Avid Media Composer Adrenaline Editing And Input Output Guide Supplement 1.0 MCA IO Splmnt

User Manual: avid Avid Media Composer Adrenaline - 1.0 - Editing and Input Output Guide Supplement Free User Guide for Avid Media Composer Software, Manual

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Avid® Media Composer®
Adrenaline™
Editing and Input Output Guide
Supplement

m a k e m a n a g e m ove | m e d i a ™

Avid

Copyright and Disclaimer
Product specifications are subject to change without notice and do not represent a commitment on the part
of Avid Technology, Inc. The software described in this document is furnished under a license agreement.
You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license
are also available in the product in the same directory as the software. The software may not be reverse
assembled and may be used or copied only in accordance with the terms of the license agreement. It is
against the law to copy the software on any medium except as specifically allowed in the license
agreement. Avid products or portions thereof are protected by one or more of the following United States
patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348;
5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601;
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6,157,929; 6,198,477; 6,201,531; 6,211,869; 6,223,211; 6,239,815; 6,249,280; 6,269,195; 6,301,105;
6,317,158; 6,317,515; 6,327,253; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435;
6,407,775; 6,417,891; 6,426,778; D396,853; D398,912. Additional U.S. and foreign patents pending. No
part of this document may be reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopying and recording, for any purpose without the express written permission
of Avid Technology, Inc.

Copyright © 2002 Avid Technology, Inc. and its licensors. All rights reserved. Printed in USA.
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 CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES
WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED
OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN
CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.

The following disclaimer is required by the Independent JPEG Group:
Portions of this software are based on work of the Independent JPEG Group.

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.

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
888 I/O, AirPlay, AirSPACE, AirSPACE HD, AniMatte, AudioSuite, AudioVision, AutoSync, Avid, AVIDdrive,
AVIDdrive Towers, AvidNet, AvidNetwork, AVIDstripe, Avid Unity, Avid Xpress, AVoption, AVX, CamCutter,
ChromaCurve, ChromaWheel, DAE, D-Fi, D-fx, Digidesign, Digidesign Audio Engine, Digidesign Intelligent
Noise Reduction, DigiDrive, DINR, D-Verb, Equinox, ExpertRender, FieldPak, Film Composer, FilmScribe,
FluidMotion, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX, Image Independence, Intraframe, iS9,
iS18, iS23, iS36, Lo-Fi, Magic Mask, make manage move | media, Marquee, Matador, Maxim, MCXpress,
Media Composer, MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog,
Media Reader, Media Recorder, MEDIArray, MediaShare, Meridien, MetaSync, NaturalMatch, NetReview,
NewsCutter, OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management,
ProEncode, Pro Tools, QuietDrive, Recti-Fi, rS9, rS18, Sci-Fi, Softimage, Sound Designer II, SPACE,
SPACEShift, Symphony, Trilligent, UnityRAID, Vari-Fi, Video Slave Driver, VideoSPACE, and Xdeck are
either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other
countries.
iNEWS, iNEWS ControlAir, and Media Browse are trademarks of iNews, LLC.
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.
Windhorse — Courtesy of Paul Wagner Productions.
Arizona Images — KNX-TV Production — Courtesy of Granite Broadcasting, Inc.,
Editor/Producer Bryan Foote.
Canyonlands — Courtesy of the National Park Service/Department of the Interior.
WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA.
Paragliding — Courtesy of Legendary Entertainment, Inc.

GOT FOOTAGE?
Editors — Filmmakers — Special Effects Artists — Game Developers — Animators — Educators —
Broadcasters — Content creators of every genre — Just finished an incredible project and want to
share it with the world?
Send us your reels and we may use your footage in our show reel or demo!*
For a copy of our release and Avid’s mailing address, go to www.avid.com/footage.
*Note: Avid cannot guarantee the use of materials submitted.

Media Composer Adrenaline Editing and Input Output Guide Supplement•
Part 0130-05723-01 • May 2003

Contents
Chapter 1

Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Audio Projects Settings - Main Tab . . . . . . . . . . . . . . . . . . . . . . . . . 14
Audio Project Settings - Input Tab . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Audio Project Settings - Output Tab . . . . . . . . . . . . . . . . . . . . . . . . 18
Audio Project Settings - Hardware Tab . . . . . . . . . . . . . . . . . . . . . . 20
Bin Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Capture Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Capture Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Capture Settings: Edit Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Capture Settings: Media Files Tab. . . . . . . . . . . . . . . . . . . . . . . . . . 27
Capture Settings: DV Options Tab. . . . . . . . . . . . . . . . . . . . . . . . . . 28
Correction Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Deck Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Deck Preferences Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Export Settings Dialog Box Options. . . . . . . . . . . . . . . . . . . . . . . . . 34
Export Settings: Quick Time Reference Options . . . . . . . . . . . . . . . 35
Export Settings: Quick Time Movie Export Options . . . . . . . . . . . . . 39
Export Settings: QuickTime Movie Settings . . . . . . . . . . . . . . . . . . . 42
Export Settings: QuickTime Compression Settings . . . . . . . . . . . . . 43
Export Settings: DV Stream Options . . . . . . . . . . . . . . . . . . . . . . . . 48
Export Settings: OMFI and AAF Options . . . . . . . . . . . . . . . . . . . . . 49
Export Settings: AVI Settings (Windows Only) . . . . . . . . . . . . . . . . 51

Export Settings: AVI Video Compression Options (Windows Only) . 54
Export Settings: Audio Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Export Settings: Graphic Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Export Settings: Graphic Format Options . . . . . . . . . . . . . . . . . . . . . 58
Film and 24p Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Film Settings - Edit Play Rate Options . . . . . . . . . . . . . . . . . . . . . . . 64
General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Grid Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Import Settings: Image Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Import Settings: OMFI Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Import Settings: Shot Log Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Interface Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Interface Settings: Appearance Tab . . . . . . . . . . . . . . . . . . . . . . . . . 77
Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Marquee Title Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
MM Host . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
MM User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
PortServer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Safe Color Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Script Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Timeline Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Timeline Settings: Display Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Timeline Settings: Edit Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Video Display Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Workspace Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Chapter 2

Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Accessing the AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Description of Core AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . 94

Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Duplicate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Normalize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
DC Offset Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Time Compression Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Master Clip Mode Parallel Processing. . . . . . . . . . . . . . . . . . . . 97
Time Compression Expansion Parameters . . . . . . . . . . . . . . . . 98
Pitch Shift. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Pitch Shift Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
EQ II Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Using Compression Effectively . . . . . . . . . . . . . . . . . . . . . . . . 106
Compressor Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Limiter Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Gate Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Expander/Gate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Expander/Gate Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Mod Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Mod Delay Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Additional Supported Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Digidesign Intelligent Noise Reduction (DINR) —
Broadband Noise Reduction (BNR) . . . . . . . . . . . . . . . . . . . . . . 117
Focusrite d3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Digidesign D-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Chapter 3

Using an External Fader Controller or Mixer. . . . . . . . . . . . . 119
Configuring the USB-to-MIDI Software. . . . . . . . . . . . . . . . . . . . . . . . . 121
Installing USB-to-MIDI Software (Windows) . . . . . . . . . . . . . . . . . 121

Installing USB-to-MIDI Software (Macintosh) . . . . . . . . . . . . . . . . . 122
Testing the Fader Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Switching Between MIDI Connections on the USB-to-MIDI
Converter (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Switching Between MIDI Connections on the USB-to-MIDI
Converter (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Troubleshooting the MIDI Connections . . . . . . . . . . . . . . . . . . . . . 126
Using the FaderMaster Pro and MCS-3000X . . . . . . . . . . . . . . . . . . . . 127
MCS-3000X Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Using the Snap Mode Feature on the MCS-3000X . . . . . . . . . . . . 129
Ganging Faders on the FaderMaster Pro . . . . . . . . . . . . . . . . . . . . 130
Using the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Setting Up the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Initializing the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Configuring the Mixer to Recognize MIDI Control Messages . 132
Starting the Avid System with the Yamaha 01V Attached . . . . . . . 133
Operational Notes for the Yamaha 01V . . . . . . . . . . . . . . . . . . 134
Soloing Avid System Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Chapter 4

Working with Broadcast Wave Format (BWF) Files . . . . . . . 137
Support for BWF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
BWF Information Displayed in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Preparing Custom BWF Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Importing and Syncing BWF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Reimporting BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Chapter 5

Film-to-Tape Transfer Methods . . . . . . . . . . . . . . . . . . . . . . . 143
Understanding the Transfer Process . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Transferring 24-fps Film to NTSC Video . . . . . . . . . . . . . . . . . . . . . . . . 144
Stage 1: Transferring Film to Video . . . . . . . . . . . . . . . . . . . . . . . . 145
Frames Versus Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Part 1: Using a 2:3 Pulldown to Translate 24-fps
Film to 30-fps Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Part 2: Slowing the Film Speed to 23.976 fps . . . . . . . . . . . . . 147
Maintaining Synchronized Sound. . . . . . . . . . . . . . . . . . . . . . . 148

Stage 2: Digitizing at 24 fps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Transferring 24-fps Film to PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . 150
PAL Method 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
PAL Method 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
How the Avid System Stores and Displays 24p and 25p Media. . . . . . 152
Displaying Media While Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Displaying Media During a Digital Cut . . . . . . . . . . . . . . . . . . . . . . 154
Film-to-Tape Transfer Guidelines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Film-to-Tape Transfer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Transfer Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Additional Film Transfer Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Chapter 6

File Format Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Graphics (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Preparing Graphics Files for Import . . . . . . . . . . . . . . . . . . . . . . . . 162
Graphics File Import Specifications . . . . . . . . . . . . . . . . . . . . . . . . 162
Screen Resolution for Imported Graphics and Sequences . . . . . . . . . 166
Animation Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
MXF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
OMFI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Field Ordering in Graphic Imports and Exports . . . . . . . . . . . . . . . . . . 176

Chapter 7

Resolutions and Storage Requirements . . . . . . . . . . . . . . . . 181
Compression and Avid Editing Systems. . . . . . . . . . . . . . . . . . . . . . . . 181
Screen Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Compression and Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Mixing Resolutions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Avid Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
DV Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Advantages to Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . 184
Resolution Groups and Image Quality . . . . . . . . . . . . . . . . . . . . . . 185
Video Streams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Compression Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Resolution Specifications: Interlaced. . . . . . . . . . . . . . . . . . . . 186

Resolution Specifications: Progressive . . . . . . . . . . . . . . . . . . 188
Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Estimating Drive Space Requirements . . . . . . . . . . . . . . . . . . . . . . 189
Estimated Storage Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . 190
Estimated Storage Requirements: Interlaced . . . . . . . . . . . . . 191
Estimated Storage Requirements: Progressive . . . . . . . . . . . . 194
Estimated Storage Requirements: DV . . . . . . . . . . . . . . . . . . . 197
Maximizing Drive Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Managing Storage to Improve Playback Performance . . . . . . . . . . . . . 199

Chapter 8

Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Understanding Avid Log Specifications. . . . . . . . . . . . . . . . . . . . . . . . . 201
Avid Log Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Global Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Column Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Data Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

International Character Support. . . . . . . . . . . . . . . . . . . . . . . 213
Using a Local Language Operating System
(Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Choosing a Locale on an English Language Operating
System (Windows and Macintosh). . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Non-English Character Support (Macintosh) . . . . . . . . . . . . . . . . . 215
Setting the Language in System Preferences . . . . . . . . . . . . . 215
Specifying the Language in the Get Info Dialog Box . . . . . . . . 217
Non-English Character Support (Windows 2000). . . . . . . . . . . . . . 218
Using Foreign Keyboard Mapping . . . . . . . . . . . . . . . . . . . . . . 221
Moving Older Projects to this Version on Windows . . . . . . . . . 222
Recommendations and Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Avid Supports English Plus One Locale . . . . . . . . . . . . . . . . . . . . . 223
Entering ASCII Characters in Double-Byte Systems . . . . . . . . . . . 223
Characters to Avoid When Naming Avid Elements . . . . . . . . . . . . 224

Chapter 10

Planning a Film Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Working with 24p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Working with 25p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Planning a 24p or 25p Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
24-fps Film Source, SDTV Transfer, Multiformat Output . . . . . . . . 230
24-fps Film or HD Video Source, SDTV Downconversion,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
25-fps Film or HD Video Source, SDTV Downconversion,
Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Audio Transfer Options for 24p PAL Projects . . . . . . . . . . . . . . . . 239
Planning a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Working in a 23.976p NTSC Project . . . . . . . . . . . . . . . . . . . . . . . 241
Creating a 23.976p Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Film Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Digitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
23.976-fps Film Transfer or HD Video Source, SDTV
Downconversion, Multiformat Output . . . . . . . . . . . . . . . . . . . . . 242
Limitations for 23.976p Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Film Project Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Film Shoot Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Viewing Dailies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Film Dailies Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Video Dailies Method. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Chapter 1
Settings Options
The Settings scroll list is displayed when you click the Settings tab of the
Project window. If you select a setting in the Settings scroll list and make
changes, the parameters remain the default settings until you they are
changed again. To view or modify the parameters, double-click the setting.
This chapter describes the parameters for the following settings:

Audio Settings
Table 1

Audio Settings

Setting

Description

Source Monitor Scrub

Select the number of outgoing and incoming
frames you hear as you scrub.

Record Monitor Scrub

Select the number of outgoing and incoming
frames you hear as you scrub.

Default Pan

Select the way you want sound to pan between
speakers.

Audio Tools Response

To adjust the audio latency of your system, select a
response speed that corresponds to the speed of
your system.

Appendix 1 Settings Options

Audio Project Settings
The following topics apply to adjusting audio project settings:
•

Audio Projects Settings - Main Tab

•

Audio Project Settings - Input Tab

•

Audio Project Settings - Output Tab

•

Audio Project Settings - Hardware Tab

Audio Projects Settings - Main Tab
Table 2

Audio Project Settings (Main Tab)

Setting

Options

Description

Sample Rate

32 kHz
44.1 kHz
48 kHz

Allows you to select audio rate settings for the entire
system for playing and recording. The default sample
rate for DV is 48 kHz.
The broadcast standard for most high-end video
postproduction houses is 48 kHz. Select the rate based
on the requirements of your facility.
For information on changing the sample rate for
individual sequences and audio clips, see “Changing
the Sample Rate for Sequences and Audio Clips” in
the Help.

Audio File Format

OMF (WAVE)
OMF (AIFF-C)

Select the file format for the audio:
•

OMF (WAVE) is compatible with Windows
applications.

•

OMF (AIFF-C) is compatible with many thirdparty applications, including Pro Tools.

Select the AIFF-C format for all audio media when
you need to transfer audio media files directly to a
Pro Tools or an AudioVision® system for audio
sweetening.

Audio Project Settings

Table 2

Audio Project Settings (Main Tab) (Continued)

Setting

Options

Description

Audio File Sample
Size

16 Bit
24 Bit

Select this option to set the sample size used when
you work with audio files:

DV Audio Pattern

Unlocked Audio
Locked Audio

•

16 Bit is for CD-quality audio.

•

24 Bit is for work with higher resolution audio.

DV Audio Pattern works with all devices. However,
because some devices check the DV Audio Pattern
setting before transferring or recording, you should
select the DV Audio Pattern setting expected by your
device.
•

Unlocked Audio allows some imprecision in the
audio sample rate, with a variation of up to +/– 25
audio samples per frame.

•

Locked Audio keeps the audio clock locked
precisely to the video clock, so exactly the same
number of audio samples and video frames are
recorded or transmitted in each cycle of the phase
relationship.

Render Sample Rate High and Slow
Conversion Quality Balanced
Low and Fast

Allows you to set the conversion quality of all nonreal-time sample rate conversions.

Convert Sample
Always
Rates When Playing Never

Allows you to choose whether or not to perform the
conversion rate:
•

Never plays the segments not set at the sample
rate as silence.

•

Always makes the system attempt to perform a
sample rate conversion on-the-fly. Although the
resulting audio quality might not be useful for a
finished project, it can be useful during an editing
session since it prevents audio from playing back
with silence.

For information on changing the sample rate for
individual sequences and audio clips, see “Changing
the Sample Rate” in the Help.

Appendix 1 Settings Options

Table 2

Audio Project Settings (Main Tab) (Continued)

Setting

Options

Description

Show Mismatched
Sample Rates as
Different Color

Yes
No

Allows you to identify a specific sample rate by color
if you have a sequence with several different sample
rates.

Real-Time Audio
Dissolves

Disabled
Enabled

Allows you to play audio dissolves (also called
crossfades) as real-time effects. Select Disable if you
experience an audio performance delay on your
system.

Dissolve Midpoint
Attenuation

Const Power –3dB
Linear –6dB

Sets the method used for audio dissolves:

Optical Connection

ADAT
TOSLINK

•

Const Power –3dB uses constant power to
maintain a consistent sound level through the
midpoint of the dissolve.

•

Linear –6dB uses a linear gradient to maintain a
consistent amplitude through the midpoint of the
dissolve.

Allows you to select an output for use with an optical
connection.

Audio Project Settings - Input Tab

The options that appear in this tab depend on your audio configuration
and the audio hardware installed on your system. Your options might differ
from those listed here.

Table 3
Setting
Input Gain

Options

Audio Project Settings (Input Tab)
Description
Allows you to calibrate the volume of global audio
input.

Audio Project Settings

Table 3

Audio Project Settings (Input Tab) (Continued)

Setting

Options

Description

Input Source

ADAT
AES/EBU
DV
OHCI
RCA (–10dBu)
S/PDIF
TOSLINK
XLR (+4dBu)

Allows you to select the type of input.

Passthrough Mix Tool

Opens the Passthrough Mix tool, which allows you to
adjust the mix of tracks for monitoring audio input.

Appendix 1 Settings Options

Audio Project Settings - Output Tab

The options that appear in this tab depend on your audio configuration
and the audio hardware installed on your system. Your options might differ
from those listed here.

Table 4
Setting

Options

Audio Project Settings (Output Tab)
Description

Output Gain

Allows you to calibrate the volume of global audio
output.

Master Volume

Allows you to make global level adjustments for
output. These adjustments affect levels for all output
tracks to the speakers and to the record devices.

Bypass panel

Clip Gain
RT EQ
Auto Gain

Allows you to have the system ignore the volume
settings established with the audio tools when playing
back or recording a sequence:
•

Clip Gain bypasses the volume settings in the
Audio Mix tool.

•

RT EQ bypasses all EQ effects set in the Audio
EQ tool.

•

Auto Gain bypasses all Automation Gain effects
set in the Automation Gain tool.

These buttons function the same as the Bypass buttons
in the audio tools.

Audio Project Settings

Table 4

Audio Project Settings (Output Tab) (Continued)

Setting

Options

Description

Mix Mode Selection
Menu button

Stereo
Mono
Direct Out

Modifies the way that the system interprets audio
values during playback:

Stereo Mix Tracks

All or Timeline Track
Maps

Which Set of Track
Maps

•

Stereo mixes the currently monitored audio tracks
into a stereo pair.

•

Mono pans all the currently monitored tracks to
center. This mode also ignores pan effects.

•

Direct Out maps tracks directly to up to eight
channels of output. By default, Direct Out maps all
audio tracks in numerical sequence to existing
output channels. You can remap a track to any
channel by clicking the Channel Assignment
pop-up menu and selecting another channel.

Mix To 1 & 2
Mix To 3 & 4
Mix To 5 & 6
Mix To 7 & 8

Allows you to customize the mix of tracks with Stereo
selected in the Mix Mode Selection Menu button.

All
Timeline

Allows you to map the track and output channels:

Grp 1
Grp 2
Grp 3

The system sends a stereo mix to the two channels you
select. Material panned to the left will be sent to the
odd channel, and material panned to the right will be
sent to the even channel. The number of channels
available depends on the audio output you select.

•

All allows you to choose between all available
tracks.

•

Timeline allows you to assign output channels to
the tracks monitored in the Timeline.

Allows you to select which set of output tracks to map
to audio channels. Groups of tracks display in
multiples of 8, up to the maximum of 24 available
audio tracks.

Appendix 1 Settings Options

Audio Project Settings - Hardware Tab
The settings in this tab are for informational purposes only and list defaults
set by the system, depending on your audio hardware and configuration.

Table 5
Setting

Options

Audio Project Settings (Hardware Tab)
Description

Card

The type of audio card installed.

Peripheral

The type of peripheral audio device (audio interface)
attached to the system.

Slot #

The slot where the audio card is located.

Sync Mode

Sync is used for audio input and output to ensure the
audio sample clock is always in sync with the video
clock. This prevents long-term drift between audio and
video.
When you are working with video and digital audio
simultaneously, set your digital audio equipment to the
same video reference signal as your video equipment.

n
HW Calibration

-14dBFS
-18dBFS
-20dBFS

Changing the audio input selection
automatically selects the correct audio clock
source for audio sync.

Bin Settings

Bin Settings
Table 6
Option

Bin Settings Options
Description

Auto-Save interval n minutes Specifies the length of time between attempts to auto-save project
files. The default is 15 minutes.
To avoid interrupting an edit, the Avid system waits until the system is
inactive before auto-saving. Use the option “Force Auto-Save at” to
specify an interval at which the system interrupts an edit to make the
auto-save.
Inactivity period n seconds

Specifies the length of time the Avid system waits when the system is
inactive before automatically saving the project files. The default is 0
seconds.

Force Auto-Save at n minutes Specifies the maximum length of time between auto-saves. When the
system reaches this time, it auto-saves the project files even if it must
interrupt an edit to do so. The default is 30 minutes.
Maximum files in a project’s Specifies the total number of files stored in the Avid Attic folder.
attic
When a bin is saved, the Avid system copies the current version of the
bin to a special folder called the Avid Attic. The default is 30 files.
Keep more files if there are many editors working on the system. This
ensures that all the bins are backed up.
Max versions of a file in the
attic

Specifies the total number of single-bin copies stored in the Avid Attic
folder. This setting prevents filling the Avid Attic with too many
copies of one bin, at the risk of losing the others. The default is five
copies.

Double-click loads object in

Determines what happens when you double-click an object in the bin.

New Pop-up
Monitor

Creates a new Source pop-up monitor and automatically loads the clip
when you double-click an object in the bin.

Appendix 1 Settings Options

Table 6
Option

Bin Settings Options (Continued)
Description

Source or Record •
Monitor
•

When you have the Composer monitor stretched into two
monitors, loads the clip into the Source monitor or the sequence
into the Record monitor.
When you are using the single Composer monitor, loads the clip or
sequence into the existing Source pop-up monitor.

Enable edit from bin (Splice, Allows you to edit clips directly from a bin by selecting a clip and
Overwrite)
clicking the Splice-in or the Overwrite button.
Enable
SuperBin

Enables the SuperBin and its functions. See”Conserving Screen Real
Estate with the SuperBin” in the Help.

Capture Settings

Capture Settings
Capture Settings: General Tab
Table 7

Capture Settings Options (General Tab)

Option

Description

Stop deck after capture

Select this option if you want to stop the deck when the capture
operation is complete.

Pause deck after capture

Select this option if you want to pause the deck when the
capture operation is complete.

Preroll Method

Select one of four methods from the pop-up menu. For more
information, see ”Selecting the Preroll Method” in the Help.

Force unique clip names

Select this option if you want the Avid system to automatically
assign a clip name based on the bin’s name and to make sure
this name, or another name you select, is not already used by
any other object in the bin.

Activate bin window after
capture or logging

Select this option if you want the Avid system to change the
focus from the Capture Tool window to a bin window after
capturing or logging is complete. This allows you to
immediately start working in the bin.

Space bar stops capture

Select this option if you want to use the space bar to create clip
names during the capturing process. When you press the space
bar during a capture operation, the system stops capturing,
creates a clip from the capture material, and places the clip in
the active bin.

Capture across timecode breaks When this option is selected, the system captures sections of
discontinuous timecode on a tape as separate clips.
Deselect this option to make the system stop capturing and
report an error when it encounters a timecode break.

Appendix 1 Settings Options

Table 7

Capture Settings Options (General Tab)

Option

Description

Latency for external timecode
mode n frames

Use this setting to compensate for problems that could occur
when capturing with external timecode, as described in
”Capturing with External Timecode” in the Help.
If you notice that your captured media consistently starts on the
wrong frame (usually one or two frames off), use this option to
ensure that capturing starts on the correct frame. The option is
deselected by default.

Capture a single video frame
only

Select this option if you want the Avid editing application to
capture a single frame of video from your clip. When you click
the Record button, the Avid editing application captures the
currently displayed frame.

Ask before discarding a
canceled clip

Select this option if you want the Avid editing application to
query whether to discard the canceled clip, keep it, or try again.

Ask for name when a new tape Select this option if you want the Avid editing application to
is seen
query you for a name when it detects a new tape.
Pause deck while logging

When this option is selected, the deck pauses after you set an
OUT point while you log clips; this allows you time to type the
name of the clip. See ”Logging Directly into a Bin” in the Help.
Deselect this option to allow the camera or deck to continue
playing after you set an OUT point.

Capture Settings: Batch Tab
Table 8

Capture Settings Options (Batch Tab)

Option

Description

Optimize for disk space

When this option is selected, the system captures only the
exact amount of material in the master clips plus any
additional handles. The tape pauses and prerolls
independently for each master clip that is batch captured.

Capture Settings

Table 8

Capture Settings Options (Batch Tab) (Continued)

Option

Description

Optimize for batch speed

When this option is selected, the system speeds up batch
capturing by allowing the deck to continue to roll forward
between adjoining clips. To qualify for this operation, the
two adjoining clips must meet the following criteria:
•

There must be 5 seconds or less between the OUT point
of the first clip and the IN point of the second clip.

•

The two clips must have the same video resolution and
the same audio rate.

n
Switch to emptiest drive if current
drive is full

If you select this option, the system might occasionally
capture more than is required.

When this option is selected, the system switches to the
target media storage drive with the most available space
when the current target drive becomes full during batch
capturing. The system switches before starting to capture the
clip, based on the number of minutes in the clip. For
complete instructions, see ”Batch Capturing Clips” in the
Help.
If you do not select this option, capturing stops when a drive
becomes full.

Rewind tape when finished

When this option is selected, the system automatically
rewinds tapes after batch capturing is finished.

Eject tape when finished

When this option is selected, the tape ejects as soon as the
last shot from that tape has been used. This adds to efficiency
since you can do other tasks while the tape is being used and
yet still be alerted at the moment the tape is no longer
needed.

Log errors to the console and continue Select this option if you want the Avid editing application to
capturing
continue capturing if an error occurs during the capture
process.
Capture the tracks logged for each clip Select this option if you want the Avid editing application to
capture the tracks logged for each clip.

Appendix 1 Settings Options

Table 8

Capture Settings Options (Batch Tab) (Continued)

Option

Description

Use the audio sample rate logged for
each clip

Select this option if you want the Avid editing application to
use the audio sample rate logged for each clip.

Use the audio sample size logged for
each clip

Select this option if you want the Avid editing application to
use the audio sample size logged for each clip.

Use the video compression logged for
each clip

Select this option if you want the Avid editing application to
use the video compression logged for each clip.

Capture Settings: Edit Tab
Table 9

Capture Settings Options (Edit Tab)

Option

Description

Enable edit to timeline (splice,
overwrite)

Select this option to display the Splice-in Edit and Overwrite
Edit buttons in the Capture tool.

Handles

Indicate the amount of footage you want to capture before and
after the IN and OUT points of the clips (when capturing to
the Timeline only).

Capture Settings

Capture Settings: Media Files Tab
Table 10
Option

Capture Settings Options (Media Files Tab)
Description

Capture to a single file, 2 GB limit When this option is selected, capturing stops when the media
captured has taken up 2 gigabytes (GB) of storage space on the
media drive.
Capture to multiple files

When this option is selected, the system writes captured video or
audio to multiple files across multiple drive partitions. Select this
option for clips that might exceed the 2-GB file-size limit.

Maximum (default) capture time n
minutes

When this option is selected, the system preallocates space on the
drive partitions to accommodate the specified number of
minutes. (The preallocation can take a long time.)
The system captures for only the specified number of minutes; be
careful not to underestimate. The default is 30 minutes.

During capture, clip is updated in
MediaManager

(Windows Only) When this option, also known as “chunking,” is
selected, the media is sent in segments so that workgroup users
can begin accessing and using the media as soon as possible. For
more information, see the Avid Unity MediaManager Setup and
User’s Guide.

Do not select this option unless you are part of a
workgroup environment.

Segment length n

Select a segment size in minutes or select the maximum (2 GB).

Switch to emptiest drive
when n minutes left

When this option is selected, the system switches to another
storage drive when the specified amount of time remains.

Appendix 1 Settings Options

Capture Settings: DV Options Tab
Table 11
Option

Capture Settings Options (DV Options Tab)

Suboption

DV Scene Extraction

Description
When this option is selected, you can automatically
generate subclips and locators based on time-of-day
(TOD) information contained in the DV video format.
See ”DV Scene Extraction” in the Help.

Add Locators

Creates locator marks where the TOD information
breaks occur while capturing.

Create Subclips

Creates subclips where the TOD information breaks
occur while capturing.

Both

Creates locators and subclips where the TOD
information breaks occur while capturing.

Correction Settings
Table 12

Correction Settings Options

Option

Description

Saved Color Labels

Select an item from the pop-up menu to control how custom colors are named
in bins. For information on saving custom colors, see “Assigning Colors to
Bins” in the Help.

•

None

When selected, the system does not supply a name.

•

RGB

When selected, the system uses the 8-bit values for the red, green, and blue
components as the name.

•

Name

When selected, the system uses the name from the standard HTML color
scheme that most closely matches the color you are saving.

Deck Configuration Settings

Table 12

Correction Settings Options (Continued)

Option

Description

•

When selected, the system uses both the Name and the RGB information as the
name. This is the default option.

Name and RGB

Real Time Image
Updating

When this option is selected, the image in the active monitor updates on-the-fly
as you move controls in the Color Correction tool. This provides instant
feedback on your adjustments, but the updating process might not always be
smooth due to system processing limitations. This is the default option.

You can switch the current setting for Real Time Image Updating on and
off by pressing and holding the Alt key (Windows) or Option key
(Macintosh). If Real Time Image Updating is on, pressing and holding
the Alt key (Windows) or Option key (Macintosh) will turn updating off
temporarily. If Real Time Image Updating is off, pressing and holding
the Alt key (Windows) or Option key (Macintosh) will turn updating on
temporarily.

Eyedropper 3 x 3
Averaging

When this option is selected, the system calculates the color value to pick by
averaging the values of a 3 x 3 sample of pixels centered on the eyedropper’s
position. This is often useful for picking up a color accurately by sight because
it compensates for shifts in color value from one pixel to another. When this
option is deselected, the system selects the color value of the exact pixel at the
eyedropper’s position.

Show Eyedropper Info

When this option is selected, the numerical RGB values appear on the color
swatches in the Color Match controls.

Deck Configuration Settings
Table 13

Deck Configuration Options

Option

Description

Configuration name

Type a name for the configuration.

Add channel

Click to add a new channel box. Opens the Channel dialog box.

Appendix 1 Settings Options

Table 13

Deck Configuration Options (Continued)

Option

Description

Add deck

Click to add a deck or DV device. Opens the Deck Settings dialog
box.

Auto-configure

With a deck or DV device already connected to the system, you can
click Auto-configure to bypass the Deck Settings dialog box and
automatically configure a deck or DV device with the default
settings.

n
Verify configuration against
actual decks

Not all DV devices respond to the Auto-configure command.
Due to this limitation, Auto-configure selects only the generic
devices.

Select if you want the system to check the deck configuration
against the devices physically connected to the system.

Deck Settings
Table 14
Option

Suboption

Deck Settings Options
Description

Name

Type your custom name for the tape deck. The default name
matches the deck type.

Description

Enter notes about the deck.

Notes

Displays configuration information, supplied by Avid, about the
deck or DV device you have selected. Not all decks or devices
include this information. You can supply your own information in
the Description field, and then save the configuration.

Deck Settings

Table 14
Option

Suboption

Device

Deck Settings Options (Continued)
Description
Click the Manufacturer pop-up menu, and select your device
manufacturer. Click the Model pop-up menu, and select your
device model.
If your device does not appear in the list, click the Manufacturer
pop-up menu, and select Generic, and click the Model pop-up
menu, and select the type of device.
While you are capturing, if you continually see a message box that
reads “Fail to find preroll,” click the Model pop-up menu, and
select GenericDVBasicDevice-NTSC or GenericDVBasicDevicePAL

Address

For VLXi use only (see your VLXi documentation). If you are
using direct serial port deck control, this option is unavailable.

Preroll

Specifies how many seconds the tape rolls before capturing or
digital cut starts. The default is based on the type of videotape
recorder (VTR).

Fast Cue

Speeds up long searches if your decks can read timecode in fast
forward or rewind mode.
Switch to ff/rew When this option is selected, the system switches to fast forward
(seconds): n
or rewind if the target timecode is beyond the specified number of
seconds from your current location on the tape.
By default, the deck switches to fast forward or rewind to reach a
target timecode that is more than 60 seconds away.
If your deck shuttles very quickly, you can increase this number so
that the system uses fast cue only for long searches.
Switch to
Search
(seconds): n

When this option is selected, the system switches out of fast
forward or rewind when it is within the specified number of
seconds of the target timecode. By default, the system switches to
search mode when it is 60 seconds from the target timecode.

Appendix 1 Settings Options

Deck Preferences Settings
Table 15

Deck Preferences Options

Option

Description

When the deck contains
no tape Log as

Select the timecode format (Drop Frame or Non-drop Frame) for logging
clips when no tape is in the deck. When a tape is in the deck, the system
automatically uses the existing timecode format on the tape.

Allow assemble edit for
digital cut

When this option is selected, you can use the assemble-edit features in the
Digital Cut tool along with the assemble-editing capabilities of your
record deck. Select this option to record frame-accurate digital cuts
quickly and without striping entire tapes in advance. For more information
about digital cuts and assemble editing, see “Generating Output” in the
Help.

Stop key pauses deck

This option defines the function of the Stop key (space bar) on the
keyboard. Select this option to map the space bar to the Pause button on
the deck. Deselect this option to map the space bar to the Stop button.
If the videotape heads are down in “Stop key pauses deck” mode, pressing
the space bar brings up the heads and pauses the deck.
The Stop button in the Capture tool always stops the decks.

Shuttle holds speed

When this option is selected, the Shuttle button continues shuttling at a
constant speed instead of stopping when you release it.

Stop any paused decks
when quitting

When this option is selected, any paused decks are stopped when you quit
the Avidapplication. Selecting this option saves wear on the deck heads.

Poll deck during digital
cut

This option is selected by default. When it is selected, the Avid system
checks the deck for the current timecode and displays it in the timecode
window of the deck controller. If you see degraded image quality on your
digital cut (particularly visible as noise during black), deselect this option
and record the digital cut again. With the option deselected, the Record
button does not flash and the timecode display in the deck controller is not
updated for the duration of the digital cut.

Export Settings

Table 15

Deck Preferences Options (Continued)

Option

Description

DV Capture Offset
(frames) & Digital Cut
Delay

Type the number of frames by which you want to offset while you record
(capture).

Override Recommended Select this option to set a digital cut delay. See ”Using DV Digital Cut
Digital Cut Delay
Delay” in the Help.
Digital Cut Offset
(frames)

Type the number of frames by which you want to delay the digital cut.

Export Settings
See the following topics:
•

Export Settings Dialog Box Options

•

Export Settings: Quick Time Reference Options

•

Export Settings: Quick Time Movie Export Options

•

Export Settings: QuickTime Movie Settings

•

Export Settings: QuickTime Compression Settings

•

Export Settings: DV Stream Options

•

Export Settings: OMFI and AAF Options

•

Export Settings: AVI Settings (Windows Only)

•

Export Settings: AVI Video Compression Options (Windows Only)

•

Export Settings: Audio Options

•

Export Settings: Graphic Options

•

Export Settings: Graphic Format Options

Appendix 1 Settings Options

Export Settings Dialog Box Options
Table 16
Export As
Option

Export Settings Dialog Box Options

Description

OMFI 1.0
OMFI 2.0

Select one of these options to export a standard OMFI composition for transfer to a
third-party workstation that supports OMFI. You can choose to export composition
only, or embed the video and audio, or both. See ”Exporting Through OMF
Interchange” in the Help.

AAF

Select this option to create an Advanced Authoring Format (AAF) file.You can
choose to export composition only, or embed the video and audio, or both. See
”Exporting OMFI and AAF Files” in the Help.

QuickTime
Reference

Select this option to create a QuickTime reference movie. A QuickTime reference
movie contains pointers (links) to movie files. This is similar to exporting as
composition only. See ”Exporting As a QuickTime Reference Movie” in the Help.

DV Stream

Select this option to create a standard DV stream. The DV Stream format is often
used for distribution on a CD-ROM or over the Web. Use this option when
exporting video that will be combined or processed with other DV-formatted media.
Requires a video track. See ”Exporting Video in DV Stream Format” in the Help.

QuickTime
Movie

Select this option to create a self-contained QuickTime movie. See ”Exporting
QuickTime Movies” in the Help.

If you installed additional QuickTime Export formats, they appear in the popup menu with tildes (~) before their names. This indicates they have not been
qualified and are not supported by Avid.

AVI (Windows Select this option to export an AVI file through the Avid Codec for AVI or other
only)
compression tool. For more information, see Table 23 on page 51.
Audio

Select this option to export audio tracks in the WAVE format, SD2 (Macintosh
only), or AIFF-C audio format. See ”Exporting Tracks As Audio Files” in the Help.

