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.
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