Avid Media Composer Adrenaline HD Input And Output Guide 1.0 MCAHD IO

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

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Avid Media Composer
®

™

Adrenaline HD
Input and Output Guide

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
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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.
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6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; 6,747,705; 6,763,134; 6,766,063;
6,791,556; 6,810,157; 6,813,622; D392,269; D396,853; D398,912. Other patents are 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 © 2004 Avid Technology, Inc. and its licensors. All rights reserved.
The following disclaimer is required by Apple Computer, Inc.
APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED,
REGARDING THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS
MERCHANTABILITY OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. THE EXCLUSION OF
IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT
APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS. THERE MAY BE
OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE.

The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of
their TIFF library:
Copyright © 1988–1997 Sam Leffler
Copyright © 1991–1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its
documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices
and this permission notice appear in all copies of the software and related documentation, and (ii) the
names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the
software without the specific, prior written permission of Sam Leffler and Silicon Graphics.
THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS,
IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF
MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL,
INCIDENTAL, INDIRECT OR 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, Adrenaline, AirPlay, AirSPACE, AirSPACE HD, AirSpeed, AniMatte, AudioSuite, AudioVision,
AutoSync, Avid, Avid DNA, Avid DNxcel, Avid DNxHD, AVIDdrive, AVIDdrive Towers, Avid Mojo, 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, Digital Nonlinear Accelerator, DigiTranslator, DINR, D-Verb, Equinox, ExpertRender,
FieldPak, Film Composer, FilmScribe, FluidMotion, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX,
Image Independence, Intraframe, iS9, iS18, iS23, iS36, LaunchPad, 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, MissionControl, NaturalMatch, Nearchive, NetReview, NewsCutter,
Nitris, OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management, ProEncode,
Pro Tools, QuietDrive, Recti-Fi, RetroLoop, rS9, rS18, Sci-Fi, Softimage, Sound Designer II, SPACE,
SPACEShift, SpectraMatte, SpectraGraph, 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, Carol Amore, Executive Producer.
Windhorse — Courtesy of Paul Wagner Productions.
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.

Avid Media Composer Adrenaline HD Input and Output Guide• 0130-06754-01 • December
2004

Contents
Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Accessing the Online Library and Tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . 20
How to Order Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Avid Educational Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Chapter 1

Planning a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Types of Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Project Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Working with Mixed-Resolution Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Video and Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Chapter 2

Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Preparing Log Files for Import. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Converting Log Files with Avid Log Exchange . . . . . . . . . . . . . . . . . . . . 30
Using Drag-and-Drop Conversion for Log Files . . . . . . . . . . . . . . . . . . 34
Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Creating Avid Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Applications for Creating Avid Logs. . . . . . . . . . . . . . . . . . . . . . . . . 36
Required Information for Logging . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Creating an Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Transferring Bins from MediaLog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Transferring Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Associating the Bin with Your Project . . . . . . . . . . . . . . . . . . . . . . . 38

Double-Checking the Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Tips for Logging Preroll, Logging Timecode, and Naming Tapes . . . . . 44
Logging with an Avid-Controlled Deck. . . . . . . . . . . . . . . . . . . . . . . . . . 46
Pausing the Deck While Logging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Using a Memory Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Logging with Non-Avid-Controlled Decks . . . . . . . . . . . . . . . . . . . . . . . 51
Logging Film Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Displaying Film Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Entering Pulldown Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Modifying the Pulldown Phase Before Capturing . . . . . . . . . . . . . . 58
Entering Frames-per-Second Rates for PAL Transfers. . . . . . . . . . . . . 60
Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Entering Additional Timecodes (Option) . . . . . . . . . . . . . . . . . . . . . . . . 61
Entering the Ink Number (Option) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Entering Additional Film Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Modifying Clip Information Before Capturing . . . . . . . . . . . . . . . . . . . . . . . . 62
Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Chapter 3

Preparing to Capture Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Preparing the Hardware for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Getting Information About Striped Drives . . . . . . . . . . . . . . . . . . . . . . . 66
Selecting Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Setting Drive Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Selecting a Video Resolution and Drives . . . . . . . . . . . . . . . . . . . . 68
Capture Settings Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Capture Settings: General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Selecting the Preroll Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Capturing Across Timecode Breaks . . . . . . . . . . . . . . . . . . . . . . . . 73
Capture Settings: Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . 74
Capturing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
General Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Transfer Settings for Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Configuring Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Deck Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Deleting Deck Configuration Elements. . . . . . . . . . . . . . . . . . . . . . . . . . 85
Setting Deck Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode . . . 87
Entering Capture Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Setting Up the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Selecting a Deck in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Selecting a Source Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Selecting Source Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Detecting Valid or Locked Capture Input . . . . . . . . . . . . . . . . . . . . . . . . 94
Setting the Video and Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Setting the Pulldown Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Film Project Pulldown and Transfer Settings. . . . . . . . . . . . . . . . . . 96
Selecting a Resolution in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . 97
Selecting a Draft Resolution for DV Media . . . . . . . . . . . . . . . . . . . 97
Selecting a Format in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . 98
Selecting a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Targeting a Single Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Targeting Separate Drives for Audio and Video . . . . . . . . . . . . . . . 99
Targeting a Drive Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Using the Console Window to Access Network Drives . . . . . . . . . . . . 101
Interpreting the Time-Remaining Display . . . . . . . . . . . . . . . . . . . . . . . 102

Selecting a Custom Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Saving the Audio Project Settings as Site Settings . . . . . . . . . . . 104
Selecting the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Using the Audio Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Adjusting Audio Input Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Creating Tone Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Using the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Resizing the Passthrough Mix Tool . . . . . . . . . . . . . . . . . . . . . . . 109
Monitoring Audio with the Passthrough Mix Tool . . . . . . . . . . . . . 110
Changing an Audio Level in the Passthrough Mix Tool . . . . . . . . 111
Adjusting Pan Values in the Passthrough Mix Tool . . . . . . . . . . . 111
Calibrating Input Channels for the Audio I/O Device . . . . . . . . . . 111
Calibrating Output Channels for the Audio I/O Device . . . . . . . . . 112
Using the Console Window to Check Audio Levels. . . . . . . . . . . . . . . 113
Preparing for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Using the Factory Preset Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Calibrating Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Limitation When Using Consumer Decks or Decks Without
Time-Base Correctors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Saving Video Input Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Saving a Custom Default Setting for the Video Input Tool . . . . . . . . . 123
Adjusting Video Levels for Tapes Without Color Bars. . . . . . . . . . . . . 124
Capture Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Chapter 4

Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Before You Begin Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Function Keys Available When Capturing . . . . . . . . . . . . . . . . . . . . . . . . . 129
Special Capture Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Logging Errors to the Console Window . . . . . . . . . . . . . . . . . . . . . . . . 129

Creating Subclips While Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . . . . . . . . 133
Controlling Decks from the Keyboard. . . . . . . . . . . . . . . . . . . . . . . . . . 133
Mapping the Record Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Capturing DV50 and DVCPRO HD Media Directly from a DV Device . . . . 135
Delaying Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Capturing and Logging at the Same Time . . . . . . . . . . . . . . . . . . . . . . . . . 136
Capturing from a Mark IN to a Mark OUT . . . . . . . . . . . . . . . . . . . . . . 138
Setting Both Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Setting Only One Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Capturing On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Autocapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Capturing from a Non-Avid-Controlled Deck . . . . . . . . . . . . . . . . . . . . 144
Capturing with Time-of-Day Timecode . . . . . . . . . . . . . . . . . . . . . . . . . 145
Live Capture with External Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Patching When Capturing to the Timeline . . . . . . . . . . . . . . . . . . . . . . 149
Capturing Video Without Pulldown into a 24p NTSC Project . . . . . . . . . . . 150
Batch Capturing from Logged Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Preparing to Batch Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Resizing the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Preparing Settings for Unattended Batch Capturing . . . . . . . . . . . 152
Capture Settings: Batch Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Batch Capturing Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Changing Function Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Recapturing Your Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Recapturing Master Clips and Subclips . . . . . . . . . . . . . . . . . . . . . . . . 157
Recapturing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Saving Two Versions of a Sequence When Recapturing . . . . . . . 158

Using Decompose When Recapturing . . . . . . . . . . . . . . . . . . . . . 158
Recapturing the Sequence Without Using Decompose . . . . . . . . 160
Relinking Clips by Key Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Modifying the Pulldown Phase After Capturing . . . . . . . . . . . . . . . . . . . . . 164
DV Scene Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Setting Up DV Scene Extraction Before Capturing . . . . . . . . . . . . . . . 167
Setting Up DV Scene Extraction After Capturing . . . . . . . . . . . . . . . . 168

Chapter 5

Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Preparing to Import Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Creating and Using Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Creating a New Import Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Modifying an Existing Import Setting . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Using the Drag-and-Drop Method to Import Files . . . . . . . . . . . . . . . . . . . 177
Importing Photoshop Graphics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Importing Single-Layer Photoshop Graphics. . . . . . . . . . . . . . . . . . . . 178
Importing Multilayered Photoshop Graphics . . . . . . . . . . . . . . . . . . . . 178
Understanding Multilayered Graphics Import . . . . . . . . . . . . . . . . 179
Importing Multilayered Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Importing Editcam Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Starting the Reimport Process. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Chapter 6

Generating Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Preparing for Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Establishing Sync for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Selecting Sync for HD Formats . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Using LTC Timecode for Output . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Video Output Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Calibrating for Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Using the Factory Preset Buttons . . . . . . . . . . . . . . . . . . . . . . . . . 195
Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Advanced Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . 200
Calibrating the System with Passthrough Signals . . . . . . . . . . . . . 201
Preparing for Audio Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Calibrating Global Output Levels. . . . . . . . . . . . . . . . . . . . . . . . . . 204
Adjusting Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Preparing Record Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Frame-Accurate Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Recording Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Enabling Assemble-Edit Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Using the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Selecting a Deck in the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . 211
Using ExpertRender to Prepare Effects for a Digital Cut . . . . . . . . . . . 212
Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Recording a Digital Cut to Tape (Remote Mode) . . . . . . . . . . . . . . . . . 214
Crash Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Recording a Digital Cut to Tape (Local Mode) . . . . . . . . . . . . . . . . . . . 217
Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Output Mode Resolutions with Progressive Projects. . . . . . . . . . . 222
Outputting DV50 and DVCPRO HD Media Directly to a DV Device . . 224
Selecting Output and Timecode Formats for 23.976p, 24p, and 25p
Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Selecting Output Formats for 24p and 25p Projects . . . . . . . . . . . 225
Selecting Output Formats for 23.976p Projects. . . . . . . . . . . . . . . 228
Selecting the Timecode Format for Output . . . . . . . . . . . . . . . . . . 228
Outputting Drop-Frame and Non-Drop-Frame Timecode
Simultaneously for Downstream Encoding . . . . . . . . . . . . . . . . 229
Indicating the Destination Timecode Rate. . . . . . . . . . . . . . . . . . . 229
11

Performing an Insert Edit with Pulldown . . . . . . . . . . . . . . . . . . . . . . . 230
Digital Cuts and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Changing the Default Pulldown Phase for Sequences . . . . . . . . . . . . 232
Using DV Digital Cut Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Using the Matchback Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
How Matchback Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Matchback Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Using FilmScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Preserving Information in the Vertical Blanking Interval. . . . . . . . . . . . . . . 238
Line Ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Preserving Vertical Blanking Information. . . . . . . . . . . . . . . . . . . . . . . 239
Displaying VBI Information and Preserving VBI
Information on Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Editing a Sequence with VBI Information . . . . . . . . . . . . . . . . . . . . . . 241
Effects of Preserving Vertical Blanking Information on
Compressed Video Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Comparison with VBI on Meridien Systems . . . . . . . . . . . . . . . . . . . . 242

Chapter 7

Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . 245
Understanding Export. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Exporting Frames, Clips, or Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Using the Drag-and-Drop Method to Export Frames, Clips, or
Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Customizing Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Preset Export Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Creating a New Export Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Exporting OMFI and AAF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Exporting Through OMF Interchange . . . . . . . . . . . . . . . . . . . . . . . . . 253
Exporting Through AAF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Selecting an OMFI or an AAF Transfer Method . . . . . . . . . . . . . . . . . 254

Exporting As an OMFI or an AAF File . . . . . . . . . . . . . . . . . . . . . . . . . 254
Improving Workflow Using Send To . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Send To Digidesign Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Send To DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Send To Sorenson Squeeze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Send To Avid | DS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Send To Third-Party Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Exporting Video in DV Stream Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Exporting QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Exporting As a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Selecting QuickTime Movie Format Options . . . . . . . . . . . . . . . . . 275
Exporting As a QuickTime Reference Movie . . . . . . . . . . . . . . . . . . . . 275
Using Avid Codecs for QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Exporting with Avid QuickTime Codecs. . . . . . . . . . . . . . . . . . . . . 278
Exporting As an AVI File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
AVI Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Installing the Avid Codecs for QuickTime on Other Systems . . . . . . . . . . . 283
Copying the Avid Codecs for QuickTime to Another
Windows System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Exporting from a Third-Party QuickTime or AVI Application . . . . . . . . . . . . 285
Exporting as Windows Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Exporting Using an Avid Supplied Template . . . . . . . . . . . . . . . . . . . . 286
Exporting Using an Existing Windows Media Profile . . . . . . . . . . . . . . 287
Exporting Using a Custom Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Creating a Custom Video Profile . . . . . . . . . . . . . . . . . . . . . . . . . 289
Creating a Custom Audio Profile . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Exporting Tracks As Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Exporting As a Graphic File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Appendix A

Working with HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
High-Definition Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

HDTV Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Film-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Video-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Broadcast Graphics Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Starting an HD Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Capturing HD Video and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
HD Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
HD Video and Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Video Input Tool for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
True 24 FPS Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Playback Modes for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Video Color Space for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Changing the Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Editing in HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Modifying the Format of a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . 316
Mixing SD and HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Displaying Formats in a Bin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Displaying 16:9 HD Video in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . 319
Editing at 60 fps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Transcoding HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Video Effects for HD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Setting Video Output for HD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Output Menu (HD Tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
HD Crossconvert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
SD Downconvert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Test Patterns for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
OutputLock for HD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Recording a Digital Cut for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Video Import and Export for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
14

Tables
Supported Resolutions and Hardware Configurations . . . . . . . . . . . . . . . . . 25
Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Film Project Pulldown and Transfer Settings . . . . . . . . . . . . . . . . . . . . . . . . 96
Audio Tool Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Video Input Tool Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Luminance Settings for Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Function Keys Available When Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . 129
J-K-L Functions for Deck Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Support for Photoshop Layer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Support for Photoshop Special Layer Types. . . . . . . . . . . . . . . . . . . . . . . . 182
Output Sync Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Video Format Output Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Luminance Settings for Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Output Mode Resolution Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Progressive Project Output Mode Resolution Options . . . . . . . . . . . . . . . . 223
DV50 and DVCPRO HD Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
24p and 25p Project Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Audio Play Rates for 24p and 25p Projects . . . . . . . . . . . . . . . . . . . . . . . . 227
Audio Play Rates for 23.976p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Selecting a QuickTime Export Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Supported HDTV Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
HD Online Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
HD Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Avid HD Formats and Other HD Formats . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Offline Formats for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Choices for Modifying Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Output Sync Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Using This Guide

The Avid® Media Composer® Adrenaline™ HD Input and Output Guide
presents information to help you bring material into your Avid system and
send material out. Material for input includes video footage, film footage
transferred to video, graphic images, audio, and other elements you use to
create a sequence. Material for output includes sequences, clips, individual
frames, and audio, either as a work in progress or as a finished piece.
This guide includes information on planning projects, logging information
into bins, capturing footage, and generating output. It also includes
information on importing files, exporting files, and exchanging projects
between systems.

The documentation describes the features and hardware of all models.
Therefore, your system might not contain certain features and hardware that
are covered in the documentation.

Who Should Use This Guide
This guide is intended for editors at all levels of experience, particularly video
editors who are unfamiliar with film-originated projects and editors
responsible for the input and output stages of a project.

About This Guide
The Contents lists all topics included in the book. They are presented with the
following overall structure:
•

Chapters 1 presents conceptual information to help you plan a project and
understand the film-to-tape transfer process.

Using This Guide

•

Chapters 2 through 7 include conceptual information and step-by-step
procedures for all aspects of input and output.

•

Appendix A includes information on working with HD media.

•

An index at the end of this manual helps you locate the information you
need.

Symbols and Conventions
Avid documentation uses the following symbols and conventions:

Symbol or Convention

Meaning or Action

A note provides important related information,
reminders, recommendations, and strong suggestions.

A caution means that a specific action you take could
cause harm to your computer or cause you to lose data.

A warning describes an action that could cause you
physical harm. Follow the guidelines in this document
or on the unit itself when handling electrical equipment.

This symbol indicates menu commands (and
subcommands) in the order you select them. For
example, File > Import means to open the File menu
and then select the Import command.

This symbol indicates a single-step procedure. Multiple
arrows in a list indicate that you perform one of the
actions listed.

This symbol represents the Apple or Command key.
Press and hold the Command key and another key to
perform a keyboard shortcut.

Margin tips

In the margin, you will find tips that help you perform
tasks more easily and efficiently.

Italic font

Italic font is used to emphasize certain words and to
indicate variables.

Courier Bold font

Courier Bold font identifies text that you type.

If You Need Help

Symbol or Convention

Meaning or Action

Click

Quickly press and release the left mouse button
(Windows) or the mouse button (Macintosh).

Double-click

Click the left mouse button (Windows) or the mouse
button (Macintosh) twice rapidly.

Right-click

Quickly press and release the right mouse button
(Windows only).

Drag

Press and hold the left mouse button (Windows) or the
mouse button (Macintosh) while you move the mouse.

Ctrl+key

Press and hold the first key while you press the second
key.

If You Need Help
If you are having trouble using your system:
1. Retry the action, carefully following the instructions given for that task in
this guide. It is especially important to check each step of your workflow.
2. Check the ReadMe supplied with your Avid application for the latest
information that might have become available after the hardcopy
documentation was printed. You can access the ReadMe from the Help
menu.
3. Check the documentation that came with your Avid application or your
hardware for maintenance or hardware-related issues.
4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online
services are available 24 hours per day, 7 days per week. Search this
online Knowledge Center to find answers, to view error messages, to
access troubleshooting tips, to download updates, and to read/join online
message-board discussions.
5. For Technical Support, please call 800-800-AVID (800-800-2843).
For Broadcast On-Air Sites and Call Letter Stations, call
800-NEWSDNG (800-639-7364).

Using This Guide

Accessing the Online Library and Tutorial
The Avid Media Composer Adrenaline HD Online Library and Tutorial
CD-ROM contains a multimedia tutorial and all the product documentation in
PDF format. Avid recommends the multimedia tutorial as your first resource
for learning how to use your application. You can access the tutorial and the
library from the Online Library and Tutorial CD-ROM or from the Help menu.
The Online Library includes a Master Glossary of all specialized terminology
used in the documentation for Avid products.

You need Adobe® Reader® installed to view the documentation online. You can
download the latest version of Adobe Reader from the Adobe Web site. The
effects reference guide requires Apple’s QuickTime® application to view the
QuickTime movies. You can download the latest version of QuickTime from the
Apple® Web site.To access the online library and tutorial from the CD-ROM:
1. Insert the Avid Media Composer Adrenaline HD Online Library and
Tutorial CD-ROM into the CD-ROM drive.
2. Double-click the Mainmenu file.
To access the online library and tutorial from the Help:

1. Insert the Avid Media Composer Adrenaline HD Online Library and
Tutorial CD-ROM into the CD-ROM drive.
2. In your Avid application, select Help > Online Library & Tutorial.

For the latest product information, see the Avid Knowledge Base:
www.avid.com/onlinesupport

How to Order Documentation
To order additional copies of this documentation from within the
United States, call Avid Sales at 800-949-AVID (800-949-2843). If you are
placing an order from outside the United States, contact your local
Avid representative.

Avid Educational Services

Avid Educational Services
For information on courses/schedules, training centers, certifications,
courseware, and books, please visit www.avid.com/training or call Avid Sales
at 800-949-AVID (800-949-2843).

Using This Guide

Chapter 1
Planning a Project

This chapter gives a brief description of video formats and resolutions
supported by your Avid editing system and other information that can help you
plan your project. This chapter includes the following topics:
•

Types of Projects

•

Project Resolutions

•

Working with Mixed-Resolution Projects

•

Video and Film Projects

Types of Projects
When you start a project on your Avid system, you need to decide on a project
type. Select your project type based on your source footage. You can select
one of the following options from the New Project dialog box:
•

24p NTSC: For film-originated footage or other 24-fps footage,
transferred to NTSC videotape

•

23.976p NTSC: For film-originated or other 24-fps footage in which you
want to use digital audio, or for footage which has been shot at 23.976

•

30i NTSC: For NTSC video-originated footage (30 fps)

•

24p PAL: For film-originated footage or other 24-fps footage, transferred
to PAL videotape

•

25i PAL: For PAL video-originated footage (25 fps)

In these options, 23.976p, 24p, and 25p designate 23.976-fps, 24-fps, and 25fps progressive media. For these projects, your source footage is captured and
stored as 23.976, 24, or 25 full, discrete frames per second. In the 30i NTSC

Chapter 1 Planning a Project

and 25i PAL options, the i represents interlaced frames played at 30 fps or 25
fps. An interlaced frame consists of two fields, each of which contains onehalf the scan lines of the frame. Interlaced frames are standard for NTSC and
PAL video media.
For information on Film Projects, see “Planning a Film Project” in the Help.

