following folders:
(Windows) drive:\Program Files\QuickTime\QTComponents
(Windows) drive:\Windows\System32
(Macintosh) MacintoshHD/Library/QuickTime
2. Copy the codecs you need to a removable device or network server.
The following table describes the codecs:
(Windows) For the DVCPRO and DNxHD codecs, you must also copy the following files:
- libmmd.dll
-msvcr71.dll
3. On the other system, copy the files to one of the following folders:
(Windows) drive:\Program Files\QuickTime\QTComponents
(Windows) drive:\Windows\System32
(Macintosh) MacintoshHD/Library/QuickTime
You can now export files from the QuickTime compatible application for reimport into your
Avid editing system.
Codec (Windows) Codec (Macintosh) Description
AvidAV1xCodec.qtx QTAvidOneToOneXCodec Avid 1:1x codec (Uncompressed MXF
8-bit or 10-bit)
AvidAVd1Codec.qtx QTAvidDV100Codec Avid DVCPRO codec (MXF)
AvidAVdnCodec.qtx QTAvidDNXHDCodec Avid DNxHD codec (MXF)
AvidAVdvCodec.qtx QTAvidDVCodec Avid DV codec (DV 25 and DV 50,
OMF and MXF)
AvidQTAVjiCodec.qtx QTAvidMeridienCompressedCodec Avid Meridien Compressed codec (OMF 8-bit)
AvidAVmpCodec.qtx QTAvidMPEG2IMXCodec Avid MPEG 50 codec (MPEG-IMX,
OMF and MXF)
AvidAVpkCodec.qtx QTAvidPackedCodec Avid Packed codec (Uncompressed MXF 10-bit)
AvidQTAVuiCodec.qtx QTAvidUncompressedCodec Avid Meridien Uncompressed codec (OMF 8-bit)
Exporting from a Third-Party QuickTime or AVI Application
1008
Exporting from a Third-Party QuickTime or
AVI Application
To export files from a QuickTime compatible application or from an AVI compatible
application on a Windows system for import (or reimport) into your Avid system:
1. Ensure the applicable codec is installed on the system.
See “Installing or Copying the Avid Codecs for QuickTime on Other Systems” on
page 1006.
2. Conduct the export according to the procedures used by the particular software, selecting the
applicable Avid compressor from the Export settings.
For QuickTime exports, most applications have format options similar to those described in
“Export Settings: QuickTime Movie Export Options” on page 1328. Make sure you select
settings that are compatible with your existing media on the Avid system.
nIf you select a nonstandard frame size, your Avid system cannot import the file quickly.
3. Complete the export.
Exporting as Windows Media (Windows Only)
Your Avid editing application lets you export your sequence as native Windows Media using a
variety of different template options. You can use templates that Avid supplies, use existing
Windows Media profiles, or create custom video or audio profiles.
A Profile is a group of settings that matches content type and bit rate with the appropriate audio
and video codecs. Profiles have the file name extension .prx. If you have an existing .prx file,
select that file to use for the Windows Media export settings. You can create and save .prx files to
share with others. For more information, see “Creating a Custom Profile for Windows Media
Export (Windows Only)” on page 1009.
You need to choose a specific set of options if you want to export a clip or sequence as a
Windows Media VC1 resolution and then import the media file to your bin. For more
information, see “Exporting as Windows Media Using a VC1 Resolution” on page 1015.
For information on the export options for Windows Media, see “Export Settings: Windows
Media (Windows Only)” on page 1335.
Creating a Custom Profile for Windows Media Export (Windows Only)
1009
Creating a Custom Profile for Windows Media Export
(Windows Only)
To create a custom profile for Windows Media:
1. Select the sequence or clips you want to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click Options.
The Export Settings dialog box opens.
4. In the Export As menu, select Windows Media.
5. (Option) Select Use Marks.
When Use Marks is selected the current IN and OUT points in the selected clip or sequence
determine starting and ending frames for the export.
6. (Option) Select Use Enabled Tracks.
Exporting Media to XDCAM Devices
1010
When Use Enabled Tracks is selected, your Avid editing application uses tracks that are
enabled in the Timeline. To export all the tracks in the sequence, deselect this option.
7. Click the Add button and select either Video or Audio.
8. Choose your custom profile settings.
For more information, see “Export Settings: Windows Media (Windows Only)” on
page 1335.
9. Click Save As Custom Profile.
10. Browse to the location where you want to save the .prx file.
11. Name the file and click Save.
Your Avid editing application saves the .prx file and returns you to the Export Settings
dialog box.
12. Do one of the following:
tIf you want to continue with the export of the sequence, click Save, and complete the
export in the standard way.
For more information, see “Exporting With the Export Command or the Drag-and-Drop
Method” on page 995.
tIf you do not want to complete the export, click Cancel.
Exporting Media to XDCAM Devices
XDCAM decks and camcorders from Sony use an optical disk with a capacity of either 23.3 GB
or 50 GB of media. The XDCAM devices store media in high-resolution MPEG IMX, DVCAM,
and XDCAM HD formats.
You can export a clip, subclip, or sequence. You cannot export titles, effects, group clips, or
rendered effects. The export mixes down the sequence and creates an XDCAM clip. All clips are
given a new sequential name of Cxxxx.mxf, for example, C0019.mxf. This sequential file name
system is created by the Sony deck. If you want to change the file name, your Sony deck needs
Sony’s firmware version 1.5 or higher.
You can export a sequence or a clip with timecode to an XDCAM device. When you export a clip
or sequence from your Avid editing application to an XDCAM device, the timecode information
is embedded in the clip or sequence.
When you export XDCAM media, non-drop-frame timecode and drop-frame timecode is
supported.
For information on connecting your XDCAM device, see “Connecting the XDCAM or XDCAM
EX Device” on page 372.
Exporting to XDCAM
1011
See “XDCAM and XDCAM EX Formats and Resolutions” on page 370 for the formats and
resolutions you can export to the XDCAM device.
Exporting to XDCAM
You can export NTSC and PAL projects. Depending on the format (SD or HD), you need to use
the appropriate XDCAM device (if you export SD media, use an XDCAM SD device; if you
export HD media, you must use an XDCAM HD device).
By default, the Avid editing application pans audio tracks to the center which causes the
XDCAM export operation to combine audio channels 1 and 2, 3 and 4, and so on. Before you
export audio to XDCAM, use the Audio Mixer Tool to set the pan values to left/right in order to
maintain discrete audio tracks in your exported media.
To export to an XDCAM device:
1. Connect your XDCAM device.
2. Select the appropriate mode on your XDCAM device that corresponds to the video format
that you will be exporting.
For example, set your XDCAM device to 1080i 59.94 if you want to export a clip or
sequence at XDCAM-35 1080I/59.94.
3. Select the sequence or clips to export.
4. Select Output > Export to Device > XDCAM.
If you have a sequence loaded in the Record monitor, the sequence exports when you select
Export to Device.
You can also right-click the clip or sequence in a bin and select Export to Device.
The XDCAM Export Settings dialog box opens.
Exporting to XDCAM
1012
5. (Option) Select Use Marks.
The current IN and OUT points in the selected clip or sequence determine starting and
ending frames for the export.
6. (Option) Select Use Enabled Tracks.
The system uses tracks that are enabled in the timeline. To export all the tracks in the
sequence, deselect this option.
7. Select an XDCAM disk from the Target XDCAM Disk list.
If the target XDCAM disk you are exporting to already has other clips on it, you are only
allowed to export a clip with the same number of audio tracks. For example, if the target
XDCAM disk has a clip with 4-tracks of audio, you cannot export a new XDCAM clip with
2 tracks. You either have to reformat the disk and wipe it clean or add two dummy tracks to
your 2-track sequence before you export.
8. Select a video format:
- For SD projects, select DV-25, IMX30, IMX40, or IMX50.
For SD, a disk cannot have mixed formats. For example, a disk that contains IMX40
material can only have IMX40 media added to it, unless you reformat the disk.
- For HD projects, select XDCAM-50, XDCAM-35, XDCAM-25, or XDCAM-17.
For HD, a single disk can have clips with mixed bit rates (17.5, 25, and 35 Mbits).
Additionally, a sequence that is being exported to an HD XDCAM disk can have mixed
bit rates, as well.
If you use the Sony PDW HD1500 or the Sony PDW 1500 XDCAM device, export of up to
8 tracks of audio is supported for the MPEG IMX and XDCAM HD 50 Mbits formats. For
other formats or devices that do not support 8 tracks, the system mixes down to audio tracks
1 and 2 during export.
9. Select a Bit Depth: 16 or 24 bits.
For HD projects, select 16 bits. XDCAM HD devices are not capable of handling 24 bits,
except for the Sony PDW HD1500 device, which is capable of handling 24 bits.
10. Click OK.
Sony applies its own file-naming convention. All exported clips are given a new sequential
name of Cxxxx.mxf, for example, C0019.mxf.
A progress bar appears displaying the new Sony XDCAM sequential clip name. The
sequence exports.
Exporting XDCAM OP1a Media
1013
Exporting XDCAM OP1a Media
You can export frames, clips, or sequences as XDCAM OP1a files. When you open the Export
Settings dialog box and select XCDAM MXF OP1a from the Export As menu, you can set
export options available for your project.
XDCAM MXF OP1a export is available in any project type that supports XDCAM and XDCAM
HD.
The number of audio tracks you can export depends on the bit rate supported by your device. For
example, a bit rate of 50 mbps supports 8 tracks of audio for export, while a bit rate of 35 mbps
supports only 4 audio tracks.
Option Description
Video Format Lists all XDCAM codecs supported by your
project type.
Audio Bit Depth Defines bit depth, based on the sample rates
supported by your project type.
You can use this option if your sequence has a
mix of sample rates and you need to create a
single sample rate. (You set the project rate in the
Audio Project Settings dialog box. For more
information, see “Audio Project Settings for
Capture” on page 193.).
Exporting Your Clip or Sequence to a P2 Card
1014
Exporting Your Clip or Sequence to a P2 Card
If you have a P2 card writer, you can export a clip or sequence to your P2 card. The writer can be
a P2 device or a camera enabled for P2 writing. You can export to one card or multiple cards.
nIf you connect to more than one P2 device, make sure only one is turned on. If more than one
device is turned on, you cannot control which device you export to.
To export a a clip or a sequence to a P2 card:
1. Make sure your system is connected to a writable P2 device.
2. Select the clip or the sequence in the bin.
3. Select Output > Export to Device > P2.
The P2 Export Settings dialog box opens.
4. Select options as described in “Export Settings: P2” on page 1343.
If you do not connect to a P2 device or camera, the options are not available.
5. (Option) If you connect to a P2 device and it does not appear in the P2 Device list, select File
> Mount All to update the list of mounted drives.
6. Click Save.
Display Aspect Ratio Defines an image size for the video you want to
export. The available aspect ratios depend on
what your project type and device support. This
lets you control the display format without
modifying the source file.
Option Description
Exporting as Windows Media Using a VC1 Resolution
1015
A progress window opens, and the orange light on the P2 card flashes indicating that the
card is being written to. If you have more than one card in the device, your Avid editing
application writes to the first one in the list. If your sequence is larger than the space
available on that card, your Avid editing application fills the first card and then writes to the
next card.
Exporting as Windows Media Using a
VC1 Resolution
To export media as VC1:
1. Select the sequence or clip to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click Options.
The Export Settings dialog box opens.
4. In the Export As menu, select Windows Media.
5. (Option) Select Use Marks.
When Use Marks is selected the current IN and OUT points in the selected sequence or clip
determine starting and ending frames for the export.
6. (Option) Select Use Enabled Tracks.
When Use Enabled Tracks is selected, your Avid editing application uses tracks that are
enabled in the Timeline. To export all the tracks in the sequence, deselect this option.
7. Click the Video Type menu, and select either Progressive or Interlaced
If you are exporting an HD interlaced sequence or clip, you must delete the audio profile in
the Windows Media Export dialog box and export the video only. Then repeat the process,
deleting the video and exporting the audio only.
8. Click the Pixel Aspect Ratio menu, and select Square 1:1.
9. Click the Codec menu, and select Windows Media Video 9 Advanced Profile.
10. Ensure the value in the Keyframe text box is set to less than 1.00 seconds.
11. Click Save.
12. In the Export As dialog box, select the destination folder for the file.
13. Click Save.
Your Avid editing application exports the sequence or clip as VC1 media embedded in a
Windows Media Video (.wmv) file.
Using Avid Interplay Media Services
1016
14. Ensure the bin where you want to import the file is active.
15. Select File > Import, and select the .wmv file(s) you exported.
16. Click Open.
Your Avid editing application imports the file as VC1 and it appears in the bin.
Using Avid Interplay Media Services
The Media Services Settings dialog box lets you connect to an Avid Interplay Media Services
Broker. Broker services are used in an Avid Interplay environment where dedicated computers
automate time-consuming operations. The following table describes the broker services that you
might use.
nYou must install Avid Interplay Access and Avid Interplay Framework for Client on the Interplay
Media Services server and any clients.
For more information on using Avid Interplay Media Services, see the Avid Interplay Media
Services Setup and User’s Guide.
Service Description
Avid Interplay
ProEncode
Let you automate the process of encoding a sequence into formats that are suitable
for distribution on the Web, on DVD, or on CD-ROM. The ProEncode services use
other computers in the Avid Interplay environment to automatically perform the
encoding tasks. This lets you quickly send a sequence to be processed and then
continue with your editing.
Avid Interplay
Transcode
Lets you transcode Avid assets from one Avid-supported resolution to another. For
example, you can use the Avid Interplay Transcode service to create a low
resolution version of a sequence or master clip. You can also use the Avid Interplay
Auto Transcode service to automatically transcode media.
nThe Avid Interplay Transcode service does not use the Reformat bin setting
when transcoding across formats. Instead, media is always
stretched/squeezed to conform to the new video format.
Avid Interplay
Archive
Provides access to archive and restore features. The Avid Interplay Archive and
Restore services manage the process of moving data, instead of using the
Avid Interplay Transfer Engine. The Archive database keeps track of the files that
you store on external storage devices and lets you restore files to your online system
when they are needed.
23 Generating Output
Your Avid editing application provides tools that let you generate output for individual tracks or
entire sequences to various videotape or audiotape formats. The following topics provide basic
information on preparing for and generating output:
•Preparing for Output: Overview
•Selecting the Device for Output
•Selecting the Sync Source for Output
•Selecting a Video Output Signal
•Calibrating for Video Output
•Preparing for Converting HD Formats
•Preparing for Audio Output
•Preparing Record Tapes
•Enabling Assemble-Edit Recording
•Using ExpertRender to Prepare Effects for a Digital Cut
•Using the Digital Cut Tool
•Preserving HD Closed Captioning and Ancillary Data\
Preparing for Output: Overview
Preparing for video output involves the following procedures:
• Establish a sync source for output, as described in “Selecting the Sync Source for Output”
on page 1018.
• Select the Video Output signal, as described in “Selecting a Video Output Signal” on
page 1022.
• Calibrate and adjust video output levels, as described in “Calibrating for Video Output” on
page 1022.
• For HD projects, determine if you need to crossconvert or downconvert your sequence, as
described in “Preparing for Converting HD Formats” on page 1029.
Selecting the Device for Output
1018
• Set audio output levels and other output options, as described in “Preparing for Audio
Output” on page 1032.
• Mix down multiple audio tracks, if necessary, as described in “Mixing Down Audio Tracks”
on page 815.
• Prepare the record tapes, as described in “Preparing Record Tapes” on page 1038.
• (Option) Record reference bars and tone to tape, as described in “Recording Bars and Tone”
on page 1039.
• (Option) Prepare for assemble editing, as described in “Enabling Assemble-Edit Recording”
on page 1040.
• For 23.976p, 24p projects and 25p projects, determine your output formats, as described in
“Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 1053.
• Render all non-real-time effects in the sequence, as described in “Using ExpertRender to
Prepare Effects for a Digital Cut” on page 1041.
Selecting the Device for Output
Your Avid editing application lets you output through two different connections:
• Through connections on your Avid input/output hardware
• Directly to a DV camera or deck on a 1394 port. See “Connecting a DV Device” on
page 179 and “Outputting DV50 and DVCPRO HD Media Directly to a DV Device” in
the Help.
Selecting the Sync Source for Output
You can use one of the following sources as sync for output:
• Black burst or house sync through the reference input (REF or REF SYNC) of your Avid
input/output hardware
• Tri-level sync through the HD Tri-Level Sync input or the REF SYNC input on some Avid
input/output hardware devices
• Internal timing from your Avid input/output hardware.
The source that you use depends on your production environment and your project needs.
cAvid recommends that you use an external sync source whenever you record a digital cut to
tape, or whenever the external equipment requires the Avid system to follow an external
master clock. Connect the sync source to the appropriate input on the Avid input/output
Selecting the Sync Source for Output
1019
hardware and on the external equipment. For more information, see “Synchronizing Audio
and Video Equipment” for your input/output hardware in the Help. Sync is not required
for DV output.
To select the sync source:
1. Select Tools > Video Output Tool.
2. Select the sync source from the Sync Lock menu: Reference, Tri-Level, or Internal.
The Tri-Level option appears only if you are working in an HD project.
If the source you select is not correctly connected, or if the sync generator is set to an
incorrect frame rate, your Avid editing application will automatically switch to internal
timing.
Sync Options for HD Formats
Some HD formats let you use either black burst or tri-level as a sync source. Select the type of
sync generator according to the following table.
For more specific information, see the documentation for your tri-level sync generator.
Sequence Format Tri-level Frame Rate Setting Black Burst
720p/23.976 720p/59.94 NTSC
720p/50 720p/50 PAL
720p/59.94 720p/59.94 NTSC
1080p/23.976 1080p/23.98sF —
1080p/24 1080p/24sF —
1080p/25 1080p/25sF
nIf 1080p/25sF is not available,
you can use 1080i50.
PAL
1080i/50 1080i/50 PAL
1080i/59.94 1080i/59.94 NTSC
Selecting the Sync Source for Output
1020
Using LTC Timecode for Output
You can use LTC (longitudinal or linear timecode) for output from your Avid editing application
through some Avid input/output hardware devices. The LTC OUT connector on the hardware
provides SMPTE or EBU timecode you can use as a sync source for decks with built-in
synchronizers or to stripe a destination tape. You can also use LTC to record non-drop-frame
timecode for downstream encoding.
For more information, see “Selecting the Timecode Format for Output” on page 1056 and
“Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream
Encoding” on page 1057.
To set LTC timecode for output:
1. In the Settings list in the Project window, double-click General.
2. Select “Generate LTC On Playback.”
3. Click OK.
Adding LTC Out During Preroll
You can add black filler to the beginning of a sequence when performing a digital cut. This
generates a preamble of LTC timecode before the actual digital cut begins. This preroll filler is
set to 1 second. The filler added to the beginning of the sequence is not written to tape. This
provides external hardware — such as a video overlay system — enough time to synchronize
with the sequence time before the start of playback.
You can select the LTC Out during preroll option in the Digital Cut tool to add filler at the start of
a sequence.
Selecting the Sync Source for Output
1021
To add LTC Out During Preroll
1. Load your sequence in the Record monitor.
2. Select Output >Digital Cut.
3. Select the LTC out during preroll option.
4. Press the Play Digital Cut button.
LTC Output During Digital Scrub (When Using Nitris DX only)
LTC timecode will be output when the blue bar in the record monitor is moved, that is, during
“digital scrub.” The LTC value is only output when audio is also output, that is, when Caps Lock
is engaged or the shift key is down. The LTC value output corresponds to the first audio frame
played, obeying the Audio Setting “Record Monitor Scrub” value for “Outgoing” frames.
nTypical outboard hardware will add one frame to LTC values it receives, expecting to display the
value on the next frame, so when paused, an “outgoing” value of 1 is normally required to get
the outboard hardware to display the expected frame.
Selecting a Video Output Signal
1022
Selecting a Video Output Signal
Use the Video Output tool to select an analog video output signal. The options that are displayed
depend on your hardware configuration.
• If you are using an Avid Nitris DX or Avid Mojo DX input/output hardware, all outputs on
the hardware are active. Select an analog signal from the Output menu to calibrate for
output. See “Calibrating for Video Output” on page 1022.
• If you are not using Avid input/output hardware (software-only), the Video Output tool is not
available.
To select an analog video output signal:
1. Select Tools > Video Output Tool.
The Video Output tool opens.
2. Click the SD Cal tab.
3. Click the Output menu, and then select an output format: Component, Composite, or
S-Video.
4. Click the close box.
Calibrating for Video Output
You can calibrate for video output by using any of the methods described in the following table:
Method Description
Calibrate for video output by
using the factory presets
You should use the factory presets if you do not have an external Waveform
monitor, or if your site engineers calibrate the system as a general maintenance
procedure. For more information, see “Using the Factory Preset Buttons in the
Video Output Tool” on page 1023.
Calibrate for video output by
using external Waveform and
Vectorscope monitors
All users can follow the steps for calibrating video output, as described in
“Basic Video Output Calibration” on page 1024.
Calibrate/sync output signals in
a production facility
Advanced users and house engineers should follow the steps for adjusting and
conforming output signals to house standards, as described in “Calibrating the
System with Passthrough Signals” on page 1027.
Calibrating for Video Output
1023
cBefore you calibrate video output for an NTSC-EIAJ project (for Japan), make sure the
“NTSC Has Setup” option is not selected in the General Settings dialog box, accessed from
the Settings list in the Project window. For more information on General settings, see
“General Settings” on page 1348.
cYou cannot set separate calibration levels for S-Video output, Composite output, and
Component output. When calibrating video output, select one video output for calibration.
The two other outputs are not guaranteed to be properly calibrated. If you need to send
output to more than one SD device, Avid recommends that you use one analog output
(Composite, Component, or S-Video) and one digital output (SDI).
nFor HD projects, you can calibrate only HD component output, which is usually used for
monitors. You cannot calibrate output for HD-SDI.
Using the Factory Preset Buttons in the Video Output Tool
The preset buttons in the Video Output tool show the status of each Calibration setting as
follows:
• When the Video Output tool opens the first time you run your Avid editing application, all
preset buttons are lit (green), with the factory presets loaded for each slider.
• When you click a slider of a lit preset button, the button dims (appears gray), and the slider
returns to the most recent manual level setting.
• When you click an unlit preset button, it becomes lit (green), and the slider moves to the
factory preset level for that parameter.
• As you adjust levels in the tool, you can switch the preset buttons between the levels you set
manually and the factory preset levels. These adjustments are described in “Basic Video
Output Calibration” on page 1024 and “Calibrating the System with Passthrough Signals”
on page 1027.
Set Vertical Blanking Interval If this option is available for your input/output configuration, you can instruct
the system to preserve 5 lines above each field in NTSC and 8 lines above each
field for PAL. These lines can be used to store additional encoded information
such as closed captioning, edgecodes or keycodes for film projects, or various
interactive or enhanced TV codes. For more information, see “Vertical Blanking
Information” on page 1064.
Method (Continued) Description (Continued)
Calibrating for Video Output
1024
Basic Video Output Calibration
You can perform basic output calibration when working with a standalone editing workstation or
in a production environment that does not require advanced calibration of horizontal phase or use
of test patterns according to specific house standards.
nCalibrating video output requires external Waveform and Vectorscope monitors. If you do not
have external Waveform or Vectorscope monitors, keep the Video Output tool preset values.
cYou cannot set separate calibration levels for S-Video output, Composite output, and
Component output. When calibrating video output, select one video output for calibration.
The two other outputs are not guaranteed to be properly calibrated. If you need to send
output to more than one SD device, Avid recommends that you use one analog output
(Composite, Component, or S-Video) and one digital output (SDI).
To calibrate for video output:
1. Select Tools > Video Output Tool.
The Video Output tool opens.
Calibrating for Video Output
1025
2. Click the Options tab.
3. Click the Sync Lock menu and select Internal, Reference, or TriLevel (if available) to lock
your output connection to the appropriate signal. Some input/output hardware configurations
automatically detect TriLevel sync and do not display it as an option.
nSync for output comes from the reference input (REF) or HD TriLevel Sync input on the Avid
input/output hardware or from internal timing. For more information, see “Selecting the Sync
Source for Output” on page 1018.
If you do not have separate Vectorscope and Waveform monitors, you can use the client
monitor’s “blue only” feature, if available, to adjust SC phase output. For more information on
this feature, see your monitor’s documentation.
Calibrating for Video Output
1026
4. If you are using an HDMI-compliant Avid input/output device, click the HDMI Color Space
menu and select a color space (YCbCr or RGB), and then select either an SD or an HD
format from the HDMI Format menu.
Some monitors only support one SD HDMI format. See your monitor documentation for
more information.
5. (Option) Click the VBI menu (if available) and select Preserve to preserve 5 lines above
each field in NTSC or 8 lines above each field for PAL.
6. Display color bars for calibrating:
- If you edited digital bars and tone into the sequence, go to the head of the bars and tone
and click Play.
- You can use internal bars from the Video Output tool by clicking the Test Patterns menu
in the Options tab, and selecting either SMPTE_Bars, (SMPTE standard bars),
ColorBars (full-field bars at 75% level), or ColorBars_100 (full-field color bars at 100%
level).
Bars are displayed on the Client monitor, and the signal appears on the external
Waveform and Vectorscope monitors.
nThe internal Waveform and Vectorscope monitors do not display output signals from the system.
7. Click the SD Cal tab or the HD Cal tab, depending on the project format.
8. Click the Output menu, and select the video signal for your output device:
- For SD, select either Component, Composite, or S Video.
- For HD, select HD Component YPbPr or HD Component RGB, depending on the
connection to your output device.
nThe Video Output tool does not display basic calibration controls for Serial Digital, DV, or
HD-SDI. All basic levels remain in digital form and cannot be adjusted from within your Avid
editing application. For H-phase adjustment of a Serial Digital output signal, see “Calibrating
the System with Passthrough Signals” on page 1027.
The Video Output tool displays the appropriate parameters for the selected video format, as
described in “Video Output Tool Settings” on page 1379.
9. Adjust luminance values based on the information in “Luminance Settings for Video
Output” on page 1028.
10. Depending on your output type and input/output hardware, adjust the following sliders until
the angle and amplitude of the six color vectors fall within the target boxes on the
Vectorscope monitor. Not all sliders are available for some configurations.
- Hue and Sat sliders (composite or S-Video output)
- RY Gain and BY Gain sliders (component output)
Calibrating for Video Output
1027
- Pr Gain and Pb Gain sliders (HD component YPbPr output — with supported
input/output hardware)
11. If you want to save this setting, click the Settings menu and select Save As, then type a
name, and click OK.
nOutput settings are Project settings, available to all users and all projects on the system.
For information on connections on the Avid input/output hardware, see “Using the Avid
Input/Output Hardware” in the Help.For information on adjusting output gain, see
“Calibrating for Video Output” on page 1022.
Using Test Patterns
Use the menu of test patterns to calibrate the system output.
To display a test pattern:
tIn the Video Output tool, click the Test Patterns menu, and select a pattern.
Calibrating the System with Passthrough Signals
If you work in a production environment in which house standards are used to synchronize a
number of devices including the source decks connected to your Avid system, you can calibrate
the system one time to conform to existing standards with the least amount of alteration of the
signal. This method involves the use of a passthrough signal (a signal that gets sent directly from
an input source through to the output channels).
This advanced form of calibration is an alternative to Video Input tool Calibration settings for
each source tape, and involves calibrating tapes at the source device, using external time-base
correction. You need a signal generator and external Waveform and Vectorscope monitors to
calibrate the system with passthrough.
To calibrate using a passthrough signal:
1. Connect a source signal with a test pattern from a signal generator.
2. Select Tools > Video Input Tool.
3. Click the Input menu, and select a video format.
The selected input provides the passthrough signal.
4. Calibrate the input if necessary by using the Video Input tool, as described in “Calibrating
Video Input” on page 209.
5. Save the input calibration settings as the system Default setting, as described in “Saving
Video Input Settings” on page 214.
6. Select Tools > Video Output.
Calibrating for Video Output
1028
7. Select Tools > Capture.
With the Capture tool active, the input signal passes through to the output channels.
8. Select an output format in the Video Output tool.
You can precisely match only one output format at a time in phase with the reference signal.
In most cases, you should select either Composite or Serial Digital.
9. Calibrate any of the available controls in the Video Output tool while checking the external
Waveform and Vectorscope monitors.
For example, composite output provides Gain and Saturation controls.
For more information on using the Video Output tool, see “Preparing for Output: Overview”
on page 1017.
10. In the Video Output tool, click the Test Patterns menu, and select a test pattern.
The test pattern appears and is sent to the output channels (the input signal is no longer
passed through). Additional controls are enabled in the Video Output tool for phase control.
11. Make any necessary adjustments to H phase, SC phase, and Hue by using the sliders in the
Video Output tool while checking the external Waveform and Vectorscope monitors.
Whenever the Capture tool is active, hue, horizontal phase (H phase), and subcarrier phase
(SC phase) are set to values determined by the input circuitry and are not available to control
the outputs. These controls appear dimmed during passthrough.
12. Save this setting with an appropriate name:
a. Click the Settings menu in the Video Output tool, and select Save As.
b. Type a name.
c. Click OK.
The Video Output setting, a Site setting, applies to all users and all projects on the
system. The Video Input setting you saved and named Default is recalled each time a
new tape is loaded for capturing in the current project only.
Luminance Settings for Video Output
Use the following luminance settings for video output.
For Black level (setup), adjust the Black slider to place the black level at the following settings:
Video Standard Level
NTSC 7.5 IRE
NTSC-EIAJ 0.0 IRE
Preparing for Converting HD Formats
1029
For White level (gain), adjust the Y Gain slider to place the white level at the following settings:
Adjusting Phase Controls
The Video Output tool provides controls for adjusting horizontal phase globally for output.
Horizontal phase, or H Phase, is the horizontal blanking interval used to synchronize the timing
of two or more video signals. SC Phase (subcarrier phase) controls are also available for timing
two or more signals based on the color burst portion of a composite or S-Video signal. System
Phase controls let you adjust the output signal relative to a reference signal.
In most situations, you do not need to calibrate the horizontal phase, subcarrier phase, or system
phase of the output signal. If you are working in a production house in which timing is necessary
between various devices—such as switchers, decks, and monitors—use these controls to adjust
phase globally for all outputs from your Avid editing application.
Preparing for Converting HD Formats
Your Avid editing application attached to an Avid Nitris DX, or Avid Mojo DX can crossconvert
an HD sequence to another HD format or downconvert an HD sequence to an SD format,
provided that the sequence has a compatible frame rate for the format to which you are
converting. Before you output a converted sequence, you need to set the appropriate options in
the Video Output tool.
For information and notes on available crossconversion and downconversion formats for each
HD format, see “Crossconversion and Downconversion Formats” on page 1031.
For a list of considerations when crossconverting or downconverting, see “Considerations for
Crossconversion and Downconversion” on page 1032.
PAL 0.3 V (not applicable for SMPTE bars)
Video Standard Level
Video Standard Level
NTSC 100 IRE
NTSC-EIAJ 100 IRE
PAL 1.0 V (not applicable for SMPTE bars)
Preparing for Converting HD Formats
1030
To set options for crossconverting a sequence:
1. Select Tools > Video Output Tool.
2. Click the Options tab.
3. Click the Downconvert menu, and select OFF.
4. Click the Crossconvert menu, and select the format that you want to output.
To set options for downconverting a sequence:
1. Select Tools > Video Output Tool.
2. Click the Options tab.
3. Click the Crossconvert menu, and select OFF.
4. Click the Downconvert menu, and select the format that you want to output.
The options are Anamorphic, Letterbox, Center Cut. The following illustrations show how a
high-definition image is adjusted for downconvert.
Example of downconversion formats. Top: the HD image. Bottom, left to right: Anamorphic, Letterbox, and
Center Cut SD downconverted images.
5. For some input/output hardware configurations, you need to set the Component format and
HDMI format when you select Downconvert:
a. Click the Component Format menu and select SD Interlaced. The Component Format
menu appears when you select Downconvert.
b. Click the HDMI format menu and select either SD Interlaced or SD Progressive.
Preparing for Converting HD Formats
1031
Crossconversion and Downconversion Formats
The following table lists the available crossconversion and downconversion formats for each HD
format. Not all formats are available for all Avid editing configurations.
nRaster Type selection does not affect the conversion options for HD projects, with the exceptions
noted in the table.
HD Sequence Format
Crossconverted
HD Format
Downconverted
SD Format
720p/59.94 1080i/59.94 30i NTSC
720p/23.976 1080i/59.94 30i NTSC
nWhen crossconverting the 720p/23.976 format, your Avid editing application adds 2:3
pulldown frames to create a sequence with the correct frame rate.
720p/25 1080i/50 25i PAL
720p/50 1080i/50 25i PAL
1080p/23.976 1080i/59.94
720p/59.94
30i NTSC
nWhen crossconverting the 1080p/23.976 format, your Avid editing application adds 2:3
pulldown frames to create a sequence with the correct frame rate.
1080p/24 1080i/59.94
(Nitris DX and
Mojo DX only)
30i NTSC
(Nitris DX and
Mojo DX only)
nNon-DX systems: To crossconvert a1080p/24 sequence to HD, output a tape master and
then convert. To downconvert a1080p/24 sequence to SD, change the project format and
transcode the media, then output a digital cut.
1080p/25 720p/50 25i PAL
1080i/50 720p/50 25i PAL
1080i/59.94 720p/59.94 30i NTSC
Preparing for Audio Output
1032
Considerations for Crossconversion and Downconversion
You should be aware of the following when crossconverting or downconverting HD formats:
• You can select an HD crossconvert format for output or an SD downconvert format for
output, but you cannot output both at the same time.
• Avid recommends using crossconverted sequences for preview or reference only. When
using digital cut to output the HD master sequence to tape, use the native frame rate of the
sequence. Crossconvert and downconvert options that change the edit rate are not supported
for digital cut. For example, if you have a 1080p/23.976 sequence, you can preview the
sequence at 1080i/59.94, 720p/59.94, or NTSC 30i. But when creating the digital cut, use
the native format of 1080p/23.976.
• Avid recommends using downconverted 720p/59.94 and 1080p/23.976 sequences for
preview or reference only. When using digital cut to output the HD master sequence to tape,
use the native frame rate of the sequence. Crossconvert and downconvert options that change
the edit rate are not supported for digital cut.
Preparing for Audio Output
You can use the Audio tool to generate and customize a calibration tone and to monitor global
output levels. Use the Audio Project settings to adjust the global output levels and specify other
output settings. The following procedures provide information about preparing for audio output.
For information on audio mix procedures such as adjusting volume and pan for selected tracks or
audio mixdown, see “Working with Audio” on page 745.
Setting the Calibration Tone
The Audio tool provides an internal calibration tone you can customize and play as a reference
signal on a digital cut. You can use the recorded reference signal for calibrating the digital cut
audio at another site.
The default tone playback is –20 dB (digital scale) or –14 dB (software-only systems) with a
1000-Hz signal. In some cases, you might need to customize the signal. For example, a common
reference signal convention for audio work involves recording 30-second segments of 1-kHz,
10-kHz, and 100-Hz tone back-to-back.
For information on creating tone media, see “Creating Tone Media” on page 200.
To change the parameters for the calibration tone:
1. Select Tools > Audio Tool.
The Audio tool opens.
Preparing for Audio Output
1033
2. Click the PH (Peak Hold) menu, and select Set Calibration Tone.
The Set Calibration Tone dialog box opens.
3. Type new values for the tone level and frequency text boxes, and click OK.
To play back the tone:
tClick the PH (Peak Hold) menu, and select Play Calibration Tone.
To check the adjusted tone level in the meters:
tSwitch the In/Out toggle buttons to O for Output.
Calibrating Global Output Levels
You can use the meters in the Audio tool to monitor the global output level of your sequence. If
necessary, you can use the Output Gain slider (master attenuator) in the Output tab in the Audio
Project Settings dialog box to adjust the output from the system. These adjustments affect levels
for all output tracks to both the speakers and record devices.
cYou should leave this output level at the factory preset of 0 dB. Adjust the level only when
necessary to raise or lower the overall volume, based on the headroom parameters of the
record format, or for consistently overmodulated or undermodulated source material.
To calibrate global output levels:
1. Double-click Audio Project in the Settings list in the Project window.
The Audio Project Settings dialog box opens.
2. Click the Output tab.
Preparing for Audio Output
1034
Output Gain slider (master attenuator) in the Output tab of the Audio Project Settings dialog box
3. Select Tools > Audio Tool.
The Audio tool opens.
Left to right: Reset Peak button, In/Out toggle buttons, and Peak Hold Menu button in the Audio tool
4. Click the In/Out toggle buttons above the meters to display O for Output.
Preparing for Audio Output
1035
5. Play back one of the following sources of reference audio by doing one of the following:
tClick the Peak Hold (PH) Menu button, and select Play Calibration Tone.
tPlay back a representative sequence or clip containing audio.
6. Watch the levels in the meters, and adjust the master attenuator to the level that you want.
nTo adjust levels for individual tracks, use the Audio Mixer tool. See “Using the Audio Mixer
Tool” on page 773.
7. Close the Audio tool.
8. Close the Audio Project Settings dialog box.
Setting Audio Output Options
The Audio Project Settings dialog box contains options for audio output, such as how audio
tracks in the sequence are mapped to output channels.
To set audio output options:
1. Double-click Audio Project in the Settings list in the Project window.
The Audio Project Settings dialog box opens.
2. Click the Output tab.
Audio Project Settings dialog box: Mixed Mode Selection Menu button (top), All or Timeline Track Maps menu
and Which Set of Track Maps button (left), Output Track Maps (right), Output Format and Channels options
(bottom)
Preparing for Audio Output
1036
3. Click the Mix Mode Selection Menu button, and select a type of output.
- Select Stereo to mix the monitored audio tracks into a stereo pair (two paired mono
channels) with applied pan effects.
- Select Mono to map all the monitored tracks to a pair of mono channels, with all
channels panned to center and pan effects bypassed.
- Select Direct to map monitored tracks directly to up to sixteen channels of output
(depending on how many audio output channels are currently enabled in your hardware
configuration). By default, Direct maps all audio tracks in numerical sequence to
existing output channels. Mono tracks are mapped to single output channels, and stereo
tracks are mapped to pairs of output channels. You can remap a track to any channel by
clicking a Channel Assignment menu and by selecting another channel.
Direct out ignores pan effects.
nYou cannot map a mono track to a channel pair or a stereo track to a single channel.
If you want to output 16 channels, click the “Allow 16 channel output” button. For more
information, see “Enabling 16-Channel Audio Output” on page 1037.
4. (Option) Depending on your type of output, you can make additional adjustments:
- By default, Stereo directs the mixed tracks to mono output channels 1 and 2. You can
also direct mixed tracks to output channels 3 & 4, 5 & 6, or 7 & 8.
- If you select Direct Out, you can select All or Timeline from the “All or Timeline Track
Maps” menu
- All lets you preset values for all possible audio tracks, with each track treated as a
mono track.
- Timeline lets you assign output channels to the tracks monitored in the Timeline,
with multichannel stereo pairs mapped by default to channel pairs.
Click the Reset button to reassign the tracks to the default channels that are currently
available. You might need to reset the defaults track mappings if your hardware
configuration has changed.
nIf you want to map output channels to audio tracks not listed in the Output Track Maps area,
click the Which Set of Track Maps button to display other available audio tracks. The maximum
number of available tracks is 24.
Preparing for Audio Output
1037
5. Select the output format and assign the output channels in the tabbed interface at the bottom
of the dialog box.
Options vary depending on the type of input/output hardware you have attached to your
system.
For more information, see “Audio Project Settings: Output Tab” on page 1294.
6. (Option) To disable the customized volume, real-time EQ, or volume automation effects you
applied with the other audio tools, click the Effects tab and select Clip Gain, RT EQ, or Auto
Gain in the Effect Bypass panel.
7. Close the Audio Project Settings dialog box.
Enabling 16-Channel Audio Output
Depending on your Avid input/output hardware, you can output up to 16 channels of
simultaneous output. You use the Output tab of the Audio Project Settings dialog box to enable
16-channel output.
To enable 16 channels of audio output:
1. Double-click Audio Project Settings in the Settings tab of the Project window.
2. Click the Output tab.
3. Click the Mix Mode Selection menu button, and select Direct Out.
4. Click the “Allow 16 channel output” button.
5. Select the tab representing the output format to which you want to assign the additional
output channels.
6. Select “On outputs 9–16.”
7. Select Grp 2 from the “Which Set of Track Maps” menu.
8. (Option) Use the Channel menus to match tracks in the timeline to output channels.
nOutput channels 9–16 do not appear in the Audio Tool until you assign an output format to the
tracks from one of the output format tabs at the bottom of the Output panel.
Embedded Audio and Output Sample Rate Conversion
The format for embedded audio must be 48 kHz. If you attempt to set the sample rate to a
different value while SD SDI or HD SDI output is enabled, the system displays a message
indicating “Switching out of a 48K while SDI Embedded outputs are enabled requires a sample
rate conversion of all audio outputs to 48K.”
Preparing Record Tapes
1038
For example, if you have 8 channels of HD SDI output enabled and attempt to change the sample
rate to 96 kHz, the system displays the message.
In this example you can switch the project to 96 kHz, but if the SDI outputs are enabled, the
system will convert all audio output to 48 kHz.
cThis affects all audio outputs, not just the SDI outputs. That means AES/EBU output will
be converted and any Analog output will also be converted. This could result in a quality
loss for the Analog signal.
The way to prevent the automatic conversion is to turn off the SDI output. Then you can change
to 96 kHz and output an Analog or AES/EBU signal without any conversion. You can change to
SDI output later and output a 48 kHz embedded audio signal using hardware sample rate
conversion.
Using an XLR Adapter for Consumer-Level Analog Output
When you select Consumer level for Analog Output, analog outputs are attenuated by 6 dB. To
achieve an additional 6 dB of attenuation, you must use an adapter that provides an unbalanced
XLR connection. The correct adapter provides ground on pin 1 and a line signal on pin 2. Many
off-the-shelf connectors supply line level on pin 1 and return on pin 2 or else they short the signal
on pin 2 to pin 3. This results in a signal that is 6 dB too high for consumer equipment.
If you want to provide additional attenuation, use the master gain slider on the Output panel of
the Audio Project Settings dialog box.
For Avid Nitris DX or Avid Mojo DX, when attaching to consumer level equipment, set the
Output calibration for the corresponding outputs to -12 dB in the Audio Hardware Calibration
tool.
Preparing Record Tapes
There are two basic methods of recording to tape:
• Frame-accurate recording by using the Digital Cut tool to record your sequence onto either a
prestriped tape (a tape with prerecorded control track and timecode) or a partially striped
tape
• Manual recording by using controls on the record deck
Each of these methods requires different treatment of the record tapes.
Preparing Record Tapes
1039
Striping Record Tapes (Recording Black with Timecode)
Before you can record a frame-accurate digital cut, you must prepare the record tapes in advance
by using one of the following options:
• To perform insert-edit recording, stripe the record tapes (record black with timecode for the
entire duration of the tape) in advance (prestriped tape).
• To perform assemble-edit recording, record black with timecode onto the tape, including the
necessary preroll prior to the IN point plus at least 10 seconds (partially striped tape).
For complete instructions on recording a frame-accurate digital cut, see “Using the Digital Cut
Tool” on page 1042.
nSome Avid input/output hardware supports LTC output for recording onto tapes. For more
information, see “Using LTC Timecode for Output” on page 1020.
DV cameras or decks controlled through a 1394 connection do not support commands for
frame-accurate recording. As a result, if you are preparing to record to one of these devices, you
can use the Digital Cut tool in either Local mode or Remote mode, but all tracks are enabled for
recording and cannot be modified.
Recording Bars and Tone
You can record a portion of bars and tone onto the tape before recording a digital cut. There are
two methods of recording bars and tone to tape:
• If your recording must be frame accurate, consider adding a segment of digital bars and tone
to the front of your sequence, or prepare it as a separate sequence you can record by using
the Digital Cut tool. For more information, see “Importing Color Bars and Other Test
Patterns” on page 295.
• If your recording does not need to be frame accurate, you can manually record direct output
of bars and tone from your Avid editing application.
To manually record bars and tone:
1. Select Tools > Video Output Tool and Tools > Audio Tool.
2. In the Video Output tool, click the Test Patterns menu, and select a color bars pattern.
3. In the Audio tool, click the PH (Peak Hold) menu, and select Play Calibration Tone. See
“Setting the Calibration Tone” on page 1032.
4. Set the record deck to Local for manual recording.
5. Record the bars and tone as either an insert or assemble edit according to the operation of
your record deck and selected method. Your deck must be capable of frame-accurate editing
to perform this step.
Enabling Assemble-Edit Recording
1040
For information on creating your own tone media, see “Creating Tone Media” on page 200.
Enabling Assemble-Edit Recording
Insert editing is the default setting for the Digital Cut tool. You can also use Assemble-Edit
settings in your Avid editing application, along with the assemble-editing capabilities of your
record deck, to quickly record frame-accurate digital cuts without striping entire tapes in
advance.
cTo avoid accidentally breaking timecode on prestriped tapes during digital cut recording,
enable assemble editing only when in use, and disable it during normal insert edit
recording.
nDV cameras or decks controlled through a 1394 connection do not support commands for
frame-accurate recording. As a result, if you are preparing to record to one of these devices, you
can use the Digital Cut tool in either Local mode or Remote mode, but all tracks are enabled for
recording and cannot be modified.
To enable assemble editing:
1. Double-click Deck Preferences in the Settings list in the Project window.
The Deck Preferences dialog box opens.
2. Select the “Allow assemble edit & crash record for digital cut” option.
3. Click OK.
4. Make sure the record deck has the following settings:
- The free run/rec (record) run switch should be set to record run.
- The Ext (external)/Int (internal) sync switch should be set to internal.
- The switch for internal timecode should be set to Regen (regenerate) or Slave Lock, not
Preset.
- After you record 15 to 30 seconds of timecode onto the record tape for jam syncing,
return the Local/Remote switch to Remote for deck control from within your Avid
editing application.
5. When you are ready to record, select additional options in the Digital Cut tool, as described
in “Recording a Digital Cut to Tape (Remote Mode)” on page 1045.
nThese switches are often located below the machine’s playback control buttons. For more
information, see the documentation provided with your record device.
Using ExpertRender to Prepare Effects for a Digital Cut
1041
Using ExpertRender to Prepare Effects for a Digital
Cut
Real-time effects might exceed the capabilities of your system and cause dropped frames during
a digital cut. You can choose to have your Avid editing application select and render effects that
might cause dropped frames.
To prepare effects for a digital cut:
1. Load the sequence you want to output.
2. Select the entire sequence or mark IN and OUT points for the area you want to output.
3. Open the ExpertRender dialog box by doing one of the following:
tSelect Clip > ExpertRender In/Out.
tRight-click in the Timeline, and select ExpertRender In/Out.
The ExpertRender dialog box opens.
4. Select “Prepare effects for Digital Cut,” and then click OK.
Using the Digital Cut Tool
1042
Using the Digital Cut Tool
The Digital Cut tool provides controls when you record a sequence to tape. The Digital Cut tool
has the following operating modes:
• Remote mode lets you control the record deck by using the deck controller in the Digital Cut
tool. This mode provides frame-accurate control when you record a sequence to tape. See
“Recording a Digital Cut to Tape (Remote Mode)” on page 1045.
• Local mode lets you manually control the record deck by using the controls on the deck.
This mode is useful when you need to use non-Avid-controlled decks, such as
consumer-grade VHS or Hi8. See “Recording a Digital Cut to Tape (Local Mode)” on
page 1048.
You can use either Remote mode or Local mode to preview the output of a digital cut before
recording it to tape. See “Previewing a Digital Cut” on page 1044.
You can manually record a digital cut, but the recording is not frame accurate. See “Recording a
Digital Cut to Tape (Local Mode)” on page 1048.
nSync for output comes from black burst or tri-level sync input to the Avid input/output hardware
or from internal timing. For more information, see “Selecting the Sync Source for Output” on
page 1018.
nIf you install your Avid editing application on a laptop computer, an Incompatible Power Scheme
warning button might appear in the top right corner of the Digital Cut tool. Some of the standard
power schemes available to laptops running Windows XP might affect the performance of
editing functions, including performing a digital cut. Avid recommends you use the “Always On”
power scheme when working with Avid applications. If you select “Always On,” the warning
button does not appear. For information on changing power schemes, see the Windows
documentation.
The Digital Cut tool lets you:
• Record by using either assemble edit, insert edit, or crash record.
• Record a selected portion of the sequence or selected tracks.
• Record an entire sequence.
• Record according to different timecode parameters.
• Select the sequence video, audio and data tracks to record (Sequence Track buttons).
• Have the system locate real-time effects with dropped frames.
• Select the tracks to record to on the tape (Enable Track button – Remote mode only).
• Add black at the end of a digital cut.
Using the Digital Cut Tool
1043
In Remote mode, the Digital Cut tool includes its own deck controls for:
• Cueing a record deck from the Digital Cut tool.
• Cueing the tape and adding an IN point. This capability applies when you click the menu in
the deck control area, and select Mark In Time.
The Mark OUT button does not appear in the deck controller section of the Digital Cut tool
because it has no effect on digital cuts. Also, the Mark OUT and Duration text fields are
read-only. You cannot alter them.
nDepending on the system configuration, you might need to use the deck controls in the Capture
tool to review a digital cut.
The controls and options that appear in the Digital Cut tool depend on the device and format you
select. The following illustrations show two examples. This illustration shows the Digital Cut
tool configured for DV output to a device connected to the 1394 port.
134526
7
8
9
10
1 Sequence Track buttons 6 Ref Lock icon
2 Enable Track buttons 7 Deck controls
Using the Digital Cut Tool
1044
Selecting a Deck in the Digital Cut Tool
The Deck Selection menu in the Digital Cut tool contains a list of all decks that were connected
to the system, turned on, and initialized when you opened the Digital Cut tool.
The Deck Selection menu also lists three commands:
If the words “No Deck” appear in the menu, you need to configure a deck in the Deck
Configuration dialog box. See “Configuring Decks” on page 174.
If a deck name appears in italics on the menu, the deck has lost power or has been disconnected.
Click the menu, and select Check Decks to reestablish deck control.
To activate an available deck for a digital cut:
tClick the Deck Selection menu, and select the deck.
Previewing a Digital Cut
You can preview your sequence in Remote mode or Local mode before recording the digital cut.
nYou can manually record a digital cut, but the recording is not frame accurate. For more
information, see “Recording a Digital Cut to Tape (Remote Mode)” on page 1045 and “Crash
Recording Through Remote Deck Control” on page 1048.
3 Play Digital Cut button 8 Deck Selection menu
4 Halt Digital Cut button 9 Deck control area
5 Preview Digital Cut button 10 Timecode text boxes
Command Description
Adjust Deck Opens the Deck Settings dialog box. Changes you make apply to the selected
deck. For information on Deck settings, see “Deck Configuration Settings” on
page 1311.
Auto-configure Lets you automatically configure the selected deck with the default deck settings
for that deck.
Check Decks Helps to reestablish deck control if the power to your decks was off or the decks
were disconnected when you opened the Digital Cut tool.
Using the Digital Cut Tool
1045
To preview a digital cut:
1. Select Output > Digital Cut.
The Digital Cut tool opens.
2. Select Remote or Local in the Deck Control options area.
3. Select the options you want for the digital cut.
4. Select the audio tracks, data track, and topmost video track you want represented in the
digital cut preview by using the Sequence Track buttons.
The track display in the Digital Cut tool varies according to the tracks existing in the
sequence.
5. Click the yellow Preview Digital Cut button.
The Digital Cut tool goes through the motions of an insert edit and shows you how the tape
will appear before, during, and after the cut, but does not actually change the master tape.
You can then modify your digital cut, if you want, before it is committed to the master tape.
6. (Option) To stop the preview at any time, do one of the following:
tPress the space bar.
tClick the Halt Digital Cut button.
Recording a Digital Cut to Tape (Remote Mode)
Recording in Remote mode lets you control your record deck by using the deck controller in the
Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape.
To record a digital cut to tape:
1. Make sure you selected the appropriate device for the material you are recording. See
“Selecting the Device for Output” on page 1018.
2. Load a sequence into the Record monitor. (You cannot access digital cut options without a
sequence loaded.)
3. Select Output > Digital Cut.
The Digital Cut tool opens.
4. Select the Output Mode and Bit Depth, as described in “Output Mode Resolution Options”
on page 1050.
Take care to select the Output Mode that supports the output device and provides the output
resolution you need.
5. Select or deselect the Entire Sequence option based upon the following:
tSelect the Entire Sequence option if you want the system to ignore any IN or OUT
points and to play the entire sequence from start to finish.
Using the Digital Cut Tool
1046
tDeselect the Entire Sequence option if you have established an IN point, an OUT point,
or both for recording a portion of the sequence.
6. Click the Digital Cut Safe Mode button (selected by default) to allow your Avid editing
application to notify you of conditions that might cause dropped frames.
During a digital cut, real-time effects or HD clips in an SD sequence can drop frames.
Digital Cut Safe Mode analyzes and identifies real-time effects that might cause dropped
frames during the digital cut and lets you render them. It also identifies HD clips in an SD
sequence and gives you the opportunity to transcode them. After these operations are
complete, your Avid editing application automatically initiates the digital cut.
nIf your SD sequence contains HD clips whose frame rate does not match the sequence frame
rate, you might need to take additional steps to ensure that you do not drop frames. For more
information, see “Considerations When Working with Mixed Rate Clips” on page 582.
nYou can use ExpertRender to render effects before beginning the digital cut. See “Using
ExpertRender to Prepare Effects for a Digital Cut” on page 1041.
7. (Option) Select Stop on Dropped Frames.
When you select this option, if the system detects a dropped frame during output, the digital
cut stops. You can fix the frame with ExpertRender and then continue. For more
information, see “Using ExpertRender to Prepare Effects for a Digital Cut” on page 1041.
8. (Option) Select the Add Black at Tail option and enter a duration to add black at the end of
the digital cut.
9. Click the Deck Selection menu, and select a deck.
See “Selecting a Deck in the Digital Cut Tool” on page 1044.
10. Select Remote in the Deck Control options area.
11. Click the menu, and select either Insert Edit or Assemble Edit.
This menu appears only if you enabled assemble editing in the Deck Preferences dialog box.
For more information about this option, see “Enabling Assemble-Edit Recording” on
page 1040.
nDV cameras or decks controlled through a 1394 connection do not support commands for
frame-accurate recording. As a result, if you are preparing to record to one of these devices, you
can use the Digital Cut tool in either Local mode or Remote mode, but all tracks are enabled for
recording and cannot be modified.
Using the Digital Cut Tool
1047
12. Click the menu in the Deck Control options area, and select an option to indicate where to
start recording on the tape.
13. (Option) Select Custom Preroll, click the menu, and select the number of seconds to indicate
how many seconds the tape rolls before the digital cut starts.
This option overrides the Preroll setting in the Deck Settings dialog box.
14. Select the audio, video, and data tracks you want represented in the digital cut by using the
Sequence Track buttons.
The display of tracks in the Digital Cut tool varies according to the tracks existing in the
sequence. If you select the D track, the digital cut includes ancillary data in the output.
15. Select the video and audio tracks to record to on the tape by using the Enable Track buttons.
16. For 23.976p, 24p, and 25p projects, select an output format as described in “Selecting
Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 1053.
cMake sure you connect the correct deck and black burst generator for the output format
you selected (NTSC or PAL).
17. Click the Play Digital Cut button.
Your Avid editing application cues the record deck, then plays and records the sequence. The
playback appears in the Record monitor and in the Client monitor.
nDepending on the system configuration, you might need to use the deck controls in the Capture
tool to review a digital cut.
18. (Option) To stop the recording at any time, do one of the following:
tPress the space bar.
Option Description
Sequence Time Starts the recording at a timecode existing on tape that matches the start
timecode of the sequence. If you intend to record several sequences to
tape one after another, this option requires resetting the start timecode
on each sequence to match appropriate IN points on the tape.
Record Deck Time Ignores the timecode of the sequence and starts the recording wherever
the record deck is currently cued. You can change the start timecode to
match the record tape by using the Sequence Report command. For
more information, see “Changing the Name and Timecode for a
Sequence” on page 565.
Mark In Time Ignores the sequence timecode. Establish a specific IN point on the
record tape by cueing and marking with the deck controls.
Using the Digital Cut Tool
1048
tClick the Halt Digital Cut button.
nAfter assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second
or more, depending upon the record deck model. This provides several frames of overlap for the
next IN point before the control track and timecode break up.
Crash Recording Through Remote Deck Control
If your deck does not support insert editing, or you do not need to start a digital cut cleanly at a
particular timecode, you can perform a crash record. You can crash record through local deck
control, see “Recording a Digital Cut to Tape (Local Mode)” on page 1048, or you can crash
record through remote deck control.
If you use remote deck control, you can start recording at the current location on the tape or you
can start recording at a particular timecode. When crash recording, the first few frames and last
few frames of the output might flash or appear scrambled.
To perform a crash record through remote deck control:
1. If your deck supports insert editing, select the option “Allow assemble edit & crash record
for digital cut” in the Deck Preferences dialog box in the Settings list.
If your deck does not support insert editing, the Crash Record option appears automatically.
2. Prepare for Digital Cut as described “Using the Digital Cut Tool” on page 1042.
3. In the Deck Control area, select Remote.
Crash Record appears in the right menu.
4. Do one of the following:
tTo ignore the starting timecode and start recording at the current location, select Ignore
Time from the left menu.
tTo begin recording at a starting timecode, select a timecode option from the left menu.
If you select one of the timecode options for which your device is not equipped, a message
box appears.
5. Select other options and perform the digital cut, as described in “Using the Digital Cut Tool”
on page 1042.
Recording a Digital Cut to Tape (Local Mode)
Recording in Local mode lets you manually control your record deck by using the controls on
the deck. This mode is useful when you need to use non-Avid-controlled decks, such as
consumer-grade VHS or Hi8.
Using the Digital Cut Tool
1049
To record a digital cut to tape:
1. Make sure you selected the appropriate device for the material you are recording. See
“Using the Digital Cut Tool” on page 1042.
2. Load a sequence into the Record monitor. (You cannot access digital cut options without a
sequence loaded.)
3. Select Output > Digital Cut.
The Digital Cut tool opens.
4. Select the Output Mode and Bit Depth, as described in “Output Mode Resolution Options”
on page 1050.
Take care to select the Output Mode that supports the output device and provides the output
resolution you need.
5. Select or deselect the Entire Sequence option based upon the following:
tSelect the Entire Sequence option if you want the system to ignore any IN or OUT
points and play the entire sequence from start to finish.
tDeselect the Entire Sequence option if you have established an IN point, an OUT point,
or both for recording a portion of the sequence.
6. Click the Digital Cut Safe Mode button (selected by default) to allow your Avid editing
application to notify you of conditions that might cause dropped frames.
During a digital cut, real-time effects or HD clips in an SD sequence can drop frames.
Digital Cut Safe Mode analyzes and identifies real-time effects that might cause dropped
frames during the digital cut and lets you render them. It also identifies HD clips in an SD
sequence and gives you the opportunity to transcode them. After these operations are
complete, your Avid editing application automatically initiates the digital cut.
nIf your SD sequence contains HD clips whose frame rate does not match the sequence frame
rate, you might need to take additional steps to ensure that you do not drop frames. For more
information, see “Considerations When Working with Mixed Rate Clips” on page 582.
nYou can use ExpertRender to render effects before beginning the digital cut. See “Using
ExpertRender to Prepare Effects for a Digital Cut” on page 1041.
7. (Option) Select Stop on Dropped Frames.
When you select this option, if the system detects a dropped frame during output, the digital
cut stops. You can fix the frame with ExpertRender and then continue. For more
information, see “Using ExpertRender to Prepare Effects for a Digital Cut” on page 1041.
8. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of
the digital cut.
9. Select Local in the Deck Control options area.
Output Mode Resolution Options
1050
10. Click the Sequence Track buttons to select the audio, video and data tracks you want
represented in the digital cut.
The display of tracks in the Digital Cut tool varies according to the tracks existing in the
sequence.
11. For 23.976p, 24p, and 25p projects, select an output format as described in “Selecting
Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 1053.
cMake sure you connect the correct deck and black burst generator for the output format
you selected (NTSC or PAL).
12. Press the Record button on the deck.
13. Click the Play Digital Cut button.
The deck plays and records the digital cut. The playback appears in the Record monitor and
in the Client monitor.
14. (Option) To stop the recording at any time, do one of the following:
tPress the space bar.
tClick the Halt Digital Cut button.
Output Mode Resolution Options
The output mode menu in the Digital Cut tool displays the available output resolution options.
The options that appear in this menu vary depending on your project type and the output device
The active output device is displayed above the Output Mode menu in the Digital Cut tool. In the
case of progressive projects, the options in the menu can also vary depending on the Output
Format play rate set in the Digital Cut tool.
With some output modes, you can also use the Bit Depth menu to select either 8-bit or 10-bit
effects processing. If this option is not available, the Bit Depth menu is either grayed out or does
not appear. For more information, see “Options for Controlling Real-Time Effects Playback” in
the Help.
Output Mode Resolution Options
1051
Output Device display (top), Output Mode menu (bottom left), and Bit Depth menu (bottom right) in the Digital Cut
tool
The following table provides information on the output resolutions.
Output Mode Description
Real-Time Provides 1:1 uncompressed SD or HD output through an Avid Nitris DX or
Avid Mojo DX.
DVCPRO HD Provides DVCPRO HD output through a Host 1394 connection. All media must
be DVCPro HD.
Does not support real-time effects playback.
RT DV50 Provides DV50 output through a Host 1394 connection.
RT DV25 Provides DV25 output through a Host 1394 connection.
DV50 Provides DV50 output through a Host 1394 connection. All media must be DV
50.
Does not support real-time effects playback.
Outputting DV 50 and DVCPRO HD Media Directly to a DV Device
1052
Outputting DV 50 and DVCPRO HD Media Directly to
a DV Device
You can output DV 50 or DVCPRO HD sequences directly to a DV device. This lets you output
without any loss due to compression and decompression.
To output DV 50 or DVCPRO HD media directly to a DV device:
1. Select the DV 50 or DVCPRO HD sequence you want to output.
2. Render all effects.
3. Select OutputClip > Digital Cut.
The Digital Cut tool opens.
4. Select other Digital Cut options.
For more information, see “Using the Digital Cut Tool” on page 1042.
5. Perform the digital cut.
DV25 Provides DV25 output through a Host 1394 connection. All media must be DV
25.
Does not support real-time effects playback.
Output Mode Description
You can output: If the project is:
And if the output
device is:
DV 50 Any SD project 1394
DVCPRO HD The following HD projects:
• 720p/23.976
• 720p/50
• 720p/59.94
• 1080i/50
• 1080i/59.94
1394
Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects
1053
Selecting Output and Timecode Formats for 23.976p,
24p, and 25p Projects
When you are working in a 23.976p, 24p, or 25p project, you can output multiple formats from
the same progressive media.When you are working in a 23.976p, 24p, or 25p project, you can
output multiple formats — NTSC video, PAL video, and audio — all from the same progressive
media. The Avid Universal Mastering feature gives you the option of outputting an NTSC
sequence from a PAL sequence, or a PAL sequence from an NTSC sequence. You click the
Output Format menu in the Digital Cut tool to select the formats you want, as described in
“Selecting Output Formats for 23.976p, 24p, and 25p Projects” on page 1053.
(Media Composer) Depending on the type of project you are working with, NTSC or PAL, the
system will only display output options for one format. You cannot switch from NTSC to PAL or
PAL to NTSC. You can only switch from one PAL format to another PAL format or from one
NTSC format to another NTSC format.
Depending on the format you select, you also need to:
• Select the timecode to output. See “Selecting the Timecode Format for Output” on
page 1056.
• Indicate the destination timecode rate. See “Indicating the Destination Timecode Rate” on
page 1057.
• Select the video pulldown cadence. See “Selecting the Video Pulldown Cadence” on
page 1058.
Selecting Output Formats for 23.976p, 24p, and 25p
Projects
To output a particular format:
1. Select Output >Digital Cut.
2. Click the Output Format menu, and select a play rate.
A brief description of each output format is displayed in the Digital Cut tool.
The play rate you select determines how the digital cut is recorded. For example, if you
select 23.976, you tell your Avid editing application to slow down the play rate to match the
play rate used during an NTSC telecine transfer. When your Avid editing application records
the digital cut, it adds the pulldown frames and re-creates a telecine transfer to an NTSC
videotape.
For NTSC output, your Avid editing application automatically sets the pulldown if
necessary. If your Avid input/output hardware has a pulldown indicator, it is turned on.
Output Format Reference for 23.976p, 24p, and 25p Projects
1054
Audio play rates differ depending on your project type.
For full reference information on the output formats and on audio play rates, see “Output
Format Reference for 23.976p, 24p, and 25p Projects” on page 1054.
Output Format Reference for 23.976p, 24p, and 25p
Projects
The following table provides reference information for the Output formats (play rates) available
in the Digital Cut tool for 23.976p, 24p, and 25p projects.
Digital Cut
Tool Output
Format
(Play Rate)
Target Project or
System, and
Recording Media Description
23.976 (NTSC) NTSC TV; video
screenings; digital
audio workstations
(DAWs) that support
pulldown
Picture and sound to
NTSC tape; sound to
video-referenced
audiotape
Plays back the sequence at 23.976 fps (film rate). This play rate tells
your Avid editing application to replicate a telecine transfer with
perfect 2:3 pulldown. Your Avid editing application adds frames and
slows the playback speed to create a digital cut to 29.97 fps. Use this
option for NTSC video output, such as broadcast masters. For 25p, the
media is slowed down by 4.1 percent.
Pulldown is set to On (0.99).
24 (NTSC) Audio for film
projection; DAWs
(video for
reference only)
Picture and sound to
NTSC tape; sound to
DAT or mag tape
Plays back the sequence at 24 fps (film rate). This play rate tells your
Avid editing application to record audio at the film rate. If your Avid
editing application records video, it maintains sync by adding
pulldown fields and dropping every 1000th frame. This video should
be used for reference only. Use this setting for direct audio output to be
used in sync with film projection. Also use this setting when audio
media files are being used in a digital audio workstation (DAW) and
you need a digital cut for picture reference. For 25p projects, video
and audio are slowed down 4 percent.
Before you output the digital cut, make sure you select the correct
destination timecode rate. See “Indicating the Destination Timecode
Rate” on page 1057.
Pulldown is set to Off (1.00).
Output Format Reference for 23.976p, 24p, and 25p Projects
1055
The following table provides changes in audio rates if you are working in a 24p or 25p project:
29.97 (NTSC) Animation projects;
negative cutting with
lockbox; some
kinescope printing
Picture and sound to
NTSC tape (sound for
reference only)
Plays back the sequence at 29.97 fps. This play rate tells your Avid
editing application to speed up the playback speed without adding
pulldown fields. As a result, the sequence plays faster (25 percent
faster for 24p, 20 percent faster for 25p). Use this option for
animations and tape-to-film transfers where the pulldown needs to be
removed to have an exact frame-to-frame relationship between the
film and video.
Pulldown is set to On (0.99).
24 (PAL) Audio for film
projection; DAWs
(video for
reference only)
Picture and sound to
PAL tape; sound to
DAT or mag tape
Plays back the sequence at 24 fps. This play rate tells your Avid
editing application to record audio at the film rate. For 25p projects,
audio is slowed down 4 percent. Video, when output to tape, can be
used only for reference because, to maintain sync, your Avid editing
application replicates a pulldown telecine transfer with one extra
pulldown field occurring every 12th and 24th frame. Use this option
when audio media files are being used for film projection (PAL
Method 2) or in a DAW, and you need a digital cut for picture
reference.
Pulldown is set to Off (1.00).
25 (PAL) PAL TV; video
screenings
Picture and sound to
PAL tape; sound to
DAT or mag tape
Plays back the sequence at 25 fps. For 24p projects, this play rate tells
your Avid editing application to speed up the sequence by 4.1 percent,
creating a frame-to-frame relationship between film and video (PAL
Method 1). For 25p projects, there is no change in playback speed.
There are no pulldown frames with this setting. Use this option for
PAL video output, such as a broadcast master.
Pulldown is set to Off (1.00)
Digital Cut
Tool Output
Format
(Play Rate)
Target Project or
System, and
Recording Media Description
Output Play Rate 24p Source 25p Source
23.976 NTSC 0.1% slowdown 4.1% slowdown
24 NTSC No change 4% slowdown
29.97 NTSC 25% speedup 20% speedup
24 PAL No change 4% slowdown
25 PAL 4.1% speedup No change
Selecting the Timecode Format for Output
1056
If you are working in a 23.976 project, all output play rates are available, but only 23.976 NTSC
maintains the original audio quality. For 23.976 NTSC, the audio rate is not slowed down for
output and remains at 48 kHz. For 29.97 NTSC, the audio rate is sped up 25 percent and is not
usable. Use this output rate for animations and other special applications. 24 fps NTSC requires
a sample-rate conversion, so high-quality audio is not guaranteed.
The following table summarizes the change in audio rates for 23.976p output options.
Selecting the Timecode Format for Output
If you select one of the three NTSC output formats, you need to indicate the timecode format for
output: drop-frame or non-drop-frame.
You can designate drop-frame or non-drop-frame timecode for devices connected to one or both
of the following outputs:
• RS422 Output (serial port on the computer)
• LTC (LTC OUT on some Avid input/output hardware)
nTo output LTC timecode, you need to select “Generate LTC on Playback” in the General
Settings dialog box. For more information, see “Using LTC Timecode for Output” on page 1020.
By default, the menus display the timecode format of the sequence you loaded into the Timeline.
nYour Avid editing application can generate LTC at 29.97 fps only. See “Indicating the
Destination Timecode Rate” on page 1057.
To select the timecode format for output:
1. Select Output > Digital Cut.
2. Do one or both of the following:
tClick the RS422 Output menu, and select Drop or Non-Drop.
Output Play Rate Source Output Audio Rate
23.976 NTSC 23.976 fps 48 kHz (no change)
24 NTSC 23.976 fps 48.048 kHz (0.1% speedup)
29.97 NTSC 23.976 fps 60 kHz (25% speedup)
24 PAL 23.976 fps 48.048 kHz (0.1% speedup)
25 PAL 23.976 fps 50.016 kHz (4.2% speedup)
Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding
1057
tClick the LTC Output menu, and select Drop or Non-Drop.
Outputting Drop-Frame and Non-Drop-Frame
Timecode Simultaneously for Downstream Encoding
You can output drop-frame and non-drop-frame NTSC timecode simultaneously from a 23.976,
24p, or 25p project. A broadcast production company might need to output drop-frame timecode
for a broadcast master while outputting non-drop-frame timecode to track NTSC film pulldown.
Tracking the pulldown is important because some networks require the 2:3 pulldown phase to be
inserted in the VITC (vertical interval timecode). Inserting the pulldown phase enables
downstream encoding of various compression formats (like MPEG-2) to be faster and of higher
quality.
nFor information about 2:3 pulldown, see “Transfer of 24-fps Film to NTSC Video” on
page 1440.
It is easy to track pulldown information within non-drop-frame timecode, because the
relationship stays the same for the length of the digital cut. Your Avid editing application can use
LTC to output the non-drop-frame timecode. See “Using LTC Timecode for Output” on
page 1020.
To output drop-frame and non-drop-frame timecode simultaneously for downstream
encoding:
1. Select Output > Digital Cut.
2. Do the following:
tClick the RS-422 Output menu, and select Drop.
tClick the LTC Output menu, and select Non-Drop.
Indicating the Destination Timecode Rate
When you select 24 (NTSC) as your output format, the Destination Timecode Rate menu
(labeled Dest. TC Rate) opens. Select a timecode rate that matches the timecode rate of the
recording device, such as a DAT deck.
If you select 29.97 fps as your Dest. TC Rate, the sequence duration displayed in the Timecode
Duration display of the Digital Cut tool is slightly shorter than the duration shown in the
Timeline. This shorter duration occurs because the video play rate is sped up in comparison with
the audio timecode rate. If you select 30.00 fps, the sequence duration in the Digital Cut tool
matches the sequence duration in the Timeline.
Selecting the Video Pulldown Cadence
1058
The value you select also sets the rate for LTC output, if any, without changing the play rate of
the media being output (24 NTSC).
nYour Avid editing application can generate LTC at 29.97 fps only. No LTC will be output if you
select 30.00.
To indicate the destination timecode rate:
1. Select Output> Digital Cut.
2. Click the Dest. TC Rate menu, and select 29.97 fps or 30.00 fps.
Selecting the Video Pulldown Cadence
Depending on your Avid input/output hardware, you might have the option to select whether to
use standard or advanced pulldown for output when you select 23.976 (NTSC) as your output
format. This pulldown cadence is important if you are outputting a sequence for transfer to
another non-linear editing system. Avid editing applications can capture footage that uses either
pulldown cadence. Other editing systems might require one or the other.
If you select Advanced, make sure that the sequence timecode is non-drop-frame and that the A
frame falls in timecodes ending on :x0 and :x5. You can check the frame/timecode
correspondence if the Master timecode is displayed in the Tracking Information above the
Record monitor. For information about changing the pulldown phase, see “Changing the Default
Pulldown Phase for Sequences” on page 1060.
nSome low-cost DV decks cannot be striped as non-drop-frame for performing digital cuts.
To select the video pulldown cadence:
1. Select Output > Digital Cut.
2. Click the Video Pulldown Cadence menu, and select one of the following:
- Standard 2:3:2:3
- Advanced 2:3:3:2
Performing an Insert Edit with Pulldown
If you are working in an NTSC 24p project, and you need to insert a segment into a sequence that
has already been cut to tape, your Avid editing application automatically adjusts the insert edit to
maintain the correct pulldown.
Digital Cuts and Audio
1059
To perform an insert edit with pulldown:
1. Use IN and OUT points to mark the segment you want to insert.
2. Select Output > Digital Cut.
The Digital Cut tool opens.
3. Deselect the Entire Sequence option.
4. Select Remote in the Deck Control options area.
5. Select Sequence Time to start the recording at a timecode existing on tape that matches the
start timecode of the sequence.
6. Click the menu, and select Insert Edit.
This menu only appears if you enabled assemble editing in the Deck Preferences dialog box.
For more information about this option, see “Enabling Assemble-Edit Recording” on
page 1040.
7. Click the Deck Selection menu, and select a deck.
See “Selecting a Deck in the Digital Cut Tool” on page 1044.
8. Click the Sequence Track buttons to select the video tracks you want represented in the
digital cut.
The display of tracks in the Digital Cut tool varies according to the tracks existing in the
sequence.
9. Select the video track to record to on the tape by using the Enable Track buttons.
10. Click the Output Options area, and select 23.976 (NTSC) and either 4:3 or 16:9.
11. Click the Play Digital Cut button.
Your Avid editing application cues the record deck, then plays and records the insert edit.
Your Avid editing application automatically adds the correct pulldown fields.
12. To stop the recording at any time, press the space bar or click the Halt Digital Cut button.
Digital Cuts and Audio
You can use one of several tape formats and methods for audio output, but the following are most
common:
• Record a digital cut directly to videotape by using analog output.
• Record a digital cut directly to DAT or DA-88 by using digital output.
• Play the sequence to an audiotape recorder by using analog output.
nYou cannot control some analog audio decks from the Digital Cut tool. If the deck does not have
a serial control port, you need to select Local when you record the digital cut.
Changing the Default Pulldown Phase for Sequences
1060
Your output choice in the Digital Cut tool automatically sets the pulldown switch.
If you perform an audio-only digital cut, your Avid editing application plays the video tracks in
the Client monitor to ensure the most accurate audio sync. A message appears at the bottom of
the Digital Cut tool.
Information on connecting decks and cabling varies depending on the Avid input/output
hardware you use. For more information, see “Connecting Cameras, Decks, and Monitors” in the
Help.
nIf your sequence contains audio clips with different sample rates, use the Change Sample Rate
dialog box to ensure that all the clips have the same sample rate. For more information, see
“Changing the Audio Sample Rate for Sequences and Audio Clips” on page 814.
Changing the Default Pulldown Phase for Sequences
During a digital cut to 30-fps NTSC videotape, your Avid editing application defaults to an
A-frame pulldown conversion for sequences (subsequences are an exception). If you are
appending sequences to the same output tape on which continuous pulldown is required, you
might need to change the default pulldown phase (or pullin) to a B frame. A digital cut can begin
only on the first field of an A or B frame.
For example, if one cut ends on an A frame, before performing the digital cut of the next
sequence, change the pullin for the next sequence to the B frame. You can determine the frame
that ends a sequence by checking the Pullout column in the bin that holds the sequence.
If your sequence ends on a B or C frame, edit the sequence to end on an A or D frame to create a
continuous 2:3 pulldown.
For more information on film-to-tape transfers, see “Transferring Film to Tape” on page 1436.
To change the default pulldown phase for a sequence:
1. Open the bin that holds the sequence.
2. Check if the Pullin column appears. If not, do the following:
a. Click the Bin Fast Menu button, and select Title Onlys.
b. Ctrl+click (Windows) or Command+click (Macintosh) Pullin.
3. Type A or B in the Pullin column.
Understanding DV Digital Cut Delay
1061
- Pullin A: The first frame of the sequence plays back as two fields, the second frame as
three fields, the third frame as two fields, and so on.
- Pullin B: The first frame of the sequence plays back as three fields, the second frame as
two fields, the third frame as three fields, and so on.
Now you can perform a digital cut to append the new sequence.
Understanding DV Digital Cut Delay
DV digital cut delay affects the timing of the DV data sent to the DV device for a digital cut.
Increasing the digital cut delay will cause the sequence stream to be to delayed when it is sent to
the DV device when digital cut begins. While the system is waiting for this delay, the first frame
of the sequence is continually sent to the DV device.
There are several components to this setting.
• The recommended value represents the delay that is found in the machine template for the
online DV device. If for some reason, there is no “online” DV device, the recommended
value is set to the delay in the machine template of the “offline” DV device. If no DV device
is configured in the Deck Configuration and Deck Settings dialog boxes, this value is set to
0.
• If you want to override the recommended digital cut delay, select the Override
Recommended Digital Cut Delay option, and type a delay value into the Digital Cut Delay
(frames) text box. When a digital cut is performed, the delay value used for the cut is based
on whether the Override Recommended Digital Cut Delay option is selected. If the option is
deselected, the recommended value is used.
Before setting this delay, you should perform several digital cuts to determine the
frame-accuracy behavior of the recording device. Begin with the DV digital cut delay set to 0
frames. If the digital cut frame accuracy of the device is inconsistent, the results of using the
delay are also inconsistent. If the sequence is missing frames at the beginning of the digital cut
on the tape, increase the delay. If the first frame of the sequence is repeated, decrease the DV
digital cut delay. The starting frame of the sequence should change according to your delay.
For example, suppose the DV digital cut delay is set to 0 frames. The digital cut is expected to
begin with the first frame of the sequence being recorded on the IN point designated on the tape.
In this example, the IN point is set to frame number 6. This is where the recording would begin
on the tape. However, due to the behavior of the particular DV device, the digital cut does not
perform as expected. The first frame of the sequence recorded on the tape is actually the fourth
frame.
Delaying the Sequence for a Digital Cut
1062
To correct this, the DV digital cut delay should be increased to have the Avid system delay
sending the sequence to the device. If the DV digital cut delay is set to three frames, this should
cause recording on the tape to begin with the correct sequence frame.
Delaying the Sequence for a Digital Cut
You can delay the sequence stream being sent to a DV device during a digital cut. This can help
you to ensure that the first frame recorded is the first frame of your sequence. For more
information, see “Understanding DV Digital Cut Delay” on page 1061.
To delay the sequence for a digital cut:
1. Click the Settings tab in the Project window.
2. Double-click Deck Preferences.
The Deck Preferences dialog box opens.
3. Select Override Recommended Digital Cut Delay.
4. Determine the approximate delay and type the delay in the Digital Cut Delay (frames) text
box.
5. Click OK.
6. Perform a digital cut.
See “Using the Digital Cut Tool” on page 1042.
7. Repeat this process until you achieve the appropriate delay.
Using EDL Manager
An edit decision list (EDL) is a detailed list of the edits contained in a sequence, including all the
timecode and supported effects information required to re-create the sequence in an online
videotape suite. The EDL is organized into a series of chronological instructions called events,
which are interpreted by an edit controller that automates the assembly of the videotape master.
Your Avid editing application includes EDL Manager, an application with powerful features and
sorting capabilities to help you prepare an EDL.
For more information on specific features and capabilities of EDL Manager, see the EDL
Manager Help.
To start EDL Manager:
tSelect Output > EDL.
Using FilmScribe
1063
Using FilmScribe
The FilmScribe application, available with some Avid editing applications, provides tools for
creating frame-accurate cut lists and change lists from 23.976p, 24p, 25p, and matchback
projects. You can use these lists to conform a work print, a film negative, audio tracks, or
videotape transfers.
For information on how to use FilmScribe, see the FilmScribe Help.
To start FilmScribe:
tSelect Output > FilmScribe.
Understanding Matchback
The Matchback option on some Avid editing applications, along with the Avid FilmScribe
application, lets you generate a film cut list from a 30-fps or 25-fps video project that uses film
as the source material. This video-to-film conversion is useful in a variety of matchback
circumstances, including the following:
• Using the Matchback option to generate both a videotape master for the project and a final
cut on film.
• Using the Matchback option to generate pull lists for retransferring selects at high quality
before online editing.
Matchback supports 16mm, 35mm 3-perf, and 35mm 4-perf formats.
If you plan to use matchback, you must select the Matchback option when you first create the
project. See “Creating a New Project” on page 50.
nEditors working in a film matchback project for the first time should pay extra attention to
duplicate material in the final edited piece. Use Dupe Detection in the Timeline and verify any
dupes flagged when delivering a cut negative. For information on dupe detection, see “Dupe
Detection” on page 711.
How Matchback Works
The matchback process refers to the video edit information for your sequence and performs a
conversion to create a matching 24-fps cut list.
Because of the difference in frame rates between video and film (30 fps or 25 fps for video
versus 24 fps for film), the conversion of video edit points might fall within a film frame,
requiring the addition or subtraction of a frame in that edit event in the resulting cut list.
Vertical Blanking Information
1064
For example, with a ratio of 24 film frames to 30 video frames, a 7-frame video edit corresponds
to approximately 5.6 film frames. However, film cuts cannot include partial frames, so the edit
must be rounded to 5 or 6 frames.
To make these adjustments, the following occurs during matchback:
• If the total video-sequence duration at the end of each cut is a frame longer than the film, the
system subtracts a frame from the last video edit. If the video is a frame too short, a frame is
added to the last video edit.
• Where an essential frame was added to or subtracted from the beginning or end of each edit,
the system adds matchback information to the cut list, stating that matchback shortened or
lengthened the tail of the clip by one frame. The assistant editor or negative cutter can use
this information to check the edit.
• Each track in the sequence must be corrected independently because the start and end points
for split edits are different for each track. As a result, the picture and audio for a matchback
video edit might be out of sync by no more than one frame.
Matchback Limitations
Matchback is subject to the following limitations:
• The Matchback option uses key numbers to conform the negative, so you must have
key-number information entered into the bins for the project.
• You can generate cut lists but not change lists in a matchback project.
• The matchback information applies to the picture only. You must generate a separate list (an
EDL, for instance) for conforming the audio source tapes.
• Be sure to remove unwanted match frames (add edits) from your sequence before generating
the cut list. Otherwise, the calculation of matchback frames will include these edits. For
information about removing match-frame edits, see “Working with Add Edits (Match
Frames)” on page 710.
Vertical Blanking Information
Avid editing applications using Avid input/output hardware let you work with vertical blanking
information in some SD material. You can choose whether to display 5 lines above each field in
NTSC and 8 lines above each field for PAL and whether to preserve the lines when you perform
a digital cut. These lines can be used to store additional encoded information such as closed
captioning, edgecodes or key numbers for film projects, or various interactive or enhanced TV
codes. This section describes when it is useful to preserve the information and describes the
limitations involved when preserving these lines.
Vertical Blanking Information
1065
cYou can preserve VBI information for JFIF, uncompressed, and MPEG IMX resolutions.
You cannot preserve VBI information for DV resolutions.
nIn the majority of cases, you should not preserve these extra lines when you perform a digital
cut. Only do so if you have a special need for the information.
Vertical Blanking Interval Line Ranges
Your Avid editing application can capture 248 lines per field in NTSC or 296 lines per field in
PAL. For NTSC, only 243 of these lines are in RP-187’s production aperture. For PAL, the
number is 288. The additional lines in each field are located immediately above the active part of
each of the two fields. These lines (5 per field in NTSC and 8 per field in PAL) can be used for
carrying additional data.
The following table lists the extra vertical blanking lines for both NTSC and PAL:
Displaying and Preserving Vertical Blanking Information
Avid editing applications using Avid input/output hardware automatically preserve the extra
lines of vertical blanking information when you capture footage. You can choose whether to
display the lines and whether to retain the lines when you output your sequence as a digital cut.
You might want to preserve the following vertical blanking information:
• Edgecode or key number information for a film project
You might want to preserve edgecode information to easily identify the source film reel for a
clip. In this case, the edgecode information would have been originally inserted during the
telecine process.
• Closed-captioning information
If you are repurposing a finished sequence for another market, you might want to retain
closed-captioning codes that were added after the tape was output from the Avid system.
This would let you perform some basic editing on the recaptured sequence and not to have to
reapply the closed-captioning codes afterward.
Field Video Raster Line Number Ranges
NTSC (5 Lines/Field) PAL (8 Lines/Field)
Field 1 16-20 15-22
Field 2 278-282 328-335
Vertical Blanking Information
1066
nYour Avid editing application does not interpret the vertical blanking information (the encoded
data). It treats the coded values simply as pixels in the video frame. If you want to read the
vertical blanking information during editing, you must connect an external vertical blanking
information reader to the Avid system.
To display vertical blanking information and preserve it for a digital cut:
1. Select Tools > Video Output Tool.
The Video Output tool opens.
VBI menu in the Video Output tool
2. Click the VBI menu and select Preserve.
If you select Blank, your Avid editing application fills the vertical blanking interval with
video black (R=G=B=16).
3. Close the Video Output tool.
Any VBI information that is present in your clips or sequences will now be displayed. If you
perform a digital cut, any VBI information that is in your sequence will be output.
cThe VBI value resets to Blank each time you launch your Avid editing application. If you
want to preserve VBI information on output, set the value before you perform a digital cut.
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Editing a Sequence with Vertical Blanking Information
After a sequence is created and output from an Avid editing system, some facilities apply VBI
information to the tape to add information such as closed captioning. Often, the tape is
recaptured so that the sequence can be repurposed for another market. The VBI option in the
Video Output tool lets you display the VBI information and maintain the information when you
output the repurposed sequence.
Your Avid editing application uses the following rules when applying effects to material
containing VBI information:
• Single track effects do not alter the VBI information. For example, if you apply a color
correction effect to the sequence, the VBI lines are not affected.
• Multi-track effects such as picture-in-picture effects or 3D Warp effects use the VBI
information of the track on the lowest layer. (Swap sources is ignored in the VBI area).
nIf you apply a multi-track effect such as a 3D Warp effect to a sequence with a single track, the
VBI information will not be visible. One way to work around this problem is to create a second
video track and duplicate that portion of the sequence on the second track. Then apply the 3D
Warp effect to the top track. The VBI information will display on the bottom track.
• Transitions are treated as cuts in the VBI area.
• Timewarp effects copy the VBI of the input’s temporally nearest field. In mild timewarp
effects this may allow VBI to pass through unaltered.
nYou cannot add or remove VBI information from a sequence. However, you can use the Blank
option to turn off the VBI display for the entire sequence.
You cannot preserve VBI information for DV resolutions. You can only preserve VBI information
for JFIF, uncompressed, and MPEG IMX resolutions.
Effects of Preserving Vertical Blanking Information on Compressed
Video Quality
For resolutions other than 1:1, preserving vertical blanking information when you capture can
affect the video quality in the rest of the frame. For example, depending on the compression
ratio, a video frame might look more blocky with vertical blanking information included.
Your Avid editing application performs the following operations when capturing a frame:
1. It captures the entire frame (including the 5 or 8 extra lines per field) as an uncompressed
frame.
2. It compresses the frame if compression is selected.
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The following problems may occur:
• If the frame contains vertical blanking information, the picture quality of the entire frame
might be slightly degraded due to the added entropy or complexity from the vertical
blanking lines.
The higher the compression ratio, the greater the number of artifacts that might be visible.
For a compression ratio of 2:1, the number of artifacts might not be noticeable at all.
• Depending on the compression ratio, the vertical blanking information itself may be
distorted.
If you want to preserve vertical blanking information, either use the 1:1 (uncompressed)
resolution or experiment with different compression ratios to make sure the captured footage or
the vertical blanking information is not unacceptably affected by the compression.
Comparison with Vertical Blanking Information on Meridien Systems
The following table shows the differences between how VBI is treated on systems with Meridien
hardware (for example, Media Composer v12.0 or Avid Symphony v5.0) and systems with
current Avid input/output hardware.
Feature Meridien Current
When does the system give you the opportunity to
blank VBI information?
During capture and during a
digital cut
During playback and
during a digital cut
nIn order to view VBI on a Meridien system you must disable the 3D hardware.
What dialog box or tool do you use to set VBI
blanking?
General Settings dialog box Video Output tool
Is VBI supported for DV resolutions? No No
Is VBI supported for MPEG IMX? No Yes
Does NewsCutter support VBI? No Yes
Is VBI supported for JFIF and uncompressed
resolutions?
Yes Yes
Is VBI information preserved when you apply
effects?
Not always
nFor example, a color
effect can modify the
VBI information on a
Meridien system.
Yes (see “Editing a
Sequence with Vertical
Blanking Information”
on page 1067.)
Can you use a two layer effect to wipe in VBI
information?
Yes No
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For details on how Meridien systems support VBI, see the Preserving Information in the Vertical
Blanking Interval white paper on the Avid Knowledge Base.
Preserving HD Closed Captioning and Ancillary Data
Unlike SD closed captioning data, which is transferred in the vertical blanking interval (VBI),
HD closed captioning and ancillary data packets are transferred in the HD-SDI data stream.
In certain circumstances, your Avid editing application lets you capture closed captioning and
other ancillary data in HD, preserve this data during editing, and output the data through the
HD-SDI port of your Avid input/output hardware. Your Avid editing application lets you turn
ancillary data preservation on and off and to control which data is preserved.
Depending on your input/output hardware and the version of software you have, there are two
methods for preserving ancillary data. The Legacy method embeds the ancillary data in a
DNxHD video file, and the Data Track method adds a separate data track to the Timeline and lets
you capture and store ancillary data as a separate MXF file. You need to choose whether you
want to use the new Data Track method or the legacy embedded method.
For both methods, you can only monitor and view the data on a client monitor capable of
handling ancillary data.
Your Avid editing application can capture and preserve any of the following four types of
ancillary data by default:
• Closed Captioning (CEA 608, CEA 708): Closed captioning ancillary data packets are
captured from the HD-SDI source according to the SMPTE 334M standard.
• Program Description (AFD): AFD ancillary data packets are captured from the HD-SDI
source according to the SMPTE 334M standard.
• Ancillary Time Code (ATC): Ancillary time code packets are captured from the HD-SDI
source.
The options that you set for ancillary data preservation are associated with the project. When you
create a new project, you must set the ancillary data options you need for that project.
Can VBI information affect compression quality? Yes Yes
Can compression affect VBI quality? Yes Yes
Feature Meridien Current
Preserving HD Closed Captioning and Ancillary Data
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Data Track Method
The Data Track method stores ancillary data as a separate MXF file. A D (Data) track is added to
your sequence, along with the video and audio track. You can edit clips on the
D track, just as you would any other clip.
When you use the Data Track method, ancillary data preservation is subject to the following
requirements and limitations:
• You can capture and output the MXF media using Avid Nitris DX or Avid Mojo DX
input/output hardware only.
• You can control which types of ancillary data are captured through the Capture Settings tab
in the Media Creation tool. The data you capture is the same as the data you output.
• Four data slots are available, and the maximum size is selectable.
• To view and monitor ancillary data, you must connect an ancillary data capable device to the
output of your Avid hardware.
• You can AMA link to XDCAM and MXF media that store ancillary data. For more
information, see “Ancillary Data and AMA” on page 1072.
• You cannot add an effect to the Data track.
• Ancillary data is not supported when crossconvert or downconvert are enabled.
• You cannot patch a Data track.
• Multicamera (group clips) is not supported with a Data track.
• A Data track is not allowed when you use mixed rate clips.
• You cannot transcode a data clip.
• You must output through the HD-SDI port of your Avid input/output hardware. Ancillary
data is only supported through the HD-SDI input/output of your Avid hardware.
• There is no support for a Data track in the Avid FilmScribe application.
• At this time, the following resolutions/projects are not supported with a data track: RGB,
720p/23, 720p/25 and 720p/29.94.
• Data tracks are supported when you export a sequence to a playback device through the
Transfer > Send to Playback option (exporting a sequence with Data tracks to an Avid
Interplay Transfer environment). For information about Send to Playback with a Data track,
see your Avid Interplay documentation.
• At this time, there is no support to export a sequence with a data track through the
File > Send To template options, for example, ProTools.
• Avid EDL Manager supports data tracks. A sequence that contains a Data track displays in
Avid EDL Manager through the following EDL types (templates): ASC,
Abekas_Solo_(ASCII), all CMX, File 16, and File 32. You can also turn on or off the display
Preserving HD Closed Captioning and Ancillary Data
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of a data track in the Avid EDL Manager’s Track Selector panel with the D track button.
Events which contain a Data track appear in an EDL with a “D” where the “V” appears for
video tracks.
Adding a Data Track
You can add one Data track directly to the Timeline or you can extract the ancillary data from a
video clip to create the Data track.
If you have a clip with ancillary data that you brought in through the Legacy method, the best
way to bring this clip onto a data track is to use the procedure by extracting ancillary data from a
clip. When you add a Data track by extracting a clip, the clip needs to meet the following criteria,
or you will receive an error message:
• The clip must be a master clip
• The clip should not have a Data track associated with it already
• The media needs to be DNxHD format
• The media needs to be online
To add the Data Track to a sequence in the Timeline:
tWith a sequence loaded in the Record monitor, select Clip > New Data Track.
tRight-click in the Timeline, and select New Data Track.
The new Data Track appears in the Timeline.
To add a Data Track through extracting ancillary data from a clip:
1. Select the clip (that includes ancillary data) in the bin.
2. Choose Clip > Extract DNxHD Data, or Right-click the clip in the bin and choose Extract
DNxHD Data.
The Confirm dialog box appears.
If the clip does not meet all the requirements to extract an ancillary data clip, a dialog box
appears that informs you of the problem. Open the Console window (Tools > Console) to get
more information about the problem.
3. Click Continue or Cancel.
The system adds the Data track with the clip to the Timeline. The clip in the bin displays D1
in the Track column.
nTo playback the D1 track, you must have the ancillary data turned on in the Media Creation
Settings > Capture tab. See “Controlling Ancillary Data through a Settings Window - Data
Track Method” on page 1075.
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Ancillary Data and AMA
Avid Media Access (AMA) is a plug-in architecture that lets you link directly to clips from a
third-party volume or to a file based media clip into a bin without storing the media directly on
your system.
You can AMA link to an XDCAM or an MXF (SMPTE 436M compliant) clip with ancillary
data, the ancillary data appears in your bin and it creates a Data track in your Avid sequence. You
can link to the ancillary data clip without an Avid input/output hardware, however, in order to
view the ancillary data in a monitor, an Avid Nitris DX or Avid Mojo DX device is required.
nAncillary data is only supported with high resolution XDCAM clips. A proxy clip does not
contain a data track, however once you relink to the high resolution XDCAM clip, the data track
comes online.
For information about ancillary data and data tracks, see “Preserving HD Closed Captioning and
Ancillary Data” on page 1069 and “Data Track Method” on page 1070.
If you consolidate the XDCAM or MXF clip or the sequence that contains the XDCAM or MXF
clip with ancillary data, the ancillary data track stays with the consolidated clip or sequence. In
addition, the Ancillary Data bin column populates with the DID and SDID numbers once you
consolidate or transcode the clip with the ancillary data.
In order to AMA link to the XDCAM ancillary data clip, you need to install the latest XDCAM
AMA plug-in. In order to AMA link to the MXF ancillary data clip, you need to install the latest
MXF AMA plug-in. To download the AMA plug-ins, go to www.avid.com/ama.
To link to an XDCAM AMA clip with ancillary data, you need to perform a Link to AMA
Volume. See the procedures “To manually link clips from a virtual volume with AMA,” in
“Linking Media with AMA” on page 413.
To link to an MXF AMA clip with ancillary data, you need to perform a Link to AMA File. See
the procedures “To link clips from a file with AMA,” in “Linking Media with AMA” on
page 413.
nFor detailed information about AMA, see “File Based Media - AMA” on page 368.
nFor procedures on editing with ancillary data and AMA, see “Workflow for Editing Clips with
Ancillary Data and AMA” on page 432.
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Moving from Legacy Method to Data Track Method
The following explains what you need to know when you capture ancillary data with the Legacy
method and move to the Data Track method. You might need to perform additional steps when
you move sequences or clips from the legacy method to the data track method.
• You should not mix SMPTE 436M (data track) ancillary data media with legacy method
media. If you have a sequence that includes media from both methods, only one method
plays. If you select SMPTE 436M (data track) in the Media Creation Capture tab, only the
SMPTE 436M (data track method) clip plays. If you select Legacy method in the Media
Creation Capture tab, only the Legacy method clip plays. If you want to play both methods,
you need to perform a Clip > Extract DNxHD Data on the Legacy clip and cut that clip into
your sequence.
• Subclips created in the legacy method will not include a data track when you bring the
subclip into a sequence or bin with data tracks. Only the master clip will include the data
track. You cannot add a data track to a legacy subclip. You need to recreate the subclips
again to add the data track.
Ancillary Data and Avid Editing Functions
The table below describes if you can use a particular editing function with the new Data Track
method or with the Legacy method.
How Data Tracks Are Handled in the Data Track Method and the Legacy Method
Data Track Method Legacy Method
Create a D track Yes No
Play Yes
(Avid Nitris DX or Avid Mojo DX only)
No
Edit Yes Yes
Capture Yes
(Avid Nitris DX or Avid Mojo DX only)
No
Transcode No No
Consolidate Yes No
Mixdown Yes No
Import (AAF) Yes Yes
Export (AAF) Yes No
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How Ancillary Data Embedded in DNxHD Media Is Handled in the Data Track Method
and the Legacy Method
nEven though Avid preserves ancillary data, if you move a sequence with a data track to and from
different systems (with and without supported Avid input/output hardware), be aware that when
you perform the editing functions listed in the above tables, ancillary data might not always be
preserved the way you expect.