Export Settings

Table 16
Export As
Option

Export Settings Dialog Box Options (Continued)

Description

Graphic

Select this option to export a single frame, a series of frames, or a file type that
supports multiple frames as a graphic file. Select a file type from the pop-up menu.
See “Exporting As a Graphic File” in the Help. For information about supported file
types, see “File Format Specifications” in the Help.

Avid Log
Exchange

Select this option to export the selected bin as a shot log file that complies with
Avid Log Exchange (ALE) specifications. For information about Avid Log
Exchange, see ”Converting Log Files with Avid Log Exchange (Macintosh)” in the
Help.

n
Tab Delimited

ALE and tab-delimited files include information for master clips and subclips
only. Information for other objects, such as group clips, sequences, and
precomputes, is not included.

Select this option to export the selected bin as a shot log file in the form of a tabdelimited ASCII text file.

Export Settings: Quick Time Reference Options
Table 17

Export Settings Dialog Box
(QuickTime Reference Options)

Option

Description

Use Marks

When this option is selected, the system uses current IN and OUT points
in the selected clip or sequence to determine starting and ending frames
for the export. To export the entire clip or sequence, deselect this option
or mark the entire clip or sequence.

Use Enabled Tracks

When this option is selected (default), the system uses tracks that are
enabled in the Timeline. To export all the tracks in the sequence, deselect
this option.

Appendix 1 Settings Options

Table 17

Export Settings Dialog Box
(QuickTime Reference Options) (Continued)

Option

Description

Flatten Video Tracks

When this option is selected, the composition is exported as one video
track. When this option is deselected, one QuickTime video track is
generated for each video track in the composition, and you cannot select
Fill Spaces with Black. Because most third-party applications do not
understand multiple QuickTime video tracks, it is a good idea to select
this option. This option is automatically selected if you selected the Fast
Draft Defaults and the Digital Mastering Defaults options.

Fill Spaces with Black

When this option is selected, blank spaces in video tracks are filled with
black in the QuickTime reference movie. Because QuickTime reference
movies do not recognize blank spaces, it is a good idea to select this
option. When this option is deselected, a QuickTime reference movie
might interpret spaces in the video track as gray or as the background of
the player. This option is automatically selected if you selected the Fast
Draft Defaults and Digital Mastering Defaults options.

Render All Video
Effects

When this option is selected, all unrendered video effects, including
matte keys and titles, are rendered before export. When this option is
deselected, any unrendered effects are ignored. This option is
automatically selected if you selected the Digital Mastering Defaults
option.

Export Settings

Table 17

Option

Export Settings Dialog Box
(QuickTime Reference Options) (Continued)

Description

Mixdown Audio Tracks When this option is selected, the audio tracks in the composition are
mixed to stereo files created at the same location as the movie. When this
option is deselected, the Quick Time Reference movie references the
original audio media. This option is selected automatically if you select
the Digital Mastering Defaults option.
If you select the Premix Audio Track option, you can also select an audio
format. Select the format that is supported by the application into which
you will be importing the QuickTime reference movie.
•

WAVE: Select this option to export audio tracks in the WAVE format
(.WAV file name extension). Nearly all Windows applications that
support sound use WAVE files. QuickTime also supports the WAVE
format.

•

AIFF-C: Select this option to export audio tracks in the industrystandard AIFF-C format, which is compatible with many third-party
sound editing and multimedia applications.

•

You can also select an Audio sample rate and Audio sample size.

Fast Draft Defaults

Select this option for a faster export. This option automatically selects
Flatten Video Tracks and Fill Spaces with Black. It automatically
deselects Render All Video Effects and Premix Audio Tracks.

Digital Mastering
Defaults

Select this option to render all video effects and to premix audio tracks
before exporting the file. This option automatically selects Flatten Video
Tracks, Fill Spaces with Black, Render All Video Effects, and Premix
Audio Tracks.

Use Network Media
References

When this option is selected, the exported movie uses the machine and
drive share name of the media drive in the QuickTime reference movie
instead of a drive letter. Select this option when the media files
referenced by the movie are accessed remotely over the network. If the
media files are stored on the same drive as the QuickTime reference
movie, you do not need to select this option. When this option is
deselected, you cannot select Add Shares for Media Drives.

Appendix 1 Settings Options

Table 17

Export Settings Dialog Box
(QuickTime Reference Options) (Continued)

Option

Description

Add Shares for Media
Drives

When this option is selected, the system creates a new drive share for
referenced media files stored on unshared network drives. The drive
share is hidden; that is, other users do not see the shared drive when
browsing your computer. You do not need to select this option when
media is stored on the same drive as the QuickTime reference movie.

Use Avid DV Codec

Deselect this option when you are working in a cooperative environment
where one or more non-Avid systems also have access to the media. This
option is selected by default. Select this option if the non-Avid systems
have the Avid DV Codec.

Pixel Aspect Ratio

The pixel aspect ratio allows you to apply a scaling to the video: square,
4:3 non-square, or 16:9 non-square. The pixel aspect ratio allows you to
control the display format without modifying the source file.
This feature creates metadata — additional data that is stored with the
QuickTime movie. Some applications, such as the QuickTime Player and
Avid ePublisher, can interpret this metadata and scale the image at
display time.
Pixel aspect ratio is useful for QuickTime reference movies because you
do not modify the source files of referenced movies. For example, if your
source movies are stored at the standard 720 x 486 for NTSC (720 x 576
for PAL), you can create two different QuickTime reference movies that
use the same referenced source files — one that uses 4:3 and another that
uses 16:9.

Export Settings

Export Settings: Quick Time Movie Export Options
Table 18
Option

Suboption

QuickTime Movie Export Options
Description

Use Marks

When you select this option, the system uses current IN and
OUT points in the selected clip or sequence to determine
starting and ending frames for the export. To export the
entire clip or sequence, deselect this option.

Use Enabled
Tracks

When you select this option, the system exports only the
currently enabled tracks for a selected sequence or clip. To
export all tracks in the sequence, deselect this option.

Same as Source

When you select this option, the system copies the media
files directly with no resolution change. This method is fast
and creates output that uses the same quality as your source
files. Selecting Same as Source is the best method to use if
you plan to process the video on another system, using a
third-party application like After Effects® or media cleaner®.
Use Avid DV
Codec

Deselect this option when you are working in a cooperative
environment where one or more non-Avid systems also have
access to the media. This option is selected by default.

Custom

When you select this option, the system decompresses the
files, processes them, and compresses the files at the
requested resolution. This method is slower and often loses
quality. You should only use the Custom option if you have
to directly export a clip or sequence in a particular file
format.

Format Options

Click the Format Options button to open the Movie Settings
dialog box. For more information, see ”Selecting QuickTime
Movie Format Options” in the Help.

Video and Audio

Select this option if you want to export both the audio and
video.

Appendix 1 Settings Options

Table 18
Option

QuickTime Movie Export Options (Continued)

Suboption

Description

Video Only

Select this option if you want to export only the video. For
example, use this option if you want to add effects in a thirdparty application or to use only the video in a multimedia
project.

Audio Only

Select this option to export only the audio. For example, use
this option if you want to use or enhance audio in a thirdparty application or you want to use the audio in a
multimedia project.

Video Format

Width x Height

Select this option to set the width of the clip.
•

Size to Fit: This option sizes to fit the specified width
and height. You can type in values or select from the
predefined values in the Fast menu.

n
•

Color Levels

The values in the Fast menu suggest a typical use for
each size. For example, 320 x 240 (Internet video,
large).

Crop/Pad: This option instructs the system not to scale
or resize the frames. If necessary, it adds black lines to
the top and bottom of the frame to achieve the correct
size.

Select this option to set the color to RGB or ITU-R 601.

Export Settings

Table 18
Option

QuickTime Movie Export Options (Continued)

Suboption

Description

File Field Order

These options allow you to select the field that is the upper
field during export. For 24p or 25p projects, these options do
not appear; all fields are automatically exported as
progressive (still) frames.
•

Odd (Upper Field First): Select this option if you are in
a PAL project. In forming the export frame, Field 1
becomes the upper field, that is, Field 1's lines become
the odd-numbered lines in the frame (counted starting
from 1). Field 2's lines become the even-numbered lines.

•

Even (Lower Field First): Select this option if you are in
an NTSC project. In forming the export frame, Field 1
becomes the lower field, that is, Field 1's lines become
the even-numbered lines in the frame. Field 2's lines
become the odd-numbered lines.

•

Single Field: Select this option if you want the output file
to consist of only Field 1. In this case, the single field of
243 lines for NTSC (288 lines for PAL) is resized to fit
the frame as specified in the width and height selection.

Create Preview

Select this option if you want to create a preview of the
QuickTime movie.

Pixel Aspect Ratio

Appendix 1 Settings Options

Export Settings: QuickTime Movie Settings
Table 19
Option

QuickTime Movie Settings

Suboption

Description

Video
Settings

Compression Settings See ”Selecting QuickTime Movie Format Options” in
the Help.

Filter

Choose Video Filter

Size

Export Size Settings QuickTime allows you to set a size, but Avid
recommends you set the size in the Width and Height
text boxes of the Export Settings dialog box. Both
settings have the same effect, and the QuickTime size
setting overrides the Avid size setting.

Allows you to apply a single effect filter during an
export.

Sound

Settings

Compressor

Allows you to select a sound compression setting for
your export, along with other options.

Prepare for
Internet
Streaming

Fast Start

Allows a movie to begin playing over the Internet
without downloading the entire movie first. This method
of playing movies over the Internet is referred to as
progressive download or HTTP streaming. It does not
require a streaming video server.

Fast Start Compressed header

A better choice for progressive downloading. This
option works the same as Fast Start (see previous entry),
but compresses the header information. The header is the
portion of the file that allows the movie to start playing
before the entire movie is downloaded. Compressing the
header allows it to download faster. This is important for
large movies (movies that are longer than several
minutes).

Export Settings

Table 19
Option

QuickTime Movie Settings (Continued)

Suboption

Description

Hinted Streaming

Select this option if you are putting the exported file on a
streaming video server. The file does not stream without
a hint track for each track in the movie. The hint tracks
allow the streaming video server to split the file into
packets for the streaming.
A file with hinted streaming also plays as a progressive
download. However, it will probably play more slowly
than a Fast Start movie because it contains additional
information and is therefore larger.
For additional options, click Track Hinter Settings. The
RTP (Real Time Protocol) Track Settings dialog box
opens. For more information, see QuickTime Help at:
www.apple.com/quicktime/tools_tips/tutorials/
hinttracks.html

Export Settings: QuickTime Compression Settings
Table 20

QuickTime Compression Settings

Format
Options

Suboption

Description

Compressor

Animation

For high-quality, lossless compression (in which no picture
information is lost).
Uses a run-length-encoded (RLE) scheme to encode each pixel,
resulting in a file that is 70% to 95% the size of the
uncompressed file.
At maximum quality, this is a lossless compression (in which
no picture information is lost). See the description of the
Quality option in this table.

Appendix 1 Settings Options

Table 20
Format
Options

QuickTime Compression Settings (Continued)

Suboption

Description

Avid DV

For compression compatible with Avid Xpress DV and Avid
NewsCutter® products or with Avid Meridien products with the
DV/MPEG option. Allows fast import.

Avid Meridien
Compressed

For compression compatible with Avid Meridien products.
Allows fast import. See ”Using Avid Codecs for QuickTime” in
the Help.

Avid Meridien
Uncompressed

For 1:1 resolution used in Avid Meridien products. Allows fast
import. See ”Using Avid Codecs for QuickTime” in the Help.

For export at the same resolution as your current clips,
select Same as Source instead of Custom. See ”Exporting
QuickTime Movies” in the Help.

Avid ABVB
NuVista
(Windows only)

For backward compatibility with systems using AVRs.

BMP

For internal encoding of individual frames as BMP (Windows
native bitmap format) files.

Cinepak

For export at low resolution where high quality is not an issue,
such as presentations or educational uses, or for small-screensize playback from CD-ROM or hard drive. Uses compression
algorithm optimized for CD-ROM playback.

Component
Video

For high-quality, lossless compression (in which no picture
information is lost). Uses the same algorithm as the Animation
method but saves the file in YUV RLE format, which separates
the luminance from the chrominance. All QuickTime
applications can read this format, but only some can write to
this format.

DV-NTSC
DVC PRO-PAL
DV-PAL

For storing original or edited DV (digital video) footage in
QuickTime files. DV-NTSC and DVC PRO-PAL do 4:1:1
chroma sampling; DV-PAL does 4:2:0 chroma sampling.

Export Settings

Table 20
Format
Options

QuickTime Compression Settings (Continued)

Suboption

Description

Graphics

For export at low resolution where high quality is not an issue,
such as presentations or educational uses, or for small-screensize playback from CD-ROM or hard drive. Uses a limited
color palette version (16 colors) of Animation compression.

H.261

For low-quality video conferencing.

H.263

For video conferencing. Optimized for low data rates and low
motion.

Intel Indeo
Video 4.4
(Windows only)

For export at low resolution where high quality is not an issue,
such as presentations or educational uses, or for small-screensize playback from CD-ROM or hard drive. Files do not export
at 720 x 540 and 720 x 486 frame sizes, even though these sizes
are listed.

Motion JPEG A

For medium-quality, lossy compression (in which some picture
information is lost) requiring much storage space and
additional hardware support for real-time playback.
Motion JPEG (M-JPEG) is a variant of the ISO JPEG
specification for use in digital video. Considered the standard
for Motion JPEG, format A is supported by chips from Zoran
Corporation and C-Cubed, Inc.

Motion JPEG B

For medium-quality, lossy compression (in which some picture
information is lost) requiring much storage space and
additional hardware support for real-time playback.
Motion JPEG (M-JPEG) is a variant of the ISO JPEG
specification for use in digital video. Format B cannot use the
markers that ISO JPEG and format A do; supported by chips
from LSI Logic Corporation.

None

Does not compress the file; results in very large files.

Appendix 1 Settings Options

Table 20
Format
Options

QuickTime Compression Settings (Continued)

Suboption

Description

Photo - JPEG

For medium-quality, lossy compression (in which some picture
information is lost) requiring moderate storage space and data
throughput on playback.
Uses the Joint Photographic Experts Group (JPEG) algorithm
for image compression; results in files that are 20% to 30% the
size of the uncompressed files. Some data is lost during
compression, and the export process takes longer to complete
(typically six times longer than the Animation compression, for
example).

Planar RGB

For high-quality, lossless compression (in which no picture
information is lost). Results in large files.
Encodes each image plane separately, using a run-lengthencoded (RLE) scheme. Used primarily to support Photoshop
files, which are usually stored using a planar run-length
algorithm.

PNG

Portable Network Graphics, used to replace GIFSM as a bitmap
still-image format for newer Internet browsers.

Sorenson Video

For medium-quality, lossy compression (in which some picture
information is lost) at a low data rate and low storage
requirements. This codec is particularly suited for Web or CDROM delivery.

Sorenson
Video 3

An improved version of the Sorenson Video codec. Movies
created with this codec require the QuickTime 5 viewer.

TGA

Saves exported file in TARGA® format.

TIFF

Tagged Image Format, a cross-platform bitmap still-image
format, used often in pre-press production.

Video

For export at low resolution where high quality is not an issue,
such as presentations or educational uses, or for small-screensize playback from CD-ROM or hard drive.

Export Settings

Table 20
Format
Options

Suboption

Colors

QuickTime Compression Settings (Continued)

Description
Select the colors that you want included in the exported file.
The selections vary according to the codec you select. Some
codecs have only one color setting.
If you select the Sorenson codec, Millions of Colors is selected
automatically.
Do not select the option Millions of Colors +. This option
creates an alpha channel that is not used for export from your
Avid system.
If you use one of the Avid Codecs for QuickTime with other
applications that support alpha channels, you can select the
Millions of Colors + option to create an alpha channel that can
be imported into your Avid system.

Quality

Drag this slider to adjust the image quality for the exported file.
The selections vary according to the codec you select. Some
codecs have only one Quality setting.
This slider does not adjust quality for the Avid Codecs for
QuickTime.
If you select Avid Meridien Compressed or Uncompressed, a
dialog box opens, allowing you to select a resolution.

Motion

Frames per
second

Select a frame rate from the pop-up menu. Select 30 to
maintain full-motion video/animation. A frame rate of 29.97
conforms to NTSC video frame-rate standards. Select 25
for PAL.

Key frame every Use this option to have the system use keyframes as a reference
n frames
for subsequent frames. Enter a numeric value to specify the
frequency of the keyframes.
Limit data rate to Allows you to specify the target data rate for the compressed
n KBytes/sec
movie.

Appendix 1 Settings Options

Export Settings: DV Stream Options
Table 21

Export Settings Dialog Box
(DV Stream Options)

Option

Description

Use Marks

When you select this option, the system uses current IN and OUT points in the
selected clip or sequence to determine starting and ending frames for the export.
To export the entire clip or sequence, deselect this option.

Use Enabled
Tracks

When this option is selected (default), the system uses tracks that are enabled in
the Timeline. To export the entire clip or sequence, deselect this option.

Format Options

Click this button to select a video format and an audio format for export.

Color Levels

Select this option to set color to RGB or ITU-R 601.

File Field Order

These options allow you to select the field that is the upper field during export.
For 24p or 25p projects, these options do not appear; all fields are automatically
exported as progressive (still) frames.
•

Odd (Upper Field First): Select this option if you are in a PAL project. In
forming the export frame, Field 1 becomes the upper field, that is, Field 1's
lines become the odd-numbered lines in the frame (counted starting from 1).
Field 2's lines become the even-numbered lines.

•

Even (Lower Field First): Select this option if you are in an NTSC project.
In forming the export frame, Field 1 becomes the lower field, that is, Field 1's
lines become the even-numbered lines in the frame. Field 2's lines become
the odd-numbered lines.

•

Single Field: Select this option if you want the output file to consist of only
Field 1. In this case, the single field of 243 lines for NTSC (288 lines for
PAL) is resized to fit the frame as specified in the width and height selection.

Export Settings

Export Settings: OMFI and AAF Options
Table 22

Export Settings Dialog Box
(OMFI and AAF Settings Options)

Option

Suboption

Description

Export As:

OMF 1.0

Select this option if the application to which you are exporting
does not support OMFI Version 2.0.

OMF 2.0

Select this option if the application to which you are exporting
supports OMFI Version 2.0. If you are not sure, select
OMF 1.0.

AAF

Select this option if the application to which you are exporting
supports AAF.

Include All Video
Tracks in
Sequence

Select this option to include all video tracks from the
sequence in the OMFI or the AAF file. The Video Details tab
appears.

Include All Audio
Tracks in
Sequence

Select this option to include all audio tracks from the
sequence in the OMFI or the AAF file. The Audio Details tab
appears.

The following options appear in both the Video Details tab and the Audio Details tab:
Export Method:

Link to Current
Media

Select this option when you want to export an OMFI or an
AAF composition with links to the media in its current
location. Media is not embedded in the file.

This may also be referred to as Composition Only.

Copy Media and
Link to Copied
Media

Select this option when you want to copy media to another
drive and export an OMFI or an AAF composition with links
to the copied media.

Consolidate and
Link to
Consolidated
Media

Select this option when you want to export an OMFI or an
AAF composition with links to media that you have
consolidated. For more information about consolidating, see
”Consolidating Media” in the Help.

Appendix 1 Settings Options

Table 22

Option

Destination
Folder:

Export Settings Dialog Box
(OMFI and AAF Settings Options) (Continued)

Suboption

Description

Embed Media

Select this option to include (embed) video or audio media in
the OMFI or the AAF file.

Consolidate and
Embed Media

Select this option to first consolidate, then embed media in the
OMFI or the AAF file. Select the drive from the Target Drives
list. The default handle length is 60 frames. If you want to
change the default, type the length of the handles, in frames.
For more information about consolidating, see ”Consolidating
Media” in the Help.

Set

Click Set to select the drive and folder to which you want to
copy the media files.

Target Drive for
Consolidate:

Select the drive where you want to create the consolidated
media files.

Handle Length: nn
Frames

Enter the number of frames you want to use as handles for
consolidated clips. Handles refer to material outside the IN
and OUT points and are used for dissolves and trims with the
new, shorter master clips. The default is 60.

The following options appear in the Audio Details tab only:
Include Rendered
Audio Effects
Convert Audio
File Format to:

Select this option to render audio effects during export.

Project rate,
Select this option if your sequence has a mix of sample rates
32 kHz, 44.1 kHz, and you need to create a single sample rate. (You set the
or 48 kHz
project rate in the Audio Project Settings window. For more
information see ”Adjusting Audio Project Settings” in the
Help.) You can also use this option to change the sample rate
if the application to which you are exporting does not support
the current sample rate.

Export Settings

Table 22

Option

Suboption

Convert Audio
File Format to:

Export Settings Dialog Box
(OMFI and AAF Settings Options) (Continued)
Description
If your sequence has a mix of audio file formats, and you want
to embed media, you must choose a single audio file format.
Audio files are converted to this format during export. This
choice is optional if you want to consolidate and link media.

WAVE

Select WAVE (.WAV file name extension) to link to or
embed audio tracks in the WAVE format. Nearly all Windows
applications that support sound use WAVE files. QuickTime
also supports the WAVE format.

AIFF-C

Select AIFF-C to link to or embed audio tracks in the
industry-standard AIFF-C format. Note that your Avid system
does not compress audio media.

SD II
Select SD II to link to audio tracks in the SD II
(Macintosh only) (Sound Designer II) format, for export to AudioVision or
another product that supports the SD II format. SD II audio
media cannot be embedded in an OMFI or an AAF file. The
converted files are located in a folder labeled Exported Audio
Media at the top level of the drive with the most
available space.

Export Settings: AVI Settings (Windows Only)
Table 23

Option
Use Marks

Suboption

Export Settings Dialog Box
(AVI Settings Options)
Description
When this option is selected, the system uses current IN and
OUT points in the selected clip or sequence to determine
starting and ending frames for the export. To export the entire
clip or sequence, deselect this option.

Appendix 1 Settings Options

Table 23

Option

Description

Use Enabled
Tracks

When this option is selected, the system exports only the
currently enabled tracks for a selected sequence or clip. To
export all tracks in the sequence, deselect this option.

Video and Audio

Select this option if you want to export both the audio and the
video.

Video Only

Select this option if you want to export only the video.

Audio Only

Select this option if you want to export only the audio. For
example, use this option if you want to use or enhance audio in
a third-party application or use the audio in a multimedia
project.

Video
Format

Suboption

Export Settings Dialog Box
(AVI Settings Options) (Continued)

Codec Options

When you click this button, the Video Compression dialog box
opens. For more information, see Table 24 on page 54.

Width x Height

This option allows you to set the width and height of the clip.
Click the Fast Menu button, and select from a list of standard
dimensions.
•

Scale to Fit: This option sizes to fit the specified width and
height.

•

Crop/Pad: Crop/Pad never scales or resizes frames. If
necessary, the system adds black lines to the top and bottom
to achieve the correct size.

Color Levels

This option allows you to set color to RGB or ITU-R 601.

FPS

This option sets the frame-per-second (fps) rate for AVI export.

Export Settings

Table 23

Option

Audio
Format

Export Settings Dialog Box
(AVI Settings Options) (Continued)

Suboption

Description

File Field Order

These options allow you to choose the field that will be the
upper field during export. For 24p or 25p projects, these options
do not appear; all fields are automatically exported as
progressive (still) frames.
•

Odd (Upper Field First): Select this option if you are in a
PAL project. In forming the export frame, Field 1 becomes
the upper field, that is, Field 1's lines become the oddnumbered lines in the frame (counted starting from 1).
Field 2's lines become the even-numbered lines.

•

Even (Lower Field First): Select this option if you are in
an NTSC project. In forming the export frame, Field 1
becomes the lower field, that is, Field 1's lines become the
even-numbered lines in the frame. Field 2's lines become
the odd-numbered lines.

•

Single Field: Select this option if you want the output file to
consist of only Field 1. In this case, the single field of 243
lines for NTSC (288 lines for PAL) is resized to fit the
frame as specified in the width and height selection.

Mono

Exports audio to a single channel.

Stereo

Exports audio to two channels.

Sample Rate

Select this option to select the sample rate.
•

Project Rate: The native rate of the chosen audio media
(44.1 kHz or 48 kHz).

•

22.050 kHz: Half the sample rate of 44.1-kHz media.

•

11.025 kHz: One quarter the sample rate of 44.1-kHz
media.

Appendix 1 Settings Options

Table 23

Option

Export Settings Dialog Box
(AVI Settings Options) (Continued)

Suboption

Description

Sample Size

Select this option to select the sample size.
•

16 bit: When this option is selected, the system exports a
16-bit audio sample size (currently the industry-standard bit
rate for audio).

•

8 bit: When this option is selected, the system exports an 8bit audio sample size for use in third-party systems that do
not support 16-bit. This option is also used to minimize the
data throughput requirements (for example, to improve
playback in multimedia projects).

Export Settings: AVI Video Compression Options (Windows
Only)
Table 24

AVI Video Compression Dialog Box
Options

Option

Suboption

Description

Compressor

Cinepak Codec
by Radius

For export at low resolution where high quality is not an issue,
such as presentations or educational uses, or for small-screensize playback from CD-ROM or hard drive. This codec uses a
compression algorithm optimized for CD-ROM playback.
Click Configure to open the Cinepak for Windows 32
configuration dialog box. You can then choose to compress to
color or to black and white.

Microsoft Video 1 Use this option when you create files that will play with Video
for Windows.
Click Configure to open the Configure dialog box. You can then
adjust the quality of the compressed file using the Temporal
Quality Rate slider.

Export Settings

Table 24

Option

AVI Video Compression Dialog Box
Options (Continued)

Suboption

Description

Full Frames
(Uncompressed)

For high-quality export in which no picture information is lost.
This option does not compress the file and can result in very
large files. To export an uncompressed file at 1:1, use the Avid
Codec for AVI.

Compression
Quality Slider

Use this option to adjust compression quality for certain codecs.
This slider does not adjust quality for the Avid AVI codec.

Key Frame
Every n frames

Use this option to have the system use keyframes as a reference
for subsequent frames. Enter a numeric value to specify the
frequency of the keyframes. This option is not available for the
Avid Codec for AVI or for uncompressed files.

Data Rate
n KB/sec

Use this option to set a specific data rate for the compressed file,
in kilobytes per second. This option is not available for the Avid
Codec for AVI or for uncompressed files.

Export Settings: Audio Options
Table 25

Export Settings Dialog Box
(Audio Options)

Option

Description

Mono
Stereo

Select this option to export audio tracks in either mono or stereo.

WAVE

Select this option to export audio tracks in the WAVE format (.wav file name
extension). Nearly all Windows applications that support sound use WAVE files.
QuickTime also supports the WAVE format.

Appendix 1 Settings Options

Table 25

Export Settings Dialog Box
(Audio Options) (Continued)

Option

Description

AIFF-C

Select this option to export audio tracks in the industry-standard AIFF-C format,
which is compatible with many third-party sound editing and multimedia
applications.

Sample Size

Select one of the following:

Sample Rate

•

16 bit

•

24 bit

Select one of the following:
•

Project Rate

•

32 kHz

•

44.1 kHz

•

48 kHz

You can use this option if your sequence has a mix of sample rates and you need to
create a single sample rate. (You set the project rate in the Audio Project Settings
dialog box. For more information, see ”Adjusting Audio Project Settings” in the
Help.) You can also use this option to change the sample rate if the application to
which you are exporting does not support the current sample rate.

Export Settings

Export Settings: Graphic Options
Table 26

Option

Export Settings Dialog Box
(Graphic Options)

Suboption

Description

Use Marks

When this option is selected, the system uses current IN and
OUT points in the selected clip or sequence to determine
starting and ending frames for the export. To export the entire
clip or sequence, deselect this option.

Use Enabled
Tracks

When this option is selected, the system exports only the
currently enabled tracks for a selected sequence or clip. To
export all tracks in the sequence, deselect this option.

Graphic Format

Width x Height

Format
Options

This option allows you to select a graphic format for export.
The Format Options button allows you to set export
parameters.
This option allows you to set the width and height of the clip.
Click the Fast Menu button, and select from a list of standard
dimensions.
•

Scale to Fit: This option sizes to fit the specified width
and height.

•

Crop/Pad: Crop/Pad never scales or resizes frames. If
necessary, the system adds black lines to the top and
bottom to achieve the correct size.

Color Levels

This option allows you to set color to RGB or ITU-R 601.

Sequential Files

This option produces a series of still images, numbered
sequentially. The fps rate of the source file determines the
number of still image files that are produced.

Appendix 1 Settings Options

Table 26

Option

Export Settings Dialog Box
(Graphic Options) (Continued)

Suboption

File Field Order

Description
This option allows you to choose the field that will be the
upper field during export. For 24p or 25p projects, these
options do not appear; all fields are automatically exported as
progressive (still) frames.
•

Odd (Upper Field First): Select this option if you are in a
PAL project. In forming the export frame, Field 1
becomes the upper field, that is, Field 1's lines become the
odd-numbered lines in the frame (counted starting from
1). Field 2's lines become the even-numbered lines.

•

Even (Lower Field First): Select this option if you are in
an NTSC project. In forming the export frame, Field 1
becomes the lower field, that is, Field 1's lines become the
even-numbered lines in the frame. Field 2's lines become
the odd-numbered lines.

•

Single Field: Select this option if you want the output file
to consist of only Field 1. In this case, the single field of
243 lines for NTSC (288 lines for PAL) is resized to fit the
frame as specified in the width and height selection.

Export Settings: Graphic Format Options
Table 27
File Type

Parameters

Alias

BMP

Graphic Format Options Settings
Description
This option creates files that are compatible with
Alias™/Wavefront™ systems.

Windows

This option creates files that are compatible with systems
running the Microsoft Windows operating system.

OS/2

This option creates files that are compatible with systems
running the IBM® OS/2® operating system.

Export Settings

Table 27
File Type

Graphic Format Options Settings (Continued)

Parameters

Chyron

Cineon

Description
Developed by Chyron Corporation for use with video
frame buffers of Chyron® character generator titles.

Blackpoint
(Windows)
Black Point
(Macintosh)

This option allows you to adjust a film exposure value
that corresponds to filming a 2% black card. Values can
be between 0 and 1022. The default value of 0 is adequate
for most uses.

Whitepoint
(Windows)
White Point
(Macintosh)

This option allows you to adjust a film exposure value
that corresponds to filming a 90% white card. Values can
be between 1 and 1023.

Gamma

If the files came from and will be transferred back to a
Cineon™ system, use a white point of 1023. The default
value of 685 is appropriate if the final destination is not a
Cineon system — for example, a video display.
This option specifies an adjustment to correct for any
gamma inconsistencies in the output display. Values can
be between 0.01 and 100.0.
Use a value of 1.0 (the default) for images displayed on a
PC monitor. Use a value of 0.59 for a Silicon Graphics®
or a Macintosh monitor.
Use a value of 0.45 for ITU-R 601 (CCIR 601) video.

ERIMovie

Pack 24 bits

This option controls whether the image data is packed
into 24-bit color depth (compressed) or is saved as 32-bit
(raw) color depth.

Framestore

The Framestore format is a 16-bit video image format
used on the Amiga® in conjunction with Newtek's
Video Toaster™ hardware. HIIP supports both
compressed and uncompressed Framestore formats.

IFF

Developed by Electronic Arts. IFF (Interchange File
Format), or more specifically IFF-ILBM (InterLeaved
BitMap), is the standard file format by which applications
on the Amiga platform transfer image files.

Appendix 1 Settings Options

Table 27

Graphic Format Options Settings (Continued)

File Type

Parameters

Description

JPEG

Quality

This option controls the output file size and quality.
Higher values produce better images but larger file sizes.
Conversely, lower values reduce the image quality but
result in smaller file sizes.

Baseline

This option is selected by default. To see if this option is
required, see the documentation that came with your
JPEG-supported applications.

Progressive

This option allows you to save progressive JPEG files,
which divide the file into a series of scans of the image
that increase in quality. Each scan progressively
improves the recognizability of the image.
Progressive JPEG files can be recognized only by
applications with progressive JPEG support, such as
some Web browsers.

OMF

Compression

This option controls the compression ratio and, therefore,
the size of the file. You can choose from all the
compression ratio options used by the Avid system when
recapturing. For more information on Avid compression
ratios, see ”Main Topics: Resolutions and Storage
Requirements” in the Help.

Frame Rate

These options appear when you select a compression
ratio that allows you to select either NTSC or PAL. When
you select an option, the system displays the required
image size and the default frame rate.

NTSC/PAL

PCX

Photoshop

Developed by Zsoft Corporation for use with their
PC PaintBrush™ paint software.
Compression

This option controls the size of the file on disk. Disabling
compression creates larger files on disk.

Export Settings

Table 27

Graphic Format Options Settings (Continued)

File Type

Parameters

Description

PICT (Windows
only)

Create
MacBinary
header

This option creates a file with a MacBinary header.

This option allows you to save the file in the Pixar®
format.

Pixar

PNG

MacBinary is a file format for representing all the
information in a Macintosh file in one binary file. It is a
compact file format, useful for storing a Macintosh file
on a non-Macintosh system for later retrieval. Use a file
expander utility to decode a MacBinary file once it is
back on a Macintosh system.

Color Depth

The 8 bits option saves 8-bit files. The 16 bits option
saves 16-bit files. The Automatic option saves the image
in the same depth as the original loaded image.

Interlaced

This option allows you to save the file for progressive
display, similar to progressive JPEG files. As the file is
transmitted, the recognizability of the image improves.
Interlaced PNG files can be recognized only by
applications with interlaced PNG support, such as some
Web browsers.

QRT

Developed on the Amiga personal computer to run on
several operating systems. Used by many ray tracing
programs, such as DKB Ray Trace and the QRT ray
tracer.

Rendition

Developed by Numerical Design, Ltd.

SGI

Color Depth

The 8 bits option saves 8-bit files. The 16 bits option
saves 16-bit files. The Automatic option saves the image
in the same depth as the original loaded image.

Softimage

Developed by Softimage®, Inc. for use in their Softimage
software.

Sun Raster™

Developed by Sun Microsystems, Inc. and supported
mainly in Sun applications.

Appendix 1 Settings Options

Table 27

Graphic Format Options Settings (Continued)

File Type

Parameters

Description

TARGA

Color Depth

This option controls how images are saved. The 5-bit
option saves data in Targa 16 format. The 8-bit option
saves data in Targa 24/32 format.

Compression

This setting controls the size of the file on disk. Disabling
compression creates larger files on disk.

Color Depth

The 8 bits option saves 8-bit files. The 16 bits option
saves 16-bit files. The Automatic option saves the image
in the same depth as the original loaded image.

Compression

This setting controls the size of the file on disk. With
None, image data is not compressed and can produce
large file sizes. RLE (run length encoded) produces
relatively small and fairly portable files. JPEG produces
files that can vary in size, depending on the quality you
have set using the JPEG quality slider. The higher the
quality setting, the larger the file size.

JPEG Quality

This option adjusts the image quality of the JPEG file on
a sliding scale from 0 to 100. The higher the number you
set, the higher the image quality of the JPEG file.

Format Type

This option specifies one of two output file formats
supported by Wavefront (either RLA or RLB).

Color Depth

The 8 bits option saves 8-bit files. The 16 bits option
saves 16-bit files. The Automatic option saves the image
in the same depth as the original loaded image.

Gamma

This option specifies an adjustment to correct for gamma
differences between Macintosh and Windows PC output
display. This option is intended for cross-platform
applications that require adjustment.

TIFF

Wavefront

To see if you need to adjust this value, check the
documentation that came with your Wavefront
application. Usually, you can use the default
setting.

Film and 24p Settings

Table 27
File Type

Graphic Format Options Settings (Continued)

Parameters

XWindows

YUV

Description
Developed by the MIT X Consortium, and is supported
by many X Window System™ applications on
workstations and some personal computers.

Format

This option controls the video format of saved images. If
set to NTSC, NTSC video format (720 x 486) is used. If
set to PAL, PAL video format (720 x 576) is used.
Images are either padded with black or cropped.

Smooth YUV

This option enhances the fidelity of images saved in YUV
color space (if originating in RGB color space).

Film and 24p Settings
Table 28

Film and 24p Setting Dialog Box Options

Option

Description

Edit Play Rate

Selects the play rate for Timeline play. See “Film
Settings - Edit Play Rate Options” on page 64.

For a 23.976p project the Edit Play Rate is
automatically set at 23.976 fps.

Ink Number Format Select one of these industry-standard ink number
formats to meet your production lab standards and your
film format.
Ink Number
displayed as

Select the format for the ink number display in bins and
cut lists.

Auxiliary Ink
Format

Select the format for the auxiliary ink number (this is
useful for tracking additional information for different
film gauges). The choices are the same as for Ink
Number Format.

Appendix 1 Settings Options

Table 28

Film and 24p Setting Dialog Box Options

Option

Description

Auxiliary Ink
displayed as

Select the format for the auxiliary ink number display.
The choices are the same as for Ink Number
displayed as.

Film Settings - Edit Play Rate Options
Table 29
Project Type

Option

Description

24p PAL

24 fps

Selects playback at 24 fps of all output except for digital cut

25 fps

Selects playback at 25 fps of all output except for digital cut

23.976 fps

Selects playback at 23.976 fps of all output except for digital cut

24.000 fps

Selects playback at 24 fps of all output except for digital cut

24p NTSC

Edit Play Rate Options

General Settings

General Settings
Table 30

General Settings Options

Option

Description

Project Format

This option displays the format currently selected for the project (NTSC or
PAL). It cannot be changed.