Project Resolutions
You must capture media to begin a project. Connect your media device to the
Avid Adrenaline Digital Nonlinear Accelerator (DNA). The Using the Avid
Adrenaline information in the Help identifies all of the connectors on your
Avid Adrenaline DNA. You can use a Media Station XL system or an Avid
Xdeck™ in an Avid Unity™ MediaNetwork environment to capture media. For
more information about these products, contact your Avid representative, or
visit the Avid Web site.
Project formats are described as follows:

•

An Avid video projects capture and store 30i-fps NTSC or 25i-fps PAL
media as digital video that conforms to the ITU-R 601 standard (SDTV or
standard-definition TV).

•

Film projects capture and store 23.976p-fps NTSC or 25p-fps PAL media.
You do your offline editing on an Avid editing system and finishing on a
Symphony or Avid|DS system.

You cannot create 24p or 25p media or multiple output formats from video
footage shot at 30 fps (NTSC) or 25 fps (PAL). The source must be film or HD
(high-definition).
•

Digital video (DV) is an international standard created by a consortium of
10 companies to serve as a consumer digital video format. Avid editing
systems support two DV resolutions: DV25 and DV50.

•

MPEG 30, MPEG 40, and MPEG 50 are resolutions specifically intended
to support the SMPTE Type D-10 bit stream produced and recorded by
devices such as Sony® MPEG IMX™ VTRs. It uses 4:2:2 sampling.

Project Resolutions

With the Media Composer application, there are two ways to capture and
playback. You can capture and playback through the Adrenaline hardware or
you can capture and playback through a separate 1394 card. For additional
information see “Capturing DV50 and DVCPRO HD Media Directly from a
DV Device” on page 135.
•

10-bit resolutions are available for Render, Import, Capture,
Consolidate/Transcode, and Video Mixdown.You must be connected to
Adrenaline hardware to capture and play back 10-bit, high quality video.
10-bit is available for both Standard Definition (SD) and High Definition
(HD) projects.When working with an HD project, the 10-bit resolution
options depend on the project format.
When working with an SD project, the 10-bit resolution appears as
1:1 10b MXF. The 10-bit resolutions are available in MXF format, not
OMF format.

Resolutions are selectable in the Media Creation dialog box (Capturing, Titles,
Import, Mixdown, Motion Effects, and Render tabs).
Avid editing systems allow you to capture, edit, and play back in the resolution
listed in the following table, except where noted.
Supported Resolutions and Hardware Configurations
Resolution

Hardware Configuration

DV25 411

Avid Adrenaline or separate 1394 card

DV25p 411

Avid Adrenaline or separate 1394 card

DV25 420

Avid Adrenaline or separate 1394 card

DV25p 420

Avid Adrenaline or separate 1394 card

DV50 422

Separate 1394 card

DVCPRO HD

Separate 1394 card

MPEG 30

(editing and playback only)

MPEG 40

(editing and playback only)

MPEG 50

(editing and playback only)

35:1

Avid Adrenaline

Chapter 1 Planning a Project

Supported Resolutions and Hardware Configurations
Resolution

Hardware Configuration

28:1

Avid Adrenaline or separate 1394 card

20:1

Avid Adrenaline

14:1

Avid Adrenaline

10:1

Avid Adrenaline

3:1

Avid Adrenaline

2:1

Avid Adrenaline

1:1 (Uncompressed)

Avid Adrenaline

10:1m

Avid Adrenaline

8:1m

Avid Adrenaline

4:1m

Avid Adrenaline

3:1m

Avid Adrenaline

35:1p

Avid Adrenaline

28:1p

Avid Adrenaline

14:1p

Avid Adrenaline

3:1p

Avid Adrenaline

2:1p

Avid Adrenaline

1:1p

Avid Adrenaline

15:1s

Avid Adrenaline or separate 1394 card

4:1s

Avid Adrenaline

2:1s

Avid Adrenaline

1:1 10b MXF

Avid Adrenaline

DNxHD 220X - (10 bit)

Avid Adrenaline

DNxHD 220 - (8 bit)
DNxHD 145 - (8 bit)

Working with Mixed-Resolution Projects

Supported Resolutions and Hardware Configurations
Resolution

Hardware Configuration

DNxHD 185X - (10 bit)

Avid Adrenaline

DNxHD 185 - (8 bit)
DNxHD 175X - (10 bit)

Avid Adrenaline

DNxHD 175 - (8 bit)

These resolutions appear, along with other Avid resolutions, wherever a list of
resolutions appears (for example, in the Video Resolution pop-up menu of the
Media Creation dialog box). The exact list depends on the project format
(NTSC or a PAL).
For information about input and output, see the following sections:
•

“Configuring Decks” on page 80

•

“Setting Up the Capture Tool” on page 89

•

“Using the Digital Cut Tool” on page 209

Working with Mixed-Resolution Projects
The Avid Media Composer Adrenaline system allows you to work with mixed
resolutions in the same sequence. However, you cannot mix NTSC with PAL.
Avid recommends you do not mix interlaced resolutions with progressive
resolutions. Mixing interlaced resolutions with progressive resolutions might
result in problems with scrolling titles, exporting, and performing Digital
Cuts.
For more information on mixing resolutions, see “Resolutions and Storage” in
the Help.

Chapter 1 Planning a Project

Video and Film Projects
Avid systems offer you a flexible approach to finishing your project, whether
it originates as video or film.
For video projects, you can use the offline capabilities of the Avid editing
system and the Total Conform capabilities of the Symphony system to produce
the highest quality, uncompressed broadcast masters.
For film and 24-fps or 25-fps HDTV (high-definition television) projects, you
can use the Avid editing system’s Universal Offline Editing capabilities to
capture footage at 24 fps or 25 fps and edit the content in its native frame rate.
Then use the Symphony system’s film-tape-film-tape (FTFT) and Total
Conform capabilities to finish and deliver uncompressed NTSC, PAL, 4:3,
16:9, and letterbox formats, as well as frame-accurate film cut lists and edit
decision lists (EDLs), all from the same 24p (24-fps progressive) or 25p
media.

Chapter 2
Logging

When you import shot log files or log directly into a bin, you provide the Avid
system with frame-accurate clip information used to capture the source
footage. The logs you create form the foundation for organizing, tracking,
storing, retrieving, and generating lists of edit information throughout your
project. The following sections provide techniques for preparing log
information before capturing:
•

Preparing Log Files for Import

•

Importing Shot Log Files

•

Setting the Pulldown Phase

•

Logging Directly into a Bin

•

Logging Film Information

•

Modifying Clip Information Before Capturing

•

Exporting Shot Log Files

Preparing Log Files for Import
You can use the ALE utility included with your system to quickly convert shot
log files created by other sources:
The ALE utility allows you to:
•

Modify the text in a log file. (Windows only.)

•

Convert log files of different formats to ALE files (see “Compatible Log
Formats” on page 35).

•

Convert an ALE file to either an ATN or FLX file.

Chapter 2 Logging

Any options you set in the ALE utility are saved each time you close the ALE
utility.
When you are converting an ATN file that contains multiple sections to an
ALE file, multiple ALE files are created. The Avid Log Exchange window
displays only the first ALE file created. The succeeding ALE files are given
the same file name with incremental numbering. For example, the file
Nations1.atn is converted to Nations001.ale, Nations002.ale, Nations003.ale,
and so on. The converted output files are stored in the folder containing the
original input file.

Converting Log Files with Avid Log Exchange
To convert a log file to an ALE file:

1. Click the Start button, and select All Programs >Avid > Avid Log
Exchange.
The Avid Log Exchange window opens.

2. Perform one of the following:
t

If the log file is a Final Cut Pro, Cinema Tools, or a Tabbed shot log
file, select File > Import and then choose the file type.

If the log file is another file type, such as .flx or .atn, select File >
Open.

The Open dialog box opens.
3. Double-click the file you want to convert.
The Import Header options box appears.
30

Preparing Log Files for Import

4. Select the information you want to appear in the global settings of the .ale
file. The global settings appear at the top of the .ale file.
5. Click OK.
6. Depending on the type of file you are opening, one of the following
occurs:
-

If the file type is recognized by the ALE utility, the file appears in the
Avid Log Exchange window.

If the file does not contain the Windows line-ending format, then the
Line Endings dialog box opens. Select an option from the following
table.

Click

Display & Save

Open the file in the Avid Log Exchange window and change
the file to the Windows format.

Display Only

Open the file in the Avid Log Exchange window, but not
change the file.

Ignore

Display the file as is without changes.

The file appears in the Avid Log Exchange window.
-

If the file type is not recognized, the Select File Type dialog box
opens. Select the type of file you are converting and click OK.
31

Chapter 2 Logging

The file appears in the Avid Log Exchange window.

For specific information on the various file types, see “Compatible Log
Formats” on page 35.
7. Use the Options menu to select the tracks to include in the Tracks column
of the log. The default track selections are Log V, Log A1, and Log A2.
After you import the log into an Avid bin, the system captures all tracks
shown in this column when batch capturing.

The Track selection only works on non ALE files being converted to ALE
format. When ALE is the incoming format, Track selection does not work.

8. Select Options > Clean if you want ALE to clean the ALE output file to
eliminate overlapping timecodes for clips. By default, Clean is selected.
When you select Clean, the utility changes the end timecode of a previous
event to be less than the following event.
9. If you selected Clean, you can also select Options > Relaxed to prevent
the deleting of events that come earlier in the transfer. Relaxed is not set
by default.
For example, if you transfer film footage with a timecode of 2:00:00:00
and then add some clips at the end with a timecode of 1:00:00:00, Relaxed
prevents the deleting of events that come earlier in the transfer. This
occurs when you shoot footage across the midnight hour and the first half
of the film has 24 hours and the second half has 0 hours.
32

Preparing Log Files for Import

10. Select Convert > ALE.
The default output selection is the ALE format. This is the required format
for import into an Avid bin.
The Avid Log Exchange window displays the converted ALE file. The
converted file has the same file name as the original file, except the file
name extension matches the converted file format.

11. (Option) Select the original file from the Window menu if you want to
convert the file again using different options.
12. Select File > Close.
If you made changes in the editor, a message box opens.
13. Click Yes.
The converted file is stored in the same folder as the original log file.

Chapter 2 Logging

Using Drag-and-Drop Conversion for Log Files
Use this shortcut to convert files into an ALE file.

If the log file is a Final Cut Pro, Cinema Tools, or a Tabbed shot log file, you
cannot use drag-and-drop conversion. Use the procedure in “Converting Log
Files with Avid Log Exchange” on page 30 to convert files of this type.
To convert a log file by using drag-and-drop conversion:

1. Check the options that are set in the ALE utility. See “Converting Log
Files with Avid Log Exchange” on page 30. The current options are used
when you perform drag-and-drop conversion.
2. Create a shortcut for the ALE utility.
3. Open the folder that contains the files you want to convert, positioning the
folder so the Shortcut icon for the ALE utility is visible.
4. Select the files you want to convert.

5. Drag the selected files to the Shortcut icon for the ALE utility, and release
the mouse button.
6. Depending on the type of files you are converting, one of the following
occurs:
-

If the file type is recognized by the ALE utility, a message box opens,
indicating the conversion was successful.

If the file type is not recognized, the Select File Type dialog box
opens. Select the type of file you are converting and click OK.
A message box opens, indicating the conversion was successful.

Preparing Log Files for Import

If the file type is an ALE file, the ALE Convert Type dialog box
opens. Select a file type for the converted output file and click OK.
A message box opens, indicating the conversion was successful.

7. Click OK to close the message box.
The converted files have the same file names as the original files, except
the file name extension matches the converted file format.
For example, the .ale file name extension is added to the new file names
for the Avid format. The converted files are stored in the folder containing
the original log files.

Compatible Log Formats
The following table lists the log formats that can be imported directly or
converted for import using Avid Log Exchange (ALE).
Compatible Log Formats
Log Format

Requirements

File Name Extension

AatonBase

Conversion required

.atn or .atl

Avid Log

Import directly

.ale

Cinema Tools

Conversion required

.txt

CMX EDL

Conversion required

.cmx

Evertz

Conversion required

.ftl

Excalibur

Conversion required

.ale or .flx

Final Cut Pro

Conversion required

.txt

FLEx

Conversion required

.flx

Keyscope

Conversion required

.ksl

Log Producer

Conversion required

.llp

Log right

Import directly

.ale

OSC/R (Macintosh® only) Conversion required

.asc

OLE (Windows only)

.odb

Conversion required

Chapter 2 Logging

Compatible Log Formats (Continued)
Log Format

Requirements

File Name Extension

Shotlister

Import directly

.ale

Tab Delimited

Conversion required

.txt

Creating Avid Logs
You can prepare an Avid log on any type of Windows or Macintosh computer
by using a word processing application or a text editor. To ensure accuracy,
you must follow the Avid log specifications described in “Avid Log
Specifications” in the Help.
Applications for Creating Avid Logs
You can use any word processing application or text editor to create Avid logs.
However, you must save the file as a text document (ASCII format).
Windows systems ship with a text editor called WordPad.
To open WordPad:

Click the Start button, and select All Programs > Accessories > WordPad.

Mac OS X systems ship with a text editor called Text Edit.
To open Text Edit:

Select Go > Applications, and double-click Text Edit.

To create a text document in Text Edit:

Select Format > Make Plain Text.

Required Information for Logging
When logging manually, you should document the following information:

•

Identify the source tape for each shot.

•

Document each clip’s name, start timecode, and end timecode.

Preparing Log Files for Import

•

In the case of NTSC transfer tapes for film projects, you must supply
pulldown information in the Pullin column of the bin before you can
capture.

This is the minimum information required to capture successfully. You can
also add other information such as comments, auxiliary timecodes, or key
numbers for film projects. You can make a separate log file for each videotape,
or log clips from several different videotapes in one log.
Creating an Avid Log
To create an Avid Log by using a word processor or text editor:

1. Enter shot log information according to the specifications described in
Avid Log Specifications in the Help.
2. Save your file as a text file in the Save As dialog box. You can use the file
name extension .txt, but it is not required.

The Avid editing application only accepts text files (ASCII format).
After you double-check the log, import it into the Avid system. For more
information, see “Importing Shot Log Files” on page 39.

Transferring Bins from MediaLog
The MediaLog program is a standalone application that speeds the process of
creating and importing log information from a Windows or Macintosh
computer. MediaLog mirrors the Avid system interface for creating projects,
bins, and clip information in the bin, and includes serial deck control for
logging directly from tape.

For information on specific MediaLog procedures, see the Avid MediaLog
Help.

The version of MediaLog for your platform is included with your Avid system.
To order a different version of MediaLog, contact your Avid representative.
If you log your source footage by using MediaLog, you can transfer the bins
directly to the Avid system for batch capturing by moving the bin files. You
can also import the logs by using the same procedure as you would for other
Avid-compatible log formats, as described in “Importing Shot Log Files” on
page 39.
37

Chapter 2 Logging

Transferring Bins
To transfer bins from MediaLog:

1. Save the MediaLog bins to a floppy disk.
If you are using MediaLog for Macintosh, make sure the disk is
DOS-formatted or that your Windows system can mount Macintoshformatted disks by using a third-party utility.
If your MediaLog folders are available through a server or other
networked source, then locate the MediaLog folder there instead.
2. Insert the floppy disk from MediaLog into the Avid system’s floppy drive.
3. Open the project folder in which you want to store the MediaLog bins.
This folder is usually located in the following folder:
drive:\Program Files\Avid\Media Composer Adrenaline\Avid Projects
4. Double-click the My Computer icon and double-click the Floppy Disk
icon.
5. Ctrl+click the bins in the floppy disk window, and select Edit > Copy.
6. Click the project folder window, and select Edit > Paste.
Associating the Bin with Your Project
To associate the transferred bins with your project:

1. Restart the Avid application and open your project.
2. Associate the imported bins with your project by doing the following:
a.

Select File > Open Bin.

Locate the new bin by using the Open Bin dialog box.

Double-click the bin to open it within your project.

The new bin appears in the Bins scroll list in the Project window.
The bins you have imported contain master clips only with no associated
media files. Before you can view or manipulate these clips, you must create
the associated media files by batch capturing the source material. For
information about batch capturing, see “Batch Capturing from Logged Clips”
on page 151.

Importing Shot Log Files

Double-Checking the Log Files
When importing shot logs for video, the Avid system compares the video
duration to the video out minus the video in. When importing film shot logs,
the system compares the key number out minus the key number in.
If the system detects a discrepancy, it reports the error to the Console and does
not bring the clip into the bin. The best way to ensure that clips are not
discarded on import is to double-check the logs for discrepancies in duration
and marks.

Open the Console by selecting Console from the Tools menu. For more
information, see “Using the Console Window” in the Help.

Importing Shot Log Files
You can import any log created or converted to meet Avid log specifications
(see “Creating Avid Logs” on page 36). For film projects, most telecine and
other film-to-tape transfer systems generate a log you can import directly to
the bin, after you convert it to .ale format by using the ALE utility. Even if the
telecine facility supplies you with an .ale file, you should process it through
the ALE utility, using the Clean function. For more information, see
“Preparing Log Files for Import” on page 29.
You can combine or merge events while importing a log so that fewer master
tapes require capturing, as described in this section.
To import shot log files into a bin:

1. If you have created Import settings for importing shot log files, select the
Import setting you want to use from the Settings scroll list. See “Creating
and Using Import Settings” on page 172.
2. Open the bin in which you want to store the imported files. Click
anywhere in an open bin to select it, or create a new bin for the shot log
import.
3. Select File > Import.
The Select Files to Import dialog box opens.

Chapter 2 Logging

Look in pop-up menu

Source file list

Files of Type
pop-up menu

4. Click the Options button to open the Import Settings dialog box, if you
want to select options for combining events on import.
For information on Import settings, see “Import Settings” in the Help.
5. After selecting the appropriate options, click OK to close the Import
Settings dialog box and return to the Select Files to Import dialog box.
6. Do one of the following:
t

If you are importing an .ale file, click the Files of type pop-up menu
and select Shot Log.

If you are importing a text file, click the Files of type pop-up menu
and select All Files.

7. Use the Look in pop-up menu to locate the folder containing the source
file.
8. Select the source file from the list and click the Open button.
When the system finishes importing the file, the clips appear in the
selected bin.

Setting the Pulldown Phase

Setting the Pulldown Phase
If you are logging or capturing 24-fps sources (film-to-tape transfers, media
downconverted from 1080p/24 footage, or both), you can set the pulldown-totimecode relationship for a transferred tape in the Film Settings dialog box.
For information about the pulldown process, see. “Transferring 24-fps Film”
in the Help.

Set Pulldown
Phase option

You set this relationship by selecting the pulldown phase (sometimes called
the pulldown frame or pullin frame), which is the video frame at which the
master clip starts. The pulldown phase is designated A, B, X, C, or D. Film
labs and transfer houses typically use the A frame to start the transfer.

Chapter 2 Logging

The following illustration shows the relationship between film frames and
video frames.
Four film frames

Five NTSC video frames (ten fields)
A1

odd

even

odd

even

odd

even

odd

even

odd

even

This setting is not available in matchback projects. However, you can modify
the pulldown phase after you log it. See “Entering Pulldown Information” on
page 55.
The Set Pulldown Phase setting lets you log, batch capture, and capture-onthe-fly more easily, because the correct pulldown phase of any IN point for a
particular tape is automatically determined. Setting the correct pulldown phase
prevents inaccuracies in cut lists and matchback EDLs. It also prevents
incorrectly captured clips that appear to stutter when played in 24p NTSC
projects.
For example, if you set the pulldown phase of 00:00:00:00 as A (indicating
that the A frame is located at timecodes ending in 0 or 5), any timecode you
log will calculate its pulldown phase based on the same sync point, regardless
of where you set the IN point. If you use the Capture tool to log a clip that
starts at 01:00:10:01, the Avid system automatically enters B in the Pullin
column of the bin. If you capture on-the-fly starting at 01:00:10:01 (a B
frame), the system begins to capture at the next A frame, in this case,
01:00:10:05.

c
42

The Set Pulldown Phase feature does not work if you capture from a
mark IN.

Logging Directly into a Bin

The pulldown-to-timecode relationship might vary from tape to tape, or within
the same tape, depending on how the footage was transferred. If you find that a
tape requires a different pulldown phase, you can change the setting in the
Film Settings dialog box, or use the Modify Pulldown Phase dialog box before
capturing (see “Modifying the Pulldown Phase Before Capturing” on
page 58.)

For information about fixing an incorrectly logged sync point, see “Modifying
the Pulldown Phase After Capturing” on page 164.
To set the pulldown phase:

1. Determine the correct pulldown phase for 00:00:00:00 in one of the
following ways:
t

If you are capturing film-to-tape transfers, check the transfer log.