Data Track Method Legacy Method
Create a D track Not Applicable Not Applicable
Play Not Applicable Yes
(with Avid Nitris DX or Avid
Mojo DX only)
Edit Not Applicable Not Applicable
Capture Not Applicable Yes
(with Avid Nitris DX or Avid
Mojo DX only)
Transcode Not Applicable Not Applicable
Yes
(with Avid Nitris DX or Avid
Mojo DX and source and
destination media must be
DNxHD)
Consolidate Not Applicable Yes
Mixdown Not Applicable Yes
Import (AAF with
embedded media)
Not Applicable
Yes
(with Avid Nitris DX or Avid Mojo DX
only)
Not Applicable
Yes
(with Avid Nitris DX or Avid
Mojo DX only)
Export (AAF with
embedded media)
Not Applicable
Yes
(with Avid Nitris DX or Avid Mojo DX
only)
Not Applicable
Yes
(with Avid Nitris DX or Avid
Mojo DX only)
Preserving HD Closed Captioning and Ancillary Data
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Legacy Method
When you use the legacy method, ancillary data preservation is subject to the following
requirements and limitations:
• You must capture and output the HD media using Avid Nitris DX or Avid Mojo DX
input/output hardware.
nSoftware only systems do not support capture and output of HD ancillary data.
• Due to software DNx codec performance requirements, you must have a dual quad core
system in order to capture DNxHD 220 or 220x with ancillary data on the Avid Nitris DX or
the Avid Mojo DX platform.
• Ancillary data can only be preserved when it resides on the V1 video track.
• You can control which types of ancillary data you capture through the Capture Settings tab
in the Media Creation tool or by using Console commands. The data you capture is the same
as the data you output.
• Four data slots are available, and the maximum size of the four data slots combined is 256
bytes, of which 7 bytes per enabled slot is for Avid control data. You might need to disable
some data slots in order to have enough space for the data you need to preserve.
• You must output through the HD-SDI port of your Avid input/output hardware. Ancillary
data is only supported through the HD-SDI input/output of your Avid hardware.
• Ancillary data is not supported when crossconvert or downconvert is enabled.
• You cannot playback a D-track in Legacy mode.
Controlling Ancillary Data through a Settings Window - Data Track
Method
This feature is only available with an Avid Nitris DX or an Avid Mojo DX. Choose SMPTE
436M to capture ancillary data to an MXF file (data track method). You can also set the slots
through the Media Creation Settings.
To switch the ancillary data feature on and set options for ancillary data in a Settings
window:
1. Do one of the following:
tDouble-click Media Creation in the Settings list.
tSelect Tools > Media Creation.
2. Click the Capture tab.
3. From the Ancillary Data Mode Setting, select SMPTE 436M.
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The system enables all four slots.
4. Select a Data Type for each slot you want to display ancillary data for.
The default DID and SDID number displays for that slot.
5. Select Enabled next to the appropriate slot.
6. Deselect Enabled for those slots you do not want to capture ancillary data for.
7. Click OK.
nFor more information about ancillary data options, see “Media Creation Settings” on
page 1361.
Controlling Ancillary Data through a Settings Window - Legacy Method
This feature is only available with an Avid Nitris DX or an Avid Mojo DX. You can turn the
ancillary data option on and off and set the slots through the Media Creation Settings.
To switch the ancillary data feature on and off through a Settings window:
1. Do one of the following:
tDouble-click Media Creation in the Settings list.
tSelect Tools > Media Creation.
2. Click the Capture tab.
3. From the Ancillary Data Mode Setting, select Legacy.
4. Select a Data Type for each slot you want to display ancillary data for.
The default DID and SDID number displays for that slot.
nThe DID and SDID information captured with the data clip displays in the bin.
nFor more information about ancillary data options, see “Media Creation Settings” on
page 1361.
Controlling Ancillary Data with a Console Command (Legacy Method
only)
You can turn the ancillary data option on and off and set the slots with Console Commands.
To switch the ancillary data feature on and off with a Console command:
1. Select Tools > Console.
2. Type the following command:
Embeddnxcc
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To set the default for ancillary data preservation for all four slots:
1. Select Tools > Console.
2. Type the following command:
Embeddnxccdefault
The default for all four slots is set to the values listed in the table below.
The following table lists the DID and SDID number values for the four ancillary data
packets that your Avid editing application can capture and preserve by default:
nThe slot 3 default has changed from DTV to AFD, which is different from previous releases.
To set options for ancillary data preservation for a single slot:
1. Select Tools > Console.
2. Type the following command with the appropriate options:
Embeddnxccoptions <slot> <on/off> <optional DID & SDID>
The following table describes the options you can set in the command:
For example:
- To turn off data slot 1, type
Embeddnxccoptions 1 0
- To set data slot 2 to hold CEA 708 data, type
Embeddnxccoptions 2 1 0x61 0x01
Data Packet DID SDID
CEA 708 61 01
CEA 608 61 02
AFD 41 05
ATC 60 6 0
Option Description
Slot A value from 1 to 4 that specifies a data slot
On/Off A value of 1 or 0
DID A hex number (for example, 0x61)
SDID A hex number (for example, 0x60)
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- To set data slot 4 to hold a custom data type, type
Embeddnxccoptions 4 1 0xaa 0xbb
where
aa
and
bb
are the DID and SDID of the custom data type
To view the current status of each slot:
1. Select Tools > Console.
2. Type the following command:
Embeddnxccoptions
Capturing Ancillary Data with a Data Track
While you capture video and audio clips, if your Avid editing system has an Avid Nitris DX or
an Avid Mojo DX attached, you can also capture clips with ancillary data.
You perform the same steps included in “Preparing for Capture” on page 156 and “Capturing
Media” on page 218 to capture video and audio media. Make sure you select the Data track (D)
Channel Selection in the Capture tool. You also need to select the appropriate ancillary data
options in the Capture tab of the Media Creation Settings window.
To capture clips with ancillary data:
1. Prepare your deck for capture. Follow the steps in “Preparing for Capture” on page 156 and
“Setting Up the Capture Tool” on page 180. This includes selecting the D Channel Selection
button in the Capture Tool.
2. Select SMPTE 436M and the type of ancillary data you want to capture in the Capture tab of
the Media Creation Settings window. Follow the steps in “Controlling Ancillary Data
through a Settings Window - Data Track Method” on page 1075.
3. Decide on your method of capture, see “Capturing Media” on page 218 for more
information.
Depending on the options you select, ancillary data clips along with the video and audio
clips you selected to capture, appear in the bin.
Performing a Data Mixdown
With the Data Track method, a data mixdown lets you combine several clips into one new master
clip. You can use data mixdown after you finish building your sequence and want to make it into
one piece.
Data mixdown is useful when you want to:
• Combine multiple ancillary data clips into one master clip.
• Finalize a complex sequence before you consolidate, export, or transfer.
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With data mixdown, your end result is a new master clip made up of all the data clips on the data
track. That track becomes one clip.
To perform a data mixdown:
1. Select the Record Track Monitor button in the Track Selector panel for the data track.
2. Mark an In point and an Out point around the area to mix down, or clear the In and Out
points to mixdown the entire sequence.
3. Select Special > Data Mixdown.
The Data Mixdown dialog box opens.
4. Select a target bin and target drive for storing the new master clip, and then click OK.
A progress indicator appears. When the data mixdown finishes, a new clip appears in the bin
along with the sequence, and a new media file is created on the target drive.
Exporting a Sequence with Data Tracks
When you have completed work on a sequence with a data track, you can export the data track
sequence to create an XDCAM HD file. You must use an XDCAM HD device. The XDCAM
HD file serves as a wrapper for information about the sequence, with links to the media in the
sequence.
The XDCAM HD file exports with the data track and ancillary data, however, if you attempt to
import the same file into your Avid editing system, the data track and ancillary data do not
import.
nFor complete information about the export process, see “Understanding Export” on page 986.
To export to an XDCAM device:
1. Connect your XDCAM HD device.
2. Select the appropriate mode on your XDCAM HD device that corresponds to the video
format that you will be exporting.
For example, set your XDCAM device to 1080i 59.94 if you want to export a clip or
sequence at XDCAM-35 1080I/59.94.
3. Select the sequence or clips to export, or select the data track.
4. With an XDCAM HD HD device connected to your system, select Output > Export to
Device > XDCAM.
If you have a sequence loaded in the Record monitor, the sequence is exported when you
select Export to Device.
You can also right-click the clip or sequence in a bin and select Export to Device.
The XDCAM Export Settings dialog box opens.
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5. (Option) Select Use Marks.
When Use Marks is selected, the current IN and OUT points in the selected clip or sequence
determine starting and ending frames for the export.
6. (Option) Select Use Enabled Tracks.
When Use Enabled Tracks is selected, the system uses tracks that are enabled in the
Timeline. To export all the tracks in the sequence, deselect this option.
7. Select an XDCAM HD disk from the Target XDCAM Disk list.
If the target XDCAM disk you are exporting to already has other clips on it, you are only
allowed to export a clip with the same number of audio tracks. For example, if the target
XDCAM disk has a clip with 4 tracks of audio, you cannot export a new XDCAM clip with
2 tracks. You either have to reformat the disk and wipe it clean or add two dummy tracks to
your 2-track sequence before you export.
8. Select a video format.
Select XDCAM-50, XDCAM-35, XDCAM-25, or XDCAM-17.
For HD, a single disk can have clips with mixed bit rates (17.5, 25, and 35 Mbits).
Additionally, a sequence that is being exported to an HD XDCAM disk can have mixed bit
rates, as well.
If you use the Sony PDW HD1500 or the Sony PDW 1500 XDCAM device, export of up to
8 tracks of audio is supported for the MPEG IMX and XDCAM HD 50 Mbits formats. For
other formats or devices that do not support 8 tracks, the system mixes down to audio tracks
1 and 2 during export.
9. Select a Bit Depth: 16 or 24 bits.
For HD projects, select 16 bits. XDCAM HD devices are not capable of handling 24 bits,
except for the Sony PDW HD1500 device, which is capable of handling 24 bits.
10. Click OK.
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Sony applies its own file-naming convention. All exported clips are given a new sequential
name of Cxxxx.mxf, for example, C0019.mxf.
A progress bar appears displaying the new Sony XDCAM HD sequential clip name. The
sequence is exported.
24 Conforming and Transferring Projects
This chapter contains information about conforming and transferring projects.
•Understanding Conforming
•Preparations for Conforming
•Conforming Workflow
•Transferring Project and Media Files Between Avid Editing Systems
Understanding Conforming
You can move projects and media from one Avid editing system to another and preserve your
edits and effects. In a typical offline-to-online workflow, you create a program on one Avid
editing system — choosing the footage, making edits, adding effects — and then transfer your
program to another Avid system for final finishing.
Re-creation of an offline project on an online system is called conforming, and Avid’s solution is
called Total Conform. Finishing tasks often include recapturing media in a final resolution,
making color corrections, adjusting effects, and outputting the final master.
If you use the same media for offline and online editing, you can access the media in several
ways. For example, you can share media in an Avid shared storage environment, or transfer
removable drives from one system to another. Your clips and sequences automatically link to the
media, and you can complete the final finishing.
Compatibility Between Versions
If you are moving from one Avid editing application to another in the current release, or from a
product in a previous release to a product in the current release, you can move project files and
media without losing any of your work. You might need to promote some effects so that they are
compatible with the current release. For more information, see “Promoting and Demoting
Existing Effects in Sequences” in the Help.
However, when you move projects from a product in the current release to a product in a
previous release, some effects might not appear, or might appear as unknown effects.
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1083
Transferring to Avid DS
You can find specific information for transferring projects to Avid DS in the Avid DS Conform
Guide (available from the Avid DS Support Center or the Avid Customer Support Knowledge
Base.) To access the Knowledge Base, go to www.avid.com/onlinesupport.
cDo not include mixed rate clips in sequences that you intend to finish on an Avid DS system.
Motion adapters do not conform in current versions of Avid DS, and you cannot play or
adjust mixed rate material.
Preparations for Conforming
The following topics provide information that you should review before you begin the
transferring and conforming process described in “Conforming Workflow” on page 1087.
If possible, work with the offline editor to plan the online edit. Planning the online edit makes the
online session easier and more efficient.
Delivery Requirements for Final Masters
The requirements for your final masters determine factors such as the project type you use during
the offline edit. Ideally, you perform the offline edit with the online edit in mind.
The most important delivery requirements are the formats and frame rates. Make sure that you
perform the offline edit at the same frame rate as the online edit, or at a compatible frame rate.
Offline Formats for HD
If your project requires final mastering in HD, use the corresponding SD project for offline
editing, as listed in the following table.
When you start the online session, you can create a new project in the final format, or use the
original project and change the project format. For more information, see “Changing the Project
Format” on page 1460.
HD Online SD Offline Notes
720p/23.976 23.976p NTSC You cannot change between these project formats
because the edit rates are different. See “Converting
a 23.976p NTSC Sequence to 720p/23.976” on
page 1462.
720p/25 25p PAL or 25i PAL Change the project format and modify the sequence.
Preparations for Conforming
1084
File Transfer for the Online Session
Before you begin moving project files between Avid editing applications, consider the following.
• Determine if you need to transfer project information, video media, audio media, or all
three. See “Step 1: Transfer Files” on page 1088.
• Determine the most appropriate method for transferring your project files. See “Devices and
Methods for Transferring Files” on page 1096.
System Compatibility for the Online Session
Ensure that files transfer correctly between editing systems, and that both systems include the
necessary applications. Consider the following:
Frame Rates
Ensure that both editing systems support the same frame rates. For example, some offline
systems support 24p projects and some do not. You might require a 24p project to deliver
multiple output formats.
720p/50 25p PAL or 25i PAL You cannot change between these project formats
because the edit rates are different.
720p/59.94 30i NTSC You cannot change between these project formats
because the edit rates are different, see “Editing at
60 fps” on page 1463. Use an NTSC 30i project for
offline editing, then open a new 720p/59.94 project
for online editing. Open the desired NTSC 30i bins
and modify the final sequence, as described in
“Changing the Sequence Format” on page 1461.
1080p/23.976 23.976p NTSC For 23.976p NTSC, change the project format and
modify the sequence.
1080p/24 24p NTSC or 24p
PAL
Change the project format and modify the sequence.
1080p/25 25p PAL or 25i PAL Change the project format and modify the sequence.
1080i/50 25i PAL or 25p PAL Change the project format and modify the sequence.
1080i/59.94 30i NTSC Change the project format and modify the sequence.
HD Online SD Offline Notes
Preparations for Conforming
1085
File Naming
To make it easier to move files between products and across platforms, use the following
guidelines when naming files:
• Do not use the following characters in project, bin, or other file names:
/ \ : * ? ” < > |
The Windows system does not recognize these characters in file names and substitutes other
characters, possibly making the file name unrecognizable.
nYou can use these characters in bin names if you are sharing bins between Symphony™, Media
Composer, Avid Xpress, or NewsCutter® products. You cannot use these characters in bins you
share with Avid DS or Pro Tools.
• Do not add spaces at the beginning or end of a file name, or use a period at the end of a file
name. The Windows system displays such files but might be unable to open them.
• On Macintosh systems, the Use Windows Compatible File Names setting in the General
Settings dialog box of your Avid editing application prevents you from using restricted
characters in file names. It also automatically adds the correct file name extensions to files
for your project (.avp for project files and .avb for bin files). The setting is selected by
default.
Title Fonts
If the project includes titles and you are moving between Macintosh and Windows systems,
make sure you have the same font with exactly the same name (preferably from the same
supplier) on both the Macintosh and Windows systems. Check the font carefully because the
same font can have slightly different names.
If you open a title on the online system that does not have a matching font, a dialog box opens
that lets you substitute the font in the title with a font that exists on your system.
For best results, use OpenType® fonts, which reduce problems when transferring projects from
one platform to another.
AVX Plug-Ins
If your project contains AVX™ plug-in effects and you are moving across platforms, make sure
the same plug-ins are available on both the Macintosh and Windows systems. If the same AVX
plug-in effect is not available, you can mix down or render the effect to a high-quality resolution
and then transfer it using an OMFI or an AAF file. However, you cannot change the parameters
of the effect.
Preparations for Conforming
1086
Preparing Graphics for the Online Session
The most critical step when preparing graphics for online is to make sure that the elements you
are going to import are created correctly. The following table summarizes various requirements.
Aspect Requirement Notes
Frame size
(4:3)
Square pixels:
648 x 486 (NTSC)
640 x 480 (NTSC DV)
768 x 576 (PAL)
These are the preferred sizes for NTSC and PAL. You can also use
720 x 540, in some situations, for both NTSC and PAL. These are
stored by your Avid editing application as non-square pixels.
Frame size
(16:9)
Square pixels:
864 x 486 (NTSC
anamorphic)
1024 x 576 (PAL
anamorphic)
1280 x 720 (HD)
1920 x 1080 (HD)
Preferred sizes. SD media is stored by your Avid editing application
as non-square pixels.
Alpha channel White foreground
(transparent), black
background (opaque)
This is the standard used by graphics, animation, and compositing
packages. You need to invert the alpha channel of graphics on
import.
Color mode RGB
ITU-R 601
ITU-R 709
Other formats, including CMYK, might cause import errors.
ITU-R 601 is used for SD and ITU-R 709 is used for HD. In HD
projects, your Avid editing application automatically converts the
media.
File format Various Your Avid editing application accepts many file formats for input.
TIFF (.tif) and PICT (.pct) are commonly used formats. See “Import
Specifications for Supported Graphics File Formats” on page 1386.
File field order Odd (Upper field first)
Even (Lower field
first)
For interlaced media, your Avid editing application uses the
following order:
• NTSC (601 and DV): lower field first
• PAL 601: upper field first
• PAL DV: lower field first
• HD Interlaced: upper field first
If the field order of the graphic is not correct, select the field order of
the graphic during import and your Avid editing application reverses
the fields appropriately.
Field order does not apply to progressive media. See “Field
Ordering in Graphic Imports and Exports” on page 1399.
Conforming Workflow
1087
Preparing Effects for the Online Session
In general, effects from older systems are automatically conformed by newer systems. In some
cases, effects are automatically promoted to new versions. However, be aware of the following
issues:
• If you work in an offline SD project with complex effects and you plan to conform as HD,
you should downconvert the media anamorphically. Media that you downconvert as 4:3 or
letterbox causes problems when you conform effects such as picture-in-picture.
• If you are conforming a sequence that includes effects created with Avid FX, mix down or
render the effects to a high-quality resolution on the offline system and then transfer them
using an OMFI or an AAF file. You cannot adjust an Avid FX effect on a Media Composer
system.
Preparing Audio for the Online Session
Your might use an audio workflow where you export audio from the offline system, sweeten it in
an audio application such as Pro Tools, and import it into the online system. For more
information, see “Step 5: Import and Lay in the Final Audio Mix” on page 1091.
If you are sharing files with Pro Tools, you can use the WAVE or AIFF-C format. Pro Tools v6.9
or later also supports MXF files For more information, see “Transferring Audio Files” on
page 1099.
nDigiTranslator™ v2.0 is required on the Pro Tools system for import and export of OMF and AAF
files.
You can also transfer files to Pro Tools through Interplay. For more information, see “Using Pro
Tools and Interplay” in Avid Interplay Best Practices.
If you are sharing files between Macintosh and Windows systems, avoid using
Sound Designer II™, which is a Macintosh format. For more information, see “Transferring and
Working with Sound Designer II Audio Files from Macintosh Systems” on page 1100.
Conforming Workflow
The following topics provide information to help you transfer projects from one Avid editing
system to another and conform the sequence to create one or more finished masters. These steps
are based on an offline-to-online workflow that uses Media Composer as the online system. For
projects that you plan to finish on an Avid DS system, refer to the product documentation that
comes with Avid DS.
Conforming Workflow
1088
Before you start the process described in the following topics, review the information provided
in “Preparations for Conforming” on page 1083 to ensure that your offline materials are ready
for transferring and conforming.
For specific information about HD and film-based workflows, see “Working in High-Resolution
Projects” on page 1431.
nIf you are transferring projects and media but not performing an online edit, refer to
“Transferring Project and Media Files Between Avid Editing Systems” on page 1095.
Step 1: Transfer Files
Transferring Project Information Only
Project information includes the components of your project (such as settings, bins, master clips,
edited sequences, and so on), but does not include the media for these components. This project
information is sometimes called metadata. Transfer only project information if you are planning
to recapture media (for example, from an offline resolution to an online resolution) or relink
media in an Avid shared storage environment.
The following table describes the main options for transferring project files only.
Transferring Project Files and Media Files
Transfer project files and media files if you want to transfer media files to another Avid editing
system.
The following table describes the main options for transferring project and media files.
Transfer Option Description
Move the project folder from one
desktop to another.
This option lets you transfer complete project information, but you need
to use the desktop operating system to copy and transfer files. See
“Transferring Project Files and Media Files Using Nonshared Storage”
on page 1101.
Create an OMFI or an AAF file
(composition only).
This option lets you export from your Avid editing application, but is
limited to a single sequence or master clip. See “Guidelines for
Exporting OMFI and AAF Files” on page 1000.
Share project information in an Avid
shared storage environment.
For more information, see “Transferring a Project Using Shared Storage”
on page 1101.
Create an AFE file. This option lets you transfer complete project information, but is
currently limited to transfers to an Avid DS system. See “Exporting
Projects and Bins Using AFE Files (Windows Only)” on page 1003.
Conforming Workflow
1089
If you want to transfer audio media to a digital audio workstation, such as a Pro Tools, system,
see “Transferring Audio Files” on page 1099 or “Using Pro Tools and Interplay” in Avid
Interplay Best Practices.
Step 2: Open the Project
Depending on your project requirements and your personal preferences, you can open a project
in either of two ways.
Start a New Project
Use the Select Project dialog box to create a new project with the format you want to use for final
mastering. If you start a new project you can configure the project settings and eliminate any
errors or problems caused by the offline project’s settings.
You can then open the bins that you have transferred from the original project and load the final
sequence. If you are finishing an HD project, and the offline project was done in SD, use the
Modify command to change the sequence format (see “Changing the Sequence Format” on
page 1461).
If you transferred an OMFI or an AAF file with embedded media, you can create a new project
and bin and import the OMFI or the AAF file. The sequence automatically links to the media.
nIf the clips and sequences do not link automatically, select File > Refresh Media Directories.
Transfer Option Description
Move the project folder along with a
removable media drive from one
system to another.
This option lets you transfer complete project information, but you need
to use the desktop operating system to copy and transfer files. See
“Transferring Project Files and Media Files Using Nonshared Storage”
on page 1101.
Create an OMFI or an AAF file that
references a removable media drive.
This option lets you work within your Avid editing application, but is
limited to a single sequence or master clip. You can link to media files
that you have copied or consolidated to a single drive. See “Guidelines
for Exporting OMFI and AAF Files” on page 1000.
Create an OMFI or an AAF file with
embedded media.
This option lets you create a single OMF or AAF file, which you can
consolidate onto a single drive.
Conforming Workflow
1090
Open a Transferred or Shared Project
If you transferred project files, the original project appears in your list of projects. (Depending on
the location into which you copied the files, you might need to use the Browse button in the
Select Project dialog box to locate the project.) When you open the project, all project settings
and bins appear.
If you transferred both project files and media, and your media is compatible, the original project
appears in your list of projects. When you open the project, all project settings and bins appear.
Clips and sequences automatically link to the media.
If you are finishing an HD project, and the offline project was done in SD, change the project
format and then change the sequence format. For more information, see “Changing the Project
Format” on page 1460 and “Changing the Sequence Format” on page 1461.
For information about working with shared projects and media in an Avid shared storage
environment, see “Transferring a Project Using Shared Storage” on page 1101.
Step 3: Measure the Video Signal
When you are working with analog material, measure the actual video signal during both input
and output to ensure the signal does not exceed the broadcast specification.
nFor SDI or HD-SDI formats, you cannot adjust input or output levels by using the video controls
in your Avid editing application. For HD media, you can calibrate only HD component output,
which is usually used for monitors.
For more information, see the following topics:
•Preparing to Capture Video
•Calibrating for Video Output
Step 4: Recapture Media
If you did not transfer media, or you need to recapture your media at a higher resolution, use one
of the options described in the following table.
Recapture Option Description
Recapture master clips This option offers complete flexibility to make revisions, but takes the most
time and disk space.
Recapture a sequence This option provides a one-step process, but limits your options during
capturing. You can make revisions using only assigned handle lengths.
Conforming Workflow
1091
For instructions on recapturing, see “Recapturing and Decomposing” on page 238.
nWhen you recapture from SD source tapes, Avid recommends that you readjust the video levels.
You can transfer video input settings from another system, but the existing settings have been
calibrated to a different set of hardware and might not operate properly.
If you are capturing serial digital video (SDI) or DV, your Avid editing application ignores the
video input settings.
Step 5: Import and Lay in the Final Audio Mix
In most cases, the final audio mix is done either as part of the offline edit or on a digital audio
workstation such as Pro Tools. In either case, import the OMFI or the AAF file. For more
information, see “Transferring Audio Files” on page 1099, “Importing Files” on page 276, and
“Using Pro Tools and Interplay” in Avid Interplay Best Practices.
After importing the audio mix, calibrate the audio hardware and channels as described in
“Calibrating Audio Hardware for Avid Nitris DX and Avid Mojo DX” on page 203
Decompose the sequence and
recapture the new clips
This option captures only enough media to re-create the sequence. You can
specify the length of handles, which you can use for minor revisions. This
method is more flexible than capturing from the sequence because it creates
new clips that you can sort and selectively capture. This method uses
minimal storage and can be one of the fastest methods for recapturing.
In most cases, do not decompose clips created from imported graphics,
which is an option in the Decompose dialog box. These decomposed clips
might cause problems when batch importing, particularly if the sequence
uses only part of an imported animation.
Use the Show Reference Clips
option
This option lets you reveal the source clips of a sequence in a single bin by
selecting the “Show reference clips” option in the Bin Display dialog box,
and then recapturing the source clips. This method can be faster than
recapturing a sequence or decomposing if the lengths of the new audio and
video clips created differ from the original master clips. Because two passes
are necessary to capture audio and video from a single source if the lengths
are not the same, it is sometimes faster to capture a slightly longer master
clip than to capture the new clips once for audio and once for video. This
method also gives you more opportunity for revisions. However, this method
uses more disk space and capturing can take longer. It can be a good
compromise between capturing all the original clips and capturing only the
clips needed to re-create the source.
Recapture Option Description
Conforming Workflow
1092
Then use the Audio tool to monitor the audio levels (see “Understanding the Audio Tool” on
page 198).
You can quickly check the peak values of the sequence (see “Using the Console Window to
Check Audio Levels” on page 207).
Step 6: Batch Import Graphics
If you are working with master clips or sequences that contain imported material, you can use the
Batch Import command to reimport the source files. For example, you might want to:
• Upgrade the video resolution of the imported files to an online resolution.
• Replace low-quality material with high-quality material finished with other applications.
• Create new media files when the media files are lost or accidentally deleted.
cReimporting requires your original source files. Do not delete the media files for imported
files unless you have access to the source files.
To make batch importing easier:
• Consider placing a “graphics” folder inside the project folder of your offline project. This
makes the batch import process easier because the path is the same, or at least faster to find.
• If you want to edit revised graphics into your project, consider giving them the same names
as the original graphics, copying the revised graphics to the folder that contains the original
graphics, and batch importing the revised graphics. You can also edit new graphics into your
project by deleting the media for your original graphics, batch importing your sequence, and
pointing the old clips to the revised graphics files.
For instructions on batch importing, see “Reimporting Files” on page 313.
Step 7: Re-create Title Media
After you transfer or import all files, you might need to re-create title media if you did not render
the titles, or if you want to change the resolution of the titles. For more information, see
“Re-creating Title Media” in the Help.
If you have the same font on both systems, the equivalent font appears automatically when you
re-create title media. However, because the font mapping process might change the exact
appearance of the font, check your titles carefully. It might be easier to check your titles from the
bin than from the sequence.
If a title opens and the system does not recognize the font, you see a dialog box that lets you
substitute the font in the title for one that is installed on the system. This replacement creates a
font mapping, which is saved as a Site setting. For information on changing the font mapping,
Conforming Workflow
1093
see “Redefining a Font Replacement” on page 1093. If more than one font in the title needs
replacement, the dialog box remains open after you click OK, and a new message identifies the
next font that needs replacement.
You should be aware of the following when re-creating title media:
• For best results, use OpenType fonts, which reduce problems when transferring projects
from one platform to another.
• If you are moving across platforms and the transferred title text uses a single style (the same
font and type size), the title text aligns as closely as possible to its original position. The size
of the text bounding box adjusts to accommodate the differences between the Macintosh and
Windows versions of the font. You might see a changed leading value in the Title Tool
leading field to adjust for multiline text.
Because the Macintosh and Windows systems handle fonts differently, you might see
variations in the appearance of titles between the two systems. If necessary, adjust the size of
the bounding box, leading values, or kerning information.
For example, bounding boxes that were set on a Macintosh system might appear in a
different size on a Windows system. Some clipping of the new text might occur and words
might be lost. If this clipping occurs, you need to open the title, select the text box, and
manually change the size of the text box or the size of the fonts to display all the text.
For more information on differences between the Macintosh and Windows versions of a
font, contact the font supplier.
• If the original system used any applications to manipulate font display (such as Adobe Type
Manager®), the enhancements these applications provided on the original system (such as
character anti-aliasing or character spacing) will not transfer to a system that does not use
your Avid editing application.
Redefining a Font Replacement
You can redefine a font replacement at any time. However, your new font choice applies only to
a title currently in the Title tool and future replacements. It does not affect the font replacement
information in titles you have worked with previously.
Your Avid editing application saves font relationships as a site settings file named
AvidFontSub.avt.
Once you have defined a font replacement, your Avid editing application uses that definition
across all projects and all users of the system. If you want to switch to a different replacement
font for a title, you must redefine the font replacement.
Conforming Workflow
1094
nIf you replace the font for a title and return that title to an Avid editing application on a
Macintosh system, the new font information is associated with the title. You must reapply the
Macintosh font to restore the title to its original Macintosh style.
To redefine a font replacement:
1. Open a title in the Title tool.
2. Select Object > Font Replacement.
The Font Replacement dialog box opens.
3. Click the Unknown Fonts menu on the left, and select the original font.
4. Click the Available Fonts menu on the right, and select the replacement font you want to use.
When you select a font from the Available Fonts menu, a preview of that font appears in the
text boxes.
5. Click OK.
The system updates the font in the open title and records the new replacement information
for future use.
Step 8: Refine Effects and Perform Color Correction
After reviewing the sequence, you might find you need to adjust effects, add effects, or perform
color correction.
Common effects and color correction tasks during finishing include:
• Motion tracking or stabilization.
See “Motion Tracking and Stabilization” in the Help.
• Reformatting media to different aspect ratios.
See “Using the Reformat Effects” in the Help.
• Intraframe editing or scratch removal.
See See “Intraframe Editing” in the Help.
• Review and adjustment of chroma and luma levels.
See See “Safe Colors” in the Help.
For complete information on effects and color correction, see the Effects Guide chapters in the
Help.
You might need to choose a different rendering method for motion effects after recapturing
media in a final online resolution. Consider promoting traditional motion effects to Timewarp
effects. For more information, see “Playing and Rendering Motion Effects” in the Help.
Transferring Project and Media Files Between Avid Editing Systems
1095
Step 9: Render Effects as Needed
Although many effects play in real time, you might need to render some complex effects or
plug-in effects. For more information, see “Real-Time Playback of Video Effects” and “Basics of
Effects Rendering” in the Help.
The ExpertRender feature includes a special setting called Prepare for Digital Cut. For more
information, see “ExpertRender” in the Help.
Step 10: Create the Final Masters
Your Avid editing application offers you a range of output formats you can use for your final
master. The output formats that are available depend on the format of your source footage.
• You can use the Reformat effect or the Pan and Scan effect to create 4:3, 14:9, and 16:9
versions of the sequence. In addition, the Digital Cut tool includes the option to
automatically output titles as 4:3 or 16:9 to match your sequence. If your source footage is
23.976p, 24p or 25p, you can also output versions for special purposes, such as NTSC 24,
for recording audio at the film rate.
For more information, see Selecting Output and Timecode Formats for 23.976p, 24p, and
25p Projects.
• If your source footage is HD, you can use the Video Output Tool to crossconvert to a
compatible HD format, and downconvert to an NTSC or PAL format. For more information,
see “Preparing for Converting HD Formats” on page 1029.
• All formats let you use the Export tool to output in popular file formats, including
QuickTime and Windows Media. Avid codecs for QuickTime let you input and output files
quickly, and you can install the codecs on graphics workstations for the most efficient input
and output. For more information, see “Exporting Frames, Clips, or Sequences” on
page 985.
• You can use FilmScribe™ to create cut lists and change lists, and EDL Manager to create an
EDL. For more information, see Using FilmScribe and Using EDL Manager.
Transferring Project and Media Files Between Avid
Editing Systems
The following topics describe the options and methods you can use to transfer project files and
media between Windows systems, between Macintosh systems, and between Windows and
Macintosh systems.
Transferring Project and Media Files Between Avid Editing Systems
1096
There are two basic methods for transferring projects:
• Moving project folders, settings, and media files between the systems.
• Moving project folders and settings between the systems, and then recapturing the media.
For information on recapturing, see “Recapturing and Decomposing” on page 238.
The devices and technologies you use for transfer depend on which method of transfer you
choose.
• Moving project folders, settings, and media files requires large amounts of storage space
because of the size of media files.
• Transferring only the project folders and settings files requires minimal storage space.
Devices and Methods for Transferring Files
Options for transferring files vary depending on the source and destination systems. This topic
describes options for moving project files, media files, or both, including information on the
prerequisite hardware or software, and any restrictions.
For specific information about cross-platform transfers, see “Nonshared Storage Issues for
Cross-Platform Collaboration” on page 1104.
Transferring Files Between Macintosh Systems
The following table shows the available methods for transferring files between Macintosh
systems.
Method Requirements Restrictions
All Files (Can be used as media drives)
External SCSI drive None For compatibility information, see the Avid Drive Striping
Tables, which are available on the Avid Customer Support
Knowledge Base.
Fibre Channel drive None For compatibility information, see the Avid Drive Striping
Tables.
External 1394
(FireWire) drive
HFS+ format Cannot be used as a media drive for Symphony. For
compatibility information, see the Avid Drive Striping Tables.
Project Files, OMF Files, and AAF Files (including embedded media)
Server-based network None None.
Transferring Project and Media Files Between Avid Editing Systems
1097
Transferring Files Between Windows Systems
The following table shows the available methods for transferring files between Windows
systems.
External 1394
(FireWire) drive or
USB2 drive
HFS+ format Size of the disk.
Floppy disk Macintosh-formatted
disk
Holds 1.4 MB.
CD-ROM None HFS+ format is recommended. Do not use ISO 9660 format,
which truncates file names. Do not use hybrid CD-ROMs,
unless you create them with the Joliet extension, which supports
long file names.
DVD None None, if you use the native DVD format.
E-mail E-mail software that
supports attachments
See the documentation for the e-mail software.
FTP Network access and
FTP software on both
systems
For the Fetch application, one system must be set to “Server”
mode. This method can be very slow.
AppleShare Network access on
both systems
Activate AppleShare on the sending system to allow a guest or
registered user to log in.
Method Requirements Restrictions
Method Requirements Restrictions
All Files (can be used as media drives)
External SCSI drive None For compatibility information, see the Avid Drive Striping
Tables, which are available by searching for “drive
striping” on the Avid Customer Support Knowledge Base.
Fibre Channel drive None For compatibility information, see the Avid Drive Striping
Tables.
External 1394
(FireWire) drive
None Cannot be used as a media drive for Symphony.
For compatibility information, see the Avid Drive Striping
Tables.
Project Files, OMF Files, and AAF Files (including embedded media)
Transferring Project and Media Files Between Avid Editing Systems
1098
Transferring Files Between Macintosh and Windows Systems
The following table shows the available methods for transferring files between Macintosh and
Windows systems.
Server-based network None None.
External 1394
(FireWire) drive or
USB2 drive
None Size of the disk.
Floppy disk PC-formatted disk Holds 1.4 MB.
CD-ROM None Do not use ISO 9660 format, which truncates the file
names. Files copied from a CD-ROM to a Windows system
retain the read-only attribute. To change this attribute, see
the Windows documentation
DVD None None, if you use the native DVD format.
Files copied from a DVD to a Windows system retain the
read-only attribute. To change this attribute, see the
Windows documentation.
E-mail E-mail software that
supports attachments
See the documentation for the e-mail software.
FTP Network access and FTP
software on both systems
See the FTP software documentation.
Method Requirements Restrictions
Method Requirements Restrictions
All Files (can be used as media drives)
Macintosh external
drive (SCSI or Fibre
Channel)
HFS+ format and an
application that enables
the Windows system to
read Macintosh drives.
See “Nonshared Storage Issues for Cross-Platform
Collaboration” on page 1104.
For compatibility information, see the Avid Drive Striping
Tables, which are available on the Avid Customer Support
Knowledge Base.
External 1394
(FireWire) drive
HFS+ format and an
application that enables
the Windows system to
read Macintosh drives.
Cannot be used as a media drive for Symphony.
For compatibility information, see the Avid Drive Striping
Tables.
Transferring Project and Media Files Between Avid Editing Systems
1099
Transferring Audio Files
You might need to transfer audio separately from video. For example, you might send audio from
an offline system to a Pro Tools system for sweetening, and then send the finished audio to a
Symphony system for syncing with final video.
Project Files, OMF Files, and AAF Files (including embedded media)
Server-based network Macintosh and
Windows integration
Rename files to avoid problems with illegal characters. See
“System Compatibility for the Online Session” on page 1084.
External 1394
(FireWire) drive or
USB2 drive
HFS+ format Size of the disk.
Floppy disk PC-formatted disk Holds 1.4 MB.
CD-ROM An application that
enables the Windows
system to read
Macintosh drives.
HFS+ format is recommended. Do not use ISO 9660 format,
which truncates the file names. Do not use hybrid CD-ROMs,
unless you create them with the Joliet extension, which
supports long file names. Properly created hybrid CD-ROMs
do not require an application that enables the Windows system
to read a Macintosh-formatted CD-ROM.
Files copied from a CD-ROM to a Windows system retain the
read-only attribute. To change this attribute, see the Windows
documentation.
DVD None None, if you use the native DVD format.
Files copied from a DVD to a Windows system retain the
read-only attribute. To change this attribute, see the Windows
documentation.
E-mail E-mail that supports
attachments
See the documentation for the e-mail software.
FTP Network access and
FTP software on both
systems
For more information on using Fetch on Macintosh systems,
see www.fetchsoftworks.com.
DigiDelivery Installation of
DigiDelivery hardware
and software
None. See the DigiDelivery product page on www.avid.com.
Method Requirements Restrictions
Transferring Project and Media Files Between Avid Editing Systems
1100
When you move your sequence to an audio application, you need to export the sequence as an
OMFI or an AAF file (see “Guidelines for Exporting OMFI and AAF Files” on page 1000). If
you are working with a Pro Tools system, you can streamline your workflow by using the Send
To feature, see “Exporting With the Send To Templates” on page 988. The Send To Pro Tools
templates export an AAF file.
If the audio-editing application to which you are moving your sequence supports the audio
format used to create your sequence, you can export the sequence as an OMFI or an AAF
composition without audio media and move the original media files to the audio-editing
workstation. If the audio editing application to which you are moving your sequence does not
support the audio format in your sequence, you must export the sequence as an OMFI or an AAF
composition with audio media and convert the audio media to the appropriate format.
OMFI files have a 2-GB file-size limit.
The following table lists Pro Tools support for embedded audio. Pro Tools does not support
embedded video.
For information on importing into and exporting from an audio application, see the
documentation for the audio application.
nDigiTranslator v2.0 is required on the Pro Tools system for import and export of OMF and AAF
files.
For information about working with Sound Designer II audio files, see “Transferring and
Working with Sound Designer II Audio Files from Macintosh Systems” on page 1100.
For information on working with ProTools in an Interplay environment, see “Using Pro Tools
and Interplay” in Avid Interplay Best Practices.
Transferring and Working with Sound Designer II Audio Files from
Macintosh Systems
Sound Designer II audio media is a Macintosh format and is not supported on Windows.
Pro Tools Version Audio embedded in OMFI Audio embedded in AAF
AIFF-C WAVE MXF AIFF-C WAVE MXF
Pro Tools v7 or later Yes Yes No Yes Yes Yes
Pro Tools v6.9 or later Yes Yes No Yes Yes No
Pro Tools v6.7 or earlier Yes Yes No No No No
Transferring Project and Media Files Between Avid Editing Systems
1101
To transfer Sound Designer II media to a Windows system, export an OMFI or AAF composition
that includes the media and convert the media to AIFF-C or WAVE. Use the Export command or
the Send To command.
Sound Designer II audio media has limited support on Media Composer Macintosh systems.
The following features are supported:
• You can play Sound Designer II audio that you create on another system and transfer.
• You can export audio as Sound Designer II media through the Audio option of the Export
command.
The following features are not supported:
• You cannot select Sound Designer II as the file format for a project or output Sound
Designer II media in a digital cut.
• You cannot export or convert Sound Designer II media through OMF or AAF.
You can use the Consolidate or Transcode feature to convert Sound Designer II media to
another audio file format, or you can convert it as part of an OMF or AAF export.
Transferring a Project Using Shared Storage
If you are using your Avid editing system in an Avid Unity environment, you can use Avid
Interplay to share media files, projects, and bins between systems. For more information, see
your Avid Unity and Avid Interplay documentation.
You can also share bins and projects in an Avid Unity environment that does not use Avid
Interplay. See “Sharing Bins and Projects in an Avid Unity Environment” in the Help and in the
Avid Unity documentation.
Transferring Project Files and Media Files Using Nonshared Storage
You can use removable nonshared storage devices to transfer media files between Avid editing
applications.
You can move the project and user files you need to open projects, bins, or user profiles on
another Avid system by copying them to the same drive that holds the media files, or to some
other removable device or network location. You can also transfer a Site Settings file between
Avid systems. For information on devices for transfer, see “Devices and Methods for
Transferring Files” on page 1096.
Remember that moving project files and folders alone does not transfer the media files for the
project.
Transferring Project and Media Files Between Avid Editing Systems
1102
When you transfer a project between Avid editing systems, ensure that:
• Both systems have the same release or a compatible release of an Avid editing application.
• The resolutions are compatible if you are transferring media files.
• The fonts used in the project are installed on both systems.
nYou can also share media files, projects, and bins between systems using Avid Interplay in an
Avid Unity environment (for more information, see your Avid Interplay and Avid Unity
documentation). In some circumstances, AFE files provide another option for transferring
project and bin information. For more information, see “Exporting Projects and Bins Using AFE
Files (Windows Only)” on page 1003.
To transfer project files and associated media files to another Avid system:
1. (Option) Consolidate the media for the project onto an appropriate drive for transfer to the
other system.
For more information on consolidating, see “Consolidating Media” on page 445. For more
information on devices for transfer, see “Devices and Methods for Transferring Files” on
page 1096.
nWhen editing in an Avid Interplay environment, you must consolidate your media files before
checking them in to the asset manager.
cDo not rename the folders named OMFI MediaFiles or Avid MediaFiles located on the
media drive. The target system uses the folder names to locate the media files.
2. Select the project folder, user folder, or Site Settings file you want to transfer (the folder uses
the project name or user name you provide).
You do not need to copy the Statistics folder, which is located in the project folder. This
folder might be large and is not needed by the transferred project.
The default locations for application folders are listed in the following table. The exact
location on your system depends on your Avid editing application, its version, and how it
was installed on your system. For example, older versions store projects in an Avid Projects
folder that is located in the same folder as the application.
Transferring Project and Media Files Between Avid Editing Systems
1103
3. Copy the folders or files you want to maintain at the new location onto a storage device or a
location on a server.
Alternatively, create a folder at the top level of the media drive and copy the folders or files
to that folder.
4. If you are transferring a removable drive, quit your Avid editing application and shut down
your system.
5. Remove the drives containing the media files, and take them and the storage device to the
new location.
6. With the system at the new location turned off, insert or connect the drives and start the
system.
7. Copy the folders or files to the appropriate folder.
The folder locations might be slightly different, depending on the product and how it was
installed. Ignore any Resource folders or files that appear.
8. Start your Avid editing application.
The new project appears in the Project window. New user settings appear in the Users list.
Site settings are active for all projects at the new location.
cDo not open a project directly from the transfer device. You must copy the folder to the
system drive first.
Folder or
File Location
Project
folder
Private projects:
• (Windows) drive:\Documents and Settings\Windows login name\My Documents\Avid Projects
• (Macintosh) Macintosh HD/Users/Mac login name/Documents/Avid Projects
Shared projects:
• (Windows) drive:\Documents and Settings\All Users\Shared Documents\Shared Avid Projects
• (Macintosh) Macintosh HD/Users/Shared/Avid editing application/Shared Avid Projects
nFor information about private projects and shared projects, see “Select Project Dialog Box” on page 48.
User folder (Windows) drive:\Program Files\Avid\Avid editing application\Avid Users
(Macintosh) Macintosh HD/Users/Shared/Avid editing application\Avid Users
Site Settings
file
(Windows) drive:\Program Files\Avid\Avid editing application\Settings
(Macintosh) Macintosh HD/Applications/Avid editing application/Settings
Transferring Project and Media Files Between Avid Editing Systems
1104
9. Select a user, open the project, and resume work.
nYour Avid editing application reconstructs the MediaFiles database the first time you start to
incorporate the new media into the system’s internal directory.
Do not rename the project folder. The project settings do not link to the project if you rename the
project folder.
Nonshared Storage Issues for Cross-Platform Collaboration
When you share media files by using a nonshared storage device — either peer-to-peer, over a
network, or using removable storage — the following restrictions apply:
• NTFS drives formatted on a Windows system can be accessed only on Macintosh systems
running Mac® OS X 10.4 or later. Media files on these drives are read-only.
• Striped or nonstriped drives formatted as HFS or HFS+ on a Macintosh system can be read
on a Windows system, if an application that lets Windows systems read the drives is installed
on the Windows system.
To avoid problems when reading a connected HFS or HFS+ drive, do the following:
• On the Macintosh system, after transferring the media files to the HFS or HFS+ drive, give
the media folder a name other than “OMFI MediaFiles” or “Avid MediaFiles”. You cannot
change the name of the OMFI folder after you connect the drive to the system.
• Ensure the permissions on the HFS or HFS+ volume allow access to other users by doing the
following:
a. Select the drive in the Finder.
b. Select File > Get Info.
c. Select “Ignore ownership on this volume.”
• On the Windows system, after connecting the drive and transferring the media files to an
NTFS drive, turn off the system, disconnect the drive, reboot, and then restart the Avid
system.
Transferring Media Files from Media Composer Version 7.2 or
Avid Xpress Version 2.1
Video media from Media Composer v7.2 or Avid Xpress v2.1 is not directly compatible with
later releases, so you must export with specific format settings. The import process might be
slow, and your media loses some quality.
Transferring Project and Media Files Between Avid Editing Systems
1105
For more information about working with Media Composer v7.2, Avid Xpress v2.1, and other
versions of Avid editing products released before July, 2001, see the Avid Products
Collaboration Guide, which is available on the Avid Customer Support Knowledge Base.
To transfer video media from v7.2 or Avid Xpress v2.1 to a later release:
tIn the Export Format dialog box, select OMFI Composition Standard -AIFC, Video Only,
OMFI 1.0, With Media. You can then import the OMFI file.
25 Working with Avid Interplay from an Avid
Editing System
Avid Interplay is an asset management system that provides a central database of assets (such as
master clips, subclips, sequences, and graphics) that you use during your production process. If
you are working on an Avid editing system, you can think of these assets as remote assets.
The following topics describe how to work with Avid Interplay from an Avid editing system:
•Checklist for Editors Working with Interplay
•Working with Interplay and Remote Assets
•Administrator Settings for Avid Editing Clients
•Using the Interplay Window
•Connecting to the Avid Interplay Database
•Connecting to Avid Shared Storage and Mounting Workspaces
•Editing with Remote Assets
•Managing Remote Assets with the Interplay Window
•Finding Remote Assets
•Capturing Media to Interplay Folders
The following topic is particularly useful if you are new to working with Interplay:
•Dos and Don’ts for Editors Working with Avid Interplay
Dos and Don’ts for Editors Working with Avid
Interplay
The following information is useful for editors who are working with Avid Interplay. It includes
guidelines for working with Interplay and a list of dos and don’ts. Also see “Checklist for Editors
Working with Interplay” on page 1109.
Dos and Don’ts for Editors Working with Avid Interplay
1107
Why Do I Need to Do Things Differently?
When Interplay is part of your workgroup environment, you need to work in a slightly different
way. When you are editing with an Avid editing application (such as Media Composer,
NewsCutter or Symphony) within an Interplay environment, it is important to work with the
asset management tools provided by Interplay. Otherwise, problems can arise throughout the
system, which can stop workflows, and other users, from working correctly.
The main purpose of the Interplay server is to provide a central database of all the Avid and
non-Avid assets that you use during your production process. This database is used as the central
“share point” for material in use in your facility. It is also used by media managers as the primary
tool for deletion of material from shared storage.
If you do not log in to Interplay and check in your work, Interplay has no way of tracking your
work. You will still be using shared storage, but because the Media Tool doesn’t function with
Interplay editors, you will have no way to monitor or delete your material on shared storage. The
storage system will end up clogged up by, literally, thousands of irrelevant media files —
rendered effects, imported files, mixdowns, titles — which will use valuable shared-storage
space. In addition, if you work in this way, there will be no mechanism to locate and identify the
unchecked-in files, other than searching for .mxf files on the Avid shared-storage workspaces.
The .mxf file names do not provide you with any useful information about the clip name, project,
or bin. That is Interplay’s function.
Keep in mind the relationship between the metadata, which is information that is stored in bins
and the Interplay database, and the .mxf media files, which are stored in the Avid shared-storage
system.
When you regularly check in assets to Interplay, media managers can manage and delete these
assets efficiently by looking at specific metadata, for example, who created the assets, when, on
which machine, and inside which project and bin.
When an Avid Interplay server is available in an Avid shared-storage system in the workgroup
environment, Avid strongly encourages not sharing bins or projects. Use the Avid Interplay
Window and the check-in process to share media.
Similarly, you should not use the File > Open Bin command. This is because the “borrowed” bin
will be checked in again to Interplay from inside your project, creating multiple versions of the
bin inside the Interplay database. If you “borrow” material using the File > Open Bin method,
there is a strong risk of material being incorrectly deleted from within Interplay. Using the
Interplay Window for searching, and for sharing media and sequences, is the only way to ensure
that the Interplay database is tracking your work accurately, and that the deletion rules set up for
your specific workflow will be correct.
Dos and Don’ts for Editors Working with Avid Interplay
1108
DOs
• Log in to Interplay when prompted, with your individual username and password. This will
ensure that you have the correct access rights to the Interplay folders that you need.
• Create a new project for your work, or use one that you are confident is not being used by
any other users at the same time.
• Create a new bin, or use one that you are confident is not being used by any other users at the
same time.
• Check in your sequence to Interplay at regular intervals, and particularly before you finish
your editing session, either by using the correct Interplay Folder setting or by
dragging-and-dropping to the correct folder.
• Depending on your facility’s workflow, check in your bin to Interplay at regular intervals
and particularly before you finish your editing session.
• Find the media (master clips, sequences, effects) that you need by using the Interplay
Window and search capabilities.
• Regularly review the contents of your Unchecked-In Avid Assets (UIAA) folder in Interplay
and regularly delete any assets (media, effects, and so on) that you no longer require. Every
time you render your effects, new assets are created and stored in the UIAA until the
sequence or bin is checked in. If check-in is used correctly, the remaining items in the UIAA
at the end of an editing session are not required in any sequence and can therefore be
confidently deleted by the media manager or administrator. Keep in mind that having more
than 5,000 items within an Interplay folder can affect system performance.
nAsset deletion in Interplay is done through Interplay Access. If you have not been given this
function, then it is most likely that a media manager or system administrator is responsible for
deleting material. You should regularly inform them of assets you have created that can be
deleted.
• Regularly clean up the contents of your bins: anything that you don’t need can be deleted.
It’s a good idea to delete unwanted media before you check in a bin. If you choose to leave
material in your bin without checking it in to Interplay, the material will go to the UIAA
folder and sit there until deleted, taking up space on your Avid shared-storage system.
• Use reservations to protect material against accidental deletion. Reservations are a very
powerful feature in Interplay. Discuss with your system administrator if you are unsure
about how to use them.
DON’Ts
• Don’t locate media using the File > Open Bin menu.
• Don’t share bins: that is, don’t work inside a bin that is already being used by another editor
Checklist for Editors Working with Interplay
1109
• Don’t purposely avoid checking in an unfinished sequence thinking that another editor will
finish it and check it in when done. If there are unchecked-in Avid assets in your sequence,
another editor will not be able to check in a finished version, because the other editor will
not have access to your Unchecked-in Avid Assets (UIAA) folder.
• Don’t share projects: that is, do not work on a project which is already being used by another
editor
• Don’t ignore the contents of your UIAA folder. If you do, you will be taking up valuable
shared storage space.
Checklist for Editors Working with Interplay
The checklist below provides a basic list of steps for sharing and editing projects and media
between Avid editing systems in an Avid Interplay workgroup environment. For more details on
working with Interplay, refer to the documentation that came with your Interplay or Avid editing
system.
Step Refer to
Before you launch your Avid editing application:
Make sure you are correctly connected to the Avid
shared-storage system.
Before you begin editing:
Create a project in the appropriate location, using the proper
naming convention.
nBefore you open a project, make sure that Interplay
supports the media format which you intend to edit.
“Creating Avid Editing
Projects in an Interplay
Environment” on
page 1121.
Log in to Interplay when prompted by your Avid editing
application.
“Logging in to Interplay
and Opening the Interplay
Window” on page 1118.
Check the media creation settings.
Make sure that dynamic relink is properly configured.
Learn about working with your bins in Interplay. “Working with Interplay
and Remote Assets” on
page 1111.
During Editing:
Checklist for Editors Working with Interplay
1110
Create a new bin, or use one that you are confident is not
being used by any other users at the same time.
Learn some basic rules about what you should and should not
do in an Interplay environment.
“Dos and Don’ts for
Editors Working with Avid
Interplay” on page 1106.
Use the Interplay Window in your editing application or
Interplay Access to check out and work with shared media.
NEVER open bin files (*.avb) from other people’s project
folders.
If you want to re-edit a sequence from another editor,
ALWAYS duplicate (Ctrl+D on Windows, Command+D on
Macintosh) before changing it.
Use reservations to protect material against accidental
deletion.
“Understanding
Reservations” on
page 1145.
When editing HD formats, make sure that you acquire your
media in a format supported by Interplay.
“Interplay Support for
Native HD 23.976p and
24p Formats” in the Avid
Interplay Help.
If you are working on an audio production using Avid Pro
Tools, refer to the documentation for specific requirements
on Interplay.
Pro Tools Avid Interplay
Guide on the Avid web
site.
If you are working on a production using Avid DS, refer to
the documentation for specific requirements on Interplay.
Avid DS help.
Check in your sequence and bins to Interplay at regular
intervals, and particularly before you finish your editing
session, either by using the correct Interplay Folder setting or
by dragging-and-dropping to the correct folder.
“Checking Avid Assets In
to the Interplay Database”
on page 1135.
After Editing:
Name the final sequence according to the naming
conventions BEFORE you check it in.
Check the Unchecked-in Avid Assets/your username folder
for any unchecked-in assets. Delete any assets (media,
effects, and so on) that you no longer require.
Step Refer to
Working with Interplay and Remote Assets
1111
Support for HD RGB Media
Avid Interplay supports two HD RGB resolutions:
• 1:1 10-bit HD RGB. This resolution is supported for check in, check out, and deletion. It is
not supported for Media Services operations.
• DNxHD 444. This resolution is supported for all Interplay operations.
Support for Mixed Frame Sizes and Aspect Ratios
Avid editing applications use the Reformat attribute of a clip to resize and reposition the clip so
that it conforms to the current frame size and aspect ratio specified in the Project settings. When
you create a clip or subclip, the Reformat attribute is automatically set to Stretch. Settings other
than this default are not supported in Interplay workflows.
cIf you are working in an Interplay environment, do not change the Reformat attribute from
the Stretch setting. If you use a different setting, and you then use Interplay Transcode or
Send to Playback, the results might not be what you expect.
Working with Interplay and Remote Assets
With Avid Interplay, users can share assets through folders that are managed by the Interplay
database and accessible to all workstations in the Interplay environment.
If your workflow includes checking in bins from an Avid editing application, you can set up your
editing project so that checkins you perform automatically create corresponding folders on
Interplay. Subfolders for each bin are created inside a folder for the project. Depending on the
organization of your Interplay database, the project folder is usually located in the Projects
directory on Interplay.
The following illustration shows the Project window alongside an opened bin from an Avid
editing project, and the corresponding folder in the Interplay Window.
Working with Interplay and Remote Assets
1112
Top: the Project window and opened bin from an Avid editing application. Bottom: the corresponding folder in the
Interplay Window.
The project folder and its subfolders also contain project settings that primarily govern media
acquisition — for example, frame rates, formats, and target workspaces. For more information
about creating and managing projects in an Interplay environment, see “Creating Avid Editing
Projects in an Interplay Environment” on page 1121.
From an Avid editing application you can use the Interplay Window to browse and open folders
in the Interplay database. You can also use Interplay Access to browse and open project folders.
Interplay Access includes advanced search features and other database features.
Administrator Settings for Avid Editing Clients
1113
You can work directly with assets in the Interplay Window, or you can copy (check out) assets to
a bin in an Avid editing project. The bin then contains local copies of the remote assets. You can
modify the local copy of an asset, but the changes remain local until you save the changes (check
in) to the database.
You can check assets in and out in several different ways:
• Check assets out by dragging them from the Interplay Window or from Interplay Access (see
“Checking Avid Assets Out Using the Interplay Window” on page 1132 or “Checking Avid
Assets Out Using Interplay Access” on page 1135).
• Check assets in by dragging them to the Interplay Window or by using one of several menu
commands (see “Checking Avid Assets In to the Interplay Database” on page 1135).
nAvid Interplay manages two kinds of assets: Avid assets, which are assets that are created by
Avid applications (master clips, subclips, and so on) and file assets, which are assets that are
created by other applications. When you work with Interplay from an Avid editing system, you
can work only with Avid assets. You can use Interplay Access to work with both Avid assets and
file assets.
Administrator Settings for Avid Editing Clients
The Interplay Administrator includes several settings that affect Avid editing systems that are
clients in an Interplay workgroup:
• Application Database Settings: Editing Settings tab
- Check in bins when closing: Allows an administrator to set the default behavior for
checking in media objects from open bins to the Interplay database when closing your
Avid editing application. The default is “Ask user.” See “Automatically Checking In
Avid Assets” on page 1139.
• Instinct/Assist User Settings
- Can create new column properties: If yes, allows the selected user or group to add new
properties to an asset. If an editing application user regularly checks assets into
Interplay, select “yes.”
- Can modify column properties: If yes, allows the selected user or group to modify the
properties of an asset (such as the name or a comment). If an editing application user
regularly checks assets into Interplay, select “yes.”
- Can create markers: If yes, allows the selected user or group to create markers. If no, a
user of an Avid editing application can still create markers for an asset, but can check in
only the asset, not the marker metadata (an error message is displayed).
Using the Interplay Window
1114
- Can modify markers: If yes, allows the selected user or group to modify or delete
markers. If no, a user of an Avid editing application can still modify markers on an asset,
but can check in only the asset, not the marker metadata (an error message is displayed).
In most cases, if an administrator wants a user to create markers, select “yes” for both
“Can create markers” and “Can modify markers.” Both settings are needed because
adding text is one aspect of modifying a marker.
Using the Interplay Window
The Avid Interplay Window is a tool that you open from the Tools menu of your Avid editing
application. The Interplay Window provides you with access to the Interplay database. You can
copy (check out) assets to your local bin and work with them like any other bin objects. You can
also use the Interplay Window like a bin and edit directly from the Interplay Window by
double-clicking an asset in the window, which loads the asset into the Source monitor of your
Avid editing application.
The following illustration shows the Interplay window, as it appears on Mac OS X systems and
Windows systems. Folders are listed in the tree hierarchy in the left pane, and the contents of the
selected folder are displayed in the right pane. In this example, the folder is named after a bin in
an Avid editing project.
There are some differences between working from Interplay folders and working from bins. For
instance, you cannot edit a sequence in an Interplay folder. To edit a sequence, you copy it to a
bin, edit it, and then you copy the modified sequence to the Interplay database for sharing.
Connecting to the Avid Interplay Database
1115
For more information about using and customizing the Interplay Window, see “Editing with Avid
Assets in the Interplay Window” on page 1140 and “Managing Remote Assets with the Interplay
Window” on page 1144.
Connecting to the Avid Interplay Database
Before you can connect to the Avid Interplay database and access remote assets, you need to
configure the Interplay settings in your Avid editing application.
You also need be connected to the Avid shared-storage network. If you are working in an Avid
shared-storage workgroup, your Avid system administrator needs to configure your system for
proper access to the Avid shared-storage workspaces. If you need to log in to Avid shared storage
and mount workspaces, see “Connecting to Avid Shared Storage and Mounting Workspaces” on
page 1128. For complete information on working with shared storage, see the client
documentation for Avid Unity MediaNetwork or Avid ISIS.
If you have the correct Interplay settings and Avid shared storage connection, you can log in and
open the Interplay Window as described in “Logging in to Interplay and Opening the Interplay
Window” on page 1118.
Configuring Interplay Settings on the Editing Workstation
You need to specify three Interplay settings before you can view or use remote assets:
• Interplay Server: Use this setting to specify the computer name of the Interplay Server. This
is a Site setting, so it applies to all users and projects on a particular system. You can
override this setting in the Interplay Login dialog box.
• Interplay User: Use this setting to specify the Interplay user account to use when logging
into Interplay. This is a User setting, so it is specific to the Avid user. You can override this
setting in the Interplay Login dialog box.
• Interplay Folder: Use this setting to specify where assets are checked into the Interplay
database when you use menu commands, automatic checkin, or Frame Chase capture. This
is a Project setting, so it applies to all users working on a particular project.
You need to log in to the Interplay database through the Interplay User setting before you can
specify the Interplay Folder settings.
To configure Interplay settings:
1. Start your Avid editing application.
2. Click the Settings tab in the Project window.
3. Double-click Interplay Server.
Connecting to the Avid Interplay Database
1116
4. In the Interplay Server Name text box, type the computer name or IP address of your
Interplay server, and then click OK.
It is important to type the correct computer name or IP address. This is the location where
the editing system looks to access the database and to check in and check out Avid assets.
5. In the Settings list, double-click Interplay User.
6. In the User Name text box, type a user name.
This name must be a known user on your workgroup system.
7. Select “Automatic Login at Project Selection” if you want to log in to the Interplay database
automatically every time you open a project.
If you do not select this option, you must open this dialog box when you want to access the
database.
8. Click Login to establish the connection to the Interplay database.
The Interplay Login dialog box opens, with the server name you specified in the Interplay
Server Settings as the Host Name.
9. In the Interplay Login dialog box, type your password, and click OK.
When the blinking yellow light in the upper left of the dialog box turns green, you are
connected to the Interplay database and the dialog box closes. If you cannot log in, see your
system administrator.
Connecting to the Avid Interplay Database
1117
10. In the Project Settings, double-click Interplay Folder.
The Interplay Folder Settings dialog box opens.
11. Click the Set button, and a directory tree is displayed for the Interplay database that you
logged in to.
12. Select a folder to use as the default Interplay Root Folder for your project and click OK.
The Interplay Folder setting defines where assets are checked into the Interplay database
when you use menu commands, automatic checkin, or Frame Chase capture. (This setting
does not apply when you manually drag media from a bin and drop it in a folder in the
Interplay Window.) Interplay checks media in to a subfolder of the folder you specify in this
dialog box. The subfolder is named after the bin whose assets you are checking in.
13. (Option) Select “Append project to directory path” if you want Interplay to create a folder
with your project name in the Projects folder.
This is the default setting. If this setting is selected, an Interplay folder named after the
project contains subfolders named after the bins in the project.
14. (Option) Select options to verify the directory path.
- On login: If this setting is selected, a message box asks you to confirm the directory path
after you log in to Interplay. Select “for new projects only” if you want this message box
displayed only after you create a new project.
- On first checkin: If this setting is selected, a message box asks you to confirm the
directory path the first time you check in from a project. This message is displayed once
each time you work in a project.
For more information, see “Verifying the Interplay Checkin Folder” on page 1119.
15. Click OK.
Connecting to the Avid Interplay Database
1118
Logging in to Interplay and Opening the Interplay Window
If you configured the Interplay User settings to log in to the database when you select your
project, the Interplay Login dialog box opens when you start your Avid editing application. If
you did not select this option, then you must open the Interplay User settings before logging in to
the database.
After you log in, you have the option of opening the Interplay Window.
nYou must be logged in to the Interplay database to work with remote assets. For information on
configuring your login and other workgroup settings, see “Configuring Interplay Settings on the
Editing Workstation” on page 1115.
To log in and open the Interplay Window:
1. If your Interplay User settings are not configured to log in when you start a project, do the
following:
a. In the Settings list, double-click Interplay User.
b. Click Login to establish the connection to the Interplay database.
2. In the Interplay Login dialog box, type your password, and click OK.
When the blinking yellow light in the upper left of the dialog box turns green, you are
connected to the Interplay database and the dialog box closes.
Connecting to the Avid Interplay Database
1119
nYou can override the Host Name and User Name settings in the Interplay Login dialog box.
3. If an Interplay Folder path is not set, the Interplay Folder Settings dialog box is displayed.
Set the path and other options and click OK. See “Configuring Interplay Settings on the
Editing Workstation” on page 1115.
(Option) You can set an option to display a message box that asks you to confirm the
Interplay Folder path, if it is already set. If this message box is displayed, click OK to accept
the path, or click Change Setting to change the path. See “Verifying the Interplay Checkin
Folder” on page 1119.
4. (Option) Select Tools > Interplay Window.
The Interplay Window opens.
Verifying the Interplay Checkin Folder
To ensure that the objects that you check in are checked in to the correct Interplay folder, you can
choose to display a message box that asks you to verify the directory path for the current project.
You can choose to show this message box after logging into Interplay. You can also choose to
show this message the first time you check in from a project. You control the display of this
message box in the Interplay Folder Settings dialog box.
To set when the verification message box is displayed:
1. Start your Avid editing application.
2. Click the Settings tab in the Project window.
3. Double-click Interplay Folder.
The Interplay Folder Settings dialog box is displayed.
Connecting to the Avid Interplay Database
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4. Select options to verify the directory path.
- On login: If this setting is selected, a message box asks you to confirm the directory path
after you log in to Interplay. Select “for new projects only” if you want this message box
displayed only after you create a new project.
When the message is displayed after login, click OK to accept the directory path, or
click Change Setting to open the Interplay Folder Settings dialog box.
- On first checkin: If this setting is selected, a message box asks you to confirm the
directory path the first time you check in from a project.
When the message is displayed after the first checkin, click OK to accept the directory
path and complete the checkin, click Change Setting to open the Interplay Folder
Settings dialog box, or click Cancel to cancel the checkin. The message box is displayed
once each time you work in a project.
5. Click OK.
Creating Avid Editing Projects in an Interplay Environment
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Creating Avid Editing Projects in an Interplay
Environment
One of the biggest decisions you will make regarding your workflow is the location of the
projects and bins created by the editing applications. A predictable folder structure allows for the
following:
• Creates an easily maintained folder structure in the Interplay database
• Makes it easy for editors and other users in the organization to locate assets that are used by
different projects
• Makes it easier for the Administrator to delete older projects on the Avid editing systems
This section covers the basics of creating a project structure that is easy to maintain in an
Interplay environment.
Creating Projects
In a large Interplay environment it is important to locate Avid editing projects in areas that are
easily accessible by the Administrator that has to delete the projects. This section describes the
options for choosing a location for newly created projects.
When you start the editing application, the system displays the project log in window. From this
window, you can create a project that is either Private, Shared, or External.
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.
nAny user can create or delete a project via the editor. Keep your project structure consistent to
make the Interplay database easy to maintain.
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. 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.
Creating Avid Editing Projects in an Interplay Environment
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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.
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.
Creating Avid Editing Projects in an Interplay Environment
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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.
nAvid 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.
Creating Avid Editing Projects in an Interplay Environment
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Interplay Settings in the Editing Application
The Interplay Folder setting defines where the Avid editing application checks files into the
Interplay database. After you open a project you can specify several Interplay settings, including
the Interplay Folder. To access the settings, open the Settings scroll list in the in the Project
window. The following table lists the Interplay-related settings.
Option Description
Interplay Server (Site Setting) Specify the name of the Interplay Engine for the environment. If the site
has an Interplay Engine Cluster, this is a virtual name that will log in to the
active node.
Interplay User (User Setting) Specify the name of the default Interplay user (if applicable) and check the
Automatic Login at Project Selection checkbox. This does not auto-login
to Interplay, but prompts the user to do so after logging in to their project.
Creating Avid Editing Projects in an Interplay Environment
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Defining the Interplay Folder Setting
The Interplay Folder setting defines where assets will be checked into the Interplay database.
You need to define the location for each project. The examples in this chapter assume that you
are using the Projects folder in the Interplay database. The following illustration shows the
setting defined for the Projects folder. Use the Set button to define the location.
Interplay Folder (Project Setting) Interplay organizes assets and media by folders. The default checkin folder
must be set on each Avid editing application.
By default, the folder path is empty. The Interplay database Projects folder
is a good location to use. This will check the assets into a folder with the
name of the bin inside the folder for the project. Click the Set button to
navigate to the directory you want to use. After you select the Projects
folder, the Interplay Folder Settings dialog box will display the following:
Projects/<project>
Dynamic Relink This setting is utilized in MultiRez environments, to specify the working
and target resolutions for the Avid editing applications. The term MultiRez
refers to having a single master clip associated with multiple resolutions.
For additional information, see the Help for your Avid editing application
or the Interplay Help.
Media Services This setting specifies the Media Services Engine information. This allows
the editor to submit Transcode, Pro Encode, or Archive jobs to the Media
Service broker to hand off to the provider. When logged in to Media
Services the client can submit the jobs using the File menu options or by
right-clicking assets in a bin. You need to specify that Media Services are
available, the Host name of your Media Services Engine, and a valid
Interplay login account.
Option Description
Creating Avid Editing Projects in an Interplay Environment
1126
The Project folder selected. Click the Append project checkbox.
The following illustration shows a folder for a project named “The Big Swell” created in the
Projects folder. The folder was created automatically when the editor checked the first bin into
Interplay using the Check in Bin to Interplay command. The system automatically created both
folders and checked in the assets into the folder.
Folders created by checking in the bin. Checked in assets.
For a Day-of-the-Week workflow, use the Projects\<project> setting in the Interplay Folder
Setting window. Then, when multiple editors work in the 01Moday project, there will be one
01Monday folder populated by the bins from each system. This keeps the organization easier to
maintain.
Creating Avid Editing Projects in an Interplay Environment
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To instruct the system to automatically check in bins when the editor closes the application,
select the Bins option in the Editor Database Settings window in the Avid Interplay
Administration tool. The default is to ask the editor before checking in the bin.
Defining the Media Creation Settings
Use the Media Creation dialog box to define where you want the Avid editing application to
store newly created media.This is usually a workspace on shared storage that is monitored by the
Interplay Media Indexer High Availability Group.
To define the Media Creation settings:
1. Click the Settings tab in the Project window of the Avid editing application.
2. Double-click Media Creation.
3. (Option) On the Drive Filtering and Indexing tab, click Auto-index local drives as they come
online.
4. Click the Capture tab.
5. Select the video resolution and shared storage workspace for capturing new material.
6. Select the options for the other tabs (Import, Render, etc.).
Connecting to Avid Shared Storage and Mounting Workspaces
1128
Connecting to Avid Shared Storage and Mounting
Workspaces
If you need to manually connect to your Avid shared-storage system and mount workspaces, use
one of the procedures in this section.
For complete information, see your Avid shared-storage documentation.
Mounting Workspaces on an Avid Unity MediaNetwork System
If your system is connected to an Avid Unity MediaNetwork, you can mount Avid Unity
MediaNetwork workspaces before you begin your editing session by using Avid Unity
Connection Manager.
For complete information, see the Avid Unity MediaNetwork client documentation.
To connect to Avid Unity MediaNetwork and mount workspaces:
1. Make sure your Avid editing application is not running.
2. Do one of the following:
t(Windows) If the Connection Manager icon is not available in the Windows taskbar,
select Start > All Programs > AvidUnity > Avid Unity Connection Manager.
t(Macintosh) If the Connection Manager alias icon is not available, select Go >
Applications, and then double-click the AvidUnity folder. In this folder, double-click the
UnityConnectionManager file.
3. Do one of the following:
t(Windows) Click the Connection Manager icon in the Windows taskbar, and select
Manage Connections.
t(Macintosh) Double-click the Connection Manager alias icon on the desktop, or
double-click the Connection Manager alias icon in the dock, and then select
Connections > Manage Connections.
4. If you are not logged in with a valid MediaNetwork user name and password, you are
prompted to supply them before the Avid Unity Connection Manager dialog box opens. In
the Login dialog box (Windows) or the Network Logon dialog box (Macintosh), type a valid
MediaNetwork user name, password, and Domain name (if necessary), and click OK.
The Avid Unity Connection Manager dialog box opens and displays a list of all the
MediaNetwork workspaces to which you have access.
Connecting to Avid Shared Storage and Mounting Workspaces
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Workspaces that are already mounted appear selected in the workspace list.
5. In the workspace list, select the workspace or workspaces you want to mount. To select all
workspaces, click the Select All button. To deselect all workspaces, click the Clear All
button.
6. (Option) If you want the selected workspaces remounted the next time you log in, select
“Automatically remount these workspaces the next time I log in” (Windows) or “Remount
these workspaces on next login” (Macintosh).
7. Click Apply (Windows) or OK (Macintosh).
The Connection Manager mounts the selected workspaces on your client and the square in
the top right corner of the Connection Manager icon changes from red to green.
Mounting Workspaces on an Avid ISIS System
If your system is connected to an Avid ISIS media network, you can use the Client Manager to
mount a workspace before you begin your work session.
nYou must be connected to an Avid ISIS System Director before you can mount workspaces. For
more information, see the Avid ISIS Client Manager Help.
To connect to the Avid ISIS network:
1. Do one of the following:
t(Windows) If the Client Manager icon is not available in the Windows taskbar, select
Start > All Programs > Avid > ISIS Client > ISIS Client Manager.
t(Windows) Click the Client Manager icon in the Windows taskbar.
t(Windows) Right-click the Client Manager icon and select ISIS Client Manager.
Connecting to Avid Shared Storage and Mounting Workspaces
1130
t(Macintosh) Double-click the Client Manager alias icon on the desktop, or double-click
the Client Manager alias icon in the dock.
t(Macintosh) If the Client Manager alias icon is not available, select Go > Applications,
and then double-click the AvidISIS folder. In this folder, double-click the
ClientManager file.
The ISIS Client Manager opens.
The Avid ISIS Client Manager. The three panels contain the Connections list (top), the Workspaces list
(center), and messages (bottom). Highlighted on the left is the Workspaces filtering area. Highlighted on the
right are the Retrieve Details buttons and the toolbar.
2. Select the System Director you want to connect to from the Connections list.
3. Do one of the following:
t(Windows) Type your account name in the Username text box, and type your password
in the Password text box.
t(Windows) If your ISIS system is configured to use the Windows user name and
password for your local system, select OS Login. By default, the Username and
Password text boxes are inactive when you select this option.
t(Macintosh) Type your Avid ISIS account name in the Username text box, and type your
password in the Password text box.
4. Click the Connect button.
When the connection is successful:
Connecting to Avid Shared Storage and Mounting Workspaces
1131
- Workspaces you have been given access to are listed in the workspace list.
- The Connect button changes to Disconnect when the connection is complete.
- The Change Password and Launch Management Console buttons become active.
5. (Option — Windows only) If you used the OS Login option, and you want to connect to the
network automatically every time you start your system, select the Auto-Connect box.
To mount an Avid ISIS workspace on your system:
1. Open the Client Manager.
The Workspaces list opens. The Online field displays a green ball for workspaces that are
already mounted. You can filter the Workspaces list by Workspace name.
2. Do one of the following:
tClick (mount) in the Online column for the selected workspace.
tClick to select a workspace, then right-click, and select Mount.
t(Option) Right-click, and select “Mount to drive” from the menu.
nSelecting this option will override the current drive mapping option settings. for the selected
workspace.
The Client Manager mounts the selected workspace on your client and the Online icon for
the mounted workspace changes to green. The Workspaces list displays the drive the
workspace is mounted to. If you use letterless drive mappings, the Workspaces list displays
“UNC path” next to the Online icon.
3. (Option) If you want the selected workspace remounted the next time you log in, do one of
the following:
tClick (enable) in the Auto column for the mounted workspace.
tRight-click, and select “Enable auto mount”.
The next time you log in to your client system, the Client Manager automatically mounts the
selected workspace.
To mount multiple Avid ISIS workspaces on your system:
1. Open the Client Manager.
The Workspaces list opens. The Online field displays a green ball for workspaces that are
already mounted. You can filter the Workspaces list by Workspace name.
2. Do one of the following:
tSelect multiple non-contiguous workspaces with Control+click.
tSelect a range of contiguous workspaces by clicking on the first workspace row in the
range, then Shift+clicking on the last.
Editing with Remote Assets
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tSelect all workspaces by right-clicking in the Workspaces list and selecting “Select all”.
tSelect all workspaces by pressing Ctrl+A.
3. Right-click, and select Mount.
The Client Manager mounts the selected workspaces on your client and the Online icons for
the mounted workspaces change to green. The Workspaces list displays the drives the
workspaces are mounted to. If you use letterless drive mappings, the Workspaces list
displays “UNC path” next to the Online icons.
4. (Option) If you want the selected workspaces remounted the next time you log in,
right-click, and select “Enable auto mount”.
The next time you log in to your client system, the Client Manager will automatically mount
the selected workspaces.
Editing with Remote Assets
When you edit with remote assets in a workgroup environment, you need to keep in mind that
other users might share the clips and sequences in your project. When you first set up your
project, you can load the assets you want to work with to the Source monitor, mark In and Out
points, and add them to your sequence in the Timeline where you can create your effects and edit
your footage. You can then check in your sequence, including titles and effects, to the database
so others can access your work. Also, you should update the sequence in your bin to ensure that
the remote assets in your sequence include the most recent changes you and other users have
made.
Checking Avid Assets Out Using the Interplay Window
You can copy assets from the Interplay database to a bin. This process is called checking out.
Checking out assets from the Interplay database creates a local copy of the assets but does not
create a local copy of the associated media. When you check the assets back in to the Interplay
database, Interplay looks for any changes to the assets and copies the changes back to the
database. See “Checking Avid Assets In to the Interplay Database” on page 1135.
nYou can load clips directly from the Interplay Window. See “Editing with Avid Assets in the
Interplay Window” on page 1140.
To check Avid assets out of the Interplay database using the Interplay Window:
1. Start your Avid editing application, and either create a new project or open a bin in an
existing project.
2. Log in to the Interplay database.
For more information, see “Connecting to the Avid Interplay Database” on page 1115.
Editing with Remote Assets
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3. Select Tools > Interplay Window.
4. Navigate to the project containing the master clips and sequences (assets) you want to use,
and click the folder that contains the assets.
The Interplay Window displays the Avid assets in the selected folder.
5. Click the assets you want to check out, and drag them to your bin.
The bin displays the clips and sequences.
If you check out an asset and modify it (for example, you edit a sequence), and check out the
asset again without checking in the modified version, the following warning is displayed:
Editing with Remote Assets
1134
This message could also appear if another user has checked in a modified version of the
asset after you checked it out. Click “Update anyway” to overwrite the local version with the
version on the database, or click “Keep local modifications” to preserve the local version.
Creating a Duplicate Asset When Dragging to a Bin
In some cases you might want to create a duplicate of an Avid asset that you drag from the
Interplay database to a local bin, for example, if you want to create a new version of a sequence
while preserving the original. You can then work on the duplicate without affecting the original.
To automatically create a duplicate asset when dragging to a bin:
tHold down the Control key (Windows) or Option key (Macintosh) and drag an asset from
the Interplay window to a local bin.
A duplicate copy of the asset is listed in the bin. The name of the duplicate includes the file
name extension .Copy.n, where n is the number of duplicates created from the original asset.
Checking Out the Same Sequence to More than One Bin
Avid editing applications have a long-standing internal rule that a sequence cannot
simultaneously exist in two open bins. If you Alt-drag a sequence from one bin to another, the
sequence is copied and renamed as it is placed in the second bin.
nIt is possible, under some circumstances, to have the same sequence in two bins when one or
both bins are closed. Previously, if you opened one bin and then the other, the sequence was
duplicated without renaming in the second bin. Now the sequence is duplicated and renamed in
the second bin.
Editing with Remote Assets
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If you attempt to check out a sequence that already exists in a different open bin, a message
informs you that a duplicate sequence will be created and renamed (with the extension Copy.n).
You can respond to the message in one of the following ways:
• Click OK to check out the sequence and create a duplicate.
• Click Cancel to end the operation without checkout.
• Click “OK and don't show again” to check out the sequence and create a duplicate; if you
repeat the operation the message is not shown again until you restart your Avid editing
application
nYou can force a new copy of an object to be created with a different name by holding down the
Ctrl key (Windows) or Option key (Macintosh) when dragging from the Interplay Window to a
bin. (See “Creating a Duplicate Asset When Dragging to a Bin” on page 1134).
Checking Avid Assets Out Using Interplay Access
When you are working with an Avid editing application, you might want to use the advanced
search in Interplay Access to look for particular Avid assets. After finding the assets, you can
drag them from Interplay Access into a bin (checking out the assets), which creates local copies
of the assets (but not the media).
If you then modify the asset and want to save the changes in the database, you must use the menu
commands in your Avid editing application to check the asset back in to the database. You
cannot drag assets from a bin to Interplay Access.
To check Avid assets out of the Interplay database using Interplay Access:
1. Start your Avid editing application, and either create a new project or open a bin in an
existing project.
2. Log on to the Interplay database, as described in “Connecting to the Avid Interplay
Database” on page 1115.
3. Open Interplay Access and browse or search for the assets you want.
4. Select the assets you want to use and drag them to a bin.
The Avid assets are checked out from the Interplay database. A link is created to the asset,
and the bin displays the assets you checked out.
Checking Avid Assets In to the Interplay Database
The process of adding Avid assets to the Interplay database or updating Avid assets already in the
database is called checking in. There are two basic ways to check in Avid assets:
• By using menu commands or automatic checkin
• By dragging assets to the Interplay Window
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When you use a menu command or automatic checkin to check in assets, the Interplay Engine
checks them into a subfolder named after the bin, in a folder that you selected in the Interplay
Folder settings (see “Configuring Interplay Settings on the Editing Workstation” on page 1115).
When you use the drag-and-drop method for checking in assets, you can select any appropriate
Interplay folder to store your assets.
The following table describes the methods available for checking in Avid assets.
Method Description
Check in assets by
checking in a bin
You can check in assets to a bin using the Bin > Check In Bin to Interplay command or the
Bin > Check in All Open Bins to Interplay command. These commands check in the
following items:
• Items that have been modified since they were last checked in or out
• Items that have been added to a bin.
• Items that do not exist in the database because they were deleted from the target folder
(the folder into which you are checking in)
If an item exists in the database but does not exist in the target folder (the folder into which
you are checking in), a link for the item is created in the target folder. Adding a link takes
much less time than performing a full checkin.
nThe command File > Check In Open Bins in Project performs the same actions as
Bin > Check In All Open Bins to Interplay.
Automatically
check in assets by
closing a bin
Automatic checkin is a setting enabled in the Application Database Settings in the Interplay
Administrator that lets you check in assets when closing a bin, a project, or your Avid
editing application. Automatic checkin is optimized to work more quickly than the menu
commands. If a bin contains any new or modified items, it is processed exactly as when you
use menu commands described above. If there are no new or modified items in a bin, no
items in the bin are checked in. In this case, automatic checkin will not detect if any items
have been deleted from the bin’s database folder. See “Automatically Checking In Avid
Assets” on page 1139.
Force a check-in
of selected items
If you want to make sure items are checked into the database (including items that have not
been modified and items that do not exist in the database), select the items, right-click, and
select Check In To Interplay.
Select assets and
drag them to the
Interplay Window
This command also forces a checkin of all selected items.
Editing with Remote Assets
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nBy default, a 24-hour reservation is automatically placed on a folder whenever a new or
modified Avid asset is checked in to the Interplay database from a bin. An Interplay
administrator sets the default duration of the reservation in the Application Database Settings in
the Avid Interplay Administrator. For more information on reservations, see “Understanding
Reservations” on page 1145.
To add Avid assets from your bin to the Interplay database by using menu commands:
1. Open the bin that contains your clips or sequences.
2. Log in to the Interplay database if you have not already done so.
For more information, see “Connecting to the Avid Interplay Database” on page 1115.
3. Do one of the following:
tTo check in all Avid assets in a bin, select the bin and then select Bin > Check In Bin To
Interplay or File > Check In All Open Bins to Interplay, or right-click the Bin Fast menu
and select Check In Bin To Interplay.
tTo check in Avid assets in all open bins, select Bin > Check In All Open Bins to
Interplay or right-click the Bin Fast menu and select Check In Bin To Interplay.
tTo check in one or more Avid assets, select the assets and select File > Check In To
Interplay or right-click and select Check In To Interplay.
tTo check in a sequence for use in a Pro Tools project, select File > Check In to Interplay
for Pro Tools or right-click and select Check In to Interplay for Pro Tools.
The Interplay Engine checks in the assets to a subfolder of the folder you specified in the
Interplay Folder settings (see “Configuring Interplay Settings on the Editing Workstation”
on page 1115).
4. (Option) You can set an option to display a message box that asks you to verify the folder
into which the assets will be checked in.
tClick OK to accept the directory path and complete the checkin.
tChange Setting to cancel the checkin and open the Interplay Folder Settings dialog box.
tClick Cancel to cancel the checkin.
The message box is shown the first time you check in from a project. See “Verifying the
Interplay Checkin Folder” on page 1119.
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To add Avid assets from your bin to the Interplay database using drag and drop:
1. Open the bin that contains your clips or sequences.
2. Log in to the Interplay database if you have not already done so.
For more information, see “Connecting to the Avid Interplay Database” on page 1115.
3. Select Tools > Interplay Window.
4. (Option) Right-click the Projects folder in the Interplay Window, select Create a New
Folder, and then type a name for the folder.
5. Select one or more items in the bin and drop them in a folder in the Interplay Window.
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Automatically Checking In Avid Assets
You can automatically check in media assets by setting the appropriate option in the Avid
Interplay Administrator. The “Check in bins when closing” setting in the Application Database
Settings provides the following options for checking in media from bins:
When you automatically check in media assets from a bin, assets are checked in to a subfolder
within the folder specified in the Interplay Folder settings (see “Configuring Interplay Settings
on the Editing Workstation” on page 1115).
Automatic checkin is optimized to work more quickly than the menu commands described in
“Checking Avid Assets In to the Interplay Database” on page 1135. If a bin contains any new or
modified items, it is processed exactly as when you use the menu commands. If there are no new
or modified items in a bin, no items in the bin are checked in. In this case, automatic checkin will
not detect that items have been deleted from the bin’s database folder. You can force these items
to be checked in by selecting them and then selecting File > Check in To Interplay.
If you are not sure which option is set for automatic checkin, see your Interplay administrator.
Updating Remote Assets in Bins
After you have added remote assets to a bin, you can update the assets by dragging them from
the Interplay Window to the bin. You can also update assets by using the Update Bin from
Interplay command. This command automatically checks out the most recent version of the clips
or sequences in a bin. You can update all items in a bin, or you can update only selected items.
This command is useful if you are working with an in-progress clip. See “Editing with
In-Progress Clips” on page 1142.
nIf an Interplay folder contains assets that are not contained in its corresponding bin, the Update
Bin from Interplay command does not add these assets to the bin.
Option Description
Always check in Your Avid editing application checks in media assets in a bin whenever
you close it (for example, when you close an individual bin or a super bin,
close a project, or quit your Avid editing application).
Never check in Your Avid editing application does not check in media assets in a bin when
you close it.
Ask User A dialog box asks you if you want to check in a bin or bins to Interplay
that you are closing (this is the default setting).
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To update remote assets:
1. Open the bin that contains the local copies of your remote assets.
2. To update all items in a bin, select the bin and do one of the following:
tSelect Bin > Update Bin from Interplay.
tClick the Bin fast menu, and select Update Bin from Interplay.
3. To update selected items in a bin, select the items, right-click, and select Update from
Interplay.
The latest versions of the items are checked out to the bin.
Editing with Avid Assets in the Interplay Window
You use the Interplay Window to access master clips and sequences in the Interplay database.
When you locate the appropriate Avid asset, you can open the asset in the Source monitor where
you can preview it and mark In and Out points. You can then add the assets to a sequence in the
Timeline just as you would any other media clip. You then save your sequence to a bin, and you
drag it to an Interplay folder in the Interplay Window, which checks in the sequence to the
database.
nYou cannot edit a sequence directly from an Interplay folder. To edit a sequence, copy it to a bin
(check out), edit it, and copy the modified sequence to the Interplay database (check in).
You can also edit files that have been checked into Interplay from Pro Tools. For more
information, see “Using Pro Tools and Interplay” in Avid Interplay Best Practices.
For more information about using and customizing the Interplay Window, see “Managing
Remote Assets with the Interplay Window” on page 1144.
To view Avid assets in the Source monitor:
1. Start your Avid editing application, and either create a new project or open an existing
project.
2. Log in to the Interplay database.
For more information, see “Connecting to the Avid Interplay Database” on page 1115.
3. Select Tools > Interplay Window.
4. Navigate to the project containing the master clips and sequences you want to use, and click
the project folder.
The Interplay Window displays the Avid assets in the Interplay folder.
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5. Select the clip or sequence you want to view
6. Do one of the following:
tDrag the clip or sequence from the Interplay Window into the Source monitor.
tDouble-click the clip or sequence in the Interplay Window.
The Source monitor displays the remote asset.
Understanding In-Progress Clips
If your Avid editing application is part of a workgroup environment managed by Avid Interplay,
you can edit using in-progress clips. In-progress clips are created using Frame Chase capture
capabilities, either on another Avid editing application or with a line feed or ingest device such as
an Avid AirSpeed®.
In-progress clips are available for viewing and for use in editing while the capture is still in
progress. The length of in-progress clips is based on their expected duration in the capture
device. Portions of the clip that have already been captured are available for viewing in monitors,
and you can edit those portions into a sequence. Portions of the clip that have not yet been
captured are represented in monitors by a “Capture in Progress” slide.
You can send a sequence that includes material from in-progress clips to playback at any time.
You do not have to wait until the capture completes.
For more information on how the Frame Chase capture process works, see “Frame Chase
Capture” on page 231.
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Editing with In-Progress Clips
The following procedure outlines the basic steps for editing using an in-progress clip when you
use the Interplay Window to access the Interplay database.
To edit using an in-progress clip:
1. Open your Avid editing application, open a project, and open the Interplay Window.
2. In the Interplay Window, navigate to the folder that holds the clip that you want to use for
editing.
If you know some information about the clip, you can use the Search feature.
A clip that is being captured displays an in-progress icon.
3. Load the clip into the Source monitor and play the clip.
The clip plays in the Source monitor at the same time the media is being captured. Portions
of a clip that are not currently available display a “Capture in Progress” slide until those
portions are captured.
4. Create a sequence in a bin.
5. Use standard editing techniques to build a sequence incorporating any parts of the
in-progress clip that you can view in the Source monitor.
6. (Optional) To get updated information about the clip (metadata), select Bin > Update Bin
from Interplay. For more information, see “Updating Remote Assets in Bins” on page 1139.
7. When the clip is completely captured, select Bin > Update Bin from Interplay.
This command ensures that the latest version of the clip is used in your sequence and
removes restrictions related to in-progress clips.
8. Save the sequence.
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Limitations When Working With In-Progress Clips
During the Frame Chase capture process the final length of the clip is unknown until the capture
is complete and the clip information is updated. Because of this, there are some limitations when
you work with in-progress clips.
You can use the following editing functions only when you are working with the available
captured media of an in-progress clip:
The following editing functions are not available when you are working with in-progress clips:
Function Description
Editing in-progress
clips into a sequence
You can edit the captured portions of in-progress clips into a sequence.
Subclips When creating a subclip from an in-progress clip, you must place the IN and OUT points
where media has already been captured and is available.
Trimming The right-side trim limit of an in-progress clip is determined by the currently available
media. When you trim an in-progress clip to the end of available media, the trim functions
as if it had reached the end of the clip. As more media is captured, the trim limit increases.
Performing the trim at a later time might allow more trimming because more media might
become available.
Function Description
Clip duplication Duplication of an in-progress clip is not allowed because the duplicated clip loses its
relationship with the original in-progress master clip.
Group clips You cannot use an in-progress clip in a group clip, because the length of an in-progress clip is
unknown until the capture is complete. Group clips are based on the length of the
contributing clips. This limitation applies to all of the related grouping operations, such as
AutoSync, Group Clips, and MultiGroup.
Consolidate,
Transcode, and
Audio Conversion
You cannot consolidate, transcode, or perform audio conversion with an in-progress clip. All
the media must be available and the length of the clip known before you can perform these
functions. However, you can consolidate and transcode subclips and sequences that reference
or contain in-progress clips. In these cases, any right-side handles are restricted by the known
media duration of the in-progress clip at the time of the operation.
For example, if you set 2-second handles but there is only 1-second of media available for a
handle at the time the consolidate or transcode operation is executed, then the right-side
handle is restricted to 1 second.
Decompose The restrictions for decompose are the same as consolidate and transcode. The right-side
handles cannot exceed the known media duration of the clip.
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Managing Remote Assets with the Interplay Window
You access remote assets through the Interplay Window. This lets you see all of the Avid assets
available to your project, manage your assets, and access the Avid assets stored in Interplay
folders so you can edit the clips in your sequence.
The Interplay Window, showing the Media Directory panel (left), the Research panel (right), and the Layout button
(bottom)
The Interplay Window lists your active content, which includes sequences, master clips, and all
the media files and metadata files that are associated with them. The Media Directory panel lets
you browse and navigate to all of the shared Interplay folders that contain those Avid assets
available for your project. The Research panel shows you the contents of the selected folders and
the results of media searches. You can use the Layout button to customize the display of the
Media Directory panel and the Research panel, see “Modifying the Appearance of the Interplay
Window” on page 1150.
Non-Check-in
export
You cannot export an in-progress clip or a sequence that contains in-progress clips because
the final clip length might be different than the clip length at the time of the export.
Variable-bit-rate
media
The only variable-bit-rate (variable-frame-size) media supported for Frame Chase editing is
low-res long-GOP MPEG-2 media captured by the Avid Interplay low-res encoder. Only
media captured by supported ingest devices is supported for Frame Chase editing.
Using the
Capture tool
Frame Chase editing is not available on an Avid editing system that is using the Capture tool
to capture media.
Function Description
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You can load clips and sequences from the Interplay Window, which keeps track of your assets in
tabbed windows. You also use the tool to search projects and folders. When you start a search, a
Media Search tab displays in the Research panel. The Media Search tab lets you search the
database for all media files that fit the search parameters you specify. For more information on
searching, see “Finding Remote Assets” on page 1163.
nBy default, a Media Search tab is always open in the Research panel.
Assets can carry two different kinds of markers:
• Reservations: Reservations protect assets from deletion and moving. Assets protected by a
reservation are marked by a Reservation icon in Avid Interplay Access. For more
information on reservations, see “Understanding Reservations” on page 1145.
• Restriction markers: Restrictions indicate limitation warnings on the use of media assets.
Assets that include a restriction are marked by a Restriction icon. For more information on
restrictions, see “Understanding Restrictions” on page 1146.
In Interplay Access, an administrator can set the text color of the names of folders and assets (the
default is black). This colored text is also visible in the Interplay Window.
Understanding Reservations
Reservations are time-based protections that authorized users can set on Interplay database
folders. Usually reservations are assigned by a user with appropriate privileges using Interplay
Access. By default, a 24-hour reservation is automatically placed on a folder whenever a new or
modified Avid asset is checked in to the Interplay database from a bin.
nThe default duration of automatic reservations is set in the Application Database Settings in the
Avid Interplay Administrator.
When you reserve a folder, the system adds a Reservation icon to the folder and sets the
reservation on all of the Avid assets in the folder, including any subfolders and their contents.
The reservation protects the assets — which include sequences, master clips, and all the media
files and metadata files that are associated with them — from deletion and moving.
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Reservation icons on folders in the Media Directory panel
Only the owner of a reservation or the Administrator can remove the reservation or delete or
move the contents of a reserved folder. Since folders can have reservations set by multiple users
with multiple end dates, you might not be able to move or delete the asset even if you placed a
reservation on it. Unless one of the reservations expires or is revoked by the user that created it,
only your Interplay administrator can move or delete the asset.
For more detailed information on reservations, see the Avid Interplay Access User’s Guide.
Understanding Restrictions
Restrictions are placed on Avid assets by adding the restrictions to markers in Avid Interplay
Assist. A restriction can represent material that should not be used. It might contain material that
needs to be used only after rights are available on a certain date, that the organization must pay
for upon use, or that has copyright requirements or other legal restrictions limiting its use.
Restriction marker on a clip icon in the Research panel
You can see the restriction markers on the clip icons in the Interplay Window and in your bin.
Your Avid editing application warns you about the restriction when you display the restricted
material in the monitor, perform a digital cut, send it to playback, or export it. You can choose to
continue the operation, and you can view the reason for the restriction in the Restrictions tool.
You can change restriction comments by using Interplay Assist and then view them in your Avid
editing application. For more information on setting restrictions and on using Interplay Assist,
see the Avid Interplay Assist User’s Guide.
The clip icon of any clip that contains restricted material displays the Restriction icon. For more
information about working with restrictions, see “Working with Restricted Material” on
page 365.
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You can use extended search capabilities to search for restrictions in Avid Interplay Access. Use
the DRM property. For general information about searching in Interplay Access, see the Avid
Interplay Access User's Guide.
Understanding Access Control for Avid Assets
Access control protects assets in a workgroup environment. The Interplay administrator uses the
Avid Interplay Administrator application to assign access levels to groups and to particular
folders. For example, you might have permission to read, write, and delete some assets, but only
have permission to read other assets. For more information, see the Avid Interplay Engine and
Avid Interplay Archive Engine Administration Guide.
When you check in an Avid asset to the database, the system creates a link to the clip or sequence
and displays the link in the Interplay Window. When you create a copy of a master clip or
sequence, the system creates a copy of the link.
Each individual link to an asset has its own access control. This means that it is possible to have
read/write/delete access to an asset in folder A, but only read access to another instance of the
asset in folder B. For example, if a master clip is visible in two folders, one with a reservation
and one without, when you delete the master clip in the non-reserved folder, the master clip in
the reserved folder (and the related media) is not deleted.
Moving, Copying, Duplicating, and Deleting Avid Assets
You can move, copy, and duplicate clips and sequences to other folders in the Interplay Window
in order to group and organize various types of material based on project needs. When you copy
clips from one folder to another, any custom columns that you created in the first folder are also
copied to the second folder. The custom columns appear in the order in which you created them.
Remember that there is a difference between copying and duplicating:
• When you copy a clip, you create a reference clip (link) to a clip in another folder, and any
change you make to the copy affects the original as well.