Temporary File Directory

When you use the Drag and Drop Export or an export that creates an
intermediate movie file, application must store the intermediate file, which
can be as large as the final export. By default, the Temporary File
Directory is located in the same directory as application.
To improve efficiency or to avoid DISK_FULL errors when exporting, you
can type in a different directory for these temporary files. The ideal setting
for this field is to type in a directory on the drive to which you are
exporting, or simply one with plenty of free space.

Default Starting TC

This option specifies the timecode value you want the system to use as the
default starting timecode for each new sequence.

NTSC Has Setup

This option allows systems using NTSC-EIAJ to use the correct color
mapping. NTSC-EIAJ users should not select this option. All other users
should select this option.

Use Windows compatible Prevents you from using the characters /\:*?”<>| and adding leading
spaces, trailing spaces, or a trailing period in bin, project, or user names.
file names
These characters are not allowed in Windows file names. This option is
(Macintosh only)
useful for moving bins and projects from Macintosh to Windows
platforms.
Allow file names to exceed Lets you override the Windows file name limit of 27 characters (not
27 characters
including the four characters reserved for the file type extension). Set this
(Macintosh only)
option if you do not plan to move your bins or projects to a Windows
system, and if you want to use file names longer than 27 characters.

Appendix 1 Settings Options

Grid Settings
Table 31 describes the options available in the Grid Settings dialog box.

Table 31
Tab

Option

Grid Settings Options
Description

•

This setting allows you to work with a grid that indicates
boundaries for a format other than the one in which you are
Normal
working. This is useful when you are creating graphics (like
4:3 Inside 16:9 Monitor titles) that must remain safe in other formats. Select the
appropriate option for the current and target formats you need.
4:3 Outside 16:9 Monitor
When you do not specifically need a grid that represents
another format, use the Normal option, which is the default.
1.66 Inside 4:3

•

1.77 Inside 4:3

•

1.85 Inside 4:3

Coordinates Scale Mode
•
•
•

Coordinates Increments
•

Fields

Sets the number of tick marks along the grid axes as well as the
number of visible grid points. The default value is 12.

•

Sub Fields

Sets the number of divisions between visible grid points for the
snap-to-grid feature. Setting Sub Fields to 1 snaps objects to
visible points only. A value of 2 provides 1/2-field jumps. A
value of 4 (the default value) provides 1/4-field jumps, and so
on. Setting Sub Fields to 0 turns off the snap-to-grid feature.

Coordinates Source Scan Size

•

Hor. Size

•

Vert. Size

For film projects, where an optical house scans film for the
addition of visual effects.
The default values are 720 x 486 pixels.

Coordinates Source Grid Adjustments

•

Hor. Offset

•

Vert. Offset

•

Inset

Moves the grid on the image. These values are intended mainly
for film projects.
Shrinks the grid proportionally.

Grid Settings

Table 31

Grid Settings Options (Continued)

Tab

Option

Description

Display

Type

Selects a different grid for each standard film type. For video
projects, use the Square grid type. The grid for the Academy
option includes a safety margin on the left that is used for
adding the optical sound track.

•

Square

•

Standard Film

•

Academy

•

Super 35

•

Anamorphic

Display

Color

Sets a color for the grid axes and the grid points.

Display

Show Safe Title

Displays the safe title area. Create video titles within this area
to ensure that they are viewable on a regular television screen.

Display

Show Safe Action

Displays the safe action area for video display. This box is selfadjusting for PAL and NTSC projects.

Display

Show 14x9 Zone
Show 1.66 Aspect
Show 1.85 Aspect
Show 1.77 Aspect

Select one or more of these options to display the grid you
want.

Display

Show Axes

Displays the grid axes.

Display

Show Tick Marks

Shows tick marks along the axes. Use the Fields parameter to
set the number of tick marks.

Display

Show Thirds

Divides the screen into three sections. This is especially useful
if you are creating titles for the lower third of the screen.

Display

Show Points

Shows the grid points. Use the Fields parameter to set the
number of grid points.

Appendix 1 Settings Options

Table 31

Grid Settings Options (Continued)

Tab

Option

Description

Display

Show Position Info

Displays the position coordinates of any point in the Effect
Preview, or Record monitor. The application uses compass
coordinates and X, Y coordinates. For compass coordinates,
the point (0, 0) is the center of the axes. For X, Y coordinates,
the point (0, 0) is the top left corner of the monitor. X values
increase to the right, and Y values increase as you move down.
For more information, see “Displaying Position Coordinates”
in the Help.

Import Settings
See the following topics:

•

Import Settings: Image Tab

•

Import Settings: OMFI Tab

•

Import Settings: Shot Log Tab

Import Settings

Import Settings: Image Tab
Table 32

Import Settings Options (Image Tab)

Option

Suboption

Description

Aspect Ratio,
Pixel Aspect

601, non-square

Select this option to import images with the dimensions used
by the Avid system: 720 x 48 (NTSC) or 720 x 576 (PAL).
Also use this option for 720 x 540 images, or for other images
that fit the 4:3 aspect ratio. You can use this option to maintain
field data when you import two-field media that follows exact
NTSC or PAL dimensions.
The system converts the existing pixel dimensions, if
necessary, so that the image fills the screen.
If the aspect ratio of the original frames does not match the
4:3 aspect ratio used by the Avid system, the imported frames
might appear distorted.
For best full-screen resolution of files created in a square-pixel
environment, use 648 x 48 (NTSC) or 768 x 576 (PAL). To
create a single resolution for both NTSC and PAL, use
720 x 540.

n
Maintain, nonsquare

This option is selected by default.

Select this option for an image that was created in a nonsquare-pixel environment, but does not match exact NTSC or
PAL dimensions. Maintain, non-square preserves up to 48
(NTSC) or 576 (PAL) lines, and either removes additional lines
or pads with video black if there are fewer lines.
Maintain, non-square never scales or resizes.

Appendix 1 Settings Options

Table 32
Option

Suboption

Import Settings Options (Image Tab) (Continued)
Description

Maintain, square Select this option for an image that was created in a squarepixel environment, such as a graphics application. Use this
option primarily for icons, logos, and other graphics that
cannot be resized and are not intended to fill the entire screen.
The system fills the rest of the screen with video black. If the
image has an alpha channel, this black is keyed out in the alpha
channel.
Do not use this option if you are importing:

Maintain and
Resize, square

•

Images in the 720 x 48 (NTSC) or 720 x 576 (PAL) nonsquare-pixel dimensions

•

A full-screen square-pixel image that has already been
stretched to non-square-pixel dimensions

Select this option for an image that was created in square-pixel
terms.
The system fits the longest dimension to the screen size and
fills in the missing pixels in the shorter dimension with video
black, creating a border. If the image has an alpha channel, this
black is keyed out in the alpha channel.
For example, a 540 x 300 image would have its longer
dimension resized to 720, and the shorter dimension resized in
proportion (to 400). The remaining “short side” pixels are
replaced with black.
For best full-screen resolution of files created in a square-pixel
environment, use 648 x 48 (NTSC) or 768 x 576 (PAL). To
create a single resolution for both NTSC and PAL, use
720 x 540.
Do not use this option if you are importing:

•

Images in the 720 x 48 (NTSC) or 720 x 576 (PAL) nonsquare-pixel dimensions

•

A full-screen square-pixel image that has already been
stretched to non-square-pixel dimensions

Import Settings

Table 32
Option

Suboption

File Field
Order

Import Settings Options (Image Tab) (Continued)
Description
This section allows you to select the temporal field ordering
(sometimes referred to as field dominance) of the media you
are importing.
When the field dominance of the imported media matches the
field dominance of the project format, no special processing is
required. For more information, see “Field Ordering in Graphic
Imports and Exports” in the Help.
This setting does not apply to OMFI imports when the import
resolution matches the OMFI file.

Non-interlaced

This option allows you to import still images to all formats
without concern for the temporal ordering of the fields.

This is the default value.

Odd (Upper Field Select this option for the odd field to occur temporally first
First)
during import. The first line in the image belongs to the odd
field.

Color Levels

Even (Lower
Field First)

Select this option for the even field to occur temporally first
during import. The first line in the image belongs to the even
field.

RGB

Select this option if the imported graphics file uses RGB
graphics levels. Most computer-generated graphics use RGB
graphics levels. The RGB color values are remapped to ITU-R
601 (formerly CCIR 601) video color values appropriate for
the Avid system.

RGB, dithered

Select this option if the imported graphics file uses complex
color effects, such as a gradation, and you are importing at a
high resolution (2:1). Do not use this option to reimport an
image that has already been imported with dithering.

601

Select this option if the imported graphics file uses video levels
based on the ITU-R 601 (formerly CCIR 601) standard. These
graphics include Avid color bars or images that include
superblack (zero black) for keying purposes.

Appendix 1 Settings Options

Table 32

Import Settings Options (Image Tab) (Continued)

Option

Suboption

Description

Alpha

Use Existing

Select this option to import the image, using the existing alpha
channel information.

Invert Existing

Select this option to reverse the black and white elements of the
alpha channel if they differ from the matte key requirements of
the system: a white background, a black foreground, and a gray
transparency blend between the two.

Ignore

Select this option to import an image that contains alpha
channel transparency information as one opaque graphic. The
imported graphic appears as a single master clip in the bin.

Single Frame
Import

Duration n
seconds

If an image contains an embedded alpha channel but the
system does not support alpha channel import for the file
type, select this option to import the image successfully.
For information on alpha channel support, see “Graphic
File Import Specifications” in the Help.

Select this option to specify the duration of the single frame
created from the import. The default is 10 seconds. This option
does not apply to importing sequential image files because
each file represents one frame of the clip; therefore, the total
number of files determines the total duration.
Importing an image with alpha channel creates a matte key
effect as a single frame, with no associated media file.
Importing as a single frame takes less time and requires less
storage than importing as a media file. However, a single frame
has limited real-time playback capabilities, particularly at high
resolutions. This occurs because the system loads the frame
into memory and handles it in real time, rather than playing it
back from a disk.

Import Settings

Table 32
Option

Import Settings Options (Image Tab) (Continued)

Suboption

Description

Autodetect
Sequential Files

Select this option if you are importing sequential files and you
want the system to recognize that a sequence of connected files
is present and to automatically import the whole sequence.
When this option is deselected, the system does not
automatically import a whole sequence of files that have
sequential extensions. You can then select any single file for
import.
You can import sequential files for any of the supported stillimage formats. For information on preparing a sequence of
image files, see “Animation Files” in the Help.

Import Settings: OMFI Tab
Table 33

Import Setting Options (OMFI Tab)

Option

Description

Use the source file’s resolution.

Select this option to maintain the source file’s
resolution. The system disregards the resolution
setting in the Select Files to Import dialog box as
well as resolution set in the Import tab of the
Media Creation dialog box.

Use the current import resolution.

Select this option to use the current import
resolution setting. The system disregards the
source file resolution.

Ask me to set the resolution for each file that is
different from the current import resolution
setting.

Select this option to have the system display a
query about resolution selection for each imported
file when the resolution of the source file is
different from the current import resolution
setting.

Appendix 1 Settings Options

Import Settings: Shot Log Tab
Table 34

Import Setting Options (Shot Log Tab)

Option

Description

Maintain events as logged.

Select this option to maintain all events as
originally logged.

Combine events based on scene and automatically Select this option to combine all the events for a
create subclips.
scene into a single master clip and then link the
master clip to subclips that represent the original
events for that scene. To use this option, you
must have scene numbers logged in a scene
column in the bin.
Combine events based on camera roll and
automatically create subclips.

Select this option to combine all the events from
a camera roll into a single master clip and then
link the master clip to subclips that represent the
original events for that camera roll. To use this
option, you must have camera roll numbers
logged in a camera roll column in the bin for a
film project.

Merge events with known sources and
automatically create subclips.

Select this option to create subclips for events
that are merged or relinked to their source clips
upon import. Use this option if you have already
entered master clips in a bin for each camera roll
or master scene, and have subsequently logged
all the events related to those clips for import.

You must select the clips that you want to
merge before selecting this option.

Interface Settings

Table 34

Import Setting Options (Shot Log Tab) (Continued)

Option

Description

Merge events with known master clips.

Select this option to merge information in the
shot log onto selected master clips based on the
matching tape name. Use this option if you have
already logged (or captured) master clips in a bin
for each take.

You must select the clips that you want to
merge before selecting this option.

Interface Settings
See the following topics:
•

Interface Settings: General Tab

•

Interface Settings: Appearance Tab

Interface Settings: General Tab
Table 35

Interface Settings Options
(General Tab)

Option

Description

Show Labels in Tool Palette

When you select this option, the system displays text labels
with the icons on the Tool palette. This is the default option.
To tear off the Tool palette, click anywhere on the palette,
press and hold the mouse button, and drag the palette to the
location you want.

Appendix 1 Settings Options

Table 35

Interface Settings Options
(General Tab) (Continued)

Option

Description

Show ToolTips

When you select this option, the system displays labels for
buttons and icons when you position the mouse pointer over
them. This is the default option.
You can also turn ToolTips on and off from the Help menu.

Delay n seconds before showing

If you select Show ToolTips, you can delay the label display
by entering a value in this text box. A delay allows you to
move the mouse pointer across the interface without displaying
the labels on items between the starting point and the
destination of the mouse pointer.

Windows® Standard Alt Key
Behavior (Windows Only)

This option switches between standard Windows Alt key
behavior and Avid system Alt key behavior. When you select
this option, pressing and holding the Alt key together with
another key works as a keyboard shortcut for certain Windows
actions (for example, opening menus).
When you deselect this option, pressing and releasing the Alt
key and then pressing another key works as the Windows
keyboard shortcut, while pressing and holding the Alt key
together with another key works as a keyboard shortcut for
certain Avid functions. This is the default option.
For more information on Windows shortcuts, see the Windows
documentation.
For more information on Avid shortcuts, see the Avid Xpress
Quick Reference for the Windows Operating System, or select
Help > Shortcuts.

Automatic Num Lock Activation
(Windows Only)

When you select this option, the Avid application
automatically sets the numeric keypad in numeric mode the
next time you start the application. If you deselect this option,
the Num Lock key on the keyboard controls the mode of the
numeric keypad.
With either selection, you can use the Num Lock key to change
the mode of the numeric keypad.

Interface Settings

Table 35

Interface Settings Options
(General Tab) (Continued)

Option

Description

Automatically Launch Last Project at Opens your last project when the application starts.
Startup

Interface Settings: Appearance Tab
Table 36

Interface Settings Options
(Appearance Tab)

Option

Selection

Description

Color

Background

Controls the color of the given interface
component. See ”Changing Interface
Component Colors” in the Help.

Button
Button Contents
Button Highlight
Button Spotlight
Text
Timeline Background
Timeline V Tracks
Timeline A Tracks
Timeline TC Tracks
Project Background
Bin Default
Background

Appendix 1 Settings Options

Table 36

Interface Settings Options
(Appearance Tab) (Continued)

Option

Selection

Description

Shading Style

Convex

Controls the shading of buttons and toolbars.
See ”Changing Shading Style” in the Help.

Dim Radial
Convex Radial
Bright Radial
Shading Depth

5% – 50%, in 5%
increments

Controls the three-dimensional “rounding” of
buttons and toolbars. See ”Changing Shading
Depth” in the Help.

Monitor Button Separation

Maximum

Controls the spacing of the Monitor buttons.
See ”Changing Button Separation” in the
Help.

Moderate
None
Timeline Button Separation

Maximum
Moderate

Controls the spacing of the Timeline buttons.
See ”Changing Button Separation” in the
Help.

None
Button Style

Oval
Octagonal
Rounded
Square
Swoosh
Antique

Controls the shape of the buttons. See
”Changing Button Style” in the Help.

Keyboard Settings

Keyboard Settings
The following illustration displays the default keyboard settings.
For more information, see Help > Keyboard Shortcuts in the Avid editing
application.

When you open the Keyboard palette from the Settings scroll list and select
Map Foreign Keyboard, you can map user-selectable buttons to the
keyboard. If the Windows operating system is set to French or German
regional settings, and you click the center of the Enter key in the Keyboard
palette, a message box opens that says foreign keyboard mapping mode
has been turned off. Select Standard, and then select Map Foreign
Keyboard again to return to foreign keyboard mapping mode.

Appendix 1 Settings Options

Marquee Title Settings
Table 37
Setting

Marquee Title Settings
Description

Create New Title using
Marquee

The system always opens Marquee when you select Clip > New
Title or Tools > Title Tool.

Title Tool The system always opens the Title Tool when you select Clip >
New Title or Tools > Title Tool.
Ask me

The system displays the New Title dialog box when you select Clip
> New Title or Tools > Title Tool. You can then select either
Marquee or the Title Tool. This is the default setting.

Yes

The system always promotes a Title Tool title to a Marquee title
when you open the title for editing from a bin or from within a
sequence. For more information, see “Promoting Title Tool Titles
to Marquee” in the Marquee Help.

The system never promotes a Title Tool title to a Marquee title
when you open the title for editing from a bin or from within a
sequence.

Ask me

The system displays the Edit Title dialog box when you open a title
for editing from a bin or from within a sequence. You can then
choose whether to promote the title to Marquee. This is the default
setting.

Promote Title Tool
titles to Marquee

Backup Title on Promote

When this option is selected, the system creates a backup Title Tool
version of any title that it promotes to Marquee. The backup copy is
a fast-saved (unrendered) title. The system adds [TT] to the name of
the backup copy to differentiate it from the newly created Marquee
version.

Media Creation Settings

Media Creation Settings
Table 38

Media Creation Settings (Drive Filtering Tab)

Setting

Description

Filter Based on Resolution

Removes as a storage choice the drives that
cannot support the selected resolution. This
option causes the Avid editing system to utilize
only Avid MediaDrives

Filter Out System Drive

Removes as a storage choice the drive on
which the operating system resides.

Filter Out Launch Drive

Removes as a storage choice the drive on
which the Avid application resides.

Table 39

Media Creation Settings (Other Tabs)

Setting

Description

Video Resolution

Select a resolution.

OMF/MXF

Select a file format: Open Media Format
(OMF) or Material Exchange Format (MXF).
For more information, see ”File Format
Specifications” in the Help.

Apply to All

This sets your chosen resolution for all the
Media Creation dialog box tabs. It also sets it
for any place in the application where you
select a resolution.

Video/Audio Drive

Select a drive or drives

Apply to All

This sets your chosen video and audio drives
for all the Media Creation dialog box tabs. It
also sets them for any place in the application
where you select drives.

Appendix 1 Settings Options

MM Host
You need to configure your Avid application before you can interact with
MediaManager. Specifies the location of MediaManager by listing the
computer name of the MediaManager server. See the Avid Unity
MediaManager Setup and User’s Guide.

MM User
You need to configure your Avid application before you can interact with
MediaManager. Defines user and login preferences for using
MediaManager. See the Avid Unity MediaManager Setup and User’s
Guide.

PortServer Settings
Table 40

PortServer Settings

Setting

Description

Auto-connect to LANshare at
Launch

LANshare workspaces are recognized when
you start the Avid application.

Connect

Starts the connection.

Render Settings

Render Settings
Table 41

Render Settings Options

Option

Description

Render Completion
Sound

Sets a sound for Avid Xpress to activate once the rendering process is complete.
This is useful when you are rendering multiple effects.

•

None

Disables the rendering completion sound. This is the default.

•

Render Sound

Sets the rendering completion sound to a customized sound.

•

System Beep

Sets the rendering completion sound to match the sound set for your operating
system.

Motion Effects Render Determines the processing method when existing motion effects are rendered or
Using
rerendered.
•

Original Preference Causes effects to be rendered as whatever type they were when originally
created.

•

Duplicated Field

Displays a single field in the effect. For two-field media, this reduces the
information stored by half because it drops one field of the image, resulting in a
lower quality image. For single-field media, this is usually the best choice
because of its speed (the other options do not improve effect quality for singlefield media).
With JFIF resolutions, selecting this option causes the effect to render in the
shortest amount of time. With DV and MPEG resolutions, the effect renders
approximately as quickly as it would if you selected Both Fields as the rendering
option.

•

Both Fields

Displays both fields in the effect. For example, the first two frames of a halfspeed (50%) slow-motion effect repeat the original Frame 1 (both fields) twice.
This option is good for shots without inter-field motion, NTSC or PAL film-totape transfers, and still shots. With footage that includes inter-field motion, this
method might result in minor shifting or bumping of the image because it
disturbs the original order of fields: a Field 1 will appear both before and after
the corresponding Field 2.
The effect renders relatively quickly. For best results, you should use evenly
divisible frame rates with this option.

Appendix 1 Settings Options

Table 41

Render Settings Options (Continued)

Option

Description

•

Creates a second field for the effect by shifting selected video fields of the
original media by a full scan line. This technique is similar to that used by highquality professional video decks when playing footage at less than normal speed.
This option also creates the motion effect at the field level rather than the frame
level; however, because pixels are not filtered, the final image is sharper than
that created by the Interpolated Field option. The image might display some
slight jitter at certain speeds.

VTR-Style

The time needed to render effects created with this option is longer than the time
for effects created using either Duplicated Field or Both Fields but similar to the
time needed for Interpolated Field.
•

Interpolated Field

Creates a second field for the effect by combining scan line pairs from the first
field in the original media. This option calculates the motion effect at the field
level rather than the frame level. Because Avid Xpress considers all fields and
does not disturb the original order of fields, the smoothest effect results.
Effects created using this option take the longest amount of time to render.

Safe Color Settings
Table 42

Safe Color Settings Options

Option

Description

Composite

Sets safe color values for the composite video signal.

Luminance

Sets safe color values based on brightness.

RGB Gamut

Sets safe color values based on color range.

Safe Color Settings

Table 42

Safe Color Settings Options (Continued)

Option

Description

Units buttons

Define the units of measurement for the three types of safe color values.
The Composite Units pop-up menu allows you to select either IRE or mVolts
(millivolts).
The Luminance and RGB Gamut pop-up menus allow you to select from the
following options:
8 Bit — Measures the adjustment on a scale from 0 to 255.

The RGB value for a color in the Color Correction tool will not be
identical to the RGB value for the same color in a graphics application
such as Adobe® Photoshop®. For example, the 8-bit RGB values for
reference black and reference white are 16 and 235 respectively.

Percent — Measures the adjustment on a percentage scale from 0 to 100.
IRE — Measures the adjustment in IRE units.
mVolts — Measures the adjustment in millivolts.
Actions buttons

Define how the system implements the safe color settings. The top menu controls
both the Composite and the Luminance limit types; the bottom menu controls the
RGB Gamut limit type. Each Actions menu allows you to select from the
following options:
Ignore — The system does not limit based on these settings. This is the default
setting.
Warn — The system provides warnings when these limits are exceeded. For
more information on safe color warnings, see ”Understanding Safe Color
Warnings” in the Help.

Appendix 1 Settings Options

Script Settings
Table 43

Script Settings Options

Option

Description

Font

This option selects the font for imported scripts.

Size

This option selects the font size. The default is 12 points.

Left Margin (pixels)

This option specifies the left margin size. The default is
40 pixels.

Take Coloring

This option specifies the color that the Avid system will apply
to takes.

Show Frames

When this option is selected, the system shows frames in take
slates.

Show All Takes

When this option is selected, the system shows all takes in each
slate. If you deselect this option, the Avid system displays only
one take per slate.

Interpolate Position

When this option is selected, you can click in a take line within
a script, and the image in the Source pop-up monitor updates to
the approximate position in the take where you have clicked. If
you deselect this option, the Source pop-up monitor does not
respond when you click in a take line.

Hold Slates Onscreen

Set this option to keep the slates on the screen when you scroll
through a script in the Script window. Each slate remains on
the screen as long as the take lines to which it is linked remain
on the screen.

Timeline Settings

Timeline Settings
See the following topics:
•

Timeline Settings: Display Tab

•

Timeline Settings: Edit Tab

Timeline Settings: Display Tab
Table 44

Timeline Settings Options
(Display Tab)

Option

Description

Show Toolbar

Displays the Timeline top toolbar.

Show Marked Region

Highlights the region from the IN point to the OUT point.

Show Marked
Waveforms

Shows waveforms drawn between an IN point and an OUT point instead of
over the entire composition.

Show Four-Frame
Display

Timeline Settings: Edit Tab
Table 45

Timeline Settings Options (Edit Tab)

Option

Description

Start Filler Duration

Type the amount of filler you want to appear by default when you select Clip
> Add Filler at Start.

Find Flash Frames
Shorter Than n frames

Type the maximum number of flash frames you want the system to detect.
The default is 10, which tells the system to detect clips with 9 frames or fewer.
See ”Finding Black Holes and Flash Frames” in the Help.

Appendix 1 Settings Options

Table 45

Timeline Settings Options (Edit Tab) (Continued)

Option

Description

Auto-Patching

When this option is selected, the system automatically patches the enabled
source tracks to the tracks enabled in the Timeline sequence.

Auto-Monitoring

When this option is selected, the track you patch to is monitored. This option
is selected by default.

Segment Drag Sync
Locks

When this option is selected and sync locks are enabled, you can move
segments in the Timeline and maintain sync between audio and video. After
moving a segment in the Timeline, this option maintains sync by adding filler
to the location from which the segment was moved, and to the location on all
other sync-locked tracks that corresponds to the new location of the segment
you moved. You can move either an audio clip or a video clip.

Default Snap-To Edit

Allows a clip, when dragged from a bin to the Timeline, to either snap to a
transition point or move freely on the track. If the option is selected, the clip
snaps to an existing transition endpoint. If the option is deselected, the clip
moves freely to any position on the track.

Dupe Detection Handles Select the size of the handles, in frames, to use for dupe checking. The chosen
number of frames is added at the beginning and the end of each clip before
checking for overlap. The handles are used only for internal calculations.

Trim Settings
Table 46

Trim Settings

Setting

Description

Play Loop Preroll

Click the text box and type the value you want.

Play Loop Postroll

Click the text box and type the value you want.

Play Loop Intermission

Click the text box and type the value you want.

Video Display Settings

Video Display Settings
Table 47

Video Display Settings Options

Option

Sub-option

Description

DV device supports digital
video input

Send video to DV device
(client monitor enabled)

Select this option and sub-option to send
video to the client monitor.

Don’t send video to DV
device (client monitor
disabled)
Seconds of Video to Pre-Fill: n seconds

Type the number of seconds by which to
delay playback. By accepting a delay at the
beginning of playback, you increase the
likelihood that the system will play the
material successfully. The maximum delay
is 10 seconds.

Open GL Hardware: Preview Video boards installed on
DVE effects with:
your system

Select the Open GL board for your video
display

Enable Confidence View
(also called passthrough)

Software Open GL

Select if you do not have an Open GL
video board

—

Enable confidence view if you want to
view incoming or outgoing media in the
Record monitor as you are capturing media
or creating a digital cut.

Maximum Real Time Streams Stream Limit n

Select the number of video streams you
want to display in the Record monitor at a
time.

More streams uses more processing
cycles and might cause the video to
play choppy.

Appendix 1 Settings Options

Workspace Settings
Table 48

Workspace Settings

Setting

Description

Activate Settings Linked By
Name

Select this option to link other settings to the
workspace.

Continually Update This
Workspace

Select this option to automatically preserve the
workspace in its most recent arrangement.
Future changes to the arrangement of the tool
windows are saved.

Manually Update This
Workspace

Select this option to save the workspace in its
current arrangement when you click Save
Workspace Now (which appears only after you
select Manually Update This Workspace).
Future changes to the arrangement of the tool
windows are disregarded unless you return to
the Workspace Settings dialog box and click
Save Workspace Now again.

Chapter 2
Using AudioSuite Plug-Ins
This appendix describes how to access and use the AudioSuite plug-ins,
including the set of core plug-ins that comes with your Avid system. It also
provides a list of other plug-ins that are supported by this version.
These topics are covered in the following sections:
•

Accessing the AudioSuite Plug-Ins

•

Core AudioSuite Plug-Ins

•

Description of Core AudioSuite Plug-Ins

•

Additional Supported Plug-Ins

Chapter 2 Using AudioSuite Plug-Ins

Accessing the AudioSuite Plug-Ins
To access the plug-ins:

Select Tools > AudioSuite.

The following illustration shows the AudioSuite window.

Plug-in Selection
pop-up menu
Drive Selection
pop-up menu

Status display

For details on installing and accessing the plug-ins, see “Understanding
Digidesign Audio Suite Plug-Ins” in the Help.

Core AudioSuite Plug-Ins
The following basic plug-ins are installed automatically as part of the Avid
system software installation:

•

Invert — Inverts the polarity (phase of the audio file).

•

Duplicate — Creates a new master clip from a selected audio clip. The
plug-in uses the IN and OUT points on the selected clip to define the
boundaries of the new clip.

•

Normalize — Finds the peak value in the source audio file and scales
the entire file proportionally to that maximum value.

•

Gain — Same as Normalize, but allows positive or negative gain
adjustment.

•

Reverse — Rewrites the selected audio in reverse.

Core AudioSuite Plug-Ins

•

Signal Generator — Produces audio test tones in a variety of
frequencies, waveforms, and amplitudes.

•

DC Offset Removal — Removes an audio artifact that is common in
digital audio files. A DC offset is caused by poorly calibrated analogto-digital converters (A/Ds), and can produce clicks and pops on clip
edit transitions if not removed.

•

Time Compression Expansion — Allows you to adjust the duration of
a selected clip by creating a new master clip. This increases or
decreases the selection’s length without changing pitch.

•

Pitch Shift — Changes pitch with or without changing length.

•

EQ — Allows you to adjust frequency equalization on individual audio
clips.

•

Compressor — Reduces the dynamic range of signals that exceed a
selected threshold by a specific amount.

•

Limiter — Prevents signal peaks from exceeding a chosen level so that
they don’t overload amplifiers or recording devices.

•

Gate — Reduces noise by decreasing the gain of signals that fall below
a user-selectable threshold.

•

Expander/Gate — Performs the same function as the Gate plug-in with
the addition of expander features. Expanders are particularly useful for
reducing noise or signal leakage that creeps into recorded material as
the signal level falls, which often occurs with headphone leakage.

•

Mod Delay — Provides time-delay-based effects. Effects obtained
through the use of Mod Delay include slap echo, doubling, chorusing,
and flanging.

For a brief overview of each plug-in and, where appropriate, a description
of how to use the plug-in, see “Description of Core AudioSuite Plug-Ins”
on page 94.

Chapter 2 Using AudioSuite Plug-Ins

Description of Core AudioSuite Plug-Ins
The following sections give a brief overview of each plug-in and, where
appropriate, describe how to use the plug-in.

Invert
The Invert plug-in reverses the polarity of the selected audio. All positive
sample amplitude values are made negative, and all negative amplitudes
are made positive. This process is useful for permanently altering the phase
(polarity) relationship of tracks. Inverting can be useful when mixing
because it alters frequency response between source tracks recorded with
multiple microphones and also allows you to correct for audio that was
recorded out of phase.

Duplicate
The Duplicate plug-in creates a new master clip from a selected audio
master clip. The plug-in uses the IN and OUT points on the selected clip to
define the boundaries of the new clip. This plug-in applies only if you are
using the Create New Master Clips feature of the AudioSuite plug-ins.

Normalize
In cases where a sound file has been recorded with too little amplitude, the
Normalize plug-in ensures that the inherent dynamics of the performance
remain unchanged while the overall volume level of the passage is raised.
In addition to the standard AudioSuite parameters, the Max Peak At
controls let you specify how close to maximum level (the clipping
threshold) the peak level of your selection or file will be boosted.
To enter this information, do one of the following:

Enter a numeric decibel value below the clipping threshold.

Enter a percentage of the threshold.

Adjust the on-screen slider.

Description of Core AudioSuite Plug-Ins

Editing any of these controls automatically calculates the equivalent value
in the others.
To configure the Normalize parameters:

1. Type the amount of boost you want applied during the Normalize
process.
2. To set a specific decibel amount below maximum, double-click and
type that value in the Max Peak at (dB) text box.
3. To set the amount of normalization as a percentage of maximum, type
the percentage you want in the Max Peak at (%) text box. To manually
set the amount, click and adjust the Max Peak slider [press and hold
the Ctrl key (Windows) or the k key (Macintosh), and then click the
slider and drag it to fine-adjust].

Gain
Gain allows you to boost or lower amplitudes in a file or selection by a
specified amount. The Change Gain command is ideal for smoothing out
undesirable peaks and other dynamic inconsistencies.
To configure the Gain parameters, do one of the following:

Enter the new level as a decibel amount (dB) or percentage (%) by
double-clicking in the respective text box and typing a new value.

Use the slider to adjust the gain manually [press and hold the Ctrl key
(Windows) or the k key (Macintosh), and then click the slider and
drag it to fine-adjust].

Reverse
Reversed sounds are useful effects in many music and film and video
projects. The Reverse plug-in lets you perform this type of processing very
easily.

Chapter 2 Using AudioSuite Plug-Ins

Signal Generator
The Signal Generator plug-in produces audio test tones in a variety of
frequencies, waveforms, and amplitudes. The plug-in has the following
options:

•

Frequency: This option sets the frequency of the signal in hertz.
Values range from a low of 20 Hz to a high of 20 kHz.

•

Level: This option sets the amplitude of the signal in decibels. Values
range from a low of –95 dB to a high of 0.0 dB.

•

Signal: These buttons allow you to select the waveform. The
waveform choices are sine, square, sawtooth, triangle, white noise, and
pink noise.

The Signal Generator produces a tone as soon as it is inserted on a track.
To mute the tone, use the Bypass button.

DC Offset Removal
The DC Offset Removal plug-in removes DC offset from your audio files.
The term “DC offset” describes a specific type of audio artifact that might
appears in digital audio signals.
The DC Offset Removal plug-in can be identified in a waveform overview
because it appears to have a near-vertical fade-in with a constant or
“steady-state” offset from zero when the file is actually “silent” (it contains
no audible audio). The DC Offset Removal plug-in can help remove (or at
least reduce) the DC offset from your source audio files.

Time Compression Expansion
The Time Compression Expansion plug-in allows you to adjust the
duration of any selected regions by increasing or decreasing the selection’s
length without changing pitch. This function is particularly important in
audio postproduction applications because it allows you to adjust sounds to
specific time lengths or timecode durations for synchronization.

Description of Core AudioSuite Plug-Ins

To change duration (length) and pitch simultaneously, use the Pitch Shift
plug-in.

Master Clip Mode Parallel Processing
The Time Compression Expansion plug-in allows two tracks to be timecompressed or expanded as a “stereo pair,” so that the two sides of the
stereo signal are processed relative to each other.
The Time Compression Expansion plug-in has special parameters that let
you enter time compression or expansion values in different formats, as
explained below. They are located in the Source and Destination columns
and also include the Ratio slider. Additional controls for fine-tuning the
compression and expansion process are also included.

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To use the special control features:

•

Press and hold the Ctrl key (Windows) or the k key (Macintosh) to
engage slider fine-tune mode.

•

Alt+click (Windows) or Option+click (Macintosh) a field or slider to
reset its default value.

Time Compression Expansion Parameters
The Time Compression Expansion plug-in has the following parameters:
Source and Destination

The Source text boxes display the length of the current selection before
processing in each of the listed formats. All the text boxes in both columns
are constantly active, and a change made to one value is immediately
reflected in the values displayed in the other text boxes.
The text boxes in the Destination column display and control the length of
the selection after processing by using the current settings. You can enter
the length of the Destination file by double-clicking the appropriate text
box in the Destination column. Type the number of samples in
min:secs:msec format or type timecode values as start and end locations.
All the Destination text boxes are constantly updated, and a change made
to one value is immediately reflected in the values displayed in the other
text boxes.
You can also enter a new tempo, bars:beats:ticks length, or time signature
for regions that have tempo or Bars & Beats settings. This can be any
region associated with a MIDI Metronome value (such as an overdub
recorded to a MIDI click) or regions that have been processed with the Pro
Tools Identify Beat command.
The Ratio slider lets you set the destination length in relation to the source
length. Dragging the slider to the right increases the length of the
destination file, and dragging the slider to the left decreases its length.
The controls below the bar line allow you to fine-tune the time
compression and expansion process. They include the Crossfade, Min
Pitch, and Accuracy sliders.

Description of Core AudioSuite Plug-Ins

Crossfade

The Crossfade slider allows you to manually adjust the crossfade length in
milliseconds to optimize performance of the Time Compression Expansion
plug-in according to the type of audio material you are processing. The
Time Compression Expansion plug-in achieves length modification by
replicating or subtracting very small portions of audio material and very
quickly crossfading between these alterations in the waveform of the audio
material.
Crossfade length essentially affects the amount of smoothing performed on
audio material to prevent audio artifacts such as clicks. In general, small
narrow-range time (length) changes require longer crossfades while larger
changes in length require shorter crossfades. The disadvantage of long
crossfade times is that they smooth the signal, including any transients.
While this can be desirable for audio material such as vocals, it is not
appropriate for material with sharp transients such as drums or percussion.
The default setting for this parameter is Auto (leftmost position), in which
crossfade times are set automatically according to the percentage of
change in length for the current process. This setting should be sufficient
for most applications; however, you can use this slider to manually adjust
and optimize crossfade times, if necessary. For audio material with sharper
attack transients, use shorter crossfade times. For audio material with
softer attack transients, use longer crossfade times. The slider has a range
of 0 ms to 200 ms.
Min Pitch

The Min Pitch slider lets you select the minimum (lowest) pitch that will
be used in the plug-in’s calculations during the time compression
expansion process. The slider has a range of 40 Hz to 1000 Hz. By
controlling the minimum pitch, you can focus the time compression and
expansion process for maximum efficiency — it all depends on the audio’s
spectral shape.

