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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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,
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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
windows 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.
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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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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.
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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.
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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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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 s