If you are capturing tapes that have been downconverted from
1080p/24, check what pulldown frame was set for 00:00:00:00 on the
deck that performed the conversion.

If you still cannot determine the pulldown phase, see “Determining
the Pulldown Phase” on page 57.

2. Double-click Film in the Settings scroll list of the Project window.
3. Select the option Set Pulldown Phase of Timecode 00:00:00:00 and then
click the pop-up menu, and select the correct pulldown phase (A, B, X, C,
D).
4. Click OK.

Logging Directly into a Bin
You can log clips directly into a bin by using the Capture tool in one of two
ways described in this section:
•

Log directly into a bin with an Avid-controlled deck for semiautomated
data entry.

•

Log manually during or after viewing of footage offline with a non-Avidcontrolled deck or other source.

Chapter 2 Logging

Tips for Logging Preroll, Logging Timecode, and Naming Tapes
Observe the following important guidelines for preroll, timecode formats, and
naming of tapes when logging prior to capturing.
Logging Preroll

Be sure to leave adequate preroll with continuous timecode prior to IN points
when logging your tapes. The recommended minimum preroll is 2 seconds
for Betacam playback, 5 seconds for 3/4-inch U-matic playback, and
6 seconds for DV playback.

You set the default preroll for tape playback by using Deck Settings. For more
information, see “Deck Settings” in the Help.
Logging Timecode

Within an NTSC project, check the timecode format of each tape (drop-frame
versus non-drop-frame timecode) when you are logging without a tape in the
deck. Log drop-frame timecode by using semicolons (;) between the hours,
minutes, seconds, and frames. Log non-drop-frame timecode with colons (:).

To change the logged timecode format, select Clip > Modify. For information,
see “Modifying Clip Information Before Capturing” on page 62.
Naming Tapes

When entering tape names in the Capture tool, consider the following:

•

Tape names must be alphanumeric characters (A to Z, 0 to 9). They can
include uppercase and lowercase characters. The maximum length of a
name is 32 characters.

•

It is possible to have a single tape listed as several different tapes if you
alter the case of the letters. For example, if you type a single name as
TAPE, Tape, and tape on three different occasions, all three names will
appear. This can cause significant problems in keeping track of clips when
batch capturing, recapturing, and generating an EDL. Select a case
convention and maintain it throughout a project.

Logging Directly into a Bin

If you want your Avid system to consider master clips as coming from the exact
same tape, you should try to select that tape name from the Select Tape dialog
box. If you do not see the tape you are looking for, but know you have online
media from that tape, you should click the Scan for Tapes button. For more
information, see “Logging with an Avid-Controlled Deck” on page 46.
•

It is important that you devise a naming scheme for your tapes. For
example, tapes with similar names can be easily sorted and viewed
together in a bin. However, it can be difficult to distinguish among
numerous tapes with similar names when trying to locate a specific tape
quickly. Name tapes based upon the amount and complexity of your
source material.

•

If you are planning to generate an edit decision list (EDL) for import into
an edit controller for online editing, double-check the controller’s
specifications beforehand. Some edit controllers will truncate source tape
names to as few as six characters, while others will eliminate characters
and truncate to three numbers. Alterations like these at the EDL stage
might cause the system to identify different source tapes with similar
names in the same way, causing you to lose track of source material.

Naming a New Tape from the Keyboard

You can name a new tape without taking your hands off the keyboard.
To create a new tape name by using a keystroke in Capture mode:

1. Select Tools > Capture.
The Capture tool opens.
2. Put a tape in the deck or click the Source Tape Display button.
The Select Tape dialog box opens.
3. Press Ctrl+N.
A new tape name text box opens.
4. Type the new tape name.
5. Press Enter to register the tape name.
6. Press Enter or click OK to close the Select Tape dialog box.

Chapter 2 Logging

Logging with an Avid-Controlled Deck
When you log with a compatible tape deck controlled from within your Avid
system, you can automate part of the logging process by using buttons to enter
frame-accurate timecode information from the deck. This method is more
accurate than manual entry because timecodes are transferred directly from
tape to the bin.

For information about connecting a compatible deck to your system, see the
setup guide for your Avid system.
To log clips directly into a bin from an Avid-controlled deck:

1. Make sure the deck is properly connected and turned on.
2. Open the bin where you want to store the clips.
3. Select Tools > Capture.
The Capture tool opens. Playback from the deck is displayed in the Client
monitor.
Capture/Log Mode button

Mark IN button
Channel Selection buttons

Clip Name text box
Clip Comment text box

Timecode display
Deck controls
Deck Selection pop-up menu
Source Tape Display button

Logging Directly into a Bin

If you forget to connect and turn on the power to the deck before opening the
Capture tool, you can reinitialize deck control after turning it on by clicking
the Deck Selection pop-up menu, and selecting Check Decks.
4. If the Capture tool is not currently in Log mode, click the Capture/Log
Mode button until the LOG icon appears.
5. Click the Deck Selection pop-up menu, and select a deck.
For more information, see “Selecting a Deck in the Capture Tool” on
page 91.
6. Insert your tape into the deck.
The Select Tape dialog box opens.
You can select the option “Show other project’s tapes” to display the tape
names and associated project names for all bins that have been opened in
the current session.

Because the media file database does not open when you start your Avid
system, tape names of all online media files do not appear automatically.

If the tape name you are searching for does not appear in the Select Tape
dialog box, click the Scan for Tapes button. Tape and project names are listed.
New tape name

List of tapes

Show Tapes option

Chapter 2 Logging

7. Provide the system with a tape name in one of the following ways:
t

Select the name of the tape from the list in the Select Tape dialog box
and click OK.

Click New if the tape is not in the list. A new tape name line appears
in the dialog box. Type the new name and click OK.

The tape name is displayed in the Capture tool.

For guidelines when naming tapes, see “Naming Tapes” on page 44.
A message that the system is waiting for you to mark an IN point is
displayed in the message bar.
8. Set either an IN point or an OUT point for the clip you want to log using
one of the following methods:
t If you want to keep the deck running while you log: Start the deck.
At the point where you want to start the clip, click a Mark IN button
(you can use either the Mark IN button in the upper left of the Capture
tool or the Mark IN button in the lower right) or press the F4 key. The
deck continues to play.

Mark IN

n
Mark IN
Mark OUT

Go to IN
Go to OUT

Mark OUT
and Log
Mark IN
and Log

c
48

If you want to pause the deck while you enter a clip name and comments, see
“Pausing the Deck While Logging” on page 49.
t

If you want to cue your source tape to the start or end point: Use
the deck controls in the Capture tool to cue your source tape to the
start or end point. Click a Mark IN button or the Mark OUT button in
the lower right of the Capture tool.
t If you want to log using timecode: If the footage starts at a known
IN point or ends at a known OUT point, type the timecode in the text
box next to the Mark IN button or the Mark OUT button. Then enter
the mark by pressing the Go to IN button or the Go to OUT button,
which scans the tape forward to the mark, or by pressing Enter.
After you set the mark, the Mark IN button changes to the Mark OUT and
Log button or the Mark IN and Log button, depending on the first mark
you set.

For NTSC film-to-tape transfer or footage downconverted from 1080p/24,
you must log the correct pulldown phase. See “Setting the Pulldown
Phase” on page 41 and “Entering Pulldown Information” on page 55.

Logging Directly into a Bin

9. (Option) Enter a clip name and comment in the corresponding text boxes
in the Capture tool.
10. To finish logging the clip, do one of the following:
t

If the deck is running: Click the Mark OUT and Log button or press
the F4 key. The clip is logged into the bin and the deck continues to
play.

If you want to cue the remaining start or end point: Use the deck
controls to locate the start or end point. Set the remaining IN point or
OUT point either by clicking the Mark OUT and Log button or the
Mark IN and Log button. The clip is logged into the bin.
If you want to log using timecode: Type a timecode for the clip’s IN
point, OUT point, or duration in the timecode text boxes next to the
corresponding icon. Then enter the mark by pressing the Go to IN
button or the Go to OUT button, which scans the tape forward to the
mark, or by pressing Enter.To log the clip into the bin, click the Log
Clip button in the upper left of the Capture tool.

Log Clip

The clip name, which is automatically named and numbered by the
system, is highlighted in the bin and ready to be renamed.
11. (Option) Rename the clip by typing a new name in the highlighted area.

Consider changing the clip name immediately, because it is easy to forget the
contents of each clip if you are logging many clips. You can, if necessary,
accept the clip name and proceed with the logging process and change the clip
names in the bin at a later time.
12. Repeat these steps until you have logged all your clips.

While viewing the footage, you can continuously update your marks on-the-fly
by clicking the Mark IN button or the Mark OUT button repeatedly before
entering the second mark.

Pausing the Deck While Logging
If the deck is playing while you log clips, you can direct the Avid system to
automatically pause the deck after you set an IN point and an OUT point.
While the deck is paused, you can enter the name and comment for the clip
you want to log.

Chapter 2 Logging

To pause the deck while logging:

1. In the General tab of the Capture Settings dialog box, select the “Pause
deck while logging” option.
2. Set up your deck and the Capture tool as described in “Logging with an
Avid-Controlled Deck” on page 46.
3. When you reach the point where you want to start the clip, click the Mark
IN button in the upper left of the Capture tool or press the F4 key. The
Mark IN button changes to the Mark OUT button and the deck continues
to play.

Mark IN

Mark OUT

4. When you reach the point where you want to end the clip, click the Mark
OUT button in the upper left of the Capture tool or press the F4 key again.
The Mark OUT button changes to the Log Clip button, and the deck
pauses.
5. Enter a clip name and comment in the corresponding text boxes in the
Capture tool.
6. Click the Log Clip button or press the F4 key.
Log Clip

The system logs the clip in a bin, and the deck starts playing again.

Using a Memory Mark
To use a memory mark for a particular location on a tape:

Click the Mark Memory button in the Capture tool to mark the location.

Click the Go to Memory button to move through the tape to the marked
location.

Click the Clear Memory button to clear the memory mark.

You can add one mark per tape. The memory mark is not stored on the tape.
When you remove the tape from the deck and insert another tape into the deck,
the mark is cleared.

Logging Directly into a Bin

Mark Memory button

Clear Memory button
Go to Memory button

Logging with Non-Avid-Controlled Decks
You can use the Capture tool to log clips directly into a bin from a source that
is not controlled by your Avid system. For example, you can log clips from a
deck that is not connected to the system, or from handwritten or printed log
information for a tape that was previously logged but is not currently available.
To log clips directly into a bin from a non-Avid-controlled deck:

1. If there is a deck connected to the system, eject the tape from the deck.

For NTSC projects, when you are logging within the Capture tool, you should
leave the deck empty. If a tape remains in the deck, the system will determine
drop-frame or non-drop-frame from that tape whether or not it matches your
tape’s timecode format.
2. Double-click Deck Preferences in the Settings scroll list of the Project
window to open the Deck Preferences dialog box.
3. For NTSC projects, click the “When no tape in deck log as” pop-up menu,
and select Non-Drop-Frame or Drop-Frame.
4. Click OK to close the dialog box.
5. Open the bin where you want to store the clips.
6. Select Tools > Capture.
The Capture tool opens.
7. Click the Capture/Log Mode button in the Capture tool until the LOG icon
appears.

Chapter 2 Logging

Capture/Log Mode button

Channel
Selection buttons
Message
bar
Clip Name text box
Clip Comment
text box

Clear IN
button
Clear OUT

Timecode
display
Deck controls
Deck Selection
pop-up menu

Clear
Memory
button

Source Tape Display button

Mark OUT button

Mark IN button
Go to Memory button

Mark Memory button

8. Click the Source Tape Display button.
A dialog box opens.
9. Click Yes to open the Select Tape dialog box.
10. Double-click the name of the tape in the dialog box, or click New and
enter the name of the tape.
11. Click OK.
12. Select the tracks you want to log, using the Channel Selection buttons in
the Capture tool.
13. Type the start timecode in the Mark IN text box.
14. (Option) Enter a clip name and comment in the corresponding text boxes.
15. Type the end timecode in the Mark OUT text box.

Logging Film Information

Log Clip

The clip is logged into the bin. The clip name, which is automatically
named and numbered by the system, is highlighted in the bin and ready to
be renamed.
17. (Option) Rename the clip by typing a new name in the highlighted area.

Consider changing the clip name immediately, because it is easy to forget the
contents of each clip if you are logging many clips. You can, if necessary,
accept the clip name and proceed with the logging process and change the clip
names in the bin at a later time.
18. Repeat these steps until you have logged all your clips.

Logging Film Information
Once you have entered or imported the basic log information into a bin, you
might want to add film-related log information before capturing. This section
describes procedures and formats for adding various film headings.
The following are some important requirements for film-based projects:
•

The minimum information required for capturing is the data recorded in
the Start and End video timecode columns, and the pulldown phase for
NTSC transfers, which is noted in the Pullin column (24-fps capture
only).

•

Each reel of film can be logged as a separate clip, and will correspond to a
single master clip, only if the video transfer of the film reel has continuous
pulldown (NTSC format), and continuous timecode (NTSC and PAL). If
the film reels for your project do not meet this condition, then you must
log each take on a reel of film as a separate clip, which will correspond to
a single master clip.
If you log each reel as a separate clip, you can use the F1 and F2 keys to
create subclips for each take. See “Creating Subclips While Capturing” on
page 130.

Chapter 2 Logging

•

If you want to produce a cut list, or use film-tape-film-tape for
recapturing, you must log key numbers. You can add key numbers after
capturing, before you create the cut list.

•

All film and video reference numbers must be in ascending order.

Displaying Film Columns
To display film columns in the bin:

1. Click the Bin View pop-up menu, and select Film to display all the
required film column headings. The Bin View pop-up menu is located at
the bottom of the Bin window.

Bin View pop-up menu

2. To log data under optional headings (such as Ink Number, Auxiliary TC1Auxiliary TC5, or Film TC), select Bin > Headings and Ctrl+click the
specific headings you want to add from the Bin Column Selection dialog
box.

Logging Film Information

3. You can also track custom information for the job by creating a custom
heading. To create a new heading, type a name that describes the
information in the headings bar at the top of the bin. For more information
on customizing bin views, see “Customizing Bin Views in Text View” in
the Help.

Entering Pulldown Information
To accurately capture NTSC transfer tapes in 24p projects, you need to enter
pulldown information into the bin. (This information is not required for PAL
transfer tapes.) Setting the correct pulldown phase prevents inaccuracies in cut
lists and matchback EDLs. If you are importing a log generated during the
telecine transfer, the pulldown information is automatically included in the
bin.

Chapter 2 Logging

Start timecode

Pullin column
(information required for NTSC

If you do not have a transfer log, or if the transfer log is incorrect, you need to
add the information manually. If you log clips by using the Capture tool, the
Avid system uses the A frame as the default pulldown phase. You might need
to edit this value.

For 24p projects, you can set a default pulldown phase in the Film Settings
dialog box. See “Setting the Pulldown Phase” on page 41 (24p projects only).

For matchback projects, you need to log key-number information before you
can log pulldown information.
By specifying the pulldown phase in the Pullin column, you accomplish the
following:
•

You ensure that the clips will start with the correct frame for the pulldown.
Otherwise, you might experience inaccuracies in key-number tracking and
in the cut lists.

•

You indicate where the pulldown fields are located so the Avid system can
accurately eliminate the pulldown fields during the capturing process,
leaving you with a frame-to-frame correspondence between your digital
media and the original 24-fps footage (24p projects only).

To do this, you must indicate whether the sync point at the start of each film
clip transferred to tape is an A, B, C, or D frame, as described in this section.
In most cases, the sync point is the A frame.

Logging Film Information

Determining the Pulldown Phase
It is easiest to determine the pulldown of a sync point (or pulldown phase) if
you ask your film lab to keypunch (cut a small hole in) the sync frame at the
zero frame in the original film footage before transferring the film to video.
Many film labs or transfer houses can also provide a pulldown frame indicator
displayed at the far right of the burn-in key numbers, depending on the
equipment available. Ideally, the A-frame pulldown coincides with timecode
ending in 0 and 5 (:00, :05, :10, and so on).
If the footage has not been keypunched, you can determine pulldown
according to clapsticks or any other distinctive frame at the beginning of the
clip. Determining the pulldown is easier if the frames depict motion.

For instructions on determining the pulldown phase for material already
captured, see “Modifying the Pulldown Phase After Capturing” in the Help.
To determine the pulldown phase:

1. While viewing the video transfer on a monitor, go to the keypunched (or
clapsticks) sync point for the beginning frame of the clip you’re logging.
2. Step (jog) past the sync point frame field-by-field, using the step wheel on
the tape deck. You will see either two or three keypunched fields. If the
footage is not keypunched, look for two or three fields with little or no
motion.
3. If there are two fields, the pulldown is either A or C. Step through the
fields again, and note where the timecode changes:
-

If the timecode does not change from the first to the second field, the
fields came from an A frame.

If the timecode changes from the first to the second field, the fields
came from a C frame.

Chapter 2 Logging

The following illustration shows a keypunch on the A frame. Notice
where the timecode changes.
Four film frames

Five NTSC video frames (ten fields)
A1

odd

even

odd

even

odd

even

odd

even

odd

even

A
Timecode change
B
Timecode change
X
Timecode change
C
Timecode change
D

4. If there are three keypunched fields, or fields without motion, the
pulldown is either B or D. Step through the fields again and note where
the timecode changes:
-

If the timecode changes from the second to the third field, the fields
came from a B frame.

If the timecode changes from the first to the second field, the fields
came from a D frame.

5. Enter or edit the information in the Pullin column in the appropriate bin,
as described in the next section.
Modifying the Pulldown Phase Before Capturing
After you determine the correct pulldown phase (as described in the previous
section) you can modify the pulldown phase before capturing in one of the
following ways.
To modify the pulldown phase directly in the Pullin column:

1. Click the Text tab to display all bin information.
2. Click the cell you want to modify.
3. Click the cell again. The pointer changes to an I-beam.
4. Type the pulldown phase and press Enter.

Logging Film Information

To modify the pulldown phase for multiple clips:

1. Ctrl+click the clips you want to modify.
2. Select Clip > Modify.
3. Click the Modify Options pop-up menu, and select Pull-in.
4. Select A, B, C, or D.
5. Click OK.
The pullin for all selected clips is changed, based on the pulldown phase
you selected.
To modify the pulldown phase for multiple clips that have the same
pulldown-to-timecode relationship:

1. Ctrl+click the clips you want to modify.
2. Select Clip > Modify Pulldown Phase.
The Modify Pulldown Phase dialog box opens.

3. Click the pop-up menu, and select the correct pulldown phase for
timecodes ending in 0 or 5.
4. Click OK.
The pulldown phase for each selected clip is changed, based on the
pulldown phase you selected for 00:00:00:00.
The Pulldown Phase setting also appears in the Film Settings dialog box
(24p projects only). You can override that setting with the Modify
Pulldown Phase dialog box. The selection in the Film Settings dialog box
remains the same. For more information, see “Setting the Pulldown
Phase” on page 41.

If you want to modify the pulldown phase after capturing, you must first unlink
the clips. See “Modifying the Pulldown Phase After Capturing” on page 164.

Chapter 2 Logging

After you capture an NTSC transfer, the timecode shows a loss of every fifth
frame of video. For example, don’t be alarmed if you find that your timecode
jumps at one point from 1:00:14:15 to 1:00:14:17. You haven’t lost a frame,
just an extra pulldown field.

Entering Frames-per-Second Rates for PAL Transfers
When you log in advance for PAL film-to-tape transfers, you must log the
footage as clips that have a 25-fps play rate, as listed in the FPS column of the
bin. If you want, you can capture the footage on-the-fly, without logging the
clips first. The minimum information required to capture the footage is the
data logged in the Start and End video timecode columns.

Entering Key Numbers
To add key numbers:

Highlight the KN Start column, then type the key number for the sync
point at the start of the clip by using one of the following formats:
-

Keykode™ Format: Type a two-character manufacturer and filmtype code, a six-digit prefix for identifying the film roll, a four-digit
footage count, a two-digit frame offset, and then press Enter.
The Avid system adds a space, hyphen, and either a plus sign (for
35mm projects) or an ampersand (for 16mm projects) to format the
number. For example, in a 35mm project, to enter
KJ 23 6892-1234+15, type KJ236892123415. In a 16mm project,
typing the same number results in the code KJ 23 6892-1234&15.

Other Formats: Enter other key-number formats in the Ink Number
column. Type up to eight characters for the prefix, up to five
characters for the footage count, two digits as the frame count, and
then press Enter.

The Avid system automatically calculates the ending key number
(KN End), based on the timecode duration.

Make sure the correct number appears when you press Enter. For keynumber formats other than Keykode, you might need to type the space,
hyphen (-), and plus sign (+) or ampersand (&) to format the number
correctly.