Chapter 2 Using AudioSuite Plug-Ins

This slider should be set lower when you process bass guitar or another
instrument with a similarly low range. Set the min pitch higher when
processing instruments such as snare drums, violins, and other higher
range instruments and sounds. Experiment with combinations of the other
fine-tune controls in relation to the Min Pitch slider.
Accuracy

Use the Accuracy slider to prioritize the processing resources allocated to
audio quality (sound) or timing (rhythm). Dragging the slider toward
sound generally results in better sonic quality and fewer audio artifacts.
Dragging the slider toward rhythm puts the emphasis on keeping the tempo
consistent. When working with loops, listen carefully and adjust accuracy
until you find the setting that keeps timing solid within the region. Start
and end times will be precise, but the perception of beats may be
“shuffled” if the Accuracy slider’s rhythm setting is too low.

The smallest time ratio allowed for time compression and expansion
is 0.25. The largest time ratio allowed is 4.0.

Normalizing a selection before applying time compression and expansion
can sometimes produce better-sounding results.

Pitch Shift
The Pitch Shift plug-in allows you to adjust the pitch of any source audio
file with or without a change in its duration. This powerful function allows
sounds to be transposed a maximum of a full octave up or down in pitch
with or without altering playback speed.

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Edit the Pitch Shift parameters by double-clicking and typing in any
parameter text box or by clicking and dragging the sliders. All Pitch Shift
plug-in controls are linked, so that changing one changes the others.
Pitch Shift Parameters
The Pitch Shift plug-in has the following parameters:
Gain

The Gain controls set the input level, in tenths of a decibel. The input level
should be set so that the plug-in can adequately handle amplitude peaks in
the selection. Dragging the slider to the right increases gain, and dragging
the slider to the left decreases gain.

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Coarse and Fine

Adjust the pitch by dragging either of the two faders, or by typing values in
the Coarse and Fine text boxes. The Coarse slider transposes in semitones
(half steps); the Fine slider transposes in cents (hundredths of a semitone).
Time Correction

Clicking the Time Correction check box allows you to enable or disable
time correction.

You can deselect the Time Correction check box if you are using the
Create New Master Clips feature of the AudioSuite plug-ins. The Time
Correction check box must be selected, however, when you are
applying AudioSuite plug-ins to audio clips in the Timeline.
If the Time Correction check box is deselected, it will have the effect of
“permanently varispeeding” your audio file. Like working with tape, the
file’s duration will be compressed or extended according to the settings of
the Coarse and Fine controls. Playback speed will increase proportionally
as the sound file is transposed up in pitch and decrease proportionally as it
is transposed down in pitch, just like a tape recorder that is varispeeding.
Keep in mind that altering a file in this way has little detrimental effect on
the fidelity of audio files, whereas time correction can affect fidelity in a
pronounced way.
Ratio

The Ratio slider lets you set the amount of transposition (pitch change).
Moving the slider to the right raises the pitch of the processed file, and
moving the slider to the left decreases its pitch. Press and hold the Ctrl key
(Windows) or the k key (Macintosh), and then click the slider and drag it
to fine-adjust.

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For a description of the Crossfade, Min Pitch, and Accuracy sliders, see
“Crossfade” on page 99.

Description of Core AudioSuite Plug-Ins

Reference Pitch

The Reference Pitch feature generates a sine wave tone that you can adjust
to match a selected portion of audio material and then use as an audible
reference when pitch-shifting other audio material in your session.
To use the Reference Pitch feature:

1. Select the audio material you want to use as a pitch reference. Click
the Preview button to begin playback of the selected audio.
2. Click the Reference Pitch button to activate the reference sine wave
tone.
3. Adjust the note and detune settings to match the reference tone to the
pitch of the audio playback. Adjust the level setting to change the
relative volume of the reference tone. It might also be helpful to switch
the Reference Pitch on and off to compare pitch.
4. Select the audio material to be pitch shifted.
5. Adjust the Coarse and Fine sliders to match the pitch of the audio
playback to the reference pitch.

EQ
There are two EQ plug-ins:
•

1-Band EQ II

•

4-Band EQ II

The EQ II plug-ins provide an enhanced “British EQ” sound that is favored
by contemporary audio engineers and producers.
EQ II Parameters
The EQ II plug-ins have the following parameters:
Input

Allows you to control the input gain of the EQ to prevent the possibility of
clipping.

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Phase Invert

Allows you to invert the phase (polarity) of the input signal to change
frequency response between multi-miked sources (a common technique for
miking a guitar amplifier) or to correct for miswired microphone cables.
Type

Allows you to select an EQ type (High-Pass, Low-Shelf, Peak, High-Shelf,
or Low-Pass).
Gain

(Peak, High-Shelf, and Low-Shelf only) Allows you to control the amount
that the selected frequencies are cut or boosted.
Freq

Allows you to designate the center of the frequency region to be cut or
boosted.
Q

(Peak only) Allows you to set the bandwidth of the Peak filter. Higher
values represent narrower bandwidths. Lower values represent wider
bandwidths.
Bypass

Bypasses the EQ. The 4-Band EQ II has individual Bypass buttons for each
band (black buttons with EQ curve icons).
High-Pass

Attenuates all frequencies below the selected cutoff frequency setting at a
rate of 12 dB per octave while allowing all others above the frequency to
pass through. For this reason, no gain control is available for this filter.
High-pass filters can be useful for removing low-frequency rumble or
thinning out the lower end of a sound for special effects, such as a
“telephone simulation” effect.

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Low-Shelf

Produces a lift or a cut below the specified frequency.
Peak

Boosts or cuts only those frequencies around the selected center frequency.
The Q button sets the bandwidth of the Peak filter, which determines the
width of the filter’s overall slope — from a broad “bell” shape to a narrow
notch. Broad curves tend to be most useful for musical applications.
Narrow curves are useful for special-purpose processing such as hum
removal. Higher values represent narrower bandwidths. Lower values
represent wider bandwidths.
High-Shelf

Produces a lift or a cut at the specified frequency and above it.
Low-Pass

Attenuates all frequencies above the selected cutoff frequency setting at a
rate of 12 dB per octave while allowing all others below the frequency to
pass through. For this reason, no gain control is available for this filter.

Compressor
The Compressor plug-in reduces the dynamic range of signals that exceed
a selected threshold by a specific amount. The increase of input signal
needed to cause a 1-dB increase in the output signal of the compressor is
called the compression ratio. With a ratio of 4:1, for example, an 8-dB
increase of input produces a 2-dB increase in the output.
Audio material often varies in loudness, and can be above the threshold at
one moment and below it the next. The Attack slider sets the Compressor’s
response time, or attack. The Release slider sets the amount of time that it
takes for the Compressor’s gain to return to its original level.

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Using Compression Effectively
To use compression most effectively, the attack time should be set so that
signals exceed the threshold level long enough to cause an increase in the
average level. This helps to ensure that gain reduction doesn’t decrease the
overall volume.
Release times should be set long enough so that if signal levels repeatedly
rise above the threshold, they cause gain reduction only once. If the release
time is too long, a loud section of the audio material could cause gain
reduction that persists through a soft section. Of course, compression has
many creative uses that break these rules.
The Compressor has built-in metering that allows you to monitor the
amount of gain reduction taking place. The Gain Reduction meter usually
remains at 0 level when the input signal is below the threshold, and falls to
the left to show the amount of gain reduction in decibels when the input
signal exceeds the threshold.
Compressor Parameters
The Compressor plug-in has the following parameters:
Input Meter

Indicates the level of the unprocessed input signal to the Compressor.
Output Meter

Indicates the output level of the Compressor, including any gain
compensation added via the Gain parameter.
Reduction

Indicates the amount of gain reduction in dB.

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Description of Core AudioSuite Plug-Ins

Phase Invert

Allows you to invert the phase (polarity) of the input signal to change
frequency response between multi-miked sources or to correct for
miswired microphone cables.
Gain

Provides overall output gain adjustment. It allows you to compensate for
heavily compressed signals.
Threshold

Allows you to set the threshold level. Signals that exceed this level will be
compressed. Signals that are below it will be unaffected. A level setting of
0 dB is equivalent to no compression. Unlike scales on analog
compressors, metering scales on a digital device reflect a 0-dB value,
which indicates full scale (fs) — the full-code signal level. There is no
headroom above 0 dB.
Ratio

Allows you to set the compression ratio. The range is based on decibels
above the threshold. If this parameter is set to 2:1, for example, it will
compress changes in signals above the threshold by one half.
Attack

Allows you to set the Compressor’s attack time. The smaller the value, the
faster the attack. The faster the attack, the faster the Compressor applies
attenuation to the signal. In general, if you use fast attack times and heavy
limiting, you should use a proportionally longer release time, particularly
with material that contains many peaks in close proximity.
Release

Allows you to control how long it takes for the Compressor to be fully
deactivated after the input signal drops below the threshold level. In
general, if you use heavy compression, you should use proportionally
longer release times. This will prevent pumping, which may occur when

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the Compressor is forced to jump back and forth between compressed and
uncompressed signal levels. Lengthening the release time will help smooth
these changes in level by introducing a lag in the ramp-up and ramp-down
times of attenuation. Use shorter release times on material with few peaks
that do not occur in close proximity to each other.
Knee

Allows you to set the rate at which the compressor reaches full
compression once the threshold has been exceeded. This parameter ranges
from 0 (hardest response) to 200 (softest response).
Graph

Displays the response curve set by the Compressor’s Threshold, Ratio, and
Knee settings. As you adjust these parameters, refer to the graph to see
how the shape of this curve changes. It allows you to see the effect of your
settings.
External Key

This parameter has no effect on the AudioSuite plug-ins.
Key Listen

This parameter has no effect on the AudioSuite plug-ins.

Limiter
The Limiter plug-in is used to prevent signal peaks from exceeding a
chosen level so that they don’t overload amplifiers or recording devices.
Most limiters have ratios of 10:1 or 20:1, although some provide ratios of
up to 100:1. Large ratios effectively limit the dynamic range of the signal
to a specific value by setting an absolute ceiling for the dynamic range.

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Limiting is used to prevent short-term peaks from reaching their full
amplitude. Used carefully, limiting allows you to achieve higher average
levels while avoiding overload (clipping or distortion) by limiting some
short-term transients in the source audio. To prevent the ear from hearing
the gain changes, use extremely short attack and release times.
Limiting is used to remove occasional peaks because gain reduction on
successive peaks wouldn’t be noticeable. If audio material contains many
peaks, the threshold should be raised and the gain manually reduced so that
only occasional, extreme peaks are limited.
The Limiter’s ratio is internally set to 100:1, and the attack time is
automatically set to 0 milliseconds. The Limiter is similar to heavy
compression. It can be useful for reducing pops and clicks, or for hardlimiting dynamic range for broadcast or band-limited media such as
cassette.
Limiter Parameters
The Limiter plug-in has the following parameters:
Input Meter

Indicates the level of the unprocessed input signal to the Limiter.
Output Meter

Indicates the output level of the Limiter, including any gain compensation
added via the Gain parameter.
Reduction

Indicates the amount by which the signal is being attenuated.
Phase Invert

Allows you to invert the phase (polarity) of the input signal to change
frequency response between multi-miked sources or to correct for
miswired microphone cables.

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Gain

Provides overall output Gain adjustment.
Threshold

Allows you to set the threshold level. Signals that exceed this level will be
limited. Signals that are below it will be unaffected.
Attack

Allows you to set the Limiter’s attack time. The smaller the value, the
faster the attack. The faster the attack, the faster the Limiter applies
attenuation to the signal. In general, if you use fast attack times and heavy
limiting, you should use a proportionally longer release time, particularly
with material that contains many peaks in close proximity.
Release

Allows you to control how long it takes for the Limiter to be fully
deactivated after the input signal drops below the threshold level. In
general, if you use heavy limiting, you should use proportionally longer
release times.This will prevent pumping, which may occur when the
Limiter is forced to jump back and forth between limited and unlimited
signal levels. Lengthening the release time will help smooth these changes
in level by introducing a lag in the ramp-up and ramp-down times of
attenuation. Use shorter release times on material with few peaks that do
not occur in close proximity to each other.
Graph

Displays the response curve set by the Limiter’s Threshold setting. As you
adjust this parameter, refer to the graph to see how the shape of this curve
changes. It allows you to see the effect of your settings.
External Key

This parameter has no effect on the AudioSuite plug-ins.

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Description of Core AudioSuite Plug-Ins

Key Listen

This parameter has no effect on the AudioSuite plug-ins.

Gate
The Gate plug-in reduces noise by decreasing the gain of signals that fall
below a user-selectable threshold.
Gate Parameters
The Gate plug-in has the following parameters:
Phase Invert

Allows you to invert the phase (polarity) of the input signal to change
frequency response between multi-miked sources or to correct for
miswired microphone cables.
Gating (Reduction Meter)

Indicates the amount of reduction in dB.
Threshold

Allows you to set the threshold level. Signals that exceed this level will
pass through. Signals that are below it will be gated, depending on the
settings of the Attack, Hold, Decay, and Range parameters (explained
below).
Attack

Allows you to set the attack time of the Gate.
Hold

Allows you to specify a duration (in seconds or milliseconds) that the Gate
will stay open after the initial attack cycle. This parameter can be used as a
one-time function to keep the Gate open for longer periods of time with a

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single crossing of the threshold. It can also be used to prevent gate chatter,
which may occur if varying input levels near the threshold cause the Gate
to open and close very rapidly.
Decay

Allows you to control how long it takes for the Gate to close after the
signal falls below the threshold level.
Range

Sets the depth of the Gate when closed. This parameter has a maximum
depth of –80 dB. Setting the Gate to higher range levels allows more of the
gated audio that falls below the threshold to peek through the gate at all
times. This is useful for problems such as drum leakage, where you might
want to suppress the overall drum kit sound by a specific amount while
emphasizing the gated instrument such as a snare.
Graph

Displays the response curve set by the Gate’s Threshold and Range
settings. As you adjust these parameters, refer to the graph to see how the
shape of this curve changes. It allows you to see the effect of your settings.
External Key

This parameter has no effect on the AudioSuite plug-ins.
Key Listen

This parameter has no effect on the AudioSuite plug-ins.

Expander/Gate
The Expander/Gate plug-in reduces noise by decreasing the gain of signals
that fall below a user-selectable threshold. Expanders are particularly
useful for reducing noise or signal leakage that creeps into recorded
material as the signal level falls, which often occurs with headphone
leakage.

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Expanders can be thought of as soft-noise gates because they provide a
gentler way of cutting off noisy low-level signals than the typically abrupt
cutoff of a gate. If you want, however, you can use this plug-in as Gate by
setting the Ratio to its maximum value and using short Attack, Decay, and
Hold settings.
Expander/Gate Parameters
The Expander/Gate plug-in has the following parameters:
Phase Invert

Allows you to invert the phase (polarity) of the input signal to change
frequency response between multi-miked sources or to correct for
miswired microphone cables.
Reduction Meter

Indicates the amount of signal reduction in dB.
Threshold

Allows you to set the threshold level. Signals that fall below the threshold
will be reduced in gain. Signals that are above it will be unaffected. (When
adjusting the Threshold slider, be sure that audio material is playing
through the Expander/ Gate to see changes reflected in the Reduction
meter.)
Ratio

Allows you to set the amount of expansion. If this parameter is set to 2:1,
for example, it will lower signals below the threshold by one half. At
higher ratio levels (30:1 or 40:1, for example), the Expander/Gate
functions as a gate by reducing lower level signals dramatically. As you
adjust the Ratio parameter, refer to the built-in graph to see how the shape
of the expansion curve changes.

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Attack

Allows you to set the Expander’s attack time. This parameter determines
how quickly a signal’s level is reduced once it falls below the threshold.
This setting, along with the Ratio setting, allows you to control how soft
the Expander’s gain reduction curve is.
Hold

Allows you to specify a duration (in seconds or milliseconds) that the
Expander/Gate will stay open after the initial attack cycle. This parameter
can be used as a one-time function to keep the Expander/Gate open for
longer periods of time with a single crossing of the threshold. It can also be
used to prevent gate chatter, which may occur if varying input levels near
the threshold cause the Gate to open and close very rapidly.
Decay

Allows you to control how long it takes for the Gate to close after the input
signal falls below the threshold level and the hold time has passed.
Range

This parameter has no effect on the AudioSuite plug-ins.
Key LPF

This parameter has no effect on the AudioSuite plug-ins.

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Graph

Displays the response curve set by the Expander/Gate’s Threshold, Ratio,
and Range settings. As you adjust these parameters, refer to the graph to
see how the shape of this curve changes. It allows you to see the effect of
your settings.
External Key

This parameter has no effect on the AudioSuite plug-ins.
Key Listen

This parameter has no effect on the AudioSuite plug-ins.

Mod Delay
The Mod Delay plug-ins provide time-delay-based effects. Effects
obtained through the use of Mod Delay include slap echo, doubling,
chorusing, and flanging.
There are four Mod Delays, each of which is capable of a different
maximum delay time:
•

Short Delay provides 1024 samples of delay (23.2 ms at 44.1 kHz or
21.3 ms at 48 kHz).

•

Slap Delay provides 7186 samples of delay (162 ms at 44.1 kHz or
149 ms at 48 kHz).

•

Medium Delay provides 16384 samples of delay (371 ms at 44.1 kHz
or 341 ms at 48 kHz).

•

Long Delay provides 162474 samples of delay (3.68 seconds at
44.1 kHz or 3.38 seconds at 48 kHz).

Mod Delay Parameters
The Mod Delay plug-ins have the following parameters:

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Input

Allows you to control the input volume of the delay to prevent clipping.
Wet/Dry

Allows you to control the balance between the delayed signal and the
original signal. If you are using a delay for flanging or chorusing, you can
control the depth of the effect somewhat with the Wet/Dry setting.
LPF (Low-Pass Filter)

Controls the cutoff frequency of the low-pass filter. This parameter allows
you to attenuate the high-frequency content of the feedback signal. The
lower the setting, the more high frequencies are attenuated.
Delay

Allows you to set the delay time between the original signal and the
delayed signal.
Depth

Allows you to control the depth of the modulation applied to the delayed
signal.
Rate

Allows you to control the rate of modulation of the delayed signal.
Feedback

Allows you to control the amount of feedback applied from the output of
the delay back into its input. It also controls the number of repetitions of
the delayed signal. Negative Feedback settings give a more intense
“tunnel-like” sound to flanging effects.

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Additional Supported Plug-Ins

Additional Supported Plug-Ins
The following AudioSuite plug-ins can be purchased separately and have
been qualified for this version:
•

Digidesign Intelligent Noise Reduction (DINR) — Broadband Noise
Reduction (BNR)

•

Focusrite d3

•

Maxim

•

Digidesign D-Fi

These plug-ins come with their own documentation. For more information,
go to www.digidesign.com.

Digidesign Intelligent Noise Reduction (DINR) — Broadband
Noise Reduction (BNR)
The BNR feature of the Digidesign Intelligent Noise Reduction™ (DINR™)
plug-in provides broadband and narrow-band noise reduction for
suppressing unwanted elements such as tape hiss, air-conditioning rumble,
and microphone preamplifier noise.

Focusrite d3
Focusrite® d3 is a high-quality, dynamics processor plug-in that contains a
compressor and a limiter. The d3 compressor reduces the dynamic range of
audio signals that exceed a user-selectable threshold by a specific amount.
The d3 does this by reducing output levels when input levels increase
above the threshold.
The d3 limiter operates as a fast-attack compressor with a high
compression ratio. Like the compressor, the limiter is activated when the
signal exceeds a user-selectable threshold. The limiter then compresses any
signal above the selected threshold to the lower threshold limit that you
have set.
There are two versions of the plug-in:
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•

ff d3 Mono, which operates on channels (tracks) separately.

•

ff d3 Stereo, which operates on a composite of the two channels of the
stereo signal. It prevents image shift when signal levels differ between
the two channels.

Maxim
The Maxim™ plug-in performs peak limiting and sound maximizing.
Maxim takes advantage of the random-access nature of disk-based
recording to anticipate peaks in audio material and preserve their transient
attacks when performing reduction. It helps to preserve the character of the
original audio signal without clipping peaks or introducing distortion.

Digidesign D-Fi
The set of D-Fi™ plug-ins provides analog synthesizer effects:

118

•

Lo-Fi™ adds noise generation, bit-rate reduction, distortion, and
saturation to sound.

•

Sci-Fi™ adds analog synthesizer-type ring modulation, frequency
modulation, and variable frequency resonator.

•

Recti-Fi™ generates new harmonics and subharmonics through
waveform rectification.

•

Vari-Fi™ adds tape and turntable “start up” and “slow down” effects.

Chapter 3
Using an External Fader
Controller or Mixer
This appendix describes how your Avid system supports the following
external fader controllers or mixer for Audio Gain Automation recording:

•

JL Cooper FaderMaster Pro MIDI automation controller. This lowcost unit allows you to make fine adjustments to audio clips. This unit
does not support “flying faders,” which means that the faders don’t
move automatically as you record audio gain information and they
must be zeroed manually prior to recording. For information on setting
the faders manually, see “Position Indicator Lights” in the Help.

•

JL Cooper MCS-3000X MIDI automation controller. This unit
supports touch-sensitive flying faders. While recording gain, the faders
automatically move. You can grab a fader and move it during an
automation gain recording to quickly punch in a small change in
volume.

•

Yamaha 01V digital mixing console. This unit is a full-feature digital
mixer that also supports Audio Gain Automation with flying faders.
The faders are not touch sensitive. The Avid system uses the MIDI
controller portion of the Yamaha 01V mixer for automation gain
control.

An external fader controller or mixer is optional. It is not required to
perform Audio Gain Automation recording.
Table 49 compares the external fader controllers and mixer.

Chapter 3 Using an External Fader Controller or Mixer

Table 49

External Fader Controller and Mixer Features

Feature

FaderMaster Pro MCS-3000X Yamaha 01V

Record gain

Yes

Flying faders

Yes

Touch-sensitive faders

Yes

Solo/mute

Yes

Yesa

Supports audio mixing

Yes

Snap mode

Yes

Number of steps of
accuracy between
0 – max

127

1023

255

a. Solo works only if you don’t use the unit for audio mixing.

The following list provides additional information on touch sensitivity and
Snap mode:
•

Touch sensitivity: As soon as you touch a moving fader on the
MCS-3000X, the unit passes control of the fader to you. For more
information, see “MCS-3000X Buttons” on page 128.
On the Yamaha 01V, you must press the fader’s On button to gain
control of a moving fader. For a description of how to control the
faders on the Yamaha 01V, see “Operational Notes for the Yamaha
01V” on page 134.

•

Snap mode: In Snap mode, the fader controller automatically stops
recording as soon as you release the fader. In addition, the fader
continues to display the volume information in the Timeline. For more
information, see “Using the Snap Mode Feature on the MCS-3000X”
on page 129.

For more information on using these external fader controllers or mixer,
see “Recording Automation Gain Information” in the Help.

120

Configuring the USB-to-MIDI Software

Configuring the USB-to-MIDI Software
The setup guide for your Avid system describes how to connect a fader
controller to your Avid system. This section describes how to complete the
connection by installing the USB-to-MIDI software and by configuring the
software to recognize your fader controller.
The term fader controller applies to the following controllers:
•

JL Cooper FaderMaster Pro MIDI automation controller

•

JL Cooper MCS-3000X MIDI automation controller

•

Yamaha 01V digital mixing console

Avid supports the MIDIMAN™ MIDISPORT™ 2x2 USB-to-MIDI
converter.

To reduce traffic on the USB, connect the USB-to-MIDI converter only
if you need to use the JL Cooper FaderMaster Pro, JL Cooper
MCS-3000X, or Yamaha 01V fader box.

Installing USB-to-MIDI Software (Windows)
To install the MIDISPORT 2x2 driver software:

1. Make sure the MIDISPORT 2x2 USB-to-MIDI converter is not
connected to the system. When you are ready to load the drivers, you
will use a USB connector to connect the MIDISPORT 2x2
USB-to-MIDI converter to your Avid system.
2. Download the latest MIDISPORT 2x2 drivers from the following Web
site:
www.m-audio.com
The system downloads a compressed, executable file.
3. Double-click the downloaded file to uncompress the driver files to a
floppy disk or to a folder on your Avid system.
4. Double-click the Install.txt file included with the downloaded files.
This file contains the instructions for loading the drivers.

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Chapter 3 Using an External Fader Controller or Mixer

5. To initiate the driver installation, use a USB connector to connect the
MIDISPORT 2x2 USB-to-MIDI converter to the system. It is not
necessary to connect the external fader to the MIDISPORT 2x2 device.
The system automatically detects that a new device has been connected
and opens the Found New Hardware Wizard dialog box.
6. Follow the instructions in the Install.txt file.

If you uncompressed the files to a folder on your system, two drivers might
appear in the list. Choose either one.

Installing USB-to-MIDI Software (Macintosh)

The Mac OS X operating system contains automatic support for USB-to
MIDI devices.
To install the MIDISport 2x2 driver software:

1. Download the latest MIDISPORT 2x2 drivers from the following Web
site:
www.m-audio.com
The system downloads a compressed, executable file.
2. Double-click the downloaded file to uncompress the driver files to a
floppy disk or to a folder on your Avid system.
3. Double-click the installer file.
4. Follow the on-screen instructions to load the software.

122

Configuring the USB-to-MIDI Software

Testing the Fader Connections
To test the external fader controller connections:

1. Connect all MIDI hardware devices as described in the setup guide for
your Avid system.

MIDI port A is the default port used by the Avid system. To change the port
configuration, see “Switching Between MIDI Connections on the USB-toMIDI Converter (Windows)” on page 124 and “Switching Between MIDI
Connections on the USB-to-MIDI Converter (Macintosh)” on page 125.
2. Move the sliders on the fader controller, and confirm that the MIDI IN
LED indicator on the USB-to-MIDI converter turns on and off
appropriately.
The USB LED indicator pulses — this is expected behavior.
3. Start the Avid editing application, and select Tools > Automation Gain.
4. Click the Automation Gain Tool Fast Menu button, and select
Calibrate Hardware Sliders.
If the external fader controller is connected and the system is using the
correct MIDI port, then the Automation Gain tool displays the
following:

Position
indicator
lights

At least one of the position indicator light is on (blue).

The Recording Status Light changes to gold.

5. If the lights do not change to blue, see “Troubleshooting the MIDI
Connections” on page 126.
6. To disable the hardware calibration, click the Automation Gain Tool
Fast Menu button, and select Calibrate Hardware Sliders.
The Recording Status Light changes to black.
7. Move the sliders on the external fader controller.
The corresponding sliders move in the Automation Gain tool.
Now you are ready to use the fader controller with the Avid application
software. For more information on using the Automation Gain tool, see
“Using Audio Gain Automation” in the Help.

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Chapter 3 Using an External Fader Controller or Mixer

Switching Between MIDI Connections on the USB-to-MIDI
Converter (Windows)
By default, the system expects the MIDI cables to be connected to MIDI
port A (OUT-A and IN-A) on the MIDISPORT 2x2 device. If you need to
switch to a different port connection, create a system environment variable
as described in this section.
To switch between MIDI port connections:

1. Make sure the cables on the MIDISPORT 2x2 USB-to-MIDI converter
are connected to the port you want to use. For information on
connecting the MIDISPORT device to the fader controller, see the
setup guide for your Avid system.
2. Click the Start button, and select Settings > Control Panel.
3. Double-click System.
The System Properties dialog box opens.
4. Click the Advanced tab.
5. Click the Environment Variables button.
The Environment Variables dialog box opens.
6. Do one of the following:
t

To switch from port A to port B:
a. Click New in the System Variables area.
The New System Variables dialog box opens.
b. Type OTHER_MIDI_PORT in the Variables Name text box.
c. Type 1 in the Variable Value text box.
d. Click OK.
The OTHER_MIDI_PORT entry appears in the System
Variables list of the Environment Variables dialog box.

To switch from port B to the default port A:
a. Select OTHER_MIDI_PORT in the System Variables list.
b. Click Delete.

124

Configuring the USB-to-MIDI Software

7. Click OK.
8. Click OK to close the System Properties dialog box.
9. Start the Avid application, and then select Tools > Automation Gain.
The indicator lights on the Automation Gain tool should change to
blue. If the lights do not change to blue, see “Troubleshooting the
MIDI Connections” on page 126.

Switching Between MIDI Connections on the USB-to-MIDI
Converter (Macintosh)
By default, the system expects the MIDI cables to be connected to MIDI
port A (OUT-A and IN-A) on the MIDISPORT 2x2 device. If you need to
switch to a different port connection, use a Console command to
reconfigure the Avid system.
To switch between MIDI port connections:

1. Select Tools > Console.
The Console window opens.
2. Type SelectMIDIPort in the text box, and press Return.
The system displays information for each port it recognizes. For
example, with a MIDISPORT 2x2 MIDI device connected using MIDI
connection A, the system displays the following information:
* 1: Device: MIDISport Port: Port A
2: Device: MIDISport Port: Port B
The asterisk indicates the port being used. In this example, port A is
being used.
3. To switch to another port, type SelectMIDIPort n.
Replace n with the port number you want to use, for example, 1 for
port A, 2 for port B, and so on.

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Chapter 3 Using an External Fader Controller or Mixer

Troubleshooting the MIDI Connections
Perform the following procedures if the Automation Gain tool does not
respond to the external fader controller.
1. Make sure the MIDI hardware devices are connected as described in
the setup guide for your Avid system.
2. Make sure the MIDISport driver software is installed. See “Installing
USB-to-MIDI Software (Windows)” on page 121 and “Installing
USB-to-MIDI Software (Macintosh)” on page 122.
3. Check that the MIDI cable connections match the port configuration of
the Avid system:
a. Select Tools > Console.
b. Locate the following lines in the Console window:
For Windows:
Midi In device: In-A USB MidiSPORT 2x2
Midi Out device: Out-A USB MidiSPORT 2x2
For Macintosh:
Type SelectMIDIPort in the text box and press Return.
* 1: Device: MIDISport Port: Port A
2: Device: MIDISport Port: Port B
The asterisk indicates the port being used. In this example, port A
is being used.
c. Check that the MIDI connections on the MIDISPORT 2x2
USB-to-MIDI converter match the connections listed in the
Console window (either A or B).
d. If necessary, quit the Avid application, switch the MIDI cables to
match the output in the Console window, and then restart the Avid
application.
Position
indicator
lights

e. If the position indicator lights are still not blue, recheck the
connections according to the instructions in the setup guide.
4. (Macintosh only) Use the Apple System Profiler to check whether the
system is recognizing the MIDI device:

126

Using the FaderMaster Pro and MCS-3000X

a. Select Apple P menu > About This Mac.
b. Click More Information.
The Apple System Profiler opens.
c. Click the Devices and Volumes tab.
The USB Information portion of the display identifies the USB
devices that the system recognizes. The system might not display
the name of each device, but the number of USB devices should
match the number of devices you have connected to the system.

Using the FaderMaster Pro and MCS-3000X
The setup procedure is similar for both units. To connect and initialize the
fader controllers, see the setup guide for your system.

For the MCS-3000X to recognize the Avid application software, you
must set the rear DIP switch #4 down (ON).
To test the external fader controller:

1. Select Tools > Automation Gain.
The Automation Gain tool opens.
2. Click the Automation Gain Tool Fast Menu button, and select
Calibrate Hardware Sliders.
The box changes to blue.
Position
indicator
lights

3. Check the color of the position indicator lights. If the external fader
controller is connected, at least one of the lights should be on (blue). If
the external fader controller is not connected properly, the lights will
probably appear gray.
4. Move the faders on the external fader controller.
The corresponding fader should move in the Automation Gain tool.

An external fader controller is optional. It is not required to perform Audio
Gain Automation recording.

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Chapter 3 Using an External Fader Controller or Mixer

MCS-3000X Buttons
There are four rows of unlabeled buttons at the top of the MCS-3000X
fader controller.
The following illustration labels each row of buttons:

Select
Snap Mode

Solo
Mute

•

Select buttons: The green light next to the Select button for a track is
on when you are recording Audio Gain Automation on the track. The
green light is off when you are listening to the volume level in the
Timeline.
If the track is in Snap mode, as soon as you touch the fader, the Select
button light turns on to indicate that you are recording. When you
release the fader, the Select button light turns off and the fader begins
moving with the Timeline volume.
When the track is not in Snap mode, as soon as you touch the fader, the
Select button light turns on to indicate that you are recording.
However, when you release the fader, the Select button light stays on,
indicating that you are still recording. To stop recording, press the
Select button.

128

•

Snap Mode buttons: For information on these buttons, see “Using the
Snap Mode Feature on the MCS-3000X” on page 129.

•

Solo buttons: These buttons solo the selected tracks.

•

Mute buttons: These buttons mute the selected tracks.

Using the FaderMaster Pro and MCS-3000X

Using the Snap Mode Feature on the MCS-3000X
The MCS-3000X has a Snap Mode button for each track that allows you to
easily punch-in and punch-out small sections of automation gain
information. The second row from the top contains the Snap Mode buttons.
For more information on button locations, see “Understanding The
Automation Gain Tool” in the Help.
In Snap mode, the fader automatically stops recording as soon as you
release the fader. In addition, the fader continues to display the volume
information in the Timeline.
To use Snap mode:

1. Click the Snap Mode button for the appropriate tracks on the external
fader controller. You can click the button before or during a recording
session.
2. Set your IN and OUT points, and click the Record button. The system
begins playing the section and the faders move accordingly.
3. When you want to make an adjustment, grab the fader and move it to
change the volume. The system immediately begins recording.
4. When you are finished adjusting the section, release the fader. The
system stops recording (but keeps playing) and the fader snaps back to
the level that is in the Timeline.
When the track is not in Snap mode, the system continues to record audio
volume information after you release the fader. Press the Select button (top
row) to stop recording and snap the button back to its current Timeline
position.
The green light next to the Select button for a track is on when you are
recording Audio Gain Automation on the track. The green light is off when
you are listening to the volume level in the Timeline.

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Chapter 3 Using an External Fader Controller or Mixer

Ganging Faders on the FaderMaster Pro
You can use the features available on the FaderMaster Pro to gang faders.
When the faders for two tracks are ganged, the fader sends identical
volume messages for both tracks when you move one fader. This can be
useful when you have stereo tracks.
The ganged faders do not move together physically. For information on
ganging the faders, see the FaderMaster Pro user’s manual.
For example, if you have two stereo tracks and want to gang faders 1 and 2
to respond to movement on fader 1:
1. On the FaderMaster Pro, press the PROG button to light the Fader
LED.
2. Press the Group button, and move fader 2 until 1 is displayed.
3. Press the PROG button to turn off the Fader LED.
Now, when you move fader 1, the Avid system will receive identical
volume information for fader 2.
To turn off the group feature, repeat steps 1 to 3, but assign fader 2 to 0.

You cannot gang faders on the MCS-3000X fader controller or Yamaha
01V mixer.

Using the Yamaha 01V
The Avid system supports the Yamaha 01V digital mixing console. The
Yamaha 01V is a fully functional digital audio mixer that also supports
Automation Gain recording.
The following illustration shows the Yamaha 01V controls. The exploded
view shows the buttons that you use to operate the unit for Audio Gain
Automation recording. For a comparison with external fader controllers,
see Table 49.

130

Using the Yamaha 01V

SETUP

VIEW

UTILITY

MIDI

DYNAMICS

EQ/ATT

EFFECT 1

EFFECT 2

OPTION 1/0

REMOTE

AUX 1

AUX 2

AUX 3

AUX 4

O/DELAY

PAN/
ROUTING

FADER MODE

PHANTOM +48V

OFF

PHANTOM +48V

OFF

INPUT (BAL)

HOME

13/14 15/16

HIGH
UTILITY

MIDI

DYNAMICS

EQ/ATT

SETUP

L STEREO R

VIEW

HI-MID
O/DELAY

PAN/
ROUTING

LO-MID
FADER MODE
EFFECT 1

EFFECT 2

OPTION 1/0

REMOTE

AUX 1

AUX 2

AUX 3

AUX 4

LOW

NONE

CURSOR

ENTER

1
17

2
18

3
19

4
20

5
21

6
22

7
23

8
24

13/14 15/16 STEREO
MASTER

Setting Up the Yamaha 01V
This section describes how to set up the Yamaha 01V digital mixer. For
instructions on connecting the Yamaha 01V to your Avid system, see the
setup guide for your system.
Initializing the Yamaha 01V
This section describes how to initialize the Yamaha 01V digital mixer.
These steps should have to be done only once and repeated only if the
mixer’s operational parameters have been manually changed to settings
that are incompatible with the Avid system.

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Chapter 3 Using an External Fader Controller or Mixer

You should perform these steps when you first set up the unit. You might
also find it necessary to perform the steps if the unit stops working
correctly with your Avid system. Because you can perform a wide variety
of mixing tasks with the Yamaha 01V, it is possible that some changes you
make to the unit might cause it to stop working with the Avid system. If
this happens, use these steps to reinitialize the mixer to the factory defaults.
To return to factory defaults:

1. Turn on the mixer while pressing and holding the red Memory button.

Memory button
6

CURSOR

+1/inc button
ENTER

1
17

2
18

3
19

4
20

5
21

6
22

7
23

8
24

13/14 15/16 STEREO
MASTER

The LCD panel displays a message asking if you want to reset the
system.
2. Answer yes by pressing the +1/inc button.
Configuring the Mixer to Recognize MIDI Control Messages
After you initialize the mixer, you must configure it to receive and transmit
MIDI messages.
To reconfigure the mixer:

1. Press the MIDI button.
The system displays the first pane of the MIDI Options window.
2. Set the following controls in the MIDI Options window:

132

Set Control Change TX to ON.