• When you duplicate a clip, you create a new asset. This asset points to the same media files
(audio and video) but is associated with a completely new set of metadata (by default, a new
name and new creation date). Any modifications that you make to the duplicated clip, such
as adding markers, do not affect the original clip's metadata.
cBecause a duplicated clip points to the same media as the original clip, be careful when
deleting duplicated clips that you do not unintentionally delete media.
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If you have delete access control within your workgroup, you can delete Avid assets in the
Interplay Window and in bins. You can also delete copies of the assets (links). Users without
delete access cannot delete assets or perform any tasks that require delete privileges. For more
information, see “Understanding Access Control for Avid Assets” on page 1147.
You cannot delete assets that carry reservations. Reservations can only be applied to folders and
they apply only to Avid assets (clips and sequences). Also, you cannot delete a relative of a
reserved asset. For example, if a master clip is not reserved, but it is used in a reserved sequence,
you cannot delete the master clip until the reserved sequence is unreserved. For information on
reservations, see “Understanding Reservations” on page 1145.
nIf you are working with MultiRez, you might see more than one resolution associated with a clip.
For information about deleting multiple resolutions, see “Deleting MultiRez Clips and Media
from a Bin” on page 1220.
nYou might need to press F5 to refresh the Interplay Window display to see the updated contents of
the folder or bin.
To move clips or sequences from one folder to another:
1. In the Research panel, select the clip or sequence that you want to move.
2. Drag the clip or sequence to the destination folder in the Media Directory panel, and release
the mouse button.
To copy clips from one folder to another:
1. In the Research panel, select the clip or sequence that you want to copy.
2. Press and hold the Ctrl key (Windows) or the Command key (Macintosh), drag the clip or
sequence to the destination folder in the Media Directory panel, and release the mouse
button. This creates a link to the original clip (and thus a copy of the asset) within the new
folder.
When you press and hold the Ctrl key or the Command key and drag a clip to make a copy,
the system does not append a number to the clip or sequence as it does when duplicating.
To duplicate a clip:
tRight-click the clip or sequence and select Duplicate.
A new copy of the clip or sequence with a new Creation date is created. The system appends
a number such as .01 to the end of the name, creating a new name.
cThe duplicated clip refers to the original media; be careful not to delete media accidentally
if you delete the duplicated clip.
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To delete clips or sequences from a folder or bin:
1. Select the clips and sequences that you want to delete.
2. Press the Delete key or right-click and select Delete.
The Delete dialog box opens, showing information about the selected items.
3. Select the items for deletion.
4. (Option) Delete the associated media files for master clips and effect clips.
You can select both clips and media files for deletion, or you can select only the media files
if you want to retain the clips for recapture later.
5. Click OK.
If you choose to delete media files, a message box opens and asks you to confirm the
deletion.
6. Click Delete.
Creating Folders and Shortcuts in the Interplay Window
If you have the appropriate rights, you can create folders in the Avid Interplay database to help
organize your projects. You can also save time accessing remote assets you use often by creating
shortcuts to Interplay folders and catalogs in the Media Directory panel.
To create a new folder in the Interplay Window:
1. Right-click an Interplay folder in the Media Directory panel, and select Create Folder.
2. Type a name for the folder and click OK.
To create a shortcut to a folder in the Interplay Window:
tRight-click an Interplay folder in the Media Directory panel, and select Create Shortcut.
The shortcut appears in italic above the Interplay database name in the Media Directory
panel.
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A shortcut above an Interplay database name in the Media Directory panel
To remove a shortcut to an Interplay folder or a catalog:
tRight-click the folder in the Media Directory panel, and select Delete Shortcut.
The shortcut is removed.
Modifying the Appearance of the Interplay Window
You can modify the appearance of the Interplay Window to hide the Media Directory panel or to
split the tool horizontally (so the Media Directory panel and the Research panel display on the
left and right sides of the tool) or vertically (so they display at the top and bottom of the tool).
You can also specify which media objects you want to display in the Interplay Window.
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Location of the Layout button in the Interplay Window
To modify the display properties of the Interplay Window, do one of the following:
tClick the Layout button until the layout you want displays in the Interplay Window.
tPress Ctrl+L (Windows) or Command+L (Macintosh) until the layout you want displays in
the Interplay Window.
Understanding Column Display in the Interplay Window
You can modify the display of columns in the Interplay Window in a variety of ways. You can:
• Sort the information in all of the columns in the media tabs in the Research panel except the
Frame column
The Type column sorts alphabetically based on the type of media object (audio clip, master
clip, sequence, subclip).
• Move columns to rearrange their order
• Select individual or multiple columns to be displayed or hidden in the Interplay Window
• Add columns to the display in the Research panel in the Interplay Window in order to
display additional properties for media objects
Available column headings are determined by selections in the Interplay Administrator.
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Added columns appear only for the selected folder and for the current work session. If you
want to use the same columns the next time you log in to your Avid editing application, you
must save a custom layout. See “Using Custom Layouts for the Interplay Window” on
page 1159.
• Create new column headings in the Research panel.
New column headings (custom properties) are added to the database. Be careful when
creating custom properties. Currently, you cannot delete custom properties, but you can turn
off their display.
If the new heading has the same name as a system property or a user property — for
instance, FPS (frames per second) — the new column displays the properties for the heading
already in the database. You cannot create two headings with the same name.
• Enlarge or reduce the width of any column in the Research panel.
When you change the size of the Frame column, the head frames increase or decrease in
size. You must enlarge or reduce all frames in the Research panel together. You cannot
change the size of an individual frame.
For instructions on modifying column display in the Interplay Window, see “Modifying Column
Display in the Interplay Window” on page 1152.
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Modifying Column Display in the Interplay Window
To sort information in columns:
tClick the column heading. To reverse the sort order, click the column heading again.
To move a column in the Interplay Window:
tClick the heading of the column in the Research panel that you want to move, then drag the
column to the position you want and release the mouse button.
The column appears in the new position, and the other columns shift to make room.
To hide a column:
tRight-click the column heading and select Hide this Column.
When you hide columns, they are listed on the menu below the Hide this Column option.
To display a hidden column:
tRight-click a column heading and select Show heading name.
To add columns to the Research panel:
1. Right-click a column heading and select Select Working Set of Columns.
The Select Working Set of Columns dialog box opens. The dialog box displays four sections
of properties as defined in the Interplay Administrator, separated by dotted lines: System,
Custom, Video Resolutions and Audio Resolutions.
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2. Select the columns you want to display.
For MultiRez clips, you can select a column for each resolution (1:1, DV 25, and so on). See
“Single Clip, Multiple Resolutions” on page 1191.
3. Click OK.
The new columns appear to the right of the existing columns in the Research panel.
To create a new column:
1. Right-click a column heading and select New Column.
2. Type a name for the new column.
The new column appears to the left of the active column in the Research panel.
To enlarge or to reduce the size of columns:
tClick the border of a column in the Research panel, and drag it to the right or the left to
resize it.
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Selecting Values for a Custom Property
You can select a property value from a list for a custom property rather than typing it in. You can
select this value from a column in the Research Panel.Your system administrator needs to first
create a custom property in Interplay Administrator and then import an XML file containing the
values into Interplay Administrator. For more information, see “Adding a Custom Property” in
the Avid Interplay Engine and Interplay Archive Engine Administration Guide.
For example, you might want to specify the status of a particular asset. The XML file might
contain status values such as Opened, Approved, and so on. In the Research panel, you can click
the Status column cell for an asset and select a value rather than typing it in each time.
To select a value for a custom property in the Research panel:
1. Make sure your Administrator has set up the custom property and imported the list of values.
2. Right-click a column heading and select Select Working Set of Columns.
The Select Working Set of Columns dialog box opens. The dialog box displays three
sections of properties as defined in the Interplay Administrator, separated by dotted lines:
System, Custom, and Resolutions.
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3. Navigate to the new custom column heading, select it, and click OK.
4. Locate the custom column in the Research panel and click it in the cell for the asset you
want to label.
The list of values for the property appears.
5. Select a value.
The value appears in the cell.
6. Select values for additional assets.
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Selecting Asset Types
To select asset types and reference clips to display:
1. Right-click the Type column heading in the Research panel and select Set Type Filter.
nYou need to right-click the column heading. If you right-click elsewhere in the column, the option
does not appear in the context menu.
The Set Type Filter dialog box opens.
2. Select the asset types you want to display.
3. (Option) Select “Show reference clips” to display objects that are referenced by sequences.
4. Click OK.
5. (Option) Save the layout if you want to preserve your type filter settings.
Media Objects in the Interplay Window
The following table describes the media objects that you can display in the Interplay Window.
Media Object Description
Sequences A clip that represents an edited program, partial or complete, that you
create from other clips
Master Clips A clip that references audio and video media files formed from captured
footage or imported files
Subclips A clip that references a selected portion of a master clip
Effects A clip that references an unrendered effect that you create
Rendered Effects A clip that references an effect media file generated when you render an
effect
Motion Effects A file in the bin that references effect media files generated when you
create motion effects
Group Clips (For MultiCamera editing) Clips containing two or more grouped clips,
strung together sequentially according to common timecodes
Show reference clips Clips and other objects that are referenced by sequences, even if these
objects were not previously displayed in the bin.
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Renaming Clips in the Interplay Window
You can rename a clip in a folder directly by modifying the information displayed in the
Research panel.
nThis action also renames copies of these clips. It does not rename duplicated clips.
To change the name of a clip:
1. Click the cell in the Name column that you want to modify.
The clip row is highlighted.
2. Click the cell again to enter text.
The pointer changes to an I-beam.
3. Type the new clip name, and press Enter.
Adding Comments in the Interplay Window
You can add comments to the clip information in any media tab in the Research panel to help you
keep track of details not displayed in the other columns.
To add a comment to the Research panel:
tClick in the Comment column of the clip you want to annotate, and type your comment in
the Comment text box.
You might have to scroll right to see the Comment column.
Updating the Display in the Interplay Window
If material is ingesting as you are working or other people are working in the same project, you
might need to update the display in your Avid editing application to see the latest content.
To update your Avid editing application display:
tPress F5.
The Directory panel and the Research panel update to the latest content. In the Research
panel, this includes only the tab in front if you have more than one tab. Tabs that are behind
the active tab don’t update. If you try to update before a previous update operation has
completed, your Avid editing application ignores the second attempt. Search result tabs are
also not updated.
To refresh just the front tab in the Research panel:
tClick the Refresh button.
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The Refresh button on a tab in the Research panel
To update a search result tab:
tExecute the search again.
Navigating to a Folder that Contains a Selected Asset
You can use a command to navigate (go to) to a folder that contains a selected asset.
To navigate to a folder that contains a selected asset:
1. Right-click an asset in the Research panel (any tab) and select Open Enclosing Folder.
The Open Enclosing Folder dialog box opens and displays a list of folders that contain the
asset.
2. Select a folder and click OK.
The folder is selected in the directory tree and the contents of the folder are displayed in a
tab in the Research panel, with the selected asset highlighted.
Updating Writable Properties in the Property Merge Dialog Box
If you have Write privileges in your Interplay environment, you can change several of the
properties associated with assets, for example, Comments or Name. These are called writable
properties. If you try to change a writable property that another user modified after you accessed
the asset, the Property Merge dialog box opens.
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For example, someone else who accessed a clip in Interplay Access after you loaded the same
clip in the Research panel might have changed the name of the clip on the server; when you then
try to rename that clip, the Property Merge dialog box opens. The change could have been made
in any Interplay application, including Assist, Instinct, Interplay Access, or the Interplay
Window.
You can view the original status of the writable property, your change, and the current status of
the property on the server, and you can choose to update the asset on the server or to update the
asset on your system. You can update the asset on the server by merging the changes; you can
also can create the text of the change.
To update your asset with the change from the server:
tSelect Update from Server.
The asset is updated with the change from the server.
To update the server with your change:
1. Select the version of the property you want to see in the Merged Value text box:
- Original - the state of the asset before you accessed it
- Your change - this version is selected by default
- Current (on server)
You can select any combination of the versions.
The versions appear in the Merged Value text box in the order in which you select them.
2. (Option) Edit the text in the Merged Value text box to create the change you want.
3. Select Submit to Server.
The asset is updated with the text in the Merged Value text box.
Using Custom Layouts for the Interplay Window
Any time you modify a column, the Interplay Window maintains the custom layout for the
individual folder during your current work session. When you quit your session, the customized
layout is lost unless you save it. You can apply saved layouts to any display in the Interplay
Window. Your Avid editing application uses the last saved layout to display assets in the
Interplay Window. Layouts are saved as Interplay user settings.
The Interplay Window also saves the default layout which appears when you first open your
Avid editing application. You cannot save or delete the default layout.
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To save a layout:
1. Open a folder.
2. Modify the display or the columns according to preference.
3. Click the Layout menu, and select Save Layout As.
The initial layout name is “Default.” Once you save a layout, the Layout menu displays the
saved layout name.
If you want to save changes to an existing layout, click Save Layout.
Location of the Layout menu in the Interplay Window
The Enter Column Layout Name dialog box opens.
4. Type a name for the custom view, and click OK.
The layout is saved and added to the list of layouts in the Layout menu. You can select any of
the saved layouts from the Layout menu.
To change to another saved layout:
tClick the Layout menu, and select a saved menu from the menu list.
If you select Default, the Interplay Window reverts to the layout that appears when you first
open your Avid editing application.
To delete a layout:
1. Click the Layout menu, and select the layout you want to delete from the menu list.
2. Click the Layout menu, and select Delete Current Layout.
A confirmation box opens.
Managing Remote Assets with the Interplay Window
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3. Click Yes.
Opening Multiple Tabs in the Interplay Window
When you open a new Interplay folder, its contents replace the current contents displayed in the
Interplay Window. If you want to keep the contents of more than one folder open at a time, you
can save the Research panel display as a tab in the Interplay Window and then open the contents
of the new folder as a separate tab. This way, you can keep multiple folders open at once.
To open multiple folders in the Interplay Window:
1. Click the active tab in the Research panel, and then click the Pin button.
The contents of the folder are saved as a tab in the Research panel.
2. In the Media Directory panel, click a new folder.
The folder opens as a new tab in the Research panel.
Left to right: Media tabs, the Pin button, and the Close button in the Research panel of the Interplay Window
To close a tab in the Interplay Window:
tOn the tab you want to close, click the Close button.
Selecting Font Options from the Context Menu in the Interplay Window
You can change the default fonts and font sizes in the Research panel and the Directory panel
from a context menu.
Font changes are saved as user settings and do not affect other systems.
Managing Remote Assets with the Interplay Window
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To change the font from the Research Panel context menu:
1. Right-click and select Set Research Panel font.
The Select Research Panel Font dialog box opens.
n On Windows XP, the dialog box lets you select and preview options other than Font and Size, but
those options do not affect the font in your Avid editing application. You can change only Font
and Size.
2. Select a font and a size, and then click OK.
The font in the panel changes.
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To change the font from the Directory panel context menu:
1. Right-click in the Directory panel and select Set Directory Panel font.
The Select Directory Panel Font dialog box opens.
2. Select a font and a size, and then click OK.
The font in the panel changes.
Finding Remote Assets
You find Avid assets stored in the Interplay database by searching Interplay folders.
The most common method of finding remote assets is to perform a search based on attributes.
The Interplay Window searches for the attributes associated with Avid assets. Each attribute can
define statistical information (such as the date) or descriptive information (such as clip name).
The search function lets you search by a date, a word, or a few characters.
The database returns the results of any search in the Research panel, which lets you access more
detailed information about displayed assets.
nYou can have multiple searches running at the same time.
Typically, you conduct database searches for Avid assets based on their associated attributes. For
example, you could find all master clips modified in the last hour, all sequences in a particular
project, or all subclips in a particular project that have the word “feature” in their names.
nInterplay Access includes an extended search with additional features for searching the Interplay
database.
Performing Searches on Interplay Folders
A search tab is always available in the Research panel (labeled Media Search before you perform
a search). You can define your search based on standard media attributes, described in “Search
Attributes for the Interplay Window” on page 1165. You can open multiple search tabs and keep
the additional tabs open, as described in “Keeping Search Results in the Interplay Window” on
page 1166.
nTo get the best response times for your searches, make them as specific as possible.
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To perform a search:
1. Click the Media Search tab.
To open an additional search tab, do one of the following:
- Press Ctrl+F (Windows) or Command+F (Macintosh).
- Right-click an Interplay folder and select Search. The folder you select is displayed in
the Search In field.
2. In the Text field, type a search term.
You can specify words or characters for your search. Search terms are not case-sensitive and
apply to all searchable text attributes of the Avid assets in your search.
3. Expand the Text Fields field and select the kinds of text fields to search in
4. Expand the Search In field and navigate to the folder you want to search.
If you do not specify a location, the Interplay Window searches the entire Interplay database.
If you right-clicked a folder and selected Search, the Search In field displays the name of the
selected folder.
5. Expand the Types field and select the type of media object you want to search for.
6. Expand the Category field and select the asset category you want to search for.
You can select multiple categories.
7. Click the Time menu, and select a time parameter for your search.
If you accept the default settings and specify no additional attributes, the search returns all
clips, subclips, and sequences in the database.
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8. Click Search.
The Interplay Window performs the specified search and returns all matching records in the
Research panel. The name of the search tab changes to the text that you searched for.
9. (Option) To start a new search, click Reset or open a new search tab. Then repeat steps 2
through 8.
If necessary, click the show/hide arrow in the upper left of the tab to show the Reset button
and the search fields.
For information on keeping your search results when you open a second tab, see “Keeping
Search Results in the Interplay Window” on page 1166.
Search Attributes for the Interplay Window
The following table describes the search attributes available in the Media Search tab in the
Interplay Window.
Attribute Options Description
Text User supplied text Lets you search the following text-based attributes:
•Name
•Tape
•VideoID
• Comments
• User-created fields
Text Fields • Any system
property or
custom
metadata
containing a
text field
• Select All
•Clear All
Lets you search in any text field you select; Name is selected by
default.
Search In Lets you search in any Interplay folder in the database
Types Master Clip
Subclip
Sequence
Lets you specify the type of media object for your search (you
must select at least one type for each search)
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Keeping Search Results in the Interplay Window
One search tab is always open in the Research panel. If you want to keep the results of your
search after you open a second search tab, you must “pin” the search tab. Pinning the search tab
keeps it available if you open a another search tab.
To keep your search results:
tClick the Pin button.
The search results are kept open as a tab in the Research panel.
Capturing Media to Interplay Folders
By using the Interplay Window to connect to the Interplay database, you can capture media
directly to an Interplay folder. You can capture to any folder currently open in the Interplay
Window.
nYou can open multiple Interplay folders by using multiple tabs in the Research panel of the
Interplay Window. For more information, see “Opening Multiple Tabs in the Interplay Window”
on page 1161.
To capture media to an Interplay folder:
1. Select Tools > Interplay Window.
2. Navigate to the Interplay folder to which you want to capture media, and click the folder.
The Interplay Window displays the Avid assets in the Interplay folder.
3. Select Tools > Capture.
Category Examples:
Weather
Sports
Local News
Lets you specify which category to search. The specific
categories listed for this attribute are defined by the system
administrator.
Time Whenever
Last 10 minutes
Last hour
Last 24 hours
Last week
Last month
Last year
Lets you set a time parameter for your search (time parameters
refer to the date the media object was last modified)
Attribute Options Description
Performing a Send-to-Playback as a Background Process from an Avid Editing Application
1168
The Interplay Folders selection button (top) and the Bin menu (bottom) in the Capture tool
4. Set up the Capture tool as described in “Capturing Media” on page 218.
5. Click the Interplay Folders selection button.
6. Click the Bin menu, and select an open Interplay folder.
7. Start capturing as usual.
Performing a Send-to-Playback as a Background
Process from an Avid Editing Application
Depending on your workgroup configuration, the send to playback operation of Long GOP OP1a
media can run in the background, allowing the Avid editing system to perform other tasks. The
workgroup must have an Avid Interplay STP Encode service installed. For information about
setting up a workgroup for background processing of send-to-playback requests, see the Avid
Interplay Help.
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1169
To send assets and media files for playback using an Avid editing application:
1. Make sure the Media Services Engine and Avid Interplay STP Encode service are running.
2. In the Avid editing application bin, select the asset or assets whose media files you want to
send to the playback server.
3. Select Transfer > Send To Playback, and select the profile for the server to which you want
to send the sequence.
The Send to Playback dialog box opens.
4. Do the following:
tType a tape ID name.
t(Option) Select PWT (Play While Transferring), if you want to send the sequence as a
high-priority.
t(Option) Select Overwrite, to overwrite the tape ID name in the Interplay Transfer if the
same name exists.
tSelect Use STP Encode to use the STP Encode provider for processing the
send-to-playback operation.
The system immediately starts the send to playback operation. If Interplay Access is
installed on the Avid editing system, you can track the status of the job by opening Interplay
Access, selecting Tools > Interplay Media Services Status, and clicking the Jobs tab.
5. Click OK.
26 Using Interplay Transfer to Export Media
Avid Interplay Transfer lets you transfer Avid assets to and from another workgroup, send
finished sequences to a configured playback device, and capture media from a configured ingest
device. You can also use Interplay Transfer in a standalone environment (an environment other
than Avid shared storage) to move Avid assets between workstations.
When you use Interplay Transfer in a workgroup environment, you can use several types of
transfers.
• You can perform a transfer from within the Avid editing system (for example, NewsCutter)
to another workgroup or playback device. See “Transferring Avid Assets from an Avid
Editing Application” on page 1178.
• You can transfer finished sequences to a configured playback device. See “Transferring Avid
Assets to a Playback Device” on page 1178.
• You can edit media during the capture process. See “Frame Chase Capture” on page 231.
• You can monitor the transfer of items from an Avid editing application so you can see the
assets you transferred. See “Monitoring Transfers from Within the Avid Editing
Application” on page 1180.
• You can also perform other transfer operations from Interplay workgroups to your editing
application, from ingest devices, from FTP servers, and between Avid MediaManager
workgroups and Avid Interplay. For complete information on using Interplay Transfer, see
the Avid Interplay Transfer Setup and User’s Guide.
Installing the Interplay Transfer Client Software
You must install the Interplay Transfer client software on each Avid editing client in the
workgroup that plans on transferring Avid assets to another workgroup or playback device.
Depending on your workflow and workgroup environment, you might need to install one of the
Interplay Transfer support software products. If your workflow requires auto transferring of
assets, you need to install the Avid Interplay Auto Media Services service that includes the Auto
Transfer service. If you want to monitor transfers from a standalone system on your network,
you should install the Avid Interplay Media Services and Transfer Status software.
Setting Transfer Settings in the Avid Editing Application
1170
For more information on Interplay Transfer, see the Avid Interplay Transfer Setup and User’s
Guide.
To install the Interplay Transfer client software on an Avid editing system:
1. Insert the Avid Interplay Installer DVD and double-click autorun.exe.
2. Click Clients on the Main Menu page.
The Client Support page opens.
3. Click Avid Editor Support.
The Install Avid Editor Support page opens.
4. Click Avid Interplay Transfer Client.
5. Follow the installation instructions.
6. Repeat the installation for each client.
For documentation on configuring the Avid editing system for transfers, see the Avid Interplay
Transfer Setup and User’s Guide.
Setting Transfer Settings in the Avid Editing
Application
To activate Interplay Transfer each time you start your Avid editing application and to have
the application notify you of incoming transfers:
1. In the Avid editing application, click the Settings tab in the Project window.
2. Double-click Transfer in the Settings list.
The Transfer Settings dialog box opens.
3. Click the Settings tab.
Setting Transfer Settings in the Avid Editing Application
1171
4. In the Standalone/Incoming Requests area, do one of the following:
tSelect “Refuse All Requests,” if you do not want to receive files from another
workgroup.
tSelect “User Dialog To Accept/Refuse,” and one of the following methods for accepting
transfers:
- Wait for User Action (No Timeout) — You receive a message request for a transfer. You
must click OK for the transfer to occur.
- Accept After Timeout — The system automatically accepts the file after the timeout.
- Refuse After Timeout — The system does not accept the file after the timeout.
Setting Transfer Settings in the Avid Editing Application
1172
- In the Timeout (seconds) text box, type the amount of time you want to set for the
timeout.
5. In the Status Window area, do the following:
a. In the text box, type the number of seconds you want the status window to update.
b. (Option) Select “Bring up window if error occurs” if you want errors to display.
6. (Option) In a workgroup environment, if you want mixed-resolution items highlighted in the
bin, select “Highlight mixed-resolution items” in the Send to Playback area.
If a sequence contains DV 25 and DV 50 media within the same sequence, that sequence is
highlighted in red in the bin. Interplay Transfer cannot send sequences that contain both
DV 25 and DV 50 media to playback. This feature allows you to easily identify those
sequences.
7. In the Output Audio Mix area, select the type of audio output you want.
tDirect channel output — Send to Playback transfers audio tracks without performing a
mixdown.
tStereo output — Send to Playback mixes all of the tracks to a stereo pair, using pan
controls to split the tracks. The sequence is copied before the mixdown is edited in, and
the suffix .transfer is added to the name (same as in the direct output option).
tMultiple Mixes — Send to Playback mixes selected tracks to specified output channels,
using the mapping specified in the Multiple Mix Editor dialog box. The operation
copies the sequence before editing in the mixdown, and it adds the suffix .transfer to the
name (same as in the direct output option). For information on mapping audio tracks to
output channels, see “Mapping Audio Tracks to Output Channels” on page 1174.
8. In the Transcode area, if you want to allow the transcoding of clips before performing a send
to playback operation, do the following:
tSelect “Transcode before sending to playback.”
tFrom the Minimum resolution warning threshold menu, select the lowest resolution
allowed for the playback device before a warning message is displayed.
For example, if you select MPEG30, a warning message will display during a send to
playback operation, if a clip in the sequence has a resolution below MPEG30. Therefore, no
warning message displays when clip resolutions are MPEG30 and above.
nDynamic Relink must be enabled to use the Transcode before sending to playback option.
For more information about using these settings, see “Transcoding of Mixed Resolution
Clips During a Send to Playback” on page 1180.
9. Click the TMClient.ini tab.
Setting Transfer Settings in the Avid Editing Application
1173
10. In the Other Workgroups area, click Add.
The Add Workgroup To List dialog box opens.
If you want to edit the names of any of the Interplay Transfer servers or workstations listed
in the Other Workgroups area, select the name, click Edit, and make the changes.
11. Do one of the following:
tIn a workgroup environment, type the name of the other Interplay Transfer server in the
Server text box, and type the name of the your workgroup in the Workgroup text box.
tIn a standalone environment, in the Server text box, type the computer name of other
workstation, and in the Workgroup text box, type the name you want to see in the
Transfer menu.
12. Click OK.
The name you typed displays in the Other Workgroups list.
13. Click the Settings tab, and then click OK.
Setting Transfer Settings in the Avid Editing Application
1174
Send to Playback with Multichannel Audio Tracks
This section describes a best practice for sending a sequence containing multichannel audio
tracks to playback when using Direct Out mode. For information on sending multichannel audio
to playback using Multiple Mixes, see “Mapping Audio Tracks to Output Channels” on
page 1174.
When using Direct Out mode, keep the multichannel audio tracks at the bottom of your audio
tracks. When you send to playback in Direct Out mode the system expands the stereo tracks to
separate mono tracks. If there are single tracks at the bottom of the track list you may get
unexpected results after the top tracks expand. For example, a single track that was on track 5
may now be on a different track. If you keep the single tracks at the top you can avoid this kind
of problem. See the editing application Help for additional information on multichannel audio.
Mapping Audio Tracks to Output Channels
The Multiple Mix Editor dialog box allows you to map any combination of audio tracks to any of
the 16 available output channels when you send a sequence to playback using Interplay Transfer.
The Send To Playback operation performs a mixdown on the selected tracks before the
application sends the sequence to Interplay Transfer.
The mappings you create in the Multiple Mix Editor affect any sequence you send to playback. If
you want to use different mixes for different sequences, create a custom Transfer Settings
template for each separate type of mixdown.
• You can map a single audio track in the Timeline to a single output track — for example,
you can map audio tracks 2, 4, 6, and 8 to output channels 1, 2, 3, and 4, respectively. Stereo
tracks require two output channels in the sequence that you send to playback unless you
want to perform a stereo-to-mono mixdown.
• You can select multiple audio tracks and map them to a singe output channel — for example,
you can map audio tracks 4, 5, 8, and 9 to output channel 1.
• You can map a single track to multiple channels — for example, you can map track 2 to
output channels 1, 3, and 5.
• You can save your map as a custom Transfer settings template.
Each stereo output requires two channels, but you can mix mono and stereo channels for your
Send to Playback operation as long as you do not exceed the maximum of 16 output channels.
To create a map of audio tracks to output channels:
1. In the Avid editing application, click the Settings tab in the Project window.
2. Double-click Transfer in the Settings list.
The Transfer Settings dialog box opens.
Setting Transfer Settings in the Avid Editing Application
1175
3. Click the Settings tab.
4. In the Output Audio Mix area, select Multiple Mixes, and then click Edit.
The Multiple Mix Editor dialog box opens.
Setting Transfer Settings in the Avid Editing Application
1176
5. Click the Format buttons to cycle through the available options until you find the appropriate
format:
6. In the track selector row, click the channel or channels for each audio track you want to
include in your output. If the track is not visible, use the scroll bar to locate the track you
want to map to an output channel.
The audio channel button and the corresponding Output button change to purple. You can
click the channel button again to remove it from the output mixdown. You can also click the
Output button to remove it from the from the output. Only active output channels are sent to
playback.
7. (Option) In the Label text box, type a label to identify the type of output for your mixdown.
You can use the labels to describe the kind of mixdown for your output, but the Avid editing
application does not send this information to the playback device.
Option Description
Mono tracks Maps audio tracks to mono channels, with any assigned stereo tracks
mixed down to a mono channel.
Stereo tracks Maps audio tracks to a single stereo channel, using the pan
information on the input tracks to generate stereo output.
Setting Transfer Settings in the Avid Editing Application
1177
8. Repeat steps 5 through 8 to map additional audio tracks to output channels.
9. When you finish assigning tracks to output channels, click OK to save your mixdown
sequence.
The Multiple Mix Editor closes.
10. In the Transfer Settings dialog box, click OK.
To save a custom map of output audio channels as a settings template:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click Transfer.
3. Select Edit > Duplicate.
A duplicate setting appears in the Settings list.
4. Name the setting by doing the following:
a. Click the custom name column.
b. Type a name.
c. Press Enter (Windows) or Return (Macintosh).
nThe custom name column is the center column in the Project window. When you move the pointer
over the custom name column, the pointer changes from a pointing finger to a text insertion bar.
Transferring Avid Assets from an Avid Editing Application
1178
You can select this new setting whenever you send a sequence to playback using Interplay
Transfer.
Transferring Avid Assets from an Avid Editing
Application
If Interplay Transfer is properly installed and enabled on your Avid editing system, it starts
automatically whenever you start the Avid editing application. When you complete a sequence,
you can transfer it from the Avid editing application to any other connected workgroup or to a
playback device. Once you send the sequence, you can work on another project while the
transfer is taking place.
For information about configuring the Avid editing application for transferring assets, see the
Avid Interplay Transfer Setup and User’s Guide.
To send clips or sequences to another workgroup from within the Avid editing application:
1. (Option) If you want to use a Transfer setting template, select the custom Transfer setting in
the Settings tab in the Project window. For more information on creating a custom map for
sending sequences to Interplay Transfer, see “Mapping Audio Tracks to Output Channels”
on page 1174.
2. Open the bin that contains the clips or sequences you want to send.
3. Select a clip or sequence in a bin. Ctrl+click to select multiple clips or sequences.
4. Do one of the following:
tRight-click the sequence and select Transfer > Send To Workgroup and then select the
available workgroup to which you want to send the assets.
tSelect Transfer > Send To Workgroup and then select the available workgroup to which
you want to send the assets.
The assets are sent to the Interplay Transfer server, where they are then sent to the selected
workgroup. You can now work on another project while the transfer is taking place.
For information on monitoring the transfer of assets, see “Monitoring Transfers from Within
the Avid Editing Application” on page 1180.
Transferring Avid Assets to a Playback Device
In a broadcast environment, you can transfer a finished sequence to a configured playback
device. For information about configuring the playback device for transfers, see the Avid
Interplay Transfer Setup and User’s Guide.
Transferring Avid Assets to a Playback Device
1179
To send a finished sequence to a playback device:
1. (Option) If you want to use a Transfer setting template, select the custom Transfer setting in
the Settings tab in the Project window. For more information on creating a custom map for
sending sequences to Interplay Transfer, see “Mapping Audio Tracks to Output Channels”
on page 1174.
2. Open the bin that contains the clips or sequences you want to send.
3. Select a clip or sequence in a bin. Ctrl+click to select multiple clips or sequences.
4. Do one of the following:
tSelect Transfer > Send To Playback, and select the available playback device to which
you want to send the sequence.
tRight-click the clip or sequence in the bin, and select Send To Playback, and select the
available playback device to which you want to send the sequence.
The Send to Playback dialog box opens.
nIf necessary, you can set the sequence to high priority by clicking the circle in the PWT (Play
While Transferring) column next to the sequence.
cIf you try to send a sequence or clip with the same tape ID as one the Interplay Transfer
already has, you receive an error message. If you want to overwrite the tape ID name, select
the Overwrite option. Overwrite the tape ID only if you are sure you want to overwrite the
previous tape ID name.
5. Click OK.
The sequence is sent to the Interplay Transfer server, which then sends it to the selected
playback device. You can now work on another project while the transfer is taking place.
For information on monitoring the transfer of assets, see “Monitoring Transfers from Within
the Avid Editing Application” on page 1180.
Monitoring Transfers from Within the Avid Editing Application
1180
Transcoding of Mixed Resolution Clips During a Send to Playback
When you perform a Send to Playback operation, the application automatically renders effects
and relinks your sequence to the target resolution. You can use the Send to Playback command
with sequences that contain clips of different resolutions. Any clips in the sequence with
resolutions not matching the target resolution settings in the Dynamic Relink dialog box are
transcoded to the target resolution. The application creates a new master clip (with the extension
.new) and associates the new clip with the new transcoded media.
Before the Send to Playback operation begins, the application searches the sequence for any
clips with an undesirable resolution for the transcode operation, such as clips with low
resolutions that would create a low quality output after the clip is transcoded. If clips are found, a
warning message is displayed to let you decide if the Send to Play operation should continue
with a lower quality output. You can set the minimum resolution allowed before displaying the
warning message by using the Transfer Settings dialog box. For setup information, see the Avid
Interplay Transfer Setup and User’s Guide.
nDynamic Relink must be enabled to use the Transcode before sending to playback option. For
information about using Dynamic Relink, see the Avid editing application Help system.
Monitoring Transfers from Within the Avid Editing
Application
After you transfer an asset from within the Avid editing application, you can monitor
the transfer.
To monitor the asset transfer:
1. Display the Transfer Status window by doing one of the following:
tFor the Avid Instinct and Avid Interplay Assist applications, select File > Interplay
Transfer > Show Status.
The Interplay Transfer tab displays the transfers.
tFor other Avid editing applications, select Transfer > Status Window.
The Transfer Status window opens.
Monitoring Transfers from Within the Avid Editing Application
1181
2. Right-click the status of a particular transfer to display the status options.
See “Transfer Status Window Options” on page 1181.
A plus sign in the PWT column indicates the clip or sequence has been set to a high priority.
Transfer Status Window Options
The following table lists the status options available when you right-click a transfer displayed in
the Transfer Status window during a transfer.
Sorting the Transfer Status Columns
You can sort the transfer status column into either ascending or descending alphabetical order.
For example, you might want to view the status or locations of the transfers in alphabetical order.
This makes it easy to view all the completed, paused, or canceled transfers together.
Status User Options
Transferring Pause or cancel the transfer.
Paused Resume or cancel the transfer.
Error (plus information indicating the error) Retry or clear the transfer.
Pending Cancel the transfer.
Completed or Canceled Clear the transfer.
Monitoring Transfers from Within the Avid Editing Application
1182
To sort a transfer status column:
1. From the Transfer Status window or Interplay Transfer tab, right-click the column to display
the Sort options.
2. Select either Sort, Sort Reversed, or No Sort.
Sort lists the information in alphabetical order.
Clearing the Transfer Status Window
When you are using the Transfer Status window from within the Avid editing application to view
the status of any transfers, you should periodically clean up the Transfer Status window. The
Transfer Status window is cleared of any leftover status messages when you exit the Avid editing
application and then restart it. If you have not restarted the Avid editing application in a while,
and your Avid editing system appears to be sluggish, clear the messages in the Transfer Status
window.
To clear the Transfer Status window:
1. Do one of the following:
tIn the Avid Instinct and Avid Interplay Assist applications, select File > Interplay
Transfer > Clear Status.
tIn the Avid editing application, select Transfer > Status Window.
The Transfer Status window opens.
2. Press Ctrl+A to select all the items in the Status window.
3. Press Delete.
All the items are removed from the Transfer Status window.
27 Using MultiRez and Dynamic Relink
This chapter provides information about using MultiRez and dynamic relinking. MultiRez is
available only on Avid editing systems that have the Avid Interplay Media Indexer installed.
•Understanding MultiRez and Proxy Editing
•Acquiring Media at Multiple Resolutions
•Understanding How Clips are Associated with Multiple Resolutions
•Options for Clip and Media Association
•Understanding Dynamic Relink
•Workflow: Editing a Film or HD Project using MultiRez
•Considerations When Working with Dynamic Relink
•Using the Dynamic Relink Settings Dialog Box
•Relinking in Frame Chase Editing
•Using the Relink Dialog Box in an Avid Interplay Environment
•Displaying Whether Media Is Available for Dynamic Relinking
•MultiRez Button Menu
•MultiRez Bin Headings
•Understanding Options for Deleting MultiRez Clips and Media
•Deleting MultiRez Clips and Media from a Bin
•Working with Partially Online Files
•Quality Matching
Understanding MultiRez and Proxy Editing
MultiRez (a term derived from “multiple resolutions”) lets you create a master clip that is
associated with multiple media files of different resolutions. For example, you can use the Avid
Interplay Low-Res Encoder to simultaneously capture a single master clip that is associated with
both low-resolution and high-resolution media files. MultiRez also lets you capture an audio clip
with more than one sample rate.
Understanding MultiRez and Proxy Editing
1184
Proxy editing is a workflow where you edit with a low-resolution version of media and then
conform the edits into a composition that refers to an equivalent high-resolution version of the
same content.
This workflow is similar to the offline/online model that is common in a post-production
workflow. In that model, you capture material at a low resolution and perform what is referred to
as offline editing, then batch capture the same clips at a higher, online resolution and relink the
sequence to the higher resolution.
Newsroom editors also use proxy editing in their workflows. In a newsroom, Avid products
might be configured to capture high-resolution and low-resolution versions of a clip at the same
time. Editors work with the low-resolution version and then use MultiRez to relink to the
high-resolution version for final output.
In another example, a news workgroup might consist of a number of finish editing stations and
journalist stations. The finishing systems use online-quality media, which requires a large
amount of disk space and network bandwidth. The journalist systems can work effectively with a
lower bit-rate version of the media, which uses less network bandwidth. The journalists or
editors can then use dynamic relink to switch to high-resolution media when they send the
sequence to a playback device.
MultiRez and Archiving
You can combine proxy editing and MultiRez with archiving to conserve disk resources. A
newsroom editor can delete high-resolution material that is archived, continue editing a
low-resolution version, and then restore the needed high-resolution material from the archive
later. Archiving also allows a newsroom editor to keep a viewable version of a sequence online in
case a story becomes active again — the editors can restore the high-resolution version of the
sequence from the archive.
MultiRez and the Media Indexer
MultiRez is managed by the Avid Interplay Media Indexer. The Media Indexer is a background
service that keeps track of the media files in storage locations that you identify. On Avid
Interplay clients, it works with both local storage and shared storage. For more information about
the Media Indexer, see the Avid Interplay Software Installation Guide and Avid Interplay Best
Practices.
nThe Media Tool and Relink dialog box work differently in an Avid Interplay environment. For
more information, see “Using the Media Tool in an Avid Interplay Environment” on page 441
and “Using the Relink Dialog Box in an Avid Interplay Environment” on page 1211.
Acquiring Media at Multiple Resolutions
1185
Acquiring Media at Multiple Resolutions
In an Avid Interplay environment, you can create and store multiple resolutions of the same
media. These can be acquired in several ways. You can configure a workgroup to ingest both
high and low-res media simultaneously. You can also first create master clips with high-res
media, and if your hardware permits it, you can re-capture these clips as low-res proxies. If
multi-rez batch capturing is not supported, you must use your Avid software to transcode to a
low-res proxy.
Dual-Ingest Configuration
In a newsroom environment, you can use CaptureManager™ or Interplay Capture, an AirSpeed®
or AirSpeed Multi Stream system, and an Avid Interplay Low-Res Encoder to simultaneously
ingest high-resolution and low-resolution versions of the same master clip. You can use an
AirSpeed Multi Stream to ingest both high-resolution and low-resolution (Avid H.264) versions
of the same master clip.
Batch Capture Multiple Resolutions
You can capture more than once from the same tape at different resolutions and associate the new
resolutions with the same master clip. You can batch capture from any system that has access to
the master clip and original tape. For example, you can batch capture from the same system that
acquired the media originally, or you can use Avid Interplay to check out a clip on another
system and perform the batch capture there.
Capture High-Res and Transcode to Low-Res
• You can use the Avid Interplay Media Services from within your Avid editing application to
capture at a high resolution and then use Avid Interplay Transcode to create different
resolutions of the same clip. Interplay Transcode keeps the same master clip and associates it
with the new resolution.
• You can use the Consolidate/Transcode command within your Avid editing application to
create different resolutions of the same master clip. If you consolidate, your Avid editing
application creates a new clip for each resolution. If you transcode, you have the choice of
associating the new resolution with the original master clip, or creating a new clip. See
“Understanding How Clips are Associated with Multiple Resolutions” on page 1189.
Batch Capturing Media at a Different Resolution
Batch capturing lets you create different resolutions of media through the same process that the
original media was captured from hardware. To perform a batch capture, you must have a master
clip containing either a clip log or previously captured media.
Acquiring Media at Multiple Resolutions
1186
nYou can only create one new resolution at a time using batch capture. To capture multiple
resolutions at the same time (ie: high-res and a proxy simultaneously), use the Interplay Low-Res
Encoder. See the Interplay documentation for more information.
To batch capture a different resolution:
1. Prepare your system for batch capturing, as described in the Help for your Avid editing
application. Be sure to select the new resolution you would like to capture in the Media
Creation settings Capture tab or in the Capture tool.
2. Select the clips or sequences you want to batch capture.
3. Select Clip > Batch Capture.
The Batch Capture dialog box opens.
4. Deselect “Offline media only” to specify that you want to re-capture media that is already
online, in addition to offline media.
The “Discard original local media” option appears.
5. Deselect “Discard original local media” to keep the original resolution of your clips or
sequences.
6. (Option) Select “Extend handles beyond master clip edges” to allow the handles to extend
before the beginning and after the end of the original master clip.
When you batch capture, deselecting this option prevents capturing across a discontinuous
timecode error.
7. Click OK.
If you have not loaded a tape, your Avid editing application prompts you to load the original
tape.
8. Load the tape into the tape deck, and click Mounted.
A dialog box opens.
9. Click OK to confirm the tape and deck entries and to begin the capture process.
Your Avid editing application captures each clip from the tape, in start timecode order.
cWhen you batch capture, make sure to accept the original tape name so that the new media
files are associated with the same source as the original media files.
Batch capture does not create any new master clips. As new media files are created, the
Media Indexer adds them to its database, and the original master clip is associated with
additional media files. Media files in multiple resolutions are indicated by black dots in the
appropriate bin columns. The following illustration shows a clip originally captured at 15:1s
and batch captured at 1:1 (uncompressed).
Acquiring Media at Multiple Resolutions
1187
nFor information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on
page 1218.
Batch Importing File-Based Media at Different Resolutions
Using Batch Import, you can import file-based media at different resolutions. To perform a batch
import, you must have a master clip that has the media imported in another resolution.
To batch import a different resolution:
1. Mount and connect to any removable drives that hold the original file-based media.
2. Open the bin, and select the imported master clips and sequences you want to reimport.
3. Select Clip > Batch Import.
A message box opens.
4. Click All Clips to import new resolutions for media that is already online, in addition to
offline media.
The message box closes and the Batch Import dialog box opens.
Acquiring Media at Multiple Resolutions
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5. In the Import Target area, select the desired resolution and storage location.
6. In the Import Options area, select “Keep existing local media” and any other options.
7. Click Import.
Your Avid editing application imports the files and creates media in the resolution you
specified. The original media file is preserved, and the master clip is now associated with an
additional resolution.
Transcoding Media to Low-Res Proxies
Transcoding allows you to convert media to any Avid supported format. Use the transcode
operation only if your hardware does not support batch capturing in a desired proxy format.
Transcoding is only useful for creating lower resolution versions of high-res media; it is not
recommended that you transcode from low-res to high-res.
Understanding How Clips are Associated with Multiple Resolutions
1189
To transcode a clip using your Avid editing application:
tRight click the clip in the bin and select Consolidate/Transcode.
To transcode a clip using the Interplay Transcode service, do one of the following:
tIn Avid Interplay Access, right-click the clip and select Transcode. Select the profile that has
been created for this transcode and click Set.
tIn your Avid editing application, right-click the clip in the bin and select Media Services >
Avid Interplay Transcode Service. Select the profile that has been created for this transcode.
tSet up an Auto Transcode folder in Interplay Access and drag and drop clips to the folder.
The Transcode service transcodes the clip and stores the media according to the instructions in
the profile. The new media is associated with the original clip metadata. The following
illustration shows an example of a low-res proxy in the Interplay Window. You can see that the
current resolution for the clip is AVCIBP-BLL3.0.60. This is the Avid editing application
representation for 720p/59.94 proxy media.
n720p proxy media can only be created using the Interplay Transcode service. The
Consolidate/Transcode operation in your editing application does not support 720p proxy media
in this release.
Understanding How Clips are Associated with
Multiple Resolutions
In a MultiRez environment, relinking is source based. That is, your Avid editing application
relinks a clip to its media according to the source of the clip rather than the name of the clip.
Whenever you create a new tape or import a file, your Avid editing application creates a unique
source ID that is used by your Avid editing application and is not visible to users.
Understanding How Clips are Associated with Multiple Resolutions
1190
You create a new tape by clicking the New button in the Select Tape dialog box, entering a name
for the tape, and clicking OK.
Your Avid editing application then associates the new source ID with each clip that you capture
from that tape.
Example of source ID association: the source ID your Avid editing application assigns to a tape (for example,
12345) is also associated with each clip and media file you capture from that tape
Later, if you recapture a clip at a different resolution, make sure to select the tape name originally
associated with that clip. If you select the original name and use the original tape, your Avid
editing application associates the new media with the original master clip. In an Avid Interplay
environment, this source-based association is the basis for dynamic relink.
nAvid CaptureManager also uses a source ID to associate a master clip with any media created at
the same time, such as a clip captured with two resolutions in a dual-ingest configuration.
However, instead of associating all clips from the same tape with the same source ID,
CaptureManager creates a new source ID every time it captures a new clip.
For details of the possible ways that master clips and media files might be associated with one
another in a MultiRez environment, see “Options for Clip and Media Association” on page 1191.
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Options for Clip and Media Association
1191
Guidelines for MultiRez Tape Management
When working in a MultiRez workflow, it is important to name tapes properly. In particular, you
should keep the following in mind:
• Whenever you create a new tape, your Avid editing application generates a new source ID,
even if the name you type for the new tape exactly matches that of an existing tape. You
cannot dynamically relink media that does not share a source ID.
• Do not use the same name for two different tapes or different names for the same tape. This
might cause incorrect media association.
• Do not use the default tape name “New Tape.”
Options for Clip and Media Association
You can associate a single master clip with multiple media files. You can also associate two or
more master clips with the same media if the clips share a source ID and timecode.
Single Clip, Multiple Resolutions
The following illustration shows a single master clip that was captured in two resolutions: 15:1s
and 1:1 (uncompressed). This could be the result of a batch capture, a dual-ingest operation, or
transcoding.
In a bin, black circles in the 15:1s column and the 1:1 column show this association, as in the
following illustration.
This information also appears in the Interplay Window.
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Options for Clip and Media Association
1192
For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on
page 1218.
nYou can batch capture the clip in additional resolutions; there is no limitation to the number of
media files associated with a clip.
Multiple Clips, Multiple Resolutions, and the Affinity Model
You can transcode the media associated with a clip to create media in a different resolution,
usually to create a low-resolution version of the clip. You can choose to create a new master clip
or associate the new media with the original master clip. For more information, see “Using the
Transcode Command” on page 451.
If your Avid editing application associates the new media with the original clip, the bin displays
multiple resolutions for the master clip. For more information, see “Single Clip, Multiple
Resolutions” on page 1191.
If your Avid editing application creates a new master clip (with the extension .new), it associates
the new clip with the new transcoded media. In this case, your Avid editing application copies
the source ID to the new clip and new media.
nWhen the Avid Interplay Transcode transcodes a clip, it associates the new resolution with the
original clip. It does not create a new clip.
The following illustration shows a clip captured in 1:1 and transcoded to 15:1s. Your Avid
editing application associates each clip with both resolutions because they share a source ID and
a timecode span.
Options for Clip and Media Association
1193
Example of associations between multiple clips and multiple resolutions. The original capture (top) creates
high-resolution media. A transcode operation (bottom) creates a new master clip and a new media file at a lower
resolution. The timecode span and length of both clips is the same. Each clip is associated with the resolution
created at the time of the capture or transcode (solid arrows), and also with the other resolution (dashed arrows).
The source ID of the original tape is associated with both clips and both media files.
In a bin, both clips appear with black circles in the 15:1s column and the 1:1 column.
Although the two clips share media, there is a special association between the clip and the media
created with that clip. In the preceding illustration, this original association is shown by solid
arrows. The tracking of the original association is referred to as the affinity model, because your
Avid editing application keeps track of the relationship (affinity) between the clip and the media
created with the clip. The media files associated with the clip are called affinity resolutions or
affinity media. The affinity model applies when you are deleting clips and media from a bin. For
more information, see “Deleting MultiRez Clips and Media from a Bin” on page 1220.
Partial Clips, Multiple Resolutions
MultiRez also supports association of clips that share only part of a timecode span. For example,
after capturing a clip at 15:1s, you might need to recapture only part of the clip at 1:1. Because
both clips share a source ID and a timecode span, your Avid editing application associates both
clips with the same resolutions and lets you dynamically relink the shared section. The following
illustration shows these associations. The original association is shown by solid lines, and the
additional association is shown by dashed lines.
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Understanding Dynamic Relink
1194
Example of associations between clips sharing only part of a timecode span. The original capture (top) creates
low-resolution media. A recapture operation (bottom) creates a new master clip and a new media file at a higher
resolution. The new master clip is shorter than the original but shares the same timecode span. Each clip is
associated with the resolution created at the time of the capture (solid arrows), and also with the other resolution
(dashed arrows). The source ID of the original tape is associated with both clips and both media files.
In a bin, the original clip appears with a half circle in the 1:1 column, to indicate that only part of
the clip is available in 1:1. The entire new clip (with the .01 extension) is available in both
resolutions, as indicated by the full circles in both resolution columns. The following illustration
shows these clips in a bin.
You can also create partially online files through archiving, consolidation, and transcoding a
subclip. For more information, see “Working with Partially Online Files” on page 1221.
Understanding Dynamic Relink
Dynamic relink is a feature that lets you select which media you want to use when you are
working in a MultiRez environment. Typically, you use low-res media for offline editing and
high-res media for a final master. For instance, you can edit in SD and output in HD. Dynamic
relink lets you control how your Avid editing application links your clips to the appropriate
media.
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Understanding Dynamic Relink
1195
nDynamic relink is currently not supported for HD media that requires pulldown. Therefore, you
can only use it with projects where media has been acquired at the native frame rate (without
pulldown)—see “Interplay Support for Native HD 23.976p and 24p Formats” in the Interplay
help.
You specify two different groups of settings:
• Working settings are the settings you want to use while you edit the sequence:
For offline editing of a sequence, your editing application uses the resolution specified in the
working settings. This is where you can specify a low-res proxy instead of high-res media so
that you can work more efficiently, and save space on your online storage.
• Target settings are the settings you want to use for your final master:
When you finish the offline editing, the Send to Playback command automatically outputs
the sequence in your target resolution and format. The clips in the sequence do not change
— your Avid editing application dynamically relinks them to the media files in the target
resolution.
You specify these settings in the Dynamic Relink Settings dialog box, which is available in the
Settings list of the Project window. For more information, see “Using the Dynamic Relink
Settings Dialog Box” on page 1203.
Understanding Dynamic Relink
1196
The following illustration shows a bin and a sequence. The first version of the sequence shows
the clip in the working resolution (15:1s) and the second version shows the same clip in the
target resolution (1:1). The clip name is the same in both cases, but the resolution of the clip (as
shown in the text on the clip) is different.
Workflow: Editing a Film or HD Project using MultiRez
1197
Left: clip associated with working and target resolutions. Top right: sequence with clip in working resolution (15:1s).
Bottom right: sequence with clip in target resolution (1:1).
nTo display the clip resolution for each clip in the Timeline, click the Timeline Fast Menu button
and select Clip Text > Clip Resolutions.
Workflow: Editing a Film or HD Project using
MultiRez
This workflow describes how to link to media of different resolutions in the context of a Film or
an HD project. The steps involved are:
• Opening an HD project and checking out the clip
• Setting Dynamic Relink to work with the low-res proxy
• Performing a partial restore to restore the portions of the clip used in the sequence.
• Using Dynamic Relink to start working with the high-res media.
Most of the same steps apply when working with RGB and 720p media.
nDynamic relink is currently not supported for HD media that requires pulldown. Therefore, you
can only use it with projects where media has been acquired at the native frame rate (without
pulldown)—see “Interplay Support for Native HD 23.976p and 24p Formats” in the Interplay
help.
Workflow: Editing a Film or HD Project using MultiRez
1198
To create a Film or HD Project:
1. When you create the project, make sure it supports the resolution you want to use. For
example, for 25p Film projects, select 1080p/25. The following illustration shows the
Project selection for a 25p Film project used in this example.
2. (Film only) If your source media is film-based, check the Film box and select the Film Type.
Immediately after creating your project, set up the Film settings under the settings tab.
To check out the clip and set Dynamic Relink:
1. In your Avid editing application, select Tools > Interplay Window.
2. Locate the clip in the Interplay Window and drag it to the bin.
The following illustration shows the clip in the Interplay window and the bin. Notice that
both the high-res and low-res are online.
Workflow: Editing a Film or HD Project using MultiRez
1199
High-res and low-res media both online (filled circles) for the clip in the bin
3. Open the Dynamic Relink dialog box and set the working resolution to the low-res proxy.
The following illustration shows the Dynamic Relink values used in this example to link to
the low-res media.
Workflow: Editing a Film or HD Project using MultiRez
1200
4. Edit the media into a sequence.
By default, whenever you load clips into a monitor or the Timeline, they are linked to media
that matches the working settings.
The following illustration shows the bin after the sequence is created. In this example, the
administrator has already archived and deleted the high-res material. The MultiRez bin
columns show that the high-res media is completely offline.
Workflow: Editing a Film or HD Project using MultiRez
1201
The high-res media is now offline (empty circle in the bin)
5. (Skip this step if the administrator did not archive the high-res media)
When you are finished editing the sequence, restore the portions of high-res material used in
the sequence from the archive.
The following illustration shows the bin after the partial restore operation is completed. The
MultiRez bin columns show that the high-res media is now partly online because only the
required portions of the high-res media are restored.
After the partial restore, the high-res media is partly online (half-filled circle)
6. In the Target settings, set the project format for output. (This also determines the resolutions
that are available in the Dynamic Relink target settings.) You can set this format
independently of the format set in the Format tab of the Project window.
Media captured in this format will be used during output.
7. If you need to create effects that require you to view the high-resolution media, check the
Override Working Settings with Target Settings box in the dynamic relink window to
dynamically relink clips to media that matches the target settings.
cRender effects only when you have linked to the target settings. This should be done as the
last step before output. If you return to the working settings, any media files created by
rendering effects (precomputes) will not dynamically relink in the target resolution.
8. Open the Dynamic Relink dialog box and set the working resolution to the high-res version.
The following illustration shows the Dynamic Relink values used to link to the high-res
video and audio. In this example, a specific resolution was chosen.
Workflow: Editing a Film or HD Project using MultiRez
1202
9. Render effects in the target resolution if necessary.
nYou can use the MultiRez button and MultiRez clip coloring to give you the necessary indications
that you may not have media that matches the target settings.
10. Output your final master by doing one of the following:
tCreate a digital cut.
tUse the Send to Playback command.
When you perform a Send to Playback operation, your Avid editing application
automatically renders effects and relinks your sequence to the target resolution.
cWhen you use the Send to Playback command, make sure you are using the target settings
required by the playback device or Send to Playback fails.
Considerations When Working with Dynamic Relink
1203
Considerations When Working with Dynamic Relink
Consider the following when you are working with dynamic relink:
• If you connect to an Avid ISIS media network with a 100Base-T connection in a Zone 3
configuration, you can access MPEG-2 low-resolution video and MPEG-1 Layer II (or
MP2) compressed audio. This is useful for browsing media stored on the media network as
the low-resolution media files require less bandwidth to view. However, you cannot output,
consolidate, or transcode media using MP2 compressed audio. Instead, you should use
dynamic relink to link the low-resolution media to the high-resolution source media.
• If you dynamically relink a sequence and then check the sequence into Avid Interplay, your
Avid editing application checks in the resolution to which you are currently linked.
• Dynamic relink does not work with OMF media files that include an alpha channel (titles or
graphics with alpha that are imported or created in OMF resolutions). Clips with OMF alpha
are unaffected when the dynamic relink settings are changed.
• Dynamic relink works somewhat differently with mixed rate clips. For more information,
see “Using Dynamic Relink with Mixed Rate Clips” on page 1209.
Using the Dynamic Relink Settings Dialog Box
You use the Dynamic Relink Settings dialog box to enable dynamic relink and to specify your
working settings and target settings. You can also use this dialog box to override the working
settings with the target settings. If you work with mixed rate material, you can also enable
dynamic relink for mixed rate sequences.
For complete reference information on the Dynamic Relink settings, see “Dynamic Relink
Settings” on page 1314.
nDynamic Relink settings are project settings. You can use them as site settings, so that all
projects you create on your editing system use the same settings. For more information, see
“Using Site Settings” on page 1284.
Opening the Dynamic Relink Settings Dialog Box
To open the Dynamic Relink Settings dialog box, do one of the following:
tIn the Settings list in the Project window, double-click Dynamic Relink.
tRight-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink
Settings.
Using the Dynamic Relink Settings Dialog Box
1204
Enabling Dynamic Relink
To enable dynamic relink:
1. Do one of the following:
tIn the Settings list in the Project window, double-click Dynamic Relink.
tRight-click the MultiRez button at the bottom of the Timeline and select Dynamic
Relink Settings.
2. Select Enable Dynamic Relink.
When you select this option, your Avid editing application performs a dynamic relink
whenever clips are loaded into the source monitor or the Timeline, and displays options for
working with dynamic relink.
Applying Working and Target Settings for Dynamic Relink
The Working Settings tab lets you specify the rules that determine the resolution you use when
editing. For example, you might specify any low resolution or a specific single-field resolution
because you are working on a 100Base-T connection and need to work with low-resolution
material.
The Target Settings tab lets you specify the rules that determine the media that you use for your
final output. For the target settings, you might want to select Relink to Offline if no match is
found, because this setting provides a clearer warning if the desired resolution is not available.
For illustrated examples of typical settings, see “Examples of Working and Target Settings for
Dynamic Relink” on page 1205.
To apply working and target settings:
1. Do one of the following:
tIn the Settings list in the Project window, double-click Dynamic Relink.
tRight-click the MultiRez button at the bottom of the Timeline and select Dynamic
Relink Settings.
2. Select Enable Dynamic Relink.
3. Click the Working Settings tab, and then select your working settings.
Using the Dynamic Relink Settings Dialog Box
1205
For information on available settings, see “Dynamic Relink Settings” on page 1314.
4. Click the Target Settings tab, and then select your target settings.
For information on available settings, see “Dynamic Relink Settings” on page 1314.
5. To apply the settings, do one of the following:
tClick Apply.
The dialog box remains open.
tClick OK.
The dialog box closes.
As long as Dynamic Relink is enabled, your Avid editing application uses the working
settings to dynamically relink material while you edit. Applying the target settings, however,
does not dynamically relink a sequence to the target settings. You need to take one of the
actions described in “Dynamically Relinking to the Target Settings” on page 1208.
nYou can use the MultiRez button in the Timeline to instruct your Avid editing application to color
any clips for which media is not available. This is especially important because it indicates if you
can create the finished sequence in the target resolution. For more information, see “Displaying
Whether Media Is Available for Dynamic Relinking” on page 1211.
Examples of Working and Target Settings for Dynamic Relink
This topic provides examples of typical working and target settings for Dynamic Relink. For
information on applying settings, see “Applying Working and Target Settings for Dynamic
Relink” on page 1204.
Working Settings
The working settings in the following illustration instruct your Avid editing application to link to
the specific video resolution of 15:1s MXF. If it cannot find this resolution for a particular clip, it
should display a “Media Offline” slide. Specific parameters are also set for audio: 44.1 kHz and
16-bit.
Using the Dynamic Relink Settings Dialog Box
1206
Top to bottom: Relink to offline media if no match is found, specific video resolution to match, specific audio sample
rate and bit depth to match
The working settings in the following illustration instruct your Avid editing application to link to
the specific video resolution of DV 25. If your Avid editing application cannot find this
resolution for a particular clip, it should relink to media that most closely matches DV 25, based
on the specified parameters. In this case, it should relink to a resolution that is more compressed
than DV 25 (less than or equal to DV 25), such as 15:1s.
Similarly, for audio, your Avid editing application should use media with a sample rate less than
or equal to 44.1 kHz/16 bit. If your Avid editing application finds no match for this rule, it should
use the closest media that is available.
Using the Dynamic Relink Settings Dialog Box
1207
Top to bottom: Use closest media if no match is found, highest quality video resolution to match and instruction to
accept lower qualities, highest audio sample rate and bit depth to match and instruction to accept lower sample
rates
Target Settings
The target settings in the following illustration instruct your Avid editing application to use 30i
NTSC as the project format and 1:1 MXF (uncompressed) as the specific video resolution. If
your Avid editing application cannot find this resolution for a particular clip, it should display a
“Media Offline” slide. Specific parameters for final audio are also set: 48 kHz and 24-bit.
Using the Dynamic Relink Settings Dialog Box
1208
Top to bottom: Relink to offline media if no match is found, specific format and video resolution to match, specific
audio sample rate and bit depth to match
Dynamically Relinking to the Target Settings
You need to dynamically relink to the target settings when:
• You need to do color correction or apply another effect that requires viewing media in the
target resolution.
In this case, you might temporarily switch from working settings to target settings, apply the
effect, and then switch back to working settings.
• You are performing a digital cut.
In this case, you override the working settings, render effects, and output the digital cut.
(When you use the Send To Playback command, your Avid editing application automatically
links clips to media in the target resolution.)
Using the Dynamic Relink Settings Dialog Box
1209
For information on establishing target settings, see “Applying Working and Target Settings for
Dynamic Relink” on page 1204.
cRender effects only when you have linked to the target settings. This should be done as the
last step before output. If you return to the working settings, any media files created by
rendering effects (precomputes) will not dynamically relink in the target resolution.
To dynamically relink clips to media that matches the target settings, do one of the
following:
tRight-click the MultiRez button at the bottom of the Timeline and select “Override Working
Settings with Target Settings.”
tUse the Dynamic Relink dialog box:
a. In the Settings list in the Project window, double-click Dynamic Relink.
The Dynamic Relink dialog box opens.
b. Select Enable Dynamic Relink and Override Working Settings with Target Settings.
c. Click OK to perform a dynamic relink to media that matches the target settings and to
close the dialog box.
To return to the working settings:
tDeselect Override Working Settings with Target Settings.
Using Dynamic Relink with Mixed Rate Clips
When you send a mixed rate sequence to playback, you can use the dynamic relink feature to
output your sequence at a specified target format and resolution. Dynamic relink attempts to link
clips in your sequence following the options you set in the Dynamic Relink settings dialog box
(for more information, see “Using the Dynamic Relink Settings Dialog Box” on page 1203).
When using dynamic relink with mixed rate clips, your Avid editing application tries to link your
clips to media with the appropriate frame rate. However, unlike clips with the same frame rate as
your project, dynamic relink always uses the lowest and nearest resolution to your project frame
rate when it does not find an exact match.
cIf you do not enable dynamic relink for mixed rate clips, a send-to-playback operation fails
when your Avid editing application cannot match a mixed frame rate clip with the project
frame rate.
Relinking in Frame Chase Editing
1210
Dynamic relink performs the following actions when working with mixed frame rate clips:
• Clips with the same frame rate as the project relink to source media based on the settings in
the Dynamic Relink settings dialog box.
• Clips with a frame rate that differs from the project frame rate, but which have source media
available in the target resolution, relink to the appropriate source clips.
• Clips with a different frame rate and no source media in the target resolution relink to clips
using the “Less than or equal to” quality option in the Dynamic Relink settings dialog box,
regardless of which settings you previously selected.
This means that dynamic relink tries to relink to the correct resolution. If it cannot find the
appropriate media, it overrides the quality settings in the Dynamic Relink dialog box and
instead links to media with the nearest resolution that is less than the specified one and that
has the closest video format.
• Clips that cannot dynamically relink to source media cause the send-to-playback operation
to fail.
To enable dynamic relink for mixed rate sequences:
1. In the Settings list in the Project window, double-click Dynamic Relink.
The Dynamic Relink dialog box opens.
2. Select Allow Mixed Frame Rate Media.
3. Click Apply, and then click OK.
Relinking in Frame Chase Editing
Frame Chase editing is a workgroup feature that lets you work on a clip while it is being
captured. If you are using Frame Chase editing with MultiRez, your Avid editing application can
dynamically relink to in-progress media. After the clip is completely captured, your Avid editing
application manages it in the same way it manages other clips.
nYour Avid editing application cannot dynamically relink an in-progress clip to consolidated or
transcoded clips generated from that clip until the capture is complete.
For more information about Frame Chase editing, see Avid Interplay Best Practices.
Using the Relink Dialog Box in an Avid Interplay Environment
1211
Using the Relink Dialog Box in an Avid Interplay
Environment
Relinking through the Relink dialog box is different from dynamic relink. In an Avid Interplay
environment, relinking through the Relink dialog box is limited to non-master clips (subclips and
sequences). You can relink these only through source timecode and tape. Other options are
unavailable.
Relinking through the Relink dialog box is clip-based. Clips are linked to one set of media
(video, audio, or both) and you relink a sequence (or subclip) to a selected set of clips. Dynamic
relink is source-based. See “Understanding How Clips are Associated with Multiple
Resolutions” on page 1189.
Although relinking through the Relink dialog box is different from dynamic relink, the Media
Indexer service manages both processes. To relink sequences or subclips through Media Indexer,
select the sequence or subclip and one or more master clips.
For complete information on relinking, see “Relinking Media Files” on page 458.
Displaying Whether Media Is Available for
Dynamic Relinking
You can display a visual indication of whether media is available in the resolution or sample rate
specified in the Dynamic Relink settings. To provide this information, your Avid editing
application communicates with the Media Indexer to determine the availability of working and
target media for each clip in the Timeline.
Two features provide this information:
• MultiRez button
•Clip coloring
Using the MultiRez Button to Show Available Media
The MultiRez button in the Timeline bottom toolbar lets you display two types of information:
• Whether the media currently linked to a clip matches the working or target settings (Show
Mismatches display)
• Whether media for a clip is available in the target settings (Show Target Availability display)
Displaying Whether Media Is Available for Dynamic Relinking
1212
Clicking the MultiRez button changes only the display — it does not perform a dynamic relink,
and it does not update the status of the media. To update the status, use the Update Media Status
command. For more information, see “MultiRez Button Menu” on page 1216.
It is especially important to know whether media is available in the target settings if you are
going to use the Send to Playback command. Send to Playback automatically relinks to the
media specified by the target settings and renders any unrendered effects. A Send to Playback
operation does not succeed if the required media is not available. The MultiRez button lets you
see whether the media is available while you are still editing the sequence in the Timeline. If the
media is not available, you need to take an action such as transcoding the clips, recapturing the
clips, or performing a partial restore from the archive.
To show whether media in a sequence is available, do one of the following:
tClick the MultiRez button to select one of the displays described in the following table.
tRight-click the MultiRez button and select one of the following:
- Show Mismatches
- Show Target Availability
Using Clip Coloring to Show Available Resolutions
You can determine if clips are available in a particular resolution by coloring clips in the
Timeline. For examples of clip coloring in the Timeline, see “Examples of MultiRez Clip
Coloring” on page 1214.
Button
Display Description
Gray - inactive
Bottom half of diamond black - Show Mismatches display. If the background is blue,
some media does not match or is not available in the current settings. These can be
the working settings or the target settings, depending on which settings the clips are
linked to. If the background is gray, all media is available in the working settings.
Top half of diamond black - Show Target Availability display. If the background is
yellow, some media is not available in the target settings. This information is the
same whether the clips are linked to working settings or target settings. If the
background is gray, all media is available in the target settings.
Displaying Whether Media Is Available for Dynamic Relinking
1213
The following procedure refers to the default colors available for resolution tracking. You can
change the display colors that your Avid editing application uses by selecting custom colors in
the Clip Color dialog box. For more information, see “Displaying Clip Colors in the Timeline”
on page 660.
To enable clip coloring for MultiRez in the Timeline, do one of the following:
tRight-click the MultiRez button and select Enable Clip Coloring.
tClick the Timeline Fast Menu button, select Clip Color, then select Resolution Tracking and
click OK.
How your Avid editing application colors clips in the Timeline depends on your settings:
If you click the MultiRez button to show mismatches (bottom half of diamond black), clips
are colored as follows:
- No color change: The clip matches the working or target settings, depending on
which settings you are linked to.
- Color changes (to blue or red by default): The clip does not match the working or
target settings. Whether the color is blue or red depends on how you set the “If no
match is found” option in the Dynamic Relink dialog box, as shown in the
following table.
If you click the MultiRez button to show availability in the target resolution (top half of
diamond black), clips are colored as follows:
- No color change: The clip is available in the target settings
- Color changes (to yellow by default): The clip is not available in the target settings
This button provides the same information whether the clips are linked to the working
settings or the target settings.
If you enable clip coloring for MultiRez and then click the MultiRez button to display
mismatches or target availability, this setting overrides any other Timeline clip coloring that
might be set.
If no match is found
option
Default color if clip does
not match current settings
Default color if
clip is offline
Keep Existing Media Blue Red
Relink to Offline Red Red
Use Closest Media Blue Red
Displaying Whether Media Is Available for Dynamic Relinking
1214
nClip coloring for the Show Mismatches display is not used when you select Highest Quality or
Most Compressed as the relink method. This is because you do not select a specific quality, and
your Avid editing application supplies the best quality or the most compressed media that is
available.
Examples of MultiRez Clip Coloring
In the following examples, the working resolution is set to 15:1s, and the target resolution is set
to DV 25. The examples show the default clip colors for resolution tracking. You can change the
display colors that your Avid editing application uses by selecting custom colors in the Clip
Color dialog box. For more information, see “Displaying Clip Colors in the Timeline” on
page 660.
The following illustration shows a sequence of clips that are linked to working settings. The
MultiRez button is blue, indicating that there are clips in the Timeline that do not match the
working resolution.
If you select Keep Existing Media or Use Closest Media (in the Working Settings tab of the
Dynamic Relink Settings dialog box) and enable clip coloring, clips that are not in the working
resolution are colored blue by default. Your Avid editing application is warning you that the DV
25 clips do not match the working resolution but are linked to a different resolution (a
mismatch).
Displaying Whether Media Is Available for Dynamic Relinking
1215
If you select Relink to Offline, clips that do not match the working resolution are colored red by
default, and the Media Offline slide is displayed in the monitors. In the following example, your
Avid editing application is warning you that the DV 25 clips are not in the working resolution
and the media is offline.
nThe “Relink to Offline” option does not delete the existing media. To relink to the media, select a
different option in the Dynamic Relink dialog box.
MultiRez Button Menu
1216
The next example shows the Timeline after you click the MultiRez button to view the target
resolution availability. The MultiRez button is yellow, indicating that there are clips that are not
available in the target resolution, and the clip that is not available in DV 25 (the target resolution)
is also colored yellow by default.
MultiRez Button Menu
The following table describes the options in the MultiRez button menu:
Option Description
Enable Clip
Coloring
When this option is selected, clips that are linked to media that does not match the specified
Dynamic Relink settings are colored. Your Avid editing application uses the following colors
by default for clips in the Timeline:
• No color change: In the Show Mismatches display, the clip is linked to media that
matches the working settings. In the Show Target Availability display, media is available
at the target resolution.
• Blue: A clip in the Timeline is linked to media that does not match the specified settings.
Blue is used if the option “If no match is found” is set to Use Existing Media or Use
Closest Media.
• Red: A clip in the Timeline is offline. Red is used if the option “If no match is found” is
set to Relink to Offline.
• Yellow: A clip in the Timeline is not available in the target resolution.
If you select Enable Clip Coloring and then display mismatches or target availability, this
setting overrides any other Timeline clip coloring that you set.
You can change the display colors that your Avid editing application uses by selecting custom
colors in the Clip Color dialog box. For more information, see “Displaying Clip Colors in the
Timeline” on page 660.
Fore more information, see “Displaying Whether Media Is Available for Dynamic Relinking”
on page 1211.
MultiRez Button Menu
1217
Show
Mismatched
Render Ranges
Identifies effects that are rendered in a resolution that does not match the specified resolution
for the resolutions to which the clips are linked (working or target). A blue line appears along
the top of the effect to indicate the portion that is rendered using a different resolution.
nYou might find it useful to turn off Enable Clip Coloring when you use this option, to
make it easier to see the render range lines.
If an effect has a mismatched render range, select the correct resolution in the Render tab in
the Media Creation dialog box and then rerender the effect. For more information, see
“Rerendering Effects” in the Help.
Show
Mismatches
Indicates whether any clips are linked to media that does not match the working settings
(Show Mismatches display). If any mismatched items are found, the MultiRez button turns
blue. If Enable Clip Coloring is selected, clips that do not match the working settings are blue
and offline clips are red.
Show Target
Availability
Indicates whether media is available that matches the target settings (Show Target
Availability display). If media is not available, the MultiRez button turns yellow. If Enable
Clip Coloring is selected, clips for which media is not available in the target settings are
yellow.
Find Next
Mismatched or
Unavailable Clip
In the Show Mismatches display, moves the blue position indicator to the next item that is not
in the working or target settings. This could be a clip or a rendered effect.
In the Show Target Availability display, moves the blue position indicator to the next clip that
is not available in the target settings. The command does not apply to rendered effects in this
display.
You can also use Ctrl+/ to move the position indicator.
nThis option works only on enabled tracks.
Update Media
Status
In the Show Mismatches display, relinks the clips displayed in the Timeline to the media that
matches the working or target settings. Use this command to update links to the media if the
desired media was not available when the clips were last linked.
In the Show Target Availability display, refreshes the clip information to show if media is
currently available in the target settings. Use this command to view the availability of the
target media without dynamically relinking.
Enable Dynamic
Relink
Lets you turn the dynamic relink feature on or off. For more information, see “Enabling
Dynamic Relink” on page 1204.
Override
Working Settings
with Target
Settings
Overrides the working settings with those in the Target setting tab of the Dynamic Relink
Settings dialog box and performs a dynamic relink to the media. For more information, see
“Dynamically Relinking to the Target Settings” on page 1208.
Dynamic Relink
Settings
Opens the Dynamic Relink Settings dialog box. For more information, see “Dynamic Relink
Settings” on page 1314.
Option Description (Continued)
MultiRez Bin Headings
1218
MultiRez Bin Headings
Some bin columns are specifically associated with MultiRez. These bin headings are available in
Avid editing applications when they are part of an Avid Interplay environment. MultiRez
headings include:
• Video resolutions (for example, 1:1, DV 25, 15:1s)
• Audio sample rate, bit depth and resolution (for example, 48 kHz, 24-bit, MP2)
Your Avid editing application creates the list of headings from the resolutions that are compatible
with the current project format. This list varies by project format and model. For example, if you
are working in a 30i NTSC project, the list includes all resolutions that are compatible with
30i NTSC and 1080i/59.94 formats. These headings appear at the bottom of the Bin Column
Selection list.
You need to select which columns you want to appear in the Text tab of the bin. For more
information, see “Bin Column Headings” on page 346.
Understanding Options for Deleting MultiRez Clips and Media
1219
There might be more resolutions available on an Avid Interplay workspace than appear in your
bin headings. For example, there might be an uncompressed version of the clips you are working
with, but if your Avid editing application doesn’t support uncompressed video, the resolution
does not appear in your bin settings. Some resolutions might show up as partially online. For
more information, see “Working with Partially Online Files” on page 1221.
MultiRez columns show the availability of the resolution by using the following icons:
The following bin columns display special behavior when you are using MultiRez and dynamic
relink:
• Video format: This column displays the resolution of the media files to which the clips in the
Timeline are currently linked, so it changes, depending on which resolution is currently
displayed, either working or target.
• Drive: Multiple resolutions for a single clip could be located in different drives or
workspaces, in which case the entry in this column is blank.
You can also display columns for multiple resolutions and sample rates in the Interplay Window.
For information, see “Modifying Column Display in the Interplay Window” on page 1152.
Understanding Options for Deleting MultiRez
Clips and Media
When working with MultiRez in an Avid Interplay environment, your options for deleting clips
and media depend on several factors:
• Whether the clip is associated with media on local or shared storage. You can delete any clip
from your bin, and you can delete any media on local storage. However, your ability to
delete media on shared storage depends on your permissions as set on Avid Interplay. For
more information, see the Avid Interplay Access User’s Guide.
• Which media files were originally captured with the clip. For clips in a bin, you can delete
only the media that was originally associated with the clip. This association of the clip with
its original media files is referred to as the affinity model (see “Multiple Clips, Multiple
Resolutions, and the Affinity Model” on page 1192). The affinity model applies when you
are deleting clips and media from a bin.
Filled circle Online
Half-filled circle Partially online
Empty circle Offline or Not Available
Deleting MultiRez Clips and Media from a Bin
1220
For example, if you transcode a clip from DV 25 to 15:1s, and create a new master clip, both
resolutions are associated with the original clip in the bin. However, if you select the original
clip (DV 25) for deletion, you see only DV 25 listed in the Delete dialog box.
For clips that were batch captured, captured in a dual-ingest configuration, or transcoded without
a new clip, you see both resolutions listed in the Delete dialog box.
nMultiple audio sample rates are not listed in the Delete dialog box.
The following table summarizes options for deleting MultiRez clips from a bin:
Deleting MultiRez Clips and Media from a Bin
For more information on your options when deleting MultiRez clips and media, see
“Understanding Options for Deleting MultiRez Clips and Media” on page 1219.
To delete clips, subclips, and sequences associated with media on local storage:
1. Select the clips, subclips, or sequences that you want to delete.
2. Do one of the following:
tSelect Edit > Delete.
tPress the Delete key.
The Delete dialog box opens, displaying information about the selected items.
3. Select the items you want to delete.
4. Click OK.
If you choose to delete media files, a dialog box opens.
5. Click Delete.
The selected clips, sequences, and media file are deleted.
Type of Clip Resolutions Displayed for Deletion
Clip created through dual ingest All associated resolutions
Clip created through batch capture or batch import All associated resolutions
Transcoded clip, one clip All associated resolutions
Transcoded clip, multiple clips Original resolution only
Clips that share timecode and source Original resolution only
Working with Partially Online Files
1221
nIf you try to delete media for a clip that you have checked out from Avid Interplay, and do not
have sufficient permissions to delete, a message informs you that you cannot delete media
associated with checked-in assets from a bin.
For more information about deleting in an Avid Interplay environment, see the Avid
Interplay Access User’s Guide.
Working with Partially Online Files
There are several cases where you might be working with MultiRez clips that are partially
online:
• Consolidating and transcoding a portion of a clip or a subclip.
• Consolidating and deleting original media.
• Partially restoring from an archive.
Clips that are partially online are marked in a bin by a half circle.
Consolidating and Transcoding a Portion of a Clip
You might create a partial clips if you consolidate and transcode a portion of a clip in a sequence.
For example, if you use a portion of a DV 25 clip in a sequence and consolidate and transcode
the sequence to a low resolution, your Avid editing application creates a new master clip in the
low resolution. The new master clip is associated with both resolutions. The following
illustration shows an example with DV 25 clip and 15:1s media.
Working with Partially Online Files
1222
Top to bottom: original DV25 clip, portion of DV25 clip edited into a sequence, and new clip created in 15:1s by
consolidating and transcoding the sequence. Only part of the original clip is available in 15:1s.
After consolidating and transcoding, the new master clip is shown in the bin as having media in
both DV 25 and 15:1s, while the original master clip is shown as having full media in DV 25 and
partial media for 15:1s.
If you trim the original sequence to expose more of the DV 25 clip, the Timeline displays as
offline frames in the portions that are not available in 15:1s.
Viewing a Source Clip in the Timeline
You can view an entire source clip in the Timeline. This is useful if you want to check how much
of a partial clip is offline and how much is online.
To examine the source clip for a partially online master clip:
1. Place the position indicator on the clip in the Timeline.
2. Click the Toggle Source/Record in Timeline button to display the source clip in the
Timeline.
Toggle Source/Record in Timeline button in Timeline bottom toolbar
Working with Partially Online Files
1223
In the following example, the MultiRez button is blue, indicating that your Avid editing
application is in the Show Mismatches display. The original master clip is displayed in the
Timeline, with a working resolution set to 15:1s. Two portions of the clip are colored red, which
is the default color indicating that these portions of the clip are offline and thus are not available
in the working resolution.
Consolidating and Deleting Original Media
You can create partial clips when you consolidate and then delete the original media. The result
is similar to the example in “Consolidating and Transcoding a Portion of a Clip” on page 1221,
in which a new clip is created through consolidation.
To consolidate and delete the original media:
1. Assume you have the same 10-minute master clip that has DV 25 and 15:1s versions of the
media.
2. Edit a one-minute portion of the DV 25 media into a sequence.
3. Consolidate the sequence.
This creates a new, one-minute clip with DV 25 media.
4. Use the Dynamic Relink option to relink the clips in the sequence to 15:1s.
5. Delete the DV 25 media from the original 10-minute clip.
6. Perform a dynamic relink to DV 25.
Your Avid editing application links to the DV 25 media in the consolidated clip but does not
replace the clip with the consolidated clip. The original clip remains in the Timeline and
your Avid editing application displays the DV 25 material. If you trim the clip past the DV
25 portion you see offline frames or 15:1s frames, depending on your Dynamic Relink
settings. In the bin, the DV 25 media is shown as partially online.
Partially Restoring from an Archive
A clip might be displayed as partially online when you perform a partial restore from an archive.
Quality Matching
1224
To perform a partial restore from an archive:
1. Assume you have a 10-minute master clip and you have both 15:1s and DV 25 versions of
the media.
2. Archive the DV 25 version of the media.
3. Delete the online DV 25 media and keep the low-resolution, 15:1 media online.
4. Edit one minute of the low-resolution version of the clip into a sequence.
5. Select the sequence in the bin and use Avid Interplay Archive to restore the DV 25 version of
the clip from the archive.
If the profile that you choose is set up to perform partial restores, your Avid editing
application restores only the portion of the clip that is in the sequence.
Now when you look in the bin, the DV 25 resolution shows as partially online. This is true
even if the Timeline shows that all media is available.
Quality Matching
Your Avid editing application follows a specific process when attempting a dynamic relink.
Dynamic relink provides you with a way to relink to media if the specific resolution or sample
rate is not available. The Dynamic Relink Settings dialog box includes the following options that
enable this feature, called quality matching:
• In the common area, for the option “If no match is found,” you can select “Use Closest
Media.” Your Avid editing application uses the criteria you set in this dialog box to match
the request.
• For the video relink method, you can select Highest Quality, Most Compressed, or Specific
Resolution. For Highest Quality, your Avid editing application links to the least compressed
and most highly defined media (more pixels, higher bit depth, more color information) with
a format that most closely matches the project settings. For Most Compressed, your Avid
editing application links to the most compressed media.
• If you select Specific Resolution as a relink method, you can select “Greater than or equal
to,” or “Less than or equal to” as a filter for the video relink quality. In this case, your Avid
editing application looks for an exact match. If it can’t find an exact match, it links to the
closest media that satisfies the selected filter, based on format and compression.
• For the audio relink method, you can select Highest Sample Rate, Highest Bit Depth, or
Specific Quality.
• For the audio relink quality, if you select Specific Resolution as a relink method, you can
select “Greater than or equal to,” or “Less than or equal to” as a filter for the audio relink
quality. Your Avid editing application looks for an exact match. If it can’t find an exact
match, it links to the closest media that satisfies the selected filter, based on sample rate and
bit depth.
Quality Matching
1225
nFor complete information about options in the Dynamic Relink Settings dialog box, see “Using
the Dynamic Relink Settings Dialog Box” on page 1203.
If you select one of the above options, your Avid editing application uses the following queries to
perform a dynamic relink:
1. Is there media with the same tape name (source ID) and timespan?
2. Is there media of the same size (NTSC, PAL, 1080HD, 720 HD)?
3. Is there media with the same field order (topness)?
4. Is there media in the same compression family?
5. Is there media of the same or similar compression value or audio sampling?
Quality Matching
1226
6. Is there media of the same bit depth?
7. Is there media in the same color space?
At each step, media is examined. Your Avid editing application continues looking for media until
a single match remains.
Quality Matching Reference
Video Format for Quality Matching
The following table lists factors involved in determining the closest match for video format
(queries 2 and 3 from the list in “Quality Matching” on page 1224). You select a media format
when you create a project or when you select a different format in the Format tab in the Project
window.
Video Resolutions for Quality Matching
The following table lists video resolutions supported by Avid editing applications, grouped in
resolution families, from least compressed to most compressed (queries 4,5, and 7 from the list
in “Quality Matching” on page 1224). This order is used by your Avid editing application to
match a request.
nSome resolutions might not be available in your Avid editing application.
Media Format Raster dimension (pixels) Field Order (Topness)
1080i 1920 x 1080 Upper field first
1080i 1440 x 1080 Upper field first
1080p 1920 x 1080 None
720p 1280 x 720 None
NTSC 720 x 486 Lower field first
PAL 720 x 576 Upper field first
DV (NTSC) 720 x 480 Lower field first
DV (PAL) 720 x 576 Lower field first
Resolution Family Resolution Name
HD 1:1 10b RGB 1:1 10b 1:1
Quality Matching
1227
Audio Sampling and Bit Depth for Quality Matching
The following table lists sample rates and bit depths, from the highest sample rate to lowest
sample rate (queries 5 and 6 from the list in “Quality Matching” on page 1224). This order is
used by your Avid editing application to match a request.
nSome sample rates might not be available in your Avid editing application.
DNxHD 220 DNxHD 185 DNxHD 175 DNxHD 90
DNxHD 145 DNxHD 120 DNxHD 115 DNxHD 60
DNxHD 45 DNxHD 36 DNxHD 145-TR DNxHD 120-TR
DVCPro
nDNxHD resolutions are based on the frame rate of the project. For example, DNxHD 220 has
a compressed data rate of 220 Mb/sec at 29.97 fps. DNxHD 185, which is an equivalent
resolution, has a compressed data rate of 185Mb/sec at 25 fps.
SD: JFIF interlaced 1:1, 2:1, 3:1, 10:1, 20:
SD:JFIF progressive 1:1, 2:1, 3:1, 14:1, 28:1, 35:1
SD:JFIF single-field
and multicam
2:1s, 3:1m, 4:1s/4:1m, 8:1m, 10:1m, 15:1s
SD: DV DV 50, DV 25
SD: MPEG/IMX MPEG 50, MPEG 40, MPEG 30
SD: MPEG-2 MPEG-2
Resolution Family Resolution Name
96 kHz/24 bit 48 kHz/16 bit
96 kHz/16 bit 44.1 kHz/24 bit
88.2 kHz/24 bit 44.1 kHz/16 bit
88.2 kHz/16 bit 32 kHz/24 bit
48 kHz/24 bit 32 kHz/16 bit
Quality Matching
1228
Example of Quality Matching
This example is typical of a newsroom offline session. In this workflow, clips are usually
captured simultaneously in MPEG-2 and DV 25, but sometimes the MPEG-2 clips are not
available. You want to get media immediately, and you want the lowest (most compressed)
resolution available to use less network bandwidth, but you’ll take DV 25 if that’s all that’s
available.
As you edit your project and load clips into a monitor, your Avid editing application dynamically
relinks the clips to media that most closely matches the working settings. Your Avid editing
application checks the Media Indexer to select one clip that matches the criteria. When it finds a
single clip, it stops.
For the preceding example settings, your Avid editing application follows this process:
1. Query: Is there media that comes from Tape0317?
Answer: Yes — there is more than one media file from that tape (MPEG-2 and DV 25
versions).
2. Query: Is there media from this tape that matches the clip’s timecode span?
Answer: Yes, there is more than one media file.
3. Query: Do these media files match NTSC size and topness?
Answer: Yes, there is more than one.
4. Query: Do any of these media files match the media family (MPEG-2)?
Answer: Yes, one media file matches all the criteria. Your Avid editing application links the
clip to that media file.
What if the MPEG-2 media doesn’t exist? Your Avid editing application looks for the next most
compressed media, finds one media file in DV 25 that matches the criteria, and links to it.
Project NTSC 30i
Source for clips Tape0317
Working settings If no match is found: Use Closest Match
Video Parameters
Relink Method: Most Compressed
Relink if Quality: Not applicable
Preferred media format: MXF
28 MultiCamera Editing
The Avid MultiCamera editing features let you incorporate multiple camera angle sources into
the nonlinear editing process. Techniques for using these features are described in the following
topics:
•Understanding Grouping and Multigrouping Clips
•Creating Group Clips
•Creating Multigroup Clips
•MultiCamera Displays
•MultiCamera Editing Techniques
•Selective Camera Cutting
Understanding Grouping and Multigrouping Clips
The grouping and multigrouping procedures gather selected clips into a single unique clip. Both
procedures let you use special MultiCamera editing features, such as multi-split views in
MultiCamera mode.
The differences between the two procedures are summarized as follows:
• Grouping creates a separate group clip out of a single set of master clips, from the IN point
to the OUT point of the longest clip. Multigrouping takes the Group function one step
further, literally stringing numerous sequential groups into a rough sequence. For this
reason, multigroups are also known as sequence clips.
• The Group function lets you sync clips based on common source timecode, auxiliary
timecode, or marks placed in the footage. Because of the need for complete accuracy in
sorting and grouping the clips, multigrouping is performed on the basis of common source
timecode only.
Creating Group Clips
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• The MultiGroup function is designed primarily for situation comedies and similar
productions that record multiple takes sequentially on the same source tapes. Multigrouping
does not provide any benefit when you edit with clips that do not share common timecode or
were not recorded sequentially, and might even cause the wrong clips to be grouped
together.
• Because the Group function lets you sync the clips based on customized IN points or OUT
points, you can group any collection of clips for quick cutting of montage sequences or
music-video sequences.
Creating Group Clips
In addition to the multicamera context, you can use grouped clips in other situations. Unlike
multigrouping, which requires clips with matching source timecode, you can group clips that
were shot at different times, on different days, and on completely different source tapes. This
means that you can use group clips to:
• Create montage sequences quickly with fast-cutting between unrelated clips.
• Sync and edit an audio track (music, for example) with two or more video tracks, useful in
music-video editing.
• Isolate each take as a group for multicamera editing and edit selectively, rather than build a
larger sequence clip.
• Group selected portions of multicamera clips using carefully synchronized marks.
The last two options are generally used in smaller multicamera projects. Sorting, marking,
selecting, and grouping individual takes of a larger project can be very time-consuming.
To create a group clip:
1. If you are using a sync point, load the clips and mark an IN point at the sync point at the start
of each clip, or mark an OUT point at the sync point at the end of each clip.
For multicamera video or film shoots, you typically use a slate for marking IN and OUT
points; however, you can use any visual or aural event that is recorded by all cameras
simultaneously.
2. In the bin, select all the clips you want to group.
3. Select Bin > Group Clips.
Creating Multigroup Clips
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4. Select an option, based on the following:
5. Click OK.
A group clip appears in the bin, with the name of the first clip in the group, followed by the
file name extension Grp.n.
The n is the incremental number of group clips with the same name in the same bin. You
might want to rename them for easier reading, such as name.Group.
Creating Multigroup Clips
Multigrouping is strictly for use in large multicamera productions, such as situation comedies, in
which all synchronous camera shots are recorded with the same timecode. The MultiGroup
function is a single Bin menu command that eliminates the time-consuming steps of collecting,
sorting, grouping, and assembling large volumes of multicamera clips.
To multigroup your material:
1. Sort the clips by name in the bin.
2. Select Edit > Select All to select the master clips.
3. Select Bin > MultiGroup.
Option Description
Film TC/Sound TC Use this option if you are syncing clips with matching film and
sound timecode recorded in the field. This option appears
dimmed if you are not working in a 24p or 25p project.
Inpoints Use this option if you are syncing according to IN points set in
each clip.
Outpoints Use this option if you are syncing according to OUT points set in
each clip.
Source Timecode Use this option if the clips have matching timecode.
Auxiliary TC1–TC5 Use this option if the clips have matching timecode in the same
Auxiliary Timecode column. Select an Auxiliary TC, 1 through 5,
from the menu.
MultiCamera Displays
1232
4. Select an option, based on the following:
5. Click OK.
Your Avid editing application creates several group clips for each take in the bin, and then
creates a multigroup clip from the groups. The multigroup clip has the same icon as the
group clips, but the icon is preceded by a plus sign.
MultiCamera Displays
There are several displays that let you view and edit with multiple camera angles. You can edit
with either group clips or multigroup clips in all of the displays.
Full-Monitor Display
When you first load a grouped or multigrouped clip, the Source monitor displays a single frame
from one clip in the group in Source/Record mode. This is called Full-Monitor display when
working with group clips because you can view each angle in full-monitor size as you edit.
Option Description
Film TC/Sound TC Use this option if you are syncing clips with matching film and
sound timecode recorded in the field. This option appears
dimmed if you are not working in a 24p or 25p project.
Inpoints Use this option if you are syncing according to IN points set in
each clip.
Outpoints Use this option if you are syncing according to OUT points set in
each clip.
Source Timecode Use this option if the clips have matching timecode.
Auxiliary TC1–TC5 Use this option if the clips have matching timecode in the same
Auxiliary Timecode column. Select an Auxiliary TC, 1 through 5,
from the menu.
MultiCamera Displays
1233
The basic features of Full-Monitor display:
• Provides source-oriented control of multicamera material. You can switch camera angles,
cue, and mark material without affecting the sequence.
• Provides the same Source monitor controls that are available when you edit other clips in
Source/Record mode.
• Provides the same MultiCamera editing features that are available in Quad Split Source
view, Nine Split Source view, and MultiCamera mode. These features are described in
“MultiCamera Editing Techniques” on page 1238. The only difference is that in
Full-Monitor display, you can view each angle as full size while you edit.
Quad Split Source View
After loading a group clip into the Source monitor, you enter Quad Split Source view by clicking
the Quad Split button located in the Command palette in the MCam tab. The Source monitor
splits into four camera angles of the group clip. A Group Menu icon appears above the Source
and Record monitors.
MultiCamera Displays
1234
Quad Split Source view, with the four camera angle views in the Source monitor and the sequence or linecut in the
Record monitor. The location of the Group Menu icon is highlighted.
The basic features of Quad Split Source view:
• Provides source-oriented control of multicamera material. You can switch camera angles,
play back (one camera angle at a time), cue, and mark material without affecting the
sequence.
• Provides the same Source monitor controls that are available when you edit other clips in
Source/Record mode.
• Provides the special MultiCamera editing features that are available in Full-Monitor display,
Nine Split Source view, and MultiCamera mode. These features are described in
“MultiCamera Editing Techniques” on page 1238.
• Provides a list of all group clip video and audio tracks in the Group menu for custom
selection and patching.
• Lets you use the Quad Split button to switch the Source monitor between Full-Monitor
display and Quad Split Source viewing and editing modes (editing functions are the same in
both displays).
• Lets you use the Swap Cam Bank button to switch the Quad Split Source view from one
bank of four camera angles to another bank of four camera angles. The Multi-angle View
menus let you change the camera angles of the split displays.
• Does not gang the Record monitor with Quad Split Source view.
Nine Split Source View
After loading a group clip into the Source monitor, you enter Nine Split Source view by clicking
the Nine Split button located in the Command palette in the MCam tab. The Source monitor
splits into nine camera angles of the group clip. A Group Menu icon appears in the second row of
information above the Source and Record monitors.
MultiCamera Displays
1235
Nine Split Source view, with the nine camera angle views in the Source monitor and the sequence or linecut in the
Record monitor. The location of the Group Menu icon is highlighted.
The basic features of Nine Split Source view:
• Provides source-oriented control of multicamera material. You can switch camera angles,
play back (one camera angle at a time), cue, and mark material without affecting the
sequence.
• Provides the same Source monitor controls that are available when you edit other clips in
Source/Record mode.
• Provides the special MultiCamera editing features that are available in Full-Monitor display,
Quad Split Source view, and MultiCamera mode. These features are described in
“MultiCamera Editing Techniques” on page 1238.
• Provides a list of all group clip video and audio tracks in the Group menu for custom
selection and patching.
• Lets you use the Nine Split button to switch the Source monitor between Full-Monitor
display and Nine Split Source viewing and editing modes (editing functions are the same in
both displays).
• Lets you use the Swap Cam Bank button to switch the Nine Split Source view from one bank
of nine camera angles to another bank of nine camera angles. The Multi-angle View menus
let you change the camera angles of the split displays.
• Does not gang the Record monitor with Nine Split Source view.
MultiCamera Displays
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MultiCamera Mode
After loading a group clip into the Source monitor and editing it to create a new sequence, select
MultiCamera Mode from the Special menu to activate the features. The MultiCamera Quad Split
Edit or MultiCamera Nine Split Edit is displayed, depending on whether you were in Quad Split
Source view or Nine Split Source view before entering MultiCamera mode.
nYou can also enter MultiCamera mode by clicking the Quad Split button or the Nine Split button
if you have previously mapped the button to one of the toolbars in the Timeline or the
Source/Record monitor.
MultiCamera mode takes the Nine Split Source view and Quad Split Source view one step
further: it gangs all clips in the group clip displayed in the Source monitor with the sequence
displayed in the Record monitor. All clips are synchronized and continuously updated during
playback and editing.
nYou see the best real-time playback performance when you play material that was recorded at
10:1m, 4:1m, or 1:1 resolutions. Also, you see better performance when you play in Best
Performance mode rather than in Full Quality mode. For more information about these modes,
see “Playing Effects Back at Different Video Qualities” in the Help.
When you play back multicamera material, you can cut by using the MultiCam keys to select
different camera angles when stopped. The camera angles you selected with the MultiCam keys
are recorded as cuts in the Timeline and are displayed in the Record monitor.
MultiCamera mode. The Source monitor controls are disabled.