Logging Film Information

Entering Additional Timecodes (Option)
Consider the following when you enter additional timecodes:
•

In one of the Aux TC columns (that is, Aux TC1 through Aux TC5), type
an auxiliary timecode that syncs with the video timecode logged in the
Start column. You can enter up to five auxiliary timecodes. Supported
timecodes depend on your project: 30-fps for NTSC (drop-frame or nondrop-frame) and 25-fps for PAL. Use one of the following formats:
t

Enter a two-digit format for hours, minutes, seconds, and frames. You
need not enter a leading zero. (For example, to enter 01:23:02:00,
type 1230200.)

When working with drop-frame timecode in the NTSC format (not
applicable to PAL), enter a semicolon to indicate drop-frame
timecode (for example, to enter 01;23;02;00, type 01;230200).

•

In the Sound TC column, enter the Nagra or DAT timecode for the
original audio for the start of the clip. The timecode should sync with the
video timecode logged in the Start column in the bin. Enter the source
sound-roll identifier in the Soundroll column. Supported timecodes
depend on your project: 30-fps for NTSC (drop-frame or non-drop-frame)
and 25-fps for PAL. The clip to be captured must contain an audio track.

•

In the Film TC column, enter timecode generated by a film camera (using
Aaton or Arri timecode) for tracking the picture at the start of the clip. The
film timecode should sync with the video timecode logged in the Start
column. Only 24-fps timecode is supported. The clip to be captured must
contain a video track.

•

In the TC24 column, enter timecode for original HDTV sources
(1080p/24) or audio DATs created for PAL feature film productions that
use in-camera timecode.

You can use the Duplicate command to convert timecodes from one format to
another. For more information, see “Duplicating a Column” in the Help.

Chapter 2 Logging

Entering the Ink Number (Option)
To enter ink numbers:

1. Open the Film Settings dialog box by clicking Film in the Settings scroll
list of the Project window.
2. Make sure the correct options are selected for ink number format and ink
number display, and click OK.

You can log different ink number formats in the same project as long as you
change the ink number setting to the appropriate format before you log each
type. Changing the ink number setting affects only the next ink numbers you
log, not numbers that are already logged.
3. Return to the bin and enter numbers under the Ink Number heading.
For example, use Keykode format or use a two-digit prefix to identify the
roll, a hyphen, a four- or five-digit footage count, a plus sign, and a twodigit frame count (for example, AA-00924+00).

Entering Additional Film Data
You can continue to log additional film data into the Labroll, Camroll,
Soundroll, Scene, and Take columns, or into your own custom columns, as
necessary. You can include the information in these columns on the cut lists
you create for your edited sequence.

Modifying Clip Information Before Capturing
You can change or modify the information logged in the bin. This is especially
useful if you find that some of the data is incorrect, or if you need to update the
information based on technical needs, such as varying timecode formats or
film specifications.
There are two ways to modify clip information before capturing:

•

You can modify the information directly by clicking in a column and by
entering the new information one field at a time.

•

You can use the Modify command to change selected groups of clips all at
once.

Exporting Shot Log Files

For more information, see “Modifying Clip Information” in Help.
For information on modifying the pulldown phase, see “Entering Pulldown
Information” on page 55.

Modifying tape names and timecodes affect any key numbers entered for
the selected clips.

Exporting Shot Log Files
You can export a shot log file from the Avid system in one of two formats for
making adjustments in a text processor or for importing into another system.
To export a shot log based on clip information in a bin:

1. Open the bin containing the clips you want to export. If necessary, click
the Text tab to display all clip information.
2. Click a Clip icon to select it. Ctrl+click each additional clip you want to
export.
3. Select File > Export.
The Export As dialog box opens with a default file name in the File name
text box based on the file type.
4. Select the Export setting by doing one of the following:
t

If you have previously created an Export setting for exporting shot log
files, click the Export pop-up menu, and select the setting. Then, go to
step 9.
For information on creating Export settings, see “Creating a New
Export Setting” on page 252.

If you want to review or edit Export settings, go to step 5.

5. Click Options.
The Export Settings dialog box opens.
6. Click the Export As pop-up menu, and select one of the following:
t

Select Avid Log Exchange to export the selected bin as a shot log file
that complies with ALE specifications. For information about Avid
Log Exchange, see “Preparing Log Files for Import” on page 29.

Chapter 2 Logging

Select Tab Delimited to export the selected bin as a tab-delimited
ASCII text file.

ALE and tab-delimited files include information for master clips and subclips
only. Information for other objects, such as group clips, sequences, and
precomputes, is not included.
7. To modify an existing setting, select Save.
8. To save the setting with a new name, select Save As and type a name in
the dialog box that opens.
The Export Setting name is added to the list of formats available from the
Export dialog box.
9. Click Save to close the Export As dialog box.
10. (Option) Change the file name. In most cases, keep the default file name
extension.
11. Select the destination folder for the file and click Save.
The file is exported and appears at the selected destination.

Chapter 3
Preparing to Capture Media

Capturing is the process of creating digital media from videotape or audio
input. Before you begin this process — described in Chapter 4 — you need to
complete the following preparations:
•

Preparing the Hardware for Capture

•

Selecting Settings

•

Configuring Decks

•

Setting Deck Preferences

•

Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode

•

Entering Capture Mode

•

Setting Up the Capture Tool

•

Preparing for Audio Input

•

Preparing for Video Input

This chapter also provides a check list for preparing to capture.

Preparing the Hardware for Capture
Your source material can originate from a videotape, a digital audiotape
(DAT), a compact disc (CD), an in-house router, a tuner, or straight off-the-air,
with the proper hardware configuration.

For information on connecting your equipment, see “Using the Avid
Adrenaline” in the Help.

Chapter 3 Preparing to Capture Media

You should check the following items before capturing:

•

Client monitor: Before you begin capturing and editing, set up your
NTSC or PAL Client monitor by using a color-bar generator (or house
pattern) and lock in those settings, if you have not done so already.

•

16:9 format: You can edit with video in the 16:9 aspect ratio for display
of wide-screen images used in the high-definition television (HDTV)
format. To view the footage on a Client monitor, you must have a 16:9compatible Client monitor.

For more information on the 16:9 format option, see “Customizing the
Composer Window” in the Help.
•

Remote switch: The deck control switch on the front of the source deck
must be set to remote rather than local to control the deck with the
Capture tool.

•

Striped drives: If your footage contains complex images that you capture
at high resolution, you must use striped drives. See “Getting Information
About Striped Drives” on page 66.

•

DAT (digital audiotape): To capture music or audio from a DAT
machine, check the setup guide for your Avid system to determine
whether your model requires VLXi® for deck control. Also, when
capturing from DAT, you must select the proper sync setting. For more
information, see “Preparing for Audio Input” on page 103.

Getting Information About Striped Drives
Avid maintains a set of tables on the Web containing information about
striping drives.
To get information about striped drives:

1. Go to www.avid.com, click Support and select Knowledge Base.
2. Search for Drive Striping Tables.

Selecting Settings

Selecting Settings
Several settings dialog boxes have a direct bearing on the capturing process.
Before capturing, review the options in the following sections.
For information about locating and modifying settings, see “Using the Settings
Scroll List” in the Help.

Media Creation Settings
The Media Creation dialog box allows you to set the video resolution and to
select drives for capturing, creating titles and motion effects, importing, and
performing audio and video mixdowns. You also set drive filtering in the
Media Creation dialog box.

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You can also select a video resolution and select drives directly in the Capture
tool, the Save Title dialog box, the Select Files to Import dialog box, the Audio
Mixdown dialog box, and the Video Mixdown dialog box. The Media Creation
settings change to the resolution and drives you have selected.
If you are using Avid Unity LANshare or Avid Unity PortServer Pro,
make sure to specify a supported resolution. For information on
supported resolutions, see the LANshare or PortServer Pro
documentation.

Setting Drive Filtering
Because media files are very large, you can remove from the list of available
drives the drive where the operating system is located and the drive where the
Avid editing system is located. This allows you to choose to store media only
on drives with sufficient space.

Chapter 3 Preparing to Capture Media

To set drive filtering:

1. Double-click Media Creation in the Settings scroll list of the Project
window.
The Media Creation dialog box opens.

2. If necessary, click the Drive Filtering tab.
3. Select an option, as described in “Media Creation Settings” in the Help.
4. Click OK to save your settings.

The Avid system does not prevent you from using non-Avid drives, but
their reliability cannot be assured.

Selecting a Video Resolution and Drives
To select a video resolution and drives in the Media Creation dialog box:

1. Do one of the following:
t

Double-click Media Creation in the Settings scroll list.

Select Tools > Media Creation.

The Media Creation dialog box opens.
2. Click the Drive Filtering tab.
3. Select a drive to filter out:

Selecting Settings

Select Filter Based on Resolution to remove from the list drives that
cannot support the selected resolution. This option causes the Avid
editing system to utilize only Avid MediaDrives.

Select Filter Out System Drive to remove from the list the drive on
which the operating system resides.

Select Filter Out Launch Drive to remove from the list the drive on
which the Avid editing system resides.

The drive or drives you filter out do not appear in the other Media
Creation tabs as possible locations where you can store media. They also
do not appear in other drive selection menus in the application except for
the Import, Export, and Relink dialog boxes.
4. Click the tab for the area in which you want to work.

Media popup menu

5. Click the Video Resolution pop-up menu, and select a video resolution.
The Video Resolution pop-up menu contains a list of the available
resolutions.

Avid editing applications have the ability to play back and edit media that has
been captured using a Meridien-based Avid editing system or an Editcam™
when in a shared storage workgroup. For more information on supported
resolutions, see “Compression and Resolutions” in the Help.
6. Click the Media Type tab, and select either OMF or MXF file format.

If your project uses an HD resolution, you cannot select OMF as a file format.
MXF is selected by default.

Chapter 3 Preparing to Capture Media

7. Click the tab for the area in which you want to work.
8. Click the Video Resolution pop-up menu, and select a video resolution.
The Video Resolution pop-up menu contains a list of the available
resolutions.

Clicking Apply to All sets your selected video resolution for all applicable tabs
in the Media Creation dialog box. Your settings are not saved until you click
OK.
9. Select a video drive and an audio drive. To select the same drive for both
video and audio, click the Single/Dual Drives Mode button until only a
single drive pop-up menu opens.

The drive that appears in boldface type has the most available space.
10. (Option) If you are working with the Capture tab, you can select a drive
group. Click the Target Drive pop-up menu, and select Change Group. For
more information on selecting a drive group, see “Capturing to Multiple
Media Files” on page 74.

Because there is no audio associated with titles or motion effects, you can only
select a video drive in the Titles or the Motion Effects tab of the Media
Creation dialog box.
11. To apply your drive selection to all the Media Creation tabs and the rest of
the application, click Apply to All.
This sets your selected video and audio drives for all the Media Creation
tabs. It also sets them for any place in the application where you select
drives.

Your settings are not saved until you click OK.
12. Click OK to save your settings.
For more information about options, see “Media Creation Settings” in the
Help.

Selecting Settings

Capture Settings Dialog Box
Capture settings include essential options for capturing, batch capturing,
autocapturing, capturing to multiple media files, DV scene extraction, and
setting key commands.
To open the Capture Settings dialog box:

Double-click Capture in the Settings scroll list.

For more information on Capture Settings tabs, see “Capture Settings” in the
Help.

Capture Settings: General Tab
See “Capture Settings” in the Help for a description of the options in the
General tab of the Capture Settings dialog box.

Chapter 3 Preparing to Capture Media

Selecting the Preroll Method
The Preroll Method pop-up menu in the General tab of the Capture Settings
dialog box includes the following four methods that help you capture more
efficiently when a source tape contains timecode breaks:
•

Best Available: The Avid system first checks the tape for timecode to use
for preroll.
-

If there is no timecode, or not enough timecode, the system uses the
control track for preroll.

If there is not enough control track for preroll, the system adjusts the
specified preroll time to accommodate the amount of valid control
track available.
After the system adjusts the preroll to the individual shot, it returna to
using the user-specified preroll time until it needs to adjust the time
again.

If the adjusted preroll time is too short to sync lock at the IN point, the
system does not capture the shot and displays an error message.

Use this method to capture material as automatically as possible. As the
system makes multiple attempts to preroll, this method is slower at times
but almost always performs the preroll without interruption.
•

Standard Timecode: The Avid system uses timecode to determine the
preroll point.
If there is a not enough consecutive timecode (for example, if there is a
break in the timecode), the system does not capture the shot and displays
an error message.
Use this method if you know the timecode is consecutive or if you want to
determine if there are timecode breaks.

•

Best Available Control Track: The Avid system uses the control track to
determine the preroll point.
-

If there is not enough control track for preroll, the system adjusts the
specified preroll time to accommodate the amount of valid control
track available.
After the system adjusts the preroll to the individual shot, it returns to
using the user-specified preroll time until it needs to adjust the time
again.

If the adjusted preroll time is too short to sync lock at the IN point, the
system does not capture the shot and displays an error message.

Selecting Settings

Use this method if you know there are timecode breaks and want to
capture material as automatically as possible. Because the system does not
use timecode, it might occasionally capture the wrong frames if there is a
problem with the control track.
•

Standard Control Track: The Avid system uses the control track to
determine the preroll point.
If there is a break in the control track, the system stops capturing and
displays an error message.
Use this method if you know the control track is continuous or if you want
to determine if there are breaks in the control track.

To set the preroll method:

1. Double-click Capture in the Settings scroll list of the Project window.
The Capture Settings dialog box opens.
2. Click the General tab.
3. Click the Preroll Method pop-up menu, and select a method.
4. Click OK to close the dialog box and apply the options.
Capturing Across Timecode Breaks
If the tape you are capturing contains breaks in the timecode, there are two
settings in the General tab of the Capture Settings dialog box you can use to
capture across the timecode breaks:
•

Preroll Method
By default, the Avid system uses the Best Available preroll method (see
“Selecting the Preroll Method” on page 72). If you know the timecode
contains breaks, you can select Best Available Control Track.

•

Capture across timecode breaks
When you select this option, the system begins capturing a new master
clip at each timecode break. Select this option when you are performing
an unattended batch capture or autocapture. Deselect this option if you
plan to capture the entire tape as a single clip by capturing to multiple
media files.

Chapter 3 Preparing to Capture Media

To select settings for capturing across timecode breaks:

1. Double-click Capture in the Settings scroll list of the Project window.
The Capture Settings dialog box opens.
2. Click the General tab.
3. Select the preroll method (see “Selecting the Preroll Method” on page 72).
4. Select the “Capture across timecode breaks” option.
5. Click OK to close the dialog box and apply the options.
Capture Settings: Media Files Tab
See “Capture Settings” in the Help for a description of the options in the
Media Files tab of the Capture Settings dialog box.

Capturing to Multiple Media Files
You can capture video and audio to multiple media files across multiple drives,
with the following advantages:

Selecting Settings

•

You can create longer clips whose media files would otherwise exceed the
file size limitation of 2 GB.

•

You can group all drives with the multiple file options, enabling the
system to capture long clips continuously; for example, satellite feeds.

•

The system makes more efficient use of drive space, particularly when
capturing long clips.

To capture video or audio to multiple media files:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Capture.
The Capture Settings dialog box opens. If you selected OMF in the
Capture tab of the Media Creation dialog box, you see a tab labeled OMF
Media Files. If you selected MXF, the tab is labeled MXF Media Files.
3. Do one of the following:
t

For OMF media, click the OMF Media Files tab.

Chapter 3 Preparing to Capture Media

For MXF media, click the MXF Media Files tab.

4. In the OMF Media Files tab, select the option “Capture to multiple files.”

MXF media only captures to multiple files.
5. Accept the default or type a different time limit in the “Maximum
(default) capture time” text box.

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If you think that any of your captured clips might exceed 30 minutes,
make sure you enter a higher estimate in this text box; otherwise, the
system stops capturing at 30 minutes.
For information about options, see “Capture Settings” in the Help.
6. Click OK to close the dialog box and apply the options.
7. Select Tools > Capture.
The Capture tool opens.
8. To capture to multiple files across drives, click the Target Drive pop-up
menu in the Capture tool, and select Change Group.

Selecting Settings

The Drive Group dialog box opens.
9. Ctrl+click multiple drives to include in the capturing session, or click the
All button to select all drives.

If you click Clear, all selections are removed. You must select at least one drive
before you can click OK to exit the dialog box.
10. Click OK to close the dialog box and apply the changes.
11. Proceed with capturing.

For media file management purposes, any clip whose media exceeds the 2GB limit has more than one media file associated with it.

For more information on managing media files, see “Managing Media Files”
in the Help.

General Settings
The General Settings dialog box (accessed through the Settings scroll list of
the Project window) includes the following options that are important for
capture.
•

Project Type: The top portion of the dialog box displays the project type
(NTSC or PAL) and other useful information such as the type of film used
as source media.

•

NTSC Has Setup: This option applies to standard NTSC format and is
selected by default. If the source footage is in the NTSC-EIAJ format
standard (used primarily in Japan), deselect NTSC Has Setup.

For information about other settings in the General Settings dialog box, see
“General Settings” in the Help.

Chapter 3 Preparing to Capture Media

Transfer Settings for Film Projects
The following settings are important for transferring media in a film project.
You should set the transfer settings for film projects immediately after you
create a new project and before capturing. For information about other film
settings, see “Film and 24p Settings” in the Help.

•

Video Pulldown Cadence: allows you to specify the type of film-to-tape
transfer that you capture:
-

Video rate, no pulldown: Select this option when working with 24-fps
footage that has been transferred MOS (roughly translated as
“without sound”) to 30 fps by speeding up the film, and the audio has
been brought into the Avid system separately at 100 percent of the
actual speed.

Standard 2:3:2:3 pulldown: Select this option when working with 24fps footage that has been transferred to 30 fps by duplicating frames
(pulldown) and the audio has been synchronized to the picture.

Selecting Settings

Advanced 2:3:3:2 pulldown: Select this option when using native DV
editing with capture over Firewire.

If you are capturing sound that has been created during an NTSC film-totape transfer, you need to set the pulldown switch before you begin
capturing. See “Setting the Pulldown Switch” on page 95.
For NTSC projects, you can mix footage transferred with pulldown and
footage transferred without pulldown (video rate). You can also mix
sound transferred at 0.99 (with pulldown) and 1.00 (without pulldown).

For information about film-to-tape transfer methods, see “Film-to-Tape
Transfers” in the Help.
•

(PAL only) You define the Audio Transfer Rate in the New Project
dialog box when you create a 24p PAL film project. (It is not needed for a
25p PAL project because there is no film speedup during the transfer.) It is
important to keep the audio transfer rate constant for the project. However,
if there is a specific element that you need to capture at a different rate,
you can use the Film and 24p Settings dialog box to change the rate. The
following options are available:
-

Film Rate (100%): Select this option when your 24-fps film footage
has been transferred MOS to 25 fps by speeding up the film, and the
audio comes in separately at 100 percent of the actual speed (PAL
Method 2).

Video Rate (100%+): Select this option when your 24-fps film
footage 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).

For PAL 24p projects, you can mix audio that has been transferred at 4.1
percent speedup (video rate, PAL Method 1) with audio that has not been
transferred (film rate, PAL Method 2). However, Avid does not
recommend this. See “Audio Transfer Options for 24p PAL Projects” in
the Help.

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 and 24p Settings dialog
box to change the audio transfer rate.

Chapter 3 Preparing to Capture Media

•

Audio Source Tape TC Rate allows you to specify the digital audiotape
(DAT) timecode format: either 30 fps or 29.97 fps (NTSC only). This
timecode format must conform to the timecode format on your original
DAT tapes. This setting is active when capturing audio only.
This setting does not appear in 23.976p projects.

•

Set Pulldown-to-Timecode Relationship allows you to set a default
pulldown phase for a 24p NTSC project. See “Setting the Pulldown
Phase” on page 41.

Configuring Decks
Deck Configuration settings allow you to establish deck control parameters for
a single deck or for multiple decks. As with all settings, you can create
multiple versions, allowing you to select among them for frequent changes in
hardware configurations.
Deck Configuration settings and global deck control preferences appear as
separate items in the Settings scroll list of the Project window.

Deck control settings

For information on setting Deck Preferences, see “Setting Deck Preferences”
on page 86.

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You must manually configure the appropriate hardware connections
before Deck Configuration settings can take effect. For more information,
see “Using the Avid Adrenaline” in the Help.

Configuring Decks

To configure a deck or multiple decks:

1. Double-click Deck Configuration in the Settings scroll list of the Project
window.
The Deck Configuration dialog box opens.

2. If you are configuring your system for the first time, click the Add
Channel button to add a new channel box on the left side of the Deck
Configuration dialog box and to automatically open a Channel dialog box.

Channel refers to the signal path for deck control, whether directly through a
serial port or through a V-LAN® VLXi system connected to a serial port, or via
Firewire. Direct serial port connection allows one deck for each channel,
while a V-LAN VLXi system provides multiple decks.

Chapter 3 Preparing to Capture Media

3. Click the Channel Type pop-up menu, and select one of the following
items, depending upon your system configuration:
-

FireWire if you are controlling a DV camera or deck through a
FireWire connection.