Set Control Change RX to ON.

Using the Yamaha 01V

Starting the Avid System with the Yamaha 01V Attached
When you start your Avid system with the Yamaha 01V attached, you can
use the faders for mixing audio channels or for performing Audio Gain
Automation recording. You use the Home and Option I/O buttons to switch
between the two modes. This section describes how the Yamaha 01V
utilizes the faders.
The Yamaha 01V digital mixer allows you to work with 24 input channels
as follows:
•

12 mono input channels (1 through 12)

•

2 stereo input channels (13/14 and 15/16)

•

8 digital inputs (17 through 24)

Channels 17 through 24 use the same physical controls as channels 1
through 8, as shown in the following illustration. You use the Home and
Option I/O buttons to switch the assignments from 1 through 8 to 17
through 24.

CURSOR

ENTER

1
17

2
18

3
19

4
20

5
21

6
22

7
23

8
24

Channels 1–12 (mono)
Channels 17– 24

13/14 15/16 STEREO
MASTER

Channels 13–16
(Two stereo inputs)

When you start the Avid system, it automatically configures the Yamaha
01V to use channels 17 through 24 for automation gain control. Use the
Home and Option I/O buttons to switch between audio mixing (Home) and
audio gain recording (Option I/O).

The Yamaha 01V supports a digital I/O option that uses channels 17
through 24. If you intend to use the digital I/O option, you should move the
digital I/O option to channels 1 through 8 by using the Swap mode. You can
access Swap mode from pane 5 of the OPTION I/O screen. For more
information, see the Yamaha documentation.
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Chapter 3 Using an External Fader Controller or Mixer

Operational Notes for the Yamaha 01V
Using the Yamaha 01V for Audio Mixing
To access the audio mix (channels 1–16):

Press the Home button. When the Home button is lit, you can use the
faders for audio mixing.

For information on audio mixing, see the Yamaha 01V documentation.
Accessing Audio Gain Automation Recording
To record automation gain in the Automation Gain tool, you must be
in Option I/O mode, and then do the following:

1. Press the Option I/O button.
The faders move into the correct position for recording automation
gain.
2. When recording automation gain, use the On button on each channel to
switch between Timeline control of audio gain to user control of audio
gain.
You can punch-in and punch-out of gain recording as many times as
you want.
The Yamaha 01V faders are not touch sensitive in the same way as the
JL Cooper MCS-3000X MIDI fader controller. As soon as you touch a
moving fader on the MCS-3000X, the unit passes control of the fader to
you. On the Yamaha 01V, you must press the fader’s On button to gain
control of a moving fader.

n
c

134

If a fader is not moving, you can move the fader to take control without
pressing the On button.
If you attempt to catch a moving fader, the mixer will try to control the
fader. Press the On button to take control of the fader.

Using the Yamaha 01V

Soloing Avid System Channels
If you are not using the Yamaha 01V to mix the audio outputs of the Avid
system, you can use the Solo button on the Yamaha 01V to solo audio
channels during automation gain recording.
To enable Solo mode:

1. Press the MIDI button.
The mixer displays pane 1 of the MIDI Options window in the LCD
display.
2. Set the following controls in the MIDI Options window:
-

Set Param Change TX to ON.

Set Param Change RX to ON.

If Solo mode is on when you are mixing audio, however, it interferes with
the normal operation of the mixing board functions. If the Avid system
audio outputs are connected to the Yamaha 01V, leave the Param Change
TX and Param Change RX controls set to OFF.

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Chapter 3 Using an External Fader Controller or Mixer

136

Chapter 4
Working with Broadcast
Wave Format (BWF) Files
Avid editing applications support Broadcast Wave Format (BWF), an
industry-standard audio file format that supports metadata. This metadata
can include the shoot date, scene, take, and other production information.
This appendix includes the following sections:
•

Support for BWF Files

•

BWF Information Displayed in Bins

•

Preparing Custom BWF Information

•

Importing and Syncing BWF Files

•

Reimporting BWF Files

Support for BWF Files
Avid editing applications support any BWF files that adhere to the BWF
specification. Some BWF information always appears in bin columns.
You can use Avid-specific coding to add additional information. Currently,
the following vendors have products that can provide this additional
information:
•

Aaton

•

Zaxcom

Chapter 4 Working with Broadcast Wave Format (BWF) Files

•

Nagra

•

Fostex

Avid editing applications support 24-bit audio data, and up to 16 tracks in a
single file. You can use the AutoSync™ feature to sync these tracks. You
can also use AutoSync to sync picture and sound.

BWF Information Displayed in Bins
The following information from BWF files always appears in bin columns:

Bin Column

BWF Source

Clip name

Imported file name. If scene and take information is
provided, the clip name is created as scene/take.

Tape ID

Imported file name

Start

The start timecode specified in the file.

Shoot date

The origination date specified in the file.

Tape Name

If there is no tape name specified in the file, a name is
created by concatenating the origination date and the
imported file name.

Preparing Custom BWF Information
Additional information can be displayed in bin columns, but this
information needs to be coded in a particular format. The recording device
must provide this information in the BWF Description field, using the
following keyword/value pairs:
uKEYWORD=data[CR/LF]

138

Preparing Custom BWF Information

Syntax

Definition

Letter code of the manufacturer. Use the letter u unless
otherwise instructed by Avid.

KEYWORD

Designation of the bin column.

Terminates the keyword.

data

Information to include in the bin column.

[CR/LF]

(carriage return/line feed) Terminates the data.

For example,
uSCENE=1A[CR/LF]

after importing, displays “1A” in the Scene column of the bin into which it
was imported.
The following table describes how to code BWF information for particular
bin columns:

Bin Column

BWF Source

Comments (editable text field
that appears in the bin script
view)

uNOTE=x, where x is text.

Scene

uSCENE=x, where x is text.

Take

uTAKE=x, where x is text.

Tape Name

uTAPE=x, where x is text. If there is no tape
name specified, a name is created by
concatenating the origination date and the file
name.

TRK1 through TRK8

uTRKn=x where n is the track number, and x is
text.

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Chapter 4 Working with Broadcast Wave Format (BWF) Files

Take

uTAKE=x, where x is text.

Tape Name

uTAPE=x, where x is text. If there is no tape
name specified, a name is created by
concatenating the origination date and the file
name.

TRK1 through TRK8

uTRKn=x where n is the track number, and x is
text.

In addition, to assign a file to a particular track number, the file name needs
to end in _n, -n, or a space followed by n (where n is the track number). For
example, a file named Orchestra_1.bwf would create the audio on track
A1.
To avoid display of a dialog box during import, you can specify the frame
rate using the following syntax:
uFRAMERATE=nDF or
uFRAMERATE=nND

where nn is the frame rate (25, 29.97, or 30), DF is drop-frame, and ND is
non-drop-frame.

Importing and Syncing BWF Files
You can import BWF files into an Avid editing application approximately
10 to 12 times faster than capturing in real time. The files maintain pure
digital quality for all audio post processing. For basic information on
importing audio files, see the documentation for your Avid system.

140

Importing and Syncing BWF Files

During import of NTSC BWF files, if no frame rate is specified in the file,
a dialog box appears and asks if the conversion should use 29.97 fps or
30 fps , and drop-frame or non-drop-frame. Your choices depend on how
the audio was recorded.
After you capture video, use the AutoSync™ feature to sync picture and
sound or multiple tracks of sound. If you are using BWF files from a 24fps shoot in a PAL project, you must use use the PAL Method 2 approach,
in which picture and sound are captured separately.
If you are working in a PAL 24p project, you need to take an extra step to
make sure the picture and sound are correctly synced.
To import and sync BWF files:

3. Create a project, based on the source footage.
4. Import the log file, and capture the video footage.
5. Import the BWF file into the same bin in which you captured the video
footage.
6. For 24p PAL projects, you need to create a new bin column:
a. Highlight the Start timecode column.
b. Select Edit > Duplicate.
c. From the list of columns, select Aux TC 24 and click OK.
d. In the dialog box, click Convert.
e. Display the Auxiliary TC1 column.
f.

Highlight the Aux TC 24 column, and copy it to the Auxiliary TC1
column.

Use Auxiliary TC 1 only as a sync point reference for AutoSync. Do
not use it for data tracking or EDL generation.
Use the Aux TC24 column to generate a 24-frame EDL for audio only.
Use the Film TC column to generate a 24-frame EDL for video only.
This timecode field represents the video timecode of a HD
downconvert to standard definition video.

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7. Make sure all entries in the Shoot Date column use the same syntax.
Currently, some BWF files use the format 2003/10/03 as the Shoot
Date while some ALE files use 2003-10-03. This field is used as part
of the AutoSync process to guarantee the uniqueness of the timecode.
To fix this problem, do one of the following:
-

Manually change the format of one set of clips to match the other.

If you do need the information, create a custom column with a
different name, select Edit > Duplicate to copy the information
into the custom column, and delete the Shoot Date column.

8. Highlight the picture and audio clips and select Bin > AutoSync.
9. For 24p PAL projects, use Auxiliary TC1 as a sync point. For other
projects, use the Start timecode.
The editing application creates new subclips with synced picture and
sound, which are ready for editing.

Reimporting BWF Files
You can reimport BWF files in the same way as you reimport other audio
files. You can also batch capture from a source tape, because the clips are
associated with a tape name. For more information on reimporting and
batch capturing, see the documentation for your Avid system.

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Chapter 5
Film-to-Tape Transfer
Methods
To capture and edit film-originated footage in your Avid system, you must
transfer the footage to videotape. This chapter presents the following
information about film-to-tape transfer methods:
•

Understanding the Transfer Process

•

Transferring 24-fps Film to NTSC Video

•

Transferring 24-fps Film to PAL Video

•

How the Avid System Stores and Displays 24p and 25p Media

To help you plan the transfer, this chapter includes the following sections:
•

Film-to-Tape Transfer Guidelines

•

Film-to-Tape Transfer Options

Understanding the Transfer Process
You have your film rolls from the day’s shooting, and you’re ready to edit
on your Avid system. To capture that footage into the system, you first
need to transfer the film to videotape. This process uses a special film
projector called a telecine (the term loosely translates as “video-film”).
The telecine is usually part of a production system that includes audiotape
recorders, a controller, and other equipment.

Chapter 5 Film-to-Tape Transfer Methods

After you’ve decided on a telecine facility and have supplied your
requirements (see “Film-to-Tape Transfer Guidelines” on page 154 and
“Film-to-Tape Transfer Options” on page 155), the telecine facility
performs the film-to-tape transfer. The steps in the process differ,
depending on whether you include audio and whether the transfer produces
NTSC or PAL videotapes. The following sections describe these steps.

Transferring 24-fps Film to NTSC Video
If you use an NTSC transfer, the film-to-video process takes place in two
stages:
•

Stage 1: Transferring Film to Video

•

Stage 2: Digitizing at 24 fps

The following illustration shows a simplified view of the NTSC film-tovideo transfer process. For information about this workflow, see “Planning
a 24p or 25p Project” in the Help.
Telecine
2:3 pulldown
23.976 fps
Stage 1
Film shot at 24 fps

144

Betacam

Capture and reverse
pulldown to 24 fps.
Stage 2

Betacam or
Digital Betacam
video signal 29.97 fps

Avid editing system at 24 fps

Transferring 24-fps Film to NTSC Video

Stage 1: Transferring Film to Video
The NTSC film-to-video transfer occurs as a two-part process: the telecine
adds extra frames during transfer and, at the same time, slightly reduces the
film’s running speed.
Frames Versus Fields
To understand how the telecine transfers film to videotape, you need to
understand the relationship between frames and fields.
An NTSC video image consists of 525 horizontal lines of information. The
electron gun on a video monitor displays the odd-numbered lines first and
then the even-numbered lines. Each full scan of odd-numbered or evennumbered lines constitutes a field. At 30 fps, each field takes 1/60th of a
second to display; therefore, an entire frame of two fields is scanned each
1/30th of a second. The combination of these two fields (odd and even) is
called interlacing.
A film frame, in contrast, is one full picture; it has no fields. The telecine
process takes each film frame and creates a two-field video frame.
Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video
Film runs at 24 fps, and NTSC video runs at 30 fps. The difference in
frame rates between film and video prevents a direct frame-to-frame
transfer.
To compensate, the telecine process creates an extra six frames every
second (the difference between 24 and 30). That is, it creates five video
frames for every four film frames. But remember, each video frame is
subdivided into two video fields. To be more precise, the telecine creates
ten video fields (the equivalent of five video frames) for every four film
frames. This is referred to as a 4:5 ratio. Table 50 states this relationship
between film and video.

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Chapter 5 Film-to-Tape Transfer Methods

Table 50

Ratio of Film to Video

Film

Video

24 fps

30 fps

4 frames

5 frames (10 fields)

The telecine uses a method known as pulldown to create the extra frames.
As each film frame moves through the telecine projector, it is held in place
(pulled down) while a specific number of fields are recorded on videotape.
To transfer four film frames to ten video fields, the telecine process
alternates between creating two and three video fields per film frame
(referred to as 2:3 pulldown). To transfer four film frames to ten video
fields, the telecine pulls down the first film frame and records two video
fields, pulls down the second film frame and records three video fields, and
repeats the process.
The four frames in each series are referred to as A, B, C, and D. The
standard method for identifying the resulting fields is to label them as A1,
A2, B1, B2, and so forth. The following diagram illustrates the 2:3
pulldown process.
Four film frames

146

Five NTSC video frames (ten fields)
A1

odd

even

odd

even

odd

even

odd

even

odd

even

Timecode change

Transferring 24-fps Film to NTSC Video

The telecine alternates between capturing odd-numbered and evennumbered fields. For example, B1 and B3 both contain the odd-numbered
scan lines of the B film frame. Later in the transfer process, when the Avid
system captures the fields, it must capture an odd-numbered and an evennumbered field for each frame.
When you view the resulting video, you get the impression that you are
watching the video at 24 fps even though it is playing at 30 fps (or more
precisely, at 29.97 fps).
Part 2: Slowing the Film Speed to 23.976 fps
NTSC video, the broadcast standard used in the United States, Japan, and
other countries, plays at an actual rate of 29.97 fps, although it is usually
referred to as 30 fps.
An accurate conversion requires exact adherence to the 4:5 ratio, but this
ratio breaks down when you compare 24 fps to 29.97 fps. To achieve a true
4:5 ratio, the film frame rate is slowed down to 23.976 fps. The telecine
process makes this correction automatically, slowing NTSC video 0.1
percent from the original film speed, so that the video plays at 99.9 percent
of its original speed.
Table 51 adds this new ratio.

Table 51

Ratio of Film to Video with FPS

Film

Video

24 fps

30 fps

4 frames

5 frames (10 fields)

23.976 fps (0.999 x 24) 29.97 fps (0.999 x 30)

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Chapter 5 Film-to-Tape Transfer Methods

Maintaining Synchronized Sound
In most cases, the sound for your production has been recorded on a digital
audio system, such as a DAT (digital audiotape), or ¼-inch tape system,
such as a Nagra recorder. You need to synchronize the sound with the
picture and make sure they are in sync in the Avid system. You can take
one of three basic paths:
•

Transfer the original sound recording to mag track, sync the mag track
to the film work print, and transfer both to videotape through a telecine
process.

•

Sync the original sound recordings to picture during the telecine
process, and transfer both to videotape.

•

Transfer only the picture through the telecine process, capture picture
and sound separately, and sync them in the Avid system.

If the telecine transfers sound along with picture (one of the first two
paths), the sound is slowed by 0.1 percent to maintain sync with the
picture. The reference signal slows from 60 Hz to 59.94 Hz and the rate at
which the audio is recorded changes from 44100 Hz to 44056 Hz, or from
48000 Hz to 47952 Hz.

148

Transferring 24-fps Film to NTSC Video

Stage 2: Digitizing at 24 fps
The telecine has converted your film footage into video running at
29.97 fps. Now you’re ready to use the digitizing process to input the
material as a 24p NTSC project.
To capture audio
transferred at 29.97 fps
(video rate) you must
set the pulldown switch
to 0.99 in the Capture
tool. For more
information, see
“Setting the Pulldown
Switch” in the Help.

During the digitizing process, the Avid system reverses the pulldown
procedure to capture the film footage at 24 fps. It removes the extra fields
added by the pulldown process to create full-frame, 24p media. The
capture process captures video and audio at the slowed-down speed
(0.999).
The following illustration shows each stage of the film-video-24p process.

Four film frames

Film at 24 fps

Five NTSC video frames (ten fields)
A1

odd

even

odd

even

odd

even

odd

even

odd

even

Four captured frames

B
Skip this field.
C

D
Skip this field.

Betacam or Digital Betacam
29.97 fps

24p media at 24 fps

If you have transferred sound along with picture, the Avid system captures
audio at the slowed-down speed. Then during editing and playback, the
system speeds up the play rate by 0.1 percent to play in sync with the
24-fps video. Audio plays at 44100 Hz (44.1 kHz) or 48000 Hz (48 kHz).
Now you can edit the material at 24 fps on the Avid system. This approach
ensures that all your edits correspond to true film frames so you see an
accurate representation of the finished film.

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Chapter 5 Film-to-Tape Transfer Methods

Transferring 24-fps Film to PAL Video
If you use a PAL transfer, the film-to-video process also takes place in two
stages:
•

Stage 1: Transfer the film to videotape by speeding up the film rate
during the telecine process.

•

Stage 2: Capture the transferred videotape into the Avid system at the
sped-up rate.

The following illustration shows a simplified view of the PAL film-tovideo transfer process. For information about this workflow, see “Planning
a 24p or 25p Project” on page 229.
Telecine
transfer with
4.1% speedup
Stage 1
Film shot at 24 fps

Capture
Betacam
Betacam or
Digital Betacam
video signal 25 fps

Stage 2

Avid editing system at 24 fps

There are two approaches to synchronizing sound, which are often referred
to as PAL Method 1 and PAL Method 2.

PAL Method 1
With PAL Method 1, you synchronize sound with picture during the
telecine process.
Stage 1: Transferring Sound and Picture to Videotape
Some PAL film-to-tape
transfers use pulldown.
This method is not
currently supported in
Avid systems.

150

As with an NTSC film-to-tape transfer, the telecine process creates two
video fields for each film frame. However, because the film rate of 24 fps is
close to the PAL video rate of 25 fps, most PAL film-to-tape transfers
involve simply speeding up the frame rate. This speedup changes the frame
rate from 24 to 25 (an increase of 4.1 percent). There is no pulldown that
creates extra fields.

Transferring 24-fps Film to PAL Video

With PAL Method 1, there are two ways to sync sound with picture in the
telecine process:
•

Transfer the original sound recording to mag track, sync the mag track
to the film work print, and transfer both to videotape through a telecine
process.

•

Sync the original sound recordings to picture during the telecine
process, and transfer both to videotape.

In either case, the telecine process speeds up sound at the same rate as
picture: 4.1 percent.
Stage 2: Digitizing at 24 fps

After you’ve received the PAL transfer tapes, the next step is digitizing the
footage in a 24p PAL project. During the digitizing process, the Avid
system captures the material at the PAL rate of 25 fps, capturing every
picture frame. It stores the two video fields as a single progressive frame,
which you edit at 24 fps.

Select this option in the
Film Settings dialog
box. For more
information, see
“Selecting Settings” in
the Help.

You must capture audio along with video at the PAL rate of 25 fps if you
want to use audio that was transferred along with picture during the
telecine process. You set the Audio Transfer rate as Video Rate (100+%) in
the New Project dialog box. For more information, see “Audio Transfer
Options for 24p PAL Projects” in the Help.
You have the option of playing back the footage at 24 fps or 25 fps. If you
select 24 fps, the system slows both the picture and the sound by
4.1 percent for playback. This approach lets you edit at the original film
rate, but the slowdown creates a limitation for audio. Because you capture
the audio at a rate faster than playback, some audio samples are duplicated
during playback, and sound quality is compromised.
If you select 25 fps, there is a different limitation with audio. Because you
are playing back at the sped-up rate (4.1 percent), the audio pitch rises
slightly. This is usually acceptable for broadcast, so PAL Method 1 is
primarily used for PAL television broadcast.

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Chapter 5 Film-to-Tape Transfer Methods

PAL Method 2
With PAL Method 2, you capture sound and picture separately.
Stage 1: Transferring Picture to Videotape
Some PAL film-to-tape
transfers use pulldown.
This method is not
currently supported in
Avid systems.

With PAL Method 2, you use the same telecine process for picture (create a
video frame of two fields for each film frame, speed up rate by
4.1 percent). The difference is that you do not synchronize sound as part of
the telecine process.
Stage 2: Digitizing at 24 fps

Now that you have your picture-only videotapes (at the rate of 25 fps) and
your source recording tapes, you need to follow a two-step process:
1. Capture the picture to create 24p media.
2. Capture the sound at the film rate of 24 fps.

When you created the project, you set the Audio Transfer rate as Film Rate
(100%) in the New Project dialog box. For more information, see “Audio
Transfer Options for 24p PAL Projects” in the Help.
In most cases, you will choose to edit at 24 fps. The sound will maintain
source quality (44.1 kHz and 48 kHz) and will play in sync with 24-fps
video.
PAL Method 2 is used primarily for film projects.

How the Avid System Stores and Displays 24p and
25p Media
When the Avid system captures video that has been transferred from film
(or video shot at 24 fps), it creates 24p media. It creates this media by
capturing the video fields, by dropping extra pulldown fields (NTSC
transfers only), by combining (deinterlacing) two fields for each film frame
(A1+A2, B1+B2, and so forth), and by storing the fields together as a full
152

How the Avid System Stores and Displays 24p and 25p Media

frame. The system always stores media as a fully reconstructed,
progressive frame. It is the construction of this full frame that gives you the
flexibility to create multiformat output.
You typically use 25p media when digitizing film or video shot at 25 fps.
In this case, the system also stores the media as a fully reconstructed,
progressive frame. The difference is that there is no need for pulldown
fields since there is a 1:1 correspondence between the source tape and the
captured frames.

Displaying Media While Editing
When you click the Play button while editing a clip or a sequence
(sometimes referred to as Edit Play), the system separates (interlaces) the
progressive frames into fields and does the following:
•

On the Source, Record, Playback, or pop-up monitor, the system
displays the footage at 23.976 fps, 24 fps, or 25 fps, depending on your
project and editing preference.

•

On an NTSC monitor, the system does one of two things:

•

If playing at 23.976 fps (audio pulldown ON), the system performs
a 2:3 pulldown that replicates the telecine pulldown, and displays
the interlaced media at 29.97 fps.

If playing at 24 fps (audio pulldown OFF), the system performs a
2:3 pulldown, drops every 1000th frame in the Client monitor, and
displays the interlaced media at 29.97 fps.

On a PAL monitor, the system does one of two things:
-

If playing at 24 fps, the system duplicates two fields per second to
display the interlaced media at 25 fps.

If playing at 25 fps, the system performs a 4.1 percent speedup,
maintains 1:1 transfer of film frames to video frames, and displays
the interlaced media at 25 fps.
For 25p projects, 25 fps is the only playback rate. The playback
rate is 1:1 with no speed change.

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By default, the system uses a mode called Fast Frame Display (available
from the Special menu), which displays one field of the progressive frame.
You can display the full frame if necessary, such as when checking for
dropouts created during the film-to-tape transfer, and step through frame
by frame. However, the display will be slower.

Displaying Media During a Digital Cut
The Digital Cut tool lets you output multiple formats at various play rates,
all from 24p and 25p media. When you click the Play Digital Cut button,
the system displays the sequence as described in the previous section,
depending on your selection in the Digital Cut tool. For more information,
see “Outputting Directly to a DV Device” in the Help.

Film-to-Tape Transfer Guidelines
Observe the following general guidelines when transferring film to tape:
•

Instruct the telecine facility to record timecode on the address track.

•

Instruct the facility to use only a telecine transfer process when
transferring to NTSC videotape. Do not use a film chain or any other
transfer device.

•

PAL transfers do not require pulldown, so you can use either a telecine
or a film chain. However, quality is much better on a telecine.

•

Transfer all of the project’s source film footage to disk or tape by using
either the NTSC or PAL method.
-

154

For NTSC projects, you can mix footage transferred at 24 fps
(23.976 fps) or 30 fps (29.97 fps), and mix sound transferred at 1.0
or 0.99.

Film-to-Tape Transfer Options

Do not mix 24-fps and 30-fps transfers on the same transfer tape.
-

For PAL projects, you cannot mix audio that has been transferred
at 4.1 percent speedup (PAL Method 1) with audio that has not
been sped up (PAL Method 2).

PAL film-to-tape transfers that use pulldown are not currently supported in
Avid systems.

Film-to-Tape Transfer Options
This section describes options for transfer quality and various screening
and editing aids you can request during the transfer process, based on the
considerations of budget and available facilities.

Transfer Quality
The quality of the film-to-tape transfers depends upon several options for
the telecine transfer. The transfer-quality options available from a telecine
facility include:
•

One-light: This transfer involves a single setting of color correction
values, resulting in the simplest, fastest, and least-costly type of
transfer. One-light transfers are often used during offline stages of
editing.

•

Best-light: This transfer involves optimum settings of the color-grade
controls, but without scene-by-scene color correction. Best-light
transfers are an intermediate level in terms of both quality and cost.

•

Timed (scene-by-scene): This transfer involves color correcting each
scene or shot during transfer. Timed transfers are the most expensive
and time consuming. This option sets up the proper black and white
levels so that you can perform a tape-to-tape color correction from the
source tapes, if needed.

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Chapter 5 Film-to-Tape Transfer Methods

For more information
on the film-tape-filmtape option, see
“Relinking Clips by
Key Number” in the
Help.

You can use the film-tape-film-tape feature to perform two separate
telecine processes for a project:
•

Perform a one-light or best-light transfer to obtain the most material
for the initial edits.

•

After editing is complete, perform a timed, fully color-corrected
transfer of the clips that will be used in the final cut.

After you perform the final telecine operation, you can capture at a
finishing resolution, such as 1:1 (uncompressed).

Additional Film Transfer Aids
The transfer facility might have available one or more of the following
production aids, which you can include in your film-to-tape transfer:

•

Automatic logging: Whenever possible, you should instruct the
facility to log tracking information directly into a computer database
program. Logs generated automatically are more accurate than manual
logs and can be imported easily into the Avid system (see “Preparing
Log Files for Import” in the Help). A log file typically indicates the
relative timecode, key numbers, and pullin (“A” frames) for each clip
that will be captured.

•

A keypunch at the head of each camera roll: Ask the lab or transfer
house to punch the head of each camera roll at the zero frame and give
you a list of the corresponding key numbers. After you have captured,
you can match this list with your captured material to check for
potential transfer errors.

•

Burn-in code: If the transfer facility is equipped with a timecode or
film-code character generator, you can instruct the facility to display or
“burn-in” tracking codes on the videotape transfer. Burn-in code
provides visual feedback for logging and tracking footage.

Burn-in code cannot be removed from the image and should be used
only for the offline stage of a project.
•

156

16:9 wide-screen format: The Avid system supports the 16:9 widescreen display format. You can either shoot your footage by using a
16:9 lens, or transfer the footage anamorphically to display a larger

Film-to-Tape Transfer Options

area of the film aspect ratio during offline and online editing. Also, this
aspect ratio lets you create media that takes advantage of new 16:9
monitors that conform to SDTV and HDTV standards.

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Chapter 5 Film-to-Tape Transfer Methods

158

Chapter 6
File Format Specifications
To be compatible with a variety of imaging standards, your Avid system
can accommodate many file types and formats. For import and export
procedures, see “Importing Files” in the Help and “Exporting Frames” in
the Help. This appendix contains descriptions, specifications, and notes for
importing and exporting specific file formats.
To ensure usability and high quality, the files in some formats require
preparation before being imported to the Avid application. Consequently,
this appendix contains many more notes for import than for export. When
you export a file, you select a file format from the Export Settings dialog
box and select options appropriate for the format. For descriptions of the
dialog box options, see “Export Settings Dialog Box Options” in the Help.

Graphics (Image) Files
Media Composer uses Image Independence® to produce usable files from a
large number of graphics formats. Once you have imported a file in a
particular format, you can export it in the same or different format, with the
exception of Photo CD™; you cannot export a file to a Photo CD. (You can
only import the Photo CD format on a Macintosh).
This list briefly describes the supported graphics (image) file formats:
•

Alias: Alias PIX image format, developed by Alias Research, Inc.
(now Alias|Wavefront, a division of Silicon Graphics Limited) for use
with their animation and visualization software.

Chapter 6 File Format Specifications

160

•

BMP: Developed by Microsoft Corporation as the standard image file
format used by Microsoft Windows.

•

Chyron: Developed by Chyron Corporation for use with video frame
buffers of Chyron character-generator titles.

•

Cineon: Developed by Eastman Kodak for use in the Cineon Digital
Film System. It is a subset of the SMPTE DPX (Digital Picture
Exchange) format.

•

Framestore: Developed by NewTek for use with their Video Toaster
system.

•

IFF: Developed by Electronic Arts. IFF (Interchange File Format), or
more specifically IFF-ILBM (InterLeaved BitMap), is the standard file
format by which applications on the Amiga platform transfer image
files.

•

JPEG: Developed by the Joint Photographic Experts Group (JPEG).
This format is highly suited for image storage and transmission
purposes because of its ability to dramatically reduce the storage
requirements for a file. JFIF files (JPEG File Interchange Format, the
standard for constructing JPEG files) can also be imported and
exported.

•

OMFI: (import only) Developed by Avid Technology, Inc. and many
industry and standards partners for the interchange of digital media
data between platforms and applications.

•

PCX: Developed by Zsoft Corporation for use with its PC Paintbrush
paint software.

•

(Macintosh only) Photo CD: (import only) Developed by Kodak for
use with the Kodak Photo CD storage medium. If you have difficulty
importing this format directly into your Avid system, open the file in
an application such as Photoshop, and use the Save As feature to save
the file in a format that can be imported (such as TARGA, PICT, or
TIFF).

•

Photoshop: Developed by Adobe Systems Incorporated for use with
its Adobe Photoshop image-editing software.

•

PICT: Developed by Apple Computer, Inc. as the format for
Macintosh QuickDraw® images.

•

Pixar: Developed by Pixar for stored pictures.

Graphics (Image) Files

•

PNG: Developed by the PNG Development Group originally as an
alternative to the GIF image format. PNG is an acronym for Portable
Network Graphics and is pronounced “ping.”

•

QRT: Developed on the Amiga personal computer to run on several
operating systems. Used by many ray tracing programs, such as DKB
Ray Trace and the QRT ray tracer.

•

Rendition: Developed by Numerical Design Ltd.

•

SGI: Developed by Silicon Graphics, Inc. for use as the standard
format on their line of workstations.

•

Softimage: Developed by Softimage, Inc. (now a division of Avid
Technology, Inc.) for use in their Softimage software.

•

Sun Raster™: Developed by Sun Microsystems, Inc. and supported
mainly in Sun applications.

•

Targa: Developed by Truevision, Inc. (now Pinnacle Systems) and
originally intended for support of the Truevision image-capturing
hardware.

•

TIFF: Developed by Aldus Corporation (now Adobe Systems
Incorporated) and Microsoft Corporation. TIFF is an acronym for Tag
Image File Format.

•

Wavefront: Developed by Wavefront Technologies, Inc. (now
Alias|Wavefront, a division of Silicon Graphics Limited) for storing
pictures in a machine-independent manner.

•

XWindows: Developed by the MIT X Consortium and supported by
many X Window System applications on workstations and some
personal computers.

•

YUV: Defined by Abekas Video Systems (now Accom, Inc.), the YUV
format is the raw data sent to the Abekas® machines.

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Chapter 6 File Format Specifications

Preparing Graphics Files for Import
Before you import a graphics file to your Avid system, you can use thirdparty image-editing software, such as Adobe Photoshop, to make
adjustments such as the following:

•

Convert the file to the appropriate size, resolution, and bit depth.

•

Crop or color-correct an image.

•

Eliminate jagged edges in an image by using the image-editing
application’s anti-aliasing or high-quality option.

•

Add transparency (to some formats) by setting the resolution to 32 bits
per pixel to add an alpha channel.

•

In some cases, you can convert an image file that does not support an
alpha channel to a format that does, in order to add transparency.

You can import and key the image over video by using key effects within the
Avid application. However, importing an image with an existing alpha
channel provides the best results.
For specific procedures and file formats, see the documentation that
accompanies the image-editing software.

Graphics File Import Specifications
Table 52 contains graphics file import specifications. The table uses the
following terms:

162

•

Bit depth: These numbers refer to color-depth resolution of the image
based on the number of bits per pixel. For example, 2-bit images are
displayed in black and white; 8-bit images are displayed in 256 colors;
16-bit images are displayed in thousands of colors; 24-bit images are
displayed in millions of colors; and 32-bit images are displayed in
millions of colors with an alpha channel.

•

Alpha channel: This column states whether or not alpha channel
import is supported. An alpha channel determines regions of
transparency in the picture when it is keyed over a background.

•

NA: This notation means Not Applicable

Graphics (Image) Files

For recommended image sizes, see “Screen Resolution for Imported
Graphics and Sequences” on page 166.

Table 52

Graphics File Import Specifications

Format

Default
File
Name
Exten- Bit Depth
sion
Support

Alpha
Channel
Support Notes

Alias

.als

24-bit color,
8-bit grayscale

—

BMP

.bmp

1-, 4-, 8-, and 24-bit

Dots-per-inch (dpi) information is preserved.
Four-bit BMP files saved with RLE (runlength encoded) compression are not
supported.
Photoshop does not support four-channel
BMP files.

Chyron

.chr

32-bit

Yes

—

Cineon

.cin

10-bit (logarithmic)

Dots-per-inch (dpi) information is preserved.

24-bit

Pixel aspect information is saved with image
data.

Framestore .fs

When importing files generated from Video
Toaster, select the option Force to Fit Screen.
IFF

.iff

1-bit to 24-bit color; 1-bit alpha Dots-per-inch (dpi) information is preserved.
only
1-bit to 8-bit
Pixel aspect information is saved with image
grayscale;
data.
64-color EHB;
4096-color HAM;
262,144-color
HAM8;
SHAM;
A-HAM;
A-RES

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Chapter 6 File Format Specifications

Table 52

Graphics File Import Specifications (Continued)

Format

Default
File
Name
Exten- Bit Depth
sion
Support

Alpha
Channel
Support Notes

JPEG

.jpg

24-bit color,
8-bit grayscale

—

OMFI

.omf

—

See “OMFI Files” on page 174.

PCX

.pcx

Color-mapped and
24-bit color

Dots-per-inch (dpi) information is preserved.

—

Photo CD —
(Macintosh
only)

PCX files with 1-bit color depth or oddnumbered pixel widths are not
supported.
If you are importing Photo CD files, you must
install QuickTime software and a compatible
QuickTime driver for Photo CD.
Most Photo CD files are high resolution. If the
photo has a portrait orientation, the image will
be automatically rotated upon import. Use a
paint or image-processing program to crop or
resize the image before importing.

Photoshop .psd

PICT

164

.pic

Grayscale, indexed
color, RGB, and
duotone variations

Yes

2-, 4-, 8-, 16-, and
32-bit

Yes

Duotone files are loaded as grayscale.
Multichannel (greater than four channels) files
are not supported.
Dots-per-inch (dpi) information is preserved.
If no dpi is specified, 72 dpi is used.

Pixar

.pxr

24-bit, 36-bit

Yes

—

PNG

.png

1-bit to 32-bit

Yes

—

QRT

.dbw

24-bit

—

Rendition

.6rn

32-bit

Yes

—

Graphics (Image) Files

Table 52

Format

Default
File
Name
Exten- Bit Depth
sion
Support

SGI

.rgb

Softimage .pic

Graphics File Import Specifications (Continued)

Alpha
Channel
Support Notes

Yes
8-bit or 16-bit
grayscale;
8-bit grayscale plus
8-bit alpha channel;
24- and 48-bit color;
24-bit color plus 8-bit
alpha channel;
64-bit (16 bits per
component)

—

24-bit plus
8-bit alpha

Pixel aspect information is saved with the
image.

Yes

only) Double-clicking a
c (Windows
Softimage file will start the
application associated with PICT files
because they use the same file name
extension. Avoid double-clicking
Softimage files to view them.
Sun Raster .sun

1-, 8-, or 24-bit

—

Targa

8-, 15-, 16-, or 24-bit; Yes
32-bit

—

.tga

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Chapter 6 File Format Specifications

Table 52

Format

Default
File
Name
Exten- Bit Depth
sion
Support

TIFF

.tif

Graphics File Import Specifications (Continued)

Alpha
Channel
Support Notes

8-bit color-mapped; Yes
8-bit or 16-bit
grayscale;
24- and 48-bit color;
24-bit color plus 8-bit
alpha;
36-bit color plus
12-bit alpha;
42-bit color plus
14-bit alpha;
48-bit color plus
16-bit alpha

Dots-per-inch (dpi) information is preserved.