MultiCamera Displays
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The basic features of MultiCamera mode:
• Provides sequence-oriented control of multicamera material, in contrast to Full-Monitor
display, Nine Split Source view, and Quad Split Source view. Whenever you play back, cue,
switch camera angles, or mark material, your changes occur in the sequence.
• Synchronizes all camera angles displayed in the Source monitor and continuously updates
during playback and editing.
• Lets you perform live bank swaps while playing in MultiCamera Quad Split Edit mode by
using the Swap Cam Bank button.
• Provides only Record monitor controls.
• Provides special MultiCamera editing features that are available in Full-Monitor display,
Quad Split Source view, and Nine Split Source view. These features are described in
“MultiCamera Editing Techniques” on page 1238.
• Lets you cut between clips as you would during live switching of a show.
• Provides a list of all group clip video and audio tracks in the Group menu for custom
selection and patching.
• Lets you deselect MultiCamera Mode in the Special menu at any time to switch between
source-oriented and sequence-oriented MultiCamera editing.
• Lets you switch between singular and multi-angle playback without exiting MultiCamera
mode.
Real-time Playback in MultiCamera Mode
You can use the Video Quality options to achieve better real-time playback performance in SD
projects when you display multiple views (Quad Split Source view or Nine Split Source) in
MultiCamera Mode. The range of options available depends on your input/output hardware
configuration. For more information on the Video Quality menu, see “Video Quality Options for
Playback” on page 506.
Your Avid editing application remembers your most recent Video Quality setting for
Multicamera Mode and switches to it automatically whenever you open a multicamera or group
clip.
For example, you might be working with group clips and set the Video Quality menu to Draft
Quality, then close all group clips and work with single clips. When you reopen a group clip in a
monitor, your Avid editing application remembers your last group clip setting and switches to
Draft Quality, regardless of the video quality you were using for single clips.
MultiCamera Editing Techniques
1238
Limitations on Playback of MultiCamera Media
To play back a group clip or a multigroup clip, you must be in MultiCamera mode. In addition,
the following limitations apply to playback performance for standard-definition projects and
high-definition projects:
• In an SD project, you must have Avid input/output hardware attached to your system in
order to view multicamera display in a client monitor during a digital cut. Alternatively, you
can view multicamera display using Full Screen Playback.
• In an HD project, you cannot play back a multicamera sequence to the client monitor. To
view multicamera playback, use Full Screen Playback.
For more information on full screen playback, see “Playing Video to a Full-Screen Monitor”
on page 492.
• In an SD project, multicamera editing works only with 8-bit resolutions. If you use media
with a 10-bit resolution, your Avid editing application automatically plays the media at the
appropriate 8-bit resolution.
MultiCamera Editing Techniques
When you load a group or multigroup clip into the Source monitor and begin editing, the
Timeline adds a unique identifier to indicate the presence of a group.
Your Avid editing application uses the name of the clip within the group to identify the clip in
each cut, and adds a G in parentheses to indicate the group.
Group clips in the Timeline
Using various keys and functions, you can switch and edit the displayed group clip at any point
in the sequence. These techniques apply to both group and multigroup clips.
Switching Clips with the Arrow Keys During Multicamera Editing
You can switch the display of camera angles by using the Previous In Group button and the Next
In Group button. These buttons are mapped by default to the Up Arrow and Down Arrow keys.
The angle selection switches in either the Source monitor (source material) or in the Record
monitor (sequence material), whichever is active.
MultiCamera Editing Techniques
1239
If the group contains more camera angles than the multi-split display, the Up Arrow and Down
Arrow keys cycle through all the clips. Only the first four clips are shown in the Quad Split
display and only the first nine clips are shown in the Nine Split display.
When the Record monitor is active, you can place the position indicator within any segment and
use the arrow keys to switch the group clip selected for that segment.
nWhenever you switch camera angles, you also switch the frame representing the group in the bin.
You can use this method to change the representative frame for bin display and storyboarding.
Numeric Keypad and Mouse Support for MultiCamera Editing
You can use the numeric keypad and mouse buttons to switch the display of camera angles and to
swap camera banks. These options provide a quick and intuitive way to do multicamera editing.
To switch camera angles, do one of the following:
tClick a camera angle in the split display during playback to switch to that camera angle.
tPress a number key on the numeric keypad to switch to a new camera angle.
For Quad Split display, the following table describes the key mappings:
For Nine-Split display, each of the nine keys 1 through 9 maps to a position in the split
display based on its location on the keypad. For example, the 7 key maps to the upper left
camera angle in the split display, while the 5 key maps to the center camera angle.
To switch camera banks in Quad Split display, do one of the following:
tClick the right mouse button.
tPress either the 0 (zero) key or the . (period) key on the numeric keypad.
Editing and Playing Back a Linecut in MultiCamera Mode
You can edit and play back a linecut (playback of the edited sequence) on the Source monitor
while in Quad Split Source view and Nine Split Source view. The client monitor also plays the
linecut.
Keys Position in Split Display Keys Position in Split Display
7 Upper left 4 or 1 Lower left
8 or 9 Upper right 2, 3, 5, or 6 Lower right
MultiCamera Editing Techniques
1240
nThe client monitor displays only SD multicamera sequences. You can view playback of HD
multicamera sequences in the Source monitor only.
If you notice frames are dropping during playback, decrease the size of the Composer window
until playback becomes smooth.
To play a linecut on the client monitor in MultiCamera mode:
1. Double-click Composer in the Settings list of the Project window.
The Composer Settings dialog box opens.
2. Click the MultiCam tab.
3. Click the Split Mode Play menu, and select Quad or Nine Split.
4. Click the MultiCam Mode Client Monitor menu, and select Linecut.
5. Click OK.
Using the Add Edit Button During Multicamera Editing
You can use the Add Edit button like a hot key to add edits while stepping through a sequence
during playback. The only difference is that you are not switching camera angles until after you
set the edit points.
This method is especially useful when editing to music because it lets you concentrate on the
beats and ignore camera angles until the edits are placed.
To use this method, you must first map the Add Edit button onto the keyboard. Consider
mapping the Add Edit button to a function key next to the default MultiCam keys. For more
information on mapping keys, see “Understanding Button Mapping” on page 107.
To add edits:
1. Load the group or multigroup clip into the Source monitor and splice it into a sequence.
2. Play the sequence. Each time you want to make an edit, stop and press the Add Edit key.
The edits appear in the Timeline.
Play the sequence repeatedly to add more edits, or remove edits in Trim mode by lassoing
them in the Timeline and pressing the Delete key.
3. After adding the edits, place the position indicator within each segment and use the arrow
keys to switch camera angles.
MultiCamera Editing Techniques
1241
Using the Group Menu for Multicamera Editing
The Group menu lets you select video or audio channels from any of the clips in the group and
patch to the tracks available in the sequence. You can have nine camera angles and nine or more
audio tracks synchronized and available for patching at any time.
Group menu and Group Menu icon
nSelect the Second Row of Info option in the Composer Settings dialog box for the Group Menu
icon to be displayed above the Source monitor.
You can select the Audio Follow Video option from the Group menu to instruct the system to
switch both audio and video for each camera angle or selective camera style. The Group Menu
icon changes to green when you select the Audio Follow Video option. Audio Follow Video
overrides the track selection beside the Timeline and switches audio in track A1 only.
Audio-Follow-Video edits appear in the Timeline as match frames (that is, the transition contains
an equal sign)
To use the Group menu:
1. Click the Group Menu icon in the second row of information above the Source monitor to
display the Group menu.
2. Select video or audio channels from any clip in the group to patch the video or audio
channels to the tracks available in the sequence.
MultiCamera Editing Techniques
1242
3. (Option) Select the Audio Follow Video option to switch both audio and video for each
camera angle when you cut.
Using the Multi-angle View Menus During Multicamera Editing
You can use the Multi-angle View menus to group up to 18 clips at a time, and select additional
clips to be shown in any of the multi-split displays in the Source monitor. You can also select
Sequence from the Multi-angle View menus to display the entire sequence.
To select an additional clip from the group to appear in one of the multi-split displays:
1. Press the Ctrl key to activate the display of clip names in the multi-split displays.
2. Ctrl+click the multi-split display where you want to show the new clip.
The clips in the group are listed in the Multi-angle View menu.
Select additional angles from the Multi-angle View menu
3. Select the clip you want to display from the Multi-angle View menu.
The new clip appears in the multi-split display.
Selective Camera Cutting
1243
Using Match Frame in MultiCamera Editing
You can use the Match Frame button to display the matching clip within the group when match
framing from the sequence, or you can display the original clip when match framing from the
source group. For more information on using the Match Frame feature, see “Using Match
Frame” on page 534.
nIf the group contains more clips than are displayed and you match a clip that is not visible (for
example, clip 5 and above for the Quad Split display), your Avid editing application selects the
clip but does not display it.
Committing MultiCamera Edits
You can remove the grouped clips in a sequence and replace each of them with its selected clip.
This might be useful if you experience poor performance with a very complex multicamera
sequence on a slower system, for example, a sequence that uses many multicamera clips and
many effects or color corrections.
To commit multicamera edits:
1. Select the sequence you want to affect.
2. Right-click the sequence and select Commit Multicam Edits.
Your Avid editing application duplicates the sequence, and then replaces each grouped clip
in the duplicate sequence with its selected clip. The original sequence is unaffected and still
contains the grouped clips.
Selective Camera Cutting
Selective camera cutting involves marking and editing source material into the sequence, much
as you build a sequence by using nongrouped clips in a normal session. You can play, cue, and
mark clips on the source side, and then splice, overwrite, and trim clips in the sequence.
To perform selective camera cutting, do one of the following:
tLay down an entire group as a master sequence, and then add edits, switch camera angles,
and trim within the sequence or cut in new clips.
tEdit one clip at a time without laying down a master sequence first, effectively building a
sequence as you would with single-camera material.
The advantage of selective camera cutting with grouped clips is that all the clips are
synchronized, which simplifies the selection of camera angles. Selective camera cutting
generally requires the use of a detailed line script or detailed notes that enable you to select
clips and assemble the sequence one clip at a time.
Selective Camera Cutting
1244
To perform selective camera cutting with grouped clips:
1. Load the group or multigroup clip into the Source monitor.
2. Using timecode notes and the numeric keypad, type the timecode for the first take to begin
the sequence, and press Enter (Windows) or Return (Macintosh) to cue the clip in the Source
monitor to the take.
3. Mark IN and OUT points for the entire scene.
4. Select a camera angle for the first clip, and then splice the entire scene into a sequence.
5. Use the arrow keys, the Add Edit button, or both to select edit points and switch to different
angles throughout the master scene in the sequence.
6. To replace a portion of the take with a part from another take, use the timecode notes again
to cue the take, set marks, and perform a replace edit.
7. When you are finished with a scene, repeat the procedure for each additional scene in the
sequence.
29 The Avid Marketplace
The Avid Marketplace feature allows you to purchase video (stock footage), sound effects, music
and plug-ins from within your Avid editing application. This chapter describes the process of
downloading stock footage clips and Avid supported plug-ins from within your Avid editing
application.
You must be connected to the Internet to access features offered in the Avid Marketplace.
The Avid Marketplace window includes a navigation toolbar that allows you to move Backward,
Forward, Refresh, and Cancel your last action. When you are ready to download, a progress bar
displays at the bottom and indicates the percentage of time left to download your plug-in. You
can also cancel the download at anytime.
Avid Marketplace Media Libraries
The Avid Marketplace Media Libraries allows you to search and select from hundreds of
thousands of clips in an online footage library, review your search results from a thumbnail clip,
and once you decide on the stock footage clips you want, download a proxy clip to try out in
your sequence, and then purchase and download the high resolution clip.
With the help of Thought Equity Motion, a third-party distributor of stock footage, you can
connect through the Avid Marketplace Media Libraries window and search, view and purchase
stock footage clips to load into your sequence.
Avid partnered with Thought Equity Motion because they increase the value of video content
through an advanced technology platform and licensing service. You will be able to license and
purchase sports, news, entertainment, editorial, and creative content from Thought Equity
Motion media partners, including BBC Motion Gallery, Paramount Pictures, Sony Pictures
Entertainment, National Geographic, The New York Times, and the NCAA.
The Avid Marketplace requires that you install Flash Player 11 or higher to play the stock
footage clips in the Thought Equity Motion website.
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1246
Avid Marketplace Media Libraries Quick Start
The following section contains high-level steps you can perform to search, preview and select
stock footage clips to purchase and include in your Avid editing sequence. See other topics in
this chapter for detailed steps and more information.
To purchase stock footage:
1. From your Avid editing application, select Marketplace > Media Libraries.
The Avid Media Libraries window opens.
2. From the Stock Video section, click on the link that brings you to the Avid Thought Equity
Motion site.
3. If this is your first time, click Register to set up your User Account with Thought Equity
Motion.
For more information, see “Creating a User Sign In and Password” on page 1248.
4. Click Sign In if you have already registered.
5. Enter your user name or e-mail and password.
The system signs you in and you now have access to hundreds of thousands of clips.
6. In the Search field, enter text to locate the stock footage clips you might want, for example:
flowers.
7. Click the Search icon.
For more information, see “Performing a Search” on page 1250.
The system searches for and displays your results.
8. Click the filters in the left pane to refine your search results.
9. Click the Download Comp (Down Arrow) icon to download a single clip or add multiple
clips to My Bins to download multiple clips at one time.
You can use the default My Bins or create personalized bins to store your clips.
10. Click My Bins.
For more information, see “Creating an Online Stock Footage Bin” on page 1254.
11. Select the clips you want to try in your sequence and click Download Comps.
The Select a bin window opens.
For more information, see “Getting Comp Clips into Your Avid Bin” on page 1259.
12. Select the bin where you want the system to place your downloaded comp clips.
A progress bar displays. The low resolution AMA clips appear in your Avid bin. A
watermark displays on the clips indicating that it is a low resolution, non-purchased clip.
Avid Marketplace Media Libraries Quick Start
1247
13. You can now add the clips to your sequence.
14. If you want, you can create a Stock Footage Report (.txt file) to see which clips you have
used in your sequence, right-click the sequence in the bin or right-click the sequence in the
Record monitor and select Stock Footage Report.
For more information, see “Creating a Stock Footage Report” on page 1263.
15. When you decide which clip you want to purchase, right-click the clip in the bin or to
download all the clips in your sequence, right-click the sequence and select Buy Stock
Footage clips.
A login window opens asking you to login. A stock footage report is sent and a bin is created
in My Bins. This new bin includes all the stock footage clips and information about each clip
in your sequence. This report is used to calculate the cost of your clips.
For more information, see “Purchasing Your Stock Footage” on page 1265.
16. Add your clips to your cart (one at a time) and specify the usage type in the License window.
You will receive an e-mail when your high resolution clips are ready to download.
Some footage clips need to be priced and licensed with the assistance of a sales rep. Please
contact a Thought Equity Motion Sales Representative, call 866-815-6599, or select Click
here to request further details and you will be contacted shortly.
nCall Thought Equity Motion to specify if you need the High Resolution clip to be created with the
Avid QuickTime codecs at a specific resolution (for example DNxHD). This is helpful if you need
to match the project type and resolution of your finished sequence.
17. Download your high resolution stock footage clips from Thought Equity Motion.
nYou can also download your comp clips and high-resolution clips from outside of the Avid
editing application. For information on how to do this, see “To download comp clips outside of
the Avid editing application to an Avid bin:” on page 1262 or “To download your stock footage
outside of the Avid editor:” on page 1269
It is recommended that you place all your high resolution stock footage clips for one project
in the same bin.
The media file is stored on the drive you have specified in the Media Creation > Import tab
dialog box.
nMake sure that the drive you specify in the Media Creation > Import tab dialog box supports the
bandwidth and has enough space to support the downloaded stock footage media.
For more information, see “Downloading your High Resolution Stock Footage” on
page 1266.
18. Open the bin(s) that stores all your high resolution stock footage clips and select the high
resolution clips that correspond to the comp clips in your sequence.
Creating a User Sign In and Password
1248
19. Open the sequence that contains the comp (low resolution) clips, and right-click then select
Relink Stock Footage to Sequence.
The system creates a copy of the sequence which links to the high resolution clips. The copy
is named with the original sequence name followed by .Relinked.n, where n is the number of
the duplicates created from the original sequence.
The clips relink to your sequence.
For more information, see “Relinking High Resolution Media to Your Sequence” on
page 1269.
For more detailed steps, see the topics suggested under each step or see the other topics in this
chapter.
Creating a User Sign In and Password
Logging in to the Avid Marketplace - Media Libraries gives you access to hundreds of thousands
of stock footage clips. The system stores all your information under your user name and
password. You need to set up a User Account to use the Thought Equity Stock Footage library.
You may be asked to login during downloading, purchasing and ordering. This allows Avid and
the vendor to pass and receive information back and forth. Even though you may be logged in to
the vendor site, you may be asked to login again.
To sign in to the Avid Media Libraries for the first time:
1. Select Marketplace > Media Libraries.
The Avid Media Libraries window opens.
2. From the Stock Video section, click on the link that brings you to the Avid Thought Equity
Motion site.
Licensing Options
1249
3. In the Thought Equity Motion page, click Register.
The Register Information window opens.
4. Enter required information including e-mail and password.
5. Click Submit Registration.
Your account information is saved and you are logged into Thought Equity Motion. The next
time you visit the Thought Equity Motion, click Sign In and enter your email and password.
Licensing Options
Thought Equity Motion displays the legal rights and clearance under each clip.
Within a search, licensing options include:
• Rights Managed footage is subject to specific usage restrictions. These typically include a
limit on the number of times used, broadcast territory, and a usage time period. Additional
licenses can be purchased for additional uses.
• Royalty Free footage can be used for an unlimited period of time and number of uses.
About the Stock Footage Clips
1250
About the Stock Footage Clips
There are two types of stock footage clips that you can download to your Avid editing system:
• A low resolution “comp” clip which allows you to try out the clip in your sequence first,
before you purchase. This comp clip also displays a watermark.
• A high resolution clip that you purchase. You have several formats to choose from.
Both clips are downloaded and linked using Avid’s AMA (Avid Media Access) feature, using the
AMA QuickTime plug-in (installed with your Avid editing application). The clips you purchase
and download from the Avid Media Libraries should be .mov files. If you plan to download stock
footage clips that are HD format, you need to store the HD media on striped drives that support
the HD resolution. Also, for final output of a sequence, the AMA linked stock footage can be
transcoded to the appropriate resolution.
Since your stock footage clips are linked through the AMA method, you can use the AMA
options described in “File Based Media - AMA” on page 368.
Searching through Stock Footage
From within the Avid editing application, you can search, view, purchase, and download stock
footage clips.
Within the site you can create bins to store your clips in and when you are ready to purchase and
download clips, you can choose to download all the clips in one sequence or download a single
clip.
The Avid Marketplace window includes a navigation toolbar which allows you to move
Backward, Forward, Refresh, and Cancel. When you are ready to download a clip, a progress bar
displays and indicates the percentage of time left to download your clip. You can also cancel the
download at anytime.
Performing a Search
To start a search:
1. Select Marketplace > Media Libraries.
The Avid Media Libraries window opens.
2. From the Stock Video section, click on the link that brings you to the Avid Thought Equity
Motion site.
3. Click Sign in and enter your user name or email and password.
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If you have not registered yet, click Register. See “Creating a User Sign In and Password” on
page 1248.
4. Click Log On.
The system signs you in to Thought Equity Motion.
5. Enter your search terms in the Search for footage bar.
6. Click the Search button or press Enter.
The system returns your results in the Display window.
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7. Place your cursor over the thumbnail to preview a clip.
8. Use the navigation buttons to move Backward, Forward, and Refresh your last action.
To change the display options:
1. Enter your search terms in the Search for footage bar.
2. Click the Search button or press Enter.
The system returns your results in the Display window.
3. Click Display Options.
The Change your display options dialog box opens.
4. Select the results per page, Grid view (thumbnail) or Text view and to display your
thumbnail as a still image or video.
5. Click Apply.
The Display window updates to the new options.
Basic Search Terms
You can use Boolean modifiers to limit or expand your footage search.
• Use the following modifiers: AND, NOT & OR (entered as capital letters).
• AND: Use when you want to return clips featuring both terms. For example, a search of
butterfly AND yellow returns clips with keywords “butterfly” and the color “yellow.”
• NOT: Use when you want to exclude certain clips from a search. For example, a search for
butterfly NOT swimming returns clips containing the keyword “butterfly” but eliminates
those clips with “swimming.” In this case, swimmers doing the butterfly stroke would not
appear in the search results.
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• OR: Use when you want to search for clips containing either keyword. For example, a search
for butterfly OR moth, returns clips featuring both butterflies and moths.
• Combine modifiers: Use a combination of keywords and operators to narrow your search.
For example, butterfly AND yellow NOT swimming NOT fish, returns clips containing
“butterfly” and “yellow” but eliminates clips of swimmers doing the butterfly stroke and
butterfly fish.
Modifying a Search
You can customize your search with filters. The filters are located on the left side of the search
results page. These tools allow you to narrow your search by footage type, format, rights,
specialty, and other options.
To filter your results:
tAfter you perform an initial search, you can narrow your search by selecting the following
options in the menu located to the left of your search results.
Filter search
results options Description
Content Type Allows you to choose from Clips, Screeners, or Text
Records. Select one of these options to search for only a
specific content type.
Format Allows you to choose from SD, HD or Available on Film
formats. Select one of these options to search for only a
specific format.
Footage Type Allows you to choose from a type of footage, including:
Creative, Editorial, Commercial. Select one of these
options to search for only a specific footage type.
Editorial Allows you to choose from Archive, Celebrity, News and
Sports. Select one of these option to search for only a
specific section.
Rights Allows you to choose from Rights Managed or Royalty
Free. Select one of these option to search for only specific
rights.
Broadcast Standard Allows you to choose from NTSC, PAL, 720 or 1080.
Select one of these option to search for only a specific
broadcast standard.
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To refine your search results:
1. After the search results page opens, select from the list of Refine options.
2. Select a keyword.
The system searches through your results based on the newly added keyword and displays a
new set of results.
Creating an Online Stock Footage Bin
Once you find clips that you are interested in, you can store them in an online Thought Equity
Motion bin. Bins are created in the My Bins menu. You might find it helpful to create multiple
bins for different projects or topics.
To create a Thought Equity Motion bin:
1. Within the site, click My Bins.
A menu displays bin options.
2. Click Create a new clip bin.
The Create a new clip bin dialog box opens.
3. Enter the bin name and any information you want associated with the bin.
4. If you want this bin to be your default bin, click Set focus to this bin.
Releases Allows you to choose from Fully Cleared/Ready Now or
Talent Released/Not Required. Select one of these option
to search for only specific releases.
Available Previews Allows you to choose from Preview Available Now or
Preview Available on Request. Select one of these option to
search for only specific previews.
Audio Search Allows you to search for clips that contain audio.
Speciality Allows you to choose from Aerial, Slow Motion, Time
Lapse, Black and White, Clips with Audio, Clips without
Audio. Select one of these option to search for only a
specific speciality.
Other Allows you to choose to search from a Newer Than (Date),
Older Than (Date), Reference Number/ID, Duration
Greater Than (seconds), Duration Less Than (seconds),
and Title.
Filter search
results options Description
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5. Click Submit.
The system creates your new bin and adds it to the My Bins menu.
To add a clip to a Thought Equity Motion bin folder:
1. Once you have identified a clip to add to a bin, click the Add (+) button.
The clip is added to your default bin.
2. To add a clip to a different bin, click the check box to select the clip.
3. From the Clip tools menu, select Add selected to bin folder name.
The clip is added to your selected bin.
Managing Your Bins
After you login, you can manage and view one bin at a time by selecting the Bin name from the
My Bins menu, or to see all your bins, you can choose the Manage My Bins option from the My
Bins menu.
To manage a single bin:
1. Click My Bins.
A menu displays bin options.
2. Select a bin.
The bin opens and displays the clips you have stored in that bin.
3. Click the Display options menu to change your current display, click Apply.
4. Under each clip, the system displays icons which allow you to perform different functions,
they include:
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5. To the left is a list of Options you can perform, they include:
To manage multiple bins:
1. Click My Bins.
A menu displays folder options.
2. Click Manage My Bins.
Icon Description
Information (i) Allows you to view additional information about the clip.
View
(Magnifying Glass)
Opens a window that displays detailed information about
the clip including: licensing options and pricing.
Comments Allows you to enter comments about your clip.
Remove (X) Allows you to remove the clip from your bin.
View shot reel Displays multiple shots from the selected clip.
Add to cart (Shopping
Cart)
Adds the selected clip to your shopping cart to purchase.
Option Description
Email this bin Opens a dialog box which allows you to enter information
to email this bin to others for review.
Make a research
request
If you need help searching for content, you can fill out a
form and a representative will respond to your request.
Add notes to this bin Allows you to enter any notes or information you want to
associate with the bin.
Download comps for
My Clips
Downloads a frame-accurate comp of all the clips in your
bin.
Contact me about
these clips
Opens a window which allows you to fill out a form so a
representative can contact you.
Subscribe to this bin Allows you to subscribe to the bin RSS feed to track
activity including adding and deleting bins.
History of this bin Displays the history or changes made to this bin.
Screening Room Opens a pop-up window to preview all clips within the bin.
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A list of your bins display.
3. Use the Bin tools menu to Select all, Select none or Remove selected bins.
4. Use the Sort by menu to sort and search across multiple bins.
5. To the right of each bin, the system displays icons which allow you to perform different
functions. They include:
6. To the left is a list of Management Options and Filters. They include:
Icon Description
Edit Allows you to edit the name of your bin and add or change any notes
you want to include about the bin.
Information (i) Allows you to view additional information about the clip.
View
(Magnifying Glass)
Opens the bin so you can view its contents.
Email this bin Opens a dialog box which allows you to enter information to email this
bin to others for review.
Delete (X) Allows you to delete the bin and all its contents.
Icon Description
Create a new clip bin Opens a dialog box which allows you to create a new bin.
Manage my favorite bins Assign preference to your bins by placing them in a favorite list.
Then drag-and-drop to move your bins to and from a favorite list.
All bins you are a member of Displays all the bins your login is connected to.
You own These are bins you created or have been assigned to you as the
owner.
You can edit, but do not own You can add or remove clips from the bin, update clipping
information and manage the display. You cannot delete the bin or
assign ownership.
You can view, but not edit You can select clips to view, download comps and add them to your
cart.
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Downloading Stock Footage Clips to Your Avid Bin
Once you select clips from the Avid Thought Equity Motion site, you can download low
resolution comp clips into your Avid bin to try them out in your sequence.
Although it is recommended to download directly through your Avid editing system, if needed,
you can download clips outside of the Avid editing system from an external browser. Store the
clips on your system and link them to your bin at a later time. This process can also be used to
recreate clips for previously downloaded files.
nIt is recommended that you do not change the file name of the downloaded clip. The file name
includes information that is used for linking.
nAn internet connection is required when you link clips in order to properly recognize files and
access the data needed for any new clip metadata.
Adding Vendor Columns to your Avid Bin
New metadata columns are available to display in your bin to provide you with information
about the vendor and the stock footage clips you might purchase. They include:
Column Name Description
Vendor Name The name of the vendor where you are purchasing the clip.
Vendor URL The URL address of the vendor.
Vendor Asset ID The vendor’s unique ID for the clip.
Vendor Asset Name The vendor’s name for the clip.
Vendor Asset Rights The usage rights for the clip (for example, Royalty Free).
Vendor Asset Price The vendor-specified price for using the clip, if available.
Vendor Original Master The original acquisition format of the media, if available
(for example, 1080i 59.94 fps HDCAM).
Vendor Download Master The master format stored online for download, if available
(for example, QuickTime/DVCPRO HD). This file is used
to transcode to other formats, if needed.
Vendor Asset Description The vendor’s description for the clip.
Vendor Asset Keywords The vendor’s list of keywords for the clip.
Vendor Asset Status The current status of the clip (Comp, Purchased).
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To add vendor columns to your Avid bin:
1. With a bin in Text view, select Bin > Choose Columns.
The Bin Column Selection dialog box opens.
2. Select the Vendor column names you want to display in your bin.
3. Click OK.
The Vendor columns appear in your Avid bin.
Getting Comp Clips into Your Avid Bin
You can preview clips by downloading them into an Avid bin and edit them into your sequence.
The clip is a low-resolution clip and designed to be only a trial clip.
nTo download clips, Avid uses the AMA method. AMA is selected by default. To make sure AMA is
enabled, check the Volume Mounting tab in AMA Settings and make sure that “Enable AMA
Volume Management” is selected.
You can choose between downloading a standard comp clip from within the Avid editing
application or linking a customized comp clip outside of the Avid editing application. A
customized comp clip adds burn-in timecode and the name of the comp clip to your file.
However, custom comp clips are not available for immediate download. They are processed and
zipped. You will be notified when your customized comp clip is ready, typically 15 to 20
minutes.
To download a single comp clip to an Avid bin:
1. From the Avid Marketplace window, navigate to the Avid Thought Equity Motion sight and
search for a clip.
2. Click a clip thumbnail or magnifying glass icon.
The clip details page opens.
3. Click the Download comp buttons or choose Options > Download comp.
Vendor Invoice ID The vendor’s order/invoice ID for a purchased clip.
Column Name Description
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If you select the Download Comp Arrow icon, a Download window opens allowing you to
select a Customize Comp clip. See the steps in the following procedures to customize your
comp clip.
If you select the Download Comp button or the menu item, the Select a bin window opens.
If you only have one Avid bin opened, the clip downloads to that bin. If you have several
Avid bins opened, the Select a bin window opens.
4. Select the bin you want to download the clips to or click New Bin, and then click OK.
If the clip that you selected has already been downloaded to your system, a dialog box opens
allowing you to overwrite the file or cancel the download.
nIf you choose to overwrite the file, the system replaces the original file and creates a new clip in
the Avid bin. Any clips originally linked to the previous version of the file might be offline.
A download progress bar appears in the lower-left corner of the Avid Marketplace window.
You can click the Cancel button next to the progress bar at any time during the download
process to cancel the download.
While the clips are downloading, you can continue to work in your Avid editing application.
However, do not close the target bin or the Avid editing application while the download is in
progress or the download will not complete successfully.
The word Complete displays when the download is finished and the stock footage clip
appears in your Avid bin. An AMA link icon appears next to the clip. The clip is a
low-resolution clip. You can add the clip to your sequence and edit it like any other clip.
To download multiple comp clips to an Avid bin:
1. From the Avid Thought Equity Motion site, click My Bins and select the bin that stores the
clips you want to download.
Your bin opens and displays the clips you want to download.
2. Click Download comps for the bin name located in the Options menu on the left of the page.
3. Click Download X Comps.
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X represents the number of clips in the bin. For example, if there are twelve clips to
download, the button will display as Download 12 Comps.
If you only have one Avid bin opened, the clip downloads to that bin. If you have several
Avid bins opened, the Select a bin window opens.
4. Select the bin you want to download the clips to or click New Bin, and then click OK.
If the clip that you selected has already been downloaded to your system. A dialog box
opens allowing you to overwrite or not download the file.
nIf you choose to overwrite the file, the system replaces the original file and creates a new clip in
the Avid bin. Any clips originally linked to the previous version of the file might be offline.
A download progress bar appears in the lower-left corner of the Avid Marketplace window.
You can click the Cancel button next to the progress bar at any time during the download
process to cancel the download.
While the clips are downloading, you can continue to work in your Avid editing application.
However, do not close the target bin or the Avid editing application while the download is in
progress or the download will not complete successfully.
The word Complete displays when the download is finished and the stock footage clip
appears in your Avid bin. An AMA link icon appears next to the clip. The clip is a
low-resolution clip. You can add the clip to your sequence and edit it like any other clip.
To download a customized comp clip to an Avid bin:
1. From the Avid Marketplace window, navigate to the Avid Thought Equity Motion sight and
search for a clip.
2. Click a clip thumbnail or magnifying glass icon.
The clip details page opens.
3. Click the Download arrow button above the clip preview.
The Download window opens.
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4. Click Customize Your Comp.
5. If you want to include burn-in timecode or an asset name, select Time code or Asset name.
These options display in your clip.
6. Click Make a custom comp request.
The request is sent to Thought Equity Motion. You will receive an e-mail once your custom
comp is available to download. If you choose to download the comp by clicking the URL in
your e-mail, you will need to download and link the clip outside of the Avid editor. See the
steps below for those procedures.
7. To download your comp directly into the Avid editor, from the Avid Marketplace window,
navigate to the Avid Thought Equity Motion sight and click on My Account. Select My
Orders from the menu.
8. Click Download under On Demand Comps.
If you only have one Avid bin opened, the clip downloads to that bin. If you have several
Avid bins opened, the Select a bin window opens.
9. Select the bin you want to download the clips to or click New Bin, and then click OK.
If the clip that you selected has already been downloaded to your system, a dialog box opens
allowing you to overwrite the file or cancel the download.
nIf you choose to overwrite the file, the system replaces the original file and creates a new clip in
the Avid bin. Any clips originally linked to the previous version of the file might be offline.
A download progress bar appears in the lower-left corner of the Avid Marketplace window.
You can click the Cancel button next to the progress bar at any time during the download
process to cancel the download.
While the clips are downloading, you can continue to work in your Avid editing application.
However, do not close the target bin or the Avid editing application while the download is in
progress or the download will not complete successfully.
The word Complete displays when the download is finished and the stock footage clip
appears in your Avid bin. An AMA link icon appears next to the clip. The clip is a
low-resolution clip. You can add the clip to your sequence and edit it like any other clip.
To download comp clips outside of the Avid editing application to an Avid bin:
1. If you are downloading a comp clip or a custom comp clip from an external browser,
download the comp files to your system.
You can store the downloaded files in the Avid Downloads folder or to your Desktop. If
there are multiple clips, the downloaded file will be zipped. You will need to unzip them.
2. Select the Avid bin you want to place the comp clip or customized comp clip into, then
right-click and select Link to Stock Footage File(s). You can also select File > Link to Stock
Footage File(s).
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nAMA must be enabled to link the stock footage file. The menu item will be unavailable if AMA is
not enabled.
nAn internet connection is required when you link clips in order to properly recognize files and
access the data needed for any new clip metadata.
The Browse dialog box opens.
3. Locate the comp file you downloaded, and then click OK.
The stock footage clip appears in your Avid bin. An AMA link icon appears next to the clip.
You can add the clip to your sequence and edit it like any other clip.
Creating a Stock Footage Report
Before you decide to purchase your stock footage clips, you can generate a report that gives you
the following information:
• All stock footage clips used in your sequence
• The timecode location of each clip in your sequence
• The duration of each clip
• The clip name
• The estimated cost of the clip, if available
A stock footage report is generated from a sequence. You can have multiple uses of the same
stock footage clip in your sequence, the report displays the multiple uses indented under the
master clip. Also, if you have renamed any of the stock footage clips, the report displays the new
clip name followed by the original clip name.
To generate a Stock Footage Report:
1. Do one of the following:
tFrom a bin, right-click a sequence and select Stock Footage Report. You can select
multiple sequences for generating reports.
tWith a sequence loaded in a monitor, right-click the monitor and select Stock Footage
Report.
The Save Stock Footage Report As dialog box opens.
2. Use the default file name or rename the report and choose a folder to save the report to, click
Save.
The default file name is Stock Footage Report, the default location is your Avid Projects
folder.
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If you select more than 10 sequences, a dialog box asks if you want to generate sequence
reports for all selected items.
The application writes the report to a text file and opens a text editor.
nBy default, the Stock Footage Report is saved in text format. To save the report as either .csv
(comma-separated-value) or .xml, change the extension of the report before you save it. The file
saves with .csv or .xml formatting. You can then use these formats to import the report into a
spreadsheet program.
Stock Footage Report Information
The Stock Footage Report displays the following information and columns:
• The name of the sequence selected (date and time)
• The Avid editing system generating the report
• The number of stock footage clips found
Column Heading Description
SEQ_IN At what timecode in the sequence does the stock footage clip
appear.
SEQ_DUR The duration of the stock footage clip in the sequence.
SRC_TKS The tracks (V1, A1, A2, etc.) the stock footage clip use in the
sequence.
SRC_IN The IN point of the clip.
SRC_OUT The OUT point of the clip.
SRC_DUR The duration of the clip.
CLIP_NAME The clip name. If you renamed the stock footage clip in the bin,
the renamed clip appears first, followed by the vendor clip name
in parenthesis.
STATUS If available, the status of the clip. Either Comp or Purchased.
PRICE If available, the price of the stock footage clip.
VENDOR The name of the vendor where you downloaded the stock footage
clip.
INVOICE_ID The vendor’s Invoice ID number if available.
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In cases in which a clip is used more than once in a sequence, additional occurrences display
indented below the first occurrence. See the example below:
nDepending on your operating system and the text file application, you might have to turn off
“word wrapping” or enlarge the size of you text window to see all the displayed columns
correctly.
Purchasing Your Stock Footage
You can purchase your stock footage as an individual clip or as all the clips in your sequence.
Even though you may be logged into the Thought Equity Motion site, you may be asked to login
again. This allows Avid and the vendor to pass and receive information back and forth.
To purchase your stock footage:
1. From your Avid bin, select a single clip or sequence, then right-click and select Buy Stock
Footage.
If you have selected more than one item, a dialog box opens informing you to select one clip
or sequence.
A login window opens asking you to login.
The Avid Marketplace window opens to the Avid Thought Equity Motion site. A bin is
created within the My Bins menu with the same name as your sequence and a time stamp.
This new bin includes all the stock footage clips and related information about each clip
from your sequence.
The clips you plan to purchase display in the window with information about each clip.
The custom clip displays the start and end time of your clip you plan to purchase.
2. Select the clip you want to purchase.
nIf there is only a single clip, you do not need to select it.
You can only select one clip at a time.
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Selected clip and the Add to cart icon.
3. Click Add to Cart.
The clip displays in your shopping cart.
4. (Option) If you still need to adjust the In or Out points, you can drag the handles to adjust the
length of your clip, then click Update the clips In/Out markers.
nIf the clip contains clipping information, Avid adds five frames to both the start and end points of
your purchased clip.
5. If you did not complete the Licensing Options prior to this point in the purchase process, you
will be taken to the clip details page to complete this step.
nLicensing and restrictions vary from clip to clip. Call Thought Equity Motion sales at
866-815-6599 to obtain pricing information.
nCall Thought Equity Motion to specify if you need the High Resolution clip to be created with the
Avid QuickTime codecs at a specific resolution (for example DNxHD). This is helpful if you need
to match the project type and resolution of your finished sequence.
6. Select the Delivery method and the Delivery format, then click Proceed to checkout.
Information about your clip order displays.
7. Enter your credit card information and shipping information if needed, then click Proceed.
Your Account > My Orders will display your purchase. You will also receive an e-mail
informing you of your purchase and you can download your high resolution clips.
Downloading your High Resolution Stock Footage
After your purchase is successfully completed, you can download your high resolution stock
footage.
nTo download clips, Avid uses the AMA method. AMA is selected by default. To make sure AMA is
enabled, check the Volume Mounting tab in AMA Settings and make sure that “Enable AMA
Volume Management” is selected.
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Although it is recommended to download directly through your Avid editing system, if needed,
you can download clips outside of the Avid editing system from an external browser. For steps
on downloading outside of the Avid editing application, see “To download comp clips outside of
the Avid editing application to an Avid bin:” on page 1262.
For more detailed information about downloading, see “Downloading Stock Footage Clips to
Your Avid Bin” on page 1258. This section explains downloading low resolution clips, but the
same information applies to downloading high resolution clips.
nIt is recommended that you do not change the file name of the downloaded clip. The file name
includes information that is used for linking. However, it is all right to rename the clip name
inside the Avid bin.
To download your stock footage:
1. It is recommended that you place all your high resolution stock footage clips for one project
in the same bin. You can also specify the drive to store all your downloaded media files.
The media file is stored on the drive you have specified in the Media Creation > Import tab
dialog box. For more information about this setting, see “Preparing for Capture” on
page 156 and “Media Creation Settings” on page 1361.
nMake sure that the drive you specify in the Media Creation > Import tab dialog box supports the
bandwidth and has enough space to support the downloaded stock footage media.
2. From the Avid Marketplace window, click My Account, then click My Orders.
Your account opens with the clips you have purchased.
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3. Click Download Masters.
nYou need to click Download Masters for each clip.
The clips download to your selected Avid bin. If there is no bin open or multiple bins are
opened, the Select a Bin dialog box opens asking you to select a bin or create a new bin.
A download progress bar appears, in the lower-left corner of the Avid Marketplace window,
with the number of clips to download.
You can click the Cancel button next to the progress bar at any time during the download
process to cancel the download.
While the clips are downloading, you can continue to work in your Avid editing application.
However, do not close the target bin or the Avid editing application while the download is in
progress, the download will not complete successfully.
The high resolution clips appear in your Avid bin. An AMA link icon appears next to the
clip. To play your sequence with the high resolution clips, you need to relink the purchased
clips to your sequence. For more information, see “Relinking High Resolution Media to
Your Sequence” on page 1269.
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To download your stock footage outside of the Avid editor:
1. Open a web browser and login to the Thought Equity Motion website.
2. If the clips you want to download are stored in the Thought Equity Motion bin, download the
entire bin or individual clips.
A zip file is created for an entire bin. The zip file name is the bin name and the date. There
may be a delay in receiving the zipped file. Individual clips download immediately.
3. If needed, unzip the file and place the clips in a folder on your Desktop or somewhere
convenient for you.
4. In your Avid editing application, select the Avid bin you want to place the clips into, then
right-click and select Link to Stock Footage File(s). You can also select File > Link to Stock
Footage File(s).
nAMA must be enabled to link the stock footage file. The menu item will be unavailable if AMA is
not enabled.
nAn internet connection is required when you link clips in order to properly recognize files and
access the data needed for any new clip metadata.
The Browse dialog box opens.
5. Locate the clip you downloaded, and then click OK.
The high resolution clips appear in your Avid bin. An AMA link icon appears next to the
clip. To play your sequence with the high resolution clips, you need to relink the purchased
clips to your sequence. For more information, see “Relinking High Resolution Media to
Your Sequence” on page 1269.
Relinking High Resolution Media to Your Sequence
To play your sequence with the high resolution clips, you need to relink the comp clips in your
sequence to the new downloaded high resolution media.
To relink your high resolution media to your sequence:
1. Open the bin that stores all your high resolution clips for your sequence.
It is recommended that you download all your high resolution stock footage clips to the
same bin. However, you can download to multiple bins.
The media file is stored on the drive you have specified in the Media Creation > Import tab
dialog box. For more information about this setting, see “Preparing for Capture” on
page 156 and “Media Creation Settings” on page 1361.
Avid Marketplace Plug-ins
1270
nMake sure that the drive you specify in the Media Creation > Import tab dialog box supports the
bandwidth and has enough space to support the downloaded stock footage media.
2. Select the downloaded high resolution clips that corresponds to the comp (low resolution)
clips.
3. Open the bin that contains the sequence with the comp (low resolution) clips.
4. Select and then right-click the sequence, and select Relink Stock Footage to Sequence.
nDo not select Link to AMA File(s), the high resolution stock footage files will not relink properly.
A message displays informing you that the system will relink the selected sequence to stock
footage clips that are selected in all open bins, do you want to continue.
nIf the high resolution master clip and media do not Relink to the comp clip in the sequence, make
sure the high resolution clips are selected in the bin prior to Relinking. You can also check the
timecode and duration of the clip. You might have to adjust the length of the purchased clip in
your order and perform the download again, once the adjustment is made.
5. Click Continue.
The system creates a copy of the sequence which links to the high resolution clips. The copy
is named with the original sequence name followed by .Relinked.n, where n is the number of
the duplicates created from the original sequence.
6. Play the newly created sequence that contains the high resolution media.
You might want to transcode the purchased clip to the projects native format for smoother
play. See “Using the Transcode Command” on page 451.
Avid Marketplace Plug-ins
The Avid Marketplace Plug-ins window allows you to purchase and download Avid supported
plug-ins from within the Avid editing application, you can open the Avid Marketplace Plug-ins
page to download audio and video plugins. You will need to quit the Avid editing application to
install them and then relaunch the application.
Click the options listed at the top of the page to go to other Avid Marketplaces.
Purchasing and Downloading a Plug-in from the Avid Marketplace
1271
Purchasing and Downloading a Plug-in from the Avid
Marketplace
To purchase and download from the Avid Marketplace Plug-ins window:
1. Open your Avid editing project.
2. Select from the Marketplace menu, for example: Video Plug-ins or Audio Plug-ins.
The selected Marketplace appears.
3. Click the plug-in you want to download.
The purchase window with the selected product displays.
4. Select from the “Please select a product” from the pull-down menu.
5. Enter the quantity.
6. Click Add to Cart.
7. Enter a promotional code if you have one, then click Apply.
8. Click Proceed to Checkout.
9. If you have an account, click the Returning Customers check box. You will be prompted to
enter your e-mail address and password. Click login. If you do not have an account enter
your billing information.
Purchasing and Downloading a Plug-in from the Avid Marketplace
1272
The Account, Billing & Shipping Info window displays.
10. Fill in the appropriate data, then click Continue.
The Review Order and Payment window displays.
11. Enter your payment method and information.
12. Click Pay Now.
Your purchase is processed and a confirmation message appears.
13. Click Submit Order.
14. Click Download Products.
A window opens which displays your product and a download link.
15. Click Download or Download Now.
The Select a folder to download dialog box appears.
16. Click Downloads.
A row appears displaying the download file size and a Download link.
17. Click the Download link.
The Save File window opens.
18. Select a location to save the download. You may also rename the file before it is
downloaded.
The Avid Marketplace Download progress indicator in the lower left corner of the window
updates as the item(s) download.
When the download finishes, a Download Complete message appears asking if you want to
reveal the file.
If your product requires an activation code, you will receive an e-mail with this information.
You will also receive an e-mail with purchase confirmation and tracking information.
30 Settings
This chapter provides information on how to use settings.
•Understanding Settings
•Working with Settings
•Options for Moving User Settings Files
This chapter also provides reference information for all settings categories.
•Summary of Settings
•AMA Settings
•Audio Settings
•Audio Project Settings
•Bin Settings
•Capture Settings
•Communication (Serial) Ports Tool Settings
•Composer Settings
•Controller Settings
•Correction Settings
•Deck Configuration Settings
•Deck Preferences Settings
•Dynamic Relink Settings
•Effect Editor Settings
•E-mail Settings
•Export Settings
•Film and 24P Settings
•Full Screen Playback Settings
•General Settings
•Grid Settings
Understanding Settings
1274
•Import Settings
•Interface Settings
•Interplay Folder, Interplay Server, and Interplay User Settings
•Keyboard Settings
•Marquee Title Settings
•Media Creation Settings
•Media Services Settings (Windows Only)
•Mouse Settings
•Passthrough Mix Tool
•PortServer Settings
•Remote Play and Capture Settings
•Render Settings
•S3D Settings
•Safe Colors Settings
•Script Settings
•Sound Card Configuration Settings (Windows Only)
•Timeline Settings
•Trim Settings
•Transfer Settings
•Video Display Settings
•Video Input Tool Settings
•Video Output Tool Settings
•Video Satellite Settings
•Workspace Linking Settings
Understanding Settings
The Settings tab in the Project window contains a list of settings that control many aspects of
your Avid editing application’s behavior. Using the Settings list, you can:
• Open Settings dialog boxes to view and modify settings.
• Switch between settings.
• Manage settings in a variety of ways.
Understanding Settings
1275
For more information, see “Working with Settings” on page 1277.
You can also switch between users and work with user profiles. For more information, see
“Switching to Another Set of User Settings” on page 1279 and “Understanding User Profiles” on
page 84.
The following illustration shows the Settings tab in the Project window.
Top to bottom: Settings tab, Settings Fast menu, Settings list (with setting names in the left column and setting
types in the right column)
Types of Settings
There are three types of settings:
• User settings are specific to a particular editor and reflect individual preferences for
adjusting the user interface in your Avid editing application.
User settings are stored in each user folder.
nNever use a user settings file that was opened in the MediaLog™ application.
• Project settings are directly related to individual projects. When you change a Project
setting, it affects all editors working on the project.
Understanding Settings
1276
Project settings are stored in each project folder.
nFor information about the location of the user and project folders, see “Avid Projects and Avid
Users Folders” on page 46.
• Site settings establish default parameters for all new users and projects on a particular
system. They can apply to particular configurations of equipment installed at the site. They
can also include other User or Project settings that you copy into the Site Settings window.
Site settings are stored in a separate Settings folder:
-(Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid
editing application\Settings
- (Windows Vista and Windows 7) drive:\Users\Public\Public Documents\Avid editing
application\Settings
- (Macintosh) Macintosh HD/Applications/Avid editing application/ Settings
For more information, see “Using Site Settings” on page 1284.
Examples of Ways to Use Settings
If you organize and manage your settings carefully, you can use them to speed your workflow.
For example, you can use settings to address specific needs for one stage of your workflow.
Because you can have multiple versions of settings in your Settings list in the Project window,
you can also establish settings specific to one user on your team and that user’s work tasks.
For example, you can create:
• Two Bin settings — one that automatically saves more often when you are editing
intensively, and one that automatically saves less often when you are doing organizational
work in the bins.
• Multiple Capture settings for capturing various types of source material.
• Multiple Keyboard and Composer settings to use for various activities such as capturing,
offline editing, or online effects editing.
• Multiple Deck Preferences settings for various types of capturing or for output.
• User settings for the assistant editor that facilitate logging, capturing, and organizing
projects.
• User settings for the editor that include editing interface preferences.
• Bin View settings that display useful columns of information in bins.
For more information, see “Understanding Bin Views” on page 322 and “Saving a Custom
Bin View” on page 323).
Working with Settings
1277
If you establish your settings once, and then select the appropriate setting or bin view for your
current needs, you can save time and effort that you might spend searching for information or
adjusting bin headings on-the-fly.
Working with Settings
You can open a dialog box for most settings that lets you view the current settings and to change
them if necessary. You can also duplicate, rename, copy, and move settings among files or
systems.
Viewing and Modifying Settings
You can view most settings in a dialog box or window that also lets you change the settings.
You cannot modify the following types of settings:
• Settings that require the presence of standalone peripherals.
• Settings that are only modifiable from within the tools in which they are used, such as
Timeline views.
• Film and 24p settings when you are working in nonfilm projects.
To view a category of settings:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Double-click a setting in the Settings list.
A dialog box or window opens.
To modify available settings:
1. In the dialog box or window for the setting, type new values or select new options for the
setting.
For information about navigating within a Settings dialog box, see “Using the Keyboard for
Navigating in Dialog Boxes and Menus” on page 37.
2. Click OK, Save, Apply, or Cancel, or click the Close button.
Your Avid editing application saves changes in the appropriate User, Project, or Site settings
file.
Filtering the Settings List
You can filter the Settings list in the Project window so that it displays a more focused group of
settings.
Working with Settings
1278
To change the Settings list display in the Project window:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click the Fast Menu button, and select a settings group.
The selected settings group has a check mark in the Settings menu, and the Settings list
displays only the settings in that group.
The following table describes the different Settings display groups.
Option Description
Active Settings Displays currently active settings.
All Settings Displays all settings available.
Base Settings Displays Project, User, and Site settings only. Does not display views.
Bin Views Displays all Bin View settings you have created.
Export Settings Displays all Export settings.
Working with Settings
1279
Switching to Another Set of User Settings
User settings are not project or site specific, so you can display another set of User settings in the
Project window.
To select another user:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click the User Selection menu, and select another name.
Import Settings Displays all Import settings.
Timeline Views Displays all Timeline View settings you have created.
Title Styles Displays all templates you have created for the Title tool.
Video Tools Settings Displays only the Video Input Tool and Video Output Tool settings.
Workspace Linked Displays only linked workspaces.
Workspaces Displays all Workspace settings you have created.
Option Description
Working with Settings
1280
User Selection menu in the Project window
Your Avid editing application saves the previous user’s settings, loads the new user’s
settings, and displays them in the Project window.
Duplicating Settings
To create a new version of a setting:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click the setting you want to copy. Ctrl+click (Windows) or Command+click (Macintosh)
any additional settings you want to copy.
3. Select Edit > Duplicate.
A copy of each selected setting appears in the Settings list.
nIf you are duplicating settings with custom setting names, a period followed by a version number
appears at the end of the custom setting name of the duplicated settings.
4. Name your settings to indicate their functions.
For more information, see “Naming Settings” on page 1281.
Working with Settings
1281
Naming Settings
You can give settings custom names to differentiate among copies or to indicate a specific use.
To enter a custom setting name:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click the Custom setting name column to the right of the setting name.
Custom setting name column in the Project window
3. Type a name, and press Enter (Windows) or Return (Macintosh).
The new name appears in the list and is saved in the settings file.
Selecting Among Multiple Settings
If you have multiple versions of a setting (for example, multiple Export settings), only one
setting at a time is active. Settings that are currently active have a check mark to the left of the
setting name.
Working with Settings
1282
To change the active setting:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click in the space to the left of the setting that you want to select as the active setting.
Deleting Settings
You can delete settings from the Settings list in the Project window at any time. For example,
you might choose to delete one or more versions of a particular setting, or you might want to
delete all but a few settings for transfer into another Settings window.
cYou cannot undo a deletion. You can, however, restore the default settings or copy settings
from other files. For more information, see “Restoring Default Settings” on page 1282 and
“Copying Settings Between Settings Files” on page 1283.
To delete a setting:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click a setting to select it. Ctrl+click (Windows) or Command+click (Macintosh) each
additional setting you want to delete.
3. Do one of the following:
tPress the Delete key.
tSelect Edit > Delete.
The selected settings are removed immediately.
Restoring Default Settings
To restore settings to their default values:
1. Click the Settings tab in the Project window.
The Settings list appears.
2. Click a setting to select it. Ctrl+click (Windows) or Command+click (Macintosh) each
additional setting you want to select.
3. Right-click the selected setting (or one of the multiple selected settings), and select Restore
to Default.
A message box opens.
4. Click Copy & Restore to copy the current settings before restoring the default settings, or
click Restore to discard the current settings.
Working with Settings
1283
The system restores the default values for the selected settings.
Copying Settings Between Settings Files
You can copy selected settings:
• Between existing settings files.
• Into a new settings file for use in other projects.
• Into the Settings folder to establish standard system settings for all new projects and users.
For more information, see “Using Site Settings” on page 1284.
• To change one type of setting to another type.
You can also transfer settings files to another Avid system.
nWith the release of Media Composer v6.0, Symphony v6.0 and NewsCutter v10.0, the user,
project and site settings are saved in an .xml file. They are also saved in an .avs file in case you
want to bring your settings back to a pre v6.0 or v10.0 system. Also, if you have an .avs settings
file from a previous system, you can bring it forward to a current v6.0 or v10.0 system and the
.avs file will be converted to an xml file.
To copy settings between setting files:
1. With the Settings list in the Project window active, open the destination settings file in one of
the following ways:
tCreate and open a new settings file by selecting File > New Settings File.
An untitled settings file window opens.
tOpen an existing settings file: select File > Open Settings File, locate and select a
settings file (with the file name extension .xml) in the Avid Projects or Avid Users
folder, and then click Open.
The settings file window opens.
2. Click the setting you want to copy in the Settings list in the Project window. Ctrl+click
(Windows) or Command+click (Macintosh) any additional settings that you want to copy.
3. Drag the selected setting to the destination settings window.
Working with Settings
1284
Settings list in the Project window (left) and a destination settings window (right)
The copied settings are saved when you close or save the file or project.
You can also drag settings from the settings window into the Settings list in the Project
window.
To copy a setting from a settings file into the Settings list with the setting active:
1. Drag the setting into the Settings list.
A message box opens.
2. Do one of the following
tClick Add to add the new settings to the project without affecting the project’s current
settings.
tClick Replace to replace the current version of each setting with the new settings.
Additional versions of each setting are not affected.
Using Site Settings
When your Avid editing application opens a new project, it first searches the Site_Settings file
and loads site settings and any other settings you have placed there. Your Avid editing
application then proceeds to load any Project and User settings not included in the Site_Settings
file.
Adding settings to the site settings files is useful if you need to establish global settings for all
new users and projects, such as switcher settings, a specific start timecode for all sequences, or
various customized features of the interface.
Options for Moving User Settings Files
1285
To load settings into the Site_Settings file:
1. Open a project with the settings you want to establish as Site settings. If a project does not
already exist with the settings you want, create a project and make adjustments to the default
settings as needed.
2. Select Special > Site Settings.
3. Click a Project or User setting in the Settings list in the Project window, or Ctrl+click
(Windows) or Command+click (Macintosh) multiple settings.
4. Drag the selected setting to the Site Settings window.
Copies appear in the Site Settings window.
5. Close the Site Settings window.
All new users and projects opened from the Select Project dialog box use these settings as
the default settings.
Options for Moving User Settings Files
You might want to move user settings information from one location to another on your system,
or from one system to another.
The easiest and most reliable way to do this is to take advantage of user profiles. When you
import a user profile, your Avid editing application finds all the necessary files and copies them
to the correct location. For more information about using and creating User Profiles, see
“Understanding User Profiles” on page 84.
Experienced Avid users, however, are accustomed to moving user settings around manually on
their systems. If you choose to take this approach, make sure you copy the entire user or user
profile folder, not just the individual settings files, and place the copied folder in your user folder.
Summary of Settings
The following table briefly describes each item in the Settings list and where you can find
additional information on a particular item.
Setting Name Description Reference Topic
AMA Sets options for creating bins and mounting volumes
when you are working with AMA (Avid Media
Access).
“AMA Settings” on page 1289
Summary of Settings
1286
Audio Sets the default audio pan and options for audio
scrub. For more information, see “Using Clip Volume
and Pan Mode” on page 782 and “Adjusting Digital
Scrub Parameters” on page 756.
“Audio Settings” on page 1290
Audio Project Defines the audio settings for the project and the
audio input and output methods.
“Audio Project Settings” on page 1291
Bin Sets options for bins and for the SuperBin. “Bin Settings” on page 1298
Bin View Selects and formats the information displayed in bins.
For more information, see “Understanding Bin
Views” on page 322.
Capture Defines how your Avid editing application
captures and batch captures in specific situations.
“Capture Settings” on page 1298
Communication
(Serial) Ports
Sets a port for Remote Play and Capture. “Communication (Serial) Ports Tool
Settings” on page 1303
Composer Configures the display and behavior of buttons and
information in the Playback, Source, and Record
monitors.
“Composer Settings” on page 1304
Controller
Settings
Sets the default controller, port selection, and custom
controller buttons.
“Controller Settings” on page 1308
Correction Sets options for the Color Correction tool. “Correction Settings” on page 1309
Deck
Configuration
Configures channels and decks into your system. “Deck Configuration Settings” on
page 1311
Deck Sets custom naming and configuration information
for decks.
“Deck Settings” on page 1311
Deck
Preferences
Sets preferences that affect all decks configured into
the system.
“Deck Preferences Settings” on
page 1313
Dynamic Relink Sets options that control how clips link to media files
when you are working in a MultiRez environment.
“Dynamic Relink Settings” on
page 1314
Effect Editor Sets options for how controls appear and behave in
the Effect Editor.
“Effect Editor Settings” on page 1317
Email Sets options for receiving email notification when a
render operation completes.
“E-mail Settings” on page 1319
Export Sets options for file export. “Export Settings” on page 1320
Setting Name Description Reference Topic
Summary of Settings
1287
Film and 24p Sets options for edit play rate, ink number format, and
transfer rate.
“Film and 24P Settings” on page 1344
Full-Screen
Playback
Sets options for viewing your video on a full-screen
monitor.
“Full Screen Playback Settings” on
page 1345
General Defines default values such as the default starting
timecode and temporary file location for your project.
“General Settings” on page 1348
Grid Defines the grid to use when you create effects. For
more information, seeFor more information, see
“Setting Effect Grid Options” in the Help.
“Grid Settings” on page 1349
Import Sets options for file import. “Import Settings” on page 1351
Interface Defines the appearance and function of certain
interface elements. For more information, see
“Customizing the Avid User Interface” on page 87.
“Interface Settings” on page 1357
Interplay Folder Lets you specify a project directory on the asset
manager to use for checking in media objects.
“Interplay Folder Settings” on
page 1358
Interplay Server Lets you specify the Avid Interplay Server location on
the network.
“Interplay Server Settings” on
page 1359
Interplay User Lets you set the preference for accessing Avid asset
manager.
“Interplay User Settings” on page 1359
Keyboard Lets you map commands from the Command palette
to the keyboard.
“Keyboard Settings” on page 1359
Marquee Title Lets you select the Title tool for creating titles and
provides options for promoting titles.
“Marquee Title Settings” on page 1360
Media Creation Sets options for video resolution and selects the
drives for capturing, creating titles, importing,
performing audio and video mixdown, and motion
effects.
“Media Creation Settings” on
page 1361
Media Services Configures your Avid editing application to work
with the Avid Interplay Media Services Broker.
“Media Services Settings (Windows
Only)” on page 1364
Mouse Lets you set the speed of scrolling with the mouse
wheel within your Avid editing application. For more
information, see “Using the Mouse Scroll Wheel for
Navigating” on page 38.
“Mouse Settings” on page 1364
PortServer Sets up the LANshare client so your Avid editing
application recognizes its workspaces.
“PortServer Settings” on page 1365
Setting Name Description Reference Topic
Summary of Settings
1288
Remote Play
and Capture
Lets you use your Avid editing application like a
videotape recorder.
“Remote Play and Capture Settings”
on page 1365
Render Sets options for managing render operations and
defining the methods your Avid editing application
uses when rendering.
“Render Settings” on page 1366
Safe Colors Sets the safe color parameters for the Color
Correction tool.
“Safe Colors Settings” on page 1369
Script Sets the default display options for scripts imported
using script integration.
“Script Settings” on page 1370
Sound Card
Configuration
(Windows only)
Lets you map audio input sources directly to the
output sources available with your audio hardware
“Sound Card Configuration Settings
(Windows Only)” on page 1371
Timecode
Window
Displays various timecodes in an adjustable window.
Appears in the Settings list to facilitate copying
settings. For more information, see “Using the
Timecode Window” on page 487.
Timeline Sets general Timeline preferences. “Timeline Settings” on page 1371
Trim Customizes the Trim mode environment. “Trim Settings” on page 1376
Video Display Sets options for video input, desktop video, Client
monitor use, and effects preview.
“Video Display Settings” on page 1377
Video Input Lets you calibrate for video input. “Video Input Tool Settings” on
page 1378
Video Output Lets you calibrate for video output. “Video Output Tool Settings” on
page 1379
Video Satellite Lets you synchronize video playback with a Pro
Tools|HD® session.
“Video Satellite Settings” on
page 1384
Workspace Lets you associate settings and windows with a
workspace. For more information, see “Linking User
Settings and Workspaces” on page 92.
“Workspace Linking Settings” on
page 1385
Setting Name Description Reference Topic
AMA Settings
1289
AMA Settings
AMA Settings: Bins Tab
AMA Settings: Quality Tab
Option Description
Use active bin When this option is selected, your Avid editing application uses the currently
active bin to store clips linked using AMA.
Create a new bin When this option is selected, your Avid editing application creates a new bin to
store clips linked using AMA and controls the bin name. This is the default
option.
• Default bin naming convention: uses the project name for the bin (bin name
followed by a consecutive number).
• Volume name: the name or label of the volume (for example D:).
• Specify bin name: lets you enter a new bin name.
Display imported headframe When this option is selected, your Avid editing application displays the
device-defined headframe.
Display editor headframe When this option is selected, your Avid editing application displays your Avid
editing application’s headframe or frame icon in Frame view.
Option Description
AMA Link Preference: Video This option allows you to select a quality resolution: Highest Quality or Most
Compressed before linking your video media.
AMA Link Preference:
Audio
This option allows you to select a quality resolution: Highest Quality or Most
Compressed before linking your audio media.
Consolidate/Transcode
Preference: Video
This option allows you to consolidate/transcode your video media to the Highest
Quality or Most Compressed resolution.
Consolidate/Transcode
Preference: Audio
This option allows you to consolidate/transcode your audio media to the Highest
Quality or Most Compressed resolution.
Audio Settings
1290
AMA Settings: Volume Mounting Tab
AMA Settings: Link Options Tab
Audio Settings
Option Description
Enable AMA Volume
Management
Enables AMA linking of file-based media from supported third-party devices and
drives. You must quit and restart your Avid editing application for the changes to take
effect.
When mounting
previously mounted
volumes, do not check
for modifications to the
volume.
If you select this option, your Avid editing application automatically scans and links
all clips from the third-party device and drive every time a device or drive is attached
to your system. If you do not select this option, the system checks the modification
date of the device or drive against the last time the clips were linked. If the date is the
same, the clips come back online. If the date is different, the system links the clips
again, and links any new clips added to the volume. The option is off by default.
Option Description
Multichannel Audio Select this option if you want to assign audio tracks to specific channels in your linked
media, up to a maximum of 16 audio channels for the clips in your bins. This allows
you to specify which source channels are treated as mono or multichannel audio
tracks in your project, rather than having to modify the clips in your bin after you link
to the AMA media.
Click Edit to open the Multiple Mixes dialog box, which allows you to map audio
tracks to channels. For more information, see “AMA Linking with Multichannel
Audio” on page 411.
Option Description
Source Monitor Scrub Defines the number of outgoing and incoming frames you hear as you scrub.
Record Monitor Scrub Defines the number of outgoing and incoming frames you hear as you scrub.
Default Pan Controls the way you want sound to pan between speakers:
• Alternating L/R: Sends the odd tracks to the left channel and the even tracks to the
right channel.
• All Tracks Centered: Centers the pan of all tracks between the two speakers for
monitoring and output.
Audio Project Settings
1291
Audio Project Settings
You can save multiple Audio Project settings and select one as the active setting. If you edit an
inactive setting, your Avid editing application does not display items that are not saved. For
example, Mix Mode does not display in an inactive setting because you cannot save it in the
Project settings.
nThe Direct Out mode is saved in the Audio settings, not the Audio Project settings. You set it in
the Output tab of the Audio Project window but the system saves the value in the active Audio
settings.
Play Buffer Size in
Samples (Software-only
Models)
Defines the size of the host audio play buffer during playback and digital cut. Use this
option if you experience performance problems with playback to the host audio
device.
nAvid recommends the default value for this option. Changing this parameter
might cause audio or video underruns, dropped frames, or increased noise in
the audio output.
For more information, see “Adjusting the Play Buffer Size for Audio (Software-only
Models)” on page 773.
To return this option to its default value, click the rs (recommended sample) button.
Tool Buffer Size in
Samples (Software-only
Models)
Defines the size of the host audio play buffer during audio loop play and audio tools
play (such as volume automation recording). Reducing the tools play buffer size
decreases the overall latency between the time you adjust an audio parameter in your
Avid editing application and the time you hear those changes through the speaker.
nChanging this option might cause audio or video underruns, dropped frames,
or increased noise in the audio output. Because performance varies from
machine to machine, experiment to find a value that works best. For best results
when adjusting this option, turn off or disconnect all DV devices.
For more information, see “Adjusting the Play Buffer Size for Audio (Software-only
Models)” on page 773.
To return this option to its default value, click the rs (recommended sample) button.
Option Description
Audio Project Settings
1292
Audio Projects Settings: Main Tab
Option Description
Sample Rate Defines the audio sample rate for the entire system for playing and recording.
The broadcast standard for most high-end video postproduction houses is 48 kHz. Select
the rate based on the requirements of your facility.
For information on changing the sample rate for individual sequences and audio clips,
see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 814.
Audio File Format Defines the file format for audio:
• WAVE (OMF): Compatible with Windows applications.
• AIFF-C (OMF): Compatible with many third-party applications, including Pro
Tools.
• PCM (MXF): Enables easy exchange of material between servers, tape streamers,
and digital archives.
Select WAVE or AIFF-C for all audio media when you need to transfer audio media files
directly to a Pro Tools system for audio sweetening.
nMedia Composer has limited support for Sound Designer II™ audio. For more
information, see “Transferring and Working with Sound Designer II Audio Files
from Macintosh Systems” on page 1100.
Bit Depth Defines the sample size you use when you work with audio files:
• 16 Bit: For CD-quality audio.
• 24 Bit: For work with higher resolution audio.
DV Audio Pattern Controls whether variation in the audio sample rate is allowed. Select the option
expected by your device.
• Unlocked Audio: Allows some imprecision in the audio sample rate, with a variation
of up to +/– 25 audio samples per frame.
• Locked Audio: Keeps the audio clock locked precisely to the video clock, so exactly
the same number of audio samples and video frames are recorded or transmitted in
each cycle of the phase relationship.
Depending on your Avid input/output hardware, this option might be unavailable
because the option is automatically selected depending on the deck template you
choose. The option is set to Locked Audio for DVCPro device templates, and to
Unlocked Audio for all other device templates.
Audio Project Settings
1293
Audio Project Settings: Input Tab
The options that appear in this tab depend on your audio configuration and the hardware installed
on your system. Your options might differ from those listed here.
Convert Sample Rates
When Playing
Controls whether or not your Avid editing application performs on-the-fly sample rate
conversion of segments that do not match the rate defined in Sample Rate.
• Never: Your Avid editing application does not perform sample rate conversion
(segments play as silence).
• Always: Your Avid editing application attempts to perform a sample rate conversion.
The resulting audio quality might not be useful for a finished project, but can be
useful during an editing session because it prevents audio from playing back with
silence.
For information on changing the sample rate for individual sequences and audio clips,
see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 814.
Show Mismatched
Sample Rates as
Different Color
Controls whether or not your Avid editing application identifies mismatched sample
rates by color if you have a sequence with several different sample rates.
Remove Extra Filler
After Punchin
Controls whether your Avid editing application removes or keeps extra filler added
during an audio punch-in recording.
Optical Connection Depending on your Avid input/output hardware, defines whether you use ADAT or
S/PDIF output for use with an optical connection.
Keep Dolby E
Material Safe
Select this option to ensure the capture of Dolby E media.
Option Description
Option Description
Input Gain slider Depending on your Avid input/output hardware, controls your computer’s volume settings.
(Windows only) Select the +20 dB check box to boost gain for low gain inputs.
Input Source Controls the type of audio input. The types available depend on the audio hardware
installed in or connected to your system.
nIf you select IEEE 1394 as your input device, this option is automatically set to
Host-1394. For more information, see “Connecting a DV Device” on page 179.
Audio Project Settings
1294
Audio Project Settings: Output Tab
The options that appear in this tab depend on your audio configuration and the hardware installed
on your system. Your options might differ from those listed here.
Sample Rate
Conversion
Controls sample rate conversion:
• When needed: Your Avid editing application automatically converts incoming audio
sample rates to match the project sample rate.
• Never: Your Avid editing application does not perform sample rate conversion.
For more information, see “Selecting the Audio Sample Rate and Controlling Audio
Sample Rate Conversion” on page 194.
Output Sync
During Passthrough
Controls the timing reference for output:
• Same as Video Out with SRC (Sample Rate Conversion): This is the default setting
and is used for most applications. The timing reference is the same for the audio and
video output clock.
• Same as Audio In: Uses the audio capture clock as the audio output clock while you
are capturing. This option does not require the use of a sample rate converter and is
useful when using encoded digital audio stream.
Options for HD
SDI input
16ch: Lets you capture up to 16 audio channels of HD-SDI input.
nNot all decks support 16-channel audio. For more information, see the
documentation for your deck.
Option Description
Option Description
Output Gain Controls the volume of global audio output.
Monitors Volume Available with software-only configurations.
Controls the volume of the desktop speakers. Use the Mute button to mute audio
output to speakers or headphones.
Audio Project Settings
1295
Mix Mode Selection
button
Controls how your system interprets audio values during playback:
• Stereo: Mixes the currently monitored audio tracks into a stereo pair.
Depending on your Avid input/output hardware, you can customize the mix
using the Stereo Mix Tracks option.
• Mono: Pans all the currently monitored tracks to center and ignores pan
effects.
• Direct Out (available depending on your Avid input/output hardware): Maps
tracks directly to the available output channels. Ignores pan settings. You can
remap a track to any channel by clicking the Channel Assignment menu and
selecting another channel.
Stereo Mix Tracks This option is available with some Avid input/output hardware.
Customizes the mix of tracks with Stereo selected in the Mix Mode Selection
Menu button.
Your Avid editing application sends a stereo mix to the two channels you select.
Material panned to the left is sent to the odd channel, and material panned to the
right is sent to the even channel. The number of channels available depends on the
audio output you select or on the options you select in the SD SDI tab.
First six tracks are 5.1
surround: L, R, C, LFE,
LR, RR
Available when you select Direct Out with the Mix Mode Selection Menu button
and when you are using or an Avid Mojo DX.
Select this option when the media in the Timeline is set up as surround sound
media even if your speakers are set up as stereo. You can use the Direct Out
channel selections to reset which tracks go to which channels.
Deselect this option if you are using stereo media in the Timeline.
All or Timeline Track
Maps
Available when you select Direct Out with the Mix Mode Selection Menu button.
Maps the track and output channels:
• All: Lets you choose between all available tracks.
• Timeline: Lets you assign output channels to the tracks monitored in the
Timeline.
Which Set of Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button.
Defines the groups of output tracks to map to audio channels. Groups of tracks
display in multiples of 8, up to the maximum of 24 available audio tracks.
Reset Available when you select Direct Out with the Mix Mode Selection Menu button.
Reassigns the audio tracks of the sequence to the default channels that are
currently available.
Option Description
Audio Project Settings
1296
Audio Project Settings: Hardware Tab
Apart from HW Calibration, the settings in the Hardware tab are for informational purposes only
and list defaults set by your system, depending on your audio hardware and configuration.
Output type option tab:
Analog
Turns analog output on or off.
Output type option tab:
SD SDI
This option is available depending on your Avid input/output hardware.
Use the On or Off option to control whether to embed the audio with the video in
SDI output.
Select one of the following based on the number of channels you want and the
sample rate you want on the outgoing SDI signal:
• 4 channels 20-bits
• 4 channels 24-bits
• 8 channels 20-bits
• 8 channels 24-bits
nWith some Avid input/output hardware devices, you must use 48-kHz audio
when SDI is enabled. With Avid Nitris DX or , you do not need 48-kHz
audio.
Output type option tab:
HD SDI
This option is available for HD projects depending on your Avid input/output
hardware.
Use the On or Off option to control whether to embed the audio with the video in
HD SDI output.
Select either 4 channels 24-bits or 8 channels 24-bits, based on the number of
channels you want on the outgoing SDI signal.
Option Description
Option Description
Card Indicates the type of audio card installed.
Peripheral Indicates the type of peripheral audio device (audio interface) attached to the system.
Sync Mode Sync ensures that the audio sample clock is always in sync with the video clock for audio
input and output. This prevents long-term drift between audio and video.
When you are working with video and digital audio simultaneously, set your digital audio
equipment to the same video reference signal as your video equipment.
nWhen you change the audio input selection, your Avid editing application
automatically selects the correct audio clock source for audio sync.
Audio Project Settings
1297
Audio Project Settings: Effects Tab
HW Calibration Depending on your Avid input/output hardware, matches the software audio calibration to
your Avid hardware.
The default value for the software and hardware is -20dBFS. Other available values are
-14dBFS and -18dBFS. If you don’t change your hardware settings, keep this value at
-20dBFS. For information on changing the hardware setting, see “Calibrating Audio
Hardware for Avid Nitris DX and Avid Mojo DX” on page 203.
Open Calibration
window
Available when you are using Avid Nitris DX or Avid Mojo DX.
Opens the Audio Hardware Calibration tool, see “Calibrating Audio Hardware for Avid
Nitris DX and Avid Mojo DX” on page 203.
Option Description
Option Description
Effect Bypass panel Controls which of the volume settings established with the audio tools your Avid editing
application ignores when playing back or recording a sequence:
• Clip Gain: Bypasses the clip gain mode of the Audio Mixer tool.
• Auto Gain: Bypasses all Volume Automation and Pan effects set in the Volume
Automation and Pan mode of the Audio Mixer tool.
• RT EQ: Bypasses all unrendered EQ effects set in the Audio EQ tool.
These buttons function the same as the Bypass buttons in the audio tools.
Render Sample Rate
Conversion Quality
Controls the conversion quality of all non-real-time sample rate conversions. The
following options are available: High and Slow, Balanced, Low and Fast.
Real-Time Audio
Dissolves
When Enabled is selected, you can play audio dissolves (also called crossfades) as
real-time effects. Select Disabled if you experience an audio performance delay in your
Avid editing application.
Dissolve Midpoint
Attenuation
Controls the method your Avid editing application uses for audio dissolves:
• Const Power –3dB: Uses constant power to maintain a consistent sound level
through the midpoint of the dissolve.
• Linear –6dB: Uses a linear gradient to maintain a consistent amplitude through the
midpoint of the dissolve.
Bin Settings
1298
Bin Settings
Capture Settings
Capture settings include essential options for capturing, batch capturing, auto capturing,
capturing to multiple media files, DV scene extraction, and setting key commands.
Option Description
Auto-Save interval
nminutes
Defines the interval between attempts to auto-save project files. The default is 15 minutes.
To avoid interrupting an edit, your Avid editing application waits until your system is
inactive before auto-saving. Use the option “Force Auto-Save at” to specify an interval at
which your Avid editing application interrupts an edit to make the auto-save.
Inactivity period
nseconds
Defines how long your Avid editing application waits when your system is inactive before
automatically saving the project files. The default is 15 seconds.
Force Auto-Save at
nminutes
Defines the maximum interval between auto-saves. Once this time elapses, your Avid
editing application auto-saves the project files even if it must interrupt an edit to do so.
The default is 17minutes.
Maximum files in a
project’s attic
Defines the total number of files stored in the Avid Attic folder. When a bin is saved, your
Avid editing application copies the current version of the bin to a special folder called the
Avid Attic. The default is 1000 files.
Keep more files when many editors are working on your system to ensure that all the bins
are backed up.
Max versions of a
file in the attic
Defines the total number of single-bin copies stored in the Avid Attic folder. This setting
prevents filling the Avid Attic with too many copies of one bin, at the risk of losing the
others. The default is 50 copies.
Double-click loads
object in
Determines what happens when you double-click an object in the bin:
• New Pop-up Monitor: Creates a new Source pop-up monitor and automatically loads
the clip when you double-click an object in the bin.
• Source or Record Monitor: When you have the Composer monitor stretched into two
monitors, loads the clip into the Source monitor or the sequence into the Record
monitor. When you are using the single Composer monitor, loads the clip or sequence
into the existing Source pop-up monitor.
Enable edit from bin
(Splice, Overwrite)
Lets you edit clips directly from a bin by selecting a clip and clicking the Splice-in or the
Overwrite button.
Capture Settings
1299
Capture Settings: General Tab
Option Description
Stop deck after
capture
When this option is selected, the deck stops when the capture operation is complete.
Pause deck after
capture
When this option is selected, the deck pauses when the capture operation is complete.
Preroll Method Defines the preroll method. For more information, see “Selecting Settings for Preroll
Method and for Capturing Across Timecode Breaks” on page 168.
Force unique clip
names
When this option is selected, your Avid editing application automatically assigns a clip
name based on the bin’s name and ensures this name, or another name you select, is not
already used by any other object in the bin.
Activate bin window
after capture
When this option is selected, your Avid editing application changes the focus from the
Capture Tool window to a bin window after capturing or logging is complete. This lets
you start working in the bin immediately.
Space bar stops
capture
When this option is selected, you can use the space bar to create clip names during the
capturing process. When you press the space bar during a capture operation, your Avid
editing application stops capturing, creates a clip from the captured material, and places
the clip in the active bin.
Capture across
timecode breaks
When this option is selected, your Avid editing application captures sections of
discontinuous timecode on a tape as separate clips. When this option is deselected, your
Avid editing application stops capturing and reports an error when it encounters a
timecode break.
Stop capture if a bad
frame is detected
When this option is selected, your Avid editing application stops capturing if a corrupt
frame is detected. This setting is enabled by default.
Latency for no deck
mode n frames
Compensates for problems that might occur when you capture with external timecode.
For more information, see “Live Capturing with External Timecode” on page 260.
If you notice that your captured media consistently starts on the wrong frame (usually
one or two frames off), use this option to ensure that capturing starts on the correct
frame. The option is set to zero by default.
This option is not available in software-only configurations.
Ignore Detected
Media Read Errors
When this option is selected, capture accuracy improves, especially on tapes that appear
to be experiencing a lot of dropouts.
Capture a single
video frame only
When this option is selected, your Avid editing application captures a single frame of
video from your clip. When you click the Record button, your Avid editing application
captures the currently displayed frame.
Capture Settings
1300
Capture Settings: Batch Tab
Ask before discarding
a canceled clip
When this option is selected, your Avid editing application lets you choose whether to
discard the canceled clip, keep it, or try again.
Ask for name when a
new tape is seen
When this option is selected, your Avid editing application asks you for a name when it
detects a new tape.
Display incoming
video in the client
monitor
When this option is selected, your Avid editing application displays incoming video in
the Client monitor as soon as you open the Capture tool.
Pause deck while
logging
When this option is selected, the deck pauses after you set an OUT point while you log
clips. This gives you time to type the name of the clip. For more information, see
“Logging Directly into a Bin” on page 135. When this option is deselected, the camera
or deck continues playing after you set an OUT point.
Option Description
Option Description
Optimize for disk space When this option is selected, your Avid editing application captures only the exact
amount of material in the master clips plus any additional handles. The tape pauses
and prerolls independently for each master clip that is batch captured.
Optimize for batch speed When this option is selected, your Avid editing application speeds up batch
capturing by allowing the deck to continue to roll forward between adjoining clips.
To qualify for this operation, the two adjoining clips must meet the following
criteria:
• There is 5 seconds or less between the OUT point of the first clip and the IN
point of the second clip.
• The two clips have the same video resolution and the same audio rate.
nIf you select this option, your Avid editing application might occasionally
capture more material than you need.
Switch to emptiest drive
if current drive is full
When this option is selected, your Avid editing application switches to the target
media storage drive with the most available space when the current target drive
becomes full during batch capturing. Your Avid editing application switches before
starting to capture the clip, based on the number of minutes in the clip. For more
information, see “Batch Capturing from Logged Clips” on page 234.
When this option is deselected, your Avid editing application stops capturing when
a drive becomes full.
Rewind tape when
finished
When this option is selected, your Avid editing application automatically rewinds
tapes after batch capturing finishes.
Capture Settings
1301
Capture Settings: Edit Tab
Capture Settings: OMF Media Files Tab
The OMF Media Files tab is available in the Capture Settings dialog box when you select OMF
in the Media Type tab of the Media Creation dialog box.
Eject tape when finished When this option is selected, the tape ejects as soon as the last shot from that tape is
captured. You can do other tasks while the tape is in use and be alerted as soon as
the tape is no longer needed.
Log errors to the console
and continue capturing
When this option is selected, your Avid editing application continues capturing if an
error occurs during the capture process.
Capture the tracks logged
for each clip
When this option is selected, your Avid editing application captures the tracks
logged for each clip.
Use the audio sample rate
logged for each clip
When this option is selected, your Avid editing application uses the audio sample
rate logged for each clip.
Use the audio bit depth
logged for each clip
When this option is selected, your Avid editing application uses the audio bit depth
logged for each clip.
Use the video
compression logged for
each clip
When this option is selected, your Avid editing application uses the video
compression logged for each clip.
Option Description
Option Description
Enable edit to timeline
(splice, overwrite)
When this option is selected, Splice-in Edit and Overwrite Edit buttons display in the
Capture tool.
Handles Controls the amount of footage you capture before and after the IN and OUT points of
the clips (when capturing to the Timeline only).
Option Description
Capture to a single file,
2 GB limit
When this option is selected, capture stops when the media captured has taken up
2 gigabytes (GB) of storage space on the media drive.
Capture to multiple files When this option is selected, your Avid editing application writes captured video
or audio to multiple files across multiple drive partitions. Select this option for
clips that might exceed the 2-GB file-size limit.
Capture Settings
1302
Capture Settings: MXF Media Files Tab
The MXF Media Files tab is available in the Capture Settings dialog box when you select MXF
in the Media Type tab of the Media Creation dialog box.
Maximum (default) capture
time n minutes
Determines how much space your Avid editing application preallocates on the
target drive or drives before a capture begins. The default capture time is 30
minutes.
This option applies only to capture-on-the-fly and capture from an IN point
without an OUT point. Capture from an IN point to an OUT point overrides this
option. Change this option only if you intend to capture on-the-fly for longer than
30 minutes. Your Avid editing application captures for only the specified number
of minutes, so be careful not to underestimate.
Switch to emptiest drive
when n minutes left
When this option is selected, your Avid editing application switches to another
storage drive when the specified amount of time remains.
Option Description
Option Description
Maximum (default)
capture time n minutes
Determines how much space your Avid editing application preallocates on the target
drive or drives before a capture begins. The default capture time is 30 minutes.
If Frame Chase capture is enabled (the “During capture, clip is updated in Interplay
option is selected), this option defines the expected duration in minutes for a Frame
Chase clip that you create during on-the-fly or open-ended capture (when no IN and
OUT marks are set in the Capture tool).
This option applies only to capture-on-the-fly and capture from an IN point without
an OUT point. Capture from an IN point to an OUT point overrides this option.
Change this option only if you intend to capture on-the-fly for longer than 30
minutes. Your Avid editing application captures for only the specified number of
minutes, so be careful not to underestimate.
During capture, clip is
updated in Interplay
When this option is selected, Frame Chase capture is enabled. An initial check-in
takes place 10 seconds after a capture begins.
Subsequent Interplay updates occur at intervals defined by the Update Interval
option. Select an update interval from the menu to determine how frequently updates
to Interplay occur during a Frame Chase capture.
In most circumstances you should keep the update interval low (1 minute or 2
minutes). This ensures that information added during capture (for example,
comments or markers) is available as quickly as possible.
For more information, see “Enabling Frame Chase Capture” on page 233.
Communication (Serial) Ports Tool Settings
1303
Capture Settings: DV & HDV Options Tab
Capture Settings: Keys Tab
Communication (Serial) Ports Tool Settings
The Communication (Serial) Ports tool lets you view the current configuration of the serial
interface at any time during editing. You can also use it to reconfigure the ports without closing
your Avid editing application or shutting down the computer.
Switch to emptiest drive
when n minutes left
When this option is selected, your Avid editing application switches to another
storage drive when the specified amount of time remains.
Option Description
Option Description
DV&HDV Scene
Extraction
When this option is selected, you can automatically generate subclips and markers
based on time-of-day (TOD) information contained in the DV video format. For
more information, see “DV and HDV Scene Extraction” on page 273.
• Add Markers: Creates marker marks where the TOD information breaks occur
while capturing.
• Create Subclips: Creates subclip marks where the TOD information breaks
occur while capturing.
• Both: Creates markers and subclips where the TOD information breaks occur
while capturing.
Use software DV25 codec Lets you capture standard or advanced pulldown. Select this codec when you are in
an NTSC 23.976p or 24p project capturing DV25 from analog or SDI. If you are in
an NTSC 23.976 or 24p project and you do not select this codec, you can only
capture advanced pulldown.
Enable detection of small
timecode breaks
When this option is selected, batch capture is more accurate for footage captured
over 1394 due to undetected small timecode breaks.
Option Description
Function Key Commands
(while capturing/logging)
Changes the commands that are mapped to the function keys on your keyboard.
These mappings apply to Capture mode only.
Timed Subclip Defines a preset duration for subclips created while capturing.
Composer Settings
1304
Composer Settings
Composer Settings
Composer Settings: Window Tab
Option Description
Remote Play and Capture Sets a port for an edit controller that uses the Sony serial control protocol. For
more information, see “Remote Play, Capture, and Punch-In” on page 263.
Option Description
Data Display at
Top
• Off — When this option is selected, your Avid editing application turns off the information
display above the monitors.
• Always Display One Row of Data — When this option is selected, your Avid editing
application displays one row of tracking, duration, and clip or sequence title information
above the Source and Record monitors.
• Always Display Two Rows of Data — When this option is selected, your Avid editing
application displays a second row of information above the first row. The second row
includes Fast Menu icons, duration information, and, when applicable, ganging and
multicamera icons.
• Flow Data Dynamically — When this option is selected, your Avid editing application
adjusts the display of information above the monitors as you resize them.
Button Display
at Bottom
• Off — When this option is selected, your Avid editing application turns off the display of
buttons under the Source and Record monitors.
• One Row — When this option is selected, your Avid editing application displays only the
top row of Monitor command buttons.
• Two Rows — When this option is selected, your Avid editing application displays a second
row of buttons under the Source and Record monitors and includes mode buttons in the
lower center of Source/Record mode beneath the Splice-in and Overwrite buttons.
Composer Settings
1305
Composer Settings: Edit Tab
Center Duration When this option is selected, your Avid editing application displays duration data (Mark
In/Out) for the material in the Source or Record monitor, depending on which monitor is
active.
Tick Marks in
Position Bars
When this option is selected, your Avid editing application switches the display of tick marks
(duration indicators) that appear incrementally along the position bars located directly beneath
the Source and Record monitors. When this option is deselected, the tick marks are invisible.
Option Description
Option Description
Color Framing When this option is selected, color framing indicator lights display above the
Overwrite and Splice-in buttons. Deselect this option if you are not performing an
online edit with material captured from 1-inch, reel-to-reel tapes. This option is
deselected by default.
When this option is deselected, you might have to make adjustments during
online editing if your edits interrupt the color-sync, signals-per-frame fields in the
sequence.
The following field options are available:
• 4 field: For NTSC video.
• 8 field: For PAL video.
The green color framing indicator lights (similar to LEDs) above the Overwrite
and Splice-in buttons are off when the color-sync signal is not in phase for that
frame. Steady green lights indicate a frame that is properly phased.
If the green light is off, find the proper color phasing when editing by trimming
the IN to OUT points by a frame or two until the light comes on and stays on.
For more information on color framing, see “Tracking Color Frame Shifts” on
page 715.
Sync Point Editing
(Overwrites)
When this option is selected, your Avid editing application overwrites material
onto your sequence so that a particular point in the source material is in sync with
a particular point in the sequence.
Single Mark Editing When this option is selected, you can mark an IN or OUT point in the Source
monitor and then perform a splice, overwrite, or replace edit. Your Avid editing
application uses the current location of the position indicator as the corresponding
OUT or IN point.
Composer Settings
1306
Composer Settings: FF/REW Tab
The options in the FF/REW tab control how the position indicator moves when you use the Fast
Forward and Rewind buttons in your Avid editing application monitors. These buttons behave
differently from the equivalent buttons on a tape deck. When a sequence is loaded in a monitor,
the Fast Forward or Rewind button causes a jump (forward or backward) to the next edit that is
common to all selected tracks in the Timeline. When a clip is loaded in a monitor, the Fast
Forward or Rewind button causes a jump to the beginning or end of the clip.
Phantom Marks When this option is selected, your Avid editing application provides visual
guidance when you set fewer than four IN or OUT points while editing. Phantom
marks (shaded IN or OUT mark icons) indicate the remaining edit points
calculated by your Avid editing application to complete the edit. For more
information, see “Working with Phantom Marks” on page 608.
Auto-create New Tracks When this option is selected, whenever you load new source material into the
Source monitor, your Avid editing application automatically creates any new
tracks in the sequence that match existing tracks in the source material. This
option is selected by default.
Auto-enable Source Tracks When this option is selected, whenever you load new source material into the
Source monitor, your Avid editing application automatically enables all existing
source tracks. This option is selected by default.
Copy Source Markers When this option is selected, if you have markers in a clip in the Source monitor,
your Avid editing application copies the markers when you edit the clip into the
Record monitor. This option is selected by default.
Undo Only Record Events When this option is selected, you can limit the Undo command to undo only
record actions. For more information, see “Undoing or Redoing Edits” on
page 571.
Option Description
Option Description
Stop at Head Frames When this option is selected, the position indicator stops at the first frame (head
frame) of the clip on the selected track.
This option is the default setting. Each time you use either the Fast Forward and
Rewind button, the position indicator moves to the next consecutive head frame.
Stop at Tail Frames When this option is selected, the position indicator stops at the last frame (tail frame)
of the clip on the selected track.
Composer Settings
1307
Composer Settings: MultiCam Tab
Stop at Markers When this option is selected, the position indicator moves to the next consecutive
frame containing a marker. For more information on using markers, see “Using
Markers” on page 513.
Ignore Track Selectors When this option is selected, your Avid editing application ignores the selected tracks
and cues directly to the start (head) frame of the next edit, regardless of the track on
which it occurs.
The position indicator’s final location depends on whether the Stop at Head Frames
and Stop at Tail Frames options are selected.
Option Description
Option Description
Split Mode Play Controls split mode play:
• Quad or Nine Split: Allows playback in the Source monitor of all camera angles in either
quad split view or nine split view.
• Fullscreen: Allows playback in the Source monitor of real-time effects for the active
camera angle, which displays in full-monitor size.
MultiCam Mode
Client Monitor
Controls client monitor display with MultiCam:
• Off: Disables the client monitor during playback of group clips and multigroup clips.
• Quad or Nine Split: Allows the client monitor to display group clips and multigroup
clips during playback.
• Linecut: Allows a linecut (a playback of the edited multicamera sequence) to display in
the client monitor.
nThe client monitor displays only SD multicamera linecuts. You can view playback of
HD multicamera sequences in the Source monitor only.
Controller Settings
1308
Controller Settings
Option Description
Controller Defines the controller to use. Select one of the following:
• No Controller
• JL Cooper MCS3 Controller
• 002 Controller
• Command|8
Port Defines the port you use to connect your controller.
Edit Settings If you have selected a port and controller, select this option to map the controller functions.
Gain Controller
Port
Defines a port for a fader or a mixer to record audio gain information. The options on this
menu differ depending on the ports you have configured on your Avid editing application.
Correction Settings
1309
Correction Settings
For more information, see “Customizing Color Correction Mode Settings” in the Help.
Correction Settings: Features Tab
Option Description
Saved Color Labels Controls how custom colors are named in bins:
• None: When this option is selected, your Avid editing application does not supply
a name.
• RGB: When this option is selected, your Avid editing application uses the 8-bit
values for the red, green, and blue components as the name.
• Name: When this option is selected, your Avid editing application uses the name
from the standard HTML color scheme that most closely matches the color you
are saving.
• Name and RGB: When this option is selected, your Avid editing application uses
both the Name and the RGB information as the name. This is the default option.
For information on saving custom colors, see “Assigning Colors to Objects in a Bin”
on page 335.
Eyedropper 3 x 3
Averaging
When this option is selected, your Avid editing application calculates the color value
to pick by averaging the values of a 3 x 3 sample of pixels centered on the
eyedropper’s position. This is often useful for picking up a color accurately by sight
because it compensates for shifts in color value from one pixel to another. When this
option is deselected, your Avid editing application selects the color value of the exact
pixel at the eyedropper’s position.
Show Eyedropper Info When this option is selected, the numerical RGB values appear on the color swatches
in the Color Match controls.
Eyedropper Picks from
Anywhere in Application
When this option is selected, you can pick colors from anywhere in your Avid editing
application, not only from video images in the Source/Record monitor, using the
Color Match eyedroppers.
Correction Settings
1310
Correction Settings: AutoCorrect Tab
Option Description
When applying Color
correction from the
Effect Palette, perform
the following operations:
Defines the first, second, and third automatic color correction that your Avid editing
application makes when you apply the Color Correction effect from the Effect
Palette:
• Nothing: Makes no adjustment. For example, if you only want to make two
automatic corrections when you drag the Color Correction effect from the Effect
Palette, set the Third Correction menu in the AutoCorrect tab to Nothing.
• HSL Auto Balance: Makes adjustments to the three ChromaWheels to balance
the colors in the image. This is the equivalent of clicking the Auto Balance
button in the Hue Offsets subdividing tab of the HSL tab.
• HSL Auto Black: Adjusts the Setup slider in the Hue Offsets subdividing tab of
the HSL tab to make the darkest areas of the image as dark as possible. This is
the equivalent of clicking the Auto Black button in the Hue Offsets subdividing
tab of the HSL tab.
• HSL Auto Contrast: Adjusts the Gain and Setup sliders in the Hue Offsets
subdividing tab of the HSL tab to maximize the tonal range in the image. This is
the equivalent of clicking the Auto Contrast button in the Hue Offsets
subdividing tab of the HSL tab.
• HSL Auto White: Adjusts the Gain slider in the Hue Offsets subdividing tab of
the HSL tab to make the brightest areas of the image as bright as possible. This is
the equivalent of clicking the Auto White button in the Hue Offsets subdividing
tab of the HSL tab.
• Curves Auto Balance: Makes adjustments to the Red, Green, and Blue curves to
balance the colors in the image. This is the equivalent of clicking the Auto
Balance button in the Curves tab.
• Curves Auto Contrast: Makes an adjustment to the Master curve to maximize the
tonal range in the image. This is the equivalent of clicking the Auto Contrast
button in the Curves tab.
Deck Configuration Settings
1311
Deck Configuration Settings
Deck Settings
You can access the Deck Settings dialog box in any of the following ways:
• Click the Add Deck button in the Deck Configuration dialog box.
• In the deck controller section of the Capture tool, click the Deck Selection menu, and select
Adjust Deck.
• Double-click the deck name in the Deck Settings dialog box.
Option Description
Configuration name Type a name for the configuration.
Add channel Click to add a new channel box. Opens the Channel dialog box.
Add deck Click to add a deck or DV device. Opens the Deck Settings dialog box. For
information on the Deck Settings options, see “Deck Settings” on page 1311.
Delete Click to delete a deck or DV device.
Auto-configure When this option is selected, and with a deck or DV device already connected to your
Avid editing application, your Avid editing application bypasses the Deck Settings
dialog box and automatically configures a deck or DV device with the default settings.
nBecause some DV devices do not respond to the Auto-configure command,
Auto-configure selects only the generic device settings for a DV device.
Verify configuration
against actual decks
When this option is selected, your Avid editing application checks the deck
configuration against the devices physically connected to the system.
Option Description
Name Defines a custom name for the tape deck. The default name matches the deck type.
Description Defines notes about the deck.
Notes Displays configuration information, supplied by Avid, about the deck or DV device you have
selected. Not all decks or devices include this information. You can supply your own
information in the Description field, and then save the configuration.
Deck Settings
1312
Device Defines the device manufacturer and model.
If your device does not appear in the list, click the Manufacturer menu and select Generic, and
then click the Model menu and select the type of device.
If you continually see a message box that reads “Fail to find preroll” while you are capturing,
click the Model menu, and select GenericDVBasicDevice-NTSC or
GenericDVBasicDevice-PAL
Address For VLXi use only. See your VLXi documentation. If you are using direct serial port deck
control, this option is unavailable.
Show Filters the devices that display in the Device menu:
• All Devices: Displays all devices by manufacturer and model.
• Decks: Displays only decks by manufacturer and model.
• Transcoders: Displays only transcoders by manufacturer and model.
Preroll Defines how many seconds the tape rolls before capture or digital cut starts. The default is based
on the type of videotape recorder (VTR).
Fast Cue Speeds up long searches if your decks can read timecode in fast forward or rewind mode. Select
one of the following options:
• Switch to ff/rew (seconds): n: When this option is selected, your Avid editing application
switches to fast forward or rewind if the target timecode is beyond the specified number of
seconds from your current location on the tape.
By default, the deck switches to fast forward or rewind to reach a target timecode that is
more than 60 seconds away.