Direct if you are controlling a deck through an RS-422 connection to
the serial port.

VLAN VLX if you are controlling decks through a V-LAN/VLXi
connection.

4. Click the Port pop-up menu, and select one of the following items:

Avid DNA or OHCI if you selected FireWire for the channel.

COM1 or COM2 if you selected Direct or VLAN VLX for the
channel.

If you are not sure which port to select, check the 9-pin serial port connectors
on the back of the system. If the ports are not labeled, see the manufacturer’s
documentation supplied with your system.
5. Click OK to close the Channel dialog box.
A dialog box opens with a question asking if you want to automatically
configure the channel now.
6. Click Yes if you want to automatically configure the channel.
A new channel appears in the display area of the Deck Configuration
dialog box, along with the autoconfigured deck.

Do not autoconfigure a DV camera or deck. Not all DV devices respond to the
Auto-configure command. Due to this limitation, Auto-configure selects only a
generic device template. When a digital camera is attached to your system,
click the Deck Type pop-up menu, and select the proper device (described later
in this procedure). When a deck is attached, click the Deck Type pop-up menu,
and select the applicable deck.

Configuring Decks

Decks appear on the right side.

Channel boxes
appear on the
left side.

You can reopen the Channel settings to change the options at any time by
double-clicking the channel box in the Deck Configuration dialog box.
7. If you did not autoconfigure the deck, click the channel box to select it.
8. Click the Add Deck button to open the Deck Settings dialog box.

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

Chapter 3 Preparing to Capture Media

9. Select settings based on your deck. For information on Deck settings, see
“Deck Settings Options” on page 85.
10. Click OK to close the Deck Settings dialog box and return to the Deck
Configuration dialog box.

You can reopen the Deck Settings dialog box to change the options at any time
by double-clicking the deck box in the Deck Configuration dialog box.
11. Repeat steps 2 through 9 for each additional channel or deck you want to
configure.
12. (Option) Select the “Verify configuration against actual decks” option if
you want the system to check the deck configuration against the decks
physically connected to the system.
The system checks the deck configuration after you click the Apply button
in the Deck Configuration dialog box and when you start the Avid
application. A message box warns you if the configuration does not match
the deck.

Configuring Decks

13. Type a name in the Configuration name text box to name the deck
configuration. The new deck configuration will appear in the Settings
scroll list of the Project window.
14. Click the Apply button to complete the configurations and close the Deck
Configuration dialog box.
15. If necessary, double-click Deck Preferences in the Settings scroll list of
the Project window to adjust global deck control options. For more
information, see “Setting Deck Preferences” on page 86.

Deck Settings Options
To access the Deck Settings dialog box, do one of the following:

Click the Add Deck button in the Deck Configuration dialog box.

In the deck controller section of the Capture tool, click the Deck Selection
pop-up menu, and select Adjust Deck. See “Setting Up the Capture Tool”
on page 89.

Double-click the deck name in the Deck Settings dialog box.

See “Deck Settings” in the Help for a description of the Deck Settings options.

Deleting Deck Configuration Elements
You can delete deck configuration elements to remove or replace them.
To delete deck configuration elements in the Avid system:

1. Double-click Deck Configuration in the Settings scroll list of the Project
window.
The Deck Configuration dialog box opens.
2. Click a channel box, a deck box, or the entire configuration to select it.
3. Click the Delete button.
4. Click the Apply button to complete the changes and close the dialog box.

Chapter 3 Preparing to Capture Media

Setting Deck Preferences
Deck preferences are global settings for basic deck control. These settings
apply to all decks connected to your system, regardless of your deck
configuration. You can open the Deck Preferences dialog box from the
Settings scroll list of the Project window.

See “Deck Preferences Settings” in the Help for a description of the Deck
Preferences options.

Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode

Understanding Drop-Frame Timecode and NonDrop-Frame Timecode
Timecode is an electronic indexing method that denotes hours, minutes,
seconds, and frames that have elapsed on a videotape. For example, a
timecode of 01:03:30:10 denotes a frame that is marked at 1 hour, 3 minutes,
30 seconds, and 10 frames.
NTSC video (the video format used mainly in the United States) uses one of
two formats: drop-frame timecode and non-drop-frame timecode. Drop-frame
(DF) timecode is designed to match the NTSC scan rate of 29.97 frames per
second (fps). Two frames of timecode are dropped every minute except for the
tenth minute. No video frames are actually dropped. Drop-frame timecode is
indicated by semicolons between the digits; for example, 01;00;00;00.
Non-drop-frame (NDF) timecode tracks NTSC video at a rate of 30 fps and is
indicated by colons between the digits; for example, 01:00:00:00. Non-dropframe timecode can be easier to work with, but does not provide accurate
timing for NTSC broadcast.
For example, a typical 1-hour show uses 52 minutes of video. If your program
ends at 01:52:00:00 (non-drop-frame), and it is broadcast at 29.97 fps, it will
last 94 frames too long (approximately 3 seconds). The final credits could be
cut off.
The following illustration compares the two types of timecode at the 1-minute
mark. No frames are actually dropped.

Non-drop-frame
timecode
01:00:59:28

01:00:59:29

01:01:00:00

01:01:00:01

01:01:00:02

01;00;59;28

01;00;59;29

01;01;00;02

01;01;00;03

01;01;00;04

Drop-frame
timecode

Chapter 3 Preparing to Capture Media

PAL video (the video format used in many countries other than the
United States) uses a scan rate of 25 fps. Timecode is indicated by colons.
There is no need for drop-frame timecode in PAL video.
You set the default timecode format for logging clips in the Deck Preferences
dialog box (see “Setting Deck Preferences” on page 86). You set the default
starting timecode in the General Settings dialog box (see “General Settings”
in the Help). In both cases, you can select drop or non-drop.
You can change the starting timecode of a sequence or, for NTSC projects, the
type of timecode. See “Changing the Sequence Name and Timecode” in the
Help.

Entering Capture Mode
Capture mode provides you with the Capture tool and the controls you need to
capture your footage in digital form. When you enter Capture mode, the
system initializes the Capture tool and establishes an interface with the
playback equipment attached to the system.

To enter Capture mode:

1. Make sure the playback device is properly connected to the system and is
turned on.
2. Open your project and the bin in which you want to store your master
clips.
3. Enter Capture mode in either of the following ways:
t

With the bin active, select Bin > Go To Capture Mode. The Capture
tool opens, with the active bin positioned directly below it.

Select Tools > Capture. The Capture tool opens, but the active bin
does not change its position.
4. Make sure you are in Capture mode. If the Capture tool is in Log mode,
click the Capture/Log Mode button until the CAP icon appears.

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In Capture mode, the Client monitor displays the playback footage whenever
the video track is selected in the Capture tool.

Setting Up the Capture Tool

Setting Up the Capture Tool
The Capture tool provides controls for cueing, marking, and logging footage,
and specifies capturing parameters such as source and target locations. Deck
control in the Capture tool operates in the same way as in the deck controller.
To open the Capture tool:

1. Do one of the following:
t

Click a bin to activate it and select Bin > Go To Capture Mode. (For
more information, see “Entering Capture Mode” on page 88.)

t Select Tools > Capture.
2. Make sure you are in Capture mode. If the Capture tool is in Log mode,
click the Capture/Log Mode button until the CAP icon appears.

Chapter 3 Preparing to Capture Media

The following illustration shows the Capture tool for 25-fps and 30-fps
projects.
Cap/Log Mode button
Capture indicator

Trash

Toggle Source button

Record button
Video and
Audio Input
pop-up menus

Channel Selection
buttons

Subclip Status
indicators

Message bar
Clip Name text box

Resolution
pop-up menu

Clip Comment text
box
Single/Dual Drive
Mode button

Time remaining
on target drives

Target Drive
pop-up menus

Deck controls
Deck Selection
pop-up menu
Source Tape
Display button

When you are working in a 24p NTSC project, the Capture tool includes a
pulldown button. For more information, see “Setting the Pulldown Switch” on
page 95.
Set up the Capture tool by using the following procedures:

•

Selecting a Deck in the Capture Tool

•

Selecting a Source Tape

•

Selecting Source Tracks

•

Detecting Valid or Locked Capture Input

Setting Up the Capture Tool

•

Setting the Video and Audio Input

•

Setting the Pulldown Switch

•

Selecting a Resolution in the Capture Tool

•

Selecting a Format in the Capture Tool

•

Selecting a Target Bin

•

Selecting the Target Drives

•

Interpreting the Time-Remaining Display

•

Selecting a Custom Preroll

Selecting a Deck in the Capture Tool
The Deck Selection pop-up menu in the Capture tool contains a list of any
decks that were connected to the system, powered up, and initialized when you
entered Capture mode.

Device templates from older Avid systems are not compatible with Adrenaline
DNA systems. Do not copy Meridien templates to Adrenaline DNA systems,
and do not copy Adrenaline DNA templates to Meridien systems.
The Deck Selection pop-up menu also lists three commands:
•

Adjust Deck opens the Deck Settings dialog box. Changes you make
apply to the selected deck. For information on Deck settings, see “Deck
Settings Options” on page 85.

•

Auto-configure allows you to automatically configure the selected deck
with the default deck settings for that deck.

•

Check Decks helps to reestablish deck control if the power to your decks
was turned off or the decks were disconnected when you first entered
Capture mode.

If the words “No Deck” appear in the pop-up menu, you need to configure a
deck in the Deck Configuration dialog box. See “Configuring Decks” on
page 80.
If a deck name appears in italics in the pop-up menu, the deck has lost power
or has been disconnected. Click the pop-up menu, and select Check Decks to
reestablish deck control.

Chapter 3 Preparing to Capture Media

Once deck control has been properly initialized, it will remain active for all
deck controllers throughout the session until you quit the application.
To activate playback from an available deck:

Click the Deck Selection pop-up menu, and select the deck.

You must have V-LAN VLXi hardware to manage more than one deck at a time.
For more information on V-LAN equipment, contact your Avid sales
representative.

Selecting a Source Tape
To select a source tape:

1. Insert a tape into your deck.
The Select Tape dialog box opens.

If a tape is already in the deck, click the Source Tape Display button in the
Capture tool.

2. In an NTSC project, play the tape for a few seconds so the system can
detect the timecode format of the tape (drop-frame or non-drop-frame).
Otherwise, the system maintains the timecode format set in the Deck
Preferences dialog box, regardless of the format on the tape, and you
might receive a message indicating a wrong tape.
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Setting Up the Capture Tool

Drop-frame timecode appears in the Timecode indicator with semicolons
between hours, minutes, seconds, and frames. Non-drop-frame timecode
appears with colons. For more information, see “Understanding Drop-Frame
Timecode and Non-Drop-Frame Timecode” on page 87.
3. Provide the system with a tape name in one of the following ways:
t

Select the name of the tape from the list in the Select Tape dialog box
and click OK.

Expand the list by selecting the “Show other projects” option or by
clicking the Scan for tapes button.

Click New if the tape is not in the list. A new tape name line appears
in the dialog box. Type the new name and click OK.

Selecting Source Tracks
You can select the tracks to capture from the source tape.
To select only those tracks you want to capture:

Click the Channel Selection buttons in the Capture tool.

Channel Selection
buttons

When you use an Avid-controlled deck, the TC (timecode) track is selected by
default, and the system captures the timecode from the source tape. If you
deselect the TC button, the system captures with time-of-day timecode. For
more information, see “Capturing with Time-of-Day Timecode” on page 145.
If you are not seeing the source video or hearing source audio in Capture
mode, click the Channel Selection buttons to make sure they are not the cause.

Chapter 3 Preparing to Capture Media

When batch capturing, if the tracks are already logged into the bin, this
selection will be made automatically, unless you deselect the option “Capture
the tracks logged for each clip” in the Batch tab of the Capture Settings dialog
box. For more information on Batch Capture settings, see “Batch Capturing
Clips” on page 153.

Detecting Valid or Locked Capture Input
On systems with an Avid Adrenaline DNA, the Capture tool indicates the
kind of signal you have selected to capture, and if the signal you want to
capture is valid or locked.
When you select a video track you want to capture, the Video Lock icon
appears in the Comment area of the Capture tool. If the current source has
a valid video signal and the Avid Adrenaline DNA or Mojo device can lock
to it, the icon displays in green.

Setting the Video and Audio Input
The Video and Audio pop-up menus show you the current input settings for
the Video Input tool and the Input tab in the Audio Project Settings dialog box.
The pop-up menus also provide a convenient way to change the settings if
necessary.

The Video Input tool is not available on all models. If your model does not
have the Video Input tool, the Avid editing application sets the default input
options automatically.
The choices are as follows (depending on your model):
•

Video input: Composite, Component, S-video, SDI, HD-SDI, and DV
Software-only models include: OHCI

•

Audio input: XLR (+4dBu), RCA (–10dBu), AES/EBU,
Optical (ADAT), Optical (S/PDIF), and SDI

If your project uses an HD resolution, you cannot select SDI as an audio input.
For more information, see “Preparing for Audio Input” on page 103.

Setting Up the Capture Tool

If you change the settings, the settings in the Video Input tool or in the Audio
Project Settings dialog box change automatically.

Setting the Pulldown Switch
If you are capturing sound created during an NTSC film-to-tape transfer, you
need to set the pulldown switch before you begin capturing. If you are
capturing picture only, you do not need to set the switch.
If you are working in a 23.976p project, the pulldown switch is not necessary
and does not appear.

Make sure your film preferences are set properly. For more information, see
“Transfer Settings for Film Projects” on page 78.
To set the pulldown switch:

Click the Pulldown button in the Capture tool.

When the pulldown switch is off, the button is dimmed (gray), and a label
explains that audio will be captured (sampled) at the same speed at which it
was recorded (1.00).

Pulldown button

When the pulldown switch is on, the button is green, and a label explains that
you can capture audio (sampled) at 0.99 percent of its recorded speed
(referenced to NTSC video), to match the slowdown rate at which the footage
was transferred.
For more information about setting the pulldown switch, see “Film Project
Pulldown and Transfer Settings” on page 96.

Chapter 3 Preparing to Capture Media

Film Project Pulldown and Transfer Settings
The following table indicates how the pulldown switch and transfer settings
should be set, depending on your input media.
Film Project Pulldown and Transfer Settings

Type of Input Media

Project
(Set in the
New
Project
Dialog
Box)

Pulldown
Switch
Setting and Source
Indicator
Playback
on I/O Box Speed

Film to Video Transfer
Settings (Set in Film
Settings Dialog Box)

Original sound source synced to 24p NTSC
NTSC during transfera.

On (0.99)

29.97 fps

Picture Transfer Rate:
With 2:3 pulldown

NTSC MOS film-to-tape
transfer with separate audio.
Digital audio (DAT) or analog
audio (Nagra) to sync with
video in the Avid systemb.

24p NTSC

Off (1.00)

Audio:
30.00 fps

FTFT transfer or retransferring
an effect. This method allows
you to save time since no audio
is involved in the transfer.

24p NTSC

NAc

29.97 fps

Picture Transfer Rate:
Without pulldown

PAL film-to-tape transfer with
synced sound or simul-DAT
tapes.

24p PAL
(Method 1)

Off (1.00)

Audio and
picture both
25 fps
(100%+)

Picture Transfer Rate: NA
Audio Transfer Rate:
Video Rate

PAL MOS film-to-tape transfer
with separate audio. Digital
audio (DAT) or analog audio
(Nagra) to sync with video in
the Avid system.

24p PAL
(Method 2)

Off (1.00)

Picture Transfer Rate: NA
Audio:
25 fps (100%) Audio Transfer Rate:
Film Rate
Picture:
25 fps

PAL film-to-tape transfer with
synced sound or simul-DAT
tapes.

25p

Off (1.00)

Sound and
picture at
25 fps

Picture Transfer Rate:
With 2:3 pulldown
Audio Source Tape TC
Picture: 29.97
Rate: 30.00
fps

Picture Transfer Rate: NA

a. For capturing picture and sound from NTSC tape, or sound only from simul-DAT tapes created during telecine
transfer.
b. For direct input of audio. Digital audio requires proper AES/EBU or S/PDIF connections.
c. NA = Not applicable.

Setting Up the Capture Tool

If you are capturing audio only, make sure to select the proper audio setup
options. For more information, see “Adjusting Audio Project Settings” on
page 103 and “Adjusting Audio Project Settings” on page 103.
If you have set a digital sync mode in the Audio Project Settings dialog box,
the Pulldown button is inactive and a message states that the Pulldown button
has no effect.

Selecting a Resolution in the Capture Tool
You can set the
resolution used for
capturing in the
Capture tool or in the
Media Creation dialog
box, accessed through
the Settings scroll list
of the Project window.
See “Media Creation
Settings” on page 67.

To select a resolution in the Capture tool:

Click the Res (Resolution) pop-up menu, and make a selection.

The resolution list contains a list of the available resolutions, depending on the
model of your Avid system. For 25-fps and 30-fps projects, the list shows
single-field and two-field interlaced resolutions, and DV. For 24p and 25p
projects, the list shows progressive, full-frame resolutions. Select 1:1 for
uncompressed media. For HD projects, the list shows Avid DNxHD
resolutions or DVCPRO HD, depending on your video input. For more
information, see “Capturing DV 50 and DVCPRO HD Media Directly from a
DV Device” in the Help.
You can select from two types of HD resolutions:
•

DNxHD resolutions in all HD project formats

•

DVCPRO HD (DV100) resolution in 720p/59.94, 1080i/59.94, and
1080i/50 project formats

To capture DVCPRO HD material, you need to change the input device setting
(see “Setting the Video and Audio Input” on page 94).

For more information on the video resolutions, see “Resolutions and Storage”
in the Help.

Selecting a Draft Resolution for DV Media
You can also capture DV media via FireWire®, and have it transcoded to a
draft resolution before it is written to disk. This is helpful if you need to reduce
storage requirements (the draft resolution takes much less storage space).

Chapter 3 Preparing to Capture Media

To select the draft resolution in the Capture tool while capturing DV
media:

Click the Res (Resolution) pop-up menu, and select 15:1s. For film
projects select 28:1p.

Selecting a Format in the Capture Tool
You can select either OMF® or MXF format used for capturing in the Media
Type tab of the Media Creation dialog box. You can select a specific video
resolution in the Capture tool or in the Media Creation dialog box (accessed
through the Settings scroll list). See “Selecting a Resolution in the Capture
Tool” on page 97. For information on OMF and MXF, see “File Format
Specifications” in the Help.

If your project uses an HD resolution, you cannot select OMF as a file format.
MXF is selected by default.

Selecting a Target Bin
You select a target bin as the destination for the master clips created when you
capture on-the-fly. Alternatively, you select a target bin containing the logged
clips you will use to batch capture your media.
To select a target bin:

In the Capture tool, click the Bin pop-up menu and make a selection. If
you have opened the Capture tool through Capture mode, a bin is already
selected. Only opened bins appear in the Bin pop-up menu.

To open a bin, do one of the following:

n
98

For a bin created in the current project, double-click the bin in the Project
window.

For a bin created in a different project, select File > Open Bin, and then
locate and open the bin in the Open dialog box.

Create a new bin by clicking the New Bin button in the Project window.

For more information on working with bins, see “Organizing with Bins” in the
Help.

Setting Up the Capture Tool

Selecting the Target Drives
To select a target drive:

1. Decide whether to capture audio and video to a single drive, or separate
drives, as described in the following sections.
2. Click the pop-up menus, and select the specific target drives as described
in the following sections.
Targeting a Single Drive
By default, the Capture tool targets a single media drive volume for capturing
the audio and video for each clip. Target a single drive when you are capturing
in a single-field resolution, for instance, and playback performance is not an
issue.
To target a single drive:

1. Click the Single/Dual Drive Mode button to display the Single Drive icon.
2. Click the Target Drive pop-up menu, and select a drive volume.
The name shown in bold in the menu has the most storage available. The
time remaining on the selected drive, displayed to the right of the menu, is
calculated based on your resolution selection.
Targeting Separate Drives for Audio and Video
You can target separate physical drives for audio and video tracks. This
improves performance because the system is not required to address all the
information in separate locations on a single drive. You can also capture for
the longest continuous amount of time because the system is storing material
on two drives rather than one.

To achieve optimal performance, stripe two or more drives. For more
information, see “Getting Information About Striped Drives” on page 66.
To target separate drives for audio and video:

1. Click the Single/Dual Drive Mode button to display the Dual Drive icon.
Two Target Drive pop-up menus appear. The top one is targeted for video
and the bottom one is targeted for audio.
2. Click each Target Drive pop-up menu, and select separate drives for audio
and video.
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Chapter 3 Preparing to Capture Media

The names shown in bold in the menus have the most storage available.
The time remaining on each selected drive, displayed to the right of each
menu, is calculated based on your resolution selection.
Targeting a Drive Group
Targeting a drive group (a group of media drives) is especially useful when
you are capturing long clips to multiple media files (see “Capturing to
Multiple Media Files” on page 74). After you create a drive group, it appears
in the Target Drive pop-up menu for the project.
To create and target a drive group:

1. Click the Target Drive pop-up menu, and select Change Group.
The Drive Group dialog box opens.

2. Ctrl+click to select multiple drives to include in the capturing session, or
click the All button to select all drives.
3. Click OK to close the dialog box and create the drive group.
The group appears in the Target Drive pop-up menu.
When you capture, any clip that exceeds the capacity of a drive (whether
that drive is empty or already contains media files) continues capturing
onto another drive in the group.