Wavefront .rla

32-bit and 64-bit

Yes

—

XWindows .xwd

1-, 2-, 4-, 8-, 16-,
24-, and 32-bit

—

YUV

24-bit

Pixel aspect information (based on the video
format) is saved with image data.

.yuv

The following types of files are not supported:
Multichannel (greater than four channels)
files; Group 3-compressed (fax) files; CMYK
files with extra channels; and JPEGcompressed files.
Four-channel files from Avid Matador™ are
imported as three-channel files.

When importing, select the option Force to Fit
Screen.

Screen Resolution for Imported Graphics and
Sequences
The tables in this section show the frame sizes to use when importing
graphics and sequences for different resolutions for NTSC and for PAL.
These numbers describe the recommended width and height, in pixels, to
create a source image that will be displayed full-screen after import. Using
these dimensions helps minimize distortion after conversion to the Avid
166

Screen Resolution for Imported Graphics and Sequences

application native resolution. An image with smaller dimensions will take
up less of the screen or will be distorted, while an image that exceeds these
dimensions might appear distorted. Avid recommends an image resolution
of 72 pixels per inch.
For example, when you are using an application such as Adobe
After Effects to process a sequence that you want to bring into the Avid
application, use the values shown in the following tables when you render
the sequence.
Table 53 provides information about the resolutions for interlaced media
(30i NTSC and 25i PAL projects).

Table 53

Graphic Import Frame Sizes: Interlaced

Frame Size
Resolution (Pixels)

Resolution

Frame Size
(Pixels)

15:1s

352 x 243 (NTSC)
352 x 288 (PAL)

10:1

720 x 486 (NTSC)
720 x 576 (PAL)

4:1s

352 x 243 (NTSC)
352 x 288 (PAL)

3:1

720 x 486 (NTSC)
720 x 576 (PAL)

2:1s

352 x 243 (NTSC)
352 x 288 (PAL)

2:1

720 x 486 (NTSC)
720 x 576 (PAL)

20:1

720 x 486 (NTSC)
720 x 576 (PAL)

1:1

720 x 486 (NTSC)
720 x 576 (PAL)

Table 54 provides information for progressive media (24p NTSC, 24p
PAL, and 25p projects).

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Chapter 6 File Format Specifications

Table 54

Graphic Import Frame Sizes: Progressive

Frame Size
Resolution (Pixels)

Resolution

Frame Size
(Pixels)

35:1

720 x 486 (NTSC)
720 x 576 (PAL)

3:1

720 x 486 (NTSC)
720 x 576 (PAL)

28:1

720 x 486 (NTSC)
720 x 576 (PAL)

2:1

720 x 486 (NTSC)
720 x 576 (PAL)

14:1

720 x 486 (NTSC)
720 x 576 (PAL)

1:1

720 x 486 (NTSC)
720 x 576 (PAL)

Table 55 provides information for interlaced and progressive multicamera
media.

Table 55

Graphic Import Frame Sizes: MultiCamera

Interlaced Frame Size
Resolution (Pixels)

Progressive
Resolution

Frame Size
(Pixels)

4:1m

288 x 243 (NTSC)
288 x 288 (PAL)

3:1m

288 x 243 (NTSC)
288 x 288 (PAL)

10:1

288 x 243 (NTSC)
288 x 288 (PAL)

8:1m

288 x 243 (NTSC)
288 x 288 (PAL)

Table 56 provides information for DV media (30i and 25i projects).

Table 56

Graphic Import Frame Sizes: DV

Resolution

Frame Size
(Pixels)

Frame Size
Resolution (Pixels)

720 x 480 (NTSC)
720 x 576 (PAL)

DV 50

DV 25

168

720 x 480 (NTSC)
720 x 576 (PAL)

Animation Files

Animation Files
Your Avid system supports the following animation file formats:
•

ERIMovie: Developed by Elastic Reality, Inc. (now a division of Avid
Technology, Inc.) for quick playback of rendered movies on Silicon
Graphics, Inc. platforms.

•

(Macintosh only) PICS: Developed by Apple Computer, Inc. A PICS
file is a sequence of PICT images. Many applications that handle
multiple image formats on the Macintosh platform also support PICS
files.

•

QuickTime: Developed by Apple Computer, Inc. for multimedia on
multiple platforms.

•

(Windows only) AVI (Audio Video Interleave): Developed by
Microsoft for storing video and audio information as part of its Video
for Windows standard.

Table 57 shows animation file import specifications. QuickTime import
and export information appears in Table 58. AVI import and export
information appears in Table 59.

Your Avid system imports the file at the frame rate that is set in the project
(29.97 fps, 25 fps, or 24 fps). Set the appropriate frame rate for the project
when you export from a third-party application.
Table 57 shows animation file import specifications.

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Chapter 6 File Format Specifications

Table 57

Format
ERIMovie

Animation File Import Specifications

Default
File
Name
Alpha
Exten- Bit Depth Channel
sion
Support Support Notes
Yes
.mov or 24-bit
.eri
packed and
32-bit raw
movie files

QuickTime for Windows also uses the .mov file
name extension. However, QuickTime does not
support ERIMovie, and double-clicking an
ERIMovie file will cause an error.

n
(Macintosh only) .pcs
PICS Animation

2-, 4-, 8-,
16-, and
32-bit

Sequenced image Various —
files

There is no player for ERIMovie on
Windows or Macintosh platforms; the
mview program supports ERIMovie on
Silicon Graphics systems.

Yes

Only uncompressed data can be stored in PICS
format. PICS export does not allow PICS
containers larger than 16 MB.

Yes

Name each file in the sequence NameN.ext, with
Name identifying the animation, N indicating the
file order, and .ext indicating the file type (for
example, Image1.jpg, Image2.jpg, Image3.jpg).
The numbering can start at any number except 0,
or use any numbering format (for example,
Image010.jpg, Image012.jpg, or Imagef28.jpg,
Imagef29.jpg).

Table 58 shows the QuickTime file import and export specifications.

170

Animation Files

Table 58

QuickTime File
Import and Export
Specifications
QuickTime files

QuickTime File Import and
Export Specifications

Notes
QuickTime import and export requires QuickTime software. For supported
versions of QuickTime, see the release notes for your Avid system.
•

(Windows only) QuickTime software is installed when you install your
Avid application.

•

(Macintosh only) QuickTime software is automatically installed as part
of the Mac OS operating system.

Avid Codec for
QuickTime files

The Avid Codec for QuickTime enables you to import and export
QuickTime files at a rate of three to four times real time. To use the codec
in a third-party application, see “Exporting from a Third-Party QuickTime
or AVI Application” in the Help.

Resolution

Use Export settings to specify the video resolution of a QuickTime file for
export. For more information, see “Export Settings Dialog Box Options” in
the Help.
The video resolution of a QuickTime file is set at export time from a thirdparty application equipped with the Avid Codec for QuickTime. The Avid
system imports the file at this resolution. For more information on
exporting from a third-party application, see “Exporting from a Third-Party
QuickTime or AVI Application” in the Help.

Image size

To take advantage of the Avid Codec for QuickTime speed, you must
export the files from the QuickTime application at the following frame
sizes in order to import to Media Composer v6.0 and later:
720 x 486 pixels for NTSC images (non-square pixels)
720 x 576 pixels for PAL images (non-square pixels)

File name extension

After you import a QuickTime file, the file maintains the .mov file name
extension, which is visible in a bin. The .mov file name extension is the
default for export.

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Chapter 6 File Format Specifications

Table 58

QuickTime File
Import and Export
Specifications
QuickTime alpha

QuickTime File Import and
Export Specifications (Continued)

Notes
To save a QuickTime movie with alpha channel in a third-party QuickTime
application, use the Avid Codec for QuickTime or a codec that supports a
color depth or “millions +.” The Avid application does not support matte
key or alpha channel for QuickTime export; it does import alpha channel
when one exists.

Table 59 shows the AVI file import and export specifications.

Table 59

AVI File Import and Export
Specifications

AVI File Import and
Export Specifications Notes
Resolution

Use Export settings to specify the video resolution of an AVI file for
export. For quick export of files using the Avid Codec for AVI, select the
“Use Source Compression” option in the Export Settings dialog box. To
control the resolution when using the Avid Codec for AVI, deselect the
“Use Source Compression” option, click Compression Settings, and select
the resolution you want from the Avid AVI Codec Configuration dialog
box. For more information, click the dialog box and then press the F1 key
(Windows) or Help key (Macintosh).
The resolution of an AVI file is set at export time from a third-party
application equipped with the Avid Codec for AVI. The Avid system
imports the file at this resolution. For more information on exporting from
a third-party application, see the “Exporting from a Third-Party QuickTime
or AVI Application” in the Help.

File size

172

Avid AVI files can be quite large, especially at high video resolutions.
They require adequate storage and transfer capabilities.

Audio File Formats

Table 59

AVI File Import and Export
Specifications (Continued)

AVI File Import and
Export Specifications Notes
File name extension

After you import an AVI file, the file maintains the .avi file name
extension, which is visible in a bin. The .avi file name extension is the
default for export.

AVI alpha channel

Media Composer does support alpha channel for AVI import or export.

Audio File Formats
This list briefly describes the supported audio file formats:

•

Audio Interchange File Format (AIFF-C): Format for audio files
developed by Apple Computer, Inc.

•

(Macintosh only) Sound Designer II (SDII or SD2): Native format
of the Sound Designer II application developed by Digidesign, Inc., a
division of Avid Technology, Inc.

•

Wave Format (WAVE): Format for audio files developed jointly by
Microsoft and IBM. WAVE files are playable by nearly all Windows
applications that support sound.

You can capture, render, and edit audio in AIFF-C, Sound Designer II
(Macintosh only), or WAVE file formats.

MXF Files
Material Exchange Format (MXF) allows for easy exchange of material
between file servers, tape streamers and digital archives. MXF is an ideal
interchange format to enable workflow efficiencies in news broadcasting,
post production, asset management, and archiving applications. For
example, Avid|DS and ProTools support MXF files.

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Chapter 6 File Format Specifications

You can select the MXF format when capturing, importing, creating titles,
or rendering effects.

OMFI Files
OMFI was developed by Avid Technology, Inc. and many industry and
standards partners for the interchange of digital media data between
platforms and applications. For information about creating an OMFI file
on a non-Avid application, see the documentation for the application.
The information in Table 60 applies to importing OMFI files.

Table 60
OMFI File
Import
Specifications

Notes

Resolution

For optimum import speed and quality, export or render the file from the
source application at the resolution you want, and then import the file into
the Avid application at that resolution. For more information, see “Import
Settings” in the Help.

Frame or Edit rate

You must import sequences and clips to projects that have the same edit
rate (29.97 fps or 23.976 fps for NTSC, 25 fps for PAL, 24 fps for film). If
the edit rates do not match, you will receive an error message.

174

OMFI File Import Specifications

cannot import an OMFI audio file that was produced with an edit
rate equal to the audio sampling rate. Trying to import such a file
results in an “Unrecognized file type” error message. Create the
source file with an edit rate at the project edit rate (29.97 fps, 25 fps,
24 fps, or 23.976 fps).

OMFI Files

Table 60
OMFI File
Import
Specifications
OMFI version

OMFI File Import Specifications (Continued)

Notes
Media Composer recognizes and supports OMFI 1.0 composition and
media files and OMFI 2.0 composition files.
The following OMFI 2.0 effects are supported generally:
•

Video effects: dissolves, wipes, freeze frame, film pulldown, slow
motion, fade to black

•

Audio effects: pan and volume, audio dissolves

Other effects can be imported from other Avid applications.
Film pulldown

To import audio media, set the pulldown switch to 1.0.

Audio sample rate

Audio media is imported at the sample rate that is set on the Avid system.

Media Composer cannot import an OMFI audio file that was
produced with an edit rate equal to the audio sampling rate. Trying
to import such a file results in an “Unrecognized file type” error
message. Set the edit rate to the project edit rate (29.97 fps, 25 fps,
24 fps, or 23.976 fps).

Avid MCXpress™ for
Windows NT® files

If you are importing OMFI compositions from Avid MCXpress for
Windows NT, you might receive an error if the sequence includes video or
audio effects. If this happens, create a cuts-only version of the sequence in
Avid MCXpress and export it again. You cannot import video media from
Avid MCXpress for Windows NT; if you import a composition, you must
recapture the media.

File transfer

If you are transferring an OMFI file over a network, transfer it as a binary
file.

Reimporting Avid
media files

If you import OMFI files that contain media you exported from the same
system, you need to delete the original media. Otherwise, the new media
will not overwrite the original media. To learn how to find related media
files for a sequence, see “Finding a Related Media File” in the Help.

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Chapter 6 File Format Specifications

Field Ordering in Graphic Imports and Exports
Graphic images are composed of one or more image files, each of which
contains a full frame. These frames contain fields (formed from the oddnumbered and even-numbered lines of the image frame) that have three
basic arrangements:
•

Progressive or still frame: The upper and lower fields in the frame
originated at the same instant of time, or are coherent with each other,
as shown in the following illustration.
f1

Dashed lines = Field 1
Solid lines = Field 2

Field 1
&
Field 2

Time

Frame Unit

•

Upper field is first: The upper field in the frame (odd-numbered lines,
when the frame lines are numbered starting from 1) occurs temporally
before the lower field, as shown in the following illustration. This
arrangement is termed “upper field first” (or “lower field second”).

Field 1

Field 2

Time

Frame Unit

•

176

Lower field is first: The lower field in the frame (even-numbered
lines) occurs temporally first, as shown in the following illustration.
This arrangement is termed “lower field first” (or “upper field
second”).

Field Ordering in Graphic Imports and Exports

Field 1

Field 2

Time

Frame Unit

Preventing a Spatial Field Mismatch on Import

Table 61 shows the proper spatial field position for each of the common
video formats in Avid systems.

Table 61

Recommended Field Settings for Two-Field
Import and Export

Avid Video
Format

Import/Export
Frame Size

Upper/Lower Field
Spatial Setting

Field Setting for
Import and Export a

AVR NTSC

720 x 243 x 2

Upper field is first.

Odd Field

AVR PAL

720 x 288 x 2

Upper field is first.

Odd Field

Meridien NTSC

720 x 243 x 2

Lower field is first.

Even Field

Meridien PAL

720 x 288 x 2

Upper field is first.

Odd Field

DV25 NTSC

720 x 240 x 2

Lower field is first

Even Field

DV50 NTSC

720 x 240 x 2

Lower field is first

Even Field

DV25 PAL

720 x 288 x 2

Lower field is first

Even Field

DV50 PAL

720 x 288 x 2

Lower field is first

Even Field

a. Odd Field or Even Field specifies whether the temporally first field in the frame has the odd or
even numbered lines, starting from 1.

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Chapter 6 File Format Specifications

Graphics utilities, such as Adobe After Effects, permit selection of either
spatial relation for the fields when rendering a sequence of interlaced
fields. If the rendering is performed as shown in Table 61, then the import
will be correct.
If the spatial positions of the two fields are reversed (for example, the
upper field should be a lower field), the import cannot be done without
correcting the spatial relationship. In this spatial mismatch situation, the
Avid system will convert the upper field to a lower field by deleting the top
line of the upper field and replicating the bottom line. The field will thus be
converted to a lower field relative to the other field. The import operation
can now proceed.

When exporting to DVD for TV playback, it is recommended to transcode
any clips that do not match the field ordering of the majority of the clips.
Not doing this will result in field ordering being swapped during playback.
Spatial Field Relationship on Export

The default export operation is automatically carried out as shown in
Table 61. The fields will be properly interleaved in the export frames (one
frame per file).
If an import comes in mismatched and the dropping of the top line and
repeating of the bottom line is performed, you might decide to have the
export operation performed to prevent a shift up or down by a line. The
Export Settings dialog box permits you to select the spatial arrangement
that is the opposite of what is otherwise recommended. This option should
rarely be used.
24p and 25p Import and Export

The spatial field selection options do not apply for 24p and 25p projects
because the frames in these projects are already in progressive or stillimage form.

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Field Ordering in Graphic Imports and Exports

Field Dominance

Editing in Avid systems is frame based. All timecode is expressed in frame
numbers, and all cuts are at frame boundaries. A raw video stream has no
concept of frames (ignoring color framing) until the frame unit is defined.
Defining the dominant field for the system defines the “frameness” of the
video stream, as shown in the following figure.

f2 f1 f2 f1 f2
Field-1
Dominant
Frame

(Time)

f2 f1 f2 f1
Field-2
Dominant
Frame

Avid editing systems all use field 1 as the dominant field. This means that
the first field temporally in the edit frame will always be field 1. Field 2
will always be the second frame in the edit frame. Cuts will always precede
field 1.
Fields in Video

In the video signal, fields have a temporal position that is unambiguously
and uniquely tied to the details of the video signal, regardless of whether
the signal is analog or digital (SDI). This means that working around a
field spatial mismatch should be done by correcting the spatial relation
between the two fields rather than the temporal position. In some cases, it
is possible to modify the field dominance of the input image files, but this
is cumbersome, results in the loss of two fields, and is more difficult to
carry out than either the workaround provided in Avid systems or
rerendering properly to the other spatial relationship.

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Chapter 6 File Format Specifications

180

Chapter 7
Resolutions and Storage
Requirements
This appendix describes the different resolutions and lists their
specifications. It also explains how to estimate the drive space you will
require to store your captured media. This appendix includes the following
sections:

•

Compression and Avid Editing Systems

•

Screen Resolution

•

Compression and Resolutions

•

Storage Requirements

•

Maximizing Drive Space

•

Managing Storage to Improve Playback Performance

The resolutions available on your Avid system depend on its model and
options.

Compression and Avid Editing Systems
When an Avid editing system captures and stores video, it employs
compression techniques that affect the size of the resulting files and the
resolution of the images they contain. The less the data is compressed, the
higher the image resolution, and the more drive space the file requires.

Chapter 7 Resolutions and Storage Requirements

Large media files at high resolutions can use very large amounts of drive
space. When you are choosing an image resolution for your project, you
need to balance your requirements in terms of image quality with your
available drive resources.
You can use lower resolutions when your work does not require very high
image quality (for example, in offline work, or in CD-ROM or Web
authoring projects), and higher resolutions when you need excellent image
quality. You can also mix different resolutions within the same project as
long as those resolutions are compatible with one another.
Your Avid application also supports the digitizing and storage of video that
is not processed by a data compression scheme.
•

Uncompressed video (1:1) conforms to ITU-R 601 standards. The
image quality of uncompressed video is very high, but uncompressed
files require very large amounts of drive space.

•

DV (digital video) and MPEG video are compressed media formats.
SMPTE standards specify how to take 601 video and convert it to the
compressed formats. When recording through a 1394 connection
(Windows only) or an MPEG SDTI-CP connection (Windows only),
the Avid editing system records DV and MPEG media in their native
formats, and does not compress them further.

Screen Resolution
The screen resolution for the Avid application is different for NTSC and
for PAL:

182

•

NTSC ITU-R 601 resolution is 720 x 486 non-square pixels covering
all the active video. The stored media includes 10 lines of blanking or
vertical interval timecode (VITC) per frame (5 lines per field).

•

NTSC DV and MPEG resolutions are 720 x 480 non-square pixels
covering all the active video.

Compression and Resolutions

•

PAL ITU-R 601 resolution is 720 x 576 non-square pixels covering all
the active video. The stored media includes 16 lines of blanking or
VITC per frame (8 lines per field).

•

PAL DV and MPEG resolutions are 720 x 576 non-square pixels
covering all the active video.

Compression and Resolutions
Avid resolutions use a simple notation — x:1 — to identify the level of
compression. The value of x indicates the level of compression that is
applied to the image data. For example, a 3:1 compression ratio
compresses the original data to one-third of its uncompressed size.
A lower compression ratio (a lower number to the left of the colon) results
in better image quality but requires more drive space to store the captured
media. A lower compression ratio might also require drive striping to keep
up with the high volume of data.

For information on resolutions to use when importing graphics or
sequences from a third-party application, see “Screen Resolutions for
Imported Graphics and Sequences” in the Help.

Mixing Resolutions
In a single sequence, you can mix resolutions, but you cannot mix
interlaced with progressive resolutions.
Avid Resolutions
Table 62 lists the five groups of Avid resolutions.

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Chapter 7 Resolutions and Storage Requirements

Table 62

Avid Resolution Groups

NTSC 30i and PAL 25i Projects

Single-Field

Two-Field

15:1s
4:1s
2:1s

20:1
10:1
3:1
2:1

24p and 25p Projects

Uncompressed
(Interlaced)
Progressive

Uncompressed
(Progressive)

1:1

35:1
28:1
14:1
3:1
2:1

DV Resolutions
Table 63 lists the two groups of DV resolutions:

Table 63

DV Resolution Groups

NTSC 30i Projects

PAL 25i projects

DV 25 4:1:1

DV 25 4:1:1, DV 25 4:2:0

DV 50 4:2:2

You can mix NTSC DV resolutions (DV 25 and DV 50), or you can mix
PAL DV resolutions (DV 25 and DV 50). However, you cannot record a
digital cut to a DV deck with mixed DV resolutions. You need to perform a
mixdown first. You can record mixed DV resolutions to an SDI or to an
analog deck.
Advantages to Mixing Resolutions
Mixing resolutions in a sequence saves time and effort in a variety of
circumstances:

184

Compression and Resolutions

•

You can do most of your work at a resolution that can play back realtime effects, digitizing only the most complex shots and graphics at a
high-quality, single-stream resolution.

•

For storage and playback efficiency, you can capture complex footage
at the draft-quality online resolution and edit it along with other online
resolutions.

•

You can avoid some recapturing by importing complex graphics at a
high-quality resolution and by digitizing the remaining footage at draft
quality during the offline phase.

•

You can exchange material between projects with a minimum of
recapturing.

•

You can develop material among workstations at different resolutions
and bring the material together for a final cut without recapturing.

For information on resolutions to use when importing graphics or
sequences from a third-party application, see “Screen Resolutions for
Imported Graphics and Sequences” in the Help.

Resolution Groups and Image Quality
Although it is generally true that a lower compression ratio means higher
image quality, the resolution group itself (single-field, two-field,
progressive, or uncompressed) is also a factor in the quality of the final
image.
Single-field resolutions work with smaller amounts of original image data
than two-field or progressive resolutions. They use only half the image
width of two-field resolutions, and they use only one of the two fields in
the standard video signal.
For example, there is a 2:1 resolution for both single-field and two-field
resolutions. In both cases, the image data is compressed to one-half of its
original size. However, the image quality of these two resolutions is
different. The single-field 2:1 resolution has lower image quality because it
processes only one-quarter of the original image data used by the two-field
2:1 resolution.

185

Chapter 7 Resolutions and Storage Requirements

Video Streams
Whenever you have more than one video track, or a transition effect on a
single track, you have two streams of data (“dual streams”). Some effects
create a second stream. When you render effects, you combine two streams
into one. Two streams demand a significantly higher throughput than one
stream. Sometimes, drive striping is required to accommodate two streams,
even though a single stream at the same resolution would not require
striping.

Compression Specifications
The following tables provide information about the Avid resolutions, DV
resolutions, and MPEG resolutions:
•

“Resolution Specifications: Interlaced” on page 186

•

“Resolution Specifications: Progressive” on page 188

Progressive media is stored as a full frame. For more information, see
“How the Avid System Stores and Displays 24p and 25p Media” on
page 152.
For information on drive striping requirements for different resolutions,
see “Getting Information About Striped Drives” in the Help.
For detailed guidelines on estimating space requirements, see “Storage
Requirements” on page 189.
Resolution Specifications: Interlaced
Table 64 provides information about the Avid resolutions for interlaced
media (30i NTSC and 25i PAL projects).

186

Compression and Resolutions

Table 64

Resolution
15:1s

4:1s

2:1s

20:1

10:1

3:1

2:1

1:1

Resolution Specifications: Interlaced
Fields
Per
Frame

Quality

352 x 248 (NTSC)
352 x 296 (PAL)

Offline

352 x 248 (NTSC)
352 x 296 (PAL)

720 x 248 (NTSC)
720 x 296 (PAL)

Field Size
(Pixels)

Maximum storage with enough image detail to make
basic editing decisions (you can check lip sync on a
medium shot)
Offline
A good storage resolution combined with a good offline
image quality
Online
Provides enough detail for finishing multimedia jobs
such as CD-ROM and Web authoring
Offline
Useful for mixing storage-efficient offline footage with
online-quality resolutions
Offline/online
A good compromise for high-quality, two-field offline
or low-quality online that saves drive space
Online
A medium-quality online resolution that can sustain
two-stream playback on 2-way striped drives
Online
Provides the highest image quality of any compressed
resolution and sustains two-stream playback on 4-way
striped drives
Online uncompressed
Provides the highest image quality possible

187

Chapter 7 Resolutions and Storage Requirements

Resolution Specifications: Progressive
Table 65 provides information about the Avid resolutions for progressive
media (24p NTSC and 24p PAL projects).

Table 65

Resolution

188

Frame Size
(Pixels)

Resolution Specifications: Progressive

Quality

35:1

720 x 496 (NTSC) Offline
720 x 592 (PAL)
Maximum storage with enough image detail to make basic editing
decisions

28:1

720 x 496 (NTSC) Offline
720 x 592 (PAL)
Low storage requirements combined with a good offline image
quality

14:1

720 x 496 (NTSC) Offline
720 x 592 (PAL)
The best offline image quality

3:1

720 x 496 (NTSC) Online
720 x 592 (PAL)
A medium-quality online resolution that can sustain two-stream
playback on 2-way striped drives

2:1

720 x 496 (NTSC) Online
720 x 592 (PAL)
Provides the highest image quality of any compressed resolution
and sustains two-stream playback on 4-way striped drives

1:1

720 x 496 (NTSC) Online uncompressed
720 x 592 (PAL)
Provides the highest image quality possible

Storage Requirements

Storage Requirements
You should plan the use of drive volumes in advance, especially when you
capture numerous reels.
This section contains recommendations for achieving efficient storage for
your digital media. It explains how playback performance can be affected
by the way you set up the storage drives and target them when you capture.

Estimating Drive Space Requirements
You need to select a resolution that provides adequate picture quality for
your project. However, you might be limited by the amount of media drive
space available. Before you capture, estimate your media drive space
requirements.
To estimate media drive space requirements:

1. Use the appropriate resolution specifications table (see “Compression
Specifications” on page 186) and the information in your media drive
documentation to select a resolution that is compatible with the drive
and striping capacity on your system.
2. Open the Capture tool, select a resolution and target drive or drives,
and note the time remaining on the selected drives (see “Interpreting
the Time-Remaining Display” in the Help).
3. Get a total duration for all the clips to be captured. Use the Console
and the Get Bin Info commands, as described in “Getting Information
with the Console” in the Help.
4. Use the appropriate estimated storage requirements table (see
“Estimated Storage Requirements” on page 190) to estimate your drive
space requirements based on the resolution and the number of audio
tracks. To get an estimate of the number of gigabytes needed, do one of
the following:
t

Calculate by dividing the duration of your material (number of
minutes) by the estimated minutes per gigabyte.

189

Chapter 7 Resolutions and Storage Requirements

Calculate by combining storage figures from the “Drive space
Needed for x Minutes of Media” columns as necessary to match
the number of minutes of material you have.

5. Compare the gigabytes available on your drives with the result of
step 4. If your needs are greater than your drive space, select a lower
resolution and recalculate.

Estimated Storage Requirements
The tables in the following topics show estimated drive space requirements
for each resolution, including uncompressed. They show figures for
estimated minutes per gigabyte and also figures for the drive space
required for certain amounts of material.

The figures in the table represent drive space for video material that
includes typical variations in image complexity. Actual drive space
requirements might vary slightly from these estimates, depending on the
overall complexity of the video you capture and store.
Consider the following when you interpret this information:
•

For 30-fps media (NTSC) and 25-fps media (PAL), the minutes per
gigabyte are approximately the same because PAL video contains
approximately 17 percent fewer frames per second, but each frame
contains approximately 16 percent more pixels.
For 24p media, which uses the same frame rate for both NTSC and
PAL, 24p footage from a PAL transfer requires more storage space.

190

•

Figures for audio storage in the table are based on the standard rates
for audio sampling (16 bits per sample, 44.1 kHz). To calculate
additional audio storage (for numbers of channels not listed in the
table), add 88.2 KB per second (approximately 5.3 MB per minute) to
your estimate for each additional audio channel.

•

Storage requirements are affected by the number of channels of audio,
not the frequency of the captured audio signal. The difference in
storage requirements between 44.1-kHz and 48-kHz audio is
negligible, while the difference between two or three channels is more
significant, as reflected in the table.

Storage Requirements

Rolling titles add 1.4 MB (NTSC) or 1.6 MB (PAL) per second to storage
requirements. If you are on the upper edge of the requirements for drive
capacity or striping, adding a rolling title might prevent you from playing
real-time material.

Estimated Storage Requirements: Interlaced
Before using Table 66, read the information in “Estimating Drive Space
Requirements” on page 189 and “Estimated Storage Requirements” on
page 190.

Table 66

Estimated Storage Requirements: Interlaced

Resolution

Minutes
Audio Per
Tracks Gigabyte

Drive
Space
Needed for
1 Minute of
Media

Drive
Space
Needed for
10 Minutes
of Media

Drive Space
Needed for
30 Minutes
of Media

15:1s

48.5

20.6 MB

206 MB

618 MB

38.6

25.9 MB

259 MB

777 MB

32.1

31.2 MB

312 MB

936 MB

28.2

35.5 MB

355 MB

1.07 GB

24.5

40.8 MB

408 MB

1.22 GB

16.1

62.0 MB

620 MB

1.86 GB

11.6

85.8 MB

858 MB

2.57 GB

11.0

91.1 MB

911 MB

2.73 GB

10.5

95.4 MB

954 MB

2.86 GB

9.9

101 MB

1.01 GB

3.03 GB

9.4

106 MB

1.06 GB

3.18 GB

4:1s

191

Chapter 7 Resolutions and Storage Requirements

Table 66

Resolution

2:1s

20:1

10:1

192

Estimated Storage Requirements: Interlaced
(Continued)

Minutes
Audio Per
Tracks Gigabyte

Drive
Space
Needed for
1 Minute of
Media

Drive
Space
Needed for
10 Minutes
of Media

Drive Space
Needed for
30 Minutes
of Media

7.9

127 MB

1.27 GB

3.81 GB

5.8

172 MB

1.72 GB

5.16 GB

5.7

177 MB

1.77 GB

5.28 GB

5.5

182 MB

1.82 GB

5.46 GB

5.4

187 MB

1.87 GB

5.61 GB

5.2

193 MB

1.93 GB

5.79 GB

4.7

214 MB

2.14 GB

6.42 GB

16.6

60.1 MB

601 MB

1.80 GB

15.3

65.4 MB

654 MB

1.96 GB

14.1

70.7 MB

707 MB

2.12 GB

13.2

76.0 MB

760 MB

2.28 GB

12.3

81.3 MB

813 MB

2.44 GB

9.8

103 MB

1.03 GB

3.09 GB

8.3

120 MB

1.20 GB

3.60 GB

7.9

126 MB

1.26 GB

3.78 GB

7.6

131 MB

1.31 GB

3.93 GB

7.3

136 MB

1.36 GB

4.08 GB

7.2

140 MB

1.40 GB

4.20 GB

6.2

161 MB

1.61 GB

4.83 GB

Storage Requirements

Table 66

Estimated Storage Requirements: Interlaced
(Continued)

Resolution

Minutes
Audio Per
Tracks Gigabyte

Drive
Space
Needed for
1 Minute of
Media

Drive
Space
Needed for
10 Minutes
of Media

Drive Space
Needed for
30 Minutes
of Media

3:1

2.9

344 MB

3.44 GB

10.32 GB

2.9

349 MB

3.49 GB

10.47 GB

2.8

354 MB

3.54 GB

10.62 GB

2.8

360 MB

3.60 GB

10.80 GB

2.7

365 MB

3.65 GB

10.95 GB

2.6

386 MB

3.86 GB

11.58 GB

1.9

516 MB

5.16 GB

15.48 GB

1.9

521 MB

5.21 GB

15.63 GB

1.9

526 MB

5.26 GB

15.78 GB

1.9

531 MB

5.31 GB

15.94 GB

1.9

537 MB

5.37 GB

16.11 GB

1.8

558 MB

5.58 GB

16.74 GB

1:1
0
(Uncompressed)

0.8

1.22 GB

12.2 GB

36.6 GB

0.8

1.23 GB

12.3 GB

36.9 GB

0.8

1.23 GB

12.3 GB

36.9 GB

0.8

1.24 GB

12.4 GB

37.2 GB

0.8

1.24 GB

12.4 GB

37.2 GB

0.8

1.26 GB

12.6 GB

37.8 GB

2:1

193

Chapter 7 Resolutions and Storage Requirements

Estimated Storage Requirements: Progressive
Before using Table 67, read the information in “Estimating Drive Space
Requirements” on page 189 and “Estimated Storage Requirements” on
page 190.

Table 67

Drive
Space
Needed for
1 Minute of
Media

Drive
Space
Needed for
10 Minutes
of Media

Drive Space
Needed for
30 Minutes
of Media

Resolution

Minutes
Audio Per
Tracks Gigabyte

35:1

36.4 (NTSC) 27.5 MB
30.3 (PAL) 33.0 MB

275 MB
330 MB

824 MB
990 MB

30.5 (NTSC) 32.8 MB
26.1 (PAL) 38.3 MB

328 MB
383 MB

983 MB
1.14 GB

26.3 (NTSC) 38.1 MB
22.9 (PAL) 43.6 MB

381 MB
436 MB

1.14 GB
1.30 GB

23.1 (NTSC) 43.4 MB
20.4 (PAL) 48.9 MB

434 MB
489 MB

1.30 GB
1.47 GB

20.5 (NTSC) 48.7 MB
18.4 (PAL) 54.2 MB

487 MB
542 MB

1.46 GB
1.63 GB

14.3 (NTSC) 69.9 MB
13.3 (PAL) 75.4 MB

699 MB
754 MB

2.10 GB
2.26 GB

29.1 (NTSC) 34.4 MB
24.3 (PAL) 41.2 MB

344 MB
412 MB

1.03 GB
1.23 GB

25.2 (NTSC) 39.7 MB
21.5 (PAL) 46.5 MB

397 MB
465 MB

1.19 GB
1.39 GB

22.2 (NTSC) 45.0 MB
19.3 (PAL) 51.8 MB

450 MB
518 MB

1.35 GB
1.55 GB

28:1

194

Estimated Storage Requirements: Progressive

Storage Requirements

Table 67

Resolution

14:1

3:1

Estimated Storage Requirements: Progressive
(Continued)

Minutes
Audio Per
Tracks Gigabyte

Drive
Space
Needed for
1 Minute of
Media

Drive
Space
Needed for
10 Minutes
of Media

Drive Space
Needed for
30 Minutes
of Media

19.9 (NTSC) 50.3 MB
17.5 (PAL) 57.1 MB

503 MB
571 MB

1.51 GB
1.71 GB

18.0 (NTSC) 55.6 MB
16.0 (PAL) 62.4 MB

557 MB
624 MB

1.67 GB
1.87 GB

13.0 (NTSC) 76.8 MB
12.0 (PAL) 83.6 MB

768 MB
836 MB

2.30 GB
2.51 GB

14.6 (NTSC) 68.5 MB
12.1 (PAL) 82.6 MB

685 MB
826 MB

2.05 GB
2.48 GB

13.6 (NTSC) 73.8 MB
11.4 (PAL) 87.9 MB

738 MB
879 MB

2.21 GB
2.64 GB

12.6 (NTSC) 79.1 MB
10.7 (PAL) 93.2 MB

791 MB
932 MB

2.37 GB
2.80 GB

11.8 (NTSC) 84.4 MB
10.1 (PAL) 98.5 MB

844 MB
985 MB

2.53 GB
2.96 GB

11.1 (NTSC) 89.7 MB
9.6 (PAL)
103 MB

897 MB
1.04 GB

2.69 GB
3.12 GB

9.0 (NTSC)
8.0 (PAL)

111 MB
125 MB

1.11 GB
1.25 GB

3.33 GB
3.75 GB

3.6 (NTSC)
3.0 (PAL)

278 MB
333 MB

2.78 GB
3.33 GB

8.33 GB
10.0 GB

3.5 (NTSC)
3.0 (PAL)

283 MB
339 MB

2.83 GB
3.39 GB

8.49 GB
10.2 GB

3.5 (NTSC)
2.9 (PAL)

288 MB
344 MB

2.88 GB
3.44 GB

8.65 GB
10.3 GB

195

Chapter 7 Resolutions and Storage Requirements

Table 67

Resolution

Minutes
Audio Per
Tracks Gigabyte

Drive
Space
Needed for
1 Minute of
Media

Drive
Space
Needed for
10 Minutes
of Media

Drive Space
Needed for
30 Minutes
of Media

3.4 (NTSC)
2.9 (PAL)

294 MB
349 MB

2.94 GB
3.49 GB

8.81 GB
10.5 GB

3.3 (NTSC)
2.8 (PAL)

299 MB
355 MB

2.99 GB
3.55 GB

8.97 GB
10.6 GB

3.1 (NTSC)
2.7 (PAL)

320 MB
376 MB

3.20 GB
3.76 GB

9.61 GB
11.3 GB

2.4 (NTSC)
2.0 (PAL)

417 MB
500 MB

4.17 GB
5.00 GB

12.5 GB
15.0 GB

2.4 (NTSC)
2.0 (PAL)

422 MB
505 MB

4.22 GB
5.05 GB

12.7 GB
15.2 GB

2.3 (NTSC)
2.0 (PAL)

427 MB
510 MB

4.27 GB
5.11 GB

12.8 GB
15.3 GB

2.3 (NTSC)
1.9 (PAL)

433 MB
516 MB

4.33 GB
5.16 GB

13.0 GB
15.5 GB

2.3 (NTSC)
1.9 (PAL)

438 MB
521 MB

4.38 GB
5.21 GB

13.1 GB
15.6 GB

2.2 (NTSC)
1.8 (PAL)

459 MB
542 MB

4.59 GB
5.42 GB

13.8 GB
16.3 GB

1:1
0
(Uncompressed)

1.0 (NTSC)
0.9 (PAL)

1.00 GB
1.15 GB

10.0 GB
11.5 GB

30.0 GB
34.5 GB

1.0 (NTSC)
0.9 (PAL)

1.01 GB
1.15 GB

10.1 GB
11.5 GB

30.3 GB
34.6 GB

1.0 (NTSC)
0.9 (PAL)

1.01 GB
1.16 GB

10.1 GB
11.6 GB

30.3 GB
34.8 GB

2:1

196

Estimated Storage Requirements: Progressive
(Continued)

Storage Requirements

Table 67

Resolution

Estimated Storage Requirements: Progressive
(Continued)

Minutes
Audio Per
Tracks Gigabyte

Drive
Space
Needed for
1 Minute of
Media

Drive
Space
Needed for
10 Minutes
of Media

Drive Space
Needed for
30 Minutes
of Media

1.0 (NTSC)
0.9 (PAL)

1.02 GB
1.17 GB

10.2 GB
11.7 GB

30.6 GB
35.1 GB

1.0 (NTSC)
0.9 (PAL)

1.02 GB
11.7 GB

10.2 GB
11.7 GB

30.6 GB
35.1 GB

1.0 (NTSC)
0.8 (PAL)

1.04 GB
1.19 GB

10.4 GB
11.9 GB

31.3 GB
35.8 GB

Estimated Storage Requirements: DV
Table 68 provides information to help you estimate the storage
requirements for DV media.
Before using this table, read the information in “Estimating Drive Space
Requirements” on page 189 and “Estimated Storage Requirements” on
page 190.