If your deck shuttles very quickly, you can increase this number so that your Avid editing
application uses fast cue only for long searches.
• Switch to Search (seconds): n: When this option is selected, your Avid editing application
switches out of fast forward or rewind when it is within the specified number of seconds of
the target timecode. By default, your Avid editing application switches to search mode when
it is 60 seconds from the target timecode.
Option Description
Deck Preferences Settings
1313
Deck Preferences Settings
Option Description
When the deck contains
no tape or drop frame
cannot be detected set
timecode to
Sets the timecode format (Drop Frame or Non-drop Frame) for logging clips when
no tape is in the deck or when your Avid editing application cannot detect drop
frame or non-drop frame. When a tape is in the deck, your Avid editing application
automatically uses the existing timecode format on the tape. For more information,
see “Understanding Timecode” on page 178.
Allow assemble edit &
crash record for digital cut
When this option is selected, you can use the assemble-edit and crash-record
features in the Digital Cut tool, along with the assemble-editing and manual
recording capabilities of your record deck. Select this option to record
frame-accurate digital cuts quickly and without striping entire tapes in advance
while using the assemble edit feature. Select this option also if you want to operate
the deck manually. For more information about digital cuts and assemble editing,
see “Generating Output” on page 1017. For information about crash recording, see
“Crash Recording Through Remote Deck Control” on page 1048.
Stop key pauses deck Defines the function of the Stop key (space bar) on the keyboard. Select this option
to map the space bar to the Pause button on the deck. Deselect this option to map the
space bar to the Stop button.
If the videotape heads are down in “Stop key pauses deck” mode, pressing the space
bar brings up the heads and pauses the deck.
The Stop button in the Capture tool always stops the decks.
Shuttle holds speed When this option is selected, the Shuttle button continues shuttling at a constant
speed instead of stopping when you release it.
Stop any paused decks
when quitting
When this option is selected, any paused decks stop when you quit your Avid editing
application. Selecting this option saves wear on the deck heads.
Poll deck during digital
cut
When this option is selected, your Avid editing application checks the deck for the
current timecode and displays it in the timecode window of the deck controller. If
you see degraded image quality on your digital cut (particularly visible as noise
during black), deselect this option and record the digital cut again. When this option
is deselected, the Record button does not flash and the timecode display in the deck
controller does not update for the duration of the digital cut.
Desktop Play Delay
1314
Desktop Play Delay
Dynamic Relink Settings
Dynamic Relink is available only on Avid editing systems that have the Avid Interplay Media
Indexer installed.
Host-1394 DV Capture
Offset & Digital Cut
Offset (when Host 1394
capture is available)
Digital Cut Offset (when
Host 1394 capture is not
available)
This group of options varies depending on your DV input/output configuration.
• Capture Offset (frames): Defines the number of frames by which you want to
offset while you capture. For more information, see “Understanding DV Capture
Offset” on page 230.
This option only appears when Host 1394 capture is available.
• Override Recommended Digital Cut Offset: Defines a digital cut delay. For more
information, see “Understanding DV Digital Cut Delay” on page 1061.
Option Description
Option Description
Frames Click the Desktop Play Delay Frames slider to increase or decrease the amount of
frame offset. You might need to readjust the frames a few times to find the correct
offset.For more information, see “Adjusting the Play Delay Offset” on page 492.
Dialog Box Area Option Description
Top area Enable Dynamic Relink Turns the dynamic relink feature on or off. When this option is
selected, your Avid editing application performs a dynamic
relink whenever you load clips into the source monitor or the
Timeline. When this option is deselected, no settings are
available. When you select this option again, your Avid editing
application restores the previous settings.
Allow Mixed Frame
Rate Media
Lets you use dynamic relink with mixed rate clips. When this
option is selected, your Avid editing application tries to link
your clips to media with the appropriate frame rate. If it cannot
find any media with a compatible frame rate, your Avid editing
application uses the lowest and nearest resolution to your
project frame rate. For more information, see “Using Dynamic
Relink with Mixed Rate Clips” on page 1209.
Dynamic Relink Settings
1315
Override Working
Settings with Target
Settings
Lets you perform a dynamic relink to the target settings. When
this option is selected, the working settings are not available but
the target settings remain active and modifiable. In the Timeline
and monitors, you see media that matches the target settings.
For more information, see “Dynamically Relinking to the Target
Settings” on page 1208.
Working settings tab
and
Target settings tab
If no match is found Defines the action to take if no media is available that matches
the working or target settings. You can select one option as a
working setting and a different option as a target setting. Select
one of the following:
• Keep Existing Media: Your Avid editing application
displays the media to which the clips are currently linked.
• Relink to Offline: Your Avid editing application displays a
“Media Offline” slide in the monitors.
Relinking to offline does not delete existing media.
• Use Closest Media: Your Avid editing application displays
the media that most closely matches the working or target
settings. For example, this might be useful when you are
editing progressive media into a sequence that contains both
progressive and interlaced media.
For information about enabling a visual display of which media
is available, see “Displaying Whether Media Is Available for
Dynamic Relinking” on page 1211.
Video Parameters Target format (Target settings only) Defines the project format for your target
settings, which determines the resolutions that are available in
the Dynamic Relink target settings. You can set this format
independently of the format set in the Format tab of the Project
window.
Relink Method Defines how your Avid editing application dynamically relinks
to video material. Select one of the following: Most Recent (the
latest media files created), Highest Quality, Most Compressed,
or Specific Resolution.
Dialog Box Area Option Description (Continued)
Dynamic Relink Settings
1316
Relink if quality Available when Specific Resolution is the Relink method.
Defines a relational operator and a resolution to compare
against.
Select one of the following relational operators:
• Greater than or equal to: If the selected resolution is not
available, your Avid editing application uses the nearest
resolution that is better (more pixels, less compression) than
the requested one and that has the closest video format
(image size, field topness). If none of the available
resolutions satisfy these criteria, the clip displays as
specified in the “If no match is found” list: Keep Existing
Media, Relink to Offline, or Use Closest Media.
• Equal to: If the selected resolution is not available, the clip
displays as specified in the “If no match is found” list.
• Less than or equal to: If the selected resolution is not
available, your Avid editing application uses the nearest
resolution that is less (fewer pixels, more compression) than
the requested one and that has the closest video format
(image size, field topness). If none of the available
resolutions satisfy these criteria, the clip displays as
specified in the “If no match is found” list.
Preferred media format Defines your preferred media type as either MXF or Any (OMF
or MXF). High-definition resolutions are available in the MXF
format only.
Audio Parameters Relink method Defines the relink option for relinking to audio material. Select
one of the following: Most Recent (the latest media files
created), Highest Sample Rate, Highest Bit Depth, Compressed,
or Specific Quality.
nCompressed audio through the Avid Encoder IPV is
always 48 kHz and 16 bit. No other selections are
available.
Dialog Box Area Option Description (Continued)
Effect Editor Settings
1317
Effect Editor Settings
The Effect Editor settings and the commands in the Effect Editor shortcut menu are similar but
not identical.
Relink if
sample rate and bit
depth
The relational operators on the left for sample rate and bit depth
are similar to the relational operators for the Video parameter
“Relink if quality” menu. However, the two menus have an
additional entry, “Any,” which lets you use one criteria and
ignore the other. For example, you could select sample rate
equal to 44.1 kHz and bit depth to “Any”.
The corresponding menus on the right contain values
appropriate to the corresponding quality parameter. The sample
rate and bit depth relational operators work as a Boolean AND
operation (that is, the intersection of all constraints). These are
not available if you select “Any.”
Compression Lets you choose “uncompressed only” or “any,” which lets you
use one criteria and ignore the other. Your Avid editing
application chooses the best media available.
nYou can only play compressed audio at this time. You
cannot consolidate or transcode compressed audio.
Choose uncompressed audio for your final output.
nYou cannot mix down compressed audio.
Preferred media type Defines your first choice of media format: PCM (MXF) or Any
(OMF or MXF).
Dialog Box Area Option Description (Continued)
Option Description
Indent Rows When this option is selected, parameter rows are indented from the parameter group
row, and any parameter subgroups are indented again. When this option is deselected,
the left edges of parameter rows line up with the parameter group row.
Large Text When this option is selected, text in the Effect Editor appears in 12-point size. When
this option is deselected, text in the Effect Editor appears in the default size, 10 points
(Windows) or 9 points (Macintosh).
Thumbwheels When this option is deselected, variable controls in the Effect Editor appear as the
default sliders. When this option is selected, variable controls appear as thumbwheels.
For information on using thumbwheels, see “Changing a Parameter with a Slider in
the Effect Editor” in the Help.
Effect Editor Settings
1318
Real Time Update When this option is selected, your Avid editing application updates the rendered effect
image in real time. Because the update can be slow for complex effects, you have the
option to deselect real-time updating.
Set Position To
Keyframe
When this option is selected, your Avid editing application moves the position
indicator to the keyframe when you click a keyframe indicator. When this option is
deselected, the position indicator does not move when you click a keyframe indicator.
Deselecting this option lets you align a keyframe to the position indicator. For more
information, see “Aligning Advanced Keyframes” in the Help.
Update Position
While Playing
When this option is selected, the position indicator in the Effect Editor moves while
you play the effect. Because this option can cause video underrun problems in
complex real-time effects, it is deselected by default.
Show Add Keyframe
Mode Menu
When this option is selected, the Add Keyframe Mode menu (or the Delete Keyframe
Mode menu) appears when you use the Add Keyframe button to add (or delete)
keyframes. For more information, see “Keyframe Mode Menu Commands” in the
Help.
When this option is deselected, the Add Keyframe button performs the default
command from the following list (Add Keyframe button commands), without
displaying the Add Keyframe Mode menu or the Delete Keyframe Mode menu.
Add Keyframe button
commands
• Add Keyframe To
Active Parameter
• Add Keyframes To
Active Group
• Add Keyframes To
Open Groups
• Add Keyframes To
Enabled Groups
• Add Keyframes To
Open Graphs
• Add Keyframes To
All Parameters
Defines the default command for the Add Keyframe button.
• When Show Add Keyframe Mode Menu is deselected, clicking the Add Keyframe
button once performs the default command.
• When Show Add Keyframe Mode Menu is selected, clicking the Add Keyframe
button twice performs the default command. (The first click displays the Add
Keyframe Mode menu, at which point you can select another command.)
nThe Add Keyframe Mode menu and the Delete Keyframe Mode menu mirror one
another. When you change one, you change both.
For a description of each command, see “Keyframe Mode Menu Commands” in the
Help.
Option Description
E-mail Settings
1319
E-mail Settings
The Email Settings dialog box lets you configure your Avid editing application so that it can
notify you by e-mail when any of the following operations completes:
•Render
• Export
• Consolidate or Transcode
nSome mobile telephone services can deliver e-mail as a text message or notify you by text
message when an e-mail has been received. If your service includes this feature, consider using it
as a convenient way to receive your notifications.
Option Description
Server Settings Use the options in this area to define the server settings that your Avid editing
application uses to communicate with your e-mail account and send e-mail notifications.
Check the documentation for your e-mail application, or talk to your internet service
provider or information technology department, to obtain the information you need to
define these settings correctly.
Your e-mail account must use the SMTP protocol for outgoing mail.
SMTP Server Defines the SMTP (outgoing mail) server address for your e-mail account. Typically, this
address has one of the following formats:
smtp.service_name.com
or
smtp.mail.service_name.com
.
Port Defines the port that the SMTP server uses. The default value, 25, is used by several
common e-mail services, but your server might require a different port number.
Authenticate with
username/password
When this option is selected, your Avid editing application includes username and
password information to authenticate any e-mail it sends. Type the username and
password for your e-mail account in the Username and Password text boxes. Some
e-mail services require authentication as a security measure.
Store password after
closing project
When this option is selected, your Avid editing application saves the password in the
Password text box when the current project closes. This eliminates the need to re-enter
the password each time you open a project.
Use SSL When this option is selected, your Avid editing application uses the Secure Sockets
Layer (SSL) security protocol when sending e-mail notifications. Some e-mail services
require this as a security measure.
Email Settings
Export Settings
1320
Export Settings
Common Export Settings
Standard Formats for Export
The following table describes the standard Export file formats available in the Export As menu
of the Export Settings dialog box.
You can also Export to P2 cards or XDCAM disks. For more information, see “Export Settings:
P2” on page 1343 and “Export Settings: XDCAM” on page 1343.
From Name Defines the name that appears in the From header field of an e-mail your Avid editing
application sends.
From Address Defines the e-mail address for the account that your Avid editing application uses to send
the e-mail.
To Address Defines the e-mail address to which your Avid editing application sends the e-mail.
Send Email Events When you select one or more options, your Avid editing application sends an e-mail
notification when the following operation completes:
• Render Complete
• Export Complete
• Consolidate or Transcode Complete
You must have the Server Settings and Email Settings options configured correctly, and
the Enable Sending of Email option selected.
Master Email Control
Enable Sending of
Email
When this option is selected, your Avid editing application is able to send email
notifications.
Send Test Email Click this button to send a test email using the current Server Settings and Email Settings
options.
Option Description
Export Settings
1321
Option Description
OMFI 1.0
OMFI 2.0
When this option is selected, your Avid editing application exports a standard OMFI
composition for transfer to a third-party workstation that supports OMFI. You can
choose to export composition only, or embed the video and audio, or both. For more
information, see “Guidelines for Exporting OMFI and AAF Files” on page 1000.
AAF When this option is selected, your application creates an Advanced Authoring Format
(AAF) file. You can choose to export composition only, or embed the video and audio, or
both. For more information, see “Guidelines for Exporting OMFI and AAF Files” on
page 1000.
AFE (Windows only) When this option is selected, your Avid editing application exports as AFE. This format
is compatible with systems such as Avid DS. For more information, see “Exporting
Projects and Bins Using AFE Files (Windows Only)” on page 1003.
QuickTime
Reference
When this option is selected, your Avid editing application creates a QuickTime
reference movie. A QuickTime reference movie contains pointers (links) to movie files.
This is similar to exporting as composition only. You can also export LongGOP
QuickTime Reference movies with this option. For more information, see “Exporting
QuickTime Movies” on page 1004.
HDV When this option is selected, your Avid editing application creates a transport stream.
For more information, see “Exporting an HDV Transport Stream” on page 1472.
XDCAM MXF OP1a Video Format: Lists all XDCAM codecs supported by your project type.
Audio Bit Depth: Defines bit depth, based on the sample rates supported by your project
type. You can use this option if your sequence has a mix of sample rates and you need to
create a single sample rate. (You set the project rate in the Audio Project Settings dialog
box.
Aspect Ratio: Defines an image size for the video you want to export. The available
aspect ratios depend on what your project type and device support. This lets you control
the display format without modifying the source file.
DV Stream When this option is selected, your Avid editing application creates a standard DV
stream. The DV Stream format is often used for distribution on a CD-ROM or over the
Web. Use this option when exporting video that will be combined or processed with
other DV-formatted media. This option requires a video track.
nThe DV Stream format appears after you install QuickTime. If you want to use
QuickTime for exporting sequences, download the latest version of QuickTime
from the Apple® Web site at: www.apple.com/.
Export Settings
1322
Use Marks and Use Enabled Tracks Options
The following table describes options that determine which material in the selected clip or
sequence your Avid editing application exports.
QuickTime Movie When this option is selected, your Avid editing application creates a self-contained
QuickTime movie. For more information, see “Exporting QuickTime Movies” on
page 1004.
nIf you install additional QuickTime Export formats, they appear in the menu with
tildes (~) before their names. This indicates they are not qualified or supported by
Avid.
AVI When this option is selected, your application exports an AVI file through QuickTime or
other compression tools. For more information, see “Export Settings: AVI Through
QuickTime” on page 1334.
Windows Media
(Windows only)
When this option is selected, your Avid editing application exports your sequence as
native Windows Media. You can export your media using one of the Avid-supplied
templates or using a custom audio and video template. For more information, see
“Exporting as Windows Media (Windows Only)” on page 1008.
Audio When this option is selected, your Avid editing application exports audio tracks in the
WAVE format, SD II (Macintosh only), or AIFF-C audio format. For more information,
see “Export Settings: Audio” on page 1339.
Graphic When this option is selected, your Avid editing application exports a single frame, a
series of frames, or a file type that supports multiple frames as a graphic file. Select a file
type from the menu. For information about supported file types, see “File Format
Specifications” on page 1386.
Avid Log Exchange When this option is selected, your Avid editing application exports the selected bin as a
shot log file that complies with Avid Log Exchange (ALE) specifications. For
information about Avid Log Exchange, see “Converting Log Files with Avid Log
Exchange (Windows)” on page 116.
nALE and tab-delimited files include information for master clips and subclips
only. Information for other objects, such as group clips, sequences, and
precomputes, is not included.
Tab Delimited When this option is selected, your Avid editing application exports the selected bin as a
shot log file in the form of a tab-delimited ASCII text file.
Option Description
Export Settings
1323
Export Settings: OMFI, AAF, and AFE
Option Description
Use Marks When this option is selected, your Avid editing application uses current IN and OUT
points in the selected clip or sequence to determine starting and ending frames for the
export. To export the entire clip or sequence, deselect this option or mark the entire clip
or sequence.
Use Enabled Tracks When this option is selected, your Avid editing application exports the tracks that are
enabled in the Timeline. To export all the tracks in the sequence, deselect this option.
This option is selected by default.
Option Description
Export As: Defines the export format:
• AAF: Select this option if the application to which you are exporting supports AAF
• OMF 1.0: Select this option if the application to which you are exporting does not
support OMFI Version 2.0
• OMF 2.0: Select this option if the application to which you are exporting supports
OMFI Version 2.0. If you are not sure, select OMF 1.0.
• AFE (Windows only): Select this option if the application to which you are exporting
supports AFE
nThere are no options available to you when you select AFE. Your Avid editing
application uses the default settings.
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
AAF Edit Protocol When you select this option, exported AAF files are AAF Edit Protocol compliant. The
AAF Edit Protocol specification supports interchange of metadata that describes edit
decisions, audio and visual effects, and embedded non-AAF files. This option only
appears when Export As is set to AAF.
n AAF Edit Protocol exported files can exceed the 2GB size limit. AAF Edit
Protocol compliant files are not compatible with Pro Tools v7.1 and earlier.
Include All
Video/Data Tracks in
Sequence
When you select this option, the Video Details tab appears, and your Avid editing
application includes all video and data tracks from the sequence in the AAF or OMFI
file.
Include All Audio
Tracks in Sequence
When you select this option, the Audio Details tab appears, and your Avid editing
application includes all audio tracks from the sequence in the AAF or the OMFI file.
Export Settings
1324
The following options appear in the Video Details tab, the Audio Details tab, or both, depending on the
export method:
Export Method: Defines an export method. Other options change depending on which method you
choose. This option appears in both the Video Details tab and the Audio Details tab.
• Link to (Don’t Export) Media: Select this option when you want to export an AAF or
an OMFI composition with links to the media in its current location. Your Avid
editing application does not embed media in the file or export media.
• Copy All Media: Select this option when you want to copy media to another drive or
folder and export an AAF or an OMFI composition
• Consolidate Media: Select this option when you want to export an AAF or an OMFI
composition with links to media that you have consolidated. For more information,
see “Consolidating Media” on page 445.
Use the Handle Length: nn Frames text box to enter the number of frames you want
to use as handles for consolidated clips. Handles refer to material outside the IN and
OUT points that is used for dissolves and trims with the new, shorter master clips.
The default is 60.
Export Method:
Video Mixdown
Creates a new video mixdown track for the sequence. For more information, see
“Performing a Video Mixdown” in the Help.
• Mixdown with Video Edits: Creates a mixdown compatible with Avid Pro Tools v7.2
or later
• Mixdown without Video Edits: Creates a mixdown compatible with all Avid Pro
Tools versions
Render Video Effects When you select this option, your Avid editing application renders video effects during
export.
Transcode Video to: Defines the resolution to which you want to transcode the video to during export.
Include Rendered
Audio Effects
When you select this option, your Avid editing application includes rendered audio
effects during export.
Render All Audio
Effects
When you select this option, your Avid editing application renders all audio effects
during export.
Remove Track
Effects
Selecting this option removes all audio track effects — for example, Real-Time
AudioSuite (RTAS) effects — during export. This option is selected by default.
Split Tracks to Mono Selecting this option splits all multichannel audio tracks to separate mono tracks. For
more information, see “Splitting Multichannel Tracks to Mono Tracks” on page 817.
This option is selected by default.
Option Description
Export Settings
1325
Add Audio Mixdown
Track(s)
When you select this option, your Avid editing application adds an audio mixdown track.
Select the type of track you want, either Mono or Stereo. For more information about
audio mixing, see “Using Live Mix Mode” on page 805.
Convert Audio
Sample Rate to:
Defines the audio sample rate for the export. Select this option if your sequence has a
mix of sample rates and you need to create a single sample rate. (You set the project rate
in the Audio Project Settings window. For more information, see “Audio Project
Settings” on page 1291.) You can also use this option to change the sample rate if the
application to which you are exporting does not support the current sample rate.
Depending on your system, the following suboptions are available: Project rate, 32 kHz,
44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz.
Convert Audio Bit
Depth to:
Defines the audio bit rate for the export. Select this option if your sequence has a mix of
bit depths and you need to create a single bit depth. (You set the project bit depth in the
Audio Project Settings window. For more information see “Audio Project Settings” on
page 1291.) You can also use this option to change the bit depth if the application to
which you are exporting does not support the current bit depth.
The following suboptions are available: Project rate, 16 bit, and 24 bit.
Convert Audio File
Format to:
Defines the audio format for the export. If your sequence has a mix of audio file formats,
and you want to embed media, you must choose a single audio file format. (You set the
project format in the Audio Project Settings window. For more information, see “Audio
Project Settings” on page 1291.) This choice is optional if you want to consolidate and
link media.
The following suboptions are available:
• Project rate: Select this option to use the rate that matches the project format
• WAVE: Select this option to link to or embed audio tracks in the WAVE format
(.WAV file name extension). Most Windows applications that support sound use
WAVE files. QuickTime also supports the WAVE format.
• AIFF-C: Select AIFF-C to link to or embed audio tracks in the industry-standard
AIFF-C format. Note that your Avid editing application does not compress audio
media.
• PCM: This is the only audio file format available for AAF export
The following options appear in the Media Destinations area for Video and Audio, depending on the
export methods:
Media Drive Defines a destination media drive for newly created or copied media.
When Use Media Creation Settings is selected, your Avid editing application uses the
drive you selected in the Media Creation dialog box. If you deselect Use Media Creation
Settings, you can select a different destination drive.
Option Description
Export Settings
1326
Export Settings: QuickTime Reference Options
Folder Defines the destination folder for newly created or copied media.
If you deselect Use Same Folder as AAF File, a path name appears. Click Select Folder
to navigate to a different folder.
Embedded in
AAF/OMF
When this option is selected, your Avid editing application embeds media files in the
exported AAF or OMFI file specified in the Export dialog box.
Option Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
Fast Draft
Defaults
When this option is selected, export is faster. This option automatically selects Flatten Video
Tracks and Fill Spaces with Black, and automatically deselects Render All Video Effects and
Premix Audio Tracks.
Digital Mastering
Defaults
When this option is selected, your Avid editing application renders all video effects and
premixes audio tracks before exporting the file. This option automatically selects Flatten
Video Tracks, Fill Spaces with Black, Render All Video Effects, and Premix Audio Tracks.
Flatten Video
Tracks
When this option is selected, your Avid editing application exports the composition as one
video track. When this option is deselected, your Avid editing application generates one
QuickTime video track for each video track in the composition, and you cannot select Fill
Spaces with Black. Because most third-party applications do not understand multiple
QuickTime video tracks, it is a good idea to select this option. This option is automatically
selected if you select Fast Draft Defaults and Digital Mastering Defaults.
Fill Spaces with
Black
When this option is selected, your Avid editing application fills blank spaces in video tracks
with black in the QuickTime reference movie. Because QuickTime reference movies do not
recognize blank spaces, it is a good idea to select this option. When this option is deselected,
a QuickTime reference movie might interpret spaces in the video track as gray or as the
background of the player. This option is automatically selected if you select Fast Draft
Defaults and Digital Mastering Defaults.
Render All Video
Effects
When this option is selected, your Avid editing application renders all unrendered video
effects, including matte keys and titles, before export. When this option is deselected, your
Avid editing application ignores any unrendered effects. This option is automatically
selected if you select Digital Mastering Defaults.
Option Description
Export Settings
1327
Display Aspect
Ratio
Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you
control the display format without modifying the source file.
This option creates metadata that is stored with the QuickTime movie. Some applications,
such as the QuickTime Player, can interpret this metadata and scale the image at display
time.
This option is useful for QuickTime reference movies because you do not modify the source
files of referenced movies. For example, you can create two different QuickTime reference
movies with different display aspect ratios that use the same referenced source files.
The menu selections depend on how you open the Export Settings dialog box and whether
you have done a prior export.
Mixdown Audio
Tracks
When this option is selected, your Avid editing application mixes the audio tracks in the
composition to stereo files that it creates at the same location as the movie. When this option
is deselected, the Quick Time Reference movie references the original audio media. This
option is selected automatically if you select Digital Mastering Defaults.
If you select this option, you can also select an audio format, a sample rate, and a bit depth.
Audio Format Defines the audio format. Select the format that is supported by the application into which
you will be importing the QuickTime reference movie.
• WAVE: Compatible with Windows applications.
• AIFF-C: Compatible with many third-party applications, including Pro Tools.
Select AIFF-C for all audio media files you plan to transfer directly to a Pro Tools or an
AudioVision® system for sweetening.
Sample Rate Defines the audio sample rate for the export, either Project Rate, 32 kHz, 44.1 kHz, or 48
kHz.
You can use this option if your sequence has a mix of sample rates and you need to create a
single sample rate. (You set the project rate in the Audio Project Settings dialog box. For
more information, see “Audio Project Settings for Capture” on page 193.) You can also use
this option to change the sample rate if the application to which you are exporting does not
support the current sample rate.
Bit Depth Defines the audio bit depth for the export, either 16 bit or 24 bit.
Use Network
Media References
When this option is selected, the exported movie uses the machine and drive share name of
the media drive in the QuickTime reference movie instead of a drive letter. Select this option
when the media files referenced by the movie are accessed remotely over the network. If the
media files are stored on the same drive as the QuickTime reference movie, you do not need
to select this option. When this option is deselected, you cannot select Add Shares for Media
Drives.
Option Description
Export Settings
1328
Export Settings: QuickTime Movie Export Options
Add Shares for
Media Drives
When this option is selected, your Avid editing application creates a new drive share for
referenced media files stored on unshared network drives. The drive share is hidden, so other
users do not see the shared drive when browsing your computer. You do not need to select
this option when media is stored on the same drive as the QuickTime reference movie.
Use Avid DV
Codec
Deselect this option when you are working in a cooperative environment where one or more
non-Avid systems also have access to the media. This option is selected by default. Select
this option if the non-Avid systems have the Avid DV Codec.
Color Levels Select this option to set the color to either RGB or 601/709.
Option Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
Same as Source When you select this option, your Avid editing application copies the media files directly
with no resolution change. This method is fast and creates output that uses the same
quality as your source files. This is the best method to use if you plan to process the video
on another system, using a third-party application like After Effects® or media cleaner®.
Deselect the Use Avid DV Codec suboption when you are working in a cooperative
environment where one or more non-Avid systems also have access to the media. This
option is selected by default.
nIf you export DV media from a 24p or 23.976 project using Same as Source, you
must use the Avid DV Codec to ensure the QuickTime movies retain all of the
progressive information. If you do not use the Avid DV Codec, your Avid editing
application treats movies as interlaced sources when you re-import them.
Custom When you select this option, your Avid editing application decompresses the files,
processes them, and compresses the files at the requested resolution and audio format.
This method is slower and often loses quality. Use this option only if you have to directly
export a clip or sequence in a particular file format.
Format Options This option appears when you select Custom. It opens the Movie Settings dialog box to let
you set further QuickTime options, including options for changing the codec
(compressor/decompressor) used for compression. For more information, see “Export
Settings: QuickTime Movie Settings” on page 1330.
Option Description
Export Settings
1329
Video and Audio,
Video Only,
Audio Only
Defines whether your Avid editing application exports video only, audio only, or both.
Use Video Only, for example, if you want to add effects in a third-party application or to
use only the video in a multimedia project. Use Audio Only, for example, if you want to
use or enhance audio in a third-party application or you want to use the audio in a
multimedia project.
Video Format The following options might be available, depending on your other settings:
• Width x Height: Defines the size of the clip. You can type in values or select from the
predefined values in the Fast menu. The values in the Fast menu suggest a typical use
for each size, for example, 320 x 240 (Internet video, large).
The Size to Fit suboption sizes to fit the specified width and height. The Crop/Pad
suboption instructs your Avid editing application not to scale or resize the frames. If
necessary, it adds black lines to the top and bottom of the frame to achieve the correct
size.
• Color Levels: Sets the color to either RGB or 601/709.
• File Field Order: Defines which field is the upper field during export. For 23.976p,
24p, or 25p projects, these options do not appear, and all fields are automatically
exported as progressive (still) frames.
Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1
becomes the upper field (its lines become the odd-numbered lines) in the frame.
Field 2's lines become the even-numbered lines.
Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1
becomes the lower field (its lines become the even-numbered lines) in the frame.
Field 2's lines become the odd-numbered lines.
Use the Single Field suboption if you want the output file to consist of only Field 1. In
this case, your Avid editing application resizes the single field of 243 lines for NTSC
(288 lines for PAL) to fit the frame as specified in the width and height selection.
Audio Format The following QT Audio Options are available for exporting audio:
• Mono
•Stereo
•5.1
•7.1
•Direct Out
nIf you select Direct Out as your audio format, you should select Same as Source for
your export option for media that includes surround sound audio. This allows you
to export the track assignments in your source sequence accurately.
Option Description
Export Settings
1330
Export Settings: QuickTime Movie Settings
Create Preview When this options is selected, your Avid editing application creates a preview of the
QuickTime movie.
Display Aspect
Ratio
Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you
control the display format without modifying the source file.
This option creates metadata data that is stored with the QuickTime movie. Some
applications, such as the QuickTime Player, can interpret this metadata and scale the
image at display time.
This option is useful for the Same as Source option because that option also preserves the
original format. When you select Same as Source, the selections in the Display Aspect
Ratio area are based on the resolution of the media you are exporting and the project type
(NTSC or PAL).
When you select Custom, your Avid editing application calculates the Display Aspect
Ratio selections from the values you enter for Width x Height in the Video Format tab.
Option Description
Video
Settings Opens the Standard Video Compression Settings dialog box. For more information, see “Export
Settings: QuickTime Compression Settings” on page 1331.
Filter Opens the Choose Video Filter dialog box, which lets you apply a single effect filter during an
export.
Size Opens the Export Size Settings dialog box. QuickTime lets you set a size, but Avid recommends
you set the size in the Width and Height text boxes of the Export Settings dialog box. Both
settings have the same effect, and the QuickTime size setting overrides the Avid size setting.
Sound
Settings Opens the Sound Settings dialog box, which lets you select a sound compression setting for your
export, along with other options.
Option Description
Export Settings
1331
Export Settings: QuickTime Compression Settings
The Standard Video Compression Settings dialog box provides access to a wide range of
QuickTime video codecs. The codecs available from the Compression Type list might vary
depending on your computer’s configuration and your operating system. Other options in the
dialog box vary depending on the codec you select from the Compression Type list. If you have
an Internet connection, you can get help on using the options in this dialog box from the
QuickTime web site by pressing the ? button in the bottom left corner of the dialog box.
The list of codecs includes Avid codecs, which create encapsulated media files for export of
high-resolution files that are readable within QuickTime applications. You must install the Avid
codec you use to export the file on the system running the QuickTime application for the
application to read the exported file. For more information, see “Installing or Copying the Avid
Codecs for QuickTime on Other Systems” on page 1006.
When you select an Avid codec and then click the Options button, the Codec Configuration
dialog box lets you configure further options. For Color Levels or Color Input, select the color
levels of the source media. If you are exporting from an Avid editing system, use ITU-R 601
(SD) or 709 (HD).
The following table describes the Avid codecs available in the Standard Video Compression
Settings dialog.
Prepare for
Internet
Streaming
• Fast Start: The movie can begin playing over the Internet without having to download
completely first. This method of playing movies over the Internet is referred to as progressive
download or HTTP streaming. It does not require a streaming video server.
• Fast Start - Compressed Header: This option is a better choice for progressive downloading. It
works the same as Fast Start, but compresses the header information. The header is the
portion of the file that allows the movie to start playing before the entire movie is
downloaded. Compressing the header allows it to download faster. This is important for large
movies (movies that are longer than several minutes).
• Hinted Streaming: Select this option if you are putting the exported file on a streaming video
server. The file does not stream without a hint track for each track in the movie. Hint tracks
allow the streaming video server to split the file into packets for the streaming.
A file with hinted streaming also plays as a progressive download. However, it will probably
play more slowly than a Fast Start movie because it contains additional information and is
therefore larger.
For additional options, click Track Hinter Settings to open the RTP (Real Time Protocol)
Track Settings dialog box. For more information, see your QuickTime documentation.
Option Description
Export Settings
1332
Export Settings: HDV
Codec Description
Avid 1:1x For high quality, 8-bit, lossless resolution (in which no picture information is lost). Available
for use with MXF media files. Meridien-based systems cannot use this format. Current Avid
editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling.
Avid
DNxHD™
Codec
For DNxHD encoding with 8-bit and 10-bit resolutions. Available for use with MXF media
files. Meridien-based systems cannot use this format. Current Avid editing systems, including
Avid DS, can use this format.
Avid DV For compression compatible with Avid Xpress DV and Avid NewsCutter products or with Avid
Meridien products with the DV/MPEG option.
Avid DV100
Codec
For DVCPRO HD encoding. Meridien-based systems cannot use this format. Current Avid
editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling.
Avid Meridien
Compressed
For compression compatible with Avid Meridien-based products.
Avid Meridien
Uncompressed
For 1:1 resolution used in Avid Meridien-based products.
Avid MPEG2
50 mbit
For MPEG-2 IMX 50,40,30 encoding, an interframe compression used in Sony IMX VTRs and
cameras. It uses 4:2:2 sampling.
Avid Packed
Codec
For high quality, 10-bit, lossless resolution (in which no picture information is lost). Available
for use with MXF media files. Meridien-based systems cannot use this format. Current Avid
editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling.
Avid RGB
Packed Codec
For high quality, 10-bit, lossless resolution (in which no picture information is lost). Available
for use with MXF media files. Meridien-based systems cannot use this format. Current Avid
editing systems, including Avid DS, can use this format. It uses 4:4:4 sampling.
Option Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
Video Quality Defines the video quality, either Draft, Better, or Best.
The higher the quality, the longer the time required to complete the export. Draft is fastest,
while Best takes the longest time to complete but has the best quality. If you have a slower
system, you might want to see if the Better or Draft options provide acceptable quality.
Export Settings
1333
Export Settings: DV Stream
Stream Type Defines the transport stream type:
• Transport Stream: Use this option for both video and audio, for example, when exporting
to other devices.
• Elementary Streams: Use this option for either video only or audio only.
Option Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
Format Options Opens the DV Export Settings dialog box, which lets you select the DV format, video
format, and audio format options you want.
If you select DV as the DV format, you can choose to provide locked or unlocked audio.
For compatibility with DV cameras that require unlocked audio, deselect Locked.
If you select DVCPRO as the DV format, audio is always locked and the Locked option is
grayed out. Also, the audio rate is always 48 kHz and the Audio Rate menu is grayed out.
Video and Audio,
Video Only,
Audio Only
Defines whether your Avid editing application exports video only, audio only, or both.
Use Video Only, for example, if you want to add effects in a third-party application or to
use only the video in a multimedia project. Use Audio Only, for example, if you want to
use or enhance audio in a third-party application or you want to use the audio in a
multimedia project.
Video Format • Color Levels: Sets the color to either RGB or 601/709.
• File Field Order: Defines which field is the upper field during export. For 23.976p,
24p, or 25p projects, these options do not appear, and all fields are automatically
exported as progressive (still) frames.
Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes
the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines
become the even-numbered lines.
Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1
becomes the lower field (its lines become the even-numbered lines) in the frame.
Field 2's lines become the odd-numbered lines.
Use the Single Field suboption if you want the output file to consist of only Field 1. In
this case, your Avid editing application resizes the single field of 243 lines for NTSC
(288 lines for PAL) to fit the frame as specified in the width and height selection.
Option Description
Export Settings
1334
Export Settings: AVI Through QuickTime
Export Settings: AVI Video Compression
Option Description
Use Marks,
Use Enabled
Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
Video and
Audio,
Video Only,
Audio Only
Defines whether your Avid editing application exports video only, audio only, or both.
Use Video Only, for example, if you want to add effects in a third-party application or to use
only the video in a multimedia project. Use Audio Only, for example, if you want to use or
enhance audio in a third-party application or you want to use the audio in a multimedia project.
Video Format • Color Levels: Sets the color to either RGB or 601/709.
• File Field Order: Defines which field is the upper field during export. For 23.976p, 24p, or
25p projects, these options do not appear, and all fields are automatically exported as
progressive (still) frames.
Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the
upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become
the even-numbered lines.
Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1 becomes
the lower field (its lines become the even-numbered lines) in the frame. Field 2's lines
become the odd-numbered lines.
Use the Single Field suboption if you want the output file to consist of only Field 1. In this
case, your Avid editing application resizes the single field of 243 lines for NTSC (288 lines
for PAL) to fit the frame as specified in the width and height selection.
Option Description
Compressor • Cinepak Codec by Radius: For export at low resolution where high quality is not an issue,
such as presentations or educational uses, or for small-screen-size playback from
CD-ROM or hard drive. This codec uses a compression algorithm optimized for
CD-ROM playback.
Click Configure to open the Cinepak for Windows 32 configuration dialog box. You can
then choose to compress to color or to black and white.
• Apple’s QuickTime Codecs include: DV - PAL, DV/DVCPRO - NTSC and DVCPRO -
PAL
Compression
Quality slider
Adjusts compression quality for certain codecs.
Export Settings
1335
Export Settings: Windows Media (Windows Only)
Windows Media Legacy Template
The following table describes options available when you select Windows Media Legacy
Template from the Windows Media menu in the Export Settings dialog box.
Existing Windows Media Custom Profile
The following table describes options available when you select Windows Media Custom Profile
from the Windows Media menu in the Export Settings dialog box.
Windows Media Video Settings
The following table describes options available when you select Windows Media from the
Windows Media menu in the Export Settings dialog box and then select a video track.
Key Frame
Every n frames
When this option is selected, your Avid editing application uses keyframes as a reference for
subsequent frames. Enter a numeric value to specify the frequency of the keyframes.
Limit Data Rate
nKB/sec
Defines a limit to the data rate for the compressed file, in kilobytes per second.
Option Description
Option Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
Version Lets you select one of the available (v8, v7, or v4) Windows Media versions.
Templates Lets you choose one of the Avid supplied Windows Media templates. For more
information, see “Exporting as Windows Media (Windows Only)” on page 1008.
Option Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
Set Lets you browse to find an existing .prx file on your system. For more information, see
“Exporting as Windows Media (Windows Only)” on page 1008.
Export Settings
1336
Option Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
Width,
Height,
FPS
Set the width, height, and frame-per-second (fps) rate of the clips for export.
Video Type Defines the video type, either Progressive or Interlaced.
Pixel Aspect Ratio When this option is selected, your Avid editing application scales the video. This lets
you control the display format without modifying the source file.
Uncompressed When this option is selected, your Avid editing application creates a high-quality export
in which no picture information is lost. This option does not compress the file and can
result in very large files.
Codec (not available
when you select
Uncompressed.)
Choose one of the following codecs:
• Windows Media MPEG-4 Video V3: This codec creates high-quality video for
streaming, download, and play. Enables playback of interlaced content on
televisions.
• ISO MPEG-4 Video V1: This codec delivers DVD (MPEG-2) quality video at lower
data rates and smaller file sizes.
• Windows Media Video V7: This codec enables Windows Media Player 7 to view
encoded video content without first having to download the latest codecs. This is the
best choice when the encoding computer cannot support the performance
requirements of the newer Windows Media Video codecs.
• Windows Media Screen V7: This codec is specially optimized for use for screen
captures and some animations.
• Windows Media Video 9 Screen: This codec is optimized for screen captures. This
codec is ideal for delivering demos or demonstrating computer use for training.
Windows Media Video 9 Screen delivers better handling of bitmap images and
screen motion, even on relatively slow CPUs.
• Windows Media Video 9: This codec offers improved quality over Windows Media
Video 8, with the highest gains seen at the higher bit rates, and provides improved
interlaced support.
• Windows Media Video V8: This codec supports a wide variety of network
bandwidths, and deinterlaces interlaced content before encoding.
• Windows Media Video 9 Advanced Profile: Use this profile to deliver either
progressive or interlaced content at data rates as low as one-third that of the MPEG-2
codec but with the same quality as MPEG-2.
Export Settings
1337
Windows Media Audio Settings
The following table describes options available when you select Windows Media from the
Windows Media menu in the Export Settings dialog box and then select an audio track.
Passes (not available
when you select
Uncompressed)
Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content
passes through the encoder once, and compression is applied as the content is
encountered. With 2 Pass encoding, the content is analyzed during the first pass, and
then encoded in the second pass based on the data gathered in the first pass. 2 Pass
encoding might result in better quality but takes longer.
VBR (not available
when you select
Uncompressed)
Variable Bit Rate. This option defines the quality of the video profile setting.
Quality Choose Constrained or Unconstrained. Choose Constrained when playing either locally
or on a device that has a constrained reading speed, such as a CD or DVD player.
Bit Rate Defines the size of the data stream in megabits per second.
Buffer Size Defines the number of seconds that you want content to be stored before encoding
begins. A larger buffer results in better quality content, but requires more memory.
When you encode content, the encoding process is delayed by the amount of time
specified in the buffer. The content is also delayed by the same amount of time when
streaming to a player.
Quality Values for this option range from 0 to 100, with 100 being the highest quality.
Keyframe Defines the number of keyframes used as part of the encoding sequence. The value is the
number of keyframes used for every second of video. A lower number results in higher
quality, but larger files.
Language Select from the list of available languages.
Option Description
Option Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
Uncompressed When this option is selected, your Avid editing application creates a high-quality export
in which no picture information is lost. This option does not compress the file and can
result in very large files.
Export Settings
1338
Codec (not available
when you select
Uncompressed.)
Select one of the following codecs:
• Windows Media Audio 9.1: This codec provides improvement in compression over
the Windows Media 8 Audio codec and supports VBR audio encoding.
• ACELP.net: In some instances, the Sipro Labs ACELP codec appears in the list of
codecs, for example, if you import a profile that was created by using Windows
Media Encoder version 7.1. If this occurs, Avid recommends that you use the
Windows Media Audio 9 Voice codec instead.
• Windows Media Audio 9 Voice: This codec provides superior quality for audio
content with a voice emphasis and provides for mixed-mode encoding of voice and
music. It is intended for playback at bit rates at 20 Kbps or lower.
• Windows Media Audio 9.1 Professional: This codec supports a full surround-sound
experience and dynamic range control. It is intended for data rates of 128 to 768
Kbps.
• Windows Media Audio 9.1 Lossless: This codec provides lossless encoding of audio
content. It supports multichannel audio encoding and dynamic range control.
Passes (not available
when you select
Uncompressed)
Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content
passes through the encoder once, and compression is applied as the content is
encountered. With 2 Pass encoding, the content is analyzed during the first pass, and
then encoded in the second pass based on the data gathered in the first pass. 2 Pass
encoding might result in better quality but takes longer.
VBR (not available
when you select
Uncompressed)
Variable Bit Rate. When you select this option, the formats available are VBR formats. If
you deselect this option, the formats available are CBR formats.
Format (These
options change when
you select VBR.)
You can encode audio and video content at either a constant bit rate (CBR) or a variable
bit rate (VBR). Use CBR if you plan to stream the content. Use VBR when you plan to
distribute the content for downloading and playing either locally or on a device that has a
constrained reading speed such as a CD or DVD player. Choose from one of the format
options.
Buffer Size Defines the number of seconds that you want content to be stored before encoding
begins. A larger buffer results in better quality content, but requires more memory. When
you encode content, the encoding process is delayed by the amount of time specified in
the buffer. The content is also delayed by the same amount of time when streaming to a
player.
Language Select from the list of available languages.
Option Description
Export Settings
1339
Export Settings: Audio
Export Settings: Graphic
The following table describes options available in Export Settings: Graphic.
Option Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
Mono
Stereo
Use this option to export audio tracks in either mono or stereo.
Sample Rate Defines an audio sample rate, either Project rate, 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, or
96 kHz.
You can use this option if your sequence has a mix of sample rates and you need to create
a single sample rate. (You set the project rate in the Audio Project Settings dialog box. For
more information, see “Audio Project Settings for Capture” on page 193.) You can also use
this option to change the sample rate if the application to which you are exporting does not
support the current sample rate.
Bit Depth Defines the bit depth, either Project bit depth, 16 bit, or 24 bit.
Audio Format Defines the audio format:
• Project: When this option is selected, your Avid editing application exports the audio
format that you selected as the project default in the Audio Project Settings: Main tab.
• WAVE: Select this option to export audio tracks in the WAVE format (.wav file name
extension). Nearly all Windows applications that support sound use WAVE files.
QuickTime also supports the WAVE format.
• AIFF-C: Select this option to export audio tracks in the industry-standard AIFF-C
format, which is compatible with many third-party sound editing and multimedia
applications.
• SDII (Macintosh only): Select this option to export audio tracks in the Sound Designer
II format, which is compatible with Pro Tools and other third-party applications.
nIf you export with the Project option selected and PCM (MXF) selected in the Audio
Project Settings: Main tab, a WAVE file is exported.
Option Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
Export Settings
1340
Export Settings: Graphic Format
Graphic Format Defines a graphic format for export. The Format Options button lets you set export
parameters. For more information on available graphic formats, see “Export Settings:
Graphic Format” on page 1340.
Width x Height Defines the size of the clip. Click the Fast Menu button, and select from a list of standard
dimensions.
The Size to Fit suboption sizes to fit the specified width and height. The Crop/Pad
suboption instructs your Avid editing application not to scale or resize the frames. If
necessary, it adds black lines to the top and bottom of the frame to achieve the correct size.
Color Levels This option lets you set color to either RGB or 601/709.
Sequential Files When this option is selected, your Avid editing application produces a series of still
images, numbered sequentially. The fps rate of the source file determines the number of
still image files that are produced.
Select Markers only to produce images only for those frames that contain markers.
File Field Order Defines which field is the upper field during export. For 23.976p, 24p, or 25p projects,
these options do not appear, and all fields are automatically exported as progressive (still)
frames.
• Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes
the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines
become the even-numbered lines.
• Use the Even (Lower Field First) suboption if you are in an NTSC project. Field 1
becomes the lower field (its lines become the even-numbered lines) in the frame.
Field 2's lines become the odd-numbered lines.
• Use the Single Field suboption if you want the output file to consist of only Field 1. In
this case, your Avid editing application resizes the single field of 243 lines for NTSC
(288 lines for PAL) to fit the frame as specified in the width and height selection.
Format Options and Other Notes (if applicable)
Alias™
BMP Windows: Creates files that are compatible with systems running the Windows operating system.
OS/2: Creates files that are compatible with systems running the IBM® OS/2®operating system.
Chyron®
Option Description
Export Settings
1341
Cineon™Blackpoint (Windows) or Black Point (Macintosh): Lets you adjust a film exposure value that
corresponds to filming a 2% black card. Values can be between 0 and 1022. The default value of 0
is adequate for most uses.
Whitepoint (Windows) or White Point (Macintosh): Lets you adjust a film exposure value that
corresponds to filming a 90% white card. Values can be between 1 and 1023. If the files came from
and will be transferred back to a Cineon™ system, use a white point of 1023. The default value of
685 is appropriate if the final destination is not a Cineon system — for example, a video display.
Gamma: Defines an adjustment to correct for any gamma inconsistencies in the output display.
Values can range from 0.01 to 100.0. The default value is 1.0. Use a value of 1.0 for images to
display on a PC monitor, 0.59 for a Silicon Graphics® or a Macintosh monitor, and 0.45 for ITU-R
601 (CCIR 601) video.
ERIMovie Pack 24 bits: Controls whether the image data is packed into 24-bit color depth (compressed) or is
saved as 32-bit (raw) color depth.
Framestore Your Avid editing application supports both compressed and uncompressed Framestore formats.
IFF
JPEG Quality: Controls the output file size and quality. Higher values produce better images but larger
file sizes, while lower values reduce the image quality but result in smaller file sizes.
Baseline: Selected by default. To see if this option is required, see the documentation for your
JPEG-supported applications.
Progressive: Lets you save progressive JPEG files, which divide the file into a series of scans of the
image that increase in quality. Each scan progressively improves the recognizability of the image.
Progressive JPEG files are only recognized by applications with progressive JPEG support, such as
some Web browsers.
OMF NTSC/PAL: Appears when you select a compression ratio that lets you select either NTSC or PAL.
When you select an option, the system displays the required image size and the default frame rate.
Compression: Controls the compression ratio and, therefore, the size of the file. You can choose
from all the compression ratio options used by your Avid editing application when recapturing. For
more information on Avid compression ratios, see “Resolutions and Storage Requirements” on
page 1402.
PCX™
Photoshop Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The
Automatic suboption saves the image in the same depth as the original loaded image.
Compression: Controls the size of the file on disk. Disabling this option creates larger files on disk.
PICS This option is available on Macintosh only. It creates a Macintosh QuickDraw picture encapsulated
in IFF format.
Format Options and Other Notes (if applicable)
Export Settings
1342
PICT Create MacBinary header: This option, available on Windows only, creates a file with a MacBinary
header.
MacBinary is a file format for representing all the information in a Macintosh file in one binary
file. It is a compact file format, useful for storing a Macintosh file on a non-Macintosh system for
later retrieval. Use a file expander utility to decode a MacBinary file once it is back on a Macintosh
system.
Pixar®
PNG Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The
Automatic suboption saves the image in the same depth as the original loaded image.
Interlaced: lets you save the file for progressive display, similar to progressive JPEG files. As the
file is transmitted, the recognizability of the image improves. Interlaced PNG files are only
recognized by applications with interlaced PNG support, such as some Web browsers.
QRT
Rendition
SGI®The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves
the image in the same depth as the original loaded image.
Softimage
SunRaster™
TARGA®Color Depth: The 5-bit option saves data in Targa 16 format. The 8-bit option saves data in Targa
24/32 format.
Compression: Controls the size of the file on disk. Disabling compression creates larger files on
disk.
TIFF Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The
Automatic suboption saves the image in the same depth as the original loaded image.
Compression: Controls the size of the file on disk. With None, i RLE (run length encoded)
produces relatively small and fairly portable files. JPEG
• None: Image data is not compressed and can produce large file sizes.
• RLE (run length encoded): Produces relatively small and portable files.
• JPEG: Produces files that can vary in size, depending on the quality you set using the JPEG
Quality slider. The higher the quality setting, the larger the file size.
JPEG Quality: Adjusts the image quality of the JPEG file on a sliding scale from 0 to 100. The
higher the value, the higher the image quality of the JPEG file.
Format Options and Other Notes (if applicable)
Export Settings
1343
Export Settings: P2
To open the P2 Export Setting dialog box, select Output > Export to Device > P2. For more
information, see “Exporting Your Clip or Sequence to a P2 Card” on page 1014.
Export Settings: XDCAM
To open the XDCAM Export Setting dialog box, select Output > Export to Device > XDCAM.
For more information, see “Exporting Media to XDCAM Devices” on page 1010.
Wavefront®Format Type: Defines one of two output file formats supported by Wavefront (either RLA or RLB).
Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The
Automatic suboption saves the image in the same depth as the original loaded image.
Gamma: Defines an adjustment to correct for gamma differences between Macintosh and Windows
output display. This option is intended for cross-platform applications that require adjustment. To
see if you need to adjust this value, check the documentation for your Wavefront application.
Usually, you can use the default setting.
XWindows
YUV Format: Controls the video format of saved images. If set to NTSC, NTSC video format (720 x
486) is used. If set to PAL, PAL video format (720 x 576) is used. Images are either padded with
black or cropped.
Smooth YUV: Enhances the fidelity of images saved in YUV color space (if originating in RGB
color space).
Format Options and Other Notes (if applicable)
Option Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
P2 Device Defines the connected P2 device to which you want to export.
Video Format Defines a video format. You can upconvert or downconvert.
Bit Depth Defines the audio bit depth, either 16 bit or 24 bit. Panasonic supports 16-bit audio at this
time.
Option Description
Use Marks, Use
Enabled Tracks
See “Use Marks and Use Enabled Tracks Options” on page 1322.
Film and 24P Settings
1344
Film and 24P Settings
Target XDCAM
Disk
Defines the connected XDCAM disk to which you want to export.
Video Format Defines a video format. You can upconvert or downconvert.
Bit Depth Defines the audio bit depth, either 16 bit or 24 bit.
Option Description
Option Description
Edit Play Rate Defines the edit play rate for your project. Options differ for PAL and NTSC projects.
Master Default
Film Type
Defines the film type. Select an option to meet your production lab standards and the
film type for your master.
Master Default
Edge Type
Defines the edge type for the master display in bins and cut lists.
Ink Number Default
Film Type
Defines the ink number film type. Select an option to meet your production lab standards
and film type.
Ink Number Default
Edge Type
Defines the edge type for the ink number display in bins and cut lists.
Auxiliary Ink Default
Film Type
Defines the film type for a second ink number (this is useful for tracking additional
information for different film gauges). The choices are the same as for Ink Number
Default Film Type.
Auxiliary Ink Default
Edge Type
Defines the format for the auxiliary ink number edge type. The choices are the same as
for Ink Number Default Edge Type.
Video Pulldown
Cadence (NTSC only)
Defines how your Avid editing application handles pulldown:
• Video Rate, no pulldown: For 24-fps footage transferred MOS (without sound) to 30
fps by speeding up the film and using audio brought into your Avid system
separately at 100% of the actual speed.
• Standard 2:3:2:3 pulldown: For 24-fps footage transferred to 30 fps using Standard
Pulldown with the audio synchronized to the picture.
• Advanced 2:3:3:2 pulldown: For 24-fps footage recorded to 60 fields (NTSC) using
Advanced Pulldown with the audio synchronized to the picture.
Full Screen Playback Settings
1345
Full Screen Playback Settings
For information on using Full Screen Play, see “Playing Video to a Full-Screen Monitor” on
page 492.
Audio Transfer Rate
(PAL only)
Defines the transfer rate for audio in 24p PAL film projects. The choices are:
• Film Rate (100%): For 24-fps film footage transferred MOS to 25 fps by speeding up
film with the audio coming in separately at 100% of the actual speed.
• Video Rate (100%+): For 24-fps film footage transferred to 25 fps by speeding up
the film with the audio synchronized to the video picture.
nIt is important to keep the audio transfer rate constant for the project.
Audio Source Tape
TC Rate (NTSC only)
Defines the source audio rate, either 30fps or 29.97 fps.
Set Pulldown Phase
of Timecode
(NTSC only)
Defines a default pulldown phase for a 23.976p or 24p NTSC project.
Option Description
Option Description
Scaling Determines how images are scaled for full-screen playback:
• Project: Uses the actual project type and aspect ratio to determine the scaling.
• 4x3 (Standard): If you are editing an HD project that contains a lot of SD material that
is stretched to fit the 16x9 aspect ratio, you might want to select this scaling option,
letting you restore its original aspect ratio.
• 16x9 (Widescreen): If you are in a 4x3 SD project, working with actual wide-screen
material (such as 16x9 material captured by a DV Camcorder), you can select this
option to display the material as 16x9 wide-screen.
• Raw Pixel: This option lets you see the frame in the full screen window, pixel for
pixel, with no scaling. If the image is larger, it is scaled to fit the screen. This is only
useful when viewing SD in which pixels are non-square. Raw Pixel Aspect ratio is
slightly wider than 4x3.
Full Screen Playback Settings
1346
S3D View Mix: Displays a 50/50 blend of both the left and right eye images.
Difference: Displays a blend of both left and right eyes, and highlights the difference
between the two. Embossed areas show the differences, while gray pixels represent no
differences.
Frame Compatible: Displays both the left and right eye images as dictated by the project
settings (side/side or over/under).
Mono: Displays only one of the stereoscopic images.
• Left: Displays only the left eye image.
• Right: Displays only the right eye image.
• Leading eye: Displays only the image set as the leading eye on the stereoscopic clip.
Anaglyph: Displays a blended image with pixels for each eye corresponding to one of the
following color options:
• Red-Cyan: Uses red for the left eye and cyan for the right.
• Green-Magenta: Uses green for the left eye and magenta for the right.
• Amber-Blue: Uses amber for the left eye and blue for the right.
B/W-Anaglyph: Displays a monochrome image with color highlights only where there
are differences in the left and right eye. The pixels in each eye image can be mapped to
the following color options:
• B/W Red-Cyan: Shows differences in red and cyan for the left and right eyes
respectively.
• B/W Green-Magenta: Shows differences in green and magenta for the left and right
eyes respectively.
Checkerboard: When this option is selected, your Avid editing application displays the
left and the right images simultaneously for stereoscopic viewing. The term
“checkerboard” refers to the way in which blocks of the left and right images are
displayed for stereoscopic viewing. Blocks are approximately n x n pixels in size.
Compare: Compares the left and right eye images using a diagonal split screen. You can
set the comparison mode to 25, 50, or 75%.
Option Description
Full Screen Playback Settings
1347
S3D Overlay Displays the disparity guides on the viewer so that you can see the depth budget limits
when adjusting the separation between your stereo 3D images. The guides for Parallax are
based on the project’s S3D settings (set from the Project window, Settings tab).
Parallax Near: Displays green guides that show the limits for objects that will appear in
front of the screen plane.
Parallax Far: Displays blue guides that show the limits for objects that will appear in front
of the screen plane.
Parallax Near/Far: Displays both guides (green and blue) that show the limits for objects
that will appear in front and behind the screen plane.
Full Screen This option is selected by default.
When this option is deselected, the video displays with as little scaling as possible. Your
Avid editing application tries to display the image at its native height, and then matches
the width to the height using the Aspect Ratio selection from above.
Deselecting Full Screen and working in Draft quality (green/yellow) mode or Best
Performance (yellow/yellow) mode can also improve performance with some older video
cards that have limited pixel shader processing power.
Display Both
Fields
Select this option when your Avid editing application is connected to an interlaced
display.
If a progressive display (for example, an LCD monitor) is connected to the graphic card's
video output and you select this option, toothcombing appears in interlaced images.
Flip on
Vertical Sync
If your graphics board can render the frame of video before the vertical retrace, enabling
this option removes the tearing seen on the Full Screen Play monitor. (Vertical retrace is
the action within the monitor that turns the monitor beam off when moving it from the
lower right corner of the monitor to the upper left.) If the board is unable to render the
frame, you might see a stutter. The size of the video frame, the throughput of the board,
and the speed of the bus that the graphics board runs affect the ability of the board to
complete the render in time. This option is deselected by default.
Expand Luminance
For Computer
Displays
When this option is selected, the video image is represented more accurately when using
Full Screen Play on a standard computer monitor. If you are driving a studio quality
monitor through either component, DVI or HDMI inputs you might want to run with this
option deselected. This option is deselected by default.
Current Monitor
Position
Defines which monitor displays the full screen playback. Drag the entire Full Screen
Playback Settings dialog box to the desired monitor, and then click Select Monitor.
(Macintosh only) If two or more graphics cards are installed, choose a monitor that is
connected to the primary graphics adapter.
Option Description
General Settings
1348
General Settings
Option Description
Project Format Displays the format currently selected for the project.
Temporary File
Directory
When you use drag and drop Export or an export that creates an intermediate movie file,
your Avid editing application must store the intermediate file, which can be as large as
the final export. By default, the Temporary File Directory is located in the same directory
as your Avid editing application.
To improve efficiency or to avoid DISK_FULL errors when exporting, you can specify a
different directory for these temporary files. The ideal setting for this field is to type in a
directory on the drive to which you are exporting, or simply one with plenty of free
space.
Default Starting TC Defines the timecode value you want your Avid editing application to use as the default
starting timecode for each new sequence. For more information, see “Understanding
Timecode” on page 178.
Default Starting EC Defines the edgecode value you want your Avid editing application to use as the default
starting edgecode for each new sequence.
Effect Apertures Controls the number of horizontal lines of an image that your Avid editing application
uses to create an effect.
• DV25: Select this option when you are using DV media exclusively. For more
information, see “Setting Effect Aperture Options” in the Help.
• ITU 601 (default): Select this option when you are using uncompressed media or
mixed resolutions.
NTSC Has Setup This option allows systems using NTSC-EIAJ to use the correct color mapping.
NTSC-EIAJ users should not select this option. All other users should select this option.
Use Windows
compatible file names
(Macintosh only)
Prevents you from using the characters /\:*?”<>| and adding leading spaces, trailing
spaces, or a trailing period in bin, project, or user names. These characters are not
allowed in Windows file names. This option is useful for moving bins and projects from
Macintosh to Windows platforms.
Allow file names to
exceed 27 characters
(Macintosh only)
Lets you override the Windows file name limit of 27 characters (not including the four
characters reserved for the file type extension). Select this option if you do not plan to
move your bins or projects to a Windows system, and if you want to use file names
longer than 27 characters.
Generate LTC On
Playback
Depending on your Avid input/output hardware, this option lets you output LTC
timecode. For more information, see “Using LTC Timecode for Output” on page 1020.
Grid Settings
1349
Grid Settings
Grid Settings: Coordinates Tab
Option Description
Scale Mode Lets you work with a grid that indicates boundaries for a format other than the one in which you
are working. This is useful when you are creating graphics (like titles) that must remain safe in
other formats.
Select one of the following options depending on the current and target formats you need. When
you do not specifically need a grid that represents another format, use the Normal option, which is
the default.
• Normal
• 4:3 Inside 16:9 Monitor
• 4:3 Outside 16:9 Monitor
• 1.66 Inside 4:3
• 1.77 Inside 4:3
• 1.85 Inside 4:3
Increments Lets you control grid increments.
• Fields: Sets the number of tick marks along the grid axes as well as the number of visible grid
points. The default value is 12.
• Sub Fields: Sets the number of divisions between visible grid points for the snap-to-grid
feature. Setting Sub Fields to 1 snaps objects to visible points only. A value of 2 provides
1/2-field jumps. A value of 4 (the default value) provides 1/4-field jumps, and so on. Setting
Sub Fields to 0 turns off the snap-to-grid feature.
Source Scan
Size
For film projects, where an optical house scans film for the addition of visual effects. The default
values are 720 x 486 pixels.
Source Grid
Adjustments
Lets you shrink or offset the grid.
• Hor. Offset and Vert. Offset: These options move the grid on the image either horizontally or
vertically, and are intended mainly for film projects.
• Inset: This option shrinks the grid proportionally.
Grid Settings
1350
Grid Settings: Display Tab
Option Description
Type Selects a different grid for each standard film type. For video projects, use the Square grid
type. The grid for the Academy option includes a safety margin on the left that is used for
adding the optical sound track.
The following options are available: Square, Standard Film, Academy, Super 35,
Anamorphic.
Color Defines a color for the grid axes and the grid points.
Show Safe Title Displays the safe title area. Create video titles within this area to ensure that they are
viewable on a regular television screen.
Show Safe Action Displays the safe action area for video display. This box is self-adjusting for different
project formats.
Show 14x9 Zone
Show 1.66 Aspect
Show 1.85 Aspect
Show 1.77 Aspect
Select one or more of these options to display the grid you want.
Show Axes Displays the grid axes.
Show Tick Marks Shows tick marks along the axes. Use the Fields option to set the number of tick marks.
Show Thirds Divides the screen into three sections. This is especially useful if you are creating titles for
the lower third of the screen.
Show Points Shows the grid points. Use the Fields option to set the number of grid points.
Show Position Info Displays the position coordinates of any point in the Effect Preview or Record monitor.
Your Avid editing application uses compass coordinates and X, Y coordinates. For
compass coordinates, (0, 0) is the center of the axes. For X, Y coordinates, (0, 0) is the top
left corner of the monitor. X values increase to the right, and Y values increase as you
move down. For more information, see “Displaying Position Coordinates” in the Help.
Import Settings
1351
Import Settings
Import Settings: Image Tab
Option Description
Image Size
Adjustment
Controls the dimensions of imported images. The following options are available:
• Image sized for current format: Select this option if the image is properly sized and formatted
for the current project format, or to maintain field data when you import two-field media that
follows exact NTSC or PAL dimensions. Your Avid editing application converts the existing
pixel dimensions, if necessary, so that the image fills the screen. HD projects use the ITU-R
709 color space instead of ITU-R 601. This is the default option.
If the aspect ratio of the original frames does not match the aspect ratio your Avid editing
application is using, the imported frames might appear distorted.
For best full-screen resolution in SD projects of files created in a square-pixel environment,
use 648 x 486 (NTSC), 648 x 480 (NTSC DV) or 768 x 576 (PAL). To create a single
resolution for both NTSC and PAL, use 720 x 540.
• Crop/Pad for DV scan line difference: Select this option to compensate for the six missing
scan lines in NTSC DV. If you select a 486-line resolution and are importing a 720x480
graphic or animation, your Avid editing application pads the frame out by six lines. If, on the
other hand, you select the DV25 resolution and are importing a full-frame 720x486 graphic
or movie, your Avid editing application crops the top four and bottom two scan lines out of
the image.
• Do not resize smaller images: Select this option to import graphic files that have a smaller
size than the full-raster SD or HD frame. You typically use this option for either temporary
web graphics (in either SD or HD) or to bring SD-formatted graphics into an HD project
without blowing them up and losing quality.
• Resize image to fit format raster: Select this option to resize both smaller and larger images
to fit the full-raster SD or HD frame. Your Avid editing application maintains the file’s aspect
ratio.
Import Settings
1352
Field
Ordering in
File
Controls the field ordering (sometimes referred to as field dominance) of the media you are
importing. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are
automatically imported as progressive (still) frames.
When the field ordering (or spatial field position) of the imported media matches the field
ordering of the project format, no special processing is required. For more information, see
“Field Ordering in Graphic Imports and Exports” on page 1399.
This option does not apply to OMFI imports when the import resolution matches the OMFI file.
The following options are available:
• Ordered for current format: Select this option when the file you are importing is correctly
field ordered for the video format being used (for example, Even or lower ordered for NTSC,
Odd or upper ordered for 1080i HD). This is the default option.
• Odd (Upper Field First) ordered: Select this option if the file is odd ordered and you are
importing it into an even ordered format, for example, when you are importing PAL DV into
PAL.
• Even (Lower Field First) ordered: Select this option if the file is even ordered and you are
importing it into an odd ordered format., for example, when you are importing NTSC into
1080i HD.
File Pixel to
Video
Mapping
Controls how your Avid editing application handles color in the imported images. The following
options are available:
• Computer RGB (0–255): Select this option if the file you are importing uses RGB graphics
levels. Most computer-generated graphics use RGB graphics levels. The RGB color values
are remapped to ITU-R 601 (formerly CCIR 601) or ITU-R 709 video color values
appropriate for your Avid editing application.
• Computer RGB, dither image colors: Select this option if the file you are importing uses
complex color effects, such as a gradation, and you are importing at a high resolution (2:1).
Do not use this option to reimport an image that you have already imported with dithering.
• 601 SD or 709 HD (16–235): Select this option if the file you are importing uses video levels
based on the ITU-R 601 (formerly CCIR 601) or ITU-R 709 (HD) standard. These graphics
include Avid color bars or images that include superblack (zero black) for keying purposes.
Option Description
Import Settings
1353
Alpha
Channel
Controls how your Avid editing application handles the alpha channel in imported images. The
following options are available:
• Invert on import (white = opaque): Select this option to reverse the black and white elements
of the alpha channel if they differ from the matte key requirements of your Avid editing
application. Avid applications use a white background, a black foreground, and a gray
transparency blend between the two.
• Do not invert (black = opaque): Select this option to import the image, using the existing
alpha channel information.
• Ignore: Select this option to import an image that contains alpha channel transparency
information as one opaque graphic. The imported graphic appears as a single master clip in
the bin.
nIf an image contains an embedded alpha channel but your Avid editing application does
not support alpha channel import for the file type, select this option to import the image
successfully. For information on alpha channel support, see “Import Specifications for
Supported Graphics File Formats” on page 1386.
Dilate Fill This option bleeds the fill just a bit along the edges where transparent alpha meets
non-transparent alpha.
It is useful when importing graphics files containing alpha that have abrupt transitions between
transparent and opaque. It can help prevent black/gray pixels from seeping into the fill.
Frame Import
Duration
Duration n
seconds
Defines the duration of the single frame your Avid editing application creates from the import.
The default is 10 seconds. This option does not apply to importing sequential image files because
each file represents one frame of the clip, so the total number of files determines the total
duration.
Importing an image with alpha channel creates a matte key effect as a single frame, with no
associated media file.
Importing as a single frame takes less time and requires less storage than importing as a media
file. However, a single frame has limited real-time playback capabilities, particularly at high
resolutions, because your Avid editing application loads the frame into memory and handles it in
real time, rather than playing it back from a disk.
Autodetect
Sequentially
Numbered
Files
When this option is selected, your Avid editing application recognizes that a sequence of
connected files is present and automatically imports the whole sequence.
When this option is deselected, your Avid editing application does not automatically import a
whole sequence of files that have sequential extensions. You can then select any single file for
import.
You can import sequential files for any of the supported still-image formats. For information on
preparing a sequence of image files, see “Specifications for Animation Files” on page 1391.
Option Description
Import Settings
1354
Import Settings: OMFI/AAF Tab
Import Settings: Shot Log Tab
Option Description
Resolution
Use the source file’s resolution. When this option is selected, your Avid editing application maintains the
source file’s resolution. Your Avid editing application disregards the
resolution setting in the Select Files to Import dialog box as well as the
resolution set in the Import tab of the Media Creation dialog box.
Use the current import resolution. When this option is selected, your Avid editing application disregards the
source file resolution and uses the current import resolution setting.
Ask me to set the resolution for
each file that is different from the
current import resolution setting.
When this option is selected, your Avid editing application displays a query
about resolution selection for each imported file when the resolution of the
source file is different from the current import resolution setting.
Option Description
Maintain events as logged. When this option is selected, your Avid editing application maintains all events as
originally logged.
Combine events based on
scene and automatically
create subclips.
When this option is selected, your Avid editing application combines all the events
for a scene into a single master clip and then links the master clip to subclips that
represent the original events for that scene. To use this option, you must have scene
numbers logged in a scene column in the bin.
Combine events based on
camera roll and
automatically create
subclips.
When this option is selected, your Avid editing application combines all the events
from a camera roll into a single master clip and then links the master clip to
subclips that represent the original events for that camera roll. To use this option,
you must have camera roll numbers logged in a camera roll column in the bin for a
film project.
Merge events with known
sources and automatically
create subclips.
When this option is selected, your Avid editing application creates subclips for
events that are merged or relinked to their source clips upon import. Use this option
if you have already entered master clips in a bin for each camera roll or master
scene, and have subsequently logged all the events related to those clips for import.
nYou must select the clips that you want to merge before selecting this option.
Merge events with known
master clips.
When this option is selected, your Avid editing application merges information in
the shot log onto selected master clips based on the matching tape name. Use this
option if you have already logged (or captured) master clips in a bin for each take.
nYou must select the clips that you want to merge before selecting this option.
Import Settings
1355
Import Settings: Audio Tab
Option Description
Multichannel Audio Allows you to map source audio channels to multichannel or mono tracks in your
imported clips. Click Edit to open the Set Multichannel Audio dialog box and specify
mono or audio tracks for a maximum of 16 audio channels. For more information, see
“Importing with Multichannel Audio” on page 285.
Convert source sample
rate to project sample
rate
Controls sample rate conversion during audio import.
When this option is selected, your Avid editing application converts incoming media to
the sample rate of the current project. This option is selected by default.
When this option is deselected, your Avid editing application imports audio media at the
source sample rate. If your Avid editing application does not support the source sample
rate, it autoconverts the audio media to the current project sample rate.
If you select this option, the “Do not convert sources with pullup or pulldown rates”
option is available. Select this option to skip the conversion of incoming media marked
with pullup or pulldown sample rates to the sample rate of the current project. The
length and pitch of the imported files are changed by plus or minus .1%. Deselect this
option to convert audio media with pullup or pulldown source sample rates to the project
sample rate. Length and duration do not change for the imported audio files. This option
is selected by default.
For more information, see “Sample Rate Conversion and Audio Import” on page 288.
Convert source bit
depth to project bit
depth
Controls bit depth conversion during audio import.
When this option is selected, your Avid editing application converts the incoming media
to the bit depth of the current project (deselected by default).
When this option is deselected, your Avid editing application imports audio media at the
source bit depth. If your Avid editing application does not support the source bit depth,
it autoconverts the audio media to the current project bit depth.
Apply attenuation/gain
effect on import
When this option is selected, your Avid editing application applies attenuation/ gain
effects made to clips prior to import. If you apply gain from the Clip menu after you
have adjusted the gain before import, the pre-import gain is ignored. For example, if you
apply -6 dB before import, and then apply another -6 dB to the clip, the clip remains at
-6 db and not -12 db.
Select the CD only option if you only want to apply attenuation/gain to all of the music
files on a CD.
Automatically center
pan monophonic clips
When this option is selected, your Avid editing application adds a center pan effect to all
monophonic clips on import.
Import Settings
1356
Import Settings: XDCAM Tab
Autodetect Broadcast
Wave Monophonic
Groups
When this option is selected, your Avid editing application imports multichannel,
monophonic BWF files as a single master clip. This lets you import an eight-track
recording, for example, as an eight-track master clip with sequential file names based on
the track order (filename_1.wav is associated with track A1, filename_2.wav is
associated with track A2).
Option Description
Option Description
Force import of both
Proxy & High-resolution
When this option is selected, your Avid editing application imports both proxy and
high-resolution versions of the selected file or files. When this option is deselected,
your Avid editing application imports only the selected files (proxy or
high-resolution). Your Avid editing application imports proxy files first.
Only import clips with
Good Shot Flag
When this option is selected, your Avid editing application restricts XDCAM
imports to only those clips described with the OK or KP (keep) flag. You can flag
clips with these and other descriptive values in the Sony proxy browser software.
Batch import
High-resolution Video
When this option is selected, your Avid editing application uses the Batch Import
function to import high-resolution media from the XDCAM device and
automatically conform it with the low-resolution proxy media.
Type the number of frames you want to use as handles for batch imported clips in
the Handle Length: nn Frames text box. Handles refer to material outside the IN and
OUT points that you can use for dissolves and trims with the new, shorter master
clips. The default is 30.
Automatically import
Proxies when disk is
inserted
When this option is selected, your Avid editing application imports all proxy media
stored on the XDCAM disc when you insert the disc in the XDCAM device.
Deselect this option if you want to import only selected media files.
Import Essence Marks as
Markers
When this option is selected, your Avid editing application imports XDCAM
Essence Marks as markers that you can display in the Source/Record monitor or in
the Markers Window.
Convert Proxy Audio to
Project Rate during Import
When this option is selected, your Avid editing application converts the sample rate
for proxy media (8 kHz) to the project rate when you import the media. This option
is selected by default.
Import Audio Channels Defines the maximum number of audio channels to import: 2, 4, 6, or 8. For
example, if a file has 8 channels of audio, you can select 8 to import all 8 channels
or you can select 2 to import only the first 2 channels of audio.
Interface Settings
1357
Interface Settings
Option Description
Interface Brightness Controls the brightness of the user interface.
Preview Displays a preview of the foreground color as you move the Interface Brightness
slider.
Highlight Color Lets you select the color of button highlighting from available presets.
Default Timeline V Tracks Selecting this option sets the color of all Timeline video tracks to the default. If
you change the track color for a video track, this option changes to deselected.
Default Timeline A Tracks Selecting this option sets the color of all Timeline audio tracks to the default. If
you change the track color for an audio track, this option changes to deselected.
Default Timeline TC Tracks Selecting this option sets the color of the Timeline timecode track to the default. If
you change the track color for the timecode track, this option changes to
deselected.
Allow Custom Bin
Backgrounds
When you select this option, you can set custom background colors for bins.
Show Labels in Tool Palette When this option is selected, your Avid editing application displays text labels
with the icons on the Tool palette. This option is selected by default.
Show ToolTips When this option is selected, your application displays labels for buttons and icons
when you position the mouse pointer over them. This option is selected by default.
You can also turn ToolTips on and off from the Help menu.
Delay n seconds before
showing
Controls the length of the delay before tooltip labels display. This lets you move
the mouse pointer across the interface without displaying the labels on items
between the starting point and the destination of the mouse pointer.
Interplay Folder, Interplay Server, and Interplay User Settings
1358
Interplay Folder, Interplay Server, and Interplay User
Settings
You need to configure your Avid editing application before you can interact with the asset
manager. For more information, see the Avid Interplay Installation Guide.
Interplay Folder Settings
Windows Standard Alt Key
Behavior (Windows only)
Switches between standard Windows and Avid application Alt key behavior.
When this option is selected, pressing and holding the Alt key together with
another key works as a keyboard shortcut for certain Windows actions (for
example, opening menus).
When this option is deselected, pressing and releasing the Alt key and then
pressing another key works as the Windows keyboard shortcut. Pressing and
holding the Alt key together with another key works as a keyboard shortcut for
certain Avid functions. This is the default option.
For more information on Windows shortcuts, see the Windows documentation. For
more information on Avid shortcuts, select Help > Shortcuts.
Automatic Num Lock
Activation (Windows only)
When this option is selected, your application automatically sets the numeric
keypad in numeric mode the next time you start the application. When this option
is deselected, the Num Lock key on the keyboard controls the mode of the numeric
keypad.
With either selection, you can use the Num Lock key to change the mode of the
numeric keypad.
Automatically Launch Last
Project at Startup
When this option is selected, your application opens your last project when it
starts.
Use Classic Character
Mapping
When this option is selected, your application uses default text character mapping
tables from older versions of Avid editing applications. These default mappings
differ from current character mappings. Using the classic mappings might correct
some text display problems in the Title Tool — for example, the display of Greek
text or of special characters. For more information, see “Controlling Character
Mapping for Title Text” in the Help.
Option Description
Option Description
Interplay Root Folder for
this Project
Defines the default directory for your workgroup project (where the asset
manager checks in media assets).
Keyboard Settings
1359
Interplay Server Settings
Interplay User Settings
Keyboard Settings
The following illustration displays the default keyboard settings.
Set Lets you navigate to a directory on the Interplay Server and set a new
default Interplay Root Folder.
Append project to
directory path
Automatically adds the name of your project to the directory path
specified in the Interplay Root Folder text box.
Verify directory path On login: A message box asks you to confirm the directory path after you
log in to Interplay. Select “for new projects only” if you want this message
box displayed only after you create a new project.
On first checkin: The first time you check in from a bin, displays a
message box that asks you to verify the folder into which the assets will be
checked in. This message box is displayed once each time you work in a
project.
Option Description
Option Description
Interplay Server Name Lets you enter the computer name of your Interplay Server.
Option Description
User Name Lets you enter a user name. This name must be a known workgroup user.
Automatic Login at
Project Selection
Logs you in to the asset manager automatically every time you open a project.
Login/Logout Connects to or disconnects from the asset manager.
Marquee Title Settings
1360
To view the name of a button in the Keyboard settings window, move the mouse pointer over the
button. To get help for the button, right-click and select What’s This?
For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 109.
When you open the Keyboard palette from the Settings list and select Map Foreign Keyboard,
you can map user-selectable buttons to the keyboard. If the Windows operating system is set to
French or German regional settings, and you click the center of the Enter key in the Keyboard
palette, foreign keyboard mapping mode turns off. To return to foreign keyboard mapping mode,
Select Standard, and then select Map Foreign Keyboard again.
Marquee Title Settings
Option Description
Create New Title
using
Controls which Title tool your Avid editing application uses when you select Clip > New
Title or Tools > Title Tool:
• Marquee: Your Avid editing application always opens Marquee.
• Title Tool: Your Avid editing application always opens the classic Title Tool.
• Ask me: Your Avid editing application displays the New Title dialog box. You can then
select either Marquee or the Title Tool. This is the default setting.
Media Creation Settings
1361
Media Creation Settings
For more information about options in the Media Creation Settings dialog box, see “Selecting
Video Resolutions and Media Drives” on page 163.
Media Creation Settings: Drive Filtering & Indexing Tab
Promote Title Tool
titles to Marquee
Controls whether your Avid editing application promotes classic Title Tool titles to
Marquee when you open the title for editing from a bin or from within a sequence:
• Yes: Your Avid editing application always promotes a Title Tool title to a Marquee title.
For more information, see “Promoting Title Tool Titles to Marquee” in the Marquee
Help.
• No: Your Avid editing application never promotes a Title Tool title to a Marquee title.
• Ask me: Your Avid editing application displays the Edit Title dialog box. You can then
choose whether to promote the title to Marquee. This is the default setting.
Backup Title on
Promote
When this option is selected, your Avid editing application creates a backup Title Tool
version of any title that it promotes to Marquee. The backup copy is a fast-saved
(unrendered) title with [TT] added to the name of the backup copy to differentiate it from
the newly created Marquee version.
Option Description
Option Description
Filter Network Drives
Based on Resolution
Removes as a storage choice network drives that cannot support the selected
resolution or cannot play back the selected resolution.
Filter Out System Drive Removes as a storage choice the drive on which the operating system resides.
Filter Out Launch Drive Removes as a storage choice the drive on which your Avid editing application
resides.
Auto-index local drives as
they come online (using
filtering rules)
Enables automatic indexing of local drives by the Media Indexer, a background
service that keeps track of the media files in storage locations that you identify.
Auto-indexing uses filtering selections on the left side of the tab, so that if you
select “Filter Out System Drive,” any media on that drive is not indexed. For more
information about configuring the Media Indexer, see the Avid Interplay Software
Installation Guide.
Manual Storage Scan Enables immediate indexing of local drives by the Media Indexer. If the
Auto-index option is deselected, you can click this button to index local drives and
folders. You can then use the Interplay Service Configuration tool to remove
specific drives or folders.
Media Creation Settings
1362
Media Creation Settings: Common Options in Capture, Titles, Import,
Mixdown & Transcode, Motion Effects, and Render Tabs
Media Creation Settings: Additional Options for Capture Tab
On indexing failure Determines how your Avid editing application reports indexing failure messages.
For information on using the Console, see “Using The Console Window” on
page 112.
Option Description
Option Description
Video Resolution Select a resolution.
Apply to All Applies your chosen resolution to all the Media Creation dialog box tabs, and to any
other place in your Avid editing application where you select a resolution.
nThe resolution options are not available in the Motion Effects tab.
nYour Avid editing application always renders an effect at the highest resolution
used in the effect source clips.
Video/Audio Drive Defines the drives your Avid editing application uses to store video and audio media.
In the Titles tab, only a Video Drive option is available.
Apply to All Applies your chosen video and audio drives to all the Media Creation dialog box tabs,
and to any other place in your Avid editing application where you select drives.
Option Description
Slot Displays slot number 1-4.
Data Type Defines the type of ancillary data you want to assign to a particular slot.
DID and SSID Displays the DID and SDID number values for the ancillary data packets that your
Avid editing application captures and preserves by default.
nThe DID and SDID information captured with the data clip displays in the bin.
Enable Lets the system capture the ancillary data selected to the slot on the system.
Ancillary Data Mode
Setting (Avid Nitris DX
or Avid Mojo DX)
This option varies depending on your Avid input/output hardware:
(Avid Nitris DX or Avid Mojo DX only) Choose between SMPTE 436M or Legacy.
To capture to a data track, select SMPTE 436M or to capture ancillary data to a
DNxHD video file, select Legacy
Media Creation Settings
1363
Media Creation Settings: Additional Options for Render Tab
Media Creation Settings: Media Type Tab
Option Description
Same as Source When this option is selected, your Avid editing application renders the effect using the
resolution of the clip or clips used to create the effect. If an effect is created from clips
that use different resolutions, your Avid editing application uses the highest quality
resolution.
Effects Processing Controls the resolution (bit depth) used for effects processing. The following options are
available:
• 8-bit: Select this option when rendering time is more important than image quality.
Also use this option if you are mainly working with effects that don’t support 16-bit
precision.
• 16-bit: Select this option for the best overall image quality. Use this option if you use
10-bit resolutions, use many levels of nested effects, or want the best color fidelity for
rendered effects.
• Automatic: Select this option if you want the media source to determine the effects
resolution. This is the default.
Save after Render When this option is selected, your Avid editing application saves open bins after you
perform a render operation.
R3D Source Quality
(Debayer)
Sets the playback quality for RED material. You can choose Full, Half (Best Quality),
Half (Good Quality), Quarter, Eighth, Sixteenth. For details on preparing you RED clips,
see “Preparing your RED Clip for Transcode, Mixdown, or Render” on page 399
Option Description
Video File Format Defines the video file format, either Open Media Format (OMF) or Material Exchange
Format (MXF). This option applies to video format menus in the Capture tool, the
Consolidate/Transcode dialog box, and other places in your Avid editing application. For
more information, see “File Format Specifications” on page 1386.
nIf your project uses an HD resolution, you cannot select OMF as a file format. MXF
is selected by default.
Media Services Settings (Windows Only)
1364
Media Services Settings (Windows Only)
The Media Services Settings dialog box lets you connect to a Media Services Broker. You use
the services provided by Avid Interplay Media Services Broker in an Avid Interplay environment
where dedicated computers automate time-consuming operations. For more information, see the
Avid Interplay Media Services Setup and User’s Guide.
Mouse Settings
Option Description
Media Services
are available
Ensures that you are connected to the Media Services Broker. Deselect this option to
disconnect without losing your setting information.
Broker Defines the Broker name as it appears in the Media Services Broker application
window, for example:
http:\\myBrokerPC:8080
Consult your Media Services Broker administrator for this information.
Username Defines your Media Services Broker username.
Password Defines your Media Services Broker account password.
Shared Storage Defines the directory where you intend to save QuickTime reference movies that the
service creates. You can click the Browse button to locate the directory.
Notify me of job
completion by email
When this option is selected, you are notified by email when jobs complete.
Email address If you select “Notify me of job completion by email,” type your e-mail address.
nYou can also check the Avid Interplay Media Services Broker Jobs window to see
the status of your job.
Option Description
Scroll Wheel Behavior —
Vertical Scroll Speed
Controls the speed of scrolling with the mouse wheel within your Avid editing
application — Normal, Moderate, or Fast. For more information, see “Using the
Mouse Scroll Wheel for Navigating” on page 38.
Mouse Button Assignments Assigns functions to three additional mouse buttons. Drag buttons from the
Command Palette. For more information, see “Customizing Mouse Functions”
on page 38.
Passthrough Mix Tool
1365
Passthrough Mix Tool
PortServer Settings
Remote Play and Capture Settings
Remote Play and Capture lets you use your Avid editing application like a videotape recorder
(VTR) or edit controller, giving you access to some of the features of an external editing suite
through your Avid editing application interface.
Option Description
Passthrough Mix Tool See “Using the Passthrough Mix Tool” on page 201.
Option Description
Auto-connect to LANshare at Launch Your Avid editing application recognizes LANshare workspaces when
it starts.
Connect/Disconnect Starts or terminates the connection.
Option Description
Mode When Remote Capture is selected, your Avid editing application captures the media being
sent to it immediately without setting up parameters like IN and OUT points. Select this
option when you want to perform a quick capture. This mode is also known as crash record.
Remote Capture supports record and stop with the controller.
When Remote Play is selected, you can control sequences via an edit controller. Remote
Play supports play, cue, and stop.
When Remote Punch-In is selected, you can perform a quick audio punch-in. Remote
Punch-In allows your Avid editing application to record the audio being sent to it
immediately without setting up all parameters, such as OUT points. Remote Punch-In
supports play, cue, record, and stop with an external controller.
Render Settings
1366
Render Settings
Device Code Defines the device code that identifies the VTR to emulate. The edit controller adjusts to
this choice. The default value is a Sony PVW-2800, which performs all the common play
and capture functions.
You do not need to change this option unless your edit controller does not recognize the
VTR or you want to emulate a specific VTR.
Runup (frames) This option is only available with Remote Play. Defines the time (measured in frames) it
takes the deck to start playing from a cued position. The default value is 1 frame.
When the runup times of two video devices are similar, it is easier for the edit controller to
synchronize the devices during preroll. If your Avid VTR does not sync up as often as you
want, try adjusting this value so the two devices attain full speed at nearly the same time.
Inhibit preloading
when cueing by
single frame.
This option is only available with Remote Play and Remote Punch-In. Avid recommends
that you do not inhibit preloading under normal circumstances.
Preloading occurs by default in your Avid editing application. It improves playback
performance by preparing the digital media for playback each time you cue a new frame.
When this option is selected, your Avid editing application matches the behavior of a tape
deck when you step through footage frame by frame. Avid recommends this option only for
projects that require quick cueing of one frame after another, for example, when you are
using your Avid editing application to present a sequence of still images as in a slide
presentation.
Option Description
Render Completion
Sound
Defines a sound that your Avid editing application plays once the rendering process is
complete. This is useful when you are rendering multiple effects. The following options are
available:
• None: Disables the rendering completion sound. This is the default.
• System Beep: Sets the rendering completion sound to match the sound set for your
operating system.
• Render Sound: Sets the rendering completion sound to a customized sound. On
Macintosh systems, several customized sound choices are available.
Option Description
Render Settings
1367
Motion Effects
Render Using
Determines the processing method when your Avid editing application renders existing
motion effects. The following options are available:
• Original Preference: Effects render as whatever type they were when originally created.
• Duplicated Field: Displays a single field in the effect. For two-field media, this drops
one field of the image, resulting in a lower quality image. For single-field media, this is
usually the best choice because of its speed (the other options do not improve effect
quality for single-field media).
With JFIF resolutions, this option causes the effect to render in the shortest amount of
time. With DV and MPEG resolutions, the effect renders approximately as quickly as it
would if you select Both Fields as the rendering option.
You can use this option to remove unwanted field motion in interlaced material brought
into a progressive project.
• Both Fields: Displays both fields in the effect. For example, the first two frames of a
half-speed (50%) slow-motion effect repeat the original Frame 1 (both fields) twice.
This option is good for shots without inter-field motion, NTSC or PAL film-to-tape
transfers, and still shots. With footage that includes inter-field motion, this option
might result in minor shifting or bumping of the image because it disturbs the original
order of fields: a Field 1 appears both before and after the corresponding Field 2.
The effect renders relatively quickly. For best results with this option, use evenly
divisible frame rates.
• Interpolated Field: Creates a second field for the effect by combining scan line pairs
from the first field in the original media. This option calculates the motion effect at the
field level rather than the frame level. Because your Avid editing application considers
all fields and does not disturb the original order of fields, the smoothest effect results.
Effects that render using this option take the longest amount of time to render.
• VTR-Style: Creates a second field for the effect by shifting selected video fields of the
original media by a full scan line. High-quality professional video decks use a similar
technique when playing footage at less than normal speed. This option also creates the
motion effect at the field level rather than the frame level. However, because pixels are
not filtered, the final image is sharper than that created by the Interpolated Field option.
The image might jitter slightly at certain speeds.
Effects that render using this option take longer to render than effects created using
either Duplicated Field or Both Fields, and a similar time to those created using
Interpolated Field.
Option Description
S3D Settings
1368
S3D Settings
Timewarps Render
Using
Determines the processing method when your Avid editing application render or rerenders
Timewarp effects.
The Original Preference, Duplicated Field, Both Fields, Interpolated Field, and VTR-Style
options are the same as those for Motion Effects Render Using (see the preceding
descriptions).
The Blended Interpolated and Blended VTR options are also available. These options add
pixel blending to the Interpolated Field or VTR-Style techniques. Your Avid editing
application blends, or averages, pixels from the original frames or fields to create
intermediate frames or fields. For example, at 25% speed, your Avid editing application
creates three blended images between outgoing Image A and incoming Image B. The first
blended image weights the pixels from Image A at 75% and Image B at 25%, the second
weights the pixels from Image A at 50% and Image B at 50%, and the third weights the
pixels from Image A at 25% and Image B at 75%. Objects in motion from Image A to
Image B appear to fade out of Image A and fade in to Image B.
Timewarp effects that render using Blended Interpolated or Blended VTR render less
quickly than Interpolated Field or VTR-Style.
Effects Quality
Render Using
Defines a global override for 3D effects that have HQ (Highest Quality) software
implementations. You select the HQ implementation or the standard implementation for
individual effects by clicking the HQ button in the Effect Editor. The following options are
available:
• Quality Set in Each Effect: Effects render at the quality determined by the HQ setting
in the individual effects. This is the default.
• Standard Quality: Effects render with the standard implementation.
• Highest Quality: Effects render with the HQ implementation, if one exists for a given
effect. If an HQ implementation does not exist for a given effect, the effect renders with
the standard implementation.
Option Description
Option Description
Unit System Choose between Imperial or Metric units of measure.
Viewing Distance Enter the average distance between the audience and the screen.
Screen Width Enter the width of the screen for which the final output will be
delivered.
Safe Colors Settings
1369
Safe Colors Settings
Raster Resolution Enter the resolution at which the final output will be projected.
Eye Separation Set the average intra-ocular distance between human eyes (the
default is 6.35 cm).
Depth Limit Near Enter the depth budget available in front of the screen. This is
always a negative value.
Depth Limit Far Enter the depth budget available behind the screen. This is
always a positive value.
Parallax Near This distance is automatically calculated. If you set the
drop-down button to manual, you may override the calculated
setting.
Parallax Far This distance is automatically calculated. If you set the
drop-down button to manual, you may override the calculated
setting.
Option Description
Option Description
Composite Defines safe color values for the composite video signal.
Luminance Defines safe color values based on brightness.
RGB Gamut Defines safe color values based on color range.
Units buttons Define the units of measurement for the three types of safe color values.
The following options are available for the Luminance and RGB Gamut menus:
• 8 Bit: Measures the adjustment on a scale from 0 to 255.
nThe RGB value for a color in the Color Correction tool is not identical to the RGB value
for the same color in a graphics application such as Adobe Photoshop. For example, the
8-bit RGB values for reference black and reference white are 16 and 235 respectively.
• %: Measures the adjustment on a percentage scale from 0 to 100.
• IRE: Measures the adjustment in IRE units.
• mVolts: Measures the adjustment in millivolts.
For the Composite Units menu, only the IRE and the mVolts (millivolts) options are available.
Script Settings
1370
Script Settings
Actions buttons Define how your Avid editing application implements the safe color settings. The top menu
controls both the Composite and the Luminance limit types. The bottom menu controls the
RGB Gamut limit type. The following options are available:
• Ignore: Your Avid editing application does not limit based on these settings. This is the
default setting.
• Warn: Your Avid editing application provides warnings when an image exceeds these
limits. For more information on safe color warnings, see “Understanding Safe Color
Warnings” in the Help.
Option Description
Option Description
Font Defines the font for imported scripts.
Size Defines the font size. The default is 12 points.
Left Margin (pixels) Defines the left margin size. The default is 40 pixels.
Take Coloring Defines the color that your Avid editing application applies to takes.
Show Frames When this option is selected, your Avid editing application shows frames in take slates.
Show All Takes When this option is selected, your Avid editing application shows all takes in each slate.
When this option is deselected, your Avid editing application displays only one take per
slate.
Interpolate Position When this option is selected, you can click in a take line within a script, and the image in
the Source monitor updates to the approximate position in the take where you have
clicked. If you deselect this option, the Source monitor does not respond when you click in
a take line.
Hold Slates
Onscreen
When this option is selected, slates stay on the screen when you scroll through a script in
the Script window. Each slate remains on the screen as long as the take lines to which it is
linked remain on the screen.
Sound Card Configuration Settings (Windows Only)
1371
Sound Card Configuration Settings
(Windows Only)
Sound Card Configuration Settings are only available in software-only configurations.
Timeline Settings
Timeline Settings: Display Tab
Options Description
Record/Input list Lists the input sources available with the audio hardware installed on your system.
Playback/Output list Maps input sources to the output sources available with the audio hardware installed
on your system. The options available on your system determine which sources are
listed as sub-options.
Select <No Match> if you do not want an input source mapped to an output source.
Override Source menu Lets you override settings made by your Avid editing application and accept the
default settings of the Windows Master Volume control. The options available on
your system determine which sources are listed as sub-options.
Use Windows Mixer When this option is selected, all options in the dialog box are deselected, and your
Avid editing application allows the Windows mixer to map input sources to output
sources.
Audio device name Lists the sound card installed on your system.
Option Description
Show Toolbar When this option is selected, the Timeline top toolbar displays.
Show Marked Region When this option is selected, the region from the IN point to the OUT point is
highlighted in the Timeline.
This option modifies the behavior of the Replace Edit function. When this option is
selected, Replace Edit obeys IN and OUT marks in the Timeline. When this option is
deselected, Replace Edit ignores IN and OUT marks in the Timeline. For more
information, see “Performing a Replace Edit” on page 574.
Show Marked
Waveforms
When this option is selected, your Avid editing application draws waveforms between
an IN point and an OUT point instead of over the entire composition.
Timeline Settings
1372
Timeline Settings: Edit Tab
Highlight Suggested
Render Areas After
Playback
When this option is selected, thin colored indicator lines display in the Timecode track
of the Timeline. These lines provide information about the real-time effects in your
sequence. For more information, see “Real-Time Playback of Video Effects” in the
Help.
Show Position Bar When this option is selected, the Timeline shows the blue position bar.
Show Effect Contents When this option is selected, your Avid editing application displays effect information
in the Timeline.
Double-Click to Show
Nesting
When this option is selected, your Avid editing application lets you double-click
segments in the Timeline to display the nested effects.
Show Four-Frame
Display
When this option is selected, your Avid editing application shows the head and tail of
incoming or outgoing frames of video when you drag a segment.
Use Fast Scrub When this option is selected, your Avid editing application responds faster and more
smoothly when you drag the position indicator through the Timeline (scrub). However,
markers such as the start-of-clip and end-of-clip marks, sawtooth marks for IN and OUT
points, and markers do not display, and some effects do not display completely in HD
projects.
When this option is deselected, all markers and HD effects display. This is the default
option.
Movement During
Play
Select one option to control the movement of the Timeline while you play a sequence:
• Page — moves the Timeline section by section as the position indicator reaches the
end of the visible Timeline.
• Scroll — moves the Timeline while keeping the position indicator stationary.
• None — keeps the Timeline stationary as the position indicator moves, even after
the indicator goes beyond the end of the visible Timeline.
Option Description
Option Description
Start Filler Duration Defines a default duration for the filler added at the start of a sequence. For more
information, see “Adding Filler” on page 568.
Find Flash Frames
Shorter Than n frames
Defines the maximum number of flash frames you want your Avid editing
application to detect. The default is 10, which tells your Avid editing application to
detect clips with 9 frames or fewer. For more information, see “Finding Black Holes
and Flash Frames” on page 716.
Timeline Settings
1373
Auto-Patching When this option is selected, your Avid editing application automatically patches the
enabled source tracks to the tracks enabled in the Timeline sequence.
Auto-Monitoring When this option is selected, your Avid editing application monitors the track you
patch. This option is selected by default.