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Setting Up the Capture Tool

Using the Console Window to Access Network Drives
This is a console command that allows your Avid editing application to access
network drives that you have mapped to your Avid editing system. Once your
network drives are mapped, typing in the console command displays the
mapped drive letter in the appropriate tools in the Avid editing application.

For information about mapping dives to your computer, see your Windows
documentation.
When the feature is turned on, the mapped drive letter appears in the Target
Drive pop-up menu. When you turn the feature off, the mapped drive letter is
dimmed. If you quit and restart the application, the mapped drive letter does
not appear in the Target Drive pop-up menu.
Network drives are available only if the Filter Based on Resolution option is
not selected in the Media Creation settings. For more information, see “Media
Creation Settings” in the Help.
To make your mapped network drives available:

1. Open the Console window by selecting Tools > Console.
2. In the Console command line, type:
alldrives 1

3. Press Enter.
Network drives will now be visible in the Avid editor application.

Typing alldrives in the console window turns this feature on and off. Typing
alldrives 2 returns things to normal where only media drives are
available.

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Interpreting the Time-Remaining Display
The Capture tool displays the time remaining on the selected drive after you
select a resolution and target drive or drives for the captured media.

Time remaining on
the selected drives

You can interpret this display based on the following factors:
•

Each captured clip has a maximum file-size limit of 2 GB. Any video clip
whose media exceeds the 2-GB limit will have more than one media file
associated with it.

•

When you select another resolution, the time-remaining display adjusts
accordingly.

Selecting a Custom Preroll
The Custom Preroll option and pop-up menu in the Capture tool allow you to
select how many seconds the tape rolls before the capturing starts. This option
overrides the global preroll setting in the Deck Settings dialog box.

Custom Preroll option

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Preparing for Audio Input

Preparing for Audio Input
Avid editing systems support direct input of four channels of audio. Source
track assignments are mapped directly to audio tracks in the recorded clips.
For example, when you record source footage with audio channels 1 to 3, the
resulting master clip has matching audio tracks 1 to 3. Source track
assignments are mapped directly to audio tracks in the captured clips. Prepare
for audio input by using the following procedures:
•

Adjusting Audio Project Settings

•

Selecting the Audio File Format

•

Using the Audio Tool
-

•

Adjusting Audio Input Levels

Using the Passthrough Mix Tool
-

Monitoring Audio with the Passthrough Mix Tool

Changing an Audio Level in the Passthrough Mix Tool

Adjusting Pan Values in the Passthrough Mix Tool

Calibrating Input Channels for the Audio I/O Device

Using the Console Window to Check Audio Levels

Adjusting Audio Project Settings
You can use the Audio Project Settings dialog box to check the current
configuration of audio hardware and to choose various input and output
options. The Audio Project Settings dialog box has four tabs: Main, Input,
Output, and Hardware.

Some options depend on the audio configuration of your system, so your
system might not contain certain features and hardware that are covered in the
documentation.
To open the Audio Project Settings dialog box:

1. In the Project window, click the Settings tab.
The Settings scroll list appears.
2. Double-click Audio Project.

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The Audio Project Settings dialog box opens.
For information on Audio Project Settings, see “Audio Project Settings” in the
Help.
Saving the Audio Project Settings as Site Settings
The values you set in the Audio Project Settings dialog box are saved as
Project settings.
Besides the entries in the Audio Project Settings dialog box, the Audio Project
settings also store the mappings between tracks and output channels that you
set up in the Audio tool. The values are not visible in the Audio Project
Settings dialog box. Open the Audio tool to view the current values (see
“Using the Audio Tool” on page 105).
You can also save the Audio Project settings as Site settings so that all projects
open with the same audio settings.
To save the Audio Project settings as a Site setting:

1. Select Special > Site Settings.
The Site Settings folder opens.
2. Click the Settings tab in the Project window.
3. Click the Audio Project Settings icon (or the icon of an Audio Project
setting you created using the Setting option), and drag it to the Site
Settings folder.
New projects that you open on this system will use the Audio Project Site
settings.

Selecting the Audio File Format
.AIFF-C and WAVE audio media files can be mixed within a project. The
system default is OMF (WAVE) audio.

Select the AIFF-C format for all audio media when you need to transfer media
files directly to a Pro Tools® system for audio sweetening.
Audio is written in the selected file format when you:
•

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Record audio tracks in Capture mode.

Preparing for Audio Input

•

Create tone media by using the Audio tool.

•

Mix down audio tracks by using the Audio Mixdown tool.

•

Import files by using the Import dialog box.

•

Apply an AudioSuite plug-in that creates new source audio.

If you switch the audio format in the middle of a project, all new audio media
files are written in the new format with the following exceptions:
•

Media files written when rendering audio effects: The system uses the
file type of the A-side (outgoing audio) media for a transition. For
example, if the A-side of an audio dissolve is in OMF (AIFF-C) format
and the B-side (incoming) is in OMF (WAVE) format, the rendered file is
OMF (AIFF-C).

•

Audio media files written when using the Consolidate feature: Media
files that are copied or created during a consolidate procedure retain their
original file types.

To select the audio file format:

1. In the Project window, click the Settings tab.
The Settings scroll list appears.
2. Double-click Audio Project.
The Audio Project Settings dialog box opens.
3. Click the Main tab.
4. Click the Audio File Format pop-up menu, and select OMF (WAVE) or
OMF (AIFF-C).
5. Close the Audio Project Settings dialog box.

Using the Audio Tool
Use the Audio tool primarily for mixing and monitoring audio. The Audio
tool, along with your hardware’s audio parameters, allows you to do the
following in preparation for input:
•

Check and manage your audio hardware setup.

•

Set audio levels before recording.

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In addition, controls in the Audio tool allow you to calibrate, set levels, and
generate customized calibration tones for output to the speakers or a record
device.
To open the Audio tool, do one of the following:

Audio Tool
button

t
t

Select Tools > Audio Tool.
Click the Audio Tool button in the Capture tool.

The Audio tool opens and displays meters for two to eight channels,
depending on the configuration of your system.

Reset Peak
button

Peak Hold Menu button

In/Out toggle buttons

Digital scale
(fixed)

Volume unit scale
(adjustable)

The following table describes the components in the Audio tool.
Audio Tool Components

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Component

Description

Reset Peak button

Resets the current maximum peak measurements. It also stops the playback of
the internal calibration tone.

In/Out toggle buttons

Switch the meter displays for each channel between input levels from a source
device and output levels to the speakers and record devices. I indicates Input,
and O indicates Output.

Peak Hold Menu button

Displays a pop-up menu that allows you to select options for customizing the
meter displays and for setting and playing back the internal calibration tone.

Preparing for Audio Input

Audio Tool Components (Continued)
Component

Description

Digital scale to the left of
the meters

Displays a fixed range of values from 0 to –90 decibels (dB), according to
common digital peak meter standards.

Displays a range of values that you can conform to the headroom parameters
Volume unit (VU) scale
(analog) to the right of the of your source audio.
meters
Meters

Dynamically track audio levels for each channel as follows:
•

Meters show green below the target reference level (default reference level
is –20 dB on the digital scale).

•

Meters show yellow for the normal headroom range, above the reference
level to approximately –3 dB.

•

Meters show red for peaks approaching overload, between –3 dB and 0
(zero) dB.

•

Thin green lines at the bottom indicate signals below the display range.

Adjusting Audio Input Levels
You can use the Audio tool and the Audio Project Settings dialog box to check
the audio input levels. If the input levels are too high or too low, you need to
adjust the output level of your source signal, if possible.
Before you capture, make sure the audio I/O device is properly calibrated. See
“Calibrating Input Channels for the Audio I/O Device” on page 111.
Depending on your audio hardware configuration, you can use one of the
following methods to adjust audio levels.
To check and adjust input levels using an audio input device:

1. Click the In/Out toggle buttons in the Audio tool for the channels that you
use for input. The Audio tool displays an I for Input.
2. Play back the source audio (from a videotape or DAT, for example). If the
recording includes reference tone, cue to the tone and play it back.

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3. Adjust the output on the playback device so that the device’s volume
meter shows the appropriate level for the reference signal in the Audio
tool (0 VU for videotape playback, for example). You can adjust the
output by using a deck that supports output gain or by sending the signal
through a mixing console.
Creating Tone Media
You can create your own tone media as a master clip for editing directly into
sequences.
To create tone media:

1. Open a bin.
2. Click the PH (Peak Hold) pop-up menu in the Audio tool, and select
Create Tone Media.
The Create Tone Media dialog box opens.

3. Set the appropriate calibration tone parameters for the project. You can
also use the default output tone of –20 dB (digital scale) with a 1000-Hz
signal.

If you set the tone media frequency to 0, the system generates random noise.
Also, a value of –777 generates a tone sweep.
4. Select the number of tracks of tone you want to create (up to 8 tracks).
5. Click the pop-up menus, and select a target bin for the tone master clip
and a target drive for the tone media file.

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Preparing for Audio Input

6. Click OK.
After a few seconds, the media file is created and a master clip appears in
the target bin. The default name reflects the options you selected. You can
rename the clip by typing a new name.

Using the Passthrough Mix Tool
The Passthrough Mix tool allows you to select the mix and adjust the volume
and pan values of the source audio that you monitor. You can adjust the mix,
volume, and pan values of multiple monitored channels, controlling either
individual channels manually or several channels simultaneously by ganging
them together.

The Passthrough Mix tool adjusts monitored audio only and has no effect on
the recorded audio signal. You can adjust volume levels within a clip in the
Timeline after you record audio by using Audio Gain Automation. For
information, see ”Using the Audio Mixer Tool” in the Help.
To open the Passthrough Mix tool:

1. Double-click Audio Project in the Settings scroll list.
The Audio Project Settings dialog box opens.
2. Click the Input tab.
3. Click the Passthrough Mix Tool button.
The Passthrough Mix tool opens.

You can open the Passthrough Mix tool by clicking the Passthrough Mix Tool
button in the Capture tool or the Audio Punch-In tool.

Resizing the Passthrough Mix Tool
You can use the Number of Mix Panes button to change the display from 4
tracks to 8 tracks. When you select 4 tracks, a button appears that allows you
to display the first 4 or last 4 enabled tracks. With the tool minimized, you can
continue to adjust levels by selecting a track and typing values by using the
numeric keypad on the keyboard or by typing a value in the Volume Level
display.

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Monitoring Audio with the Passthrough Mix Tool
When you record, you can monitor the mix, volume, and pan values of audio
channels with the Passthrough Mix tool.

The Passthrough Mix tool adjusts monitored audio only and has no effect on
the recorded audio signal.
To adjust audio in the Passthrough Mix tool:

Select Stereo Mix to mix audio channels to a stereo pair. Use the
Stereo Mix Tracks pop-up menu to specify which stereo pair to use.

Select Direct Mix to send the input signal to its corresponding output
channel.

In Direct Mix mode, the Pan Value display and pop-up sliders at the bottom of
the Passthrough Mix tool are replaced by Channel Menu buttons.
5. Select the audio channel to be adjusted by doing one of the following:

Click the Channel Selection button for the appropriate audio channel.

In Direct Out mode, click the Channel Menu button, and select a
channel from the pop-up menu.

You can select only channels that exist in the source audio.
6. Adjust the volume as needed. You can adjust the volume of multiple
channels by clicking the appropriate Gang button. See “Changing an
Audio Level in the Passthrough Mix Tool” on page 111.
7. Adjust the pan values as needed. See “Adjusting Pan Values in the
Passthrough Mix Tool” on page 111.

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Preparing for Audio Input

Changing an Audio Level in the Passthrough Mix Tool
To change an audio level value in the audio panel in the Passthrough Mix
tool, do one of the following:

Click a number along the vertical edge of the Volume Level slider.

Click the Volume Level slider, and type a value.
Values are cumulative until you press Enter. For example, if you want
to enter the value 12, type it. However, if you type 1 and then want to
change the value to 2, press Enter before typing the 2.

Click the Volume Level slider, and drag the slider to a new position.

Click the Volume Level display, and type a value.

Alt+click the Volume Level slider to reset the value to 0 dB.

Adjusting Pan Values in the Passthrough Mix Tool
To adjust the pan values in the audio panel of the Passthrough Mix tool,
do the following:

Click the Pan Value display to reveal the pop-up slider, and then drag the
slider to a new position.

Calibrating Input Channels for the Audio I/O Device
To calibrate input channels for the audio I/O device:

1. Connect a sine wave generator that can produce a 1-kHz tone, +4 dB @ 0
VU to channel 1 of the audio I/O device.
2. Send a 1-kHz tone into channel 1 of the audio I/O device.
3. In the Audio tool, click the In/Out toggle buttons for channel 1 to display I
for input.
You should see a level in the meter display.

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4. Select Calibrate from the PH (Peak Hold) Menu button in the Audio tool.
The Audio tool changes to Calibrate mode: the scales display a range of
approximately 2 dB, and the meters indicate levels within this range.

Peak Hold
Menu button
Indicates the hardware
calibration value set in
the Hardware tab in
the Audio Project
Settings dialog box

The Volume Unit scale
varies, displaying a custom
reference level setting,
+1 dB above and –1 dB
below.

5. Adjust the channel 1 input level by inserting a screwdriver into the trim
pot on the audio I/O device and turning it until the Audio tool’s on-screen
meter reaches 0 VU.
The input channel is now calibrated.
6. Repeat this procedure for each input channel of the audio I/O device.
To return to the default Audio tool display:

Click the Peak Hold Menu button, and select Calibrate.

Calibrating Output Channels for the Audio I/O Device
If the input channels of the audio I/O device are calibrated correctly, you can
use the input channels to calibrate the output channels.
To calibrate output channels for the audio I/O device:

1. Make sure the audio I/O device is calibrated properly for input (see
“Calibrating Input Channels for the Audio I/O Device” on page 111).
2. Connect two output channels to two different input channels. For
example, connect output channels 1 and 2 to input channels 7 and 8.
3. Click the PH (Peak Hold) pop-up menu in the Audio tool, and select Set
Calibration Tone.
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Preparing for Audio Input

4. Click the In/Out toggle buttons to display I for the channels you are using
for input, for example, 7 and 8. Click the In/Out toggle buttons to display
O for the channels you are calibrating, for example, 1 and 2.
5. Click the PH pop-up menu, and select Calibrate.
6. Click the PH pop-up menu, and select Play Calibration Tone.
7. Adjust the audio I/O device trim pots on the output channels (1 and 2) to 0
VU, using the meters of the input channels (7 and 8) as your guide.
8. Repeat this procedure for each channel.

Using the Console Window to Check Audio Levels
Once you have played back audio through the Audio tool, you can use the
Console window to view a list of precise information about the peak levels.
Reset Peak button

To check peak levels in the Console:

1. Open the Audio tool (see “Using the Audio Tool” on page 105).
2. Click the RP (Reset Peak) button to clear the system’s record of the most
recent maximum peaks.
3. Play a sequence or portion of the sequence.
4. After playing back the audio, open the Console window by selecting Tools
> Console.
5. In the Console command line, type:
DumpMaxPeaks

6. Press Enter.
A list of peak values appears in the Console window.

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Preparing for Video Input
The Avid system provides a Video Input tool for calibrating composite video,
component video, and S-Video.

If you are capturing SDI, HD-SDI, or DV, for example, from a D1, D5, digital
Betacam, DV, or HD deck, you cannot adjust levels by using the video input
controls in your Avid system. If you plan to make adjustments at the source
deck, information in this section regarding the internal Waveform and
Vectorscope monitors might be useful.
To open the Video Input tool, do one of the following:

Select Tools > Video Input Tool.

Click the Video Input Tool button in the Capture tool.
The Video Input tool opens.

Vectorscope Monitor button
Waveform Monitor
button

Waveform monitor

Vectorscope monitor

Input
pop-up
menu

Preset
buttons

Settings
pop-up
menu

100% Bars buttons

The following table describes the Video Input tool components.

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Preparing for Video Input

Video Input Tool Components
Component

Description

Input pop-up menu

Lets you select the video input for SD projects: Composite, Component,
S-Video, SDI, or DNA-1394. For HD projects, the menu displays HD-SDI.
For SD or HD projects that use an optional 1394 board on the computer, the
menu displays Host-1394.

Sliders

Let you change the value for each setting.

Preset buttons

The preset buttons are highlighted when the factory preset levels are
displayed.

Settings pop-up menu

Lets you save the settings for an individual tape each time you calibrate
bars.

Waveform Monitor and
Vectorscope Monitor
buttons

Open or hide the Waveform monitor and the Vectorscope monitor.

100% Bars button

Your Avid system supports the SMPTE/EBU component standard for
625 timing and Betacam component levels for 525 timing. The system
does not support the MII component video standard.

This option is used when the source tape has color bars with 100% (versus
75%) chrominance levels.

Using the Factory Preset Buttons
The preset buttons in the Video Input tool show the status of each calibration
setting as follows:
•

When you first open the Video Input tool in a new project, all preset
buttons are lit (green), with the factory presets loaded for each slider.

•

When you click the slider of a lit preset button, the arrow changes to black
and the slider moves to the position of the pointer.

•

When a preset button has a black arrow and you click it, the arrow
becomes lit (appears green), and the slider moves to the factory preset
level for that parameter.

•

When you click a lit preset button, the arrow changes to black, and the
slider returns to the last manual setting.

As you adjust levels in the tool, you can switch the preset buttons between the
levels you set manually and the factory preset levels.
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Calibrating Video Input
This section provides essential information for input calibration. You should
calibrate the input levels for each videotape when you capture to ensure the
continuity of picture quality between tapes.

When you recapture media from a project created on a different Avid
system, only reuse settings that originate on systems that use the video I/O
board. For projects from other Avid systems, check the Video settings for
each tape.
Before you calibrate the video input, check the following:
•

Make sure your monitor is properly calibrated for displaying footage
accurately. For more information, see your monitor’s hardware
documentation.

•

If your system’s output settings have not already been calibrated
according to house standards, use the procedures described in “Video
Output Tool” on page 194. If you are in a facility where this is not
necessary, leave the output settings at their preset values.

•

If you are using footage in the NTSC-EIAJ format (used primarily in
Japan), deselect the option NTSC Has Setup in the General Settings
dialog box. This enables the appropriate display for the setup portion of
the signal in the Waveform monitor and also adjusts the gain range. For
more information, see “General Settings” on page 77.

To calibrate the video input:

1. Make sure you have properly connected the playback VTR to the system.
For more information, see the setup guide for your Avid system.
2. Select Tools > Video Input Tool.
The Video Input tool opens.
3. Click the Input pop-up menu, and select the appropriate input channel,
based on your source tape format: Composite, Component, or S-Video.
The Video Input tool displays the appropriate parameters for the selected
video format.

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Preparing for Video Input

n
n
n

For a description of each parameter, click the Video Input tool and press the
F1 key.
Sync for video input comes from the source selected in the Video Input tool.
When you capture audio with video, the audio is always synced to the video
source. For information regarding sync during audio-only input, see
“Adjusting Audio Project Settings” on page 103.
4. Cue the tape to the section containing bars and tone (usually the
beginning) and play the tape.

Always play the tape when calibrating. Signal display is unstable when the
tape is paused.

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Chapter 3 Preparing to Capture Media

The Client monitor displays one of the following types of bars (or a
variation of them).
Full-field color bars

Color bars can be either 75% or 100% of peak levels.

Full-field bars (NTSC or PAL)

100% white

SMPTE standard split bars
SMPTE bars (NTSC only)

75% white

Color bars
(top 67% of frame)

7.5 black level
(NTSC with setup)
100% white
(lower 25% of frame)

5. If you are capturing from a consumer-grade video deck (such as a home
VCR) or a deck that has no built-in time-base corrector (which includes a
number of 3/4-inch U-matic or S-Video models), and you are having
trouble with the incoming video quality, click the Signal Lock button and
select Auto in the Video Input tool.
6. Click the 100% Bars button if the source tape contains 100% bars for
calibration.
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Preparing for Video Input

n
Waveform
Monitor
button

To distinguish between 100% and 75% full-field bars, you will notice in 100%
bars that the luminance waveform plot displays fairly even steps from the first
bar (white) to the last bar (black). In 75% bars, the white bar is at 100%,
which causes a larger step from the first bar (white) to the first color bar.
7. Open the Waveform monitor by clicking the Waveform Monitor button.

NTSC waveform values
(IRE)
White level at 100 IRE (digital 235)
(100% bars)
White level at 77 IRE (digital 180)
(75% bars)

Black level at 7.5 IRE (digital 16)
(Black level falls at 0 IRE
for NTSC-EIAJ)
Line slider

PAL waveform values
(volts)
White level at 1 V (digital 235)
(100% bars)

Black level at 0.3 V (digital 16)
Line slider

8. Adjust the Line slider located below the Waveform monitor to display the
appropriate line of the test pattern, then adjust the luminance values based
on the following table.