Calculations are approximate. They are based on dual-stream playback
with four channels of audio, and include a 10 percent system overhead
factor.

Table 68

Estimated Storage Requirements: DV

Resolution

Drive Space
Needed for
Minutes Per 1 Minute of
Media
Gigabyte

Drive Space
Needed for
10 Minutes
of Media

Drive Space
Needed for
30 Minutes
of Media

DV 25 (NTSC)

2.1

4.8 GB

14.4 GB

480 MB

197

Chapter 7 Resolutions and Storage Requirements

Table 68

Estimated Storage Requirements: DV

Resolution

Drive Space
Needed for
Minutes Per 1 Minute of
Media
Gigabyte

Drive Space
Needed for
10 Minutes
of Media

Drive Space
Needed for
30 Minutes
of Media

DV 25 (PAL)

2.7

384 MB

3.8 GB

11.5 GB

DV 50 (NTSC)

1.1

930 MB

9.3 GB

27.9 GB

DV 50 (PAL)

1.4

744 MB

7.4 GB

22.3 GB

Maximizing Drive Space
If your media drive space is limited or you are digitizing a large amount of
source material, follow these suggestions to maximize your usage of the
media drive space:
For more information
on batch digitizing and
recapturing, see “Batch
Capturing” in the Help.

198

•

Capture only the audio channels required for the edit.

•

Capture at a lower resolution for editing. Recapture only the clips
included in the final cut at a higher resolution.

Managing Storage to Improve Playback Performance

Managing Storage to Improve Playback Performance
The way you set up the media drives and target them when you capture can
affect playback performance. Here are some suggestions for working with
complex video images at high resolution, multiple video layers, or
multicamera material:
•

For more effective playback of multiple streams of video at higher
resolutions, stripe the media drives. Some resolutions require drive
striping; see “Getting Information About Striped Drives” in the Help.

•

For more effective playback of multiple streams of video at higher
resolutions without drive striping, distribute the video tracks as evenly
as possible among available drives, and target separate drives for audio
and video.

•

Try to target one volume per reel.

199

Chapter 7 Resolutions and Storage Requirements

200

Chapter 8
Avid Log Specifications
This section explains the Avid log file format. The Avid editing system can
import logs that meet Avid log specifications. These logs must follow the
formatting requirements described in this appendix.

Understanding Avid Log Specifications
You can prepare an Avid log on any type of IBM-compatible or Macintosh
computer by using a word processing application or a text editor. You can
use the file name extension .txt, but it is not required.
To ensure accuracy, you must follow the Avid log specifications described
in this appendix.
An Avid log is composed of three sections, in this order:
•

Global headings

•

Standard and custom column headings

•

Data headings

When you create an Avid log, you must follow the order precisely. The
tables in this section follow this order.
For an example of a simple log file, see “Sample Avid Log” on page 210.

Chapter 8 Avid Log Specifications

Avid Log Specifications
This section contains tables that show how to enter headings and data to
create an Avid log. The tables use the following conventions:
•

A heading appears in the first column, without angle brackets or
standard brackets. For example, FIELD_DELIM is the first global
heading.

•

A is surrounded by angle brackets. appear underneath, also in angle brackets. You must
enter exactly one of these values. For example, <29.97> is one of the
supported values for the FPS heading; to specify that value, type
29.97.

•

is also surrounded by angle brackets, but it is
italicized. For example, is the data entry for the Start
heading; type the correct timecode, in the format 08:19:10:00 (or
08;19;10;00, for drop-frame timecode).

•

[Tab] and [Enter] (Windows) or [Return] (Macintosh) keys are
surrounded by standard brackets.

•

A column contains the word “Required” if the heading must be
included in the log.

•

The final column contains notes about the heading or values.

You can decide not to display a defined heading (including a required
heading), except for Name. Name must always be displayed.
The maximum number of combined global, standard, and custom headings
in a log file is 64.

202

Avid Log Specifications

Global Headings
The global headings must come first in an Avid log file, and you must enter
one value for each heading.
Table 69 shows the format for the global headings and the supported values
for each heading.
Table 69

Avid Log Global Headings

GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown.
Include all required headings. Other headings are optional but might be necessary for your project. The
maximum number of combined global, standard, and custom headings in a log file is 64.

Heading

[Enter]
or
[Return]

Required

This marks the start of the
global headings.
Enter TABS to show that the
file is Tab delimited.

FIELD_DELIM

[Tab]

[Enter]
or
[Return]

Required

VIDEO_FORMAT

[Tab]

[Enter]
or
[Return]

Required

FILM_FORMAT

[Tab]

<16mm>
<35mm,3perf>
<35mm,4perf>

[Enter]
or
[Return]

AUDIO_FORMAT

[Tab]

<22kHz>
<24kHz>
<44kHz>
<48kHz>

[Enter]
or
[Return]

TAPE

[Tab]

[Enter]
or
[Return]

Audio sampling rate for
digitizing. You can override
this for individual clips.
Required

Name of the videotape reel
you are logging. If you omit
this heading, the file name
becomes the global tape
name. You can override this
for individual clips.

203

Chapter 8 Avid Log Specifications

Table 69
FPS

[Tab]

Avid Log Global Headings (Continued)

<23.98>
<24>
<25>
<29.97>

[Enter]
or
[Return]

Required

[Enter]
or
[Return]

Capture rate is 23.98 fps
(23.978 fps) for NTSC,
24 fps for NTSC or PAL,
25 fps for PAL, or 29.97 fps
for NTSC.
Press Enter (Windows) or
Return (Macintosh) a
second time after entering
the FPS value. This marks
the end of the global
headings.

Column Headings
The standard column headings appear after the global headings in the Avid
log file.
You do not enter the data for a column heading along with the heading.
You enter the data later, in a separate data section.
You must include the five required standard column headings; they are
listed first in Table 70.
You can create your own custom column headings. Enter them after the
standard headings (see the last heading in Table 70). To create a custom
heading, substitute the custom heading name for . You can
create several custom headings, as long as the total of global, standard, and
custom headings does not exceed 64.
Table 70

Avid Log Column Headings

COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown.
Note that the first five headings are required. Other headings are optional but might be necessary for
your project. This table lists only the column headings that are relevant to shot log files. Some data,
such as Creation Date, is gathered by the system. The following table does not include headings for
such data. The maximum number of combined global, standard, and custom headings in a log file is
64.

204

Avid Log Specifications

Table 70

Avid Log Column Headings (Continued)

Column

[Enter]
or
[Return]

Required

Indicates the start of the column headings.

Name

[Tab]

Required

Heading for clip name.

Tracks

[Tab]

Required

Heading for tracks you select for digitizing.

Start

[Tab]

Required

Heading for video timecode of sync point — the
timecode IN for clip. From address track of video.

End

[Tab]

Required

Heading for timecode OUT for clip. From address
track of video.

Audio

[Tab]

Heading for the audio resolution (sample rate). If
omitted, the global entry for AUDIO_FORMAT
applies.

Auxiliary Ink

[Tab]

Heading for a second ink number used for the clip.

Auxiliary TC1

[Tab]

Heading for auxiliary timecode.

Auxiliary TC2

[Tab]

Heading for auxiliary timecode.

Auxiliary TC3

[Tab]

Heading for auxiliary timecode.

Auxiliary TC4

[Tab]

Heading for auxiliary timecode.

Auxiliary TC5

[Tab]

Heading for auxiliary timecode.

Camera

[Tab]

Heading for the camera used to film this clip. This
feature is used in multicamera shoots.

Camroll

[Tab]

Heading for the camera roll ID containing this clip.

Duration

[Tab]

Heading for timecode Start to timecode End, the
length of the video clip.

FPS

[Tab]

Heading for video frames per second rate for
digitizing the individual clip. If omitted, the global
entry applies.

Film TC

[Tab]

Heading for the timecode used on the film.

Ink Number

[Tab]

Heading for the ink number used for the clip.

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Chapter 8 Avid Log Specifications

Table 70

Avid Log Column Headings (Continued)

KN Duration

[Tab]

Heading for the length of the clip, expressed in feet
and frames.

KN End

[Tab]

Heading for the ending key number for the clip.

KN Start

[Tab]

Heading for the starting key number for the clip.

Labroll

[Tab]

Heading for the lab roll ID for the clip. Lab rolls are a
combination of several camera rolls.

Perf

[Tab]

Heading for the film-edge perforations format used
for 3-perf projects.

Pullin

[Tab]

Heading for the telecine pulldown of the first frame of
the clip (pulldown phase). Pullin can have the values
A, B, C, or D.

Pullout

[Tab]

Heading for the telecine pulldown of the last frame of
the clip (pulldown phase). Pullout can have the values
A, B, C, or D.

Reel #

[Tab]

Heading for the source reel number.

Scene

[Tab]

Heading for the scene number of the clip.

Shoot date

[Tab]

Heading for the date the footage was shot.

Sound TC

[Tab]

Heading for Nagra timecode, Arri code, and so on, at
the sync point. Syncs with the Start timecode.
Required if tracking the sync sound. Capture rate can
be 25 or 30 fps.

Soundroll

[Tab]

Heading for sound roll ID for clip.

TC 24

[Tab]

Heading for 24-fps timecode.

TC 25P

[Tab]

Heading for 25-fps timecode with pulldown.

TC 25

[Tab]

Heading for 25-fps timecode.

TC 30

[Tab]

Heading for 30-fps timecode.

Take

[Tab]

Heading for take ID for clip.

Tape

[Tab]

Heading for source tape ID for the individual clip. If
omitted, the global entry applies.

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Avid Log Specifications

Table 70

Avid Log Column Headings (Continued)

DESCRIPT

[Tab]

Heading for description of clip.

COMMENTS

[Tab]

Heading for comments about clip.

[Tab]

Add any category of information you want. Add as
many headings as you want, but do not use more than
a total of 64 global and column headings in the file.
Press the Tab key between each heading. Do not press
the Tab key after the last heading.

[Enter]
or
[Return]

Press [Enter] (Windows) or [Return] (Macintosh)
twice (do not press Tab) after the last heading.

Data Entries
The data entries come after the Custom column headings. Table 71 shows
the format for entering data. Enter a line of data in this format for every
clip. Be sure to start the data section for each clip with the word Data
[Enter] (Windows) or Data [Return] (Macintosh).

Table 71

Avid Log Data Headings

DATA HEADINGS: The word Data marks the start of the data for each clip.
Data

[Enter] Required
or
[Return]

Enter the word Data to mark the start of the logged clip
entries.

DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so it aligns with its column
heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to
enter data for all the required values. To leave a data position unfilled, press the Tab key instead of
typing data. Press Enter (Windows) or Return (Macintosh) at the end of each line. Your Avid system
supports up to four audio tracks in imported and exported logs.

[Tab]

Required

Under Name heading. Enter a clip identifier
(32 characters maximum).

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Chapter 8 Avid Log Specifications

Table 71

Avid Log Data Headings (Continued)

[Tab]

Required

Under Tracks heading. Enter the tracks you want
captured for the clip. Enter V for MOS takes. Enter A1,
A2, or A1A2 for wild sound.

[Tab]

Required

Under Start heading. Enter the video timecode for the
sync point, the first frame of the clip. Use colons for
non-drop-frame (for example, 01:00:12:20). Use one or
more semicolons for drop-frame (for example,
01;18;00;02).

[Tab]

Required

Under End heading. Enter the video timecode for the
last frame of the clip.

<22kHz>
<24kHz>
<44kHz>
<48kHz>

[Tab]

Under Audio heading. Enter the audio sampling rate for
this clip only. If omitted, global entry applies.

[Tab]

Under Auxiliary Ink Number heading. Identify a
second ink number for the start of the clip.

[Tab]

Under Auxiliary TC heading. Enter a Nagra timecode,
Arri code, and so on, for the sync point. Syncs with the
Start timecode.

[Tab]

Under Camera heading. Identify the camera, using
letters or numbers. For multicamera shoots.

[Tab]

Under Camroll heading. Identify the camera roll, using
letters and numbers.

[Tab]

Under Duration heading. Enter the length of the video
clip, Start to End.

<23.98>
<24>
<25>
<29.97>

[Tab]

Under FPS heading. Enter the video capture rate for this
clip only. If omitted, the global entry applies. Use
23.98 fps (23.978 fps) for NTSC, 24 fps for NTSC or
PAL, 25 fps for PAL, or 29.97 fps for NTSC.

[Tab]

Under Film TC heading. Identify the timecode used for
the film, usually at 24 fps.

208

Avid Log Specifications

Table 71

Avid Log Data Headings (Continued)

[Tab]

Under Ink Number heading. Identify the ink number
for the start of the clip.

[Tab]

Under KN Start heading. Identify the complete key
number for the start of the clip, for example, KU 31
2636-8903&12.

[Tab]

Under KN End heading. Identify the key number for the
end of the clip. You need to identify only feet and
frames, for example, 0342&07.

[Tab]

Under KN Duration heading. Identify the length of the
clip, in feet and frames.

[Tab]

Under Labroll heading. Identify the lab roll, using
letters and numbers.

<1>
<2>
<3>

[Tab]

Under Perf heading. Edit the perf for this clip only.

[Tab]

(matchback only)

Under Pullin heading. Identify the telecine pulldown of
the first frame of the clip (pulldown phase). NTSC only.

[Tab]

(matchback only)

Under Pullout heading. Identify the telecine pulldown
of the last frame of the clip. NTSC only.

[Tab]

Under Reel # heading. Identify the reel, using numbers.

[Tab]

Under Scene heading. Identify the scene, using letters
and numbers.

[Tab]

Under Shoot Date heading. Identify the date the footage
was shot, in numbers or in letters and numbers.

[Tab]

Under Sound TC heading. Identify the sound timecode
at the sync point. Syncs with the Start timecode.

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Chapter 8 Avid Log Specifications

Table 71

Avid Log Data Headings (Continued)

[Tab]

Under Soundroll heading. Identify the sound roll, using
letters and numbers.

[Tab]

Under TC 24 heading. Identify the start of the clip for
24p timecode.

[Tab]

Under TC 25p heading. Identify the start of the clip for
25p timecode (PAL pulldown).

[Tab]

Under TC 25 heading. Identify the start of the clip for
25-fps timecode (PAL).

[Tab]

Under TC 30 heading. Identify the start of the clip for
30-fps timecode.

[Tab]

Under Take heading. Identify the take, using letters and
numbers.

[Tab]

Under Tape heading. Enter the source videotape ID for
this clip only.

[Tab]

Under DESCRIPT heading. Describe the clip.

[Tab]

Under COMMENTS heading. Comment on the clip.

[Tab]

Under the headings you created yourself, type the
appropriate information.

[Enter] or [Return]

Press Enter (Windows) or Return (Macintosh) after the
last entry for the clip.
Do not press Tab after the last entry for the clip.

Enter an additional line of data for each remaining clip.

Sample Avid Log
This section contains a sample Avid log for an NTSC video project, in
Windows and Macintosh formats.
Formatting keys (such as [Tab] and [Enter] (Windows) or [Return]
(Macintosh)) are shown in brackets.

210

Sample Avid Log

Windows

Heading [Enter]
FIELD_DELIM [Tab] TABS [Enter]
VIDEO_FORMAT [Tab] NTSC [Enter]
AUDIO_FORMAT [Tab] 44kHz [Enter]
TAPE [Tab] 001 [Enter]
FPS [Tab] 29.97 [Enter]
[Enter]
Column [Enter]
Name [Tab] Tracks [Tab] Start [Tab] End [Enter]
[Enter]
Data [Enter]
CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Enter]

Macintosh

Heading [Return]
FIELD_DELIM [Tab] TABS [Return]
VIDEO_FORMAT [Tab] NTSC [Return]
AUDIO_FORMAT [Tab] 44kHz [Return]
TAPE [Tab] 001 [Return]
FPS [Tab] 29.97 [Return]
[Return]
Column [Return]
Name [Tab] Tracks [Tab] Start [Tab] End [Return]
[Return]
Data [Return]
CU Josh & Mary [Tab] V [Tab] 01:00:00:00 [Tab] 01:15:05:00 [Return]

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Chapter 8 Avid Log Specifications

212

International Character
Support
This document describes how to take advantage of international character
support (ICS) on your Avid® editing system.
ICS allows you to display and input characters in languages other than
English. There are two basic methods for using ICS:

•

(Windows® only) Install the local language operating system, and
work within the operating system.

•

(Macintosh® or Windows) Use the standard English language
operating system, install the language pack, and set the locale to your
local language.

Avid Unity™ MediaNetwork v3.2 or later also supports ICS. For more
information, see the MediaNetwork documentation.

Using a Local Language Operating System
(Windows Only)
If you use a local language operating system, consider the following items:
•

When you start the Avid editing application for the first time, it
automatically creates a keyboard setting for that language. You can
view the keyboard mapping by clicking the appropriate Keyboard
setting in the Settings scroll list. If you are using a language other than
English, French, Italian, German, or Spanish, you might need to adjust

International Character Support

the mapping for the keyboard so the keys in the Keyboard palette
match the keys on your physical keyboard. See “Using Foreign
Keyboard Mapping” on page 221.
•

If you are bringing older projects and bins forward to this version, you
might need to use the CleanEncode utility to convert the file names so
they can be viewed correctly in Windows Explorer and in the Avid
editing application. See “Moving Older Projects to this Version on
Windows” on page 222.

Choosing a Locale on an English Language
Operating System (Windows and Macintosh)
This method is common on Windows systems, and it is the only option on
Mac OS® X systems. When you use this method, you typically instruct
your operating system to allow you to choose between English and a
specific locale such as French, German, Chinese, or Japanese. This allows
you to input and display characters in your chosen language even though
you are using the basic English language operating system.
To take advantage of ICS on an English language operating system:

•

214

Instruct your operating system to display the appropriate language in
menus and dialog boxes and specify the language you want to use for
keyboard layouts. Follow the instructions in one of the following
sections:
-

“Non-English Character Support (Macintosh)” on page 215

“Non-English Character Support (Windows 2000)” on page 218

(Windows only) If you are using a language other than English,
French, Italian, German, or Spanish, you might need to adjust the
mapping for the keyboard so the keys in the Keyboard palette match
the keys on your physical keyboard. See “Using Foreign Keyboard
Mapping” on page 221.

Choosing a Locale on an English Language Operating System (Windows and Macintosh)

•

(Windows only) If you are bringing older projects and bins forward to
this version, you might need to use the CleanEncode utility to convert
the file names so they can be viewed correctly in Windows Explorer
and in the Avid editing application. See “Moving Older Projects to this
Version on Windows” on page 222.

Non-English Character Support (Macintosh)
You can instruct the Mac OS X operating system to allow you to choose
between English and a specific locale such as French, German, Chinese, or
Japanese. This allows you to input and display characters in your chosen
language even though you are using the basic English language operating
system.
You need to specify the language in System Preferences and in the Get
Info dialog box.
Setting the Language in System Preferences
In System Preferences, you need to specify which language should appear
in operating system menus and dialog boxes. You can also add the
language in which you want keyboard layouts and input methods to
function.
To set the language in the International window:

1. Select Apple P menu > System Preferences > International.
The International window opens.

215

International Character Support

2. Click the Language tab.
3. In the Languages list, click the language you want, and drag it to the
top of the list. If you do not see the language you want in the list, click
Edit, select the language, and click OK.
4. In the Script list, select the Script you want.
5. Click the Behaviors pop-up menu, and select the text behavior you
want to be associated with your script.
6. (Option) Select options in the other International dialog box tabs.

216

Choosing a Locale on an English Language Operating System (Windows and Macintosh)

To add your language’s keyboard layouts and character set to the
operating system’s Input menu:

1. Click the Input Menu tab.

2. Select the language or languages in which you want to type.
If you select more than one language, they appear in the Input menu.
3. Click the Close button.
4. In the Finder™ title bar, select Input > language.

The Input menu is not labeled in the title bar. Look for the Flag icon in the
title bar.

Specifying the Language in the Get Info Dialog Box
If you are attempting to enter text within your Avid application and you are
not seeing characters from your language, you need to specify the language
in the application’s Resources folder.

You do not need to perform this procedure if all of your language’s
characters appear correctly in the Avid application.

217

International Character Support

To specify the languages in the Get Info dialog box:

1. Locate the Avid editing application on your Macintosh HD. For
example:
Applications/Avid Media Composer Adrenaline/MediaComposer
Adrenaline
2. Click the application icon, and select File > Get Info.
The Get application Info dialog box opens.
3. Click the triangular opener for Languages.
4. Locate your language in the list and select it if it is not already
selected.
5. Close the Get application Info dialog box.
The next time you start the application, you will be using the language that
you specified in the International window. System menus and dialog boxes
appear in your selected language. The Avid menus and buttons still appear
in English. You can now enter characters in your selected language.
The Get Info dialog box makes use of files known as language resource
files to specify the language and regional code to use. The Avid software
installation program automatically installs a set of language resource files
for supported languages.

For more information about language and region codes, see the following
Web sites:
www.loc.gov/standards/iso639-2/englangn.html
www.iso.ch/iso/en/prods-services/iso3166ma/02iso-3166-codelists/list-en1.html

Non-English Character Support (Windows 2000)
You can specify a non-English keyboard layout and text entry format for
the language in which you want to type.

218

Choosing a Locale on an English Language Operating System (Windows and Macintosh)

The operating system does not need to be in the same language as that in
which you are typing.
To specify a language in which to type:

1. (Option) Plug in a regional keyboard.
2. Click the Start button, and select Settings > Control Panel.
3. Double-click Regional Options.
The Regional Options dialog box opens.

4. In the General tab, do the following:
a. Click the “Your locale (location)” pop-up menu, and select a
locale.
b. In the “Language settings for the system” area, select a language.
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International Character Support

c. Click “Set default.”
5. (Option) Select options in the other Regional Options dialog box tabs.
6. Click the Input Locales tab.

7. In the “Installed input locales” area, select an input language.
8. If the language you want is not in the list, click Add, and select an
input locale and a keyboard layout for the language.
9. Click Set as Default.
10. Click Apply. If you need to install additional files, the Insert CD-ROM
dialog box opens.
11. Click OK.
The Files Needed dialog box opens.

220

Choosing a Locale on an English Language Operating System (Windows and Macintosh)

12. Follow the instructions, and then click OK.
13. To have your selected language appear on the taskbar, select “Enable
indicator on taskbar.”
14. Click OK.
15. Restart the system.
Using Foreign Keyboard Mapping
When you start the Avid editing application under a new locale, the
application automatically creates a Keyboard setting for your language.
You can view the keyboard layout by clicking the appropriate Keyboard
setting in the Settings scroll list.
The default Avid keyboard layouts for English, French, Italian, German,
and Spanish languages map correctly to the characters on the physical
keyboard. However, if you are using a different language, the display in
the Keyboard palette might not match your physical keyboard layout. You
can use the Foreign Keyboard Mapping button in the Keyboard palette to
display the correct character in the Keyboard palette.

The Foreign Keyboard Mapping function is not needed for English,
French, Italian, German, or Spanish.
To set the keyboard mapping for a key:

1. Double-click Keyboard in the Settings scroll list in the Project
window.
The Keyboard palette opens.
2. Compare the layout to your physical keyboard.
If some of the letters do not match, you can change the characters
displayed in the Keyboard palette.
3. Click the Foreign Keyboard Mapping button.
4. Click the key that you want to change in the Keyboard palette.
The key changes to blue.
5. Press the corresponding key on your keyboard.

221

International Character Support

The image in the Keyboard palette changes to match your keyboard,
and the mapped key remains blue.

Each language has a certain number of keys that do not map to functions
in the Avid editing application. These are referred to as “dead” keys. You
cannot map functions to these dead keys. If you try to do so, the system
displays an error message.

Moving Older Projects to this Version on Windows
CleanEncode is a utility that changes the character encoding method for a
file name from MacRoman to ANSI or vice versa. If you are moving older
projects to this version on Windows, you might need to use CleanEncode
to convert the older MacRoman encoding to ANSI encoding.
CleanEncode is intended for customers on Windows systems that meet the
following criteria:
•

If you use special characters to name projects, bins, tapes, or other
Avid metadata. Specifically, this includes characters with a value
greater than 127 in the ASCII character set. Such characters are
common in Western European languages and include accented
characters (for example, â or ê).

•

If you plan to move projects from one of the following Avid editing
applications (Windows only) to the current version:
-

Avid Media Composer or Film Composer v11.5 or earlier

Avid Symphony releases v4.5 or earlier

Avid Xpress v5.5 or earlier

Avid NewsCutter v3.5 or earlier

Avid Xpress DV 3.5 or earlier

MediaManager Release 3.5 or earlier

TransferManager Release 2.0.5 or earlier

Complete instructions for using CleanEncode can be found in the
CleanEncodeGuide.pdf file. This file is available in the CleanEncode
folder in the Utilities folder.

222

Recommendations and Restrictions

n
n

If you use CleanEncode to process the files in your OMFI MediaFiles
folder, delete the .pmr and .mbd database files after you run CleanEncode
and restart the Avid editing application. This will ensure that the Avid
application recognizes the newly converted names.
When you upgrade an Avid Unity MediaNetwork workgroup to
MediaNetwork v3.2, MediaNetwork automatically converts file names to
file names with characters in Unicode™. If you plan to move Avid files from
a the versions listed above onto an existing MediaNetwork v3.2 system, use
CleanEncode on the files before you move them onto the network.

Recommendations and Restrictions
This section describes recommendations and restrictions for using
international character support on your Avid system.

Avid Supports English Plus One Locale
Make sure that your projects do not contain characters from more than one
locale. String compare searches might not work correctly if you combine
file names from different locales.

On MediaNetwork, all the systems on the network must be either English
or one specific locale.

Entering ASCII Characters in Double-Byte Systems
The following restriction applies to customers who work on double-byte
(two-byte) operating systems: If you use ASCII characters to name bins,
projects, tapes, or other Avid elements, use single-byte characters. If
you use double-byte characters, the characters might appear with extra
space between them and the names might not be recognizable by other
systems.

223

International Character Support

Operating systems that use a double-byte character system usually allow
the user to choose between single-byte ASCII or double-byte ASCII
characters. If you have a choice, use single-byte characters when entering
ASCII text.

Characters to Avoid When Naming Avid Elements
Do not use the Japanese yen symbol in the ASCII character set. The system
converts the symbol to a backslash, and this can cause problems with
pathnames.
Do not use the Y-acute and Y-diaeresis characters. The system does not
recognize the Y-acute character, and it can cause problems with file
recognition. The system might not display the Y-diaeresis character
correctly.
When you name a Mac OS X computer, use single-byte ASCII characters
without spaces. The system uses the name in pathnames, and non-ASCII
characters and spaces can cause problems with pathnames.
If you plan to move projects between Macintosh and Windows systems,
avoid using characters that are not in both the MacRoman and Latin1
(ANSI) character sets. The following two files on the Knowledge Center
list the characters you should stop using:
•

MacRoman Characters not in ANSI Encoding

•

ANSI Characters not in MacRoman Encoding

To access the files on the Knowledge Center:

1. Go to www.avid.com.
2. Click Support, and then click Online Support.
3. Under the Avid Knowledge Center heading, click Documentation.
The Knowledge Center opens to the Documentation tab.
4. Select your products from the Current Product list at the top of the
Web page.
5. Click Tech Notes

224

Recommendations and Restrictions

6. Select your Release number.
7. Click “MacRoman Latin-1 Character Differences.”
8. Click the HTML files to display the contents.

The files are the same for each product.
To display the characters in the HTML files correctly, you might have to
set your Web browser to display characters in Unicode format.
To display characters in Unicode format on Internet Explorer:

Select View > Encoding > More > Unicode (UTF-8).

225

International Character Support

226

Chapter 10
Planning a Film Project
This chapter presents suggested workflows and other information that can
help you plan your film-originated project. This chapter includes the
following topics:
•

Working with 24p Media

•

Working with 25p Media

•

Planning a 24p or 25p Project

•

Planning a 23.976p NTSC Project

•

Film Project Considerations

Working with 24p Media
With new DTV (digital television) formats expanding the options for
content distribution, there is renewed interest in the oldest format in the
industry: 24-fps film. In addition to its common, worldwide format, film
provides the highest resolution master for archiving purposes. Through a
telecine transfer and the digitizing process, the Avid system captures and
stores film frames as 24-fps progressive media, or 24p.
Progressive media is composed of single frames, each of which is
vertically scanned as one pass. The Avid system creates 24p media by
combining (deinterlacing) two video fields into a single full, reconstructed
frame. For NTSC film-to-tape transfers, the system creates 24p media by
removing the extra fields inserted by the 2:3 pulldown process and by
creating progressive frames.

Chapter 10 Planning a Film Project

Working in 24p simplifies digital editing of film or other 24-fps-originated
content, such as HDTV video that has been downconverted to ITU-R 601
digital video. In addition, 24p media requires less storage and processing
power than 30-fps media. Because 24p provides a common production
format for multiversion, multiformat delivery; it promises to become the
new universal format for all film and video content.
An important aspect of the 24p format is that it allows you to output either
NTSC or PAL video from the same project.
For more information, see “How the Avid System Stores and Displays 24p
and 25p Media” in the Help.

Working with 25p Media
The 25p format is primarily for use in countries where PAL video is
standard. When you transfer 25-fps film footage to 25-fps PAL video, no
modifications are necessary due to matching frame rates.
The 25-fps feature provides the following advantages:
•

Simultaneous input of video and audio in sync

•

Frame-accurate ink number tracking

•

Digital cut recording directly to videotape

•

Frame-accurate cut lists and change lists

•

Frame-accurate audio EDLs for online editing of audio tracks

•

Frame-accurate EDLs for assembling footage from the transfer or for
preparing an online show master

The source for 25p is typically 25-fps film or 25-fps HDTV format. The
methods for creating and storing 25p media are the same as for 24p. For an
example of a 25p project workflow, see “25-fps Film or HD Video Source,
SDTV Downconversion, Multiformat Output” on page 236.

n
228

You can capture the audio directly from the original Nagra reels or DAT
tapes, and sync within the Avid system. For more information, see “Audio
Transfer Options for 24p PAL Projects” on page 239.

Planning a 24p or 25p Project

Planning a 24p or 25p Project
A 24p or 25p project is one that uses 24p or 25p media, which is created
and stored in the Avid system. In most cases, the source footage is film
shot at 24 fps (for 24p) or 25 fps (for 25p), but new technology is
introducing 24p and 25p videotape formats, both for cameras and VTRs.
For 24p or 25p videotape, you need to use a 24p VTR to downconvert the
high-definition format of HDTV to SDTV digital video for digitizing by
the Avid system.

The 24p cameras and VTRs can typically work with either 24p or 25p
footage.
Two possible workflows for 24p projects are:
•

“24-fps Film Source, SDTV Transfer, Multiformat Output” on
page 230

•

“24-fps Film or HD Video Source, SDTV Downconversion,
Multiformat Output” on page 233

For information about a typical 25p workflow, see “25-fps Film or HD
Video Source, SDTV Downconversion, Multiformat Output” on page 236.
For film productions that screen dailies, the paths might be somewhat
different. For more information, see “Viewing Dailies” on page 248.
Alternatively, you can use a Media Station XL system to capture footage or
output a finished master. For more information, see the Avid Media Station
XL Workflow Guide. For information about the Media Station XL product,
contact your Avid representative or visit the Avid Web site.

229

Chapter 10 Planning a Film Project

24-fps Film Source, SDTV Transfer, Multiformat Output
The workflow shown in Figure 1 and Figure 2 illustrates a possible path
for film footage shot at the standard 24 fps, transferred to SDTV (standard
definition television or ITU-R 601) video, and captured at 24 fps. Figure 1
shows the offline stage of the workflow, using a Media Composer or
Film Composer system with Universal Offline Editing. Figure 2 shows the
online stage, using a Symphony system, film-tape-film-tape relinking
(FTFT), and multiple output formats.
With this workflow, the sound recording is synchronized as part of the
telecine transfer. For alternative audio workflows, see “Audio Transfer
Options for 24p PAL Projects” on page 239.
For details on the telecine transfer process, see Chapter 5.

230

Planning a 24p or 25p Project

1. The telecine process
uses one-light or bestlight transfer and syncs
picture and sound to
create ITU-R 601
video. The process
adds 2:3 pulldown to
film footage to create
an NTSC videotape, or
uses 4.1% speedup for
PAL videotape. The
telecine process also
creates a shot log (for
example, a FLEX file).
2. Convert the shot log
file with Avid Log
Exchange (ALE), then
import the shot log file
into Media Composer
or Film Composer to
create a bin or bins.
3. Batch capture the
footage in an offline
resolution, based on the
shot log. The Avid
system removes the 2:3
pulldown and creates
24p media.
4. Edit at 24 fps, apply
Pan and Scan and other
effects, and create a
final sequence.
5. Create a floppy disk
with project
information for transfer
to the Symphony online
system. Create a 24p
pull list for another
telecine process, to
retransfer footage used
in the final edit.

Telecine transfer process
Nagra or DAT
playback system
DAT
Sound
recording
(Nagra or
DAT)

Film shot
at 24 fps
Telecine controller
and record deck

(Step 1)

(Step 2)

Log

Betacam

Digital Betacam, D5,
DCT, or D1 format
(NTSC or PAL)

Digital Betacam, D5,
DCT, or D1 VTR

(Step 3)

Media Composer
or
Film Composer
offline system
(Step 4)

(Step 5)

Pull list
Proj

To the Symphony
system

Figure 1

To the telecine
system

Offline Workflow: 24-fps Film Source, SDTV Transfer

231

Chapter 10 Planning a Film Project

6. The telecine process
uses the pull list and a
full color-corrected
transfer to create NTSC
or PAL videotape with
selects from the
original negative
(picture only). The
process also creates a
new shot log file.
7. Copy the project
information from the
floppy disk to the
Symphony online
system.

From the
offline
system

(Step 6)

Telecine transfer process (picture only)

Pull list
Film shot
at 24 fps

(Step 7)

From the
offline
system

8. Convert the new shot
log with ALE and
import it into the
Symphony system.

Digital Betacam, D5,
DCT, or D1 format
(NTSC or PAL)

Betacam

Proj
(Step 8)

Log
Digital Betacam, D5,
DCT, or D1 VTR

(Step 9)

9. Batch capture in an
online resolution, based
on the new shot log file.
10. Relink the sequence
and clips by key
numbers (FTFT) and
complete any other
finishing.

(Step 10)

Cut list
(Step 11)

11. Generate multiple
formats. For NTSC and
PAL, the system
reinserts the pulldown
or re-creates the
speedup. For
conforming film, it
creates a 24p cut list.

Betacam
NTSC 29.97 fps
4:3 or 16:9

Betacam

PAL 25 fps
4:3 or 16:9
Conformed
film cut

Figure 2

232

Symphony
online
system

Online Workflow: 24-fps Film Source, SDTV Transfer,
Multiformat Output

Planning a 24p or 25p Project

24-fps Film or HD Video Source, SDTV Downconversion,
Multiformat Output
This workflow is based on film or video footage shot at 24 fps and planned
for HDTV (high-definition television). Different workflows are being
developed for this new technology, which includes 24p tape formats,
VTRs, and cameras. This workflow presents one possible path.
Figure 3 shows the offline stage of the workflow, using a Media Composer
or Film Composer system with Universal Offline Editing. Figure 4 shows
the online stage, using a Symphony system with Universal Mastering and
multiple output formats.
With this workflow, the sound recording is synchronized as part of the
telecine transfer. For alternative audio workflows, see “Audio Transfer
Options for 24p PAL Projects” on page 239.
For details on the telecine transfer process, see Chapter 5.