Segment Drag Sync
Locks
When this option is selected and you click the Sync Lock buttons in the Track
Selector panel, your Avid editing application maintains audio and video
synchronization when you drag clips in Segment mode. Your Avid editing
application adds filler where necessary. For more information, see “Maintaining
Sync with Segment Edits” on page 688.
Default Snap-To Edit When this option is selected, clips snap to an existing transition endpoint when you
drag them from a bin to the Timeline. When this option is deselected, clips move
freely to any position on the track.
Clicking the TC Track or
ruler Disables Smart
Tools
Allows you to disable all edit tools in the Smart tool on the Timeline palette by
clicking either the Timeline ruler or the Timecode track.
Only One Segment Tool
Can Be Enabled At A
Time
Prevents both segment tools from being enabled at once.
Default Segment Tool Specifies which segment tool — Segment Insert or Segment Overwrite — is enabled
by default when you select segments for segment editing with no segment tools
active on the Timeline palette.
New Sequences Defines the number of video and audio tracks that display in the Timeline for new
sequences. You can select a maximum of 24 video tracks and 24 audio tracks.
Dupe Detection Handles Defines the size of the handles, in frames, to use for dupe checking. Your Avid
editing application adds the chosen number of frames at the beginning and the end of
each clip before checking for overlap. Your Avid editing application uses the handles
only for internal calculations.
Option Description
Transfer Settings
1374
Transfer Settings
The Transfer Settings dialog box appears only if your system is part of an Avid Interplay
environment and you have configured Avid Interplay Transfer. For more information, see the
Avid Interplay Transfer Setup and User’s Guide.
Settings Tab
Option Description
Standalone/Incoming
Requests
• Refuse all Requests — Select this option if you do not want to receive
files from another workgroup.
• User Dialog To Accept/Refuse — Select this option if you want accept
files from another workgroup, and then select one of the following dialog
box options:
Accept/Refuse Dialog Behavior:
• Wait for User Action (No Timeout) — You receive a message request for
a transfer. You must click OK for the transfer to occur.
• Accept after Timeout — The system automatically accepts the file after
the timeout.
• Refuse after Timeout — The system does not accept the file after the
timeout. You can specify the timeout period by typing the number of
seconds in the Timeout (seconds) text box.
Status Window Update Frequency (seconds): [n] — Type the number of seconds that you
want the status window to update after in the text box.
Bring up window if error occurs — Select this option if you want errors to
display.
Transfer Settings
1375
TMClient.ini Tab
Send to Playback • Highlight mixed-resolution items — This option allows you to identify
any mixed-resolution sequences before you try to send them to playback.
Output Audio Mix
• Direct channel output — Select this option if you do not want to perform
a mixdown on audio tracks before sending them to playback.
• Stereo Output — Select this option to mix all the tracks to a stereo pair,
using pan controls to split the tracks.
• Multiple Mixes — Select this option if you want to assign audio tracks to
specific output channels for the send to playback operation. Click Edit to
open the Multiple Mixes dialog box, which allows you to map audio
tracks to output channels. For more information, see “Mapping Audio
Tracks to Output Channels” on page 1174.
Transcode
• Transcode before sending to playback — This option allows for the
transcoding of clips before performing a send to playback operation.
• Minimum resolution warning threshold — Use this option to specify the
lowest resolution allowed for the playback device before a warning
message is displayed.
Option Description
Option Description
My Workgroup • Server — In a workgroup environment, type the Interplay Transfer server
computer name. (This can be any name you give your workgroup.) In a
standalone environment, type the computer name of the local system (this
computer).
• Workgroup — In a workgroup environment, type the name of your
workgroup. In a standalone environment, type the name you want to see
in the Transfer menu.
nIf you want to edit the names of any of the Interplay Transfer servers
or workstations listed in the Other Workgroups area, select the name,
click Edit, and make the changes.
Trim Settings
1376
Trim Settings
Trim Settings: Play Loop Tab
Trim Settings: Features Tab
Other Workgroups Click Add to open the Add Workgroup to List dialog box.
• In a workgroup environment, type the name of the other Interplay
Transfer server in the Server text box, and type the name of the your
workgroup in the Workgroup text box.
• In a standalone environment, in the Server text box, type the computer
name of other workstation, and in the Workgroup text box, type the name
you want to see in the Transfer menu.
Option Description
Option Description
Preroll Defines a preroll value for a playback loop.
Postroll Defines a postroll value for a playback loop.
Intermission Defines a transition effect duration for a playback loop.
Option Description
Never use Small Trim
mode
When this option is selected, your Avid editing application enters Big Trim mode when
you perform any operation that activates Trim mode. Big Trim mode replaces the
Source and Record monitors with displays of outgoing and incoming frames.
“Go to Transition” uses
Small Trim mode
When this option is selected, your Avid editing application enters Small Trim mode
only when you click the Go to Previous or Go to Next button.
Always use Small Trim
mode
When this option is selected, your Avid editing application enters Small Trim mode
when you perform any operation that activates Trim mode. Small Trim mode leaves the
Source monitor display, Information Row displays, user tool palettes, and some
Monitor menu functions intact.
This option lets you continue to perform basic editing functions.
Auto focus when
entering Trim mode
When this option is selected, your Avid editing application enlarges the Timeline at the
transition selected for trimming if you enter trim mode with no trim editing tools
selected on the Timeline palette.
Video Display Settings
1377
Video Display Settings
Arrows at selected
transitions
When this option is selected, your Avid editing application replaces the standard trim
rollers with arrows at selected transitions in the Timeline.
Render On-the-Fly When this option is selected, your Avid editing application displays the results of
effects as soon as you create them. This might slow down the editing of the sequence.
Dual Image Play When this option is selected, your Avid editing application enables dual-image play
(dual-roller trim) while trimming. Outgoing and incoming frames display in real time
while you trim your edit (adding or removing the same number of frames on both sides
of a transition).
Option Description
DV Output Setting The following options are available:
• Output to DV Device: Select this option if you have connected a DV device to a
software-only system.
• Format: This option is available only if you have Output to DV Device selected
and a device connected. Select the compressed format to send to the DV device.
• Realtime Encoding: This option is available only if you are in an SD project
with Output to DV Device selected and a device connected. Lets you enable or
disable real-time effects for better performance. For more information, see
“Playing Back to a DV Device” on page 505.
Desktop Play Delay Defines a frame offset in the Composer monitor so that the media on the desktop
and the media in the DV device play simultaneously. For more information, see
“Adjusting the Play Delay Offset” on page 492.
Open GL® Hardware
Preview DVE effects with:
Defines the Open GL processing method. Select either the Open GL board for your
video display, or Software OpenGL if you do not have an OpenGL video board.
For more information, see “Options for Controlling Real-Time Effects Playback”
in the Help.
Enable Confidence View
(also called passthrough)
When this option is selected, you can view incoming media in the Record monitor
while you are capturing. Deselect this option for better performance.
Option Description
Video Input Tool Settings
1378
Video Input Tool Settings
For information on how to use the Video Input Tool settings, see “Preparing to Capture Video”
on page 207.
High-Quality Scaling for
Real-Time Decode
When this option is selected, image quality is improved during playback of
mixed-format sequences where material requires resizing. This option is selected
by default, and only affects playback with the Full Quality or the Full Quality
10-bit video quality setting. For more information, see “Setting the Video Quality
for Playback” on page 508.
This option improves image quality for SD sequences that contain HD material, or
for sequences that mix HD sizes (for example, 720p with 1080p).
Because this option affects playback performance, you might want to deselect it if
you are working with complex sequences. In particular, you might notice that a
sequence with many video streams that played back successfully in previous
releases of Avid editing applications does not play back smoothly. (This option
functions differently in earlier releases that include it.) You have two alternatives:
• If you do not need to view your sequence at full resolution, you can select
either Draft Quality or Best Performance in the Video Quality menu. These
quality settings do not use the High-Quality Scaling for Real-Time Decode
option.
• If you need to view your sequence at full resolution, you can deselect this
option.
Maximum Real Time
Streams
Defines the number of video streams your Avid editing application uses during
playback. For more information, see “Options for Controlling Real-Time Effects
Playback” in the Help.
Option Description
Option Description
Input menu Defines the video input for SD projects: Composite, Component, S-Video, or SDI. For
HD projects, the menu displays HD-SDI. For SD or HD projects, if you are capturing DV
media through a 1394 port on your system, the menu displays Host-1394. For more
information, see “Capturing Directly from a DV Device” on page 229.
Waveform Monitor
and Vectorscope
Monitor buttons
Opens or hides the Waveform monitor and the Vectorscope monitor.
nYour Avid editing application supports the SMPTE/EBU component standard for
625 timing and Betacam component levels for 525 timing. Your Avid editing
application does not support the MII component video standard.
Sliders Let you change the value for each setting.
Video Output Tool Settings
1379
Video Output Tool Settings
Specific options apply to different projects, resolutions, and Avid input/output hardware. You
might not see all of the following options in your Avid editing application. The Video Output
tool is not available in software-only versions of Avid editing applications.
Video Output Tool Settings: Options Tab
Preset buttons These buttons are highlighted when the factory preset levels are displayed.
SignalLock Lets you switch between the following:
• Professional: preset sync using a wider bandwidth for non-TBC sources.
• Consumer: automatic sync using time-base correctors (TBC) internal to the video
source
Settings menu Lets you save the settings for an individual tape each time you calibrate bars.
100% Bars button Select this option when the source tape has color bars with 100% (versus 75%)
chrominance levels.
Option Description
Option Description
Sync Lock Locks your output connection to the reference or an internal signal on the
Avid input/output hardware. Your Avid editing application detects the type of
Avid input/output hardware you have and displays the appropriate options
from the following:
• Internal
• Reference
•REF 1
•REF 2
• TriLevel (on some models, your Avid editing application detects
TriLevel Sync automatically so it does not appear as an option)
• Loop through
HDMI Color Space Defines the color standard (either YCbCr or RGB) to use for your HDMI
(High-Definition Multimedia Interface) output. You must have
HDMI-compatible Avid input/output hardware attached to your system. If
you are working in the YUV color space, the RGB option appears as Convert
to RGB. If you are working in the RGB color space, crossconvert is not
supported
Video Output Tool Settings
1380
HDMI Format • SDInterlaced
• SDProgressive
•HD
Crossconvert Defines a format to output an HD format from an HD sequence with a
compatible frame rate. The options are specific formats (choices depend on
the format of the sequence) or OFF.
Downconvert Defines how downconverted SD video is resized. The options are
Anamorphic, Letterbox, Center Cut, or OFF.
Component Format
VBI
(DV resolutions
unsupported)
Controls whether your Avid editing application preserves or blanks 5 lines
above each field in NTSC and 8 lines above each field for PAL when you
display a sequence or perform a digital cut. These lines store encoded
information such as closed captioning, edgecodes or key numbers for film
projects, or various interactive or enhanced TV codes.
• Blank: Your Avid editing application blanks the VBI (vertical blanking
interval) information and lets you turn off its display. Your Avid editing
application fills the vertical blanking interval with video black (RGB: 16,
16, 16). This is the default option.
• Preserve: Your Avid editing application preserves the VBI information
for a digital cut (does not change the output signal).
If your facility uses VBI information, you add the VBI information to the
video before you capture the footage. Your Avid editing application
automatically captures VBI information when you capture footage.
cYou cannot preserve VBI information for DV or HD resolutions.
You can only preserve VBI information for JFIF, uncompressed,
and MPEG IMX resolutions.
You should only preserve vertical blanking information if you have a specific
need for it. For more information see “Vertical Blanking Information” on
page 1064.
Your Avid editing application saves the VBI value from session to session.
You can change the value at any time before you perform a digital cut.
Test Patterns Lets you choose a test pattern for calibrating during output.
S3D View Set the display or output mode for your stereoscopic 3D sequence.
Follow Project Outputs at the project format settings.
Mix Outputs a 50/50 blend of both the left and right eye images.
Option (Continued) Description
Video Output Tool Settings
1381
Difference Outputs a blend of both left and right eyes, and highlights the difference
between the two. Embossed areas show the differences, while gray pixels
represent no differences.
Frame Compatible Outputs both the left and right eye images as dictated by the project settings
(side/side or over/under).
Full Frame Outputs both the left and right eye at full resolution.
Mono Outputs only one of the stereoscopic images.
Left Outputs only the left eye image.
Right Outputs only the right eye image.
Leading eye Outputs only the image set as the leading eye on the stereoscopic clip.
Mono-Anaglyph Outputs the image in grayscale with color highlights only where there are
differences in the left and right eye. The pixels in each eye image can be
mapped to the following color options:
Mono Red-Cyan Uses red for the left eye and cyan for the right.
Mono Green-Magenta Uses green for the left eye and magenta for the right.
Anaglyph Outputs the image with the selected color highlights only where there are
differences in the left and right eye. The pixels in each eye image can be
mapped to any of the following color options:
Red-Cyan Uses red for the left eye and cyan for the right.
Green-Magenta Uses green for the left eye and magenta for the right.
Amber-Blue Uses amber for the left eye and blue for the right.
Checkerboard When this option is selected, your Avid editing application outputs the left
and the right images simultaneously for stereoscopic viewing. The term
“checkerboard” refers to the way in which blocks of the left and right images
are displayed for stereoscopic viewing.
You can set the block size accordingly.
Compare Outputs a comparison between the left and right eye images using a diagonal
split screen. You can set the comparison mode to 25, 50, or 75%.
Follow S/R Outputs at the settings in the source/record monitors.
S3D Overlay Outputs with disparity guides over the image.
Off Does not display any disparity guides.
Option (Continued) Description
Video Output Tool Settings
1382
Video Output Tool Settings: SD Cal Tab
The following options display disparity guides on the viewer so that you can
see the depth budget limits when adjusting the separation between your
stereo 3D images. The guides for Parallax are based on the project’s S3D
settings (set from the Project window, Settings tab).
Parallax Near Displays green guides that show the limits for objects that will appear in
front of the screen plane.
Parallax Far Displays blue guides that show the limits for objects that will appear behind
the screen plane.
Parallax Near/Far Displays both guides (green and blue) that show the limits for objects that
will appear in front and behind the screen plane.
Settings menu Lets you save the settings for an individual tape each time you calibrate bars.
Option (Continued) Description
Option Description
Output menu Lets you select either Component, Composite, S Video.
On some systems, all outputs on the input/output hardware are active.
Select an analog signal from the Output menu to calibrate for output. For
more information, see “Calibrating for Video Output” on page 1022.
H Phase Lets you adjust the horizontal blanking interval used to synchronize the
timing of two or more video signals. Available on some systems for the S
Video, Component, or Composite output.
Hue Lets you adjust an attribution of color perception based on varying
proportions of red, green, and blue in the video signal (also known as color
phase). Available for S Video or Composite output.
Sat Lets you adjust saturation, a measurement of chrominance or the intensity
of color in the video signal. Available for S Video or Composite output.
SC Phase Lets you adjust the subcarrier phase (the color-burst portion of a signal used
to synchronize the timing of two or more video signals). Available for S
Video or Composite output.
Setup Lets you set the relative lightness and darkness of images. Available for S
Video, Component, or Composite output.
Gain Lets you adjust the variation of the lightest or brightest in comparison to the
darkest portions of the image. Available for S Video or Composite output.
Video Output Tool Settings
1383
Video Output Tool Settings: HD Cal Tab
Y Gain, RY Gain, BY Gain,
Pr Gain, Pb Gain
Available for Component output only in some Avid input/output hardware
configurations.
• Y Gain: Lets you adjust Y Gain, a measurement of luma (Y) in the
video signal that is the whitest point in the visible picture. Use color
bars to set the white level.
• RY Gain: Lets you adjust the red (R) minus luminance (Y)
color-difference signal of an analog component system in the SMPTE
NTSC video standard. The signal consists of the following base
equation for red (R), green (G), and blue (B) components: R–Y =
–0.587G – 0.114B + 0.701R.
• BY Gain: Lets you adjust the blue (B) minus luminance (Y)
color-difference signal of an analog component system in the SMPTE
NTSC video standard. The signal consists of the following base
equation for red (R), green (G), and blue (B) components: B–Y=
(–0.587G + 0.886B – 0.299R) * gain value.
• Pr Gain: Lets you adjust the gain of the Pr color-difference signal (a
scaled version of the RY signal) of an analog component system.
• Pb Gain: Lets you adjust the gain of the Pb color-difference signal (a
scaled version of the BY signal) of an analog component system.
System Phase In some Avid input/output hardware configurations, lets you modulate the
timing of the output signal and a reference signal. Available for S Video,
Component, or Composite output.
SubPixel HPhase Provides a fine adjustment of Horizontal phase. Available for S Video,
Component, or Composite output.
Settings menu Lets you save the settings for an individual tape each time you calibrate
bars. Available for S Video, Component, or Composite output.
Option (Continued) Description
Option Description
Output menu Lets you select an HD component output, either Convert to
HD Component RGB or HD Component YPbPr.
Gain Lets you adjust a measurement of luma (Y) in the video signal that is the
whitest point in the visible picture. Use color bars to set the white level.
Available on some systems for HD Component RGB or
HD Component YPbPr output.
Video Satellite Settings
1384
Video Satellite Settings
For information on the use of these settings, see the Video Satellite Guide provided by Avid.
B Gain In some Avid input/output hardware configurations, lets you adjust the blue
(B) minus luminance (Y) color-difference signal of an analog component
system in the SMPTE NTSC video standard. Available for HD Component
RGB (on some systems) or HD Component YPbPr output.
Pb Gain In some Avid input/output hardware configurations, lets you adjust the gain of
the Pb color difference output, scaled from BY using the BT. 709 color space
in HD component systems. Available for HD Component YPbPr output.
R Gain In some Avid input/output hardware configurations, lets you adjust the red (R)
minus luminance (Y) color-difference signal of an analog component system
in the SMPTE NTSC video standard. The signal consists of the following base
equation for red (R), green (G), and blue (B) components: R–Y = –0.587G –
0.114B + 0.701R. Available for HD Component RGB or
HD Component YPbPr output.
Pr Gain In some Avid input/output hardware configurations, lets you adjust the gain of
the Pr color-difference signal (a scaled version of the RY signal) of an analog
component system. Available for component output only.
H Phase Lets you adjust the horizontal blanking interval used to synchronize the timing
of two or more video signals. Available on some systems for S Video,
Component, or Composite output.
System Phase Lets you modulate the timing of the output signal and a reference signal.
Available for HD Component RGB or HD Component YPbPr output.
Settings menu Lets you save the settings for an individual tape each time you calibrate bars.
Option (Continued) Description
Workspace Linking Settings
1385
Workspace Linking Settings
Option Description
Link Timeline Mode Buttons to a
Workspace:
• Source/Record mode
• Effect mode
• Color Correction mode
Lets you link the mode buttons in the Timeline palette to a
workspace. Clicking a linked mode button (Source/Record
mode, Effects mode, Color Correction mode) opens the linked
workspace.
31 File Format Specifications
This chapter contains specifications and notes that are useful when you are importing or
exporting specific file formats.
•Specifications for Graphics (Image) Files
•Specifications for Animation Files
•Specifications for Importing OMFI Files
•Working with BWF Files
•Field Ordering in Graphic Imports and Exports
For more information on importing and exporting, see “Importing Files” on page 276, “Import
Settings” on page 1351, “Exporting Frames, Clips, or Sequences” on page 985, and “Export
Settings” on page 1320.
Specifications for Graphics (Image) Files
Import Specifications for Supported Graphics File Formats
The following table contains specifications for the graphics file formats that your Avid editing
application can import.
Bit depth refers to the color-depth resolution of the image. 2-bit images display in black and
white. 8-bit images display in 256 colors. 16-bit images display in thousands of colors. 24-bit
images display in millions of colors. 32-bit images display in millions of colors with an alpha
channel.
An alpha channel determines regions of transparency in the picture when it is keyed over a
background. An alpha channel must be straight and not premultiplied. Your Avid editing
application does not properly import premultiplied alphas.
Specifications for Graphics (Image) Files
1387
Format and
Default File
Name Extension Bit Depth Support
Alpha
Channel
Support Notes
Alias (.als) 24-bit color, 8-bit grayscale No
BMP (.bmp) 1-, 4-, 8-, and 24-bit No Four-bit BMP files saved with RLE
compression are not supported.
Photoshop does not support four-channel
BMP files.
Chyron (.chr) 32-bit Yes
Cineon (.cin) 10-bit (logarithmic) Not
applicable
Framestore (.fs) 24-bit No Pixel aspect information saves with
image data.
When importing files generated from Video
Toaster, select Force to Fit Screen.
IFF (.iff) 1-bit to 24-bit color;
1-bit to 8-bit grayscale;
64-color EHB;
4096-color HAM;
262,144-color HAM8;
SHAM; A-HAM; A-RES
1-bit
alpha only
Pixel aspect information saves with
image data.
JPEG (.jpg) 24-bit color, 8-bit grayscale No
OMFI (.omf) See “Specifications for Importing OMFI
Files” on page 1393.
PCX (.pcx) Color-mapped and 24-bit color Not
applicable
PCX files with 1-bit color depth or
odd-numbered pixel widths are
not supported.
Photo CD
(Macintosh only)
Not
applicable
You must install QuickTime software and a
compatible QuickTime driver for Photo CD
to import Photo CD files.
Most Photo CD files are high resolution. If a
photo has a portrait orientation, the image is
automatically rotated upon import. Use a
paint or image-processing program to crop or
resize the image before importing.
Specifications for Graphics (Image) Files
1388
Photoshop (.psd) RGB 8-bits/channel, RGB16
bits/channel, grayscale, indexed
color, and duotone variations
Yes Your Avid editing application can import
multilayered graphics. For more information,
see “Photoshop Graphics Import” on
page 290.
Duotone files are loaded as grayscale.
Multichannel (greater than four channels)
files and CMYK files are not supported.
PICT (.pic) 2-, 4-, 8-, 16-, and 32-bit Yes
Pixar (.pxr) 24-bit, 36-bit Yes
PNG (.png) 1-bit to 32-bit Yes Transparent areas in a PNG file are
interpreted as an alpha channel on import.
QRT (.dbw) 24-bit No
Rendition (.6rn) 32-bit Yes
SGI (.rgb) 8-bit or 16-bit grayscale;
8-bit grayscale plus 8-bit
alpha channel;
24- and 48-bit color;
24-bit color plus 8-bit
alpha channel;
64-bit (16 bits per component)
Yes
Softimage (.pic) 24-bit plus 8-bit alpha Yes Pixel aspect information saves with
the image.
(Windows only) Double-clicking a
Softimage file starts the application
associated with PICT files because they use
the same file name extension. Avoid
double-clicking Softimage files to
view them.
Sun Raster (.sun) 1-, 8-, or 24-bit No
Targa (.tga) 8-, 15-, 16-, or 24-bit; 32-bit Yes
Format and
Default File
Name Extension Bit Depth Support
Alpha
Channel
Support Notes
Specifications for Graphics (Image) Files
1389
Preparing Graphics Files for Import
Your Avid editing application can import graphics files that have a wide range of specifications.
If necessary, you can make adjustments during the import process. However, graphics files that
conform to basic specifications make the import process easier and more efficient. The following
table summarizes the requirements for graphics files that you import into your Avid editing
application.
TIFF (.tif) 8-bit color-mapped;
8-bit or 16-bit grayscale;
24- and 48-bit color;
24-bit color plus 8-bit alpha;
36-bit color plus 12-bit alpha;
42-bit color plus 14-bit alpha;
48-bit color plus 16-bit alpha
Yes Multichannel (greater than four channels)
files, Group 3-compressed (fax) files,
CMYK files with extra channels and
JPEG-compressed files are not supported.
Four-channel files from Avid Matador™ are
imported as three-channel files.
Wavefront (.rla) 32-bit and 64-bit Yes
XWindows (.xwd) 1-, 2-, 4-, 8-, 16-, 24-, and 32-bit No
YUV (.yuv) 24-bit No Pixel aspect information (based on the video
format) saves with image data.
When importing, select Force to Fit Screen.
Format and
Default File
Name Extension Bit Depth Support
Alpha
Channel
Support Notes
Aspect Requirement Notes
Frame size
(4:3)
Square pixels:
648 x 486 (NTSC)
640 x 480 (NTSC DV)
768 x 576 (PAL)
These are the preferred sizes for NTSC and PAL. You can also use
720 x 540, in some situations, for both NTSC and PAL. Your Avid
editing application stores these as non-square pixels. For more
information, see “Frame Size for Imported Graphics” on page 1391.
Frame size
(16:9)
Square pixels:
864 x 486 (NTSC
anamorphic)
1024 x 576 (PAL
anamorphic)
1280 x 720 (HD)
1920 x 1080 (HD)
Preferred sizes. SD media is stored by your Avid editing application
as non-square pixels.
Alpha channel White foreground
(transparent), black
background (opaque)
This is the standard for graphics, animation, and compositing
packages. The graphics must have the alpha channel inverted on
import.
Specifications for Graphics (Image) Files
1390
Before you import a graphics file, you can also use third-party image-editing software to make
adjustments such as the following:
• Create the file in the appropriate size, resolution, and bit depth.
• Crop or color-correct an image.
• Eliminate jagged edges in an image by using the image-editing application’s anti-aliasing or
high-quality option.
• Add transparency (to some formats) by adding an alpha channel.
• In some cases, convert an image file that does not support an alpha channel to a format that
does, in order to add transparency.
nYou can import and key the image over video by using key effects within your Avid editing
application. However, importing an image with an existing alpha channel provides the best
results.
For more information, see the documentation for your image-editing software.
Color mode RGB
ITU-R 601
ITU-R 709
Other formats, including CMYK, can cause import errors.
ITU-R 601 is used for SD and ITU-R 709 is used for HD. In HD
projects, your Avid editing application automatically converts the
media.
File format Various Your Avid editing application accepts many file formats for input.
TIFF (.tif), PICT (.pct), and PNG (.png) are commonly used formats.
See “Import Specifications for Supported Graphics File Formats” on
page 1386.
File field order Odd (Upper field first)
Even (Lower field
first)
For interlaced media, your Avid editing application uses the
following order:
• NTSC (601 and DV): lower field first
• PAL 601: upper field first
• PAL DV: lower field first
• HD Interlaced: upper field first
If the field order of the graphic is not correct, select the field order of
the graphic during import and your Avid editing application will
reverse the fields appropriately.
Field order does not apply to progressive media. See “Field Ordering
in Graphic Imports and Exports” on page 1399.
Aspect Requirement Notes
Specifications for Animation Files
1391
Frame Size for Imported Graphics
The table in this topic shows the frame sizes to use when creating and importing graphics and
sequences. The table includes sizes for both square and non-square pixels.
Computer displays, most graphic and animation programs, and most HD video formats use
square pixels. Standard-definition (SD) digital video does not use square pixels. The ITU-R 601
standard specifies a 720-pixel width for both NTSC and PAL. However, because NTSC and PAL
each has a different number of scan lines (486 for NTSC, 576 for PAL), digital video pixels are
stretched vertically for NTSC and horizontally for PAL. These stretched pixels are referred to as
non-square pixels.
Your Avid editing application stores SD video and DVCPRO HD video as non-square pixels and
stores other HD video as square pixels.
Some graphics programs can render a graphic or animation in either square or non-square pixels.
In general, you should render standard-definition animations and composites in non-square
pixels, but export static graphics in square pixels (your Avid editing application converts these
into non-square pixels during the import process).
The numbers in the following table describe the recommended width and height, in pixels, to
create a source image that displays full-screen after import. An image with smaller dimensions
takes up less of the screen or is distorted, while an image that exceeds these dimensions might
appear distorted, depending on your choices when importing. For more information, see “Import
Settings: Image Tab” on page 1351.
Specifications for Animation Files
This topic describes the animation file formats that your Avid editing application supports.
Frame Size Square Pixels Non-square Pixels
Frame size (4:3) 648 x 486 (NTSC)
640 x 480 (NTSC DV)
768 x 576 (PAL)
720 x 486 (NTSC)
720 x 480 (NTSC DV)
720 x 576 (PAL)
Frame size (16:9) 864 x 486 (NTSC
anamorphic)
1024 x 576 (PAL anamorphic)
1280 x 720 (HD)
1920 x 1080 (HD)
720 x 486 (NTSC)
720 x 576 (PAL)
Not applicable
Not applicable
Specifications for Animation Files
1392
In addition to the specific formats described in the table below, your Avid editing application
also supports sequences of image files. You must name image file sequences appropriately for
your Avid editing application to handle them correctly on import. Name each file in the sequence
NameN.ext, with Name identifying the animation, N indicating the file order, and .ext indicating
the file type (for example, Image1.jpg, Image2.jpg, Image3.jpg). The numbering can start at any
number except 0, or use any numbering format (for example, Image010.jpg, Image012.jpg, or
Imagef28.jpg, Imagef29.jpg).
nYour Avid editing application imports the file at the frame rate that is set in the project. Set the
appropriate frame rate for the project when you export from a third-party application.
Format Description
ERIMovie ERIMovie files use the .mov or .eri file name extensions. QuickTime for Windows
also uses the .mov file name extension. However, QuickTime does not support
ERIMovie, and double-clicking an ERIMovie file causes an error.
nThere is no player for ERIMovie on Windows or Macintosh platforms. The
mview
program supports ERIMovie on Silicon Graphics systems.
PICS (Macintosh only) A PICS file is a sequence of PICT images. Many applications that handle multiple
image formats on the Macintosh platform also support PICS files.
You can only store uncompressed data in PICS format. PICS export does not allow
PICS containers larger than 16 MB.
QuickTime QuickTime files use the .mov file name extension. After you import a QuickTime
file, the file maintains the .mov file name extension, which is visible in a bin. The
.mov file name extension is the default for export.
Avid QuickTime codecs enable you to fast import and export QuickTime files. To use
the codecs in a third-party application, see “Exporting from a Third-Party QuickTime
or AVI Application” on page 1008.
To take advantage of the speed of Avid QuickTime codecs, you must export the files
from the QuickTime application at the appropriate frame size for the project you plan
to import to in your Avid editing application.
AV I
(Audio Video Interleave)
(Windows Only)
AVI files use the .avi file name extension. After you import an AVI file, it maintains
the .avi file name extension, which is visible in a bin. The .avi file name extension is
the default for export.
Avid AVI files can be quite large, especially at high video resolutions, and require
adequate storage and transfer capabilities.
Specifications for Importing OMFI Files
1393
Specifications for Importing OMFI Files
OMFI was developed by Avid Technology, Inc. and many industry and standards partners for the
interchange of digital media data between platforms and applications. For information about
creating an OMFI file on a non-Avid application, see the documentation for the application.
The information in the following table applies to importing OMFI files.
Option Description
Frame or Edit rate You must import sequences and clips to projects that have the same edit rate (29.97 fps or
23.976 fps for NTSC, 25 fps for PAL, 24 fps for film). If the edit rates do not match, you
receive an error message.
nYour Avid editing application cannot import an OMFI audio file that was produced
with an edit rate equal to the audio sampling rate. If you try to import such a file you
receive an “Unrecognized file type” error message. Create the source file with an edit
rate at the project edit rate (29.97 fps, 25 fps, 24 fps, or 23.976 fps).
Resolution For optimum import speed and quality, export or render the file from the source application
at the resolution you want, and then import the file into your Avid editing application at that
resolution. For more information, see “Import Settings: OMFI/AAF Tab” on page 1354.
OMFI version Avid editing applications recognize and support OMFI 1.0 composition and media files and
OMFI 2.0 composition files.
The following OMFI 2.0 effects are supported generally:
• Video effects: dissolves, wipes, freeze frame, film pulldown, slow motion, fade to black
• Audio effects: pan and volume, audio dissolves
You can import other effects from other Avid applications.
Film pulldown To import audio media, set the pulldown switch to 1.0.
Audio sample rate Audio media imports at the sample rate that is set in your Avid editing application.
nAvid editing applications cannot import an OMFI audio file that was produced with
an edit rate equal to the audio sampling rate. If you try to import such a file you
receive an “Unrecognized file type” error message. Set the edit rate to the project edit
rate (29.97 fps, 25 fps, 24 fps, or 23.976 fps).
File transfer If you transfer an OMFI file over a network, transfer it as a binary file.
Reimporting Avid
media files
If you import OMFI files that contain media you exported from the same system, you need
to delete the original media. Otherwise, the new media does not overwrite the original
media. To learn how to find related media files for a sequence, see “Finding a Related Media
File” on page 457.
Working with BWF Files
1394
Working with BWF Files
Avid editing applications support any BWF files that adhere to the BWF specification.
The following information from BWF information always appears in bin columns.
You can use Avid-specific coding to add additional information. Currently, the following vendors
have products that can provide this additional information:
•Aaton
•Zaxcom
•Nagra
•Fostex
Avid editing applications support 24-bit audio data, and up to 16 tracks in a single file. You can
use the AutoSync™ feature to sync these tracks. You can also use AutoSync to sync picture and
sound.
Preparing Custom BWF Information
Additional BWF information that can display in bin columns must be coded in a particular
format. The recording device must provide this information in the BWF Description field, using
keyword/value pairs with the following format:
uKEYWORD=data[CR/LF]
Bin Column BWF Source
Clip name Imported file name. If scene and take information is provided, the clip name is
created as scene/take.
Tape ID Imported file name.
Start The start timecode specified in the file.
Shoot date The origination date specified in the file.
Tape Name If there is no tape name specified in the file, a name is created by concatenating
the origination date and the imported file name.
Working with BWF Files
1395
For example, the keyword/value pair
uSCENE=1A[CR/LF]
displays “1A” in the Scene column of
the bin into which you import it.
The following table describes how to code BWF information for particular bin columns:
If you want to assign a file to a particular track number, the file name must end in _n, -n, or a
space followed by n (where n is the track number). For example, a file named Orchestra_1.bwf
would create the audio on track A1.
To bypass the frame rate dialog box during import, you can specify the frame rate using either of
the following syntaxes:
• uFRAMERATE=nnDF
• uFRAMERATE=nnND
Syntax Definition
u Letter code of the manufacturer. Use the letter u unless otherwise instructed by Avid.
KEYWORD Designation of the bin column.
= Terminates the keyword.
data Information to include in the bin column.
[CR/LF] (carriage return/line feed) Terminates the data.
Bin Column BWF Source
Comments (editable text field that
appears in the bin script view)
uNOTE=x, where x is text.
Scene uSCENE=x, where x is text.
Take uTAKE=x, where x is text.
Tape Name uTAPE=x, where x is text. If no tape name is specified,
a name is created by concatenating the origination date
and the file name.
TRK1 through TRK8 uTRKn=x where n is the track number, and x is text.
User Bits (custom column) uUBITS=$hhhhhhhh where hhhhhhhh is the 32-bit
hexadecimal encoded user bits.
Working with BWF Files
1396
In these examples, nn is the frame rate (25, 29.97, or 30), DF is drop-frame, and ND is
non-drop-frame.
Importing, Syncing, and Reimporting BWF Files
You can import BWF files into an Avid editing application approximately 10 to 12 times faster
than capturing in real time. The files maintain pure digital quality for all audio post processing.
For basic information on importing audio files, see “Importing Media Files” on page 279.
During import of NTSC BWF files, if no frame rate is specified in the file, a dialog box appears
and asks if the conversion should use 29.97 fps or 30 fps, and drop-frame or non-drop-frame.
Your choices depend on how the audio was recorded.
After you capture video, use the AutoSync feature to sync picture and sound or multiple tracks of
sound. If you are using BWF files from a 24-fps shoot in a PAL project, you must use the PAL
Method 2 approach, in which picture and sound are captured separately. If you are working in a
PAL 24p project, you need to take an extra step to make sure the picture and sound are correctly
synced.
You can reimport BWF files in the same way as you reimport other audio files. You can also
batch capture from a source tape, because the clips are associated with a tape name. For more
information on reimporting and batch capturing, see “Reimporting Files” on page 313 and
“Batch Capturing from Logged Clips” on page 234.
To import and sync BWF files:
1. Create a project, based on the source footage.
2. Import the log file, and capture the video footage.
3. Import the BWF file into the same bin in which you captured the video footage.
4. For 24p PAL projects, you need to create a new bin column:
a. Highlight the Start timecode column.
b. Select Edit > Duplicate.
c. From the list of columns, select Aux TC 24 and click OK.
d. In the dialog box, click Convert.
e. Display the Auxiliary TC1 column.
f. Highlight the Aux TC 24 column, and copy it to the Auxiliary TC1 column.
Use Auxiliary TC 1 only as a sync point reference for AutoSync. Do not use it for data
tracking or EDL generation.
Working with BWF Files
1397
Use the Aux TC24 column to generate a 24-frame EDL for audio only. Use the Film TC
column to generate a 24-frame EDL for video only. This timecode field represents the video
timecode of a HD downconvert to standard definition video.
5. Ensure all entries in the Shoot Date column use the same syntax.
Currently, some BWF files use the format 2009/10/03 as the Shoot Date while some ALE
files use 2009-10-03. This field is used as part of the AutoSync process to guarantee the
uniqueness of the timecode. To fix this problem, do one of the following:
- Manually change the format of one set of clips to match the other.
- If you do need the information, create a custom column with a different name, select
Edit > Duplicate to copy the information into the custom column, and delete the Shoot
Date column.
6. Highlight the picture and audio clips and select Bin > AutoSync.
7. For 24p PAL projects, use Auxiliary TC1 as a sync point. For other projects, use the Start
timecode.
Your Avid editing application creates new subclips with synced picture and sound, which are
ready for editing.
Importing Multichannel Broadcast Wave (BWF) Files
You can import multichannel, monophonic BWF files into your Avid editing application as a
single master clip. For example, when you import an eight-track recording, an eight-track master
clip is created with a sequential file name based on the track order (filename_1.wav is associated
with track A1, filename_2.wav is associated with track A2, filename_3.wav is associated with
track A3).
To import a BWF file as a single master clip:
1. In the Settings list of the Project window, double-click Import.
The Import Settings dialog box opens.
2. Click the Audio tab, and then select Autodetect Broadcast Wave Monophonic Groups.
This option is the default.
3. Click OK.
4. Click the bin into which you want to import the file.
5. Select File > Import.
The Select files to Import dialog box opens.
6. Locate the files and select only one .wav file in the group.
You do not need to select multiple files. As long as you select just one of the .wav files in the
group, all the files import.
Working with BWF Files
1398
7. Click Open.
The file imports and a new master clip appears in the bin with all audio tracks associated
with the new master clip.
nYour Avid editing application might skip some audio track labels (A1, A2, A3) because there is
no file for that track.
For more information about importing, see “Importing Files” on page 276.
Field Ordering in Graphic Imports and Exports
1399
Field Ordering in Graphic Imports and Exports
Graphic images consist of one or more image files, each of which contains a full frame. These
frames contain fields (formed from the odd-numbered and even-numbered lines of the image
frame) that have three basic arrangements:
• Progressive or still frame: The upper and lower fields in the frame originated at the same
instant of time, or are coherent with each other, as shown in the following illustration.
Dashed lines = Field 1 (.1), Solid lines = Field 2 (.2), and the arrow represents time.
• Upper field is first: The upper field in the frame (odd-numbered lines, when the frame lines
are numbered starting from 1) occurs temporally before the lower field, as shown in the
following illustration. This arrangement is termed “upper field first” (or “lower field
second”).
• Lower field is first: The lower field in the frame (even-numbered lines) occurs temporally
first, as shown in the following illustration. This arrangement is termed “lower field first” (or
“upper field second”).
.1 .2
.1 and .2
.1 .2
.1 .2
.1 .2
.2.1
Field Ordering in Graphic Imports and Exports
1400
Preventing a Spatial Field Mismatch on Import
The following table shows the proper spatial field position for each of the common interlaced
video formats in Avid editing applications.
nIn the following table, Odd Field or Even Field specifies whether the temporally first field in the
frame has the odd or even numbered lines, starting from 1.
Graphics applications such as Adobe After Effects let you select either spatial relation for the
fields when you render a sequence of interlaced fields. Use the settings in the preceding table to
ensure that the import is correct.
If the spatial positions of the two fields are reversed (for example, the upper field should be a
lower field), your Avid editing application cannot complete the import without correcting the
spatial relationship. In this spatial mismatch situation, Avid applications convert the upper field
to a lower field by deleting the top line of the upper field and replicating the bottom line. The
field is thus converted to a lower field relative to the other field.
nWhen you export to DVD for TV playback, Avid recommends that you transcode any clips that do
not match the field ordering of the majority of the clips. If you do not do this, the field ordering is
reversed during playback.
Spatial Field Relationship on Export
The default export operation is automatically carried out as shown in the preceding table. The
fields are properly interleaved in the export frames (one frame per file).
If your Avid editing application corrects an import with a spatial mismatch as described in the
preceding section, you might want to prevent a shift up or down by a line when you export. The
Export Settings dialog box lets you select the spatial arrangement that is the opposite of what is
otherwise recommended. You should rarely need to use this option.
Avid Video Format
Upper/Lower Field Spatial
Setting
Field Setting for Import and
Export
AVR NTSC Upper field is first. Odd Field
AVR PAL Upper field is first. Odd Field
Other NTSC Lower field is first. Even Field
Other PAL Upper field is first. Odd Field
Field Ordering in Graphic Imports and Exports
1401
24p and 25p Import and Export
The spatial field selection options do not apply for 24p and 25p projects because the frames in
these projects are already in progressive or still-image form.
Field Dominance
Editing in Avid applications is frame based. All timecode is expressed in frame numbers, and all
cuts are at frame boundaries. A raw video stream has no concept of frames (ignoring color
framing) until the frame unit is defined. Defining the dominant field for the system defines the
“frameness” of the video stream, as shown in the following illustration.
Left: the dotted lines represent the limits of a field-1 dominant frame. Right: the dotted lines represent the limits of a
field-2 dominant frame.
Avid editing applications all use field 1 as the dominant field. This means that the first field
temporally in the edit frame is always field 1 and the second frame is always field 2. Cuts will
always precede field 1.
Fields in Video
In the video signal, fields have a temporal position that is unambiguously and uniquely tied to the
details of the video signal, regardless of whether the signal is analog or digital (SDI). This means
that you should work around a field spatial mismatch by correcting the spatial relation between
the two fields rather than the temporal position. In some cases, you can modify the field
dominance of the input image files, but this is results in the loss of two fields, and is more
difficult to carry out than either the workaround provided in Avid editing applications or
rerendering properly to the other spatial relationship.
.2 .1 .2 .1 .2 .1 .2 .1 .2 .1
32 Resolutions and Storage Requirements
This chapter describes the different resolutions available in your Avid editing application and
lists their specifications. It also explains how to estimate the drive space you need to store your
captured media:
•Compression and Avid Editing Applications
•Monitor Display Resolutions
•Resolution Specifications
•Support for Uncompressed HD Media
•Mixing Resolutions
•Resolution Groups and Image Quality
•Estimating Drive Space Requirements
•Storage Requirements
•Considerations for Managing Storage
nThe resolutions available in your Avid editing application depend on its model and options.
Compression and Avid Editing Applications
Avid editing applications support both compressed and uncompressed resolutions.
When an Avid editing application captures and stores compressed video, the compression
techniques affect the size of the resulting files and the resolution of the images they contain. The
less the data is compressed, the higher the image resolution, and the more drive space the file
requires.
Large media files at high resolutions can use very large amounts of drive space. When you are
choosing an image resolution for your project, you need to balance your requirements in terms of
image quality with your available drive resources.
Monitor Display Resolutions
1403
You can use lower resolutions when your work does not require very high image quality (for
example, in offline work, or in CD-ROM or Web authoring projects), and higher resolutions
when you need excellent image quality. You can also mix different resolutions within the same
project as long as those resolutions are compatible with one another. (see “Mixing Resolutions”
on page 1417).
Avid editing applications also support the capture and storage of video that is not processed by a
data compression scheme:
• Uncompressed video (1:1) is available as standard definition (conforming to the ITU-R 601
standard) or as high definition (conforming to the ITU-R 292M standard). The image quality
of uncompressed video is very high, but uncompressed files require very large amounts of
drive space. For more information, see “Support for Uncompressed HD Media” on
page 1416.
• DV (digital video) is a compressed media format. SMPTE standards specify how to take 601
video and convert it to a compressed format. When capturing through a 1394 connection,
your Avid editing application records DV media in its native format, and does not compress
it further.
Monitor Display Resolutions
The display resolution for the monitors in your Avid editing application varies depending on the
video format, as described in the following table.
Video Format
Active video displayed (in
pixels)
Stored video not
displayed
NTSC JFIF (ITU-R 601)
NTSC 1:1 (Uncompressed)
NTSC MPEG IMX
720 x 486 non-square 10 lines of blanking or varietal
interval timecode (VITC) per
frame (5 lines per field)
NTSC DV 25 and DV 50 720 x 480 non-square None
PAL JFIF (ITU-R 601)
PAL 1:1 (Uncompressed)
PAL MPEG IMX
720 x 576 non-square 16 lines of blanking or VITC per
frame (8 lines per field)
nFor more information on blanking or VITC, see “Vertical Blanking Information” on
page 1064.
PAL DV 25 and DV 50 720 x 576 non-square None
HD 720 1280 x 720 square None
HD 1080 1920 x 1080 square None
Resolution Specifications
1404
Resolution Specifications
Avid editing applications provide you with a range of resolutions, both compressed and
uncompressed, that you can use at various stages of your project. You can also mix certain
resolutions within a sequence. The tables in the following topics list specifications for the
various resolutions.
For information on resolutions to use when importing graphics or sequences from a third-party
application, see “Frame Size for Imported Graphics” on page 1391. For information on drive
striping requirements for different resolutions, go to the Avid online Knowledge Base at
www.avid.com/onlinesupport and search for “Drive Striping Tables.” For detailed guidelines on
estimating space requirements, see “Storage Requirements” on page 1418.
Resolution Specifications: HD
Your Avid editing application supports the capture, editing, and output of high-definition (HD)
media in Avid DNxHD™, Avid DNxHD444, DVCPRO HD, (for Macintosh only) Apple® ProRes
422 and Apple ProRes 4444 resolutions. For information on support for 1:1 (uncompressed) HD
media, see “Support for Uncompressed HD Media” on page 1416.
Avid DNxHD encoding technology delivers mastering-quality 8-bit or 10-bit HD media at
standard-definition (SD) data rates and file sizes.
The following table provides information about HD resolutions for interlaced and progressive
media. HD resolutions are available only in MXF format. Unless otherwise specified in the
resolution name, all resolutions are in the YCbCr color space. Avid DNxHD444 resolutions only
appear when the HD project’s Color Space is set to RGB 709 (1080p/1080i projects only).
Resolution Specifications
1405
Resolution Bits
Project
Format Frame Size Frames/sec
Megabits per
second (Mb/sec)
1:1 10-bit HD
1:1 HD
DNxHD 90 X
DNxHD 90
DNxHD 60
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/23.976 1280 x 720
960x720
23.976 442
354
90
90
60
100
50
100
59
88
41
18
132
50
1:1 10-bit HD
1:1 HD
DNxHD 175 X
DNxHD 175
DNxHD 115
DVCPRO HD
XDCAM HD 50
ACV-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/50 1280 x 720
960x720
50 879
704
175
175
115
110
50
100
122
184
84
38
275
50
Resolution Specifications
1406
1:1 10-bit HD
1:1 HD
DNxHD 220 X
DNxHD 220
DNxHD 145
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/59.94 1280 x 720
960x720
59.94 1105
884
220
220
145
100
50
100
147
220
101
45
330
50
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 175 X
DNxHD 175
DNxHD 115
DNxHD 36
DNxHD444 350 X
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
10
8
10
8
8
8
10
10
10
10
10
10
10
10
1080p/23.976 1920 x 1080
1440x1080
23.976 1591
994
795
175
175
115
36
350
100
117
176
82
36
264
50
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 175 X
DNxHD 175
DNxHD 115
DNxHD 36
DNxHD444 350 X
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
10
10
8
10
8
8
8
10
10
10
10
10
10
1080p/24 1920 x 1080 24.00 1593
995
796
175
175
115
36
350
117
176
82
36
264
Resolution Bits
Project
Format Frame Size Frames/sec
Megabits per
second (Mb/sec)
Resolution Specifications
1407
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 185 X
DNxHD 185
DNxHD 120
DNxHD 36
DNxHD444 365 X
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
10
10
8
10
8
8
8
10
10
10
10
10
10
10
1080p/25 1920 x 1080 25.00 1659
1037
829
185
185
125
36
365
100
122
184
85
38
275
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 185 X
DNxHD 185
DNxHD 120
DNxHD TR-120
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
A
VC-Intra 50
10
10
8
10
8
8
8
8
8
10
10
10
10
10
10
10
1080i/50 1920 x 1080
1440x1080
25.00 1659
1037
829
185
185
120
120
100
50
100
122
184
85
38
275
50
Resolution Bits
Project
Format Frame Size Frames/sec
Megabits per
second (Mb/sec)
Resolution Specifications
1408
The data rate (bandwidth) for Avid DNxHD resolutions is calculated per second for each frame
rate. For example, DNxHD 220 has a compressed data rate of 220 Mb/sec at 29.97 fps. DNxHD
185, which is an equivalent resolution, has a compressed data rate of 185 Mb/sec at 25 fps.
A good guideline for selecting a resolution is to use the Avid DNxHD resolution that matches the
megabit data rate of the acquisition format. For HDCAM-originated material, for example, select
DNxHD 145, which closely matches the data rate of HDCAM but provides better mastering
results and uses significantly less storage. The following table compares Avid HD formats to the
HDCAM format.
Resolution Specifications: AVC-Intra with AVC-I Codec Module
The following information applies if you have the Nitris DX with the AVC-I codec module
installed. The codec module provides real-time encoding to the AVC-intra compression format,
using the 10-bit high definition H.264 intra-frame codec.
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 220 X
DNxHD 220
DNxHD 145
DNxHD TR-145
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AVC-Intra 50
10
10
8
10
8
8
8
8
8
10
10
10
10
10
10
10
1080i/59.94 1920 x 1080
1440x1080
29.970 1989
1243
994
220
220
145
145
100
50
100
147
220
102
45
330
50
Resolution Bits
Project
Format Frame Size Frames/sec
Megabits per
second (Mb/sec)
Avid DNxHD 36 Avid DNxHD 145 Avid DNxHD 220 Sony HDCAM
Bit Depth 8-bit 8-bit 8-bit and
10-bit
8-bit
Sampling 4:2:2 4:2:2 4:2:2 3:1:1
Bandwidth 36 Mb/sec 145 Mb/sec 220 Mb/sec 135 Mb/sec
Resolution Specifications
1409
This module allows for real-time baseband capture with the Nitris DX and allows real-time
performance for most rendering and mixdown operations.
When you start your Avid editing application, it detects the presence of the AVC-I codec module.
It will use the module for capture, render and mixdown. If the module is not present, the editing
application uses the software codec to perform these operations. Although, baseband capture of
AVC-I is supported only with the hardware codec module.
The following table provides AVC-Intra (with AVC-I Codec Module) specifications by project
type.
Resolution Specifications: JFIF Interlaced
Avid JFIF resolutions use a simple notation ( x:1) to identify the level of compression. The value
of x indicates the level of compression that is applied to the image data. For example, a 3:1
compression ratio compresses the original data to one-third of its uncompressed size.
A lower compression ratio (a lower number to the left of the colon) results in better image
quality but requires more drive space to store the captured media. A lower compression ratio
might also require drive striping to keep up with the high volume of data.
Project Edit Rate Resolution Name MB/Sec Raster Size
1080i 59.94 AVC-Intra 50 50MBit 1440x1080
AVC-Intra 100 100MBit 1920x1080
1080i 50 AVC-Intra 50 50MBit 1440x1080
AVC-Intra 100 100MBit 1920x1080
1080p 29.97 AVC-Intra 50 50MBit 1440x1080
AVC-Intra 100 100MBit 1920x1080
1080p 23.976 AVC-Intra 50 50MBit 1440x1080
AVC-Intra 100 100MBit 1920x1080
1080p 25 AVC-Intra 100 100MBit 1920x1080
720p 59.94 AVC-Intra 50 50MBit 960x720
AVC-Intra 100 100MBit 1280x720
720p 50 AVC-Intra 50 50MBit 960x720
AVC-Intra 100 100MBit 1280x720
Resolution Specifications
1410
The following table provides information about the Avid resolutions for interlaced media (30i
NTSC and 25i PAL projects). Field size does not include blanking or VITC lines.
Resolution Specifications: JFIF Progressive
The following table provides information about the Avid resolutions for progressive media (24p
NTSC and 24p PAL projects). Frame size does not include blanking or VITC lines.
Resolution
Field Size
(Visible Pixels)
Fields
Per
Frame Quality
15:1s 352 x 243 (NTSC)
352 x 288 (PAL)
1 Offline — provides maximum storage with enough image
detail to make basic editing decisions (you can check lip sync
on a medium shot).
4:1s 352 x 243 (NTSC)
352 x 288 (PAL)
1 Offline — a good storage resolution combined with a good
offline image quality.
2:1s 352 x 243 (NTSC)
352 x 288 (PAL)
1 Online — provides enough detail for finishing multimedia
jobs such as CD-ROM and Web authoring.
20:1 720 x 486 (NTSC)
720 x 576 (PAL)
2 Offline — useful for mixing storage-efficient offline footage
with online-quality resolutions.
10:1 720 x 486 (NTSC)
720 x 576 (PAL)
2 Offline/online — a good compromise for high-quality,
two-field offline or low-quality online that saves drive space.
3:1 720 x 486 (NTSC)
720 x 576 (PAL)
2 Online — a medium-quality online resolution that can
sustain two-stream playback on 2-way striped drives.
2:1 720 x 486 (NTSC)
720 x 576 (PAL)
2 Online — provides the highest image quality of any
compressed resolution and sustains two-stream playback on
4-way striped drives.
1:1 SD 720 x 486 (NTSC)
720 x 576 (PAL)
2 Online uncompressed — provides the highest 8-bit image
quality.
1:1 10b SD
(MXF only)
720 x 486 (NTSC)
720 x 576 (PAL)
2 Online uncompressed — provides 10-bit image quality.
Resolution
Frame Size
(Pixels) Quality
35:1 720 x 486 (NTSC)
720 x 576 (PAL)
Offline — provides maximum storage with enough image detail to make
basic editing decisions.
Resolution Specifications
1411
Resolution Specifications: Multicam
Both interlaced and progressive projects support multicamera resolutions (m resolutions). You
cannot mix m resolutions with resolutions in other families. The capture of a multicamera
resolution in a video project results in single-field compressed media that is resized horizontally
to 288 pixels wide. Playback decompresses and resizes to 720 pixels wide. The resulting single
field plays back the same as s resolution media, where one field per frame time is presented to
the video out device. Frame size does not include blanking or VITC lines.
nM resolutions were recommended for Multicam in Meridien-based Avid editing applications.
They remain available in current Avid editing applications for compatibility reasons, but are not
recommended for use.
28:1 720 x 486 (NTSC)
720 x 576 (PAL)
Offline — offers low storage requirements combined with a good offline
image quality.
14:1 720 x 486 (NTSC)
720 x 576 (PAL)
Offline — provides the best offline image quality.
3:1 720 x 486 (NTSC)
720 x 576 (PAL)
Online — a medium-quality online resolution that can sustain two-stream
playback on 2-way striped drives.
2:1 720 x 486 (NTSC)
720 x 576 (PAL)
Online — provides the highest image quality of any compressed resolution
and sustains two-stream playback on 4-way striped drives.
1:1 SD 720 x 486 (NTSC)
720 x 576 (PAL)
Online uncompressed — provides the highest 8-bit image quality.
1:1 10b SD
(MXF only)
720 x 486 (NTSC)
720 x 576 (PAL)
Online uncompressed — provides 10-bit image quality.
Resolution
Frame Size
(Pixels) Quality
Resolution Frame Size (Pixels) Quality
10:1m interlaced 720 x 486 (NTSC)
720 x 576 (PAL)
Offline
8:1m progressive 720 x 486 (NTSC)
720 x 576 (PAL)
Offline
4:1m interlaced 720 x 486 (NTSC)
720 x 576 (PAL)
Online
Resolution Specifications
1412
Resolution Specifications: Digital Video (DV)
Digital video (DV) is an international standard created by a consortium of 10 companies to serve
as a consumer digital video format. Avid editing applications support three DV resolutions: DV
25, DV 50, and DVCPRO HD.
DV, originally known as DVC (Digital Video Cassette), uses a 1/4-inch tape to record very high
quality digital video. The video is sampled at the same rate as D1, D5, or Digital Betacam video
(720 pixels per scan line). The color information in DV 25 is sampled at the D1 rate of 4:1:1 in
525-line (NTSC) and 4:2:0 in 625-line (PAL) formats. DV 50 is defined as 720 x 480,
50-megabit-per-second (Mb/s) 4:2:2 DV. DVCPRO HD is an HD format (DVCPRO HD), which
is available in both 720p and 1080i resolutions, at 100 Mb/sec.
The following table provides DV resolution specifications for Avid editing applications with the
DV/MPEG option or the HD option.
3:1m progressive 720 x 486 (NTSC)
720 x 576 (PAL)
Online
Resolution Frame Size (Pixels) Quality
Resolution Frame Size Color Sampling
Megabits per
second (Mb/sec)
DV 25 411 interlaced 720 x 480 (NTSC)
720 x 576 (PAL)
4:1:1 25
DV 25p 411 progressive 720 x 480 (NTSC)
720 x 576 (PAL)
4:1:1 25
DV 25 420 interlaced 720 x 576 (PAL) 4:2:0 25
DV 50 interlaced 720 x 480 (NTSC)
720 x 576 (PAL)
4:2:2 50
DV 50p progressive 720 x 480 (NTSC)
720 x 576 (PAL)
4:2:2 50
DVCPRO HD (720p) 1280 x 720 4:2:2 100
DVCPRO HD (1080i) 1920 x 1080 4:2:2 100
Resolution Specifications
1413
Resolution Specifications: MPEG
MPEG resolutions are specifically intended to support the SMPTE Type D-10 bit stream
produced and recorded by devices such as Sony MPEG IMX VTRs. They use 4:2:2 sampling.
The following table provides MPEG resolution specifications. Frame size does not include
blanking or VITC lines.
Resolution Specifications: VC1
Avid editing applications support editing and playback of MXF media encoded using the VC1
resolution and codec. VC1 was initially developed by Microsoft and has been standardized as
SMPTE 421-M.
nAvid Interplay v1.2 does not support VC1 media.
(Windows) To use the VC1 resolutions, you must have Windows Media Player 11 installed on
your system.
The VC1 options appear in the Render tab and the Mixdown & Transcode tab of the Media
Creation Settings dialog box. These options also appear in the AAF Export settings when setting
the “Transcode Video To” option.
Depending on the project type and edit rate, you can fast copy import, play back, transcode, and
render VC1 resolutions. You must first export your sequence or clip as a Windows media file in
order to perform a fast copy import to your Avid editing application.
The following limitations apply to VC1:
• For Macintosh systems, the VC1 codec is limited to playback only.
• The VC1 codec is only available for Windows media. If you export to QuickTime, you must
export to a QuickTime-supported codec or transcode your sequence or clip prior to
exporting.
Resolution Frame Size (Visible pixels) Megabits per second (Mb/sec)
MPEG 30 720 x 480 (NTSC)
720 x 576 (PAL)
30
MPEG 40 720 x 480 (NTSC)
720 x 576 (PAL)
40
MPEG 50 720 x 480 (NTSC)
720 x 576 (PAL)
50
Resolution Specifications
1414
• AAF or OMF embedded exports of VC1 are not supported. Linked media is supported.
• There is no real-time playback of HD media using VC1 resolutions.
The following table provides VC1 specifications by project type:
Project
Edit
Rate
Resolution
Name
Max Bit
Rate
Stored
Raster Size
(WxHxFields) Playback Transcode
Fast
Copy
Import Render
NTSC 29.97 VC1-APL0 768Kbit 352x240x1 Yes Yes No Yes
VC1-APL1 10Mbit 720x240x2 Yes Yes Yes Yes
VC1-APL2 20Mbit 720x240x2 Yes Yes Yes Yes
24 VC1-APL0 768Kbit 352x240x1 Yes Yes Yes Yes
VC1-APL1 10Mbit 720x480x1 Yes Yes Yes Yes
23.976 VC1-APL0 768Kbit 352x240x1 Yes Yes Yes Yes
VC1-APL1 10Mbit 720x480x1 Yes Yes Yes Yes
PAL 25i VC1-APL0 768Kbit 352x288x1 Yes Yes No Yes
VC1-APL1 10Mbit 720x288x2 Yes Yes Yes Yes
VC1-APL2 20Mbit 720x288x2 Yes Yes Yes Yes
25p VC1-APL0 768Kbit 352x288x1 Yes Yes Yes Yes
VC1-APL1 10Mbit 720x576x1 Yes Yes Yes Yes
1080i 59.94 VC1-APL3 45Mbit 1920x540x2 Yes Yes Yes Yes
VC1-APL3 6Mbit 1920x540x2 No No No No
50 VC1-APL3 45Mbit 1920x540x2 Yes Yes Yes Yes
VC1-APL3 6Mbit 1920x540x2 No No No No
1080p 23.976 VC1-APL3 45Mbit 1920x1080x1 Yes Yes Yes Yes
VC1-APL3 6Mbit 1920x1080x1 No No No No
29.97 No No No No
24 VC1-APL3 45Mbit 1920x1080x1 Yes Yes Yes Yes
VC1-APL3 6Mbit 1920x1080x1 No No No No
25 VC1-APL3 45Mbit 1920x1080x1 Yes Yes Yes Yes
Resolution Specifications
1415
Resolution Specifications SD: Apple ProRes
Avid editing applications support editing and playback of Apple ProRes media encoded using
the Apple ProRes MXF codec. You can import, playback, transcode, and consolidate Apple
ProRes MXF resolutions.
The following table provides Apple ProRes MXF specifications by project type.
VC1-APL3 6Mbit 1920x1080x1 No No No No
720p 23.976 VC1-APL2 20Mbit 1280x720x1 Yes Yes Yes Yes
24 VC1-APL2 20Mbit 1280x720x1 Yes Yes Yes Yes
25 No No No No
50 VC1-APL2 20Mbit 1280x720x1 Yes Yes Yes Yes
VC1-APL3 6Mbit 1280x720x1 No No No No
59.94 VC1-APL2 20Mbit 1280x720x1 Yes Yes Yes Yes
VC1-APL3 6Mbit 1280x720x1 No No No No
29.97 No No No No
HDV 50i No No No No
60i No No No No
Project
Edit
Rate
Resolution
Name
Max Bit
Rate
Stored
Raster Size
(WxHxFields) Playback Transcode
Fast
Copy
Import Render
Resolution Bits
Project
Format Frame Size Frames/sec
Megabits per
second (Mb/sec)
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
10 23.976pNTSC 720 x 486 23.976 24
50
23
10
75
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
10 24pPAL 720 x 576 24 41
61
28
12
92
Support for Uncompressed HD Media
1416
Support for Uncompressed HD Media
Depending on your Avid input/output hardware, your Avid editing applications let you play, edit,
import, render, transcode, and export a single-stream of real-time uncompressed (1:1) HD media.
However, only Avid Nitris DX supports capture of uncompressed HD media.
To make uncompressed HD media available on a system that cannot capture it directly, capture
the media on an Avid editing application that supports capture of uncompressed HD media, and
then share the media through shared storage, a network, or removable media.
The following guidelines and limitations apply to handling uncompressed HD media on systems
that do not support capture of uncompressed HD media:
• You can play uncompressed HD media using the Best Performance (yellow) and Draft
Quality (yellow/green) video quality settings. Playback of uncompressed HD media through
the Avid input/output hardware as Full Quality (green) is not supported.
You can view and play uncompressed HD media in Full Quality mode in the Source and
Record monitors (and in full-screen playback if available), but you might notice skipped
frames during playback. Media plays as black in a Client monitor.
• 10-bit uncompressed HD media plays back as 8-bit preview.
• You can play and edit uncompressed HD media in HDV projects, but you cannot create
uncompressed HD media.
• For information on drive requirements for uncompressed HD media, see the drive striping
tables for your Avid editing application at Avid’s online Knowledge Base. Go to
www.avid.com/onlinesupport and search for “Drive Striping Tables.”
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
10 24pNTSC 720 x 486 24 24
50
23
10
75
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
10 25iPAL 720 x 576 25 41
61
28
12
92
Resolution Bits
Project
Format Frame Size Frames/sec
Megabits per
second (Mb/sec)
Mixing Resolutions
1417
Mixing Resolutions
Mixing resolutions in a sequence saves time and effort in a variety of circumstances:
• You can do most of your work at a resolution that can play back real-time effects, capturing
only the most complex shots and graphics at a high-quality, single-stream resolution.
• For storage and playback efficiency, you can capture complex footage at the draft-quality
online resolution and edit it along with other online resolutions.
• You can avoid some recapturing by importing complex graphics at a high-quality resolution
and by capturing the remaining footage at draft quality during the offline phase.
• You can exchange material between projects with a minimum of recapturing.
• You can develop material among workstations at different resolutions and bring the material
together for a final cut without recapturing.
nFor information on resolutions to use when importing graphics or sequences from a third-party
application, see “Frame Size for Imported Graphics” on page 1391.
Resolution Groups and Image Quality
In general, a lower compression ratio means higher image quality. However, the resolution group
itself (single-field, two-field, progressive, or uncompressed) is also a factor in the quality of the
final image.
Single-field resolutions work with smaller amounts of original image data than two-field or
progressive resolutions. They use only half the image width of two-field resolutions, and they
use only one of the two fields in the standard video signal.
For example, there is a 2:1 resolution for both single-field and two-field resolutions. In both
cases, the image data is compressed to one-half of its original size. However, the image quality of
these two resolutions is different. The single-field 2:1 resolution has lower image quality because
it processes only one-quarter of the original image data used by the two-field 2:1 resolution.
Estimating Drive Space Requirements
You should plan the use of drive volumes in advance, especially when you capture many tapes.
You need to select a resolution that provides adequate picture quality for your project. However,
you might be limited by the amount of media drive space available. Before you capture, estimate
your media drive space requirements.
Storage Requirements
1418
To estimate media drive space requirements:
1. Use the appropriate resolution specifications table.
See “Resolution Specifications” on page 1404 and the information in your media drive
documentation to select a resolution that is compatible with the drive and striping capacity
on your system.
2. Open the Capture tool, select a resolution and target drive or drives, and note the time
remaining on the selected drives.
For more information, see “Selecting the Target Drives” on page 190.
3. Get a total duration for all the clips you plan to capture.
Use the Console and the Get Bin Info commands, as described in “Using The Console
Window” on page 112.
4. Use the estimated storage requirements table to estimate your drive space requirements
based on the resolution and the number of audio tracks.
5. Compare the gigabytes available on your drives with the storage requirements table.
If your needs are greater than your drive space, select a lower resolution and recalculate.
The information in the storage tables is approximate, so it’s a good idea to slightly
overestimate the amount of drive space you require.
Storage Requirements
The following topics provide estimated drive space requirements for the various resolutions.
They show figures for estimated minutes per gigabyte and also figures for the drive space
required for certain amounts of material.
“Estimating Drive Space Requirements” on page 1417 contains recommendations for achieving
efficient storage for your digital media. It explains how playback performance is affected by the
way you set up the storage drives and target them when you capture.
Storage Requirements
1419
Estimated Storage Requirements: HD
This table does not include estimated storage requirements for audio.
Resolution Bits Project Format
Drive Space Needed for
1 Hour of Media (GB)
1:1 10-bit HD
1:1 HD
DNxHD 90 X
DNxHD 90
DNxHD 60
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AV C -I n t r a 5 0
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/23.976 185
148
37
37
24
48
22
24
26
40
18
8
59
12
1:1 10-bit HD
1:1 HD
DNxHD 90 X
DNxHD 90
DNxHD 60
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AV C -I n t r a 5 0
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/25 198
158
41
41
27
25
22
24
28
41
19
9
62
12
Storage Requirements
1420
1:1 10-bit HD
1:1 HD
DNxHD 110 X
DNxHD 110
DNxHD 70
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AV C -I n t r a 5 0
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/29.97 237
190
50
50
32
25
22
24
33
49
23
10
74
12
1:1 10-bit HD
1:1 HD
DNxHD 175 X
DNxHD 175
DNxHD 115
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AV C -I n t r a 5 0
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/50 396
317
79
79
52
50
22
48
55
83
38
17
124
24
Resolution Bits Project Format
Drive Space Needed for
1 Hour of Media (GB)
Storage Requirements
1421
1:1 10-bit HD
1:1 HD
DNxHD 220 X
DNxHD 220
DNxHD 145
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AV C -I n t r a 5 0
10
8
10
8
8
8
8
10
10
10
10
10
10
10
720p/59.94 232
185
92
92
61
48
22
48
66
99
46
20
148
24
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 175 X
DNxHD 175
DNxHD 115
DNxHD 36
DNxHD444 440 X
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AV C -I n t r a 5 0
10
10
8
10
8
8
8
10
10
10
10
10
10
10
10
1080p/23.976 716
417
333
74
74
49
15
148
48
53
79
37
16
119
24
Resolution Bits Project Format
Drive Space Needed for
1 Hour of Media (GB)
Storage Requirements
1422
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 175 X
DNxHD 175
DNxHD 115
DNxHD 36
DNxHD444 440 X
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AV C -I n t r a 5 0
10
10
8
10
8
8
8
10
10
10
10
10
10
10
10
1080p/24 717
417
334
74
74
49
15
148
48
53
79
37
16
119
24
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 185 X
DNxHD 185
DNxHD 120
DNxHD 36
DNxHD444 440 X
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AV C - In t r a 5 0
10
10
8
10
8
8
8
10
10
10
10
10
10
10
10
1080p/25 746
435
348
77
77
51
15
155
48
55
83
38
17
124
24
Resolution Bits Project Format
Drive Space Needed for
1 Hour of Media (GB)
Storage Requirements
1423
Estimated Storage Requirements: JFIF Interlaced
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 185 X
DNxHD 185
DNxHD 120
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AV C -I n t r a 5 0
10
10
8
10
8
8
8
8
10
10
10
10
10
10
10
1080i/50 746
435
348
77
77
51
48
22
48
110
165
77
34
248
24
1:1 10-bit RGB HD
1:1 10-bit HD
1:1 HD
DNxHD 220 X
DNxHD 220
DNxHD 145
DVCPRO HD
XDCAM HD 50
AVC-Intra 100
Apple ProRes 422 MXF
Apple ProRes 422 HQ MXF
Apple ProRes 422 LT MXF
Apple ProRes 422 Proxy MXF
Apple ProRes 4444
AV C -I n t r a 5 0
10
10
8
10
8
8
8
8
10
10
10
10
10
10
10
1080i/59.94 895
521
417
92
92
61
48
22
48
132
198
92
41
297
24
Resolution Bits Project Format
Drive Space Needed for
1 Hour of Media (GB)
Resolution
Audio
Tracks
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
15:1s 0 48.5 20.6 MB 206 MB 618 MB
Storage Requirements
1424
1 38.6 25.9 MB 259 MB 777 MB
2 32.1 31.2 MB 312 MB 936 MB
3 28.2 35.5 MB 355 MB 1.07 GB
4 24.5 40.8 MB 408 MB 1.22 GB
8 16.1 62.0 MB 620 MB 1.86 GB
4:1s 0 11.6 85.8 MB 858 MB 2.57 GB
1 11.0 91.1 MB 911 MB 2.73 GB
2 10.5 95.4 MB 954 MB 2.86 GB
3 9.9 101 MB 1.01 GB 3.03 GB
4 9.4 106 MB 1.06 GB 3.18 GB
8 7.9 127 MB 1.27 GB 3.81 GB
2:1s 0 5.8 172 MB 1.72 GB 5.16 GB
1 5.7 177 MB 1.77 GB 5.28 GB
2 5.5 182 MB 1.82 GB 5.46 GB
3 5.4 187 MB 1.87 GB 5.61 GB
4 5.2 193 MB 1.93 GB 5.79 GB
8 4.7 214 MB 2.14 GB 6.42 GB
20:1 0 16.6 60.1 MB 601 MB 1.80 GB
1 15.3 65.4 MB 654 MB 1.96 GB
2 14.1 70.7 MB 707 MB 2.12 GB
3 13.2 76.0 MB 760 MB 2.28 GB
4 12.3 81.3 MB 813 MB 2.44 GB
8 9.8 103 MB 1.03 GB 3.09 GB
10:1 0 8.3 120 MB 1.20 GB 3.60 GB
1 7.9 126 MB 1.26 GB 3.78 GB
Resolution
Audio
Tracks
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
Storage Requirements
1425
2 7.6 131 MB 1.31 GB 3.93 GB
3 7.3 136 MB 1.36 GB 4.08 GB
4 7.2 140 MB 1.40 GB 4.20 GB
8 6.2 161 MB 1.61 GB 4.83 GB
3:1 0 2.9 344 MB 3.44 GB 10.32 GB
1 2.9 349 MB 3.49 GB 10.47 GB
2 2.8 354 MB 3.54 GB 10.62 GB
3 2.8 360 MB 3.60 GB 10.80 GB
4 2.7 365 MB 3.65 GB 10.95 GB
8 2.6 386 MB 3.86 GB 11.58 GB
2:1 0 1.9 516 MB 5.16 GB 15.48 GB
1 1.9 521 MB 5.21 GB 15.63 GB
2 1.9 526 MB 5.26 GB 15.78 GB
3 1.9 531 MB 5.31 GB 15.94 GB
4 1.9 537 MB 5.37 GB 16.11 GB
8 1.8 558 MB 5.58 GB 16.74 GB
1:1 SD
(Uncompressed)
0 0.8 1.22 GB 12.2 GB 36.6 GB
1 0.8 1.23 GB 12.3 GB 36.9 GB
2 0.8 1.23 GB 12.3 GB 36.9 GB
3 0.8 1.24 GB 12.4 GB 37.2 GB
4 0.8 1.24 GB 12.4 GB 37.2 GB
8 0.8 1.26 GB 12.6 GB 37.8 GB
1:1 10b SD
(10-bit
Uncompressed)
0 0.6 1.53 GB 15.3 GB 45.9 GB
Resolution
Audio
Tracks
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
Storage Requirements
1426
Estimated Storage Requirements: JFIF Progressive
1 0.6 1.54 GB 15.4 GB 46.2 GB
2 0.6 1.54 GB 15.4 GB 46.2 GB
3 0.6 1.55 GB 15.5 GB 46.5 GB
4 0.6 1.55 GB 15.5 GB 46.5 GB
8 0.6 1.58 GB 15.8 GB 47.4 GB
Resolution
Audio
Tracks
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
Resolution
Audio
Tracks
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
35:1 0 36.4 (NTSC)
30.3 (PAL)
27.5 MB
33.0 MB
275 MB
330 MB
824 MB
990 MB
130.5 (NTSC)
26.1 (PAL)
32.8 MB
38.3 MB
328 MB
383 MB
983 MB
1.14 GB
226.3 (NTSC)
22.9 (PAL)
38.1 MB
43.6 MB
381 MB
436 MB
1.14 GB
1.30 GB
323.1 (NTSC)
20.4 (PAL)
43.4 MB
48.9 MB
434 MB
489 MB
1.30 GB
1.47 GB
420.5 (NTSC)
18.4 (PAL)
48.7 MB
54.2 MB
487 MB
542 MB
1.46 GB
1.63 GB
814.3 (NTSC)
13.3 (PAL)
69.9 MB
75.4 MB
699 MB
754 MB
2.10 GB
2.26 GB
28:1 0 29.1 (NTSC)
24.3 (PAL)
34.4 MB
41.2 MB
344 MB
412 MB
1.03 GB
1.23 GB
125.2 (NTSC)
21.5 (PAL)
39.7 MB
46.5 MB
397 MB
465 MB
1.19 GB
1.39 GB
Storage Requirements
1427
222.2 (NTSC)
19.3 (PAL)
45.0 MB
51.8 MB
450 MB
518 MB
1.35 GB
1.55 GB
319.9 (NTSC)
17.5 (PAL)
50.3 MB
57.1 MB
503 MB
571 MB
1.51 GB
1.71 GB
418.0 (NTSC)
16.0 (PAL)
55.6 MB
62.4 MB
557 MB
624 MB
1.67 GB
1.87 GB
813.0 (NTSC)
12.0 (PAL)
76.8 MB
83.6 MB
768 MB
836 MB
2.30 GB
2.51 GB
14:1 0 14.6 (NTSC)
12.1 (PAL)
68.5 MB
82.6 MB
685 MB
826 MB
2.05 GB
2.48 GB
113.6 (NTSC)
11.4 (PAL)
73.8 MB
87.9 MB
738 MB
879 MB
2.21 GB
2.64 GB
212.6 (NTSC)
10.7 (PAL)
79.1 MB
93.2 MB
791 MB
932 MB
2.37 GB
2.80 GB
311.8 (NTSC)
10.1 (PAL)
84.4 MB
98.5 MB
844 MB
985 MB
2.53 GB
2.96 GB
411.1 (NTSC)
9.6 (PAL)
89.7 MB
103 MB
897 MB
1.04 GB
2.69 GB
3.12 GB
8 9.0 (NTSC)
8.0 (PAL)
111 MB
125 MB
1.11 GB
1.25 GB
3.33 GB
3.75 GB
3:1 0 3.6 (NTSC)
3.0 (PAL)
278 MB
333 MB
2.78 GB
3.33 GB
8.33 GB
10.0 GB
1 3.5 (NTSC)
3.0 (PAL)
283 MB
339 MB
2.83 GB
3.39 GB
8.49 GB
10.2 GB
2 3.5 (NTSC)
2.9 (PAL)
288 MB
344 MB
2.88 GB
3.44 GB
8.65 GB
10.3 GB
33.4 (NTSC)
2.9 (PAL)
294 MB
349 MB
2.94 GB
3.49 GB
8.81 GB
10.5 GB
4 3.3 (NTSC)
2.8 (PAL)
299 MB
355 MB
2.99 GB
3.55 GB
8.97 GB
10.6 GB
Resolution
Audio
Tracks
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
Storage Requirements
1428
8 3.1 (NTSC)
2.7 (PAL)
320 MB
376 MB
3.20 GB
3.76 GB
9.61 GB
11.3 GB
2:1 0 2.4 (NTSC)
2.0 (PAL)
417 MB
500 MB
4.17 GB
5.00 GB
12.5 GB
15.0 GB
1 2.4 (NTSC)
2.0 (PAL)
422 MB
505 MB
4.22 GB
5.05 GB
12.7 GB
15.2 GB
2 2.3 (NTSC)
2.0 (PAL)
427 MB
510 MB
4.27 GB
5.11 GB
12.8 GB
15.3 GB
3 2.3 (NTSC)
1.9 (PAL)
433 MB
516 MB
4.33 GB
5.16 GB
13.0 GB
15.5 GB
4 2.3 (NTSC)
1.9 (PAL)
438 MB
521 MB
4.38 GB
5.21 GB
13.1 GB
15.6 GB
8 2.2 (NTSC)
1.8 (PAL)
459 MB
542 MB
4.59 GB
5.42 GB
13.8 GB
16.3 GB
1:1 SD
(Uncompressed)
0 1.0 (NTSC)
0.9 (PAL)
1.00 GB
1.15 GB
10.0 GB
11.5 GB
30.0 GB
34.5 GB
1 1.0 (NTSC)
0.9 (PAL)
1.01 GB
1.15 GB
10.1 GB
11.5 GB
30.3 GB
34.6 GB
2 1.0 (NTSC)
0.9 (PAL)
1.01 GB
1.16 GB
10.1 GB
11.6 GB
30.3 GB
34.8 GB
3 1.0 (NTSC)
0.9 (PAL)
1.02 GB
1.17 GB
10.2 GB
11.7 GB
30.6 GB
35.1 GB
4 1.0 (NTSC)
0.9 (PAL)
1.02 GB
11.7 GB
10.2 GB
11.7 GB
30.6 GB
35.1 GB
8 1.0 (NTSC)
0.8 (PAL)
1.04 GB
1.19 GB
10.4 GB
11.9 GB
31.3 GB
35.8 GB
Resolution
Audio
Tracks
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
Storage Requirements
1429
Estimated Storage Requirements: DV
This table does not include estimated storage requirements for audio.
Estimated Storage Requirements: MPEG
This table does not include estimated storage requirements for audio.
1:1 10b SD
(10-bit
Uncompressed)
0 0.8 (NTSC)
0.7 (PAL)
1.25 GB
1.44 GB
12.5 GB
14.4 GB
37.5 GB
43.2 GB
1 0.8 (NTSC)
0.7 (PAL)
1.26 GB
1.44 GB
1.26 GB
14.4 GB
37.9 GB
43.2 GB
2 0.8 (NTSC)
0.7 (PAL)
1.26 GB
1.45 GB
12.6 GB
14.5 GB
37.8 GB
43.5 GB
3 0.8 (NTSC)
0.7 (PAL)
1.28 GB
1.46 GB
12.8 GB
14.6 GB
38.4 GB
43.8 GB
4 0.8 (NTSC)
0.7 (PAL)
1.28 GB
1.46 GB
12.8 GB
14.6 GB
38.4 GB
43.8 GB
8 0.8 (NTSC)
0.7 (PAL)
1.30 GB
1.49 GB
13.0 GB
14.9 GB
39.0 GB
44.7 GB
Resolution
Audio
Tracks
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes of
Media
Drive Space
Needed for
30 Minutes of
Media
Resolution
(NTSC and PAL)
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes
of Media
Drive Space
Needed for
30 Minutes
of Media
DV 25 5.0 200 MB 2.0 GB 6.0 GB
DV 50 2.5 400 MB 4.0 GB 12.0 GB
DVCPRO HD 1.2 800 MB 8.0 GB 24.0 GB
Considerations for Managing Storage
1430
Considerations for Managing Storage
Maximizing Drive Space
If your media drive space is limited or you are capturing a large amount of source material,
follow these suggestions to maximize your usage of the media drive space:
• Capture only the audio channels required for the edit.
• Log in advance. Batch capture only the footage required for the edit.
• Capture at a lower resolution for editing. Recapture only the clips included in the final cut at
a higher resolution.
nFor more information on batch capturing and recapturing, see “Batch Capturing from Logged
Clips” on page 234.
Managing Storage to Improve Playback Performance
The way you set up the media drives and target them when you capture can affect playback
performance. Here are some suggestions for working with complex video images at high
resolution, multiple video layers, or multicamera material:
• For more effective playback of multiple streams of video at higher resolutions, stripe the
media drives. Some resolutions require drive striping; see the drive striping tables for your
Avid editing application at Avid’s online Knowledge Base. Go to
www.avid.com/onlinesupport and search for “Drive Striping Tables.”
• For more effective playback of multiple streams of video at higher resolutions without drive
striping, distribute the video tracks as evenly as possible among available drives, and target
separate drives for audio and video.
• Try to target one volume per reel.
Resolution
(NTSC and PAL)
Minutes Per
Gigabyte
Drive Space
Needed for
1 Minute of
Media
Drive Space
Needed for
10 Minutes
of Media
Drive Space
Needed for
30 Minutes
of Media
MPEG 30 4.7 210 MB 2.1 GB 6.3 GB
MPEG 40 3.6 280 MB 2.8 GB 8.4 GB
MPEG 50 2.9 350 MB 3.5 GB 10.5 GB
33 Working in High-Resolution Projects
Avid editing applications include support for high-resolution media (HD, 2K and above). A full
list of the video formats supported for capture, linking, editing, rendering and output is available
on the Avid web site.
nDepending on the model of your Avid editing application and on your Avid input/output
hardware, some of these resolutions might not be available for capture in their uncompressed
form. For more information, see “Support for Uncompressed HD Media” on page 1416.
This chapter covers the various film and HD workflows that require the acquisition, editing and
output of high-resolution media.
•Delivery Methods for Film & Video
•Workflow: Film Reel Editing
•Workflow: File-based Editing with MetaFuze
•Workflow: File-based Editing with AMA
•HD Workflow: Video-Based Television
•Producing Graphics for Broadcast
•Editing with High-Resolution Media
•Working with HDV
•Understanding HDV
•HDV Workflow
•Capturing and Importing HDV
•Playing Back HDV Media
•Outputting HDV
Delivery Methods for Film & Video
Media originates either from film or video cameras in the form of film reel, video tape or digital
high-resolution files. This media can be converted into different formats for the post-production
process and final delivery. Avid applications provide support for universal mastering which
means that you can edit once and deliver to multiple film, HD and SD formats.
Workflow: Film Reel Editing
1432
Based on delivery format requirements, you need to determine the best format for acquisition of
the media. It’s best to begin with the highest resolution and quality source, and then “down-rez”
to the required output format.
Theatrical release (Film projector)
Feature film or documentary release to theaters demands high-resolution, high-quality source
material and output to film. It is important to acquire the media at the highest possible resolution
at a film rate of 24/25fps, and aspect ratio of 16:9. This media can be converted to lower-res
proxies during the editing process, and then finished and output at high-res for recording back to
film.
HD Television (High Definition video broadcast, Blu-Ray disc)
High-definition television (HDTV) is a digital broadcasting technology that delivers a larger,
clearer, more detailed picture than standard definition television (SDTV). HDTV uses a 16:9
aspect ratio in place of the standard definition 4:3 ratio, and requires output to HD video format.
With digital television formats expanding the options for content distribution, there is renewed
interest in the oldest format in the industry: 24-fps film. Through a telecine transfer and the
capturing process, Avid editing applications capture and store film frames as 24-fps to maintain
the quality options.
Many production companies even use film-resolution media from digital cameras (such as RED)
as the primary source and then down-rez to HD for final delivery.
SD Television (Standard Definition video broadcast, DVD)
Standard definition television broadcast and DVD distribution usually requires output to NTSC
or PAL video formats.
Workflow: Film Reel Editing
When footage is shot on film, it can be digitized in one of two ways. It can either be scanned to
DPX files to preserve the maximum resolution, or it can be transferred to tape in HD 4:4:4
format. Through a telecine transfer to HD digital videotape, you can edit the footage without
incurring the costs of transferring all of the original camera negative to 2K scans until the final
finishing and delivery stages.
The scenario below describes how to edit footage that is transferred to tape for offline editing.
The sequences are edited in Media Composer at HD or lower resolution, and finished with 2K or
higher scanned files in Avid DS at film resolution.
Workflow: Film Reel Editing
1433
Step 1: Transfer of film to video
The telecine process is the most common practice used for transferring the film dailies to
videotape. The next phase of the process is to import the film transfer files (FLEx, Evertz, Aaton,
ALE) into Media Composer project bins and batch capture the footage from the dailies. The
audio can be captured directly from the BWF file-based recorder, and synced during the editing
process.
Step 2: Retransfer of film to higher-quality video
Once the offline editing process is complete, you can easily generate a pull list with handles
using Avid FilmScribe. The pull list provides a concise list of footage to be transferred or
scanned, thus allowing for an efficient final conform process that minimizes costs in the telecine
or scanner room. If you are editing on an Avid Media Composer or Symphony, the original
footage can be transferred to HD format in 4:4:2 YCrCB or RGB 4:4:4. The source timecodes
and tape name are easily matched using the common denominator which is the KeyKode
information of the original camera negative. Once the bins are relinked, the sequence will point
to the newly transferred sources, tape, timecode, etc. for the final edit before output of a video
master.
Step 3: Retransfer of film to high-res files
If you are conforming and finishing on an Avid DS system for HD or film delivery, you can scan
the final footage to HD or higher-resolution files, and conform the offlined sequence into Avid
DS using the AFE.
Avid Media Composer
HD 4:2:2
HD RGB 4:4:4
2
1
Avid DS
Avid Pro Tools
AFE
OMFI/AAF
33
SCANNER
DPX
BWF
Link to high-res
source files
Checklist: Editing Film Reel Footage in Media Composer
1434
If you are linking to DPX files, necessary information such as KeyKode (key number) and
timecode is inserted as metadata into each DPX file during the scanning process. If the DPX files
do not contain the timecode information, an ALE is required in order to make the necessary
correspondence to the associated DPX files. The ALE is usually supplied by the film-scanning
facility or output by Media Composer.
In Avid DS, you can scan and import files directly from the folders containing the raw file
footage. This allows you to refine the look using the established offline settings. You can open a
4K RGB sequence, switch into proxy mode, then grade and output to HDCAMSR 4:4:4 for
screenings. For final film out, you can then go back to full resolution 4K and render out .DPX or
Cineon images with the proper LUT (look-up table) for the film recorder.
For detailed steps on this workflow, see “Checklist: Editing Film Reel Footage in Media
Composer” on page 1434.
Checklist: Editing Film Reel Footage in Media
Composer
A 24p or 25p project is one that uses 24p or 25p media, which is created and stored in your Avid
editing application. In most cases, the source footage is film shot at 23.976 fps, 24 fps (for 24p)
or 25 fps (for 25p), however new technology is introducing 24p and 25p videotape formats, both
for cameras and VTRs.
Progressive media is composed of single frames, each of which is vertically scanned as one pass.
Avid editing applications create 24p media by combining (deinterlacing) two video fields into a
single full, reconstructed frame. For NTSC film-to-tape transfers, Avid editing applications
create 24p media by removing the extra fields inserted by the 2:3 pulldown process and by
creating progressive frames.
The 25p format is primarily for use in countries where PAL video is standard. When you transfer
25-fps film footage to 25-fps PAL video, no modifications are necessary due to matching frame
rates.
This section outlines the workflows for 24/25-fps film source. Certain steps will have differences
based on the project format and source footage you are using. Follow these steps in the order that
they are listed, and return to this checklist each time you complete a step.
Checklist: Editing Film Reel Footage in Media Composer
1435
Step Refer to this section
The telecine process syncs picture and sound to create
the videotape. The process also creates a shot log that
will be used during the capture process.
Transfer the 24-fps film to NTSC or PAL.
“Transferring Film to Tape” on
page 1436.
Convert the shot log file with Avid Log Exchange
(ALE), then import the shot log file into
Media Composer to create a bin or bins.
Open a project with the appropriate settings.
nIf you are outputting for NTSC HDTV
broadcast, create a 23.976p SD project.
“Creating a Film-Based Project” on
page 1454.
Use the ALE to batch capture the footage in an offline
resolution.
“Selecting a Project Format during
Capture” on page 1457.
Use the low-res media to edit at 24/25/23.976 fps. “Viewing Video Dailies” on page 1444.
“Displaying 24p and 25p Media” on
page 1459.
If a retransfer is needed, use Avid FilmScribe to
create an OCN (original camera negative) pull list for
another telecine process of the footage used in the
final edit.
Perform the offline edit to produce the final sequence. “Editing with High-Resolution Media”
on page 1458.
(Option) Export an OMFI or AAF file to a Pro Tools
digital audio workstation to create a final audio mix.
“Transferring Audio Files” on
page 1099.
The telecine process uses the pull list and full
color-corrected transfer to create HD, NTSC or PAL
videotape with selects from the original negative
(picture only). The process also creates a new shot log
file. Convert the new shot log with ALE and import it
into the online system.
Pack the project information for transfer to the Avid
Symphony or Avid DS online system.
Transferring Film to Tape
1436
Transferring Film to Tape
You have your film rolls from the day’s shooting, and you’re ready to edit on your Avid system.
To capture that footage into the system, you first need to transfer the film to videotape. This
process uses a special film projector called a telecine, which is usually part of a production
If you will be finishing on an Avid DS system,
then export an AFE of your final project or
sequence from Media Composer. (You should
first make a copy of the sequence, decompose
it, and then export the bin.)
“Exporting the AFE File to Avid DS” on
page 1004.
For complete details on finishing in
Avid DS, refer to the Avid
High-Resolution Workflow and Color
Management Guide.
Finishing on Avid Symphony:
Transfer the project information to the Symphony
system.
If you are using an Avid shared storage system, the
project links to the existing media. If you are not
using Avid shared storage, transfer the media for
reference.
(Option) For HD projects being output at 1080p, you
should open the 24p project and change its format to
1080p/23.976.
“Changing the Project Format” on
page 1460.
Review the offline sequence, then modify the format
of the sequence to create a new 1080p/23.976
sequence.
“Changing the Sequence Format” on
page 1461.
Batch capture in the desired resolution, based on the
new ALE shot log file.
Relink by KeyKode: relink the sequence and clips by
key numbers (FTFT) and complete any other
finishing. If necessary, batch capture clips as HD
media, using an HD resolution.
Complete any other finishing, using the original
offline sequence for reference.
(Option) Import the final audio mix.
Generate multiple formats. “Selecting a Project Format during
Output” on page 1457.
Step Refer to this section
Transferring Film to Tape
1437
system that includes audiotape recorders, a controller, and other equipment. The steps in the
process will differ, depending on whether you include audio and whether the transfer produces
NTSC or PAL videotapes.
This section provides some guidelines to ensure that the film shoot and transfer process is
well-planned for the Avid editing session.
Film Shoot Specifications
Use the guidelines in the following table to help you plan for film shoots that will be edited on an
Avid.
Element Supported Formats Notes
Film type 16mm Use Standard 16mm or Super 16mm.
Super 16’s aspect ratio closely matches 16:9.
35mm: 2, 3, 4, 8, and 12 perf
65mm: 5, 8, 10, and 15 perf
16mm, 35mm 4 perf, and 35mm 3 perf are
supported as projects in the Avid system. The
remaining formats are supported through ink
numbers and auxiliary ink numbers. For more
information, see “Film and 24P Settings” on
page 1344.
Film wind B-wind Always use camera rolls with key numbers in
ascending order.
Audio media BWF file-based recorders Use to record digital audio.
Audio timecodes 30-fps drop-frame or non-drop-frame Use for NTSC transfer projects, and for generating
audio EDLs.
25-fps timecode Use for PAL transfer projects, and for generating
audio EDLs in the PAL format.
Audio sync to in-camera timecode
(Arri® 24-fps timecode)
Use for automatic syncing of sound with picture in
the Avid system.
Sync methods Clapsticks Use for manual syncing of sound with
picture.
Electronic slate (smart slate) Use for semiautomatic syncing.
In-camera timecode, with audio sync Use for automatic, “slateless” syncing in the
telecine.
Slate information Camera roll, scene and take, shoot
date, sound-roll ID
Mark sound-roll ID as a backup.
Transferring Film to Tape
1438
Film-to-Tape Transfer Guidelines
Observe the following general guidelines when transferring film to tape:
• Instruct the telecine facility to record timecode on the address track.
• Instruct the facility to use only a telecine transfer process when transferring to NTSC
videotape. Do not use a film chain or any other transfer device.
• PAL transfers do not require pulldown, so you can use either a telecine or a film chain.
However, quality is much better on a telecine.
• Transfer all of the project’s source film footage to disk or tape by using either the NTSC or
PAL method.
- For NTSC projects, you can mix footage transferred at 24 fps (23.976 fps) or 30 fps
(29.97 fps), and mix sound transferred at 1.0 or 0.99. Do not mix 24-fps and 30-fps
transfers on the same transfer tape.
- For PAL projects, you cannot mix audio that has been transferred at 4.1 percent speedup
(PAL Method 1) with audio that has not been sped up (PAL Method 2).
nPAL film-to-tape transfers that use pulldown are not currently supported in Avid editing
applications.
Sound-roll cues Sound-roll ID, date, start and end
time-of-day timecode
Include verbal time-of-day cues as a backup.
Element Supported Formats Notes
Project
Format Source footage During the telecine process
SD 24 fps To create ITU-R 601 video, the telecine process adds 2:3
pulldown to film footage to create an NTSC videotape, or uses
4.1% speedup for PAL videotape.
25 fps The telecine process transfers 25-fps film footage at 1:1 (no
pulldown).
The sound recording can be synchronized as part of the telecine
transfer.
nFor NTSC output, this method slows the audio by 4
percent. If you plan to output to both NTSC and PAL, you
might want to shoot at 24 fps and use 24p instead of 25p.
Transferring Film to Tape
1439
Film-to-Tape Transfer Quality Options and Production Aids
The quality of the film-to-tape transfers depends upon several options for the telecine transfer.
The following table describes common transfer-quality options available from a telecine facility:
You can use the film-tape-film-tape feature to perform two separate telecine processes for a
project:
• Perform a one-light or best-light transfer to obtain the most material for the initial edits.
• After editing is complete, perform a timed, fully color-corrected transfer of the clips that will
be used in the final cut.
23.976 fps The telecine process syncs audio and transfers film footage at 1:1
(no pulldown).
HD 24 fps The telecine process transfers 24-fps film footage at 1:1 (no
pulldown).
It can also transfer the footage at HD 1080p/23.976 video at 1:1.
This lets you create the project at 24p and later change it to 1080p
without having to create a new project and sequence. In addition,
you can keep both offline SD material and online HD material
available in the same project.
23.976 fps The telecine process syncs audio and transfers film footage at HD
1080p/23.976 video at 1:1 (no pulldown).
25 fps For PAL broadcast, transfer film at 1080p/25, edit offline in a 25p
PAL project, and edit online in a 1080p/25 project.
Project
Format Source footage During the telecine process
Option Description
One-light This transfer involves a single setting of color correction values, resulting in the
simplest, fastest, and least-costly type of transfer. One-light transfers are often
used during offline stages of editing.
Best-light This transfer involves optimum settings of the color-grade controls, but without
scene-by-scene color correction. Best-light transfers are an intermediate level in
terms of both quality and cost.
Timed
(scene-by-scene)
This transfer involves color correcting each scene or shot during transfer. Timed
transfers are the most expensive and time consuming. This option sets up the
proper black and white levels so that you can perform a tape-to-tape color
correction from the source tapes, if needed.
Transferring Film to Tape
1440
nFor more information on the film-tape-film-tape option, see “Relinking Clips by Key Number”
on page 268.
After you perform the final telecine operation, you can capture at a finishing resolution, such as
1:1 (uncompressed).
The transfer facility might have available one or more of the production aids described in the
following table, which you can include in your film-to-tape transfer:
Transfer of 24-fps Film to NTSC Video
For an NTSC transfer, the telecine converts your film footage into video running at 29.97 fps.
The video can then be captured and edited at 24 fps in the Avid editing system. This approach
ensures that all your edits correspond to true film frames so you see an accurate representation of
the finished film.
Aid Description
Automatic logging Whenever possible, you should instruct the facility to log tracking information directly
into a computer database program. Logs generated automatically are more accurate
than manual logs and can be imported easily into the Avid editing system, see “Using
Avid Log Exchange to Prepare Log Files for Import” on page 115. A log file typically
indicates the relative timecode, key numbers, and pullin (“A” frames) for each clip that
will be captured.
A keypunch at the head
of each camera roll
Ask the lab or transfer house to keypunch the head of each camera roll at the zero
frame and give you a list of the corresponding key numbers. After you have captured,
you can match this list with your captured material to check for potential transfer
errors.
Burn-in code If the transfer facility is equipped with a timecode or film-code character generator,
you can instruct the facility to display or “burn-in” tracking codes on the videotape
transfer. Burn-in code provides visual feedback for logging and tracking footage.
cBurn-in code cannot be removed from the image and should be used only
for the offline stage of a project.
16:9 wide screen format Your Avid editing application supports the 16:9 wide-screen display format. You can
either shoot your footage by using a 16:9 lens, or transfer the footage anamorphically
to display a larger area of the film aspect ratio during offline and online editing. Also,
this aspect ratio lets you create media that takes advantage of 16:9 monitors that
conform to SDTV and HDTV standards.
Transferring Film to Tape
1441
nIf you transfer sound along with picture, your Avid editing application captures audio at the
slowed-down speed. Then during editing and playback, your Avid editing application speeds up
the play rate by 0.1 percent to play in sync with the 24-fps video. Audio plays at 44100 Hz (44.1
kHz) or 48000 Hz (48 kHz).