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Luminance Settings for Video Input
Parameter/
Video Standard a

Black level (setup)

Video Standard:
NTSC
NTSC-EIAJ
PAL
White level (gain)

Video Standard:
NTSC
NTSC-EIAJ
PAL

SMPTE Bars

Full-Field Bars at
75% or 100% Signal Level

Adjust Line slider to
approximately 190

Adjust Line slider to
approximately 150

Adjust Black or Brightness
slider to place black level at:

Adjust Black or Brightness slider
to place black level at:

7.5 IRE
0.0 IRE
NAb

7.5 IRE
0.0 IRE
0.3 V

Adjust Line slider to
approximately 220

Adjust Line slider to
approximately 150

Adjust Gain/Y Gain slider
to place white level at:

100 IRE
100 IRE
NAb

100 IRE
100 IRE
1.0 V

a. Includes NTSC-EIAJ used in Japan.
b. NA = Not applicable.

Vectorscope
Monitor
button

9. Open the Vectorscope monitor by clicking the Vectorscope Monitor
button.
10. Adjust the Line slider to display the signal for color bars at around line
150 (this applies to all formats and all types of bars).
To switch between a display of perfectly calibrated bars and your input signal
while making adjustments, press and release the Shift key.
11. Adjust the Sat and Hue sliders (composite or S-Video) or the RY Gain and
BY Gain sliders (component) until the angle and amplitude of the six
color vectors fall within the target boxes on the Vectorscope monitor.

n
120

There is no hue adjustment for PAL video.

Preparing for Video Input

If you incorrectly selected or deselected the 100% Bars button, the factory
presets for Saturation or RY and BY Gain will be incorrect. Adjusting
these controls in this condition results in oversaturated or undersaturated
video.

Limitation When Using Consumer Decks or Decks Without Time-Base
Correctors
This section describes some difficulties you might encounter when working
with consumer video decks and tapes (such as VHS) or decks that do not
provide time-base correction or stabilized timing on their outputs.
Workarounds are described when available.
Capturing from Unstable Time-Base Sources

The subsystem used in your Avid system is optimized for use with modern,
broadcast-quality VTRs that contain time-base correctors (TBCs). When
presented with a stable input, the subsystem will capture that video by using a
high-quality, very-low-jitter clock reference. However, some sources do not
include an internal TBC (including various S-Video decks or composite VHS,
3/4-inch, or Hi8™ decks). In some cases, due either to the deck performance or
the deck performance in conjunction with a particular videotape, the
subsystem will not lock to non-TBC sources. As a result, the image might be
unstable or might have reduced or missing color, or syncing might not be
possible at all.
If you select the Signal Lock TV in the Video Input tool, a wider bandwidth
(more closely tracking time-base) will improve the range of syncing
capability. In this mode, the video input levels will be set by automatic gain
control. Not all of the Video Input tool’s adjustment sliders will operate, and
the video might be slightly softened, but the syncing in most cases will be
more reliable and more stable. The overall image quality will not be as high as
with normal operation.
If you continue to experience difficulty with a source that does not include an
internal TBC, Avid recommends the video signal be processed through an
external TBC for maximum image quality. For more information on time-base
correctors, contact your Avid Reseller.

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Green Line in VHS Video

Some VHS tape decks do not output the full 240 lines of video normally
included in the VHS format. As a result, after you capture from a device such
as a VCR, a green line might appear at the bottom of the monitors in the Avid
application.
This line is at the bottom of the visible area of the picture, and is not seen in a
standard consumer monitor in most cases. If you use the video in a
circumstance in which the line is visible, you can remove it by cropping the
bottom edge of the picture.

Saving Video Input Settings
You can save the settings for an individual tape each time you calibrate bars.
Saved settings are restored each time you select the same tape for recapturing
clips.
The following are the Video Input settings that are saved and restored:

•

Level adjustments made with the sliders

•

Selection status of the Signal Lock TV or 100% Bars options

Video Input settings do not restore the source format (Composite, Component,
S-Video, DV, or SDI). Instead, the source format you select in the Video Input
tool remains the default for that project until you select another format from
within the project. This allows you to establish a new format on a project basis
when moving between systems, or from the offline to the online phase.
To save the Calibration settings for a tape:

1. After calibrating as described in “Calibrating Video Input” on page 116,
click the Settings pop-up menu, and select Save As.
The View Name dialog box opens.
2. Accept the default name (matching the tape name), or type a new name for
the settings.

If you do not use a name that matches the tape name, the system does not
recall the setting automatically the next time you load the tape.
3. Click OK.

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Preparing for Video Input

Whenever you batch capture or select a tape name during capturing, the
system recalls the saved settings as follows:

•

The system looks for a Tape setting with the same name as the tape. If the
setting exists, the system recalls it.

•

If no matching Tape setting exists, the system looks for a setting labeled
“Default” and loads that setting. For information on customizing this
default setting, see “Saving a Custom Default Setting for the Video Input
Tool” on page 123.

•

If no matching Tape setting or “Default” setting exists, the Video Input
tool is left in its prior state (with the most recent settings applied during
the session).

Tape settings and the Default setting are Project settings, and are available to
the current project only.

Saving a Custom Default Setting for the Video Input Tool
You can create a default setting that is recalled by the system whenever you
load a new tape or when there is no Tape setting that matches a loaded tape.
Whenever you mount a new tape that does not have its own setting, the system
will recall these default settings.
To create a customized default Video Input Tool setting:

1. Select Tools > Video Input Tool.
The Video Input tool opens.
2. Adjust the Calibration settings, as described in “Calibrating Video Input”
on page 116.
3. Click the Settings pop-up menu in the Video Input tool, and select Save
As.
The View Name dialog box opens.
4. Type Default, and click OK. (You must use this spelling and initial
capitalization.)

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Adjusting Video Levels for Tapes Without Color Bars
Color bars are the best way to set the video levels consistently. However, if
you have a tape or series of tapes with no color bars, you might need to adjust
levels by using the internal Waveform and Vectorscope monitors.

Calibrate your Client monitor before making these adjustments.
To adjust video levels for tapes without color bars:

•

Find a series of frames in the footage that includes black areas. Blacks
should fall around 7.5 IRE for NTSC, 0 IRE for NTSC-EIAJ, or 0.3 V for
PAL on the Waveform monitor. Blacks should not seem flat and lacking
detail.

•

Find a series of frames in the footage that includes white areas. (Bright,
well-lit regions work better than white objects.) Whites should peak at
around 100 IRE for NTSC and NTSC-EIAJ, or 1.0 V for PAL on the
Waveform monitor. Whites should not be washed out or lacking detail.

•

Find a series of frames in the footage that includes skin colors. Skin colors
should fall generally between the target boxes for the red and yellow
vectors in the Vectorscope monitor. Skin colors should be realistic.

•

Check that chroma does not exceed 110 or fall below –120 on the vector.

•

Check that pure yellows are a rich gold and not reddish or greenish in
tone. Find a pure yellow and adjust both hue and saturation as necessary.

Capture Preparations Check List
Use this check list to help you prepare for the capture process.
Check your hardware configurations, particularly connections between your
deck and the Avid system. (See the Using the Avid Adrenaline information in
the Help and “Preparing the Hardware for Capture” on page 65.)
If you are working on a complex project with multiple streams of video and
high-resolution images, make sure your drives are striped properly. (See
“Getting Information About Striped Drives” on page 66.)
Select options in the Capture Settings, General Settings, and Film Settings
(24p and 25p projects only) dialog boxes. (See “Selecting Settings” on
page 67.)
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Capture Preparations Check List

Configure your deck or decks using Deck Configuration and Deck Preferences
settings. (See “Configuring Decks” on page 80 and “Setting Deck
Preferences” on page 86.)
Set up the Capture tool for video resolution and color compression. (See
“Setting Up the Capture Tool” on page 89.)
Insert a tape into the deck, enter Capture mode, and set up the Capture tool for
source tape, source deck, pulldown switch (24p projects), and other
requirements. (See “Entering Capture Mode” on page 88 and “Setting Up the
Capture Tool” on page 89.)
Select audio settings, and set up the Audio tool. (See “Preparing for Audio
Input” on page 103.)
Use the Video Input tool to select the input source; set the video input levels
for setup, gain, saturation, and hue; save your Video settings for future use.
(See “Preparing for Video Input” on page 114.)

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Chapter 4
Capturing Media

When you capture, you convert source material from videotape into master
clips that contain reference information. You also create associated media files
that contain the digital audio and video. Once you prepare the capture tools, as
described in Chapter 3, you can capture the source material in one of several
ways, as described in the following sections:
•

Before You Begin Capturing

•

Function Keys Available When Capturing

•

Special Capture Procedures

•

Capturing DV50 and DVCPRO HD Media Directly from a DV Device

•

Delaying Audio

•

Capturing and Logging at the Same Time

•

Live Capture with External Timecode

•

Capturing to the Timeline

•

Capturing Video Without Pulldown into a 24p NTSC Project

•

Batch Capturing from Logged Clips

•

Changing Function Key Commands

•

Recapturing Your Material

•

Relinking Clips by Key Number

•

Modifying the Pulldown Phase After Capturing

•

DV Scene Extraction

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Chapter 4 Capturing Media

Before You Begin Capturing
Depending on your immediate needs, use the following guidelines for working
through this chapter:
•

If you want to add locators, create subclips, or log errors to the Console
during capturing, see “Special Capture Procedures” on page 129.

•

If you have no logs and want to begin capturing right away, see
“Capturing and Logging at the Same Time” on page 136.

•

If you want to capture video to multiple media files across multiple drives,
see “Capturing to Multiple Media Files” on page 74.

•

If you have logs already entered in a bin and would like to automate the
capturing process with playback from an Avid-controlled deck, see
“Batch Capturing from Logged Clips” on page 151.

•

If you are recapturing deleted media or have imported a sequence that
lacks the associated media files, see “Recapturing Your Material” on
page 156.

•

If you have not already prepared a structure of bins for your project, as
described in “Managing Folders and Bins” in the Help, consider the
following tips before capturing:

•

128

You can create one bin for each source tape. This avoids slowing the
system with large bins, associates each bin with a source tape for
better organization, and simplifies recapture.

You can name the bin after the tape, so that when you autocapture or
capture on-the-fly without noting a tape name, the system will
automatically name each clip or take after the bin (tape) and will
number them sequentially for easy reference.

If you want to capture DV50 or DVCPRO HD media, see “Capturing
DV50 and DVCPRO HD Media Directly from a DV Device” on page 135.

Function Keys Available When Capturing

Function Keys Available When Capturing
The following table lists the Function keys that are available when the Capture
tool is active. Capture mode overrides any other functions mapped to these
keys.

Capturing on-the-fly can cause incorrect pulldown and stuttering
playback. Do not use the F1 or F2 keys for capturing 24-fps film that has
been transferred to NTSC video unless you have set the correct pulldown
phase. See “Setting the Pulldown Phase” on page 41.

Function Keys Available When Capturing
Press

Mark the beginning of the subclip while capturing.

Mark the end of the subclip while capturing.

F3, F5 through F12

Add a locator to the current frame while capturing. Each
Function key adds a different color locator. See “Adding
Locators On-the-Fly” on page 132.

Start the capture process when in Capture mode.
In Log mode, press once to mark an IN point. Press again
to mark an OUT point to log the clip in the bin.

Special Capture Procedures
This section describes several optional procedures you can use during the
capture process.

Logging Errors to the Console Window
The Console window is useful for logging errors that occur during the capture
process.
To open the Console window:

Select Tools > Console.
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Chapter 4 Capturing Media

For more information about the Console, see “Using the Console Window” in
the Help.
Consider the following when selecting whether to log errors to the Console
during capture:
•

If the option “Log errors to the console and continue capturing” is
selected on the Batch tab of the Capture Settings dialog box, when you
batch capture and the system encounters an error, it aborts the clip, enters
error comments into the Console, and continues capturing the next clip.

•

If the option “Log errors to the console and continue capturing” is not
selected, a message appears and the system pauses if an error occurs while
capturing. If this happens, do the following:
a.

Click Try Again to retry the operation. The clip might capture
successfully.

If the clip does not capture the second time you try, the error message
appears again. Click Next Clip to bypass the clip that caused the error,
and continue batch capturing any remaining clips, or click Abort to
cancel the entire batch capturing process.

Note all errors, messages, and steps you have taken. Try to troubleshoot the
problem on your own, or contact Avid Customer Support.

Creating Subclips While Capturing
Subclips are marked sections of a longer master clip you can view and edit like
any other object in a bin. This section describes two methods for creating
subclips while capturing: by creating subclips on-the-fly and by creating timed
subclips. The maximum number of subclips you can generate while capturing
a clip is 100.

For information about creating subclips after capturing, see “Creating
Subclips” in the Help.
When Subclips are created in 24p or 25p projects, they are always created as
“hard” subclips. This means you cannot trim past the edges of the subclip
when adjusting transitions and edits. Hard subclips prevent film-tracking
information errors for editing and cut lists.

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Special Capture Procedures

To create a subclip on-the-fly:

1. Start capturing as usual.
2. At the point where you want the subclip to begin, press the F1 key.
This highlights the subclip IN point in the Capture tool.

Subclip Status
indicator

3. While the system is capturing, you can type a name for the subclip. Press
the Tab key to type comments about the clip.
4. When you want the subclip to end, press the F2 key.
This highlights the subclip OUT point in the Capture tool.

You can press the F2 key repeatedly as you search for the end point of the
subclip. The system accepts the last occurrence as the end point. You can
also press the F1 key at any time before pressing F2 again to remove the
previous subclip marks and to start a new subclip IN point.
The subclip appears in the target bin when you stop capturing.
When capture is complete, a number appears between the subclip
indicators to show the number of subclips created.

c
n

For NTSC film-to-tape transfers, you must log the correct pulldown phase
before you create subclips. For more information, see “Entering Pulldown
Information” on page 55.
If you are capturing with shared volume segmentation (“chunking”) enabled,
see the Avid Unity MediaManager Setup and User’s Guide for details on the
capture procedure.
You can also capture a subclip of a preset duration. The Keys tab in the
Capture Settings window allows you to specify the duration of a subclip that is
automatically created when you press the function key mapped to the Timed
Subclip button (the default mapping is to F3). IN and OUT points are created
at predetermined intervals before and after the point you mark in the source
media by pressing the Timed Subclip button.
For information on changing the function key mapped to the Timed Subclip
button, see “Changing Function Key Commands” on page 155.

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To set the duration of a timed subclip:

1. Double-click Capture in the Settings tab in the Project window, and click
the Key tab.
The Key tab in the Capture Settings window appears.
2. Enter the time in minutes and seconds to be used by the timed subclip in
the Before mark (M:SS) and the After mark (M:SS) text boxes.
3. Click OK.
To create a timed subclip:

1. Start capturing as usual.
2. At the point where you want to start a timed subclip, press the F3 key.
Subclip Status
indicator

This highlights the subclip IN and OUT points in the Capture tool, and the
subclip is created automatically.
3. While the system is capturing, you can type a name for the subclip. Press
the Tab key to type comments about the clip.

Adding Locators On-the-Fly
Locators mark a single frame within a clip or sequence so you can attach a
note or find the frame at a later time. This section describes a shortcut method
of adding locators on-the-fly while capturing. When the Capture tool is active,
eight colored locators are mapped to eight Function keys on the keyboard:
F5–F12. The locators override any other functions mapped to these keys.
To add a locator to a frame while capturing:

1. Start capturing as usual.
2. Watch the playback of the footage in the monitor, and press one of the
locator keys (F5–F12) when you see the shot or frame with which you
want to associate a locator.
A default name and number for the locator appear in the Name text box in
the Capture tool.
3. While the system is capturing, you can add comments for the locator.
Press the Tab key to move the cursor to the Comments text box, and type
your comment.
4. When you finish adding your comment for the locator, press the F4 key
(End Locator Entry).

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The Name and Cmnt (Comment) text boxes revert to association with the
master clip or the subclip being captured.
t

Locator comments appear in the Locators window. To see the locator
comments, open the Locators window as described in “Viewing and
Navigating in the Locators Window” in the Help.

If you are capturing with shared volume segmentation (“chunking”) enabled,
see the Avid Unity MediaManager Setup and User’s Guide for details on the
capture procedure.
For more information about locators, see “Using Locators” in the Help.

Adding Clip Names and Comments On-the-Fly
The Avid system’s Annotate feature allows you to type clip names and
comments during the capture of a clip. This information is saved in the clip
Name and Comments columns in the bin. You can add comments about such
things as color correction or directions for editing.

To carry your comments over to the sequence so that they appear in the
Timeline, in cut lists, or in EDLs, you must add the comments again when
creating the sequence by using the Add Comments command in the Clip Name
menu.
To add clip names and comments on-the-fly:

1. Start typing the clip name at any time during the capture of a clip.
The Annotate window opens on screen, allowing you to see the text as you
type.
2. After typing the clip name, press the Tab key and begin typing comments.
You cannot edit the text until after the capture is complete, but you can
backspace to retype the comments.

Controlling Decks from the Keyboard
You can use the J-K-L keys to control a deck from the Capture tool, Digital
Cut tool, and Deck Controller window.
The J-K-L keys work the same as they do in the Source and Record monitors
as shown in the following table.

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J-K-L Functions for Deck Control
Press

Stop the deck.

Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed.

Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal
speed.

K+L

Shuttle the deck at 0.25x normal speed.

J+K

Shuttle the deck at –0.25x normal speed.

The following restrictions apply:
•

The Capture tool, Digital Cut tool, or Deck Controller window must be
selected for keys to be active.

•

Single-field stepping is not supported.

•

If you remap the function of the J-K-L keys, you will no longer be able to
control decks with those keys.

Mapping the Record Button
You can map the Record button from the Play tab in the Command palette to a
key on the keyboard. This allows you to start capturing by pressing a key.

The Record button works for either the Capture tool or the Audio Punch-In
tool, depending on which tool is active.
For more information on mapping buttons, see “Understanding Button
Mapping” in the Help.

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Capturing DV50 and DVCPRO HD Media Directly from a DV Device

Capturing DV50 and DVCPRO HD Media Directly
from a DV Device

DNA
button

1394
button

When you capture DV50 or DVCPRO HD media, you can capture directly
from a DV camera or deck connected through a separate IEEE-1394 port. The
DNA or 1394 button icons above the Timeline window and the Device menu
allow you to switch between an attached Avid Adrenaline and a DV camera or
deck without disconnecting your Avid Adrenaline.
DNA and 1394 Button

This option switches all capture, play, and digital cut operations to the selected
device. For example, if DNA is selected, then all capture, play, and digital cut
operations use the Adrenaline box. If 1394 is selected, then all capture, play,
and digital cut operations use the DV camera or deck attached to the separate
IEEE-1394 card.
In addition, the Video Output tool, Video Input tool, Capture tool, and Digital
Cut tool all reflect the Device menu selection.
The system default is DNA. When a new project is selected, the system
automatically selects DNA.
To switch between your Avid DNA and the IEEE-1394 port:

1. With a DV camera or deck connected to a separate IEEE-1394 port, do
one of the following:
c.

Click the DNA and 1394 button above the Timeline.

d. Select Special > Device > Adrenaline or IEEE 1394.
2. To capture DV50 or DVCPRO HD media, select 1394.
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The 1394 icon displays above the Timeline, and a check mark appears
next to IEEE 1394 in the Device menu.

For information on playing back DV50 and DVCPRO HD media, see ”Playing
Back Footage” in the Help.

Delaying Audio
Sometimes the source from which you are capturing provides an audio signal
that is one or more frames ahead of the video. For example, the Panasonic AGDVX100 DV camcorder always records audio one frame ahead of the video.
Also, the use of a timebase corrector (TBC) or other video processing devices
on your input signal might introduce fixed frame delays of video.

If the input signal is not DV when you choose your IN point, the audio that
lines up with the IN point should remain in sync with the captured media. The
video is what shifts in the captured media. If the input signal is a DV signal
however, then the audio shifts.
If the audio you are capturing is always at a fixed offset ahead of the video,
then use the Delay Audio feature to correct this problem and produce a master
clip with correct A/V sync.
To offset your audio:

1. Prepare for capturing. See “Preparing to Capture Media” on page 65.
2. Select Tools > Capture.
3. Select the number of offset frames from the Delay audio pop-up menu.
4. Capture your material. See “Capturing from a Mark IN to a Mark OUT”
on page 138 and “Capturing On-the-Fly” on page 139.
5. Play the captured media to verify that the audio and video are in sync.

Capturing and Logging at the Same Time
When you capture without entering log information in a bin ahead of time, the
system creates clips and associated media files while you capture. Capturing
in this manner involves manually cueing source footage with an Avidcontrolled deck, using the deck controls in the Capture tool.
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Capturing and Logging at the Same Time

There are several ways to capture and log at the same time:

•

Capturing from a mark IN to a mark OUT. This method lets you
specify the exact timecode location to begin and end capturing. You can
also specify only a mark IN or mark OUT, and enter the other mark onthe-fly. These procedures are described in “Capturing from a Mark IN to a
Mark OUT” on page 138.