233

Chapter 10 Planning a Film Project

1. Source videotape
comes either from a
telecine transfer or a
24-fps video camera.
The telecine process
transfers 24-fps film
footage at 1:1 (no
pulldown). It also
creates a shot log (for
example, a FLEX file).
2. For telecine transfer
projects, convert the
shot log file with ALE
and import it into
Media Composer or
Film Composer to
create a bin or bins.
3. Batch capture the
footage in an offline
resolution, based on the
shot log. Use a 24p
deck to downconvert
HDTV to ITU-R 601
video. The deck adds
2:3 pulldown (NTSC)
or 4.1% speedup
(PAL). The Avid
system removes the
extra pulldown fields
and creates 24p media.

Telecine transfer process
Nagra or DAT
playback system
DAT
Sound
recording
(Nagra or
DAT)

HD 24

(Step 2)

HD 24
Log

1:1 transfer
24-fps HD
format

Video shot by
24-fps camera

24p HD VTR
such as an HDW-F500 VTR

(Step 3)

Media Composer
or
Film Composer
offline system
(Step 4)

4. Edit at 24 fps, apply
Pan and Scan or other
effects, and create a
final sequence.

234

Telecine controller
and record deck

(Step 1)

(Step 5)

5. Create a 24p pull list
for another telecine
process, to retransfer
footage used in the
final edit. Create a
floppy disk with project
information for transfer
to the Symphony online
system.

Film shot
at 24 fps

Pull list
Proj

To the Symphony
system

Figure 3

To the telecine
system

Offline Workflow: 24-fps Film or HDTV Source,
SDTV Downconversion

Planning a 24p or 25p Project

6. For film-originated
projects, the telecine
process uses the pull
list and full colorcorrected transfer to
create HDTV videotape
with selects from the
original negative
(picture only). The
process also creates a
new shot log file.

Telecine transfer process (picture only)
From the
offline
system

(Step 6)

Pull list
Film shot
at 24 fps

(Step 7)

7. Copy the project
information to the
Symphony online
system.
8. For telecine transfer
projects, convert the
new shot log file with
ALE and import it into
the Symphony system.
9. Batch capture in an
online resolution, based
on the new shot log file.
Downconvert either the
telecine transfer tape or
HDTV source tape.
10. Relink the sequence
and clips by key
numbers (FTFT) and
complete any other
finishing.
11. Generate multiple
formats for output. For
NTSC and PAL, the
Symphony system
reinserts pulldown or
re-creates the speedup.
For conforming film, it
creates a 24p cut list.
For HDTV, it creates a
24p EDL for use in an
online suite.

From the
offline
system
HD 24
HD 24
Proj
Video shot by
24-fps camera

Log

(Step 8)

(Step 9)
Symphony
online
system
(Step 10)

24p EDL

Cut list
(Step 11)

Betacam
NTSC 29.97 fps
4:3 or 16:9

Betacam

EDL

PAL 25 fps
4:3 or 16:9
Conformed
film cut

HD
Conformed
HDTV master

Figure 4

Online Workflow: 24-fps Film or HDTV Source, SDTV
Downconversion, Multiformat Output

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Chapter 10 Planning a Film Project

25-fps Film or HD Video Source, SDTV Downconversion,
Multiformat Output
This workflow is based on film or video footage shot at 25 fps and planned
for HDTV (high-definition television). Different workflows are being
developed for this new technology, which includes 25p tape formats,
VTRs, and cameras. This workflow presents one possible path.
Figure 5 shows the offline stage of the workflow, using a Media Composer
or Film Composer system with Universal Offline Editing. Figure 6 shows
the online stage, using a Symphony system with Universal Mastering and
multiple output formats.
With this workflow, the sound recording is synchronized as part of the
telecine transfer. For more information about digitizing and synchronizing
audio, see “Audio Transfer Options for 24p PAL Projects” on page 239.

For NTSC output this method slows the audio by 4 percent. If you plan to
output to both NTSC and PAL, you might want to shoot at 24 fps and use
24p instead of 25p.
For details on the telecine transfer process, see Chapter 5.

236

Planning a 24p or 25p Project

1. Source videotape
comes either from a
telecine transfer or a
25-fps video camera.
The telecine process
transfers 25-fps film
footage at 1:1 (no
pulldown). It also
creates a shot log (for
example, a FLEX file).
2. For telecine transfer
projects, convert the
shot log file with ALE
and import it into
Media Composer or
Film Composer to
create a bin or bins.
3. Batch capture the
footage in an offline
resolution, based on the
shot log. Use a 25p
deck to downconvert
HDTV to ITU-R 601
video. The deck does
not need to add
pulldown or speed up
the audio since the
footage will remain at
25 fps. The Avid
system creates 25p
media.

Telecine transfer process
Nagra or DAT
playback system
DAT
Sound
recording
(Nagra or
DAT)

Telecine controller
and record deck
HD 25

(Step 1)

(Step 2)

HD 25
Log

1:1 transfer
25-fps HD
format

Video shot by
25-fps camera

25p HD VTR

(Step 3)

Media Composer
or
Film Composer
offline system
(Step 4)

(Step 5)

4. Edit at 25 fps, apply
Pan and Scan or other
effects, and create a
final sequence.
5. Create a 25p pull list
for another telecine
process, to retransfer
footage used in the
final edit. Create a
floppy disk with project
information for transfer
to the Symphony online
system.

Film shot
at 25 fps

Pull list
Proj

To the Symphony
system

Figure 5

To the telecine
system

Offline Workflow: 25-fps Film or HDTV Source,
SDTV Downconversion

237

Chapter 10 Planning a Film Project

Telecine transfer process (picture only)
From the
offline
system

(Step 6)

Pull list
Film shot
at 25 fps

(Step 7)

7. Copy the project
information to the
Symphony system.
8. For telecine transfer
projects, convert the
new shot log file with
ALE and import it into
the Symphony system.

From the
offline
system
HD 25
HD 25
Proj
Video shot by
25-fps camera

Log

(Step 8)

(Step 9)

9. Batch capture in an
online resolution, based
on the new shot log file.
Downconvert either the
telecine transfer tape or
HDTV source tape.
10. Relink the sequence
and clips by key
numbers (FTFT) and
complete any other
finishing.
11. Generate multiple
formats for output. For
NTSC, the system
inserts 2:3 pulldown
and slows down the
audio by 4%. No
adjustment is needed
for PAL. For film, it
creates a 25p cut list.
For HDTV, it creates a
25p EDL for use in an
online suite.

238

Symphony
online
system
(Step 10)

25p EDL

Cut list
(Step 11)

Betacam
NTSC 29.97 fps
4:3 or 16:9

Betacam

EDL

PAL 25 fps
4:3 or 16:9
Conformed
film cut

HD
Conformed
HDTV master

Figure 6

Online Workflow: 25-fps Film or HDTV Source, SDTV
Downconversion, Multiformat Output

Planning a 24p or 25p Project

Audio Transfer Options for 24p PAL Projects
When you create a 24p PAL project, you must specify the appropriate
audio transfer rate for the project. (This is not necessary for a 25p PAL
project because there is no film speedup during the transfer.) The New
Project dialog box provides Audio Transfer options that allow you to select
either Film Rate or Video Rate. This value is project specific and should
not be changed after you create the project unless you have a specific
element that you need to transfer at a different rate.

The Audio Transfer options are also located in the Film Settings dialog box
and can be changed after the project is created. See “Transfer Settings for
Film Projects” in the Help.
The Audio Transfer options are:

•

Film Rate (100%): Select this option when your 24-fps film footage
has been transferred MOS (roughly translated as “without sound”) to
25 fps by speeding up the film, and the audio comes in separately at
100 percent of the actual speed (PAL Method 2).

•

Video Rate (100%+): Select this option when your 24-fps film
footage has been transferred to 25 fps by speeding up the film, and the
audio is synchronized to the video picture. This means that the audio
speed is increased by 4.1 percent (PAL Method 1).

The Info tab in the Project window allows you to view the audio transfer
rate you selected when you created the project. The actual audio transfer
rate might be different from the display if you used the Film Settings dialog
box to change the audio transfer rate.

239

Chapter 10 Planning a Film Project

Planning a 23.976p NTSC Project
Avid editing systems that include 24p support include a 23.976p NTSC
project type. This project type is especially designed for capture and output
of digital audio that has been transferred or recorded at 48 kHz, in sync
with picture at 23.976 fps. A 23.976p project lets you maintain digital
standards for all NTSC input and output at 23.976 fps.
Select this project type for one of the following reasons:

n
n

240

•

Your film and audio sources have been synced in the telecine process
and transferred to Digital Betacam® or other digital videotape formats.
Audio from digital videotapes can now be directly input and output
through the AES/EBU connections on the Gryphon I/O box.

•

Your audio and video sources have been shot at a camera rate of
23.976 fps. This rate is used for film (film-based television) or 24p HD
video (television or feature film). These sources can be downconverted
to standard NTSC without further audio slowdown. Audio recorded at
48 kHz can remain at 48 kHz throughout the project.

The 23.976 fps frame rate is sometimes referred to as 23.97 fps or
23.98 fps.
The 23.976 fps frame rate is in direct proportion to the NTSC broadcast
frame rate of 29.97 fps, which is used for film-to-tape transfer to the Avid
editing system. For more information, see “Transferring 24-fps Film to
NTSC Video” in the Help.

Planning a 23.976p NTSC Project

Working in a 23.976p NTSC Project
The following sections describe how working in a 23.976p project affects
tools and settings.
Creating a 23.976p Project
To create a 23.976p project:

1. Click New Project in the Select User and Project dialog box.
2. Type the name of your new project in the text box.
3. Click the Format pop-up menu, and select 23.976p NTSC.
4. Click the Film Type pop-up menu, and select a film-gauge tracking
format.
If the source tapes were shot as video (such as 1080p/24 HD recorded
at 23.976 fps), ignore the Film Type pop-up menu.
5. Click OK.
Film Settings
The Edit Play Rate and Audio Source Tape TC Rate options do not appear
in the Film Settings dialog box. Edit Play Rate is automatically set at
23.976 fps. The Audio Source Tape TC Rate does not apply to 23.976p
projects because you cannot capture 30 fps audio in a 23.976p project.
Digitizing
Audio from digital videotapes can now be directly input and output
through the AES/EBU connections on the Gryphon I/O box.
The pulldown indicator on the Gryphon I/O box never lights when working
in a 23.976p project.
The pulldown switch in the Capture tool is not used and does not appear.
Bins
The FPS column displays 23.976 rounded up to 23.98.

241

Chapter 10 Planning a Film Project

Import
Audio you import must be in sync with picture at 23.976 fps.
Digital Cut Tool
All output play rates are available, but only 23.976 NTSC maintains the
original audio quality. For 23.976 NTSC, the audio rate is not slowed down
for output and remains at 48 kHz. For 29.97 NTSC, the audio rate is sped
up 25 percent and is not usable. Use this output rate for animations and
other special applications. 24 fps NTSC, 24 fps PAL, and 25 fps PAL all
require a sample-rate conversion, so high-quality audio is not guaranteed.
For more information about output audio rates, see “Selecting Output
Formats for 23.976p Projects” in the Help.

23.976-fps Film Transfer or HD Video Source, SDTV
Downconversion, Multiformat Output
This workflow is based on film transferred at 23.976 or video footage shot
at 23.976 fps and planned for HDTV (high-definition television). This
workflow presents one possible path.
Figure 7 shows the offline stage of the workflow, using a Media Composer
or Film Composer system with Universal Offline Editing. Figure 8 shows
the online stage, using a Symphony system with Universal Mastering and
multiple output formats.
With this workflow, the sound recording is synchronized as part of the
telecine transfer. For a workflow in which video and audio are captured
separately, see Figure 9.
For details on the telecine transfer process, see Chapter 5.

242

Planning a 23.976p NTSC Project

1. Source videotape
comes either from a
telecine transfer or
video shot at 23.976.
The telecine process
syncs audio and
transfers film footage at
1:1 (no pulldown). It
also creates a shot log.
2. For telecine transfer
projects, convert the
shot log file with ALE
and import it into
Media Composer or
Film Composer to
create a bin or bins.
3. Batch capture the
footage in an offline
resolution. Use a 24p
deck to downconvert
HDTV to ITU-R 601
video. The deck adds
2:3 pulldown for video
but maintains audio at
48 kHz. The Avid
system removes the
extra video pulldown
fields, maintains audio
at 48 kHz, and creates
23.976p media.

Telecine transfer process
Nagra or DAT
playback system
DAT
Sound
recording
(Nagra or
DAT)

Telecine controller
and record deck

23.976

(Step 1)

(Step 2)

23.976
Log

1:1 transfer at
23.976 fps
(Digital
Betacam tape)

Video shot at
23.976 fps

24p HD VTR
such as an HDW-F500 VTR

(Step 3)

Media Composer
or
Film Composer
offline system
(Step 4)

(Step 5)

4. Edit at 23.976 fps,
apply Pan and Scan or
other effects, and create
a final sequence.
5. For film, create a
pull list for another
telecine process, to
retransfer footage used
in the final edit. Create
a floppy disk with
project information for
transfer to the
Symphony online
system.

Film shot
at 24 fps or
23.976 fps

Pull list
Proj

To the Symphony
system

Figure 7

To the telecine
system

Offline Workflow: 23.976-fps Film Transfer or HDTV
Source, SDTV Downconversion

243

Chapter 10 Planning a Film Project

6. For film-originated
projects, the telecine
process uses the pull
list and full colorcorrected transfer to
create videotape with
selects from the
original negative
(picture only). The
process also creates a
new shot log file.

Telecine transfer process (picture only)
From the
offline
system

(Step 6)

Pull list
Film shot at
24 fps or
23.976 fps
(Step 7)

7. Copy the project
information to the
Symphony online
system.
8. For telecine transfer
projects, convert the
new shot log file with
ALE and import it into
the Symphony system.
9. Batch capture in an
online resolution, based
on the new shot log file.
Downconvert either the
telecine transfer tape or
HDTV source tape.
10. For film, relink the
sequence and clips by
key numbers and
complete any other
finishing.
11. Generate multiple
formats for output. For
NTSC video, the
Symphony system
reinserts pulldown. For
conforming film, it
creates a 24p cut list.
For HDTV, it creates a
24p EDL for use in an
online suite.

244

From the
offline
system
23.976
23.976
Proj

(Step 8)

Video shot at
23.976 fps

Log

(Step 9)
Symphony
online
system
(Step 10)

24p EDL

Cut list
(Step 11)

Beta

EDL

NTSC 29.97 fps
4:3 or 16:9
Conformed
film cut

HD
Conformed
HDTV master

Figure 8

Online Workflow: 23.976-fps Film Transfer or HDTV
Source, SDTV Downconversion, Multiformat Output

Planning a 23.976p NTSC Project

Figure 9 illustrates a workflow in which you capture audio and video
separately, and then synchronize them in the Avid system.
1. The telecine process
transfers film footage at
1:1 (no pulldown). For
film shot at 24 fps, the
process slows the film
speed to 23.976 fps
(labeled 24 fps).
2. Capture the audio
into the Avid system
(no pulldown). Field
audio should be
recorded at 48 kHz. If
shot at 48.048 kHz, it
must be referenced to
48 kHz outside of the
Avid system.
3. Capture the picture
footage in the Avid
system. Use a 24p deck
to downconvert to
ITU-R 601 video. The
deck adds 2:3 pulldown
for video. The Avid
system removes the
extra video pulldown
fields and creates
23.976p media.
4. Use the AutoSync
feature to sync picture
and sound. Edit and
finish at 23.976p.
5. Select one or more
outputs, depending on
your project needs.

Telecine transfer process (picture only)

(Step 1)

Film shot at
24 fps or
23.976 fps
DAT
(Step 2)
Sound recorded at
48 kHz (DAT)

1:1 transfer at
23.976 fps
(Digital
Betacam tape)

23.976

24p HD VTR
such as an
HDW-F500 VTR

(Step 3)

Avid video
editing
system
(Step 4)

(Step 5)

Figure 9

DAT

Digital cut at
23.976 for
audio transfer

Beta

Digital cut at
23.976 (NTSC)
for broadcast
master

NTSC Audio and Video Captured Separately
(23.976p Project)

245

Chapter 10 Planning a Film Project

Limitations for 23.976p Projects
Be aware of the following limitations:

•

For film projects shot at 24 fps, audio must be “pulled down” or
“slowed down” before it can be captured into a 23.976p project. The
user does not have the choice of capturing non-pulled-down audio.
Unlike 24p NTSC projects, where the audio pulldown switch can be
set to 1.0 or 0.99 to support either 24 fps or 23.976 fps, 23.976p
projects do not use the audio pulldown switch. These 23.976p projects
can only support 48 kHz audio that is in sync with 23.976-fps picture
on a 29.97-fps transfer tape.

•

Media created in 24p projects and media created in 23.976p projects
are not compatible. If you start working in one type of project and then
decide to switch to the other, you need to recapture all video and audio
media. You cannot relink video media or audio media across the two
project types.

•

OMF and AAF files that are output from a 23.976p project look
slightly different from those from a 24p project. The edit rates will
show up as 23.976 fps in these files.

Because of the way project information is stored, previous versions of
Avid editing systems do not recognize 23.976p projects as being
different from 24p projects. You can open 23.976p projects in previous
versions, however, none of the media can play because of the different
internal edit rates. Projects are not corrupted by opening them in
older versions of the software (unless you try to modify clips or edit
sequences). If necessary, you can recapture the media in the 24p
project.

Film Project Considerations
This section presents information that could be useful when planning film
projects that you will edit on an Avid system.

246

Film Project Considerations

Film Shoot Specifications
Use the guidelines in Table 72 to help you plan for film shoots.

Table 72

Film Shoot Specifications

Element

Supported Formats

Notes

Film type

16mm

Use Standard 16mm or Super 16mm.
Super 16’s aspect ratio closely matches 16:9.

35mm: 2, 3, 4, and 8 perf

16mm, 35mm 4 perf, and 35mm 3 perf are
supported as projects in the Avid system. The
remaining formats are supported through ink
numbers and auxiliary ink numbers, which
you select in the Film Settings dialog box.
For more information, see the editing guide
or Help for your Avid system.

65mm: 5, 8, 10, and 15 perf

Film wind

B-wind

Always use camera rolls with key numbers in
ascending order.

Audio media

1/4-inch audiotape (Nagra)

Use to record analog audio.

DAT or DA88 (digital audiotape)

Use to record digital audio.

30-fps drop-frame or non-dropframe

Use for NTSC transfer projects, and for
generating audio EDLs.

25-fps timecode

Use for PAL transfer projects, and for
generating audio EDLs in the PAL format.

Audio timecodes

Audio sync to in-camera timecode Use for automatic syncing of sound with
(Arri® 24-fps timecode)
picture in the Avid system.
Sync methods

Clapsticks

Use for manual syncing of sound with
picture.

Electronic slate (smart slate)

Use for semiautomatic syncing.

In-camera timecode, with audio
sync

Use for automatic, “slateless” syncing in the
telecine.

247

Chapter 10 Planning a Film Project

Table 72

Film Shoot Specifications (Continued)

Element

Supported Formats

Notes

Slate information

Camera roll, scene and take, shoot
date, sound-roll ID

Mark sound-roll ID as a backup.

Sound-roll cues

Sound-roll ID, date, start and end
time-of-day timecode

Include verbal time-of-day cues as a backup.

Viewing Dailies
Viewing dailies is a critical part of the film production process. With an
Avid system, there are two different ways to produce dailies.

248

•

The film dailies method relies on work print for screening, transferring,
and creating conformed cuts during editing.

•

The video dailies method relies on videotape transfers from negative
for screening, transferring, and creating conformed cuts during editing.

Film Project Considerations

Film Dailies Method
The film dailies method involves the procedures shown in Figure 10.
Specifics, such as tape formats, vary depending on facilities and needs.
1. Prepare work print
for the circled
(selected) takes.

....................

.....................

....................

.....................

Negative

2. Sync work print with
audio mag track, and
assemble each take on a
roll with ink numbers.

Work print

(Steps 1 and 2)

(Step 4)
....................
Mag track

KEM roll

(Step 3)

3. Screen the film
dailies before telecine
transfer.

Screening

4. Mount and transfer
the rolls to tape in
telecine.

Telecine

5. (Option) Enter ink
numbers manually into
the Avid system after
you capture, to match
the ink number on the
work print.
6. Generate ink-number
lists for preparing cuts
from the work print,
and key-number lists
for conforming the
negative.

(Step 5)
Betacam

Transfer

(Step 6)

Cut list

Conformed cut

Figure 10

Film Dailies Method

When you work with film dailies and work print, the advantages are:
•

You can screen the dailies immediately after the lab work.

•

You can use work print previews to view the full film aspect ratios,
resolutions, and contrast ranges. For this reason, film dailies are often
preferred for feature film projects.

The disadvantage is that the magnetic track and work print require
additional facilities, procedures, and costs.
249

Chapter 10 Planning a Film Project

Video Dailies Method
The video dailies method involves the procedures shown in Figure 11.
Specifics, such as tape formats, vary depending on facilities and needs.
1. Prepare film negative
for the circled
(selected) takes.

....................
....................
Negative

2. Transfer reels of
negative synced to
audio in telecine.
Generate a
simultaneous online
transfer, or create the
online transfer from
selects after editing the
sequence.

(Steps 1 and 2)

Sound
recording

Transfer

(Steps 4 and 5)

5. Edit using the Avid
system.

(Step 6)
Cut list

Conformed cut

Figure 11

Betacam
Preview

Video Dailies Method

EDL

1”

250

Betacam

Screening

1”

(Step 3)

4. Import existing key
numbers and timecode
information into the
Avid system, then
capture.

Alternatively, generate
a matchback list of
selects for printing
selects and conforming
negative.

Assembled
takes
Telecine controller
and record deck

3. Screen the videotape
dailies after the
transfer.

6. Record a digital cut
to preview the
sequence with effects,
or generate EDLs for
editing the videotape
transfers.

Nagra or DAT
playback system

Master

Film Project Considerations

The advantage of working with video dailies and film negative is that you
can avoid the cost of work print until the finishing stages, or altogether.
The disadvantage is you are limited to the aspect ratio, resolution, and
contrast range of video previews. For this reason, video dailies are
preferred for television projects, but you can also use this method to
economize on a feature film production.

251

Chapter 10 Planning a Film Project

252

Index
ABCDEFGHIJLMNOPQRSTUVWXY
Numerics

1:1 video
defined 182
16:9 format 156
2:3 pulldown
transferring film to video with 145
23.976p projects
limitations 246
planning 240
workflow 242
working in 241
24-fps film
transferring to NTSC video 144
transferring to PAL video 150
24p and 25p projects
displaying media while editing 153
planning 229
24p media
described 227
stored and displayed 152
25p media
described 228
stored and displayed 152
3 x 3 averaging
setting eyedropper option 29
8-bit units 85

AIFF-C file format
brief description of 173
option in Audio Project settings 14
Alias file format
brief description of 159
import specifications for 163
Alpha channel
adding to a graphics image 162
defined 162
in imported animation 170
support in graphics formats 163
Alpha channel, options in Import settings 72
Anti-aliased images 162
Aspect Ratio options (Import settings) 70
Assembling takes 249
Audio
crossfading 16
crossfading methods 16
fading 16
fading methods 16
file formats (Audio Project settings) 14
input levels, adjusting 16
input sources 17
locked 15
mapping output channels 19
Master volume 18
media for shoots 247

Index

output 16
selecting mix modes 19
selecting stereo mix 19
storage requirements 190
timecode for shoots 247
transfer options 239
Audio dissolves 16
Audio File format
options 14
Audio file sample size 15
Audio files
supported formats 173
Audio Gain Automation
configuring USB-to-MIDI software 121
installing driver software (Macintosh) 122
installing driver software (Windows) 121
Audio input
sources 17
Audio input levels
adjusting 16
Audio plug-ins
See AudioSuite plug-ins
Audio Project settings
audio file formats 14
Audio sample rate
options 14
Audio sync
with work print 249
Audio transfer
Info tab 239
AudioSuite plug-ins
accessing 92
Broadband Noise Reduction (BNR) 117
Compressor 105
core plug-ins 92
DC Offset Removal 96
D-Fi 118
Digidesign Intelligent Noise Reduction
(DINR) 117
Duplicate 94

254

EQ 103
Expander/Gate 112
Focusrite d3 117
Gain 95
Gate 111
Invert 94
Limiter 108
Maxim 118
Mod Delay 115
Normalize 94
Pitch Shift 100
Reverse 95
Signal Generator 96
supported 92, 117
Time Compression Expansion 96
Automatic logging 156
Automation Gain
connecting a fader controller or mixer for 119
fader controller or mixer, testing 123
Auto-Save options (Bin settings) 21
AVI file format
brief description 169
Avid Attic files setting (Bin settings) 21
Avid DV Codec, exporting with 38, 39
Avid editing application
backing up Title Tool titles when promoting to
Marquee 80
Avid logs
clip data in 207
creating 201
custom headings in 204
data entries in 207
formatting guidelines 202
global headings in 203
importing 201
sample created with text editor 210
specifications 202
standard headings in 204
Avid MCXpress for Windows NT
importing files from 175

Index

Avid Unity network
mapping workspaces on 82

B
Backing up
Title Tool titles when promoting to Marquee
80
Backup options (Bin settings) 21
Best-light transfers
defined 155
Bin settings 21
Auto-Save options 21
Avid Attic files setting 21
backup options 21
Bit depth
defined 162
BMP file format
additional export options 58
import specifications for 163
BNR See Broadband Noise Reduction AudioSuite
feature
Broadband Noise Reduction AudioSuite feature
117
Burn-in code 156
BWF (Broadcast Wave Format) files
bin columns for 138
custom information 138
described 137
importing and syncing 140
reimporting 142
support for 137
Bypass volume settings 18

Chunking 27
Chyron file format
brief description of 160
import specifications for 163
Cineon file format
additional Export options 59
brief description of 160
import specifications for 163
Clip data
in Avid logs 207
Codecs
DV 38, 39
Color Match control
3 x 3 averaging of pixels, setting 29
Column headings
in Avid log file 204
Compression
defined 181
in relation to drive space 181
in relation to image quality 181
Compression ratios
See also Video resolutions
defined 183
mixing 183
Compressor AudioSuite plug-in 105
Coordinates
displaying, in monitors 68
Core AudioSuite plug-ins 92
Creating
Avid log files 201
Crossfading audio 16
Custom colors
options for naming 28
Custom headings
in Avid logs 204

C
CCIR
See ITU-R 601
CCIR video levels, Import settings 71

D
Dailies
viewing 248
255

Index

Data entries
in Avid log file 207
DC Offset Removal AudioSuite plug-in 96
Deck settings
Fast Cue option 31
options 31
Preroll option 31
Defining
units of measurement 85
Deinterlacing 152
D-Fi AudioSuite plug-ins 118
Dialog boxes
audio export settings 55
Export Settings 34
QuickTime Reference Settings 35
Digidesign Intelligent Noise Reduction plug-in
117
Digitizing
storage guidelines 189
DINR AudioSuite plug-in
See Digidesign Intelligent Noise Reduction
plug-in
Displaying 24p and 25p media
during a digital cut 154
while editing 153
Dominance
described 179
Dominance, Import settings options 71
Downconversion
24p to SDTV 233, 242
25p to SDTV 236
Drive space
estimating for audio 190
for rolling titles 191
managing to improve playback performance
199
maximizing use of 198
NTSC/PAL equivalency for estimating 190
planning 189
Drive striping

256

in relation to resolutions 186
Dupe checking 88
Dupe Detection Handles option (Timeline
settings) 88
Duplicate AudioSuite plug-in 94
DV audio pattern 15
DV Codec 38, 39
DV resolutions
graphic import frame sizes 168
storage requirements for 197

E
EQ AudioSuite plug-ins 103
ERIMovie file format
additional export options 59
brief description 169
import specifications for 170
Estimating drive space requirements 189
Expander/Gate AudioSuite plug-in 112
Export settings
video compression options 54
Export settings, video compression options 54
Exporting
Targa files 62
Wavefront files 62
YUV files 63
Exporting files
with Avid DV Codec 38, 39
External fader controllers
changing ports (Macintosh) 125
changing ports (Windows) 124
connecting to a system 121, 127
testing connections 123
troubleshooting connections 126
Eyedropper
3 x 3 averaging of pixels, setting 29
options for 29

Index

F
Fader controllers
See External fader controllers
FaderMaster Professional fader controller
connecting 121
described 119
testing 127
Fading audio 16
Fast Cue option (Deck settings) 31
Fast Frame Display (Special menu) 154
Field dominance
described 179
Field dominance, Import Settings options 71
Field ordering
described 176
Fields versus frames
described 145
Files
specifications for importing graphics 162, 166
specifications for importing OMFI 174
Film
project workflow 230
shoot specifications 247
transferring to NTSC 144
transferring to PAL 150
Film dailies method
defined 248
illustrated 249
Film speed
slowing to 23.976 fps 147
Film Type for shoots 247
Film Wind for shoots 247
Film-to-tape transfer
guidelines for 154
methods 143
options for 155
Focusrite d3 AudioSuite plug-in 117
fps (frames per second)
and storage requirements 190
Frames versus fields

described 145
Framestore file format
brief description of 160
import specifications for 163
Full-screen image size
defined 166

G
Gain AudioSuite plug-in 95
Ganging
multiple tracks on an external fader controller
130
Gate AudioSuite plug-in 111
General settings 65
Global headings
in Avid log file 203
Graphics (image) files
field ordering in 176
import specifications 162, 166
preparing for import of 162
recommended field settings 177
supported formats 159
Grid
options 66
Safe Action setting 67
Safe Title setting 67
Grid Settings 66
Guidelines
for film-to-tape transfers 154

H
HDTV
workflow with 23.976p source 242
workflow with 24p source 233
workflow with 25p source 236
Hinted streaming, exporting as 43

257

Index

IFF file format
brief description of 160
import specifications for 163
Image Independence 159
Image quality
for interlaced resolutions 187
for progressive resolutions 188
Image updating options 29
Import settings
alpha channel options 72
aspect ratio options 70
CCIR video levels 71
dominance options 71
RGB graphics levels 71
Importing files
preparing for 162
specifications for audio files 173
specifications for graphics files 162, 166
specifications for OMFI files 174
Input Gain 16
Input Level slider 16
Interlaced resolutions
graphic import frame sizes 167
specifications for 187
storage requirements for 191
Interlacing 145
Invert AudioSuite plug-in 94
ITU-R 601
video standards 182

Limiter AudioSuite plug-in 108
Logging
automatic 156

J
JPEG file format
additional Export options for 60
brief description of 160
import specifications for 164

258

M
Maintaining synchronized sound 148
Maxim AudioSuite plug-in 118
Maximizing drive space 198
MCS-3000X fader controller
connecting 121
described 119
testing 127
Media Station XL
digitizing with 229
MediaManager
creating settings for 82
Millivolts (mVolts) 85
Mix Mode Selection 19
Mixer
connecting 121
described 119
using the Yamaha 01V 130
Mixing video resolutions 183
Mod Delay AudioSuite plug-ins 115
Motion effects
rendering options 83
Multicamera resolutions
graphic import frame sizes 168
mVolt (millivolt) units 85
MXF format
described 81, 173

N
Normalize AudioSuite plug-in 94

Index

NTSC (National Television Systems Committee)
video
transferring 24-fps film to 144

O
OHCI
audio project setting 17
OMF Interchange files
import specifications 164, 174
OMFI file format
brief description of 160
OMFI files
additional export options for 60
OMM (Open Media Management)
creating settings for 82
One-light transfers 155
Output
audio 16
mapping audio channels 19
optical 16
Output Gain 18

P
PAL (Phase Alternating Line) video
transferring film to 150
PAL Method 1
described 150
PAL Method 2
described 152
Passthrough Mix tool
Audio Project Settings dialog box 17
PCX file format
brief description of 160
import specifications for 164
Photo CD file format
brief description of 160
import specifications for 164

Photoshop file format
additional export options for 60
brief description of 160
import specifications for 164
PICT file format
additional export options for 61
brief description of 160
import specifications for 164
PICT sequence import specifications 170
Pitch Shift AudioSuite plug-in 100
Pixar file format
brief description of 160
import specifications for 164
Playback
improving performance of (storage
management) 199
PNG file format
additional export options for 61
brief description of 161
import specifications for 164
Preroll option (Deck settings) 31
Progressive media
described 227
Progressive resolutions
graphic import frame sizes 168
specifications for 188
storage requirements for 194
Project settings
audio transfer 239
Project window
Info tab, using 239
Projects
24p and 25p 229
planning 227
Promoting
Title Tool titles, back up option 80
Pulldown
described 145

259

Index

Q
QRT file format
brief description of 161
import specifications for 164
Quality of film-to-tape transfer 155
QuickTime file format
import and export specifications for 171
QuickTime movie export 43
QuickTime Movie files
exporting with Avid DV Codec 39
QuickTime Reference Movie files
exporting with Avid DV Codec 38

R
Recording
single video frame (General Record Settings)
24
Render settings
options 83
Rendering
motion effects 83
Rendition file format
brief description of 161
import specifications for 164
Resolutions
See Screen resolutions, Video resolutions
Reverse AudioSuite plug-in 95
RGB graphics levels, Import settings 71
RGB values
reference black and white 85

S
Safe Action option (Grid settings) 67
Safe Colors
defining units of measurement for 85
Safe Title option (Grid settings) 67

260

Sample rate
changing conversion quality 15
converting 15
dislplaying mismatched 16
mixing 16
options 14
Screen resolutions
NTSC and PAL differences 182
Sequenced PICT files
import specifications for 170
Settings
Audio export 55
Audio Project, DV audio pattern 15
audio transfer 239
export 34
Grid 66
import 69
OMFI export 49
QuickTime Reference export 35
Timeline 87
SGI file format
additional export options for 61
brief description of 161
import specifications for 165
Shared volume segmentation ("chunking") 27
Shot log files
Avid log file specifications 201
Signal Generator AudioSuite plug-in 96
Sixteen by nine (16:9) format 156
Slate information for shoots 248
Slowing film speed 147
Softimage file format
brief description of 161
import specifications for 165
Sound roll
cues for shoots 248
Specifications
animation file import 170
Avid log 202
for film shoots 247

Index

graphics file import 162, 166
OMF file import 174
QuickTime import and export 171
Standard headings
in Avid log files 204
Stereo Mix 19
Storage
estimating drive space requirements for 189
estimating for audio 190
for rolling titles 191
managing to improve playback performance
199
maximizing 198
NTSC/PAL equivalency for estimating 190
planning 189
Storage estimates
in minutes per gigabyte 190
Storing 24p and 25p media 152
SunRaster file format
brief description of 161
import specifications for 165
Sync
methods for shoots 247
of work print with audio mag 249
Synchronized sound
maintaining 148

T
Targa file format
additional Export options 62
brief description of 161
import specifications for 165
Telecine
transfer quality 155
Text editors
creating Avid logs with 201
TIFF file format
additional Export options 62
brief description of 161

import specifications for 166
Time Compression Expansion AudioSuite plug-in
described 96
Timecode
default starting 65
Timed (scene-by-scene) transfers 155
Timeline
Dupe Detection Handles option 88
settings, Display tab 87
settings, Edit tab 87
Title tool
backing up titles when promoting to Marquee
80
Tools
Passthrough Mix 17
Track Hinter settings, for hinted streaming export
43
Tracks
ganging on an external fader controller 130
Transfer methods
for film to tape 143
Transferring film to tape 143
aids to 156
in NTSC format 144
in PAL format 150
quality options 155
without sound (PAL) 152
Transparency
adding to a graphics image 162
Two-field media
and field dominance 179
and field ordering 176

U
Uncompressed video
defined 182
Units of measurement
defining for Safe Colors feature 85
USB-to-MIDI converter
261

Index

changing ports (Macintosh) 125
changing ports (Windows) 124
configuring software 121
installing driver software (Macintosh) 122
installing driver software (Windows) 121
testing installation 123
troubleshooting connections 126

V
Video compression
defined 181
Video Compression options (Export settings) 54
Video dailies method
defined 248
Video resolutions
drive striping requirements 186
graphic import frame sizes
DV 168
interlaced 167
multicamera 168
progressive 168
guidelines for use 182
mixing 183
specifications for interlaced 187
specifications for progressive 188
storage in minutes per gigabyte 190
storage requirements for 189
Video streams
defined 186
Viewing dailies 248
VITC (Vertical Interval Timecode)
NTSC 182
PAL 183
Volume
bypassing adjustments 18

262

W
WAVE file format
brief description of 173
option in Audio Project settings 14
Wavefront file format
additional Export options 62
brief description of 161
import specifications for 166
Word processor
creating Avid logs with 201
Work print
syncing with audio mag 249
Workflows
film or 23.976p source 242
film or 24p source 233
film or 25p source 236
film source 230

X
XWindows file format
brief description of 161
import specifications for 166

Y
Yamaha 01V digital mixer
connecting 121
described 119
setting up 131
YUV file format
additional Export options for 63
brief description of 161
import specifications for 166

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