Transferring Film to Video
Film runs at 24 fps, and NTSC video runs at 30 fps. The difference in frame rates between film
and video prevents a direct frame-to-frame transfer. To compensate, the telecine process creates
an extra six frames every second (the difference between 24 and 30). This method of creating
extra frames is known as pulldown.
At the same time, the telecine slightly reduces the film’s running speed to 23.976 fps. NTSC
video, the broadcast standard used in the United States, Japan, and other countries, plays at an
actual rate of 29.97 fps, although it is usually referred to as 30 fps. An accurate conversion
requires exact adherence to the 4:5 ratio, but this ratio breaks down when you compare 24 fps to
29.97 fps. To achieve a true 4:5 ratio, the film frame rate is slowed down to 23.976 fps. The
telecine process makes this correction automatically, slowing NTSC video 0.1 percent from the
original film speed, so that the video plays at 99.9 percent of its original speed.
The following table describes the film to video ratio:
During the capture process, your Avid editing application reverses the pulldown procedure to
capture the film footage at 24 fps. It removes the extra fields added by the pulldown process to
create full-frame, 24p media. The capture process captures video and audio at the slowed-down
speed (0.999).
Film Video
24 fps 30 fps
4 frames 5 frames (10 fields)
23.976 fps (0.999 x 24) 29.97 fps (0.999 x 30)
Transferring Film to Tape
1442
Maintaining Synchronized Sound
In most cases, the sound for your production has been recorded on a digital audio system, such as
a BWF file-based recorder. You need to synchronize the sound with the picture and make sure
they are in sync in your Avid editing application. You can take one of three basic paths:
• Transfer only the picture through the telecine process to HD videotape, capture picture from
tape and sound from BWF, and sync them in your Avid editing application.
• Transfer the original sound recording to mag track, sync the mag track to the film work print,
and transfer both to videotape through a telecine process.
• Sync the original sound recordings to picture during the telecine process, and transfer both
to videotape.
If the telecine transfers sound along with picture, the sound intended to be slowed down for
telecine is usually recorded at 48.048 kHz, so that it ends up being 48 kHz.
Transfer of 24-fps Film to PAL Video
If you use a PAL transfer, the film-to-video process takes place in two stages:
• Transfer the film to videotape by speeding up the film rate during the telecine process.
• Capture the transferred videotape into the Avid system at the sped-up rate.
There are two approaches to synchronizing sound, which are often referred to as PAL Method 1
and PAL Method 2.
PAL Method 1
With PAL Method 1, you synchronize sound with picture during the telecine process.
As with an NTSC film-to-tape transfer, the telecine process creates two video fields for each film
frame. However, because the film rate of 24 fps is close to the PAL video rate of 25 fps, most
PAL film-to-tape transfers involve simply speeding up the frame rate. This speedup changes the
frame rate from 24 to 25 (an increase of 4.1 percent). There is no pulldown that creates extra
fields.
nSome PAL film-to-tape transfers use pulldown. This method is not currently supported in Avid
editing applications.
With PAL Method 1, there are two ways to sync sound with picture in the telecine process:
• Transfer the original sound recording to mag track, sync the mag track to the film work print,
and transfer both to videotape through a telecine process.
• Sync the original sound recordings to picture during the telecine process, and transfer both
to videotape.
Transferring Film to Tape
1443
In either case, the telecine process speeds up sound at the same rate as picture: 4.1 percent.
After you receive the PAL transfer tapes, the next step is capturing the footage in a 24p PAL
project. During the capturing process, your Avid editing application captures the material at the
PAL rate of 25 fps, capturing every picture frame. It stores the two video fields as a single
progressive frame, which you edit at 24 fps.
nYou must capture audio along with video at the PAL rate of 25 fps if you want to use audio that
was transferred along with picture during the telecine process. You set the Audio Transfer rate as
Video Rate (100+%) in the New Project dialog box. For more information, see “Audio Transfer
Options for 24p PAL Projects” on page 1444.
You have the option of playing back the footage at 24 fps or 25 fps. If you select 24 fps, the
system slows both the picture and the sound by 4.1 percent for playback. This approach lets you
edit at the original film rate, but the slowdown creates a limitation for audio. Because you
capture the audio at a rate faster than playback, some audio samples are duplicated during
playback, and sound quality is compromised.
nSelect the Edit Play Rate option in the Film and 24p Settings dialog box. For more information,
see “Film and 24P Settings” on page 1344 and “Filtering the Settings List” on page 1277.
If you select 25 fps, there is a different limitation with audio. Because you are playing back at the
sped-up rate (4.1 percent), the audio pitch rises slightly. This is usually acceptable for broadcast,
so PAL Method 1 is primarily used for PAL television broadcast.
PAL Method 2
With PAL Method 2, you capture sound and picture separately using the same telecine process
for picture (create a video frame of two fields for each film frame, speed up rate by 4.1 percent).
The difference is that you do not synchronize sound as part of the telecine process.
nSome PAL film-to-tape transfers use pulldown. This method is not currently supported in Avid
editing applications.
Here’s an example where you have your picture-only videotapes (at the rate of 25 fps) and your
source recording tapes. To capture at 24 fps, you need to follow a two-step process:
1. Capture the picture to create 24p media.
2. Capture the sound at the film rate of 24 fps.
Transferring Film to Tape
1444
nWhen you created the project, you set the Audio Transfer rate as Film Rate (100%) in the New
Project dialog box. For more information, see “Audio Transfer Options for 24p PAL Projects”
on page 1444.
In most cases, you will choose to edit at 24 fps. The sound maintains source quality (44.1 kHz
and 48 kHz) and plays in sync with 24-fps video.
Audio Transfer Options for 24p PAL Projects
When you create a 24p PAL project, you must specify the appropriate audio transfer rate for the
project. (This is not necessary for a 25p PAL project because there is no film speedup during the
transfer.) The New Project dialog box provides Audio Transfer options that lets you select either
Film Rate or Video Rate. This value is project specific and should not be changed after you
create the project unless you have a specific element that you need to transfer at a different rate.
nThe Audio Transfer options are also located in the Film and 24p Settings dialog box and can be
changed after the project is created. See “Film and 24P Settings” on page 1344.
nThe Info tab in the Project window lets you view the audio transfer rate you selected when you
created the project. The actual audio transfer rate might be different from the display if you used
the Film and 24p Settings dialog box to change the audio transfer rate.
The following table describes the Audio Transfer options:
Viewing Video Dailies
The video dailies method relies on videotape transfers from negative for screening, transferring,
and creating conformed cuts during editing.
Option Description
Film Rate (100%) Select this option when your 24-fps film footage has been transferred
MOS (roughly translated as “without sound”) to 25 fps by speeding up the
film, and the audio comes in separately at 100 percent of the actual speed
(PAL Method 2).
Video Rate (100%+) Select this option when your 24-fps film footage has been transferred to
25 fps by speeding up the film, and the audio is synchronized to the video
picture. This means that the audio speed is increased by 4.1 percent (PAL
Method 1).
Transferring Film to Tape
1445
The advantage of working with video dailies and film negative is that you can avoid the cost of
work print until the finishing stages, or altogether. The disadvantage is you are limited to the
aspect ratio, resolution, and contrast range of video previews. For this reason, video dailies are
preferred for television projects, but you can also use this method to economize on a feature film
production.
The illustration below describes the video dailies method:
Avid Media Composer
HD 4:2:2
HD RGB 4:4:4
2
1
EDL/ALE/OMFI/AAF
BWF
33
5
4
ALE/FLEx
VIDEO
DELIVERABLES
(HD, SD, DVD, BLU-RAY)
PULL LIST 6
Description
1 Transfer reels of negative via telecine to HD 4:2:2 for the offline editing.
2 Import the film transfer files (FLEx, Evertz, Aaton, AFE) into Media Composer project bins and
batch capture the footage from the dailies.
3 Generate a Pull List using Avid FilmScribe that provides a concise list of footage to be
retransferred at a higher resolution.
4 Retransfer the final footage to HD 4:4:4. The source timecodes and tapename are easily matched
using the common denominator which is the KeyKode information of the OCN. Once the bins
are relinked, the sequence will point to the newly transferred sources, tape, timecode, etc.
5 Audio can be captured directly from a BWF file-based recorder, and synced with the video
during the editing process.
6 Perform the final edit and output the final production. Alternativly, you can export files for audio
or video finishing on other editing systems.
Workflow: File-based Editing with MetaFuze
1446
Workflow: File-based Editing with MetaFuze
High-resolution media files can originate from digital film cameras, film-scanning facilities, or
CGI applications. The following workflow shows you how to edit and finish projects with
footage that is in a digital file format, such as DPX or ARI.
Use MetaFuze to transcode the high-resolution media to lower-resolution MXF media for the
offline edit in Avid Media Composer. If you need to output at higher-than-HD resolution, or add
special effects, you can conform the sequence in Avid DS and relink to the original
high-resolution files to do the finishing.
Step 1: Acquisition of media
If you need to work with high-res file formats that cannot be read by Media Composer (such as
DPX or ARRI), start by using Avid MetaFuze to transcode these files to a compressed or
uncompressed HD resolution. MetaFuze merges consecutive single-frame files (with metadata
contained as part of the format) into an MXF file that can be read by Avid Media Composer®.
nMetaFuze also reads other file types supported third-party parsers.
Step 2: Edit sequence using HD media
In Media Composer, edit your sequence using the compressed or uncompressed MXF media.
From here, you can output directly to HD or SD, or send the sequence for audio or effects
finishing on another Avid editing system. If you need to finish in Avid DS, export the sequence
as an AFE.
SCANNER
DPX
ARRI
FILM
DELIVERABLES
VIDEO
DELIVERABLES
(HD, SD, DVD, BLU-RAY)
AFE
Avid Media Composer
Avid
MetaFuze
MXF
Link to transcoded
proxy files
Avid Storage Link to high-res
source files
Storage
DIGITAL
CAMERA
ALE
Avid DS
Avid Pro Tools
OMFI/
AAF
33
2
1
Checklist: Film to File Editing in Media Composer (via MetaFuze)
1447
Step 3: Conform AFE for high-res finishing in Avid DS
On Avid DS, you can conform the AFE and connect to the original DPX or ARRI files.
In the case of DPX files, necessary information such as KeyKode™ (key number) and timecode is
inserted as metadata into the DPX file during the scanning process. If the DPX files do not
contain the timecode information, an ALE is required to make the necessary correspondence to
the associated DPX files. The ALE is usually supplied by the film-scanning facility or output by
Avid MetaFuze.
nThe transcoded MXF file used in Media Composer is not required for the finishing process but it
could be imported onto a separate video track in Avid DS and used as part of the conform check
process.
Depending on your system configuration, high-resolution formats are playable in real time—for
a specific list of these formats, see the Avid DS support web at www.avid.com. When editing
high-resolution projects where real-time playback is not achievable, you can use the proxy mode
to apply effects and view the results in HD 4:2:2 or HD 4:4:4.
Step 4: Output to tape or file
In Media Composer, you can output any SD or HD formats as required.
In Avid DS, for a film out, you can output the final sequence to master as a series of DPX or
Cineon™ images (with an appropriate LUT) for recording to film.
For detailed steps on this workflow, see “Checklist: Film to File Editing in Media Composer (via
MetaFuze)” on page 1447.
Checklist: Film to File Editing in Media Composer
(via MetaFuze)
The following checklist explains how to edit high-resolution files that cannot be read directly by
Media Composer.
Step Refer to this section
Install and use Avid MetaFuze to transcode your
high-resolution media into MXF files.
Refer to the Avid MetaFuze section of
the Supporting Applications Guide for
the Avid Media Composer family.
Workflow: File-based Editing with AMA
1448
Workflow: File-based Editing with AMA
Modern advances in cinematography, like the digital film cameras from RED® and other DSLR
mechanisms, are starting to have an impact on the media-creation industry. They allow you to
bypass the film lab conversion process, and load your footage directly onto your editing system.
As a result, films can now be produced from start to end using an all-digital format.
nIf you are working with ARRI media, you must
install the ARRI plug-in on the same system
where MetaFuze is installed.
Refer to the Avid website for more
information.
Open Avid MetaFuze, scan your folders, and
set the necessary options for transcoding the
files.
“Scanning your Folders” in the
Supporting Applications Guide.
Transcode your files to MXF. “Transcoding your Files” in the
Supporting Applications Guide.
If you have multiple MXF files, export an edit
list of all these clips via an ALE.
“Exporting an ALE from MetaFuze” in
the Supporting Applications Guide.
Import the MXF file(s) into Avid Media
Composer.
“Importing MXF Files into Avid Media
Composer” in the Supporting
Applications Guide.
Edit the sequence. “Editing with High-Resolution Media”
on page 1458.
If you need to finish your sequence in another editing
system such as Symphony or Avid DS, export an AFE
of your final project or sequence from Media
Composer.
“Exporting the AFE File to Avid DS” on
page 1004.
Before exporting the AFE, make a copy of the
sequence, move it to its own bin, decompose it
(with handles as desired), select ALL master
clips, and export as AFE with appropriate
columns visible in the bin.
If your high-resolution media is on a shared storage
device where Avid DS also has access, Avid DS
automatically relinks to the files.
For the complete workflow on finishing
high-resolution files in Avid DS, refer to
the Avid High-Resolution Workflow and
Color Management Guide.
Step Refer to this section
Workflow: File-based Editing with AMA
1449
You can either capture and edit material directly from file, or perform the offline editing using a
film-to-tape workflow. Using the original high-res media, you can then finish as file-based for
the mastering and delivery requirements to film (2K or higher), HD or SD formats.
Avid provides an easy and cost-effective way to manipulate high-resolution images during the
finishing and mastering stages of post production. You can link to, and edit the media at HD
resolution directly from file, and output at HD resolution.
If you need to deliver at higher-than-HD resolution, or add special effects, you can conform the
sequence in Avid DS and relink to the original high-resolution files to do the finishing.
The following workflow shows you how to link to digital file formats via AMA to edit your
projects in Media Composer, and link to the same media in Avid DS to do the conform and
finishing.
Step 1: Acquisition and editing of media
Media Composer can link to RED and other high-resolution footage via AMA. This media can
be edited in HD or transcoded to a lower resolution for more efficiency during the offline editing
process.
After editing, you can output directly to HD RGB 4:2:2 or 4:4:4. If you need to finish at a
higher-than-HD resolution in an online editing system such as Avid DS, transcode and export the
sequence as an AFE.
R3D
QuickTime
FILM
DELIVERABLES
VIDEO
DELIVERABLES
(HD, SD, DVD, BLU-RAY)
CG
AFE
Avid Media Composer
TIF
Avid Storage
Link to high-res files
Storage
DIGITAL
CAMERA Avid DS
Avid
Pro Tools
OMFI/
AAF 33
2
1
Link to
high-res files
via AMA
Link to transcoded
proxy files
Checklist: File-based Editing in Media Composer via AMA
1450
Step 2: Conform AFE for high-res finishing in Avid DS
When you conform your sequence from Media Composer to Avid DS, you will still be able to
link to the original RED footage for the finishing and output.
Depending on your system configuration, high-resolution formats are playable in real time—for
a specific list of these formats, see the Avid DS support web at www.avid.com. When editing
high-resolution projects where real-time playback is not achievable, you can use the proxy mode
to apply effects and view the results in HD 4:2:2 or HD 4:4:4.
Step 3: Output to tape or file
In Media Composer or Avid DS, you can output any SD or HD formats as required. For a film
out, use Avid DS to output the final sequence to master as a series of DPX or Cineon™ images
(with an appropriate LUT) for recording to film.
For detailed steps on this workflow, see “Checklist: File-based Editing in Media Composer via
AMA” on page 1450.
Checklist: File-based Editing in Media Composer via
AMA
The following checklist explains how to link and edit high-resolution RED media in Media
Composer. Follow these steps in the order that they are listed, and return to this checklist each
time you complete a step.
Step Refer to this section
Make sure that you have the necessary AMA plug-ins
installed on your workstation.
Open Media Composer and create a project. “Creating a Film-Based Project” on
page 1454.
Begin editing your sequence. “Editing with High-Resolution Media”
on page 1458 and the Media Composer
help.
If you are working with media of varying frame sizes
in your project, then you need to set the formatting
options on each clip that is of a different frame size
than the project.
“Modifying the Reformat Attribute for a
Clip” on page 586.
If you are editing with RED media, you can link to the
files via AMA.
Checklist: File-based Editing in Media Composer via AMA
1451
Connect your RED drive to your system.
(Optional) Place your RED media on a shared
storage device such as Avid ISIS.
nTo get realtime playback of this media
from your shared storage, you will
require a 10GB ethernet connection.
For a list of performance expectations
refer to the ReadMe document for your
Avid editing application.
“Copying RED Files to a FireWire or
Network Drive” on page 390.
Link to the source files. “Linking Media with AMA” on
page 413.
Linking to RED files via AMA is both
processor and storage intensive. If you require
better performance, you may want to
transcode your RED media and work with
low-res proxies.
“Editing with Low-Res RED Media” on
page 1464.
You may need to change the color values
(color balance, exposure, and contrast) on
your RED media.
“Adjusting RED Source Settings” on
page 391.
Render the effects in your final sequence. “Step 9: Render Effects as Needed” on
page 1095.
If you are using RED media, you should render your
clips to avoid any dropping of frames during the
output process.
“Preparing your RED Clip for
Transcode, Mixdown, or Render” on
page 399.
Output the final sequence. “Selecting a Project Format during
Output” on page 1457.
or
If you need to finish your sequence in another editing
system such as Symphony or Avid DS, export an AFE
of your final project or sequence from Media
Composer.
If your high-resolution media is on a shared storage
device where Avid DS also has access, Avid DS
automatically relinks to the files.
“Exporting the AFE File to Avid DS” on
page 1004.
For the complete workflow on finishing
high-resolution files in Avid DS, refer to
the Avid High-Resolution Workflow and
Color Management Guide.
Step Refer to this section
HD Workflow: Video-Based Television
1452
HD Workflow: Video-Based Television
You can use this workflow for video footage shot at 720p/23.976, 720p/59.94 or 1080p/29.97. In
these cases, however, you cannot simply change the project format (step 6). Instead, you need to
create a new project that matches the source footage, open the bin or bins from the NTSC 30i
project, change the sequence format, decompose, and batch capture.
The following illustration shows an offline/online workflow using an HD video source for
HDTV:
If you are not using AMA-linked clips, you
should first make a copy of the sequence,
move it to its own bin, decompose it (with
handles as desired), select ALL master clips,
and export as ALE with appropriate columns
visible in the bin.
nIf you are working with high-res files,
do not use the option to extend handles
beyond the master clip edges.
Step Refer to this section
HD Workflow: Video-Based Television
1453
To create a video-based HDTV program:
1. Use an HD VTR to downconvert the source tape to 30i NTSC, 25i PAL, or 25p PAL.
2. Open a project that is suitable for HD finishing.
When you start the online session, you can create a new project in the final format, or use the
original project and change the project format. If your project requires final mastering in
HD, use the corresponding SD project for offline editing. For more information, see “Offline
Formats for HD” on page 1083.
3. Capture your material. Edit, apply effects, and create a final sequence.
Avid HD editing applications support direct device control at 24 fps, enabling you to capture
true 24-fps timecode from HD decks. When you are capturing 23.976-fps or 24-fps material
in HD, the Capture tool displays 24-fps timecode for the Mark IN and Mark OUT points.
After you capture a clip, the Start and End timecodes are also shown as 24-fps timecode.
4. (Option) Export an OMFI or AAF file to a Pro Tools digital audio workstation to create a
final audio mix.
For more information, see “Transferring Audio Files” on page 1099.
5. If you started the project in a different format, change the project format to the
corresponding HD online format — see “Changing the Project Format” on page 1460.
HD VTR
33
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2
4
6
8
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Avid Pro Tools
Avid
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1080i/59.94 HD
30i NTSC SD
1080i/59.94 HD
OMFI/AAF
Producing Graphics for Broadcast
1454
6. Duplicate the final sequence, and then modify the format of the sequence to create a new
sequence in the corresponding HD format — see “Changing the Sequence Format” on
page 1461.
7. Decompose the new HD sequence and batch capture from the source tape.
8. (Option) Import the final audio mix.
9. Finish the sequence by batch capturing graphics, recreating title media and reviewing the
program for effects that need fine-tuning.
Use the original offline sequence for reference.
10. Render all effects and output a master tape.
Producing Graphics for Broadcast
An important part of the HDTV workflow is to produce graphics, such as bumpers and promos
that are created in graphics programs for HDTV broadcast.
To create a graphics-based HDTV program:
1. Create files on a graphics workstation, using either 1280x720 for 720p or 1920x1080 for
1080i.
2. Export the files to a location that the Avid editing system can access.
3. Create a 720p or 1080i project, import the files, edit, and finish.
4. Create a broadcast master tape in the desired format. Cross-convert to output an alternative
format.
Creating a Film-Based Project
When you create a project that uses footage coming either from film reel or high-resolution
digital files (2K+), the options that you choose for your project should be determined by:
• The acquisition format (high-res digital files, 16mm or 35 mm film, HD video)
• The audio rate (film speed of 48 kHz, or video speed of 48.048 kHz)
• The finishing and output requirements of the project
To create a new film-based project:
1. Start your Avid editing application.
2. In the Select Project dialog box, select the folder in which you want to create the project:
Private, Shared, or External.
3. Click New Project.
Creating a Film-Based Project
1455
4. Type the name of your new project in the text box.
5. Click the Format menu and select the most appropriate project type. The format you choose
must take into consideration both the frame rate at which the film was shot, as well as the
final delivery format for the production.
Format Source Output
24p NTSC Film-based or other 24-fps footage transferred to Standard
Definition NTSC videotape.
Film,
HD Broadcast,
Video
23.976 NTSC Film transferred at 23.976 or footage shot at 23.976. Audio
remains synchronized with video throughout with no
conversion required.
HD Broadcast,
NTSC Video
In addition, chose this option if the production was shot with
a DV (digital video) camera.
24p PAL Film-based or other 24-fps footage transferred to PAL
videotape. Ideal for a dual system production.
Film,
HD Broadcast,
PAL Broadcast,
PAL Video
25p PAL Film-based material or other 25-fps footage shot at 25 fps
transferred to PAL video.
Film,
HD Broadcast
PAL Broadcast,
PAL Video
1080p/23.976 High-resolution files coming from digital film cameras such
as RED, film transferred to HD videotape at 23.976 fps, or
HD-originated 23.976-fps footage. This is the most
commonly used HD project in NTSC-based countries.
Film,
HD Broadcast,
NTSC Broadcast
1080p/24 High-resolution files coming from digital film cameras such
as RED, or HD-video originated production (shot at 24 fps).
This format is also used if you’re working on older Avid
systems that do not support the 23.976 frame rate.
Film,
HD Broadcast
1080p/25 High-resolution files coming from digital film cameras such
as RED, or HD-video originated production (shot at 25 fps).
This is the most commonly used HD project in PAL-based
countries.
Film,
HD Broadcast,
PAL Broadcast
1080i/59.94 High-resolution interlaced files (shot at 59.94 fps). HD Broadcast,
NTSC Broadcast
1080i/50 High-resolution interlaced files (shot at 50 fps). HD Broadcast,
PAL Broadcast
Creating a Film-Based Project
1456
Further options might change depending on the format that you chose.
6. Select Film if your source material originated on film reel.
This will give you access to film options such as Perf Slip and Film and 24p settings.
7. Set the following additional option(s), where applicable:
8. 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.
9. Double-click the project name in the Projects list to open the project or click OK with the
project name highlighted.
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.
10. (Option) If your project uses a film project type, set film preferences immediately after you
create the project.
Option SD (NTSC/PAL) HD and Film
Aspect Ratio Select either 4:3 or 16:9 Only uses the 16:9 aspect ratio.
The project uses the aspect ratio setting to determine the display setting in the
monitors, and as a factor in determining whether material requires resizing or
repositioning in sequences.
Raster
Dimension
N/A The Raster Dimension menu appears only for
HD projects on a supported system.
Color Space N/A Select RGB 709 to retain the best color quality
from the film shoot.
Film Gauge Available for 23.976p, 24p, 25p, 720p, and
1080p film projects. If you are using source
material originating on film reel, click the Film
button and select a format for film gauge
tracking from the Default Film Type menu.
Audio
Transfer Rate
Available for 24p PAL projects where material
originated from tape.
Matchback Available for 25i PAL, 30i NTSC, 720p, and 1080i Matchback projects only. If you
are using source material from film reel, 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
Creating a Film-Based Project
1457
Before you capture or output film reel footage, refer to the following topics—“Selecting a
Project Format during Capture” on page 1457 and “Selecting a Project Format during
Output” on page 1457.
Selecting a Project Format during Capture
Before you capture film reel footage into your editing system, make sure you select the correct
project format. The following table explains how the Avid system creates the digitized media
from your source footage.
Selecting a Project Format during Output
Before you output your sequences, make sure you select the correct project format. The
following table explains how the Avid system handles the digitized media during the output
process.
Project
Format
Source
footage During the capture process
SD 24 fps The Avid system removes the 2:3 pulldown and creates 24p media.
25 fps Use a 25p deck if you need to downconvert HDTV to ITU-R 601 video.
The deck does not need to add pulldown or speed up the audio since the
footage will remain at 25 fps. The Avid system creates 25p media.
23.976 fps Use a 24p deck if you need to downconvert HDTV to ITU-R 601 SD
video. The deck adds 2:3 pulldown for video but maintains audio at 48
kHz. The Avid system removes both normal (2:3:2:3) and advanced
(2:3:3:2) pulldown types. It maintains audio at 48 kHz, and creates
23.976p media.
HD All HD footage is captured in its native format. If you need to
downconvert HD media to an SD format, then refer to the appropriate
SD rows above.
Project
Format
Source
footage During the output process
SD 24 fps For NTSC and PAL, the system reinserts the pulldown or re-creates
the speedup.
25 fps For NTSC, the system inserts 2:3 pulldown and slows down the
audio by 4%. No adjustment is needed for PAL.
Editing with High-Resolution Media
1458
Editing with High-Resolution Media
Your Avid editing system can work directly with film footage that is already in digital file
format, such as files from digital video cameras or film scanning processes. In fact, media from
the RED camera can be linked through your Avid editing application to avoid capturing these
high-resolution files. Audio is included in the RED files, and will display as .wav files in the
bin—see “Working with RED Media” on page 1463.
nIf you need to work with other high-res file formats that cannot be read by Media Composer (e.g.
DPX/ARI), start by using Avid MetaFuze to convert the files into MXF files at an HD resolution,
and then import this MXF into your Avid editing application for offline editing—see “Workflow:
File-based Editing with MetaFuze” on page 1446.
When film reel footage is transferred from tape, you can capture it at any SD or HD resolution.
The resolution at which you capture depends on the hardware capabilities of your system and the
amount of storage space that you have available for the media. Some Avid editing applications
let you capture HD-RGB 4:4:4 format, which provides superior quality for editing and applying
effects. Use the resolution that is optimal for your system, and that lets you edit your sequences
efficiently during the offline process.
To increase your performance when working with high-res media, you can do the offline edit
with low-res proxy media. If you are working with RED via AMA, see “Editing with Low-Res
RED Media” on page 1464.
23.976 fps For NTSC video, the Symphony system reinserts pulldown.
HD 24 fps Creates a 24p EDL for use in an online suite.
25 fps Creates a 25p EDL for use in an online suite.
23.976 fps Creates a 24p EDL for use in an online suite.
Use the Digital Cut tool to output a 1080p/23.976 master tape. Then
convert the master tape to 720p/59.94 or 1080i/59.94 for broadcast.
Optionally, use your Avid editing application to crossconvert to
720p/59.94 or 1080i/59.94 for preview or reference. The HD VTR
can also create 1080i/50 for PAL broadcast.
Film 24 fps For conforming film, it creates a 24p cut list.
25 fps For film, it creates a 25p cut list.
23.976 fps For conforming film, it creates a 24p cut list.
Project
Format
Source
footage During the output process
Editing with High-Resolution Media
1459
If you are in an Avid Interplay environment, you can edit with compressed media and recapture
the clips at high resolution for final finishing and output. This can be accomplished using the
Dynamic Relinking feature. For more information, refer to the Avid Editing on Interplay
Workflow Guide.
Displaying 24p and 25p Media
This section applies to you only if you are working with Standard Definition (SD) formats.
When your Avid editing application captures video that has been transferred from film (or video
shot at 24 fps), it creates 24p media. It creates this media by capturing the video fields, by
dropping extra pulldown fields (NTSC transfers only), by combining (deinterlacing) two fields
for each film frame (A1+A2, B1+B2, and so on), and by storing the fields together as a full
frame. The system always stores media as a fully reconstructed, progressive frame. It is the
construction of this full frame that gives you the flexibility to create multiformat output.
You typically use 25p media when capturing film or video shot at 25 fps. In this case, the system
also stores the media as a fully reconstructed, progressive frame. The difference is that there is
no need for pulldown fields because there is a 1:1 correspondence between the source tape and
the captured frames.
Displaying Media While Editing
When you click the Play button while editing a clip or a sequence (sometimes referred to as Edit
Play), the system separates (interlaces) the progressive frames into fields and does the following:
• On the Source, Record, Playback, or pop-up monitor, your Avid editing application displays
the footage at 23.976 fps, 24 fps, or 25 fps, depending on your project and editing
preference.
nChoose your preference for playback in the Film and 24p Settings dialog box. For more
information, see “Filtering the Settings List” on page 1277.
• On an NTSC monitor, the system does one of two things:
- If playing at 23.976 fps (audio pulldown ON), the system performs a 2:3 pulldown that
replicates the telecine pulldown, and displays the interlaced media at 29.97 fps.
- If playing at 24 fps (audio pulldown OFF), the system performs a 2:3 pulldown, drops
every 1000th frame in the Client monitor, and displays the interlaced media at 29.97 fps.
• On a PAL monitor, the system does one of two things:
- If playing at 24 fps, the system duplicates two fields per second to display the interlaced
media at 25 fps.
- If playing at 25 fps, the system performs a 4.1 percent speedup, maintains 1:1 transfer of
film frames to video frames, and displays the interlaced media at 25 fps.
Editing with High-Resolution Media
1460
For 25p projects, 25 fps is the only playback rate. The playback rate is 1:1 with no speed change.
Displaying Media During a Digital Cut
The Digital Cut tool lets you output multiple formats at various play rates, all from 24p and 25p
media. When you click the Play Digital Cut button, the system displays the sequence as
described in “Displaying Media While Editing” above, depending on your selection in the
Digital Cut tool.
For more information, see “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p
Projects” on page 1053.
Changing the Project Format
Changing formats is especially useful if you are working with downconverted HD material in an
offline-to-online workflow. Each HD format has an equivalent SD format that you can use for
offline editing.
For details, see “Offline Formats for HD” on page 1083.
The Format tab in the Project window lets you change the format of the project to another format
that shares the same frame rate. On systems with supported Avid input/output hardware, you can
also change the raster dimension to improve performance as you edit HD projects.
Editing with High-Resolution Media
1461
When you change the project format, the following changes take place:
• The hardware changes to support input and output for the new project.
• The available resolutions and, for some configurations, raster dimensions change to those of
the new project.
• Any new sequences you create use the format of the new project.
If necessary, you can then modify the format of an existing sequence, see “Changing the
Sequence Format” on page 1461.
To change the project format:
1. Click the Format tab on the Project window.
2. Select the corresponding format for your workflow.
nYou can select only projects with the same edit rate.
3. If available, click the Raster Dimension menu and select a raster size.
For information on raster types and raster sizes, see
Changing the Sequence Format
When your Avid editing application creates a sequence, it uses the format of the current project.
You may not always need to change the edit rate of the sequence. For example, you can change
an NTSC 30i sequence to 1080i/59.94 or to 720p/59.94. In other cases, you do change the edit
rate, and the modified sequence uses motion adapter effects and contains other adjustments
necessary to allow the sequence to play at the new edit rate.
To modify the format of a sequence:
1. (Option) Duplicate the sequence.
2. Select the sequence you want to modify.
3. Select Clip > Modify.
4. Select Set Format from the top list.
5. Select the format to which you want to convert from the Format menu.
6. Click OK.
A message box tells you whether the sequence has been duplicated or modified.
Your Avid editing application changes the format of the sequence. In cases where timecode
needs to be converted, your Avid editing application creates a new sequence and unlinks the
media. No media is converted. For more information, see “Understanding Options for
Modifying the Sequence Format”
Editing with High-Resolution Media
1462
You can check the format of the sequence in the Format column of the bin. This column
displays the format of a clip or sequence as determined by the project type, such as 30i
NTSC or 1080i/59.94. This is especially useful if you have both SD and HD clips in the
same bin.
Format column in the bin
Converting a 23.976p NTSC Sequence to 720p/23.976
Because the source edit rates are different for these formats, you cannot simply change the
project and sequence format. The following sequence is based on source material shot or
transferred to 720p/23.976 and edited offline in a 23.976p NTSC project.
To convert a 23.976p NTSC sequence to 720p/23.976:
1. In the 23.976p NTSC project, duplicate the final sequence and move it to a new bin.
2. Decompose the sequence.
3. Select the master clips and export them as a shot log file.
4. Create a 720p/23.976p HD project.
5. Import the shot log file into a bin.
6. Batch capture the clips.
7. Open the SD bin containing the duplicated sequence.
8. Relink the SD sequence to the new HD clips.
See “Relinking Media Files” on page 458.
Working with RED Media
1463
Editing at 60 fps
The project type 720p/59.94 uses a screen resolution of 1280 x 720 at a frame rate of 60 frames
per second. Editing at 60 fps is similar to editing at 24 fps because both resolutions are
progressive — they use full frames instead of interlaced fields. Note the following:
• Single-frame step commands move at 1/60th of a second. Single-field step commands are
deactivated; if you click a button, your Avid editing application beeps.
• Draft Quality plays back at 30 fps. Full Quality plays back at 60 fps.
• You can mark IN and OUT points at 1/60th of a second increments.
• You can trim at 1/60th of a second increments.
• Transition effects default to one-second duration (60 frames).
• Deck control for capture and digital cut is limited to 30 fps. A message box warns you if you
try to mark an odd timecode value (such as 01:00:00:03).
n1080i/50 and 1080i/59.94 are interlaced resolutions that you edit at 25 frames per second and
30 frames per second.
Working with RED Media
Avid Media Access (AMA) is a plug-in architecture that allows you to link directly to clips on a
storage device without importing the media directly on your system. AMA allows you to be
more productive by browsing and editing directly from the storage device or volume.
To link to RED media, you need the RED AMA plug-in installed on your system. You must also
configure the necessary AMA settings as outlined in “The Avid Media Access (AMA)
Workflow” on page 407.
When you link to RED files, the images are scaled to the frame size of the sequence. Assuming
that you are working in HD sequences, the images will be scaled to HD frame size with a choice
of color precision as high as RGB 4:4:4. In addition, you have access to all the metadata and
color values in the raw RED files as well as any other “look” files associated with this media
(e.g. RLX, RSX, RMD).
You may begin editing with the linked RED source material immediately. If the project is short,
the media management needs of the project are not great, the project does not require several
streams of video and effect to play concurrently, and the CPU and storage is up to the task, the
offline process can continue using linked media. Otherwise, it might be best to transcode the
RED files to a format optimized for the offline workflow such as DNxHD 36. See “Editing with
Low-Res RED Media” on page 1464.
Editing with Low-Res RED Media
1464
Finally, all rendering or transcoding can be done at full HD-RGB quality. Note that linking to
RED files via AMA is both processor and storage intensive. Refer to “Feature Performance” in
the Avid Media Composer Readme for technical requirements on RED editing via AMA.
Editing with Low-Res RED Media
AMA offers the advantage of allowing you to transcode material to a lower resolution at any
stage of the process. At a logical break in the process, such as at the end of the work day, or after
the rough cut is complete, you simply select AMA-linked clips in the bin and choose the ones
that need transcoding.
Transcoding to DNxHD 36 is an acceptable quality for editing your sequences. However, if you
plan on doing finishing work to your sequence, it's advisable to transcode your final sequence to
DNxHD 145, DNxHD 220, or DNxHD 220x.
To transcode your RED Media:
1. Create a rough cut of your sequence by linking to the RED clips via AMA.
2. When you are ready to transcode, you can speed up the transcode process by setting a lower
R3D Source Quality Setting. Select Tools > Media Creation.
3. Select the Mixdown & Transcode tab of the Media Creation setting.
4. Set the video playback quality from the R3D Source Quality (Debayer) menu to Quarter or
Eighth. For many offline workflows this is an acceptable quality when transcoding to
DNxHD 36.
5. Click OK.
6. Select the clip or sequence in the bin, and transcode your clip or sequence as required.
For more details, see “Using the Transcode Command” in the Help.
7. After the transcode process is complete, new master clips are created in the bin that point to
the transcoded media.
If you transcoded a clip from within a sequence, the new master clip is automatically used in
your sequence.
If you transcoded an entire sequence, you have the option of creating a new sequence which
will use the newly created master clips. If you do not choose to create a new sequence, then
the existing clips in your sequence will be replaced with the new master clips.
nAt this point, you can take your original media offline by unmounting the AMA folder containing
the source RED media. Select File > Unmount.
Color Management with RED Media
1465
To relink to the original media:
1. After the editing process is complete and you are ready to relink to the original media, make
sure that your original RED media is online. If you un-mounted your RED volume, remount
it.
2. In the bin, select the completed offline sequence, and all the original RED master clips. The
master clips need to be selected so that the original linked path can be restablished.
To alleviate space on your storage, you may delete previously-transcoded media. If you do
this, then you do not need to also select the original RED master clips. If the relink
mechanism does not find any other media online, it will automatically revert to the
originally-linked media.
3. Select Relink from the clip menu, and set the following settings in the Relink window.
a. Choose Relink selected items to: Selected items in ALL open bins.
b. Select Allow relinking of Imported/AMA clips by Source File Name.
c. Select Version Separator, and set the separator to a period (.).
This may differ depending on how the version is appended to your transcoded clips.
4. Set any other options as necessary.
5. If you would like to change the any Source Settings to achieve the look or quality to you
want, you can do so at the clip level, and refresh the sequence to apply the changes at the
sequence level.
6. When you are ready for final output, right-click the sequence and transcode to the online
resolution including handles. This will transcode only the required media.
Color Management with RED Media
Avid's RED workflow allows you to work with RSX, RLX, and RMD files to manage a clip's
color. You may also make non-destructive, custom color adjustments to the R3D clip. These
adjustments can be made at any stage of the process—see “Adjusting RED Source Settings” on
page 391.
Color adjustments made after editing has begun will not be automatically applied to instances of
the source media that have been previously edited into sequences, unless you refresh the
sequence. For procedures on how to refresh your sequence, see “Refreshing Sequences to Use
Current Clip Attributes” on page 589.
nOnce you start working with offline low-res proxies, any color adjustments you make to the
transcoded media will not be saved if you decide to link back to the original RED media.
Outputting a Sequence
1466
Outputting a Sequence
You can output your sequence at HD by first transcoding it to an HD resolution. You can then
output it by performing a Digital Cut or an export to file. Avid editing systems support output to
tape, write-back to the original device, or export to common industry-standard formats.
nSome media formats cannot be output to their native format. Refer to the Avid Editing
Systems—Supported Formats compatibility guide in the Avid Knowledge Base.
Working with HDV
Avid editing applications provide the following High Definition Video (HDV) project types. For
HDV projects on supported systems, you should select an appropriate raster size. (Some project
types are not available for some Avid input/output hardware configurations.)
• 720p/23.976
• 720p/25
• 720p/29.97
• 720p/50
• 720p/59.95
• 1080i/50
• 1080i/59.94
Avid editing applications capture and process DVCPRO HD media and HDV media in its native
format, through a 1394 port on your computer.
You can capture from an HDV device, edit in native HDV, and export to an HDV device using
these project types.
You can also use HDV in other project types, but Avid editing applications are more efficient and
perform better with the dedicated HDV project types. The other project types you can use
include:
•PAL 25i
•NTSC 30i
nYou cannot capture or export native HDV in the non-HDV project types.
Understanding HDV
1467
Understanding HDV
HDV is a low-cost prosumer format that lets you record HD video onto standard DV
videocassettes. This is achieved through the use of interframe compression, where a given frame
in the video stream can be composed of information from adjacent frames. Frames are grouped
into a sequence called a “Group of Pictures,” or GOP. Long-GOP (also known as IPB encoding)
refers to the structure of HDV media.
A GOP contains several different types of compressed frames:
• I frames, which are compressed frames that do not depend on any frames around them.
I frames anchor the beginning of the GOP.
• P (predictive) frames and B (bidirectional) frames, which depend on the frames around
them.
Interframe compression is more efficient than frame-based schemes (such as DV 25), allowing
high-bandwith HD images to be contained on media designed for standard definition (SD).
However, HDV is more difficult to edit since frames are not independent of one another. Avid
provides a workflow that lets you edit natively with HDV-compressed video without requiring a
transcode to frame-based media, and without limiting where you make your cuts.
Your Avid editing application uses a technique called long-GOP splicing when encoding an
HDV MPEG-2 sequence for export. For more information, see “Long-GOP Splicing for HDV
Encoding” on page 1471.
HDV uses MPEG-2 video encoding and MPEG-1 audio encoding. 1080i records at about
25Mbps and 720p records at about 19Mbps. Sony provides HDV cameras that record at
1080i/59.94 and 1080i/50. JVC® cameras record at 720p/29.97 and 720p/23.976.
In some 1080i formats on qualified systems, you can reduce the data rate of the video before
compression by setting the video display (raster) to resize horizontally from 1920 x 1080 pixels
to 1440 x 1080 pixels or to 1280 x 1080 pixels. In contrast, 720p projects use the standard HDV
raster size of 1280 x 720. A special resolution, DNxHD-TR (for Thin Raster), improves the
performance of 1080 HDV editing. This resolution matches the 1080i HDV raster size, reducing
artifacts that would come from repeated compressions when rendering effects and graphics.
HDV Workflow
1468
HDV Workflow
A basic workflow for an HDV project is as follows:
1. Select one of the following Avid project types depending on the format in which your HDV
camera records and the project types available for your input/output hardware:
- 720p/23.976
- 720p/25
- 720p/29.97
- 720p/50
- 720p/59.94
- 1080i/50
- 1080i/59.94
2. Click the Raster Dimension menu, and select the appropriate raster size.
3. Do one of the following:
-Capture HDV material.
- Import an HDV file.
The media is brought in as one video track and two 48-kHz audio tracks.
4. Edit the material.
5. Select the sequence.
6. Output the sequence back to the HDV device using the Export to HDV Device dialog box.
You can also export the file in other formats or use Windows Media 9 for export to a
third-party HD-DVD authoring system, see “Exporting HDV as Windows Media” on
page 1473.
Capturing and Importing HDV
You can import an HDV transport stream file (.m2t). Transport streams combine video and audio
for transmission through an IEEE-1394 port. Your Avid editing application separates the
transport stream after import or capture into the video and audio for editing.
After import or capture, the master clips in your Avid editing application contain HDV
long-GOP MPEG-2 video in MXF format and 2 channels of uncompressed 48 kHz 16-bit audio.
To capture HDV material use a 1394 port on the computer (Host 1394).
Playing Back HDV Media
1469
Sony 1080i HDV cameras mark accurate timecode so you can use them for batch capturing. The
JVC 720p/29.97 HDV camera restarts timecode every time your system starts to capture, so you
cannot batch capture HDV material with a JVC 720p/29.97 HDV camera.
For more information, see “Capturing Directly from a DV Device” on page 229.
To import HDV media, you must import an HDV transport stream. You cannot import transport
stream types other than HDV.
nThe file name extension .m2t does not indicate if the transport stream contains HDV media.
To capture HDV material:
1. Set up an HDV project, depending on the format in which your HDV camera records.
2. Select Tools > Capture.
Your Avid editing application automatically selects the correct resolution for native HDV.
3. Select other options, and start to capture.
For more information about capturing, see “Capturing Media” on page 218.
To import an HDV transport stream:
1. Select File > Import.
The Import As dialog box opens.
2. Select Files of Type > HDV files (*.m2t).
3. Select the target drive (no other import options are needed).
4. Click Open.
Your Avid editing application copies the media in a fast import as native HDV.
Playing Back HDV Media
Depending on your input/output hardware, there might be some limitations when you play back
HDV media. With a DV device connected in IEEE-1394 mode, you can play back to the DV
device in Draft Quality and Best Performance quality only. With no device connected, you can
play back as Full Quality and use the full-screen playback monitor. You can play back to the DV
device as Full Quality only if you first transcode the material to DNxHD or DNxHD-TR. For
more information, see the table in “Outputting HDV” on page 1470.
In a 1080i HDV project you can play back through some Avid input/output hardware
configurations by changing the project type.
Outputting HDV
1470
If you have a system with Avid Nitris DX or Avid Mojo DX input/output hardware, you do not
need to transcode your HDV media or change your project type for playback.
To play back HDV media:
tIn the Project window, click the Format tab. From the Project Type menu, select a project
type as follows.
The media is downconverted and plays in SD with an anamorphic squeeze.
Outputting HDV
To send your edited HDV sequence back to an HDV device, you need to use a transport stream.
You can use an existing transport stream or create a new one. To create a digital cut to go out to
other devices, you need to first render and transcode the sequence.
You cannot render to an HDV resolution. However, you can render or transcode the HDV
sequence to an HD compressed format (see “Outputting HDV through Avid Input/Output
Hardware” on page 1472). The following table provides information on which resolutions are
used for rendering and transcoding in each project type when you select an HDV raster
dimension.
For more complete information on rendering and transcoding, see “Basics of Effects Rendering”
in the Help and “Using the Transcode Command” on page 451.
For 1080i/50 projects Select 25i PAL
For 1080i/59.94 projects, Select 30i NTSC
HDV Project Type Renders or Transcodes to
720p/23.976 DNxHD 60, DNxHD 90, DNxHD 90x, DVCPro HD
720p/25 DNxHD 60, DNxHD 90, DNxHD 90x, DVCPro HD
720p/29.97 DNxHD 75, DNxHD 110, DVCPro HD
720p/50 DNxHD 120, DNxHD 185, DNxHD 185x, DVCPro HD
1080i/50 DNxHD–TR 120
1080i/59.94 DNxHD–TR 145
Outputting HDV
1471
Long-GOP Splicing for HDV Encoding
Your Avid editing application uses a technique called long-GOP splicing when encoding an
HDV MPEG-2 sequence for export. When you export to an HDV device, your Avid editing
application uses splicing to reconstruct only the edited sections of the media, such as cut points,
transitions, and segments that contain effects. Other areas of the sequence are copied intact. The
result is faster encoding at higher quality.
Exporting to an HDV Device
The Export to HDV Device dialog box lets you create a transport stream file. You cannot use the
standard Digital Cut tool to output HDV. You must use a IEEE 1394 port to output the transport
stream file back to the HDV device. You can export an entire sequence or the marked section
between IN and OUT points.
To export the HDV material to an HDV device:
1. Select the sequence or marked section.
2. Select Output > Export to Device > HDV.
The Export to HDV Device dialog box opens.
3. Select options as described in the following table:
Option/Suboption Description
Use Existing Transport Stream Select this option if you previously exported or output a
transport stream and saved it.
Outputting HDV
1472
4. Click OK.
The transport stream file is created (or saved, if you used an existing transport stream).
Outputting HDV through Avid Input/Output Hardware
You can use Avid input/output hardware to output a sequence created with HDV media, but you
must transcode the sequence and then use the standard Digital Cut tool.
To perform a digital cut on a system using Avid input/output hardware:
1. Select the sequence or marked section.
2. Transcode the sequence as described in “Outputting HDV” on page 1470.
3. Select Output > Digital Cut
4. Proceed as with any digital cut.
See “Using the Digital Cut Tool” on page 1042.
Exporting an HDV Transport Stream
You can export an HDV transport stream for use in other applications.
To export an HDV transport stream:
1. Select the sequence or marked section.
2. Select Export in the Settings tab of the Project window.
The Export Settings dialog box opens.
3. Select Export As > HDV.
Create New Transport Stream/
Delete Transport Stream after
writing to HDV Device
Not available if you use an existing transport stream. Select to
create a transport stream and then save it.
Create New Transport Stream/
Use Marks
Not available if you use an existing transport stream. When
you select this option, the system uses current IN and OUT
points in the selected clip or sequence to determine starting
and ending frames for the export. To output the entire clip or
sequence, deselect this option.
Create New Transport Stream/
Use Enabled Tracks
Not available if you use an existing transport stream. When
this option is selected (default), the system uses tracks that are
enabled in the Timeline. To output the entire clip or sequence,
deselect this option.
Option/Suboption Description
Outputting HDV
1473
4. Select Use Marks and Use Enabled Tracks as desired.
See “Export Settings: HDV” on page 1332.
5. Click OK.
You can also export to other formats, such as QuickTime movie, or use the Send To function
to send the sequence to an application such as Sorenson Squeeze. You can also export to
Windows Media 9 for finishing to HD-DVD.
To export to other formats:
tExport the sequence or use the Send To function as usual.
See “Exporting With the Export Command or the Drag-and-Drop Method” on page 995 or
“Exporting With the Send To Templates” on page 988.
Exporting HDV as Windows Media
Use the following samples as a guide when exporting an HDV sequence as Windows Media for
use on the Web or for use in DVD authoring:
To export HDV as Windows Media for use on the Web:
1. Select the sequence or clips you want to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click the Options button.
The Export Settings dialog box opens.
4. Select Export As > Windows Media.
5. Set the following:
Setting Value
Width 720
Height 540
FPS 60
Video Type Progressive
Pixel Aspect Ratio 16:9
Codec Windows Media 9
VBR Enabled and set to Quality
Outputting HDV
1474
6. Click Save to export the sequence.
7. In the Export As dialog box, select the destination folder for the file.
8. Click Save.
The sequence is exported using the selected settings.
To export HDV as Windows Media for use in DVD authoring:
1. Select the sequence or clips you want to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click the Options button.
The Export Settings dialog box opens.
4. Select Export As > Windows Media.
5. Set the following:
6. Click Save to export the sequence.
7. In the Export As dialog box, select the destination folder for the file.
8. Click Save.
The sequence is exported using the selected settings.
Audio Settings Leave set at defaults
Setting Value
Width 1440
Height 1080
FPS 60
Video Type Progressive
Pixel Aspect Ratio 16:9
Codec Windows Media 9
VBR Enabled and set to Quality
Audio Settings Leave set at defaults
Setting Value
Raster Dimensions
1475
Finishing HDV on Avid DS
The following procedure outlines the steps to take if you want to finish an HDV sequence on an
Avid DS system.
To finish an HDV sequence on an Avid DS system:
1. When in a 1080i/59.94 HDV project, transcode your sequence to DNxHD 145.
2. Export as an AFE.
3. Import the AFE file to Avid DS v7.6 QFE 3 or later.
Raster Dimensions
Some earlier versions of Avid editing applications allowed you to create projects based on some
device-specific HD compression formats, including 1080i 59.94 HDV and 1080i 50 HDV. Some
versions allowed you to set specific raster types for your HD projects — for example, DVCPro
HD. When you open existing projects that use these formats, current Avid editing applications
preserve the raster size (the dimensions of the video frame displayed in the monitor) for your
project and list the raster as an option in the Raster Dimension menu.
New HD projects on systems with supported configurations allow you to directly select the raster
size used for playback and editing. This allows your Avid editing application to support HD
compression formats that use anamorphically-scaled, nonstandard HD raster sizes. These
formats include those compatible with a variety of professional HD devices and standards.
Using the Raster Dimension selection lets you improve the playback of your HD sequences
without having to transcode the video to an Avid DNxHD resolution.
When you select an HD project format in the New Project dialog box, a Raster Dimension menu
appears allowing you to select from the formats available for the selected project type. This lets
you play back your sequence in the native raster size for certain HD formats. When you output
your final HD sequence, your Avid editing application resizes the sequence to the standard raster
size for your project.
nStandard raster sizes for 1080i/1080p and 720p projects are 1920 x 1080 and 1280 x 720,
respectively. All other rasters are called “thin rasters” because the horizontal resolution is lower
than the standard rasters.
Raster Sizes
1476
The format you select to work in also determines which HD compression is used by your Avid
editing application. For example, if your HD project format is 1080i 59.94 and you select a raster
dimension of 1440 x 1080, the Video Resolution menu in the Media Creation settings dialog box
displays the following options:
• DNxHD-TR 145 MXF
• XDCAM HD 17.5Mbits MXF
• HDV 1080i MXF
• XDCAM HD 35Mbits MXF
You can open an existing HD project (for example, a 1080i 50 HDV project) created either with
an earlier version of an Avid editing application or with a version that does not support Raster
Dimension selection. You can also create a new project using Raster Dimension selection that
has the same size used in an existing project. Use the following guidelines when switching
between existing and new project types.
If you open a new HD project on an Avid editing application that does not support all Raster
Dimension options, the project switches to the standard raster (see “Raster Sizes” on page 1476).
In this case, you do not receive the performance benefit of using the native raster size. When you
move to an environment where other rasters are supported, you can manually switch your project
to a specific raster. For example:
• If you create a 1080i 50/1440 x 1080 project on a Media Composer Nitris DX system and
then open it in Avid Symphony Nitris, the project switches to the standard raster (1920 x
1080). When you save the project, it saves with the standard raster.
Raster Sizes
The following tables list the raster dimensions available for each compression format and project
type. You should select a format depending on your workflow and playback mode. (For
information on video quality playback modes, see “Video Quality Options for Playback” on
page 506.)
Existing Project Type New Project Type Raster Dimension
1080i 50 1080i 50 1920 x 1080
1080i 50 HDV 1080i 50 1440 x 1080
1080p 23.976 1080p 23.976 1920 x 1080
720p 29.97 HDV 720p 29.97 1280 x 720
Raster Sizes
1477
Availability of Raster Dimensions for Full Quality Playback
Project type 1280 x 720 960 x 720 1920 x 1080 1440 x 1080 1280 x 1080
720p 23.976 Yes (standard) Yes No No No
720p 25 Yes (standard) Yes No No No
720p 29.97 Yes (standard) No No No No
720p 50 Yes (standard) Yes No No No
720p 59.94 Yes (standard) Yes No No No
1080p 23.976 No No Yes (standard) Yes No
1080p 24 No No Yes (standard) No No
1080p 25 No No Yes (standard) No No
1080p 29.97 No No Yes (standard) No No
1080i 50 No No Yes (standard) Yes No
1080i 59.94 No No Yes (standard) Yes Yes
34 Dual Link HD RGB Support
The Avid Media Composer and Avid Symphony editing applications with Nitris DX support
RGB HD dual link. If you have a Nitris DX-based system, you can capture, monitor, and output
projects in HD-RGB using the two HD SDI connections to handle the high-bandwidth
resolutions.
nRGB Dual Link does not support Universal Mastering. Universal Mastering is available in the
YCbCr 709 Color Space only.
nCrossconvert is not supported with RGB Dual Link SDI.
nRGB 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.
See the following topics:
•HD RGB Capture
•HD RGB Playback to High Resolution Monitor
•HD RGB Digital Cut
HD RGB Capture
To setup:
1. Connect the Nitris DX to a dual link compliant camera or deck. Use the HD-SDI B IN and
OUT connectors for dual ingest HD-RGB capture.
2. Open the Capture Tool window.
CH 1 CH 2 CH 3 CH 4 CH 1 CH 2 CH 3 CH 4
IN
IN OUT
LTC
OUT
Y/G P /R
S-VIDEO
SERIAL
AES I/O
AUDIO
MON
OUT
L
R
IN OUT
IN OUT IN OUT IN OUT
HD SDI
A
R
L
BSDI
AUDIO
LINE IN
BALANCED AUDIO IN
SPDF/ADAT
HOST PCIe HDMI OUT
ANALOG VIDEO OUTANALOG VIDEO IN
AUDIO
CLK OUT
REF
SYNC
RCVBS
Y/G P /R
R
P /B
RP /B
R
CVBS
HD RGB Playback to High Resolution Monitor
1479
3. Select the RGB resolution.
4. See “Capturing Media” on page 218 for details on performing a capture.
HD RGB Playback to High Resolution Monitor
To setup:
1. Connect the Nitris DX to a dual link high resolution monitor. Use the HD-SDI B IN and
OUT connectors for dual ingest HD-RGB capture and output on Avid Media Composer or
Avid Symphony connected to a Nitris DX.
2. Click the Format tab in the Project window.
3. Click the Color Space menu and select RGB.
4. Set the Video Quality button to Full Quality 10-bit.
You can now playback video to the high resolution monitor.
HD RGB Digital Cut
To setup:
1. Connect the Nitris DX to a dual link compatible deck. Use the HD-SDI B IN and OUT
connectors for dual ingest HD-RGB output on Avid Media Composer or Avid Symphony
connected to a Nitris DX.
2. Open the Video Output Tool.
3. Select the HD RGB Dual Link SDI resolution.
4. See “Using the Digital Cut Tool” on page 1042.
35 International Character Support (ICS) in
Avid Editing Applications
This chapter provides information on international character support (ICS) in your Avid editing
application.
•Choosing a Locale on an English Language Operating System
•Using a Local Language Operating System (Windows Only)
•Non-English Character Support (Macintosh)
•Non-English Character Support (Windows)
•Using Foreign Keyboard Mapping (Windows)
•Considerations for International Character Support
nAvid Interplay applications also support ICS. For more information, see the Interplay Help and
the Interplay ReadMe.
Choosing a Locale on an English Language
Operating System
You can display and input international characters within the English language version of your
operating system by choosing a locale for another language. This method is common on
Windows systems, and it is the only option on Mac OS® X systems.
You need to instruct your operating system to display the appropriate language in menus and
dialog boxes and specify the language you want to use for keyboard layouts by following the
instructions for your operating system in either “Non-English Character Support (Macintosh)”
on page 1481 or “Non-English Character Support (Windows)” on page 1484
On Windows systems only, if you are using a language other than English, French, Italian,
German, or Spanish, you might need to adjust the mapping for the keyboard so the keys in the
Keyboard palette match the keys on your physical keyboard. See “Using Foreign Keyboard
Mapping (Windows)” on page 1488.
Using a Local Language Operating System (Windows Only)
1481
Using a Local Language Operating System
(Windows Only)
On Windows systems only, you can display and input characters in languages other than English
by installing the local language version of the operating system and working within that
operating system.
nInterplay applications are not qualified on systems running local language operating systems.
When you start your Avid editing application for the first time, it automatically creates a
keyboard setting for that language. You can view the keyboard mapping by clicking the
appropriate Keyboard setting in the Settings list.
If you are using a language other than English, French, Italian, German, or Spanish, you might
need to adjust the mapping for the keyboard so the keys in the Keyboard palette match the keys
on your physical keyboard. For more information, see “Using Foreign Keyboard Mapping
(Windows)” on page 1488.
You can also work with international characters within the English language version of the
Windows operating system. For more information, see “Choosing a Locale on an English
Language Operating System” on page 1480.
Non-English Character Support (Macintosh)
To enable international character support on Mac OS X systems, you need to specify the
language for menus and dialog boxes in the System Preferences > Language & Text window.
You must make sure that the operating system lists your language at the top of the language list
in the Language tab and that you specify your region in the Formats tab. You can also add the
language in which you want keyboard layouts and input methods to function.
To set the language in the Language & Text window:
1. Select Apple menu > System Preferences > Language & Text.
The Language & Text window opens to the Language tab.
Non-English Character Support (Macintosh)
1482
2. In the Languages list, click the language you want, and drag it to the top of the list. If you do
not see the language you want in the list, click Edit List, select the language, and click OK.
3. (Option) Click the Text tab and select other options.
4. Click the Formats tab, and then click the Region menu and select your region.
Non-English Character Support (Macintosh)
1483
If you do not see your region, select “Show all regions” and then click the Region menu
again.
5. Click the Close button.
nFor more information about the Language & Text window, see Mac Help by clicking the question
mark icon in the window.
To add your language’s keyboard layout, input method, and character set palette to the
operating system’s Input menu (Flag icon):
1. Select Apple menu > System Preferences > Language & Text.
The Language & Text window opens to the Language tab.
2. Click the Input Sources tab.
Non-English Character Support (Windows)
1484
3. Select the language or languages in which you want to type.
4. Select “Show input menu in menu bar.”
5. Click the Close button.
6. In the Finder title bar, click the Flag icon and select the input language. You can also select a
character set palette.
The Flag icon changes depending on which input language you select.
7. Restart your system.
Non-English Character Support (Windows)
On Windows systems only, you can specify a non-English keyboard layout and text entry format
for the language in which you want to type. The operating system itself does not need to be in the
same language as that in which you are typing.
For more information, see “Using Foreign Keyboard Mapping (Windows)” on page 1488 and
your Windows documentation.
Non-English Character Support (Windows)
1485
To specify a language in which to type (Windows 7):
1. (Option) Attach a regional keyboard to your system.
2. Click the Start button, and select Control Panel.
3. Do one of the following:
tIf the View by menu is set to Category, in the Clock, Language, and Region area, click
“Change display language.”
tIf the View by menu is set to Large icons or to Small icons, click Region and Languages.
The Region and Language dialog box opens.
4. Click the Formats tab, and then click the Format menu and select a language.
5. Click the Location tab, and then click the Current location menu and select your location.
6. Click the Keyboards and Languages tab.
Non-English Character Support (Windows)
1486
7. If necessary, click “Install/uninstall languages” and follow the prompts to install
supplemental languages.
8. Click “Change keyboards.”
The Text Services and Input Languages dialog box opens.
Non-English Character Support (Windows)
1487
9. In the “Installed services” area in the General tab, select a language and a keyboard layout
for that language.
10. If the language you want is not in the list, click Add, select an input language and a keyboard
layout for the language, and then click OK.
11. In the “Default input language” area, select an input language.
You must select a language in the Installed Services area (step 9) before it appears in the
Default input Language list.
12. Click OK to close the Text Services and Input Languages dialog box.
13. Click the Administrative tab, and select your language in the “Language for non-Unicode
programs” area.
cIt is important to select your language in the “Language for non-Unicode programs” area.
Do not skip this step.
14. Click OK to close the Region and Language dialog box.
A keyboard icon appears in the taskbar to let you switch keyboard layouts.
15. Restart your system.
Using Foreign Keyboard Mapping (Windows)
1488
Using Foreign Keyboard Mapping (Windows)
On Windows systems, when you start your Avid editing application under a new locale, your
Avid editing application automatically creates a Keyboard setting for your language. You can
view the keyboard layout by clicking the appropriate Keyboard setting in the Settings list.
The default Avid keyboard layouts for English, French, or German map correctly to the
characters on the physical keyboard. If you are using another language, the display in the
Keyboard palette might not match your physical keyboard layout. You can use the Foreign
Keyboard Mapping button in the Keyboard palette to display the correct character in the
Keyboard palette.
nAvid supports the international English keyboard for Spanish and Italian. The default keyboard
setting for Spanish and Italian is an English keyboard. If you use a Spanish or Italian keyboard,
use keyboard mapping to match the physical keyboard to the Keyboard setting layout.
To set the keyboard mapping for a key:
1. In the Settings list of the Project window, double-click Keyboard.
The Keyboard palette opens.
2. Compare the layout to your physical keyboard.
If some of the letters do not match, you can change the characters displayed in the Keyboard
palette.
3. Click the Foreign Keyboard Mapping button.
4. Click the key that you want to change in the Keyboard palette.
The key changes to white.
5. Press the corresponding key on your keyboard.
The image in the Keyboard palette changes to match your keyboard, and the mapped key
changes to blue.
nEach language has a certain number of keys that do not map to functions in your Avid editing
application. These are referred to as “dead” keys. You cannot map functions to these dead keys.
If you try to do so, your Avid editing application displays an error message.
Considerations for International Character Support
1489
Considerations for International Character Support
This topic provides recommendations, tips, and information on limitations for using international
character support in your Avid editing application.
Use One Locale When Sharing Files
Make sure that your projects do not contain characters from more than one locale. File sharing
might not work correctly. See “Choosing a Locale on an English Language Operating System”
on page 1480
In an Interplay workgroup, all clients and applications must use the same locale, either English
or one other locale.
Entering ASCII Characters in Double-Byte Systems
If you are working on a double-byte operating system, you should use single-byte ASCII
characters to name bins, projects, tapes, or other Avid elements. If you use double-byte
characters, they might appear with extra space between them and the names might not be
recognizable by other systems.
Operating systems that use a double-byte character system usually allow the user to choose
between single-byte ASCII or double-byte ASCII characters. If you have a choice, use
single-byte characters when entering ASCII text.
Characters to Avoid When Naming Avid Elements
Do not use the Japanese yen symbol in the ASCII character set. Your Avid editing application
converts the symbol to a backslash, and this can cause problems with pathnames.
Do not use the Y-acute and Y-diaeresis characters. Your Avid editing application does not
recognize the Y-acute character, and it can cause problems with file recognition. Your Avid
editing application might not display the Y-diaeresis character correctly.
When you name a Mac OS X computer, use single-byte ASCII characters without spaces. Your
Avid editing application uses the name in .pmr files (in the OMFI MediaFiles folder), and
non-ASCII characters and spaces can cause problems with .pmr files.
If you plan to move projects between Macintosh and Windows systems, avoid using characters
that are not in both the MacRoman and Latin1 (ANSI) character sets. Search the Avid
Knowledge Base for “MacRoman” to access documents that list the characters you should avoid.
You might have to set your Web browser to display characters in Unicode format to see all the
characters in these documents correctly. For example, in Internet Explorer 7, select View >
Encoding > Unicode (UTF-8).
Considerations for International Character Support
1490
Character Limitations for EDL Manager
You can display diacritical marks and Chinese characters in EDL Manager but those characters
are not preserved when you save and reopen an EDL. If you plan to create and save an EDL from
your sequences, you must use ASCII names for tape names.
The RT-11 format that is sometimes used for disks that store EDLs has a very limited character
set: A-Z (capital letters only), 0-9, space, and $.
Traditional Chinese Big 5 Character Set
When using Traditional Chinese, set the Input Method Editor (IME) to use the Traditional
Chinese Big 5 character set.
(Windows) When setting the Input Locale in the Regional Options dialog box, click IME
Settings and select the bottom option, which translates to “Only show Big 5 characters.”
(Macintosh) When you select Traditional Chinese in the System Preferences > Language & Text
window, your system displays a menu with several options. Select Big 5.
Rebuilding the asifont.map File (Windows Only)
If you cannot display Chinese or Japanese characters in your Avid editing application, you might
need to regenerate the asifont.map file under the Japanese or Chinese locale. If you install your
Avid editing application after you set up your system for international character support, you
should not need to rebuild the asifont.map file.
To rebuild the asifont.map file, do one of the following:
• Navigate to Program Files\Avid\application name, locate the asifont.map file, and delete it.
Ensure you are in the Japanese or Chinese locale and restart your Avid editing application.
• Uninstall your Avid editing application and then reinstall it under the Japanese or Chinese
locale.
Note that your system uses the current locale to create the asifont.map file appropriate for that
locale.
Creating Vertical Text
To create a title with vertical lettering, such as on Japanese and Chinese Windows systems, use
the Marquee title tool, and use one of the fonts with an “@” symbol at the beginning of its name.
You can create a style or template for this kind of text box to make the titles easier to create.
1. Create a Text Box, then exit Text mode.
2. Select a font with an @ sign at the start of the name for the text box.
Considerations for International Character Support
1491
3. In the Transform pane, rotate the box by setting rotate Z to -90.
4. Enter Text mode, and type in your text.
The text appears moving down vertically.
Additional Tips and Limitations for Working with International Characters
• You must install your Avid editing application after you set up your system for international
character support.
• If you export files from a FIGS (French, Italian, German, or Spanish) operating system that
contain certain diacritical marks (for example, a capital A, I, or E with circumflex), they
might not import or display correctly on an English operating system. When you attempt to
import the file, your system displays the following error message:
“File: [File name and location] not found.”
followed by:
“EXCEPTION: SYS ERROR, status: 2, msg: The system cannot find the file specified.”
To work around this limitation, retype the file name (with the same diacritical marks if
desired) and then import it from the English OS.
• If you use New Change input (Traditional Chinese), you cannot use certain key
combinations to form Chinese characters in user, project, bin, clip, and sequence names.
When you press Enter to execute these key combinations, a question mark appears in the
text. The following are examples of non-functional combinations: R + Y, S + D, R + J, F +
U, Q + U + Q + U.
• You might see problems with certain combinations of Japanese and Roman characters in
user names.
Avoid mixing Roman and Chinese or Japanese characters in user names. Your system might
generate error messages or extra user names with incorrect text strings.
In an Interplay workgroup environment, use Roman characters for user names. Avid
Interplay workgroups do not support Chinese and Japanese user names.
• Do not use fonts that have an “@” sign at the start of the font name when naming Avid
elements. These fonts are intended for text that displays vertically. Letters or characters
might appear on their side in elements such as bin and clip names.
• When you are using diacritical marks, exporting a bin as AFE with the default name might
cause MediaLog to freeze. The resulting files have incorrect filenames.
To work around this limitation, avoid using the default name when exporting a file as AFE,
ALE, or Tab Delimited. Rename the file you are exporting in the Export dialog box.
36 Open I/O Support
With the Media Composer family of products, Avid has implemented a Hardware SDK allowing
3rd party vendors to develop plug-ins for their hardware I/O devices. The plug-ins will enable
3rd party I/O hardware to interact with the Avid editing applications (Media Composer,
Symphony, and NewsCutter). Currently, the 3rd party vendors who have access to develop
plug-ins for their hardware in order to work with Avid editing software are AJA, Matrox,
Blackmagic Design, Motu and Bluefish444.
The 3rd party I/O hardware can be configured through a software control panel developed by the
3rd party vendor. Functionality, such as output type for capture, input type for different
connectors, up convert, downconvert, crossconvert, hardware reference clocking, HD progressive
frame type, etc. can be controlled by the 3rd party control panel.
It is important for you to install the editing application first and then install the 3rd party
plug-ins. The plug-in will not install properly if the editing application is not already
installed.
Note the following when working with the 3rd party Open I/O devices:
• The Video Input and Video Output items on the Tools menu are replaced with a Hardware
Setup menu item. Choosing the Hardware Setup option opens the 3rd party Control Panel.
• The Video Input and Video Output settings in the Project window will launch the 3rd party
Control Panel
• The “Cp” and Video Tool buttons in the Capture Tool will open the 3rd party Control Panel.
• The “Cp” button in the Hardware tab of the Audio Project Settings will open the 3rd party
Control Panel.
Open I/O Limitations
With this release, the 3rd party hardware plug-ins will not be able to support the entire feature set
of the editing application and therefore will not support the following in the Avid editing
application:
• Ancillary Data
• LTC Input and Output
• Stereoscopic Full Frame Capture and Output
• Audio Punch-In
1493
• Utilize any Hardware Codec Modules
• Universal Mastering (Frame & Signal Convert to a Different Format)
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Numerics
1 Pass encoding 1335
1:1 video
defined 1402
1394
capturing HDV through 1468
capturing through 229, 229
connecting devices 179
1394 button
playback to DV device with 505
selecting DV device with 229
selecting output device with 1018
setting video quality with 508
15-day trial
PhraseFind 545
ScriptSync 642
16:9 display
format (Composer settings) 1304, 1304
16:9 format 160, 1436
16-channel audio
enabling 1037
2 Pass encoding 1335
2:3 pulldown
transferring film to video with 1441
23.976p projects
converting NTSC sequence to 720p/23.976 1462
24-fps film
transferring to NTSC video 1440
transferring to PAL video 1442
24-fps timecode
logging additional 153
24p and 25p projects
creating 50, 1454
displaying media while editing 1459
displaying timecodes in 344
indicating the destination timecode rate 1057
output formats 1053, 1053, 1053
planning 1432
timecode for output 1056
24p media
capturing without pulldown 263
described 1432
stored and displayed 1459
25p media
described 1432
stored and displayed 1459
3 x 3 averaging
setting eyedropper option 1309
30i NTSC projects
creating 50
3-perf support 1063
4-perf support 1063
5.1 audio 765
60 fps
editing 720p project 1463
7.1 audio 765
720p/23.976 projects
converting NTSC sequence from 23.976p 1462
8-bit units 1369
A
AAF (Advanced Authoring Format) files
described 1000
exporting 1000
methods for exporting 1000
AAF export
exporting to Pro Tools 1000
Aborting
Frame Chase captures 234
Accepting transfers 1170
Activating PhraseFind 543
PhraseFind
Index
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1495
activating 548, 645
Activating ScriptSync 641
Active Palette option (Command palette) 111
Adaptive deinterlacing 578
Add Alt Key button (Command palette, Other tab) 107
Add Channel button (Deck Configuration dialog box)
174
Add Comments command (Clip Name menu) 593
Add Control Key button (Command palette, Other tab)
107
Add Deck button (Deck Configuration dialog box) 174
Add Dissolve button
See Quick Transition button
Add Edit button 797
for maintaining sync 601
for MultiCamera editing 1240
Add Edit function
for maintaining sync 601
using 710
Add Filler at Start command (Clip menu) 568
Add Keyframe button
commands 1317
Add Marker button 513
Add New Column dialog box (Interplay Window) 1152
Add Option Key button (Command palette, Other tab)
107
Add Page button (Script window) 623
Add Scene button (Script window) 623
Add Scene/Page dialog box 623
Adding
bin columns 341
clip names during capturing 220
color indicators (Script window) 634
comments during capturing 220
comments during editing 593
edits 710
filler during trimming 737
filler to a sequence 568
markers while editing 513
memory mark 141
new tracks 703
off-screen indicators (Script window) 633
page and scene numbers in the Script window 623
script marks 635
takes in the Script window 631
Adjust Auto Volume/Pan command (Audio Mixer Tool
Fast menu) 803
Adjust Deck command (Deck Selection menu in
Capture tool) 182
Adjust Deck command (Deck Selection menu in Digital
Cut tool) 1044
Adjust Pan/Vols command (Audio Mixer Tool Fast
menu) 792
Adjusting
audio buffer size 773
audio input levels 200
chrominance and luminance settings for video
output 1024
margins in the Script window 618
Motion Adapter effect 578
offset between audio and video playback 492
output 1035
pan in the Audio Mixer tool 782
pan, using an external fader or mixer 843
take lines in the Script window 631
video levels 207
video levels for tapes without color bars 216
volume and pan in Timeline 797
volume in the Audio Mixer tool 782
volume, using an external fader or mixer 843
adjustments 794
Advanced keyframes
Add Keyframe button commands 1317
Indent Rows command 1317
Large Text command 1317
Real-Time Update option 1317
Set Position To Keyframe command 1317
Show Add Keyframe Mode Menu command 1317
Sliders option 1317
Thumbwheels option 1317
Update Position While Playing command 1317
AFE
exporting as 988
AFE files
described 1003
exporting projects and bins 1003
Affinity model
described 1191
AIFF-C file format 195
option in Audio Project settings 1291
AIR Chorus RTAS plug-in 920
AIR Distortion RTAS plug-in 920
AIR Dynamic Delay RTAS plug-in 922
AIR Enhancer RTAS plug-in 924
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1496
AIR Ensemble RTAS plug-in 924
AIR Filter Gate RTAS plug-in 925
AIR Flanger RTAS plug-in 926
AIR Frequency Shifter RTAS plug-in 928
AIR Fuzz-Wah RTAS plug-in 929
AIR Kill EQ RTAS plug-in 930
AIR Lo Fi RTAS plug-in 930
AIR Multi-Chorus RTAS plug-in 933
AIR Multi-Delay RTAS plug-in 934
AIR Non-Linear Reverb RTAS plug-in 935
AIR Phaser RTAS plug-in 936
AIR Reverb RTAS plug-in 938
AIR Spring Reverb RTAS plug-in 940
AIR Stereo Width RTAS plug-in 941
AIR Talkbox RTAS plug-in 942
AIR Vintage Filter RTAS plug-in 944
ALE (Avid Log Exchange)
converting shot log files with (Macintosh) 119
converting shot log files with (Windows) 116
Alias
starting Avid editing application from 43
Alias file format
import specifications for 1387
Align Selected to Grid command (Bin menu) 324
Align to Grid command (Bin menu) 324, 340
Aligning columns in a bin 340
Alpha channel
adding to a graphics image 1386
defined 1386
support in graphics formats 1386
Alpha channel, options in Import settings 1351
Alternate source capture 248
AMA 369, 369, 374, 381, 383, 385, 388, 400, 405
ancillary data 1072
QuickTime 400
supported QuickTime codecs 401
virtual volumes 421, 422
Workflow 407
AMA Plug-in
Canon 381, 383
GFCAM 385
MXF 405
P2 374
QuickTime 400
RED 388
XDCAM 369
XDCAM EX 369
AMA plug-in 369
AMA settings
described 1289
Ancillary data
AMA 1072
Data Track method 1070
Legacy Method 1075
Ancillary data and AMA
workflow 432
Animation file formats
described 1391
Animation files
importing 1391
Annotate feature 220
Anti-aliased images 1386
Application display
updating 1157
Application sets
Avid Artist Series controllers 889, 890, 892, 895
Applications command (Macintosh Go menu) 43
Applying
target settings for dynamic relink 1204
working settings for dynamic relink 1204
Archive to Videotape dialog box 468
Archiving
with MultiRez 1183
Archiving, media files 467
Arrow keys
stepping with 502
As List command (View menu in Macintosh Finder) 63
ASCII characters, in double-byte systems 1489
ASCII file format
importing Avid logs 132
ASCII text files
importing to a Script window 618
A-side (outgoing frames)
in trims 723, 733
ASIO driver configuration 858
Aspect Ratio options (Import settings) 1351
Assemble-edit recording 1039
enabling in Deck Preferences 1040
Assembling a rough cut
in the Script window 653
Asset Manager
specifying settings 436
Asset manager
accessing assets 1140
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1497
automatically checking in assets 1139
Avid Unity media network 1115
capturing media 1166
checking in to 1135
checking out from 1132
connecting to 1115
logging in 1115
remote assets 1106
settings for 436
using 436
using drag-and-drop method to check in assets 1135
using menu command to check in assets 1135
Asset types, selecting 1156
Attic folder
described 71
See Avid Attic folder
Attributes
searching remote assets for 1165
Audio
16-channel output 1037
5.1 765
7.1 765
adjusting pan defaults 795
adjusting volume 762
adjusting volume in Audio Mixer tool 782
adjusting volume in Timeline 797
adjusting volume while playing 794
and digital cuts 1059
buffer size adjustment 773
centering pan 796
creating leader 610
crossfading 811, 1291
digital scrub, described 754
digital scrub, performing 756
digital, capturing in film projects 189
dipping 811
dissolves 811, 1291
editing workflow 780
embedded, and sample rate conversion 1037
fading 811, 1291
file format, selecting 195
file formats (Audio Project settings) 1291
fine-tuning transitions 797, 811
HDMI 765, 771
identifying sample rates 761
input levels, adjusting 1291, 1291
input, adjusting levels 200
input, selecting source 196
keyboard shortcuts for keyframing 804
levels, adjusting 782
Live Mix mode 805
locked 1291
mapping output channels 1291
marking clips 513
Master volume 1291
media for shoots 1436
mixing down 815
monitoring tracks 699
multichannel 748
muting 762
number of tracks supported 694
output 771
output options 1291
output, calibrating 1032
output, calibrating global levels 1033
output, calibration tone for 1032
output, monitoring global levels 1032
output, preparing for 1032
output, settings options 1035
overview of tools 746
pain and gain automation display 757
pan, adjusting in Audio Mixer tool 782
Project settings, adjusting 193
Project settings, audio file formats 195
Project settings, overview 193
quality matching for 1226
requirements for film transfers 187
resyncing subclips 512
sample rate conversion during capture 194
sample rate, changing for a clip or sequence 814
sample rate, conversion overview 813
sample rate, selecting 194
scrub, defined 754
scrub, performing smooth 755
scrub, selecting tracks for 754
scrub, solo tracks 752
searching for 555
selecting mix modes 1291
settings, adjusting 193
settings, Default Pan options 795
settings, Digital Scrub options 756
solo feature, in Trim mode 727
solo feature, monitoring one track 699
sound card configuration 196
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1498
Sound Designer II, support for 1100
Sound Designer II, transferring files 1100
splitting stereo tracks to mono 705, 817
subframe sync adjustment 607
surround sound 765
sync, on output 1018
time compression 908
timecode for shoots 1436
tools, accessing 746
tracks, adjusting in Audio Mixer tool 782
tracks, soloing 752
transfer options 1442
transferring to Digidesign Pro Tools 1099
using leader to maintain sync 599
voice-over 830, 830
volume, adjusting in Audio Mixer tool 782
volume, adjusting in Timeline 799
waveform plots 758
Audio Data commands (Timeline Fast menu) 758, 799,
802
Audio effects
rendering order 779
Audio EQ 797
Audio EQ (Equalization)
adjusting while playing 830
removing 825
saving 824
templates 827, 827
Audio EQ command (Tools menu) 746, 818
Audio EQ tool
examples of usage 826
Fast menu options 822
features of 819
opening 818
saving effects with 824
Audio File format
displaying in bins 749, 764
options 1291
Audio file sample size 1291
Audio hardware calibration 203
Audio hardware options
project settings 1291
Audio IN and OUT points
removing 513
Audio input levels
adjusting 1291, 1291
calibrating for audio I/O device 203
calibrating with a tone generator 203
Audio Mark IN button 513
Audio Mark OUT button 513
Audio Meter menu button 762
Audio Mixdown command (Special menu) 815
Audio Mixdown dialog box 815
Audio Mixer command (Tools menu) 746, 782, 782,
802
Audio Mixer tool
adjusting clip gain and pan on a single track 782
adjusting levels by typing values 777
adjusting volume and pan on multiple tracks 782
Clip Gain and Pan mode 782
controls, described 774
Live Mix mode 805
Live Mix mode Fast menu commands 808
opening 774
resizing 777
selecting modes 774
setting default mode 774
showing and hiding sliders 777
sliders for Live Mix mode 808
sliders, for volume automation and pan 802
switching from Live Mix mode to other modes 808
track selection behavior 778
Volume Automation and Pan controls, described
801
Volume Automation and Pan Fast menu commands
803
Audio output
calibrating with an external meter 203
Audio output options
project settings 1291
Audio peak levels
checking 207
Audio Project Settings
Dolby E Safe settings 257
Audio Project settings
audio file formats 1291
described 1291
Effects tab 1291
Hardware tab 1291
Main tab 1291
Output tab 1291
saving 1291
Audio Project Settings dialog box 1035
Audio Punch-In tool
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1499
described 831
removing extra filler 1291
scenarios for using 833
using a GPI device with 862
Audio Punch-in tool
using 833
audio sample clock 1291
Audio sample rate
options 1291
Audio settings
described 1290
Audio Settings dialog box
adjusting digital scrub parameters 756
Audio Source Tape TC Rate (Film and 24p Settings
dialog box) 171
Audio timecode 747
Audio tone media
creating 200
Audio tool
Calibrate mode 203, 203, 203
checking input levels 200
described 198
digital scale 199
input levels, adjusting 200
opening 198
volume unit scale 199
Audio Tool command (Tools menu) 782, 1032, 1033,
1039
Audio Track Monitor button (Track Selector panel)
selecting tracks for scrubbing with 754
soloing tracks with 752
Audio tracks
making tracks inactive 753
selection in Timeline and in Audio Mixer tool 778
splitting stereo tracks to mono 705, 817
Audio transfer
Info tab 1442
Audio Transfer Rate (Film and 24p Settings dialog box)
171
Audio Volume Automation
configuring USB-to-MIDI software 854
Audio-only output 1059
AudioSuite command (Tools menu) 746
AudioSuite plug-ins
applying 905
BF Essential Clip Remover 945
Bomb Factory BF76 946
Chorus 946
Compressor/Limiter III (Dynamics III) 948
core plug-ins 916
creating new master clips with 908
DC Offset Removal 953
DeEsser III (Dynamics III) 953
Delay 955
described
dialog box 906
Duplicate 956
D-Verb 952
EQ 957
Expander/Gate III (Dynamics III) 962
Fast menu 907
Flanger 964
Funk Logic Mastererizer 965
Gain 965
installing 904
Invert 966
limitations 914
Lo-Fi 966
Multi-Tap Delay 968
Normalize 969
PhaseScope 969
Ping-Pong Delay 972
Pitch Shift 972
Recti-Fi 974
rendering 908
Reverse 975
Sci-Fi 975
Signal Generator 977
supported 916
Time Compression Expansion 978
Time Shift 980
Trim 983
troubleshooting 914
Authoring a DVD in Avid DVD by Sonic 988
Auto Pan command (Timeline Fast menu) 799, 802
Auto Volume command (Timeline Fast menu) 799, 802
Autocapturing 226
See also Batch capturing
See also Capturing
See also Recapturing
Auto-configure command (Deck Selection menu in
Capture tool) 182
Auto-configure command (Deck Selection menu in
Digital Cut tool) 1044
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1500
Auto-create New Tracks option (Composer settings)
1304, 1304
Auto-enable Source Tracks option (Composer settings)
1304, 1304
Auto-indexing
by Media Indexer 1361
Automatic opening of projects 54
Automounting workspaces
ISIS v2.0 and later 1129
MediaNetwork 1128
Auto-Save
function 71
options (Bin settings) 1298
AutoSync command (Bin menu) 604
Autosync feature
syncing clips 603
Auxiliary timecode
entering 153
AVCHD
workflow 427
AVI file format
brief description 1391
AVI files
methods for exporting 1334
Avid
online support 25
training services 26
Avid Artist Control
application sets 890
Avid Artist Mix
application sets 895
Avid Artist Series controller
application sets 889
customization 881
described 869
editing media 889
Ethernet connections 872
EuControl 869
EuControl settings 876
grouping faders 886
IP addresses 873
Jog mode 884
latch mode 888
recording volumen automation and pan 886
Shuttle ring 884
soft keys 881
volume automation and pan 885
Avid Artist Transport
application sets 892
Avid Asset Manager 1095
Avid assets
accessing assets 1140
automatically checking in to asset manager 1139
checking in and checking out 1135
checking in to asset manager 1135
checking out from asset manager 1132
checking out from Interplay database 1135
defined 1106
local bins 1111
permissions 1147
reservations 1145
restrictions 1146
Avid Attic files setting (Bin settings) 1298
Avid Attic folder
described 71
retrieving files from 60
Avid Calculator tool 111
Avid Clipboard
See Clipboard
Avid Codecs for QuickTime
copying to another system 1006
described 1004
installing 1006
Avid DNA command (Device submenu of Special
menu) 508, 1018
Avid DNA hardware
sync sources 1018
Avid DS
conform and transfer to 1082
exporting to 988
finishing HDV on 1475
Avid DV Codec, exporting with 1326, 1328
Avid editing application
backing up Title Tool titles when promoting to
Marquee 1360
location on system (Macintosh) 43
location on system (Windows) 42
quitting 57
starting (Macintosh) 43
starting (Windows) 42
Avid Interplay
See Interplay
Avid Interplay Administrator
Editor Database Settings 1139
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1501
Avid Interplay Archive
Services 1016
Avid Interplay Engine 436
Avid Interplay ProEncode
Services 1016
Avid Interplay Transcode
Services 1016
Avid Interplay Transfer
using 436
Avid Interplay Window
See Interplay Window
Avid License Control tool 548, 645
Avid logs
See also Shot log files
See Shot log files
clip data in 128
creating 123
custom Titles in 125
data entries in 128
formatting guidelines 123
global Titles in 124
importing ASCII file format 132
sample created with text editor 131
specifications 123
standard Titles in 125
Avid MCXpress for Windows NT
importing files from 1393
Avid Media Access
Workflow 407
Avid Media Access (AMA)
workflow 410
Avid Media Store 1245
login 1248
searching 1250
Avid MediaFiles folder
backing up 457
transferring media 1101
Avid Plugin Store 1270
Avid Projects folder
described 46
location 46
renaming 58
Avid Unity 1095
environment 436
LANshare 437
mapping workspaces on a network 1365
sending sequences to Pro Tools 988
sharing bins and projects 97
transferring projects 1101
unmounting and mounting 438
using Zone 3 connection with Avid Unity ISIS 438
Avid Unity Connection Manager 1128
Avid Unity ISIS Client Manager
v2.0 and later 1129
Avid Unity PortServer Pro 437
Avid Unity workspaces 97
Avid Users folder
described 46
location 46
renaming 58
Avid-controlled deck
logging 136
AvidFontSub.avt file 1093
B
Background color
changing
in the Timeline 664
changing in bins 334
Backing up
automatically to Avid Attic folder 60
media files 457
Title Tool titles when promoting to Marquee 1360
Backtiming edits 707
Backup options (Bin settings) 1298
Bandwidths in Audio EQ tool 819
Bars and tone
preparing for capturing 295
recording to tape 1039
Batch capture
alternate source 248
Batch Capture command (Clip menu) 236, 247, 1185
Batch capturing
See also Autocapturing
See also Capturing
See also Recapturing
from logged clips 234
multiple resolutions 1185
options 236
preparing for 235
procedure 236
unattended 235
Batch Import command (Clip menu) 313, 1187
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1502
Batch Import dialog box 315, 1187
Batch importing
multiple resolutions 1187
procedure 313
XDCAM media 308
Best Performance command (Video Quality menu) 506
Best-light transfers
defined 1436
BF Essential Clip Remover AudioSuite plug-in 945
Big Trim mode
described 719
switching with Small Trim mode 721
Bin columns
copying information 344
Field Motion 580
Bin display 359
Bin editing
in Segment mode 693
using the keyboard 693
Bin Fast menu
described 329
Loop Selected Clips command 494
opening 329
Bin headings
modifying data in 346
setting audio format in 749, 764
Bin settings
Auto-Save options 1298
Avid Attic files setting 1298
backup options 1298
described 1298
Bin views
customizing 322
saving 322
types of 322
Bins
adding columns 341
adding text in Script view 326
aligning columns 340
aligning frames in 324
auto-save function 71
Bin View menu 322
changing background color 334
changing fonts 89
closing 69
creating 68
creating a storyboard 359
creating rough cuts in 570
defined 67
deleting 70
deleting columns 340
deleting items 332
display views 319
displaying audio formats in 749, 764
displaying film columns in 147
displaying in Project window 67
displaying objects in 359
editing from, in Segment mode 693
exporting as AFE files 1003
finding 536
finding from the Script window 651
Frame view 324
headings for MultiRez 1218
highlights for mixed resolutions 359
Info display 82
information in the Console 112
list of, viewing 67
listing timecodes in 344
locking items in 336
logging directly into 135
moving columns 340
opening 69
playing clips in Script view 326
printing 367
rearranging clips in Frame view 324
rearranging clips in Script view 326
remote assets 1111
renaming 68
retrieving backup of 60
saving automatically 71
saving manually 71
Script view 326
selecting offline items 337
selecting sources 339
selecting unreferenced clips 339
setting Reformat value 586
shared, locking and unlocking 99
shared, performance suggestions 100
sharing on Avid Unity 97
showing and hiding columns 320
tabs 328
targeting for capturing 189
Text view 320
transferring with MediaLog 133
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1503
using system backup to save 59
Bins tab (Project window) 67
Bit depth
defined 1386
Black burst sync
for output 1018
HD formats 1019
Black holes 716
Black level
adjusting for input 209
adjusting for output 1024
Black segment
See Filler
Blank button (Command palette, Other tab) 107
Blue bar
See Position indicator
Blue-only feature 1024
BMP file format
additional export options 1340
import specifications for 1387
Bomb Factory BF76 AudioSuite plug-in 946
Browse button (Select Project dialog box) 54
Browsing
for projects 54
B-side (incoming frames)
in trims 723, 733
Buffer size
audio, adjusting 773
Burn-in code 1436
Buttons
Add Alt Key (Command palette, Other tab) 107
Add Control Key (Command palette, Other tab) 107
Add Marker 513, 516
Add Page (Script window) 623
Add Scene (Script window) 623
assigning workspaces to 94
Blank (Command palette, Other tab) 107
Gang 601
Go to Next Marker 520
Go to Previous Marker 520
in the Avid Artist Series controllers 879
mapping 109
Mark Markers 519
Next In Group 1238
Nine Split 1232
Play (Script window) 631
Previous In Group 1238
Quad Split 1232
Set Color (Script window) 634
Set Offscreen (Script window) 633
Slip Left 741
Slip Left 1 Perf 608, 608
Slip Right 741
Slip Right 1 Perf 608, 608
Tail 709
Toggle Source/Record in Timeline 673
Top 709
Transition Corner Display 743
Buttons,
Add Option Key (Command palette, Other tab) 107
Buttons, user-selectable
Add Edit 710
Add Script Mark 635
Find Script 651
Mark Markers 519
Next In Group 1238
Nine Split 1232
Previous In Group 1238
Quad Split 1232
BWF (Broadcast Wave Format) files
bin columns for 1394
custom information 1394
importing and syncing 1396
reimporting 1396
support for 1394
BY Gain slider
adjusting for video input 209
adjusting for video output 1024
Bypass volume settings 794, 1291
Bypassing
pan settings 795
volume settings 794
C
Calculator command (Tools menu) 111
Calculator tool 111
Calibrate command (Peak Hold Menu button) 203, 203,
203
Calibrate Hardware Sliders command (Audio Mixer
Tool Fast menu) 803
Calibrating
global output levels for audio 1033
phase controls 1029
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1504
video input 209
video output using test patterns 1027
video output, basic procedures 1024
video output, methods described 1022
calibrating
audio 203
calibrating audio output 203
Calibration tone
audio output 1032
creating media for 200
CamCutter files
importing 297
Camera roll keypunch 1436
Camera setups
in the lined script 612
Camroll data 146
Canon
AMA plug-in 381, 383
Canon media 381, 383
Capture command (Tools menu, Toolset menus) 180,
1166
Capture command (Tools menu) 136
Capture in Progress slide in monitors 232
Capture mode
entering 180
Capture Settings
DV Options tab 1298
Capture settings
Batch tab 1298
described 1298
DV Options 273
Edit options 261
Edit tab 1298
General tab 1298
Keys tab 250, 1298
MXF Media Files tab 1298
OMF Media Files tab 1298
Capture Tool
Dolby E Safe button 258
Capture tool
Interplay Folders option 1166
logging with 136
resizing 235
resolution, selecting 189
setting Pulldown switch 187
setting up 180
subclip status in 252
capture video and audio 1291
Capturing
See also Autocapturing
See also Batch capturing
See also Recapturing
across control track breaks 235
across timecode breaks 168
adding clip names during 220
adding comments (annotating) during 220
ancillary data 1078
audio 187
audio sample rate conversion 194
bad frames 1298
bars and tone 295
Capture Tool setup 180
creating subclips during 252
detecting locked sync signal 187
digital audio in film projects 189
Dolby E media 256, 258
DV 50, DVCPRO HD, or HDV 229
DV media 229
establishing sync for audio-only input 161
film transfers, minimum information for 146
Frame Chase, aborting 234
Frame Chase, overview 232
Frame Chase, requirements and guidelines 234
Frame Chase, settings 233
Frame Chase, unavailable resolutions 234
Frame Chase, update interval 233
from a mark IN to a mark OUT 222
from a non-Avid-controlled deck 227
from consumer grade decks 209
hardware considerations 160
HDV 1468
Interplay Folders option 1166
LTC timecode 260
media to remote projects 1166
multiple resolutions 1185
on-the-fly 223
preparations check list 216
preparing decks 182
preparing for video input 207
resolution selection 189
setting custom preroll 192
setting only one mark 223
settings for 162
single video frame (General Capture Settings) 1298
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1505
source track selection 184
storage guidelines 1418
sync requirements 160
tape selection 183
targeting bins 189
targeting drives for 190
to multiple media files 170
to the Timeline 261
using time-of-day timecode 228
video transferred without pulldown 263
while logging 219
with external timecode 260
CCIR
See ITU-R 601
CCIR video levels, Import settings 1351
Center Duration option (Composer settings) 1304, 1304
Center Pan command (Clip menu) 796
Change lists
using FilmScribe to create 1063
Change Sample Rate command (Clip menu) 814
Change Scene/Page dialog box 623
Changing
background color in bins 334
default pulldown frame 1060
font in the Script window 621
fonts in user interface 89
frame identifying a clip 324
frame sizes in bins 324
interface components color 87
page and scene numbers in the Script window 623
representative frame in takes 631
resolution by transcoding 451
track color in the Timeline 664
user profiles 85
Channel selection buttons (Capture tool) 184
Characters, avoiding when naming elements 1489
Check Decks command (Deck Selection menu in
Capture tool) 182
Check Decks command (Deck Selection menu in Digital
Cut tool) 1044
Check In All Open Bins To Interplay command (Bin
menu) 1135
Check In Bin To Interplay command (Bin menu) 1135
Check lists
capture preparations 216
preparing hardware before capturing 160
check marks
GFCAM 388
Checking in
Avid assets 1135
confirmation message 1119
Checking out
Avid assets 1135
Choosing
a locale (Windows) 1480
Choosing a locale (Macintosh) 1481
Choosing a locale (Windows) 1480
Chorus AudioSuite plug-in 946
Chrominance settings
adjusting for video input 209
adjusting for video output 1024
Chunking 1298
Chyron file format
import specifications for 1387
Cineon file format
additional Export options 1340
import specifications for 1387
Clear Both Marks button 508
Clear button (Project window) 83
Clear IN Mark button 508
Clear Monitor command (Clip Name menu in Source
monitor) 496
Clear OUT Mark button 508
Clearing
clips from monitors 496
marks 508
Client Manager
v2.0 and later 1129
Client monitor
connecting 488
playing video to 488
selecting setting 490
viewing 16:9 format 160
Clip colors
assigning source colors 335
for MultiRez 1212
viewing in bins 335
Clip data
in Avid logs 128
Clip Frames command (Timeline Fast menu) 658
Clip Gain and Pan mode (Audio Mixer tool) 782
Clip Gain effect, adjusting volume while playing 794
Clip Info dialog box 565
Clip information
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1506
displaying in the Info window 486
displaying, in a Script window 618
summary 472, 538
clip information
effect summary 472, 538
Clip Name menu
clearing clips with 496
switching between clips with 495
Clip parameters
QuickTime 401
RED 391
Clip Text command (Timeline Fast menu) 658
Clipboard
copying to 590
described 591
preserving contents 591
recovering material from 591
Clipboard Contents command (Clip Name menu) 591
Clipboard Monitor command (Tools menu) 591
Clips
See also Master clips
See also Subclips
assigning local colors in the Timeline 664
assigning source colors in bins 335
audio, marking 513
autosyncing 603
batch capturing 236
changing identifying frame 324
changing resolution by transcoding 451
clearing from monitors 496
copying 330, 331
creating group clips 1230
creating multigroup clips 1231
creating multiple resolutions 1185
deleting 332
deleting MultiRez 1220
deleting unreferenced 456
displaying information about 486
displaying source colors in bins 335
duplicating 330
exporting 995
finding from the Script window 651
finding names 530
finding with Match Frame 534
in-progress, capture overview 232
in-progress, duration of 232
in-progress, editing overview 1141
in-progress, editing workflow 1142
in-progress, limitations 1143
in-progress, sending sequences to playback 1141
linking to script 625
linking to script with ScriptSync 638
loading 1157
loading into monitors 494
locating master clip from subclip 537
locking in a bin 336
marking 510
marking IN and OUT points 508
mixed rate 575
moving 330
playing in a loop 494
playing in Script view 326
playing using buttons 499
rearranging in bin Frame view 324
rearranging in bin Script view 326
relinking by key number 268
renaming in Interplay Window 1157
searching for 530
selecting 329
sifting 360
switching between 495
Timeline display colors 660
tracking duration 483
transferring 1178
Close Bin command (File menu) 69
Close Project command (File menu) 54, 66
Closed captioning and Vertical Blanking Interval 1022,
1064, 1379
Closing
bins 69
Project window 66
projects 54
the Script window 618
Codec
DV25 software 1298
Codecs
Avid for QuickTime 1004
Avid for use with other applications 1008
copying Avid 1006
DV 1326, 1328
DV25 229
Color
assigning local colors in the Timeline 664
assigning source color in bins 335
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1507
changing in interface 87
frame shifts 715
Color bars
adjusting video levels for tapes without 216
in Dupe Detection 711
recording bars and tone 1039
types of 209
Color column
adding to bins 335
Color correction
settings 1309
Color frame shifts 715
Color Framing options (Composer settings)
defined 1304, 1304
Color indicators (script integration)
adding to takes 634
described 614
Color Match control
3 x 3 averaging of pixels, setting 1309
Color Match eyedropper 1309
Color submenu (Script menu) 634
Colors
local and source, displaying in Timeline 660
Color-sync signal phase 1304, 1304
Column headings
for MultiRez 1218
setting audio format in 749, 764
Column Titles
in Avid log file 125
Columns
adding (Interplay Window) 1152
changing size in Research panel (Interplay Window)
1152
creating (Interplay Window) 1152
display options in Interplay Window 1151
enlarging and reducing in Research panel (Interplay
Window) 1152
hiding (Interplay Window) 1152
moving (Interplay Window) 1152
See Bins
Command Palette
Track buttons 696
Command palette
activating commands from 111
assigning functions to mouse buttons 38
described 107
mapping buttons 109
mapping buttons to fader controllers 840
mapping menu commands 110
Command Palette command (Tools menu) 38
Command|8 801
configuring 845
recording volume automation 842
using with Avid editing systems 844
Command|8 controller 114
Commands
See listings by menu command name
Comments
adding during capturing 220
adding to Research panel (Interplay Window) 1157
adding to sequence clips 593
displaying in Timeline 593
Committing multicamera edits 1243
Communication (Serial) Ports Tool settings
described 1303
Composer settings
16:9 Monitors 1304, 1304
Auto-create New Tracks 1304, 1304
Auto-enable Source Tracks 1304, 1304
Center Duration option 1304, 1304
Color Framing options defined 1304, 1304
Copy Source Locators option 1304
Copy Source Markers option 1304
described 1274
Digital Scrub Parameters option 1304, 1304
Edit tab 1304, 1304
Fast Forward options 1304, 1304
FF/REW tab 1304, 1304
First (lower) Row of Info 1304, 1304
First Row of Buttons 1304, 1304
Ignore Track Selectors 1304, 1304
MultiCam tab 1304, 1304
Phantom Marks 1304, 1304
Second Row of Buttons 1304, 1304
Second Row of Info 1304, 1304
setting Color Framing options 715
Single Mark Editing 1304, 1304
Single-Mark Editing option 575
Stop at Head Frames 1304, 1304
Stop at Locators 1304
Stop at Markers 1304
Stop at Tail Frames 1304, 1304
Sync Point Editing option 1304, 1304
Tick Marks in Position Bars 1304, 1304
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1508
Undo Only Record Events 571, 1304, 1304
Window tab 1304, 1304
Composer window
customizing 479
resizing 480
Compression
defined 1402
in relation to drive space 1402
in relation to image quality 1402
Compression ratios
See also Video resolutions
mixing 1417
Compression ratios (JFIF)
defined 1409
Configuring
Command|8 845
decks 174, 174
Digi 002 845
Conforming
workflow 1087
Connecting
DV devices 179
XDCAM device 372
Connection Manager 1128
Console command (Tools menu) 112
displaying drive space statistics using 81
Console window 112, 207
checking peak audio levels with 207
described 112
displaying bin information in 112
displaying system information 112
logging capturing errors to 251
network drives 112
printing marker information from 526
Consolidate/Transcode command (Clip menu) 447, 451
Consolidate/Transcode dialog box
options 451
Consolidating media files
described 445
master clips 445
options 451
options for 447
procedure 447
sequences 445
subclips 445
Consumer level audio
selecting an XLR adaptor 1038
Consumer-grade video deck
capturing from 209
limitations when capturing 213
Context menus 37
Control track
using for preroll 168
Control track breaks
capturing across 235
Controller settings 807
Avid Artist Series controller 872
described 1308
Controller Settings dialog box 807, 845
Controllers
Command|8 114
configuring 114
Digi 002 114
Converting
audio sample rates 813
Converting shot log files
using Avid Log Exchange (Macintosh) 119
using drag-and-drop conversion (Macintosh) 122
using drag-and-drop conversion (Windows) 118
Coordinates
displaying, in monitors 1349
Copy Source Locators options (Composer settings)
1304
Copy Source Markers options (Composer settings) 1304
Copy to Clipboard button 590
Copying
clips and sequences 330, 331
Ikegami GFCAM files 382, 384, 387
information between bin columns 344
markers from source clips 519
Panasonic P2 files 373, 378
RED files 390
remote assets 1147, 1157
segments in Timeline 692
text from the Info window 486
text in the Script window 621
to Clipboard 590
Copying XDCAM files 305
Core AudioSuite plug-ins 916
CoreAudio driver configuration 860
Correction Mode settings
Features tab 1309
Correction settings
AutoCorrect tab 1309
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1509
described 1309
Crash recording 1048
Create Subclip icon (Composer window) 511
Create Subsequence icon (Composer window) 512
Creating
a folder in a project 70
Avid log files 123
bins 68
folders in projects 70
group clips 1230
multigroup clips 1231
overlap edits 735
projects 50, 1454
rough cuts 570
subclips 511
subclips during capturing 252
subsequences 512
tone media 200
user profiles 85
Criterion menu (Custom Sift dialog box) 360
Crossconverted sequences
outputting 1029
Crossconverting HD
for output 1029
Crossfading audio 811, 1291
Custom colors
options for naming 1309
Custom preroll
selecting 192
Custom Profile Audio Settings 1335
Custom property
value for 1154
Custom Sift
command (Bin menu) 360
dialog box 360
Custom Titles
in Avid logs 125
Customizing
appearance of user interface 87
bin views 322
Composer window 479
timecode 565
Timeline 656
Trim mode 719
Cut lists
using FilmScribe to create 1063
Cutaways
marking with markers 514
Cutting
segments from Timeline 692
text in the Script window 621
Cycle Picture/Sound button 696
Cycle Trim Sides button 723
Cycling
tracks 696
D
D1 VTR
calibrating input from 207
recording to 1024
DAT
See Digital audiotape (DAT)
Data entries
in Avid log file 128
Data Track
adding 1071
ancillary data 1070
capturing 1078
Data track
Data mixdown 1078
exporting 1079
Databases
checking out Avid assets 1135
DC Offset Removal AudioSuite plug-in 953
Deck
pausing while logging 140
Deck Configuration settings
Add Channel options 174
adjusting 174
Deck settings 1311
deleting elements in 178
described 1311
Deck controller 105
in Digital Cut tool 1044
Deck Preferences dialog box
enabling assemble-edit recording 1040
Deck Preferences settings
described 1313
for assemble-edit recording 1040
Deck Selection menu (Capture tool) 182
Deck Selection menu (Digital Cut tool) 1044
Deck settings
described 1311
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1510
Fast Cue option 1311
options 1311
Preroll option 1311
Deck Settings options (Deck Configuration settings)
1311
Deck templates 1311
Decks
capturing from consumer-grade 209
capturing from non-Avid-controlled 227
configuring 174
for digital cut 1044
limitations on consumer-grade 213
logging with Avid-controlled 136
logging with non-Avid-controlled 141
selecting 182
templates for 174
using the keyboard to control decks 255
Decompose command (Clip menu) 242
Decomposing
described 240
Expert Decompose feature 240
including or excluding material 245
mixed-rate sequences 240
selecting target formats 245
sequences 240
DeEsser III (Dynamics III) AudioSuite plug-in 953
Default function buttons
Avid Artist Series controller 879
Default Pan options (Audio settings) 795
Default pulldown frame
changing the 1060
Default settings
restoring 1282
Default Setup command (Timeline Fast menu) 674
Defining
units of measurement 1369
Deinterlacing 1459
Delay AudioSuite plug-in 955
Delay, DV digital cut 1061
Delete command (Edit menu)
deleting columns 340
removing items from bins with 332
removing media files with 443
Delete Current Layout command (Interplay Window
Layout menu) 1159
Delete dialog box 332
Delete Take command (Script menu) 628
Deleting
add edits (match frames) 710
bin columns 340
bins 70
clips and sequences 332
columns 340
deck configurations 178
markers 520, 521, 524
media files in bins 332
media files with Media tool 443
MultiRez clips 1220
page and scene numbers in the Script window 623
projects 57
remote assets 1147
script marks 650
segments, in Segment mode 690
settings 1282
slates in the Script window 628
takes in the Script window 631
text in the Script window 621
tracks 703
unreferenced clips 456
user profiles 85
volume automation and pan keyframes 799
deleting clips 422
Deleting folders 1157
Desktop Play Delay dialog box 492
Destination bins
selecting 189
Destination drives
selecting 190
Destination timecode rate 1057
Details command (View menu in Windows Explorer) 61
Device Code option (Remote Play and Capture settings)
1365
Device commands (Special menu) 229, 505, 1018
Devices for transferring files 1096
Dialog
in the lined script 612
Dialog boxes
Add Scene/Page 623
Archive to Videotape 468
audio export settings 1339
Change Scene/Page 623
Controller Settings 845
Custom Sift 360
Delete (script integration) 623, 631
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1511
Export Settings 1320
Film and 24p Settings (transfer settings) 171
General settings (for capturing) 171
Group Clips 1230
Left Margin 618
Modify Pulldown Phase 151
Restore from Videotape 471
Script Settings 618
Select Tape 136
Send To 988, 993
Set Bin Display 359
Set Font 89, 621
Sync Selection 604
Tape Lengths 468
View Name (bin) 322
Digi 002 801
configuring 845
Digi 002 controller 114
DigiDelivery, exporting to 988
Digidesign
exporting to 988
Digidesign AudioSuite plug-ins
See AudioSuite plug-ins
Digidesign Pro Tools
transferring audio files to 1099
Digital audio
capturing in film projects 189
scrub, compared to smooth audio scrub 754
scrub, described 754
scrub, performing 756
Digital Audio Scrub options (Audio settings) 756
Digital audiotape (DAT)
capturing from 160, 187
Digital bars and tone
preparing 295
Digital Betacam VTR
calibrating input from 207
recording to 1024
Digital cut
HDV 1470
outputting transcoded HDV sequence 1472
Digital Cut command (Output menu) 1044, 1045, 1048
Digital cut delay, DV 1061
Digital Cut tool
24p and 25p output formats 1053, 1053, 1053
deck controller in 1044
selecting decks from 1044
using 1042
Digital cuts
audio-only 1059
custom preroll for 1045
previewing 1044
record options 1045
recording 1042
recording using Local mode 1048
recording using Remote mode 1045
rendering effects for 1041
Digital file names for film frames 357
Digital scale (Audio tool) 199
Digital Scrub Parameters option (Composer settings)
1304, 1304
Dipping
audio 811
Directory panel
changing fonts 1161
deleting folders in 1157
Directory panel (Interplay Window)
See Media Directory panel
Disabling available resolutions 165
Displaying
audio pan and gain automation 757
audio waveforms 758
bin column headings 346
changing fonts 1161
column headings (Interplay Window) 1152
marker comments 520
sync breaks 595
take numbers in slates 631
tracking information 481
Displaying 24p and 25p media
during a digital cut 1459
while editing 1459
Displaying film columns 147
Dissolve effects
audio 811
Skip Existing Transition Effects option 811
Dissolve Icons command (Timeline Fast menu) 658
DNA/1394 button
playback to DV device with 505
selecting DV device with 229
selecting output device with 1018
setting video quality with 508
DNxHD Native command (Video Quality menu) 506
DNxHD resolutions
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1512
described 1404
specifications 1404
storage requirements 1419
DNxHD-TR
rendering HDV media to 1470
Dock
Macintosh, using 37
Dolby E 256, 257, 258
Dominance
described 1401
Dominance, Import settings options 1351
Double-byte systems, ASCII characters in 1489
Downconverted sequences
outputting 1029
Downconverting HD
for output 1029
downloading plugins 1271
downloading stock footage 1266
Draft Quality command (Video Quality menu) 506
Drag-and-drop method
exporting files with 995
for converting files to ALE format (Macintosh) 122
for converting files to ALE format (Windows) 118
importing files 312
Dragging
IN and OUT points 508
marks 508
Drive filtering
in networked workflows 103
setting 167
Drive Filtering and Indexing tab 1361
Drive space
managing to improve playback performance 1430
maximizing use of 1430
planning 1418
statistics 81
Drive striping
in relation to resolutions 1404
Drives
See also Media drives
filtering 103, 167
saving work on 59
selecting 163
selecting for capturing 190
striped for capturing 160
striping 161
Drop-frame timecode
described 178
output 1056
simultaneous output with non-drop-frame 1057,
1057
Dropped frames
avoiding during output 1041
during digital cut 1045, 1048
Dual Link HD RGB
support for 1478
Dual-image play during trims 734
Dual-roller trim
playback 734
Dupe checking 1372
Dupe Detection 711
Dupe Detection Handles option (Timeline settings)
1372
Duplicate AudioSuite plug-in 956
Duplicate command (Edit menu)
creating new import settings with 277
duplicating clips and sequences with 330
duplicating settings 1280
Duplicating
assets when dragging from the Interplay Window
1134
clips and sequences 330
settings 1280
Duration tracking 483
DV
capturing 229
capturing, overview 229
devices, connecting 179
devices, selecting 229
devices, selecting for output 1018
DV 25 software codec 229
DV 25, capturing 229
playing back 505
DV audio pattern 1291
DV capture offset
described 230
DV Codec 1326, 1328
DV digital cut delay
described 1061
procedure for 1061
DV resolutions
Avid DV Codec for QuickTime 1004
described 1412
specifications 1412
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1513
storage requirements 1429
DV Scene Extraction
described 273
setting up 273
DV Stream files
exporting 1320
options 1320
DVCPro HD resolution
raster type 1475
DVD
exporting to 988, 988
DVD authoring, exporting to 988
DVD One Step
exporting to 988
D-Verb AudioSuite plug-in 952
Dynamic relink
applying target settings 1204
applying working settings 1204
described 1194
displaying available media 1211
limitations 1203
quality matching 1224
to target settings 1208
Dynamic Relink Settings command (MultiRez menu in
Timeline) 1203
Dynamic Relink Settings dialog box
opening 1203
options 1314
settings for quality matching 1224
E
Edit controller
with Remote Play, Capture, and Punch-In 263
Edit decision list
See EDL
Edit Review button 732
Editcam files
importing 297
Editing
adding new tracks during 703
deleting tracks during 703
directly from a bin 693
in Heads and Heads Tails views 708
multicamera material 1229
proxy media (XDCAM) 307
Segment Mode, guidelines 682
sync breaks, avoiding 595
Sync Point 602
types of selective camera cutting (MultiCamera)
1243
with film track 714
with the Script window 652
Editor Database Settings 1139
Edits
adding (match-framing) 710
backtiming 707
copying to Clipboard 590
extending 736
Extract 590
Insert 572
Lift 590
Overwrite 573
Replace 574
reviewing 732
rough cut 570
single-mark 575
Splice-in 572
undoing or redoing 571
EDL (edit decision list)
creating 1062
described 1062
Effect Editor Settings
described 1317
Effect templates
using with mixed rate clips 582
Effects
Audio EQ 818
finding information about 472, 538
location 472, 538
nesting described 694
rendering AudioSuite plug-in 908
rendering, for digital cut 1041
Ejecting drives
See Unmounting drives
Ejecting tapes with a button or key 256
Embedded audio and sample rate conversion 1037
Empty Trash command (Bin display Fast menu) 71
Enable Clip Coloring command (MultiRez menu in
Timeline) 1212
Enable Confidence View
video display setting 1377
Enable Track buttons (Digital Cut tool) 1042
End key 502
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1514
Enlarge Frame command (Edit menu) 324, 628
Enlarge Track command (Edit menu) 660
Enlarging
frames in the bin 324
tracks in the Timeline 660
Entering
additional film data 146
frames-per-second rates for PAL transfers 152
ink numbers 154
key numbers 152
optional timecodes 153
pulldown of the sync point 148
Segment mode 683
Source/Record mode 564
Trim mode 730
EQ AudioSuite plug-ins 957
EQ effects
adjusting while playing 830
applying 819
removing 825
templates for 827
ERIMovie file format
additional export options 1340
brief description 1391
Errors
logged during capturing 251
viewing capturing errors in the Console window 251
viewing log of, in the Console window 112
Essence Marks 306
Estimating drive space requirements 1417
EuControl
configuration 876
installation 869
Events in an EDL
defined 1062
Existing Windows Media Custom Profile 1335
Exit command (File menu) 57
Exiting
Trim mode 730
Expander/Gate III (Dynamics III) AudioSuite plug-in
962
Expert Decompose
activating 242
described 240
target format reference 240
using 245
ExpertRender
using, for digital cut 1041
ExpertRender In/Out command (Clip menu) 1041
Export as dialog box 995
Export command (File menu) 995, 1003
Export Settings
described 1320
Export settings
Audio 1339
AVI 1334
AVI Video Compression 1334
DV Stream 1333
Graphic 1339, 1343
Graphic Format 1340
OMFI, AAF, and AFE 1323
QuickTime Compression settings 1331
QuickTime Movie Export options 1328
QuickTime Movie settings 1330
QuickTime Reference options 1326
Video Compression options 1095
video compression options 1334
Windows Media Export options 1335
XDCAM 1343
Export Settings dialog box 999
Export Settings dialog box options 1320
Export settings, video compression options 1334
Exporting
AAF files 1000
audio tracks 1339
AVI files 1334
bins as AFE files 1003
clips 995
data track 1079
DV Stream files 1320
frames 995
from a third-party QuickTime or AVI application
1008
graphic files 1339
OMFI files 1000
preparing sequences for 987
procedure for 995
projects as AFE files 1003
QuickTime movies 1004
QuickTime movies procedure 1004
QuickTime reference movie 1004
reasons for 986
sequences 995
settings for, creating 999
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1515
shot log files 154
TARGA files 1340
to Avid DS 988
to Avid DVD by Sonic 988, 988
to DigiDelivery 988
to Digidesign Pro Tools 988
to DVD 988, 988
to HDV device 1471
to HDV settings 1332
to Sorenson Squeeze 988
to third-party applications 993
user profiles 85
using drag-and-drop method 995
VC1 media 1015
Wavefront files 1340
Windows Media 1008
with Avid Codecs for QuickTime, described 1004
with Avid Codecs for QuickTime, procedure for
1004
XDCAM 1010, 1011
YUV files 1340
Exporting files
with Avid DV Codec 1326, 1328
Exporting sequences to P2 card 1014
Extend button 736
Extending
edits 736
External devices
turning off 57
turning on 35
External display monitor
connecting 488
selecting setting 490
viewing with 488
External drive
See Media drive
External fader controller
adjusting pan with 843
adjusting volume with 843
connecting to a system 839
troubleshooting connections 856
using 842, 849
External timecode 260
capturing with 260
Extract button 590
Extracting material 590
Eyedropper
3 x 3 averaging of pixels, setting 1309
Color Match 1309
F
F5 button, refreshing with 1157
Factory preset buttons
in Video Input tool 209
in Video Output tool 1023
Fader controller
external, adjusting pan with 843
external, adjusting volume with 843
external, using 842, 849
recording audio volume 842
Fader controllers
described 837
external, adjusting pan with 801
external, adjusting volume with 801
Live Mix mode 807
Fading
audio 811
Fading audio 1291
Fast command (Vertical Scroll Speed menu in Mouse
Settings dialog box) 38
Fast Cue option (Deck settings) 1311
Fast Forward button
described 499
moving between audio keyframes with 804
Fast Forward options (Composer settings) 1304, 1304
Fast menus
Settings display in the Project window 1277
Field dominance
described 1401
Field dominance, Import Settings options 1351
Field Motion bin column 580
Field Motion clip attribute
overriding 580
Field motion types
mixing and matching 575
Field ordering
described 1399
FieldPak
importing files from 297
Field-stepping
mixed rate clips in draft qualities 582
File formats
animation 1391
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1516
File management 435
File names
for Avid Projects folder 46
for Avid Users folder 46
Files
batch import 315
exporting using drag-and-drop method 995
exporting, procedure for 995
exporting, reasons for 986
guidelines for moving 1084
importing 279
importing, guidelines 277
importing, using drag-and-drop method 312
reimporting 313
specifications for importing graphics 1386, 1386
specifications for importing OMFI 1393
transferring, reference of devices and methods 1096
Fill Sorted command (Bin menu) 324
Fill Window command (Bin menu) 324
Filler
adding during trimming 737
adding to a sequence 568
setting duration of 568
Film
columns, displaying 147
data, entering 146
information, logging 146
matchback options 50
minimum information for capturing 146
project workflow 1432, 1432
projects, capturing digital audio for 189
scene workflow 356
selecting options 50, 1454
shoot specifications 1436
timecodes, entering 153
transferring to NTSC 1440
transferring to PAL 1442
Film and 24P settings
described 1344
Film and 24p settings
for transfer 171
pulldown phase 143, 143
Film cut lists
generating 1063
Film speed
slowing to 23.976 fps 1441
Film timecode
logging additional 153
Film track, editing with 714
Film Type for shoots 1436
Film Wind for shoots 1436
FilmScribe
frame numbers in cut lists 357
FilmScribe application
accessing 1063
Film-to-tape transfer
audio requirements for NTSC 187
guidelines for 1436
options for 1436
Filter Automation Pan command (Audio Mixer Tool
Fast menu) 803
Filter Volume Automation command (Audio Mixer
Tool Fast menu) 803
Filtering
drives 167
search results 559
Filtering drives 103
Filtering results 557
Final Cut Pro
importing shot logs from 116
Find 555
Find Bin button 536, 537
in the Script window 651
Find Black Holes command (Clip menu) 716
Find command (Edit menu) 530, 623
Find Flash Frames command (Clip menu) 716
Find Frame button 537
Find Next Mismatched or Unavailable Clip command
(MultiRez menu in Timeline) 1216
Find Script button 651
Find window 530, 560
Finding
bins from a monitor 536
black holes 716
clip names 530
clips 530
flash frames 716
frames, with the Find command 530
frames, with timecode offset 528
marker text 530
related media files 457
script from marked takes 651
text in the Script window 623
Finding bins
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1517
from the Script window 651
Finding markers 518
FireWire
capturing through 229, 229
connecting devices 179
drives, for transfer between systems 1096
selecting channel type 174
First (lower) Row of Info option (Composer settings)
1304, 1304
First Row of Buttons option (Composer settings) 1304,
1304
Flanger AudioSuite plug-in 964
Flash frames 716
Flat View command (Bin display Fast menu) 70
Focus button (Timeline) 679, 732
Focusing
Timeline 679
Folders
Avid Projects 46
Avid Users 46
creating in projects 70
deleting 1157
navigating to from a selected asset 1158
Font Replacement command (Object menu) 1093
Fonts
changing in the Script window 621
changing in user interface 89
replacing title fonts 1093
Fonts, changing 1161
Footage
finding 527
loading into monitors 494
marking 508
marking IN and OUT 508
subcataloging 508
viewing in monitors 478
viewing in Timeline 478
viewing, overview 478
Foreign keyboard mapping 1488
Format display in the Project window
described 1460
Format elements
preparing leader for tracks 610
Format tab (Project window) 74
Four-frame display
described 686
suppressing 687
Frame Chase
capture settings 233
capture, aborting 234
capture, overview 232
capture, requirements and guidelines 234
capture, update interval 233
clip duration 232
editing workflow 1142
editing, limitations 1143
editing, overview 1141
sending sequences to playback 1141
unavailable resolutions 234
Frame Chase editing 1210
limitations 1143
Frame count numbers 357
tracking with ink numbers and file names 342, 342
Frame offset 528
Frame rates
mixing and matching 575
Frame view (bin display)
arranging 324
described 324
in the Media tool 440
Frame-accurate recording 1038
Frame-based counting 357
Frame-by-frame movement in Timeline 680
Frames
aligning in bins 324
changing frame identifying a clip 324
changing size in bins 324
changing size in Research panel (Interplay Window)
1152
enlarging or reducing in Research panel (Interplay
Window) 1152
exporting 995
finding on source tape 537
finding with Match Frame 534
finding with timecode offset 528
rearranging in bin Frame view 324
rearranging in bin Script view 326
Frames-per-second rates for PAL transfers 152
Framestore file format
import specifications for 1387
Frequencies (audio), adjusting 818
FTFT (film-tape-film-tape) feature
described 268
Full Quality 10-bit command (Video Quality menu) 506
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1518
Full Quality command (Video Quality menu) 506
Full Screen Playback
enabling 492
settings 1345
Full Screen Playback command (Special menu) 492
Full Size Video command (Composer window context
menu) 480
Full-Monitor Display 1232, 1232
Full-screen image size
defined 1386
Full-screen Timeline 667
Function key commands (Capture Settings) 250
Funk Logic Mastererizer AudioSuite plug-in 948, 965
G
Gain
viewing gain values 760
Gain AudioSuite plug-in 965
Gang button 601
Ganging
footage in monitors 601
General settings
described 1348
General Settings dialog box 171
General-purpose interface (GPI) device
configuring with VLAN-VLXi controller 865
trigger signals 863, 864
using 862
using with V-LAN VLXi controller 864
Get Bin Info command (File menu) 112
Get Clip Info command (File menu) 565
Get Info command (Macintosh Finder File menu) 1104
Get Position Info command (File menu) 112
GFCAM
AMA plug-in 385
files and folders 382, 384, 386
formats 381, 383, 385
Shot marks 388
transferring files 382, 384, 387
workflow 428, 429
GFCAM media 385
Global settings
Import 277
Global Titles
in Avid log file 124
Go To Capture Mode command (Bin menu) 180, 226,
247
Go To Page command (Script menu) 623
Go To Scene command (Script menu) 623
GOP (Group of Pictures)
described 1467
GPI settings
creating 866
deleting 866
editing 866
Graphics (image) files
exporting 1339
field ordering in 1399
import specifications 1386, 1386
preparing for import of 1386
recommended field settings 1400
Grid
Safe Action setting 1349
Safe Title setting 1349
Grid settings
Coordinates tab 1349
described 1349
Display tab 1349
Group clips
command (Bin menu) 1230
creating 1230
dialog box options 1230
Video Quality settings 1237
Group menu 1241
Grouped clips
frame rate limitations 582
Grouping
multiple tracks on an Avid Artist Series controller
886
Grouping procedures 1230
Guidelines
for film-to-tape transfers 1436
for logging 135
for moving files 1084
for naming tapes 135
H
Halt Digital Cut button (Digital Cut tool)
stopping Digital Cut preview with 1044
stopping Digital Cut with 1045, 1048
Hard subclips 252
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1519
Hardware
check list for capturing 160
turning off 57
turning on 35
Hardware command (Tools menu) 113
Hardware tool
displaying information 82
using 113
HD
Component signal, adjusting output 1029
crossconverting and downconverting 1029
offline SD project formats for 1083
Raster Type selection for projects 49
sync options 1019
HD media
offline formats for 1460
HD SDI embedded audio
and sample rate conversion 1037
HDCAM SR Lite
formats 371
HDCAM SR Lite media 369
HDCAM SR Lite plug-in 369
HDMI 765, 771
HDTV
aspect ratio 1431
broadcast graphics workflow 1454
supported formats
using 16:9 format for 160
video-based workflow 1452
HDV
capturing 1468
capturing through IEEE port 1468
described 1467
exporting to HDV device 1471
exporting to HDV settings 1332
exporting transport stream 1472, 1472
finishing on Avid DS Nitris 1475
importing 1468
Long GOP splicing 1471
outputting digital cut by transcoding 1472
raster type 1475
rendering 1470
transcoding 1470
Headings (Interplay Window)
adding 1152
creating 1152
Headings command (Bin menu) 320, 335
Heads and Heads Tails views
in the Timeline 708
Hide Video command (Composer window context
menu) 480
Hiding
bin column headings 346
bin columns 320
column headings (Interplay Window) 1152
slate frames 628
Timeline top toolbar 673
High shelf in Audio EQ tool 819
High-definition television
See HDTV
Hinted streaming, exporting as 1330
Histogram
QuickTime 404, 404
RED 397, 397
Holding slates on screen 628
Home command (Windows menu) 667
Home key 502
House sync
for output 1018
Hue slider
adjusting for video input 209
adjusting for video output 1024
I
ICS
choosing a locale for (Macintosh) 1481
choosing a locale for (Windows) 1480, 1480
recommendations and restrictions 1489
using to display and input characters 1480
IEEE 1394 command (Device submenu of Special
menu) 505, 508, 1018
IEEE-1394
capturing through 229, 229
connecting devices 179
IFF file format
import specifications for 1387
Ignore Track Selectors options (Composer settings)
1304, 1304
Image files
sequenced, naming for import 1391
Image quality
for interlaced resolutions 1410
Import command (File menu) 156, 279
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1520
Import Options section (Batch Import dialog box) 315
Import Settings
XDCAM tab 1356
Import settings
alpha channel options 1351
aspect ratio options 1351
Audio tab 1355
CCIR video levels 1351
described 1351
dominance options 1351
Image tab 1351
modifying 277
OMFI tab 1354
overview 277
RGB graphics levels 1351
Shot Log tab 1354
XDCAM tab 298
Import Settings dialog box 277
Import Target section (Batch Import dialog box) 315
Importing
a script 618
animation files 1391
converting sample rates 288
files, basic procedure 279
files, batch import 315
files, batch importing multiple resolutions 1187
files, drag-and-drop method 312
files, guidelines 277
files, preparing for 277
files, settings for 277
HDV transport stream file 1468
sample rate conversion options 289
shot log files 156
statistics files 80
test patterns 295
XDCAM media 298, 299, 304, 305
Importing clips and media from P2 card 311, 311
Importing files
EditCam 297
Photoshop files 290
preparing for 1386
specifications for graphics files 1386, 1386
specifications for OMFI files 1393
XDCAM 299, 305
IMX resolutions
See MPEG resolutions
IN and OUT points
dragging 508
marking 508
moving 508
using to define segment relationships 1309
In/Out buttons (Audio tool) 199
Indent Rows command 1317
Indicating off-screen dialog 633
Info display (Project window)
described 82
displaying Hardware 82
displaying Memory 82
Info window
opening from a monitor 486
opening from a Script window 618
Inhibit Preloading option (Remote Play and Capture
settings) 1365
Ink numbers
displaying frame count numbers 342, 342
entering 154
In-progress clips
capturing, overview 232
duration 232
editing overview 1141
editing workflow 1142
limitations 1143, 1143
sending sequences to playback 1141
Input
audio 196
Input Gain 1291, 1291
Input Level slider 1291, 1291
Insert edits 572
Insert-edit recording 1039
with pulldown 1058
Installing
Avid Codecs for QuickTime 1006
Installing AudioSuite plug-ins 904
Interactive screenings in Script window 652
Interface settings
described 1357
General tab 1357
Interface settings (Appearance tab)
changing color of 87
changing text font and size 89
described 87
Interlaced clips
mixing with progressive 575
Interlaced resolutions
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1521
specifications for 1410
storage requirements for 1423
Internal command (Sync Lock menu in Video Output
tool) 1018
International character support (ICS)
taking advantage of 1480
International operating system 1481
Interplay
Media tool with 441
Interplay Asset Manager 1095
Interplay Assist
restrictions through 1146
Interplay environment
relinking in 1211
Interplay Folder Settings 1358
Interplay Folder settings
described 1358
Interplay Folder Settings dialog box 1115
Interplay Folders option (Capture tool) 1166
Interplay Host, specifying settings 436
Interplay Login dialog box 1118
Interplay Media Indexer
managing Media tool display 441
Interplay Media Services 1016
Interplay Root Folder
checking in assets 1135
specifying settings 1115
Interplay Server
specifying settings 1115
Interplay Server settings
described 1358
Interplay Server Settings dialog box 1115
Interplay settings 1115
Interplay Transfer 1095
Interplay User
specifying settings 1115
Interplay User settings
described 1358
Interplay User Settings dialog box 1115, 1118
Interplay User, specifying settings 436
Interplay Window
checking in assets to the Interplay Root Folder 1135
column display options 1151
connecting to database 1115
creating new columns 1152
defined 1106
described 1144
Interplay folders 1106
local bins 1106
Media Directory panel 1144
Media Search tab 1144
modifying the display 1150
opening 1118
permissions 1147
Research panel 1144
searching 1163
sorting columns 1152
workgroup projects 1111
Interplay window
Property Merge dialog box 1158
Interplay Window command (Tools menu) 1118, 1132,
1135, 1140, 1166
Interpolating position
for script integration 627
Invert AudioSuite plug-in 966
ITU-R 292M
video standards 1402
ITU-R 601
video standards 1402
J
JFIF interlaced media
specifications 1409
storage requirements 1423
JFIF progressive media
specifications 1410
storage requirements 1426
J-K-L keys
audio scrub with 755
changing representative frame in bin 324
playing and shuttling footage with 503
trimming on-the-fly with 733
Jog mode
Avid Artist Series controller 884
JPEG file format
additional Export options for 1340
import specifications for 1387
K
Key numbers
entering 152
formats for 152
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1522
relinking clips by 268
Keyboard
controlling decks from 255
mapping buttons to 109
mapping foreign 1488
mappings for playback control 502
Keyboard shortcuts
audio keyframing 804
Volume Automation and Pan 804
Keyframes
adjusting pan for individual 843
adjusting volume for individual 843
audio, keyboard shortcuts 804
Keykode format 152
Keypunch
camera roll 1436
L
Labroll data 146
Language
non-English keyboard mapping 1488
non-English, typing in 1484
specifying in Get Info dialog box (Macintosh) 1481
Language, setting (Macintosh) 1481
Languages
selecting for PhraseFind 555
LANshare 437
Large Text command 1317
Lassoing
objects 329
segments 683
latch mode (Avid Artist Series controllers) 888
Launch 42
Launching
Avid editing application (Macintosh) 43
Layer effects, preserving 294
Layout (Interplay Window)
changing 1159
custom 1159
deleting 1159
saving 1159
Layout button (Interplay Window) 1150
L-cut edit (Overlap edit)
described 735
for audio clips 513
Leader
creating 610
for managing sync breaks 599
Left Arrow key
moving through footage with 502
Left Margin command (Script menu) 618
Left Margin dialog box 618
Less Detail command (Timeline Fast menu) 658
Lift button 590
Lifting material 590
Limitations
for adjusting volume 795
Line slider (Waveform monitor) 209
Linear timecode
See LTC (longitudinal timecode)
Linecut option (MultiCamera) 1239
Lined script 612
Linking clips to script 625
Linking clips to script with ScriptSync 638
Live Mix mode 805
Audio Mixer Tool controls 808
Audio Mixer tool Fast menu commands 808
entering 806
example 809
external controllers 807
switching to other Audio Mixer modes 808
Load Filler command (Clip Name menu) 568
Load Media Database command (File menu) 455
Loading
filler 568
footage 494
media databases 455
takes from the Script window 631, 650
Loading clips 1157
Local colors
assigning in the Timeline 664
displaying in Timeline 660
Local language operating system, using 1481
Locales, using characters from only one 1489
Lock Bin Selection command (Clip menu) 336
Lock icon (Track Selector panel) 701
Lock Tracks command (Clip menu) 702
Locking and unlocking
bin items 336
shared bins 99
tracks 701, 702
Lo-Fi AudioSuite plug-in 966
Log files
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1523
importing from film-to-tape transfer systems 322
See Shot log files
Logging 115, 156
additional timecodes 153
automatic, during film transfer 1436
automatically with DV 273
bypassing by autocapturing 226
directly into a bin, with a non-Avid-controlled deck
141
directly into a bin, with an Avid-controlled deck 136
errors during capturing 251
errors to the Console window 112
film information 146
guidelines for 135
pausing deck while 140
preroll 135
timecode 135
while capturing 219
logging in to the Avid Media Store 1248
Logs
See Shot log files
Long GOP splicing 1471
Loop Selected Clips command (Bin Fast menu) 494
Low shelf in Audio EQ Tool 819
LTC (longitudinal timecode)
capturing with 260
establishing sync for output 1020
output for 24p and 25p projects 1056
output for downstream encoding 1057, 1057
reading user bits in 747
Luminance settings
adjusting for video input 209
adjusting for video output 1028
table of 1028
video input 209
M
Macintosh Dock, using 37
Macintosh systems
limitations with NTFS drives 1104
Maintaining synchronized sound 1442
Make New
using template 993
Make Subclip button 511
Managing
media files 435
Mapping
buttons 109
buttons to Timeline top toolbar 673
menu commands 110
Margins
script, adjusting in Script window 618
Mark Clip button 510
marking clips in Segment Mode 691, 692, 693
Mark IN button 508
Mark In Time option (Digital Cut tool) 1045
Mark Markers button 519
Mark OUT button 508
Mark-and-park editing
See Single-mark editing
Marker edit entry window 519
Marker icon
changing color of 519, 521
Marker window
selecting marker items 521
Markers
adding while capturing 254
adding while editing 516, 517
copying from source clips 519
creating automatically with DV 273
deleting 520, 521, 524
displaying comments 520
displaying in the Timeline 666
editing 519
Essence Marks (XDCAM) 306
finding 518
finding text of 530
for managing sync breaks 600
limitations with mixed-rate clips 582
marking an area with 519
moving to next or previous 520
printing 526
selecting in Markers window 521
using 513
Markers window
deleting markers from 521
displaying frames in 521
displaying MetaSync information 521
displaying timecode or footage column in 521
exporting 523
importing 523
printing 526
sorting markers in 521, 521
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1524
Marking
audio clips 513
clips 510
footage 508
IN and OUT points 508
segments 510
segments in Segment mode 691, 692, 693
with markers 513, 519
Marking tape location
using Mark Memory button 141
Marks
clearing 508
IN and OUT points 508
phantom 608
Marquee Title Settings
described 1360
Master clips
See also Clips
See also Subclips
consolidating 445
copying 330, 331
creating new, with AudioSuite 908
deleting 332
duplicating 330
importing from P2 card 311, 311
locating from subclips 537
locking 336
moving 330
recapturing 238
searching remote assets 1165
selecting 329
sifting 360
Master shot, in the lined script 612
Master Volume button 762
Masters
delivery requirements 1083
Match Frame
described 534
reverse 535
tracks 536
Match Frame button 534, 537
Match Frame feature
for MultiCamera editing 1243
Match Frame Track command (Timeline context menu)
536
Match framing (adding edits) 710
Matchback
options for 50
Matchback option
described 1063
limitations 1063
Matching
frames 534
Maximizing drive space 1430
Mbox
audio devices compared 851
configuring 852
passthrough monitoring 853
Media
importing from P2 card 311, 311
Media creation
restricting resolutions for 165
Media Creation command (Tools menu) 163, 167, 279,
313
Media Creation dialog box
setting file format for import 279
Media Creation settings
Capture tab 1362, 1362
described 1361
Drive Filtering and Indexing tab 1361
Import tab 1362, 1362
Media Type tab 1363
Mixdown & Transcode tab 1362, 1362
Render tab 1363
Titles tab 1362, 1362
Media databases
loading 455
refreshing directories 456
Media Directory panel
creating shortcuts 1149
described 1144
removing shortcuts 1149
Media drives
See also Drives
selecting 163
targeting 190
Media drives, unmounting 439
Media files
archiving 467
backing up 457
capturing to multiple 170
consolidating, described 445
consolidating, options for 447
consolidating, procedure 447
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1525
deleting in bins 332
deleting unreferenced clips 456
deleting using Media tool 443
finding related 457
managing in a workgroup environment 436
managing, overview 435
manipulating with the Media tool 440
restoring from videotape 471
unlinking 466
Media Files Capture settings 170
Media Indexer
auto-indexing local drives 1361
described 1183
Media Search tab
Interplay Window 1144
searching in Interplay Window 1163
Media Services Broker 1364
Media Services Settings 1016
Media Services settings
described 1364
Media Store 1245
Media tool
deleting files 443
in an Interplay environment 441
opening 442
summary of features 440
Media Tool command (Tools menu) 442
MediaLog
transferring bins with 133
Memory information 82
Memory marks
adding 141
Memory usage
system 83
Memory window
for checking system performance 594
for viewing memory 82
Menu commands
Add Comments (Clip Name menu) 593
Align to Grid (Bin menu) 340
Audio EQ (Tools menu) 818
AutoSync (Bin menu) 604
Calculator (Tools menu) 111
Calibrate (Peak Hold Menu button) 203, 203, 203
Capture Tools (Tools menu) 136
Color (Script menu) 634
Console (Tools menu) 112, 112, 207
Custom Sift (Bin menu) 360
Delete (Edit menu) columns 340
Delete Take (Script menu) 628
Duplicate (Edit menu) 1280
Enlarge Frame (Edit menu) 628
Export (File menu) 1003
Find (Edit menu) 623
Find Black Holes (Clip menu) 716
Find Flash Frames (Clip menu) 716
Get Bin Info (File menu) 112
Get Position Info (File menu) 112
Go To Page (Script menu) 623
Go To Scene (Script menu) 623
Group Clips (Bin menu) 1230
Hardware (Tools menu) 113
Home (Windows menu) 667
Left Margin (Script menu) 618
Lock Bin Selection (Clip menu) 336
mapping 110
Mount All (File menu) 439
New Deck Controller (Tools menu) 105
New Script (File menu) 618
Page Setup (File menu) 367
Print Bin (File menu) 367
Print Frame (File menu) 367
Print Timeline (File menu) 717
Reduce Frame (Edit menu) 628
Remote Play and Capture (Clip menu) 267
Remote Play and Capture (Special menu) 265, 266
Reveal File (File menu) 457
Select All (Edit menu) 236
Select Media Relatives (Bin menu) 338
Select Offline Items (Bin menu) 337
Select Sources (Bin menu) 339
Select Unreferenced Clips (Bin menu) 339
Set Bin Display (Bin menu) 359
Set Font (Edit menu) 621
Show All Takes (Script menu) 628
Show Every Frame (Timeline Fast menu) 714
Show Frames (Script menu) 628
Show Track (Timeline Fast menu) 714
Unlock Bin Selection (Clip menu) 336
Unmount (File menu) 439
Video Input Tool (Tools menu) 207, 209
View Type (Timeline Fast menu) 708
MetaSync
described 611
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1526
MetaSync information
in Markers window 521
MII component video standard
unsupported 1378, 1378
Millivolts (mVolts) 1369
Mix Mode Selection 1291
Mixed rate clips
defined 575
field-stepping in draft qualities 582
identifying in Timeline 578
limitations with XDCAM AMA media 582
summary of user interface 576
transcoding 582
using dynamic relink with 1209
using effect templates with 582
Mixed resolutions
highlighting in bins 359
Mixed-rate clips
limitations with markers 582
Mixed-rate sequences
decomposing 240
Mixer
adjusting pan with 843
adjusting volume with 843
using 842, 849
Mixing
video resolutions 1417
Mixing and matching
field motion types 575
frame rates 575
Mixing and monitoring audio 198
Mixing down audio 815
Mode option (Remote Play and Capture settings) 1365
Moderate command (Vertical Scroll Speed menu in
Mouse Settings dialog box) 38
Modify command
changing sequence format 1461
Modify Pulldown Phase dialog box 151
Modifying
data in bin headings 346
Import settings 277
pan values 782
settings 1277
the pulldown phase after capturing 271
Monitor resolutions
NTSC, PAL, HD 1403
Monitoring
audio output global levels 1032
icons (Track Selector panel) 699
tracks 699
Monitors
Capture in Progress slide 232
clearing clips from 496
displaying sequence information using 486
ganging footage in 601
hiding video in 480
loading footage 494
resizing 480
resizing Record 480
Mono option (audio) 815
More Detail command (Timeline Fast menu) 658
Motion Adapter effect
adjusting 578
field-stepping in draft qualities 582
promoting to Timewarp 578
Motion Adapter effects
defined 576
refreshing in sequences 589
Motion effects
rendering options 1366
Motion mode indicator (Timeline) 680
Mount All command (File menu) 439
Mounting workspaces
ISIS v2.0 and later 1129
MediaNetwork 1128
Mouse
assigning functions to buttons 38
setting up the scroll wheel 38
settings 38
using scroll wheel 38
Mouse Settings
described 1364
Mouse Settings dialog box 38
Mouse support for multicamera editing 1239
Movement in Timeline, controlling 680
Moving
bin columns 340
clips and sequences 330
files, guidelines for 1084
frames in the bin 324
IN and OUT points 508
remote assets 1147, 1157
script marks 650
settings between systems 1101
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1527
slates in the Script window 628
through clips 499
tracks in the Timeline 660
Moving settings
between settings files 1283
MPEG resolutions
described 1413
specifications
storage requirements for 1429
Multi-angle View menus 1242
MultiCamera
editing 1229
Full-Monitor Display 1232
Nine Split Source view 1232
Quad Split Source view 1232
MultiCamera mode
committing edits 1243
described 1232
Group menu 1241
grouping 1230
linecut option 1239
Multi-angle menus 1242
MultiCamera Nine Split Edit 1232
MultiCamera Quad Split Edit 1232
Nine Split Source view 1232
Quad Split Source view 1232
selective cutting in 1243
switching camera angles in 1238, 1239
techniques 1238
video quality 1237
Multicamera resolutions
specifications 1411
Multi-channel audio
and Direct Out mode 1174
Multichannel audio 748
Multigroup clips
creating 1231
Multilayered files, importing 294
Multilevel sorting of columns 321
Multiple tracks 694
MultiRez
bin and column headings for 1218
clip coloring for 1212
deleting clips 1220
described 1183
examples 1212
partially online clips, consolidating and deleting
original media 1223
partially online clips, restoring from an archive
1197, 1223
partially online clips, viewing source in Timeline
1222
quality matching 1224
Send to Playback command with 1211
Multirez
clip coloring examples 1214
MultiRez button (Timeline)
enabling dynamic relink 1203
showing available media 1211
summary of right-click menu commands from 1216
Multi-Tap Delay AudioSuite plug-in 968
Mute button 762
Muting audio 762
mVolt (millivolt) units 1369
MXF
AMA plug-in 405
formats 405
Media Files tab 170
Media Files Tab (Capture Settings dialog box) 1298
Panasonic P2 files 375
workflow 431
MXF file format 163
choosing at target audio format for transcode 447
choosing target audio format for transcoding 451
transcoding to OMF 451
MXF media 405
N
Nagra
capturing from 187
Naming tapes 135
Narration, recording voice-over 830, 830
Navigating
to a folder from a selected asset 1158
Navigation buttons
Avid Artist Series controller 879
Nested effects 694
Nesting
tracks 694
Network drives
accessing from Console window 112
Network drives command 112
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1528
New Audio Track command (Clip menu) 567, 703
New Bin button (Project window) 68
New Bin command (File menu) 68
New Deck Controller command (Tools menu) 105
New Folder command (Bin display Fast menu) 70
New Meta Track command (Clip menu) 703
New Project button (Select Project dialog box) 50, 1454
New Script command (File menu) 618
New sequence
setting up 564
New Sequence command (Clip menu) 564
New Video Track command (Clip menu) 567, 703
Next In Group button 1238
Nine Split button 1232, 1232
Nine Split Source view 1232, 1232
Non-Avid-controlled deck
capturing from 227
logging with a 141
Non-drop-frame timecode
described 178
output 1056
simultaneous output with drop-frame 1057, 1057
Non-English character support (Macintosh) 1481
Non-English characters
recommendations and restrictions 1489
using only one locale 1489
Non-English keyboard layout 1484
Non-square pixels 1386
Normal command (Vertical Scroll Speed menu in
Mouse Settings dialog box) 38
Normalize AudioSuite plug-in 969
NTFS drives
limitations on Macintosh systems 1104
NTSC (National Television System Committee) video
capturing audio from 187
creating Avid log files for 132
logging and capturing 219
luminance values 1028
transferring 24-fps film to 1440
waveform values 209
NTSC Has Setup option 171
NTSC Has Setup option (General Settings dialog box)
1022
NTSC-EIAJ format
setting 171
video output calibration 1022
waveform values 209
Numeric keypad support for multicamera editing 1239
O
Offline editing
detecting color-frame shifts during 715
detecting duplicate frames during 711
SD formats for HD masters 1083
Offline items
selecting in bins 337
Off-screen dialog
in the lined script 612
indicating in the Script window 633
Off-screen indicators (script integration)
adding to takes 633
described 614
Offset between audio and video playback, adjusting 492
Offset, DV Capture 230
OMF
capturing media files 170
Media Files tab 170
Media Files tab (Capture Settings dialog box) 1298
OMF file format 163
preparing to export a sequence as 987
transcoding to MXF 451
OMF Interchange files
additional export options for 1340
described 1000
exporting 1000
import specifications 1387, 1393
methods for exporting 1000
OMFI MediaFiles folder
backing up 457
transferring media 1101
One-light transfers 1436
Online support 25
Open Bin command (File menu) 61, 63, 69
Open Selected Bins command (File menu) 69
Opening
Audio Mixer tool 774
Audio tool 198
Bin Fast menu 329
bins 69
Media tool 442
Project window 66
projects 54
projects automatically 54
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1529
settings 73
shared projects 98
startup project 54
the Script window 618
Optical connection
project settings 1291
Optimizing
playback 506
Orphans
See Offline items
Other Bins folder (Project window) 69
OUT points
See IN and OUT points
Output
assemble-edit recording 1040
audio 771, 1059, 1291
audio settings options 1035
audio, preparing for 1032
change list 1063
crash recording 1048
crossconverted sequences 1029
crossconverting and downconverting HD 1029
cut list 1063
Digital Cut, overview 1042
downconverted sequences 1029
establishing sync for 1018
factory preset buttons 1023
generating 1017
longitudinal timecode (LTC) 1020
mapping audio channels 1291
masters, delivery requirements 1083
multiformat 1053, 1053, 1053
optical 1291
options 1017
preparing for 1017
rendering effects before 1041
selecting analog video signal 1022
selecting device for 1018
video calibration for NTSC-EIAJ 1022
video, adjusting luminance settings 1028
video, basic calibration 1024
video, calibrating 1022
Output formats
for 24p and 25p projects 1053, 1053, 1053
Output Gain 1291
Output timecodes
displaying in bins 344
Output to DV Device command (Video Quality menu)
505
Overlap edits
audio 513
creating 735
using extend edits 736
Override Working Settings with Target Settings
command (MultiRez menu in Timeline) 1208
Overriding
Field Motion clip attribute 580
Overwrite button
overwrite edits with 573
Overwrite edits 573
P
P2
AMA plug-in 374
spanned clips 372, 379, 382, 384
P2 card
importing clips from 311, 311
writing sequences to 1014
Page and scene numbers (Script window)
adding 623
changing 623
deleting 623
searching for 623
Page Setup command (File menu) 367
PAL (Phase Alternating Line) video
frames-per-second rates for transfers 152
logging and capturing 219
luminance values 1028
transferring film to 1442
waveform values 209
PAL Method 1
described 1442
PAL Method 2
described 1442
Pan
adjusting for individual keyframes 843
adjusting in Audio Mixer tool 803
adjusting in audio tracks 782
adjustment, bypassing 795
centering 796
default settings 795
modifying values 782
viewing automation pan values 760
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1530
Pan and gain automation display (Timeline) 757
Pan automation 797
Panasonic P2
changing cards 379
exporting sequences to 1014
files and folders 375
formats 374
importing master clips 311, 311
loading drivers 376
mounting cards 376
transferring files 373, 378
updating drive list 376
workflow 426, 428
Panasonic P2 media 374
Parametric midrange in Audio EQtool 819
Partially online clips
consolidating and deleting original media 1223
restoring from an archive 1197, 1223
viewing source in Timeline 1222
Passthrough Mix tool
using 201
Pasting
See Copying
text in the Script window 621
Patching
tracks 700
when capturing to the Timeline 261
Pause button 499
PCX file format
import specifications for 1387
Peak Hold menu (Audio tool) 199
Performing
digital audio scrub 756
Phantom marks 608
Phantom Marks options (Composer settings) 1304, 1304
Phase controls
adjusting for output 1029
PhaseScope AudioSuite plug-in 969
Phonetic indexing
using to link clips with script 638
Phonetic search 543, 555
Photo CD file format
import specifications for 1387
Photoshop file format
additional export options for 1340
import specifications for 1388
Photoshop files
importing multilayered 290
importing single-layer 294
PhraseFind 543, 555
15-day trial 545
activating 543
purchasing 543
selecting a language 555
PICS file format
brief description 1391
PICT file format
additional export options for 1340
import specifications for 1388
PICT files
of bars, importing 295
Picture quality
ensuring by calibrating input levels 209
Pin button (Interplay Window) 1161, 1166
Ping-Pong Delay AudioSuite plug-in 972
Pitch Shift AudioSuite plug-in 972
Pixar file format
import specifications for 1388
Pixel aspect ratio 1386
Pixels
square and non-square for import 1386
Play button 499
Play button (Script window) 631
Play Calibration Tone command (Peak Hold menu in
Audio tool) 1032, 1033, 1039
Play Delay, adjusting 492
Play Digital Cut button (Digital Cut tool) 1045, 1048
Play IN to OUT button 593
Play Loop button 732
Play Reverse button 499
Play Standby button 499
Playback
changing speed of 503
controlling with buttons 499
controlling with position bars and indicator 497
full screen 492
improving performance of 594
improving performance of (storage management)
1430
limitations on multicamera media 1238
loop, starting 593
loop, trim during 734
optimizing 506
with audio scrub 754
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1531
with DV devices 505
Playback control
using keyboard 502
Playback devices
transferring files to 1178
Playing
clips and sequences using buttons 499
clips in a loop 494
takes from the Script window 631
Plug-in
Canon 381, 383
GFCAM 385
MXF 405
P2 374
QuickTime 400
RED 388
XDCAM 369
XDCAM EX 369
Plug-in effects
dialog box 906
Digidesign AudioSuite described
Fast menu 907
Plugin store 1271
plugin store 1270
Plug-ins
See AudioSuite plug-ins
plugins
downloading 1271
PNG file format
additional export options for 1340
import specifications for 1388
PortServer Pro 437
PortServer Settings
described 1365
Position bar
described 497
in Timeline 677
Position bar in Timeline 678
Position indicator
in Timeline 677
using 497
Position indicator lights (Volume Automation and Pan)
778
Postroll
in Trim mode playback loop 732
Power schemes (Windows) 180
Preferences
fonts 1161
Premultiplied alpha 1386
Preparing
for batch capturing 235
for importing files 277
for output 1017
for video input 207
hardware before capturing 160
record tapes 1038
sequences for export 987
shot log files with MediaLog 133
shot log files with text editors 132
Preroll
custom for capturing 192
custom for digital cut 1045
in Trim mode playback loop 732
logging 135
method for setting 168
using control track for 168
Preroll option (Deck settings) 1311
Preserving
clipboard contents 591
Preset buttons
in Video Input tool 209
Preset buttons (Video tools) 1023
Prestriped tapes 1039
Preview Digital Cut button (Digital Cut tool) 1044
Previewing
a digital cut 1044
Previous In Group button 1238
Print Bin command (File menu) 367
Print Frame command (File menu) 367
Print Timeline command (File menu) 717
Printing
bins 367
markers 526
statistics 78
the Timeline 717
Pro Tools
AAF export to 1000
exporting to 988
HD Native configuration 857
Profiles
Windows media .prx files 1335
Profiles, user
changing 85
creating 85
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1532
deleting 85
described 84
exporting 85
updating 85
Progressive clips
mixing with interlaced 575
Progressive media
described 1432
Progressive resolutions
storage requirements for 1426
Project command (Tools menu) 66
Project settings
audio transfer 1442
described 1274
displaying 1277
Project window
Bins tab 67
closing 66
displaying bins 67
displaying settings 1274
Format display, using 1460
Format tab 74
Info display 82
Info tab, using 1442
opening 66
Other Bins folder 69
overview of elements 65
Settings tab 73
Trash 71
Projects
24p and 25p 1432
browsing for 54
changing formats 1460
changing name 58
closing 54
creating folders within 70
creating new 50, 1454
creating shortcuts in Interplay Window 1149
deleting 57
exporting as AFE files 1003
files, restoring from backup 59
film, capturing digital audio 189
opening 54
opening automatically 54
Raster Type selection 50
relinking media files for 466
remote assets 1111
removing shortcuts in Interplay Window 1149
restricted characters in names 50
saving 59
shared, opening 98
sharing on Avid Unity 97
startup 54
types 49
video, using script integration in 614
workgroup project settings 1111
Projects folder
See Avid Projects folder
Promoting
Motion Adapter effect to Timewarp 578
Title Tool titles, back up option 1360
Properties
selecting from a custom list 1154
Property Merge dialog box (Interplay window) 1158
Proxy editing
described 1183
Proxy media
editing 307
importing 302, 304
XDCAM 302, 1010
Pulldown
capturing without 263
converting sample rates on import 288
described 1441
finding at the sync point 148
output for downstream encoding 1057, 1057
Pulldown frame
changing the default 1060
Pulldown phase
modifying after capturing 271
modifying before capturing 151
option in Film and 24p Settings dialog box 143, 143
Pulldown switch (Capture tool)
setting 187
Pullin
changing 1060
Pullin frame
modifying 271
Pullout column 1060
Pullup
converting sample rates on import 288
Purchasing PhraseFind 543
Purchasing ScriptSync 641
purchasing stock footage 1245, 1265
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1533
Q
QRT file format
import specifications for 1388
Quad Split button 1232
Quad Split display 1232
Quad Split Source view 1232
Quality matching
audio 1226
example 1228
for dynamic relink 1224
video format 1226
video resolutions 1226
Quality of film-to-tape transfer 1436
Quick Transition button
fading audio with 811
Quick Trim mode 719
QuickTime
AMA 400
AMA plug-in 400
Avid codecs for 1004
clip parameters 401
Histogram 404, 404
source settings 401
supported AMA codecs 401
workflow 430
QuickTime files 1391
QuickTime movie export 1330
QuickTime Movie files
exporting with Avid DV Codec 1328
QuickTime movies
exporting 1004
methods for exporting 1004
QuickTime Reference Movie files
exporting with Avid DV Codec 1326
QuickTime reference movies
exporting 1004
Quitting
Avid editing application 57
R
Raster sizes 1476
Raster types
described 1475
DVCPro HD 1475
HDV 1475
raster sizes 1476
Standard 1475
XDCAM HD 1475
Ratcheting
play speed 503
Read Audio Timecode
command (Special menu) 747
Read Audio Timecode dialog box 747
Real Time Update option 1317
Realtime Encoding command (Video Quality menu)
505
Rearranging
clips in bin Frame view 324
clips in bin Script view 326
Recapturing
See also Autocapturing
See also Batch capturing
See also Capturing
master clips and subclips 238
mixed-rate sequences 238
overview 238
sequences 238
using Decompose 240, 242
without Decompose 247
Record Deck Time option (Digital Cut tool) 1045
Record monitor
described 479
displaying information in 486
resizing 480
Recording
assemble-edit 1040
digital cuts 1042
digital cuts, using Local mode 1048
digital cuts, using Remote mode 1045
preparing tapes 1038
volume automation information 801
Recording voice-over narration 830, 830
Recovering
material from clipboard 591
Recti-Fi AudioSuite plug-in 974
RED
AMA plug-in 388
clip parameters 391
files and folders 389
formats 389
Histogram 397, 397
source settings 391, 395
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1534
transcoding clip 399
transferring files 390
RED media 388
Redo command (Edit menu) 571
Redoing
edits 571
Reduce Frame command (Edit menu) 324, 628
Reduce Track command (Edit menu) 660
Reducing
frames in the bin 324
tracks in the Timeline 660
Reference command (Sync Lock menu in Video Output
tool) 1018
Reformat attribute 584, 586, 587
Reformatting
clips and sequences 584
Reformat options 587
setting Reformat value 586
Refresh All button, refreshing application with 1157
Refresh button, refreshing the Research panel with 1157
Refresh Media Directories command (File menu) 456
Refreshing
Motion Adapter effects 589
Regional keyboard support 1484
Reimporting
files, overview 313
files, procedure 313
Reimporting imported files 308
Relationships for color correction
defining with IN and OUT points 1309
Relink dialog box
in an Interplay environment 1211
Relinking
by resolution 463
clips by key number 268
consolidated clips 465
dynamic relink 1194
in an Interplay environment 1211
moved projects 466
selected clips 464
Remote assets
See also Interplay Window
accessing assets 1140
automatically checking in to asset manager 1139
Avid assets 1106
capturing to asset manager 1166
checking in all open bins 1135
checking in bin contents 1135
checking in to asset manager 1135
checking out assets by updating 1139
checking out from asset manager 1132
checking out from Interplay database 1135
copying 1147, 1157
deleting 1147
finding 1163
moving 1147, 1157
permissions 1147
reservations 1144, 1145
restrictions 1144, 1146
searching 1163
updating in local bin 1139
using drag-and-drop method to check in 1135
using menu command to check in 1135
Remote Capture 1365
enabling 265
Remote Play
enabling 266
Remote Play and Capture
command (Clip menu) 267
command (Special menu) 265, 266
Device Code option 1365
Inhibit Preloading option 1365
Mode type option 1365
Runup option 1365
setting ports for 1365
Remote Play and Capture settings
described 1365
Removable media
saving work on 59
Removable storage, sending to Pro Tools on 988
Remove Auto Volume/Pan command (Audio Mixer
Tool Fast menu) 803
Remove Automation Pan command (Audio Mixer Tool
Fast menu) 803
Remove Clip Gain command (Audio Mixer Tool Fast
menu) 792
Remove Pan command (Audio Mixer Tool Fast menu)
792
Remove Pan/Vols command (Audio Mixer Tool Fast
menu) 792
Remove Volume Automation command (Audio Mixer
Tool Fast menu) 803
Removing
add edits (match frames) 710
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1535
audio EQ effects 825
audio IN and OUT points 513
color indicators (Script window) 634
deck configuration elements 178
off-screen indicators (Script window) 633
text from the Script window 621
Renaming
bins 68
clips in Interplay Window 1157
settings 1281
Render On-the-Fly option (Trim settings) 1376
Render order for audio effects 779
Render settings
described 1366
Rendering
AudioSuite plug-in effects 908
motion effects 1366
Rendition file format
import specifications for 1388
Replace Edit button 574
Replace edits 574
Replacing
deck configuration elements 178
Timeline views 674
title fonts 1093
reports
stock footage 1264
Res (Resolution) menu (Capture tool) 189
Research panel
changing fonts 1161
refreshing 1157
Research panel (Interplay Window)
adding columns 1152
changing the custom layout 1159
closing tabs 1161
comments 1157
creating new columns 1152
deleting a saved layout 1159
described 1144
displaying multiple tabs 1161
hiding columns 1152
Media Search tab 1163
modifying the display 1150
moving columns 1152
sorting columns 1152
Research Panel tabs 1161
Reservations 1144, 1145
Reset Peak button (Audio tool) 199
Resizing
Audio Mixer tool 777
Capture tool 235
Composer window 480
Record monitors 480
slates in the Script window 628
Source and Record monitors 480
Resolution groups
image quality and 1417
Resolution Tracking command (Clip Color submenu in
Timeline Fast menu) 1212
Resolutions
relinking by 463
See also Screen resolutions
See also Video resolutions
Response
system, with external monitor 488
Restore Default Patch command (Special menu) 700
Restore from Videotape dialog box 471
Restoring
default settings 1282
default Timeline view 674
files from backup 59
media files from videotape 471
Restricted characters
in project names 50
Restricting available resolutions 165
Restrictions 1144, 1146
Results window 530, 543
PhraseFind 557
Text Find 557
Retrieving
files 60
Reveal File command (File menu) 457
Reverse AudioSuite plug-in 975
Reverse Match Frame button 535
Reverse Selection command (Bin menu) 329, 456
Reviewing
edits 732
trim edits 732
Revising
scripts 652
Rewind button 499
moving between audio keyframes with 804
RGB graphics levels, Import settings 1351
RGB values
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1536
reference black and white 1369
Right Arrow key
moving through footage with 502
Right-click menus 37
Rollers
See Trim mode
Rough cut
assembling, in the Script window 653
Rough cuts
creating 570
RS422 output 1056
RTAS
copying plug-ins 902
editing plug-ins 900
inserting plug-ins 898
moving plug-ins 902
ordering plug-ins on a track 902
removing inserts 903
using RTAS effect templates 903
RTAS plug-ins
AIR Chorus 920
AIR Distortion 920
AIR Dynamic Delay 922
AIR Enhancer 924
AIR Ensemble 924
AIR Filter Gate 925
AIR Flanger 926
AIR Frequency Shifter 928
AIR Fuzz-Wah 929
AIR Kill EQ 930
AIR Lo Fi 930
AIR Multi-Chorus 933
AIR Multi-Delay 934
AIR Non-Linear Reverb 935
AIR Phaser 936
AIR Reverb 938
AIR Spring Reverb 940
AIR Stereo Width 941
AIR Talkbox 942
AIR Vintage Filter 944
Runup option (Remote Play and Capture settings) 1365
RY Gain slider
adjusting for video input 209
adjusting for video output 1024
S
Safe Action option (Grid settings) 1349
Safe Colors
defining units of measurement for 1369
Safe Colors settings
described 1369
Safe Title option (Grid settings) 1349
Sample Plot command (Timeline Fast menu) 761
Sample rate
audio, converting during capture 194
changing conversion quality 1291, 1291
converting 1291
converting on import 288
displaying mismatched 1291
mixing 1291
options 1291
options for import 289
Sample rates
audio, changing 814
audio, conversion overview 813
conversion for embedded audio 1037
identifying by color 761
Sat slider
adjusting for video input 209
adjusting for video output 1024
Save All command (File menu) 71
Save As command (Timeline View menu) 674
Save Bin command (File menu) 71, 71
Save Layout As command (Interplay Window Layout
menu) 1159
Saving
audio EQ effects 824
bins automatically 71
bins, manually 71
custom bin views 322
projects and bins 59
the Script window 618
Timeline views 674
work to drives or removable media 59
Saving settings
in Video Input tool 214
SC phase
adjusting for output 1024
Scale bar (Timeline) 679
Scanning for tapes 136, 227
Scene and page numbers (Script window)
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1537
adding 623
changing 623
deleting 623
searching for 623
Scene data 146
Sci-Fi AudioSuite plug-in 975
Screen resolutions
NTSC, PAL, HD 1403
Screenings
interactive, in Script window 652
Script box in Script view 326
Script integration
described 614
elements of 614
for video projects 614
holding slates on screen 628
importing a script for 618
in Script window 633
in slates 614
in takes 633
interpolating position for 627
lining conventions in 612
using color indicators 634
using off-screen indicators 633
using script marks 634
workflow 614, 652
Script Mark button 635
Script marks
adding 635
adding during automatic screening 636
deleting 650
described 614
manually placing 635
moving 650
using 634
using for playback 650
using to find script 651
Script range, splicing 653
Script settings
described 1370
using 618
Script Settings dialog box 618
Script text
changing font of 621
cutting, copying, and pasting 621
removing 621
selecting 621
Script view (bin display)
adding text 326
described 326
in the Media tool 440
playing clips in 326
Script window
adding color indicators 634
adding page and scene numbers 623
adding takes 631
adjusting margins 618
adjusting take lines 631
changing fonts 621
changing scene or page numbers 623
cutting, copying, and pasting text in 621
deleting slates 628
deleting takes 631
displaying clip and sequence information 618
displaying take numbers 631
editing with 652
exploring 618
finding bins from 651
finding clips from 651
hiding slate frames in 628
holding slates on screen in 628
indicating off-screen dialog in 633
interactive screening in 652
linking clips to 625
loading takes from 631
moving slates in 628
opening, closing, and saving 618
playing takes from 631
removing text in 621
resizing slates in 628
screening and marking in 636
searching through 623, 623
selecting slates 628
selecting text 621
splicing a range of script from 653
Scripts
importing into the Script windows 618
linking clips to 625
linking clips to with ScriptSync 638
revising 652
ScriptSync 638
15-day trial 642
activating 641
linking clips to script with 638
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1538
purchasing 641
Scroll bar in Timeline 677
Scroll bar/position bar in Timeline 677
Scroll wheel
mouse, using 38
setting up 38
Scrubbing
audio 754
displaying markers during 1371
SDI embedded audio
and sample rate conversion 1037
Search results
filtering 559
Search tab (Interplay Window) 1144
Searches
Category attribute 1165
Interplay Window 1163
keeping open 1166
performing 1163
remote assets attributes 1165
saving 1166
Text attribute 1165
Time attribute 1165
Types attribute 1165
Searching 557
audio 555
for page and scene numbers in the Script window
623
in the Script window 623, 623
searching for stock footage clips 1250
searching through the Avid Media Store 1250
Second Row of Buttons option (Composer settings)
1304, 1304
Second Row of Info option (Composer settings) 1304,
1304
Segment Drag Sync Locks option (Timeline settings)
688
Segment Mode
editing guidelines 682
Segment mode
adding comments 593
deleting segments 690
editing from a bin in 693
four-frame display, described 686
four-frame display, suppressing 687
in the Timeline 693
marking segments 691, 692, 693
Segment Drag Sync Locks option 688
using 668, 681
workflow 668, 681
Segment Mode buttons 683
Segments
copying and pasting in Timeline 692
cutting from Timeline 692
deleting in Segment mode 690
lassoing 683
marking 510
marking in Segment mode 691, 692, 693
moving in sync 688
selecting 683
Select All command (Edit menu) 236
Select All Tracks command (Edit menu) 696
Select Media Relatives command (Bin menu) 338
Select Offline Items command (Bin menu) 337
Select Project dialog box 48
Select Sources command (Bin menu) 339, 456
Select Tape dialog box 136
returning to previous 183
Select Unreferenced Clips command (Bin menu) 339
Selected Clips section (Batch Import dialog box) 315
Selecting
audio file format 195
audio sample rate 194
clips and sequences 329
custom preroll 192
deck configuration settings 174
decks for capturing 182
drives for capturing 190
DV device 229
media drives 163
offline items in bins 337
segments in Timeline 683
settings before capturing 162
slates in the Script window 628
sources in the bin 339
takes in Script window 631
tapes for capturing 183
text in the Script window 621
tracks 696
tracks for capturing 184
tracks, for audio scrub 754
tracks, for audio scrub (soloing) 752
transitions for trimming 726
transitions in Trim mode 726
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1539
trim sides 723, 733
unreferenced clips in the bin 339
video resolutions 163
Selecting a language
PhraseFind 555
Send To
DigiDelivery 988
Digidesign Pro Tools 988
DVD 988, 988
DVD authoring 988
DVD One Step 988
Sorenson Squeeze 988
using predefined templates 988
Send To dialog box 988, 993
Send to Playback
from an Avid editing system 1167
Send to Playback command
with MultiRez 1211
Sequence Info dialog box 565
Sequence information
displaying, in a Script window 618
summary 472, 538
sequence information
effect summary 472, 538
Sequence Time option (Digital Cut tool) 1045
Sequence Track buttons (Digital Cut tool) 1042
Sequenced image files 1391
Sequences
adding comments to 593
adding tracks to 567
changing audio sample rate for 814
changing resolution by transcoding 451
changing start timecode for 565
consolidating 445
copying 330, 331
creating new 564
crossconverted, outputting 1029
decomposing 240, 242
deleting 332
displaying information about 486, 565
downconverted, outputting 1029
duplicating 330
exporting 995
finding original bin for 537
locking in a bin 336
making the first edit in 569
marking IN and OUT points in 508
modifying formats 1209
moving 330
output options for 1017
playback loop in 593
playback performance tips for 594
playing 593
playing using buttons 499
preparing for export 987
recapturing 238
recapturing without Decompose 247
refreshing Motion Adapter effects 589
renaming 565
replacing grouped clips 1243
reviewing 593
rough cut 570
searching for 530
searching remote assets 1165
selecting 329
setting up 564
sifting 360
transcoding 451
writing to P2 card 1014
Serial digital input
calibrating 207
Serial digital output
calibrating 1024
Serial port output 1056
Set Bin Background command (Edit menu) 334
Set Bin Display command (Bin menu) 359
Set Bin Display dialog box 359
Set Calibration Tone command (Peak Hold menu in
Audio tool) 1032
Set Color button (Script window) 634
Set Font
command (Edit menu) 621
dialog box 89, 621
Set Font command (Edit menu) 89
Set Level commands (Audio Mixer Tool Fast menu) 792
Set Live Mix as Automation command (Audio Mixer
Tool Fast menu) 808
Set Live Mix to Automation command (Audio Mixer
Tool Fast menu) 808
Set Live Mix to Default command (Audio Mixer Tool
Fast menu) 808
Set Offscreen button (Script window) 633
Set Pan commands (Audio Mixer Tool Fast menu) 792
Set Position To Keyframe command 1317
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1540
Set Type Filter dialog box 1156
Setting a language (Macintosh) 1481
Setting the bin display 359
Settings
AMA 1289
asset manager 436
Audio 1290
Audio export 1339
audio pan defaults 795
Audio Project 193, 1291
Audio Project, DV audio pattern 1291
audio transfer 1442
Bin 1298
Capture 1298
Communication (Serial) Ports Tool 1303
Controller 807, 1308
copying between files 1283
Correction 1309
Deck 1311
Deck Configuration 1311
deck configuration 174
Deck Preferences 1313
default 1282
deleting 1282
described 1274
displaying project 1277
duplicating 1280
DV Stream export 1320
dynamic relinking 1314
Effect Editor 1317
Export 1320
Film and 24p 1344
for configuring asset manager 436
Frame Chase capture 233
Full Screen Playback 1345
General 1348
GPI 866
Grid 1349
import 277, 1351
in Video Input tool 214
Interface 1357
interface (Appearance tab) 87
Interplay Folder 1358
Interplay Server 1358
Interplay User 1358
location of 46
Marquee Title 1360
Media Creation 1361
Media Files Capture 170
Media Services 1016, 1364
modifying 1277
Mouse 38, 1364
moving between settings files 1283
moving between systems 1101
multiple, working with 1274
OMFI export 1323
opening 73
overview of 1274
PortServer 1365
project described 1274
Remote Play and Capture 1365
renaming 1281
Render 1366
restoring defaults 1282
Safe Colors 1369
Script 1370
selecting before capturing 162
site described 1274
sound card configuration 196
tab 1274
Timeline 1371
Timeline, showing toolbar 673
Trim 1376
Trim, basic information 722
user 1274
user, linking to workspaces 92
using site 1284
Video Display 1377
Video display 490
Video Input Tool 1378
Video Output Tool 1379
viewing 1277
settings
Sound Card Configuration 1371
Settings list 1170, 1274
Composer 1274
Controller settings 840, 872
Settings Options
GPI 867
Settings tab (Project window) 73
SGI file format
additional export options for 1340
import specifications for 1388
Shared volume segmentation (chunking) 1298
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1541
Shortcut menus 37
Shortcuts
creating in Media Directory panel 1149
removing from Media Directory panel 1149
Shot log files
Avid log file specifications 123
converting with Avid Log Exchange (Macintosh)
119
converting with Avid Log Exchange (Windows) 116
exporting 154
importing 156
importing file from Final Cut Pro 116
preparing text editors for 132
preparing with MediaLog 133
Shot logs
See Shot log files
Shot marks
GFCAM 388
Show Add Keyframe Mode Menu command 1317
Show All Takes command (Script menu) 628
Show Entire Sequence command (Timeline Fast menu)
658
Show Every Frame command (Timeline Fast menu)
658, 714
Show Frames command (Script menu) 628
Show Markers command (Timeline Fast menu) 666
Show Mismatched Render Ranges command (MultiRez
menu in Timeline) 1216
Show Mismatches command (MultiRez menu in
Timeline) 1211
Show Position Bar option (Timeline settings) 678
Show Target Availability command (MultiRez menu in
Timeline) 1211
Show Track submenu (Timeline Fast menu) 714
Showing
bin columns 320
Timeline top toolbar 673
Shutting down the system 57
Shuttle ring
Avid Artist Series controller 884
Shuttling
J-K-L key method 503
Sifting clips and sequences 360
Signal Generator AudioSuite plug-in 977
Signal sequences
GPI 863
Single Mark Editing option (Composer settings) 1304,
1304
Single track monitoring
See Solo track monitoring
Single/Dual Drive Mode button (Capture tool) 190
Single-field step 499
Single-mark editing 575
Single-Mark Editing option (Composer settings) 575
Site settings
described 1274
moving between systems 1101
using 1284
Sixteen by nine (16:9) format 1436
Skip Existing Transition Effects option 811
Slate information for shoots 1436
Slates (script integration)
creating 625
deleting 628
described 614
hiding frames in 628
holding on screen 628
moving 628
resizing 628
selecting 628
showing one take in 628
Sliders option 1317
Slip Left 1 Perf button 608, 608
Slip Left button 741
Slip Right 1 Perf button 608, 608
Slip Right button 741
Slipping and sliding shots
in Source/Record mode 741
in Trim mode 738
Slowing film speed 1441
Small Trim mode
described 719
switching with Big Trim mode 721
Smart tool
disabling 667
Smooth audio scrub
compared to digital audio scrub 754
performing 755
SMPTE bars 1024
SMPTE timecode
formats for entering 528
SMPTE/EBU component standard
support 1378, 1378
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1542
Snapping
to transitions in Timeline 680
Soft Keys (Avid Artist Series controllers) 881
Softimage file format
import specifications for 1388
Software DV25 codec 1298
Solo track monitoring
in Timeline 699
in Trim mode 727
Soloing
audio tracks 752
tracks 699
tracks, advantages of 697
Sonic
authoring DVDs in 988
burning DVD in one step 988
Sony XDCAM
loading drivers 372
workflow 300
Sony XDCAM and XDCAM EX
workflow 423
Sony XDCAM low-resolution
workflow 424
Sorenson Squeeze
exporting to 988
Sorting
clips 321
columns (Interplay Window) 1152
columns, multilevel 321
Sorting transfers 1181
Sound Card Configuration settings 1371
configuring sound cards 196
Sound Designer II audio
support for 1100
transferring 1100
Sound roll
cues for shoots 1436
entering data for 146
Sound timecode
logging additional 153
Source and Record monitors
resizing 480
Source colors
assigning in bins 335
displaying in Timeline 660
Source material
displaying in the Timeline 673
loading into monitors 494
Source monitor
described 479
Source settings
QuickTime 401
RED 391, 395
Source Settings Histogram 397, 404
Source tapes
selecting for capturing 183
Source tracks
selecting for capturing 184
Source/Record Editing command (Toolsets menu) 480
Source/Record mode
customizing window settings 479
entering 564
slipping shots in 741
Source/Record Mode button 564
Sources
selecting in the bin 339
spanned clips
P2 372, 379, 382, 384
SPE
See Sync Point Editing
Specifications
Avid log 123
for film shoots 1436
graphics file import 1386, 1386
OMF file import 1393
Splice-in button
insert edits with 572
making basic edit with 569
Splice-in edits 572
Splicing a script range 653
Split edits (Overlap edits)
audio 513
creating 735
using extend edits 736
Square pixels 1386
Squeeze
exporting to 988
Standard definition television (SDTV)
Standard Titles
in Avid log files 125
Start timecode
changing 565
Starting
Avid editing application (Windows) 42
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1543
Startup project
opening 54
Statistics
displaying drive space 81
printing 78
viewing 78
Statistics file
described 78
Statistics files
importing 80
Step Backward buttons 499
Step Backward One Field button 499
Step Forward buttons 499
Step Forward One Field button 499
Stepping
J-K-L key method 503
single-field 499
with buttons 499
Stereo option (audio) 815
stock footage 1245
downloading 1266
purchasing 1265
stock footage clips
about 1250
stock footage report 1264
Stop at Head Frames options (Composer settings) 1304,
1304
Stop at Locators options (Composer settings) 1304
Stop at Markers options (Composer settings) 1304
Stop at Tail Frames options (Composer settings) 1304,
1304
Stop button 499
Storage
estimating drive space requirements for 1417
managing to improve playback performance 1430
maximizing 1430
planning 1418
Storage estimates
in minutes per gigabyte 1418
Storage requirements
DNxHD 1419
DV resolutions 1429
JFIF interlaced 1423
JFIF progressive 1426
MPEG resolutions 1429
Storing 24p and 25p media 1459
Story body
changing fonts 1161
Storyboard
creating from a bin 359
Storyboard editing from the Script window 653
Stream Limit
video display setting 1377
Striped drives
capturing 160
online information for 161
Striping
record tapes 1039
Subcataloging
footage 508
Subclip status (Capture tool) 252
Subclips
See also Clips
See also Master clips
audio sync for 24p and 25p 512
consolidating 445
copying 330, 331
creating 511
creating automatically with DV 273
creating during capturing 252
deleting 332
duplicating 330
handles 511
locating a master clip from 537
moving 330
recapturing 238
searching remote assets 1165
selecting 329
sifting 360
Subframe sync adjustment 607
Subsequences
creating 512
Substituting
title fonts 1093
SunRaster file format
import specifications for 1388
Surround sound 771
surround sound 765
S-Video deck
capturing from 209
limitations when capturing 213
Swap Cam Bank button 1232
Switching multicamera angles 1238, 1239
Sync
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1544
autosyncing 603
breaks, avoiding when editing 595
breaks, defined 595
breaks, displaying 595
breaks, fixing 598
detecting locked signal when capturing 187
establishing for audio-only input 161
establishing for output 1018
for capturing video 160
issues with Client monitor 488
maintaining during segment move 688
maintaining during trim 737
maintaining with Add Edit 601
maintaining with leader 599
maintaining with markers 600
methods for shoots 1436
options for HD formats 1019
perforation level 607
subframe level 607
trimming 727
trimming with sync-locked tracks 737
video input 209
Sync Breaks command (Timeline Fast menu) 598
Sync Lock All button (Track Selector panel) 737
Sync Lock button (Track Selector panel) 737
Sync Lock icon (Track Selector panel) 701
Sync Lock menu (Video Output tool) 1018
Sync locking tracks in the Timeline 701, 702
Sync mode 1291
Sync point
finding the pulldown at 148
Sync Point Editing (SPE) 602
Sync Point Editing option (Composer settings) 1304,
1304
Sync Selection dialog box 604
Synchronized sound
maintaining 1442
Synchronizing
video and audio subclips 603
Sync-locked tracks 598
System information
displaying 112
System memory usage 83
T
Tabs
bins 328
Tail button 709
Tail command
performing a quick edit with 709
Takes (script integration)
adding 631
adjusting lines in 631
applying color indicators 634
applying off-screen indicators to 633
changing representative frame for 631
deleting 631
described 614
displaying numbers for 631
loading 631
loading from script marks 650
playing 631
removing color indicators 634
removing off-screen indicators 633
selecting 631
showing one per slate 628
Tape deck
See Decks
Tape Lengths dialog box 468
Tape name
finding 136
Tapes
ejecting 256
managing names for MultiRez 1189
preparing for output 1039
preparing for recording output 1038
recording digital cut to 1042
recording to 1038
recording tone and bars to 1039
returning to previous tape 183
See Videotape
striping requirements for 1039
TARGA file format
additional Export options 1340
import specifications for 1388
Target bin
selecting 189
Target Drive menu (Capture tool) 190
Target settings for dynamic relink
applying 1204
described 1194
relinking to 1208
Taskbar 36
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1545
Telecine
importing log file from 322
transfer quality 1436
Test patterns
for calibrating video output 1027
Test patterns, importing 295
Text
adding in bin Script view 326
Text editors
creating Avid logs with 123
for Avid logs 132
Text in the Script window
changing font of 621
cutting, copying, and pasting 621
linking clips to 625
linking clips to with 638
removing 621
searching through 623, 623
selecting 621
Text view (bin display)
described 320
in the Media tool 440
Three-button play (J-K-L keys) 503
Three-point editing
with phantom marks 608
Thumbwheels option 1317
Tick Marks in Position Bars option (Composer settings)
1304, 1304
TIFF file format
additional Export options 1340
import specifications for 1389
Time Compression Expansion AudioSuite plug-in 978
using to change media length 908
Time Shift AudioSuite plug-in 980
Timecode
breaks, capturing across 168
changing 565
default starting 1348
display options for 24p and 25p projects 344
drop-frame and non-drop-frame described 178
entering 153
entering additional 153
external, capturing with 260
finding frames with 528
formats for entering SMPTE standard 528
indicating the destination rate 1057
logging drop-frame and non-drop-frame 135
selecting format for output 1056
time-of-day, capturing with 228
Timecode window 487
Timecodes
display options in the Timecode window 487
Timed (scene-by-scene) transfers 1436
Timeline
adding new tracks to 703
adjusting volume in 799
assigning local colors to 664
capturing to 261
changing background color in 664
clip coloring for MultiRez 1212
controlling movement in 680
copying and pasting in 692
creating views 674
customizing 656, 658
cutting in 692
deleting tracks in 703
disabling Smart too 667
displaying clip colors 660
displaying comments 593
displaying detail 679
displaying markers 666
Dupe Detection Handles option 1372
dupe detection in 711
editing with film track in 714
examples of custom views 656
finding clip text in 530
focusing 679
full-screen view of 667
Heads and Heads Tails views of 708
identifying audio sample rate 761
identifying mixed rate clips 578
IN to OUT highlighting in 708
locking tracks in 701, 702
monitoring tracks 699
motion mode indicator 680
moving tracks 660
nesting in 694
paging option 666
patching tracks 700
position bar, switching to 678
position indicator in 677
printing 717
removing add edits in 710
resizing 667
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1546
saving 674
scale bar 679
scroll bar in 677
scroll bar/position bar in 677
scrolling option 666
Segment mode 668, 681
selecting segments 683
selecting tracks 696
setting the scroll bar 677
settings, Start Filler Duration option 568
soloing audio tracks 752
soloing tracks 699
source material, displaying 673
top toolbar 673
Track Control panel 671, 751
track selection behavior 778
Track Selector panel 695
viewing footage 478
views, replacing 674
views, restoring default 674
views, saving 674
volume automation keyframes in 799
window, summary of elements 676
working with multiple tracks 694
zooming in and out of 679
Timeline palette
trimming 719, 722
Timeline settings
described 1371
Display tab 1371
Edit tab 1372
Features tab 1376
Play Loop tab 1376
Time-of-Day Information, using to log 273
Time-of-day timecode
capturing with 228
external source 260
Time-remaining display (Capture tool) 190
Timewarp effect
field-stepping in draft qualities 582
Tips
logging 135
playback performance 594
Title tool
backing up titles when promoting to Marquee 1360
Toggle Source/Record in Timeline button (Timeline)
591, 673
tone generator
calibrating audio 203
Tone media
creating 200
recording to tape 1039
Tool palette
displaying text labels 493
using 493
Toolbar, top Timeline 673
Tools
Audio EQ 818
Audio Mixer 774
Audio Punch-In 831
Audio Punch-in 833
Calculator 111
Capture 180
Console 112
Deck Controller 105
Hardware 113
Media 442
Video Input 207
Video Output 1024
Top button 709
Top command
performing a quick edit with 709
Total Conform 1082
Track buttons
Command Palette 696
Track color, changing in Timeline 664
Track Control panel
components 671, 751
displaying 672, 752
hiding 672, 752
making tracks inactive 753
Track effects
copying RTAS plug-ins 902
editing RTAS plug-ins 900
inserting RTAS plug-ins 898
moving RTAS plug-ins 902
ordering RTAS plug-ins on a track 902
removing RTAS plug-ins 903
using RTAS effect templates 903
Track Hinter settings, for hinted streaming export 1330
Track Panel command (Timeline Fast menu) 658
Track Selector panel
Lock icon 701
Sync Lock icon 701
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1547
user preferences for 567
using 695
Track Solo and Track Mute buttons (Volume
Automation and Pan) 778
Tracking color-frame shifts 715
Tracking frames with frame numbers 342, 342
Tracking information
clip duration 483
displaying 481
options 483
Tracking Information menu
displaying 481
Tracks
adding 703
audio, adjusting in Audio Mixer tool 782
audio, mixing down 815
cycling through 696
deleting in Segment mode 703
deleting with Media tool 443
enlarging and reducing 660
grouping on an Avid Artist Series controller 886
locking 701, 702
matchframing 536
monitoring 699
moving in the Timeline 660
number supported 694
patching 700
preferences for creating and enabling 567
selecting 696
selecting for audio scrub 754
selecting for audio scrub (soloing) 752
selecting for capturing 184
setting up for a new sequence 567
soloing 699
soloing, advantages of 697
sync locking 701, 702
trimming with sync-locked 737
Training services 26
Transcode
RED clip 399
Transcoding
mixed-rate clips 582
options for 451
procedure for 451
Transcoding HDV 1470
Transfer settings
in an Avid editing application 1170
Transferring
audio files to Digidesign Pro Tools 1099
files, reference of devices and methods 1096
projects between systems 1101
settings between systems 1101
Sound Designer II audio files 1100
through AFE 1003
Transferring bins
with MediaLog 133
Transferring files
from within an Avid application 1178
to a playback device 1178
Transferring film to tape
aids to 1436
in NTSC format 1440
in PAL format 1442
quality options 1436
without sound (PAL) 1442
Transfers
method of accepting incoming 1170
setting up the Avid editing system for 1170
sorting 1181
Transition Corner Display 743
Transition effects
audio, fine-tuning 811
Skip Existing Transition Effects option 811
Transitions
selecting additional for trimming 726
selecting for trimming 726
trimming 743
Transparency
adding to a graphics image 1386
Transport stream
creating 1470
Trash
emptying 71
moving bins from 71, 71
viewing contents of 71
Tri-level command (Sync Lock menu in Video Output
tool) 1018
Tri-level sync
for output 1018
HD formats 1019
Trim
settings, basic information 722
slip and slide procedures 738
Trim A-side button 723
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1548
Trim AudioSuite plug-in 983
Trim B-side button 723
Trim mode
basic trimming procedure 731
Big, described 719
Big, switching with Small Trim mode 721
customizing 719
described 719
Dual-image playback 734
entering 730
exiting 730
options (Trim settings) 1376
playing transition loop parameters 732
Quick, described 719
reviewing edits 732
selecting several transitions 726
selecting single transitions 726
selecting trim sides 723
selecting video tracks 725
Small, described 719
Small, switching with Big Trim mode 721
trimming on-the-fly 733
using the Transition Corner Display 743
Trim Mode button (Timeline) 726
Trim settings
described 1376
Render On-the-Fly option 1376
Trim Mode options 1376
Trimming
adding filler during 737
basic procedure 731
during a playback loop 734
maintaining sync during 737
on-the-fly 733
reviewing 732
selecting sides 723, 733
single roller trim 727, 729
Timeline palette 719
trim states 722
two heads or tails 726
video tracks 725
with sync-locked tracks 737
Troubleshooting 25
vertical blanking interval information problems
1067
Turning off equipment 57
Turnover points in the Audio EQ tool 819
Two-field media
and field dominance 1401
and field ordering 1399
Two-field mode indicators 499
U
U-matic deck
capturing from 209
limitations when capturing 213
Unattended batch capturing 235
Uncompressed video
defined 1402
Undo command (Edit menu) 571
Undo Only Record Events option (Composer settings)
571, 1304, 1304
Undo/Redo List command (Edit menu) 571
Undoing and redoing
edits 571
Units of measurement
defining for Safe Colors feature 1369
Unity 1095
LANshare 437
PortServer Pro 437
See Avid Unity
Zone 3 configuration in Avid Unity ISIS 438
Universal Mastering 1053
Unlinking 463
Unlinking media files 466
Unlock Bin Selection command (Clip menu) 336
Unlock Tracks command (Clip menu) 702
Unlocking and locking
bin items 336
tracks 701, 702
Unmount command (File menu) 439
Unmounting drives 438
Unreferenced clips
deleting 456
selecting in the bin 339
Update from Interplay command (Bin menu, Bin Fast
menu) 1139
Update from Interplay command (Bin menu) 1142
Update Media Status command (MultiRez menu in
Timeline) 1216
Update Position While Playing command 1317
Updating
remote assets 1139
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1549
user profiles 85
writable properties (Interplay window) 1158
Usage information
viewing 78
USB-to-MIDI converter
configuring software 854
testing installation 855
troubleshooting connections 856
User
changing folder name 58
selecting another 1279
User bits in LTC
reading 747
User files
restoring from backup 59
User interface
customizing appearance 87
User profiles
changing 85
creating 85
deleting 85
described 84
exporting 85
items created by system 46
updating 85
User settings
described 1274
linking with workspaces 92
selecting a user from 1279
Users folder
See Avid Users folder
User-selectable buttons
Add Marker 517
V
Variable-speed play 503
Varicam
support for Panasonic camera 275
VBI (Vertical Blanking Interval) 1064, 1379
preserving information 1022
VC1 (Windows Media option) 1015, 1413
Vectorscope monitor
using 209
Vertical Blanking Interval
and effects 1067
and video quality 1067
line ranges in 1065
preserving information 1064, 1379
VHS decks
capturing from 209
limitations when capturing 213
Video
creating leader 610
display settings, selecting 490
hiding in monitors 480
input, adjusting chrominance settings for 209
input, adjusting luminance settings 209
input, calibrating 209
input, preparing for 207
input, sync for 209
leader, using to maintain sync 599
monitoring tracks 699
number of supported tracks 694
output, calibration 1022
output, calibration for NTSC-EIAJ 1022
resolutions, dynamic relinking 1226
resolutions, selecting 163
resolutions, selecting in the Capture tool 189
soloing 699
trimming tracks 725
Video compression
defined 1402
Video Compression options (Export settings) 1095,
1334
Video decks
See Decks
Video Display settings
described 1377
Video Display Settings command (Video Quality menu)
508
Video Display Settings dialog box 490
Video Effect Safe Mode button (Digital Cut tool) 1045,
1048
Video Input menu (Video Input tool) 209
Video Input tool
Line slider 209
saving settings in 214
Vectorscope monitor 209
Waveform monitor 209
Video Input Tool command (Tools menu) 207, 209
Video Input Tool settings
described 1378
Video levels
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1550
adjusting without color bars 216
Video Mixdown
AAF export to Pro Tools 1000
Video Output tool
options display 1024
Sync Lock menu 1018
using preset buttons in 1023
Video Output Tool command (Tools menu) 1018, 1022,
1024, 1029, 1039
Video Output Tool settings
described 1379
HD tab 1383
SD tab 1379, 1382
Video projects
using script integration in 614
Video quality
settings with multicamera and group clips 1237
Video Quality Menu button 506
Video resolutions
availability for Frame Chase capture 234
disabling 165
drive striping requirements 1404
guidelines for use 1402
mixing 1417
specifications 1404
storage in minutes per gigabyte 1418
storage requirements for 1417
Video test patterns 1027
Videotape
archiving media files with 467
capturing bars and tone from 295
guidelines for naming 135
restoring media files from 471
Videotape decks
See Decks
Videotapes
See Tapes
View Name dialog box (bin) 322
View Type command (Timeline Fast menu) 708
View, bin
customizing 322
saving 322
types of 322
View, Timeline
Heads and Heads Tails 708
Viewing
bins, list of 67
footage, in monitors 478
footage, in Timeline 478
footage, overview 478
statistics 78
usage information 78
Virtual volumes
AMA 421, 422
VITC (Vertical Interval Timecode)
for downstream encoding 1057, 1057
in a bin 346
V-LAN VLXi 174
V-LAN VLXi controller
configuring with general-purpose interface (GPI)
device 865
using with general-purpose interface (GPI) device
864
Voice-over narration 830, 830
Volume
adjusting for individual keyframes 843
adjusting in the Audio Mixer tool 782
bypassing adjustments 1291
in Timeline 799
limitations for adjusting 795
meters, in the Timeline 799
recording audio volume 801
while playing an effect 794, 797
Volume automation 797
Volume Automation and Pan 797
adjusting gain with sliders 799
Audio Mixer Fast menu commands 803
Audio Mixer tool sliders 802
controls in Audio Mixer tool, described 801
deleting keyframes in 799
enabling and adding keyframes in 799
fader controller or mixer, testing 855
keyboard shortcuts 804
recording 801
Track Solo and Track Mute buttons 778
Volume control 762
Volume unit scale (Audio tool) 199
Volumen Automation and Pan
moving keyframes in 799
VTR
See Decks
VTR Emulation
See Remote Play and Capture
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1551
W
WAVE file format 195
option in Audio Project settings 1291
Waveform monitor
calibrating input 209
Waveform plots
options in the Timeline Fast menu 758
Wavefront file format
additional Export options 1340
import specifications for 1389
Wide-screen format (16:9) 160
Windows
changing fonts 89
Composer 479
Interplay 1118
Marker edit entry 519
Project 65
Windows Media
exporting as 1008
exporting as VC1 1015
VC1 resolution 1413
Windows Media Legacy Template 1335, 1335
Windows Media Options Video settings 1335
Windows power schemes 180
Windows taskbar 36
Word processor
creating Avid logs with 123
workflow
AMA 407
Workflows
AMA 410
ancillary data and AMA 432
audio editing 780
AVCHD 427
conforming and transferring projects 1087
editing a sequence 31
editing overview 28
film scene 356
film source 1432, 1432
GFCAM 428, 429
graphics for HDTV 1454
MXF 431
outputting a sequence 33
Panasonic P2 426, 428
preparing to edit 30
QuickTime 430
script integration 614
Segment mode 668, 681
Sony XDCAM 300
Sony XDCAM and XDCAM EX 423
Sony XDCAM low-resolution 424
starting a project 29
video-based HDTV 1452
Workgroup environment
working with Avid Interplay 436
working with media files 436
Workgroup settings 1115
Workgroups
configuring Interplay Server settings 1115
configuring Interplay settings 1115
logging in 1115
project settings 1111
projects with remote assets 1111
working with Avid assets 1147
working with remote assets 1106
Working settings for dynamic relink
applying 1204
described 1194
Workspace settings 1385
Workspaces
assigning to buttons 94
Avid Unity 97
described 90
linking to user settings 92
mounting, ISIS v2.0 and later 1129
mounting, MediaNetwork 1128
Wrap Around command (Timeline Fast menu) 658
Writable Interplay properties 1158
Writable P2 device 1014
X
XDCAM
AMA plug-in 369
batch import 308
connecting device 372
copying files 305
editing 307, 311
Essence Marks 306
exporting 1010, 1011
high-resolution media 308, 311
import options 298, 299, 305
importing proxy media 302, 304
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index
1552
markers 306
proxy media 307, 1010
resolutions 1010
workflow 1010
XDCAM HD 1475
XDCAM raster type 1475
XDCAM AMA media
limitations with mixed rate clips 582
XDCAM EX
AMA plug-in 369
XDCAM EX media 369
XDCAM media 369
XLR adaptor
for consumer level audio 1038
XWindows file format
import specifications for 1389
Y
YUV file format
additional Export options for 1340
import specifications for 1389
Z
Zoom Back command (Timeline Fast menu) 679
Zoom In command (Timeliine Fast menu) 679
Index A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
1553
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