•

Capturing on-the-fly. This method is easier than setting marks, but it is
less precise. It involves using the deck controls in the lower left corner of
the Capture tool to cue, play, and stop the source footage manually while
capturing. These procedures are described in “Capturing On-the-Fly” on
page 139.

Capturing on-the-fly and autocapturing can cause incorrect pulldown
and stuttering playback. Do not use these methods for capturing 24-fps
film that has been transferred to NTSC video unless you have set the
correct pulldown phase. See “Setting the Pulldown Phase” on page 41.
•

Autocapturing. This method requires the least amount of supervision and
effort, but usually calls for more capture time and drive storage space. It
involves playing each source tape from a cue point near the beginning and
letting the system capture the entire tape, automatically naming and
entering each cut into the bin. These procedures are described in
“Autocapturing” on page 142.

Two additional techniques you can use when capturing and logging at the
same time are described in “Capturing from a Non-Avid-Controlled Deck” on
page 144 and “Capturing with Time-of-Day Timecode” on page 145.
You can log and capture at the same time with either a PAL or NTSC film-totape transfer as the source. However, when capturing an NTSC transfer, you
must observe the following basic rules:
•

Specify the pulldown frame before capturing. See “Entering Pulldown
Information” on page 55.

•

The mark IN must be an A frame, and you cannot capture with a mark
OUT only, unless you have set the correct pulldown phase. See “Setting
the Pulldown Phase” on page 41.

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When you capture footage from an NTSC film-to-tape transfer with pulldown,
the playback flickers in the Client monitor during capturing because the
system is dropping occasional frames due to the pullin process. The footage
will play back smoothly in the Avid system, however, once the pullin
conversion is complete.

Capturing from a Mark IN to a Mark OUT
Capturing from a mark IN to a mark OUT lets you specify exactly where to
begin and end capturing. You can specify both marks, or only a mark IN or a
mark OUT, and the system enters the other mark on-the-fly.
Use this method in the following circumstances:
•

If logs exist in written or printout form but not in the proper format for
quick import into the system

•

If the IN and OUT points are rough and need to be double-checked for
accuracy

•

If you are familiar enough with the source material to estimate the
timecode for the mark IN, the mark OUT, or both, quickly and accurately

Setting Both Marks
To capture by specifying a mark IN and a mark OUT:

Mark IN
Mark OUT

1. Make sure you selected the proper Capture settings and set up the capture
tools, as described in Chapter 3.
2. Set either a mark IN or a mark OUT for the clip you want to capture, using
either of the following methods:
t

Use the deck controls in the Capture tool. Cue your source tape to
where you want to start or end the clip, and click the Mark IN or Mark
OUT button.

Go to IN

If the material starts at a known IN point or ends at a known OUT
point, you can type the timecode in the display area next to the mark.
Press Enter to enter the mark.
To double-check the accuracy of the IN or OUT point, click the Go to IN
button. The system cues the tape and pauses the deck at the mark. You can
play the tape and reset the mark, if necessary.
3. Finish logging the clip, using either of the following methods:
t

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Set the corresponding IN or OUT point.

Capturing and Logging at the Same Time

Type a timecode for the clip’s duration in the text box next to the
Duration mark (below the mark OUT) in the format HH:MM:SS:FF.

The system automatically calculates the appropriate timecode for the
corresponding mark IN, mark OUT, or duration.
4. Click the Record button in the Capture tool, or press the F4 key.
The Capture tool automatically rewinds the tape to the preroll point before
the IN point of the clip, and the tape begins to play. The Record button
becomes bright red, and the message bar displays the message that the
Avid system is capturing.
5. While the system is capturing, you can type a clip name. To add
comments about the clip, press the Tab key after typing a clip name, and
type comments in the Comment text box. The information you type does
not appear on the screen until capturing is complete. (After you log clips,
you can modify information to correct input errors or to add information.)
When the tape reaches the clip’s OUT point, capturing stops and the
system creates a new clip in the bin.
Setting Only One Mark
To set only one mark and enter the other mark on-the-fly:

Set an IN point and click the Record button to begin capturing. Then, click
the Record button again to stop capturing on-the-fly and set a mark OUT.
This method is useful if you do not need a precise mark OUT. You save
time because you do not have to shuttle to locate the mark OUT before
capturing.

Set a mark OUT only, then move to a position on the tape that is a few
seconds before where you want to start capturing. Play the tape and then
immediately click the Record button to begin capturing on-the-fly. When
the tape reaches the clip’s OUT point, capturing stops.
This method is useful if you do not need a precise mark IN, but do need to
stop at a precise OUT point, for example, just before a timecode break.

Capturing On-the-Fly
Use the capturing on-the-fly method in any of the following circumstances:
•

If you are eager to begin editing immediately and no adequate logs exist
for importing into the system or setting marks

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•

If your source tape does not have timecode

•

If you are capturing from a digital source such as a CD or DAT player

•

If you are capturing from a live source, such as a studio feed, or an
in-house router

There is a slight delay of several frames after you manually select a spot to
either start or to stop capturing. Therefore, use this method when you do not
need precise beginning and end points in your clip.
•

If you are capturing from a source deck that cannot be controlled by the
Capture tool or a V-LAN VLXi unit

Capturing on-the-fly can cause incorrect pulldown and stuttering
playback. Do not use this method for capturing 24-fps film that has been
transferred to NTSC video unless you have set the correct pulldown
phase. See “Setting the Pulldown Phase” on page 41.
To capture on-the-fly:

1. Select the proper Capture settings and set up the capture tools as described
in Chapter 3.
2. Click the Capture/Log Mode button in the Capture tool until the CAP icon
appears.
3. (Option) Click the triangular opener in the Capture tool to display the
Name and Cmnt text boxes if you plan to enter clip names or comments
during capture.

Triangular opener
(Click to display
comments.)

4. Use the deck controls in the bottom left corner of the Capture tool to
locate the position on the tape where you want to start capturing.

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Capturing and Logging at the Same Time

Single-Frame Backward button
Shuttle button

Single-Frame Forward button

Fast Forward/Rewind
buttons
Stop button
Pause button

Play button

Eject button

Clear Marks buttons

5. To begin capturing, play the deck; when it gets up to speed, click the
Record button or press the F4 key.

Make sure you have cleared any previous marks so the deck does not begin
cueing to the previous location.
Capturing begins within a few frames, and the timecode for the clip’s IN
point appears. The Capture indicator, to the right of the Record button,
flashes on and off. The message bar displays a message that your Avid
system is capturing.
6. While the system is capturing, you can type a clip name in the Name text
box.
Capture indicator

Message bar
Triangular opener

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If the Name text box is not visible on the Capture tool, you can type a clip
name but you cannot view your typing. To display the Name text box, you must
click the triangular opener before you begin capturing.
7. Press the Tab key after typing a clip name to enter comments about the
clip. You cannot edit the text during capturing, but you can backspace to
retype the comments.

If you want comments to appear in EDLs or cut lists, add them during editing
by using the Add Comments command from the Clip Name menu. For more
information, see “Adding Comments to Sequence Clips” in the Help.
8. Click the Pause button at any time to pause play. You can also abort the
capture procedure by clicking the Trash button. The clip is discarded.
9. To stop capturing and enter the OUT point of the clip, click the Record
button, or press the Escape key on the keyboard.
The system creates a new clip in the bin. It also enters basic log
information for each clip, consisting of the mark IN, the mark OUT, the
duration, and any other information typed in during the capture procedure.
10. If you did not type a clip name while capturing, type it now while the clip
name is highlighted in the bin. If you return to the Capture tool and begin
another clip, the default clip name remains in the bin until you change it.
In some circumstances, the captured material might exceed the 2-GB media
file size limit. In such a case, set up the Capture tool to capture to multiple
media files. For more information, see “Capturing to Multiple Media Files” on
page 74.

Autocapturing
Autocapturing an entire tape can save you time by allowing you to bypass both
the logging process and the time it takes to cue each shot. However, this
process requires the most storage space, and it takes time to capture an entire
tape.
When you autocapture, you mount and cue your tape to a starting point and
start the capturing process through the Capture tool. If you follow the tips and
techniques described in this section, you can allow the system to complete the
capturing process unattended.

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c
c

The Avid system can capture across timecode breaks, but it cannot
capture across control-track breaks in the recording (that is, if the
recorded footage breaks up into noise between shots). If such breaks in
recording exist on your tape, consider using the methods described in
“Capturing On-the-Fly” on page 139.
Capturing on-the-fly can cause incorrect pulldown and stuttering
playback. Do not use this method for capturing 24-fps film that has been
transferred to NTSC video unless you have set the correct pulldown
phase. See “Setting the Pulldown Phase” on page 41.
Before you begin autocapturing entire tapes:
•

Select the following settings in the Capture Settings dialog box (accessed
from the Settings scroll list in the Project window):
-

Capture to multiple files (Media Files tab)

Preroll Method: Best Available or Best Available Control Track
(General tab)

Capture across timecode breaks (General tab)

Log errors to the console and continue capturing (Batch tab)

For more information on Capture settings, see “Capture Settings: General
Tab” on page 71.
•

Turn off the FAST CUE option and set the preroll to approximately
4 seconds in the Deck Settings dialog box. For more information, see
“Deck Settings” in the Help.

•

You should have accurate notes on the number and content of takes on
each tape to identify the content of each clip when necessary.

To autocapture:

1. Create one bin for each tape.
This keeps bins to a manageable size and automatically names all clips
from each tape after the name of their respective bins.
2. Name each bin after the source tape number. By default, all clips are
named after the tape and are numbered incrementally beginning with .01.
3. Open the bin for the first tape and select Bin > Go To Capture Mode.
4. Make sure you selected the proper Capture settings and set up the capture
tools, as described in Chapter 3.
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5. Load the source tape and cue past any false starts.
6. Play the tape, and wait 4 seconds before clicking the Record button.

Capturing from a Non-Avid-Controlled Deck
If you have a deck that cannot be controlled directly by the system, you can
capture with manual deck control.
To capture with manual deck control:

1. Enter Capture mode and set up the tools, as described in Chapter 3.
2. Click the Toggle Source button in the Capture tool until the Deck Offline
icon appears to disable the deck controls and leave only the Tape Name
display.
Toggle Source button

3. Click the Tape Name display to open the Select Tape dialog box and
identify the source tape.
You can select the option “Show other projects” to display the tape names
and associated project names for all bins that were opened in the current
session.

144

Because the media file database does not open when you start your Avid
system, tape names of all online media files do not appear automatically.

Capturing and Logging at the Same Time

If the tape name you are searching for does not appear in the Select Tape
dialog box, click the Scan for tapes button. Tape and project names are listed.

New tape name

List of tapes

Show Tapes option

4. Provide the system with a tape name in one of the following ways:
t

Select the name of the tape from the list in the Select Tape dialog box
and click OK.

Click the New button if the tape is not in the list. A New Tape name
line appears in the dialog box. Type the new name and click OK.

The tape name is displayed in the Capture tool.
5. Play the tape manually and click the Record button to stop and start the
capturing of each clip.

Capturing with Time-of-Day Timecode
When you capture with an Avid-controlled deck, you can capture your footage
with time-of-day timecode rather than source timecode.
To capture with time-of-day timecode:

1. Enter Capture mode and set up the tools, as described in Chapter 3.
2. When selecting tracks, deselect the TC button.
3. Capture by using any of the techniques described in “Capturing On-theFly” on page 139.

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Live Capture with External Timecode
LTC (longitudinal or linear timecode) from an external source allows
production facilities to capture from multiple sources at the same time they are
recording to tape. A facility that has a central timecode generator can use that
clock to send identical timecode to all systems. This timecode output can be
run directly to the Avid system through the LTC IN connection on the
Adrenaline DNA.
External timecode is especially useful for live events, dramatic multicamera
shows, and video material coming in on routers that do not support timecode
through normal RS-422 communication. You can start editing immediately
after the shooting without waiting to capture from the backup reference tapes.
If you are capturing 24p film however, the pulldown phase needs to be
accounted for. This allows for 24p capture to have the same behavior as a
video rate. Depending on what you have chosen in the Set Pulldown Phase of
Timecode (A, B, X, C, or D) in the Film Settings window, will determine what
type of pulldown the system will use during the 24p capture.

Only non-drop-frame timecode is supported with the Pulldown Phase of
Timecode option.
If you are taking a feed from a source based on a time-of-day timecode
generator, setting IN and OUT points is especially useful. When the time of
the external timecode source matches the IN point, the Avid system begins to
capture. Capturing stops when the external timecode matches the OUT point.
To prepare for capturing with external timecode:

1. If capturing 24p film, in the Film settings window, click the Set Pulldown
Phase of Timecode 00:00:00:00 button to select it.
2. Select a pulldown cadence that matched the pulldown cadence of the
incoming signal.

For more information, see “Setting the Pulldown Phase” on page 41.
3. Click OK.
4. Select Tools > Capture.
The Capture tool opens.

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Live Capture with External Timecode

5. Click the Toggle Source button until the No Deck icon appears.
Toggle Source button

6. Click the TC Source pop-up menu, and select LTC Input.
The menu contains two other choices:

Internal: Uses internal system timecode.

Auto Detect: Detects LTC input by default. If the LTC input is
deactivated, the Capture tool automatically switches to internal
timecode. If the LTC input is reactivated, the Capture tool switches
back to LTC input.

LTC is only available with Avid Adrenaline DNA products. If you do not have
an Avid Adrenaline attached to your system, the LTC Input option is grayed
out.
7. Capture by using any of the techniques described in “Capturing On-theFly” on page 139.

n
n

If you notice your captured material is consistently one or more frames off, use
the “Latency for external timecode mode” option in the Capture Settings
dialog box to fix the problem. See “Capture Settings” in the Help.
You can log an event ahead of time and it automatically starts recording that
signal when the internal clock or external LTC arrives at that timecode. For
example, log a clip at 14:00:00:00 to14:30:00:00 sometime in the morning,
and at 2:00, the capture starts and then ends at 2:30.

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Capturing to the Timeline
You can capture footage directly from tape to a sequence loaded in the
Timeline in one step, bypassing several steps such as organizing and reviewing
clips, marking edit points, and performing edits.
To capture to the Timeline:

1. Prepare for capturing (see Chapter 3).
2. Set options in the Capture Settings dialog box:
a.

Click the Settings tab in the Project window.

In the Settings scroll list, double-click Capture. The Capture Settings
dialog box opens.

Click the Edit tab.

d. Select the “Enable edit to timeline (splice, overwrite)” option.
e.

Set the handle length (the amount of footage you want to capture
before and after the IN and OUT points of the clips).

Click OK.

3. Load a sequence into the Record monitor.
4. (Option) Patch tracks you are capturing (source tracks) to the tracks in
your sequence (record tracks). See “Patching When Capturing to the
Timeline” on page 149.
5. Mark an IN point in the sequence or move the position indicator to where
you want the edit to take place.
6. Mark the source material you want to capture by using the Capture tool
logging controls. For a description of the controls, see “Logging with an
Avid-Controlled Deck” on page 46.
7. (Option) Mark an OUT point based on the following:

148

If you are recording to the middle of a sequence in the Timeline, mark
both IN and OUT points for frame accuracy.

If you are recording to the end of a sequence, you can mark just an IN
point and then mark the OUT point later on-the-fly.

Capturing to the Timeline

8. Click the yellow Splice-in button or the red Overwrite button in the
Capture tool to select the type of edit.
Splice-in
button

Overwrite
button

Record
button

9. Click the Record button to begin recording.
10. If you did not mark the OUT point in advance, click the Record button
again when the footage reaches the appropriate frame.
If you already marked an OUT point, recording stops automatically.
When capturing ends, the clip appears in place in the sequence, and a master
clip appears in the bin.

Patching When Capturing to the Timeline
By default, the tracks you selected for capturing (V1, A1, A2, and so on) are
edited to the corresponding tracks in the Timeline. You can patch the captured
footage to any track in the Timeline.
To patch tracks when capturing to the Timeline:

1. In the Capture tool, click and hold the Track Selector button for the track
(video or audio) you want to patch.
2. From the pop-up menu, select the track to which you want to patch the
captured footage.

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For example, if you want to capture video footage to track V2, click and hold
the red V button in the Capture tool and select V2 from the pop-up menu. The
Track Selector panel in the Timeline displays the resulting patch.

Select the track
to patch.

The result is
displayed in
the Timeline.

You can also patch tracks in the Timeline in the same way you patch tracks
when editing from the Source monitor. See “Patching Tracks” in the Help.

Only tracks that are enabled in the Timeline are available for tracking. Other
tracks appear dimmed in the pop-up menu.

Capturing Video Without Pulldown into a 24p
NTSC Project
Film-to-tape transfers that were made without using pulldown can be captured
directly into a 24p project. This feature is useful when special effects are
generated on a frame-to-frame basis to tape, and need to be integrated into a
24p project.
Before capturing the footage, click the Film to Video Transfer pop-up menu in
the Film Settings dialog box, and select Video Rate. The Film-to-Video
Transfer setting allows you to specify the type of film-to-tape transfer you are
capturing. For more information, see “Transfer Settings for Film Projects” on
page 78.

n
150

For normal 24-frame capture, click the Film to Video Transfer pop-up menu in
the Film Settings dialog box, and select Pulldown.

Batch Capturing from Logged Clips

Batch Capturing from Logged Clips
Once you have imported a log or have manually logged a group of clips into a
bin, you can automate the capture process by using the Avid system’s batchcapturing capabilities. When you batch capture, you open a bin, select the
clips you want to capture, and select Clip > Batch Capture. The Avid system
automatically finds the start and end timecode for each clip and captures it. To
batch capture, source tapes must have timecode that matches the timecode for
the selected clips.
You can also use the batch-capturing process to recapture clips you have
already captured. The recapturing process is described in “Recapturing Your
Material” on page 156.

Preparing to Batch Capture
Preparing for batch capturing involves an option of resizing the Capture tool,
and establishing settings that allow you to batch capture with minimal
supervision.
Resizing the Capture Tool
Because your clips are already logged in a bin, you can simplify the interface
during batch capture by hiding the deck controller and logging controls in the
Capture tool.

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To resize the Capture tool during batch capturing:

Click the triangular opener to the left of the deck controller.

Triangular opener

The triangle points to the right, and the deck control and logging controls
close.
Preparing Settings for Unattended Batch Capturing
Unattended batch capturing allows you to capture a large number of clips with
minimal supervision by selecting Capture settings that avoid a pause in the
capture process.
To prepare for unattended batch capturing:

1. Double-click Capture in the Settings scroll list of the Project window.
The Capture Settings dialog box opens.
2. Click the Batch tab and select the following options:
-

Log errors to the console and continue capturing

Switch to the emptiest drive if current drive is full

For additional options, see “Capture Settings” in the Help.
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Batch Capturing from Logged Clips

3. Click the General tab and select the “Capture across timecode breaks”
option. For more information, see “Capturing Across Timecode Breaks”
on page 73.)
4. Click OK to close the dialog box and apply the options.

You cannot batch capture clips that contain timecode breaks between the
logged IN and OUT points. Also, you cannot capture across breaks in the
recording (that is, if the recorded footage breaks up into noise between
shots). If such breaks in recording exist on your tape, consider using the
methods described in “Capturing On-the-Fly” on page 139.

Capture Settings: Batch Tab
The Batch Capture settings specify how to batch capture clips. For information
on the General Capture settings, see “Capture Settings” in the Help. For
information on the Media Files Capture settings, see “Capture Settings” in the
Help. For information on the Edit options, see “Capturing to the Timeline” on
page 148.

Batch Capturing Clips
To batch capture clips:

1. Make sure you selected the proper Capture settings and set up the capture
tools, as described in Chapter 3.
2. Open the bin that stores the clips you want to capture.

If you are recapturing media from a project created on a different Avid
system, only reuse settings that originate on systems that use the video I/O
board. For projects from other Avid systems, check the Video settings for
each tape. For more information, see “Calibrating Video Input” on
page 116.
3. Select the clips to batch capture:

Select Edit > Select All.

Ctrl+click to select specific clips.

If you are batch capturing the original source master clips used in the
sequence, the sequence is updated automatically. Therefore, you might want to
deselect the sequence during this procedure.

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4. Select Clip > Batch Capture.
The Batch Capture dialog box opens.

If the clips you want to batch capture are not highlighted in the active bin,
Batch Capture appears dimmed in the Clip menu.
5. Select options in the dialog box:

If the bin contains some clips that are already captured and you do not
want to recapture those clips, select the “Offline media only” option.
If this option is not selected and some of the selected clips have media
files, the system deletes the media files and recaptures new media
files.

Select the “All clips in a group edit” option to allow capturing of each
clip in a group clip.

For more information on handle lengths when recapturing, see “Recapturing
Sequences” on page 158.
-

If your selections include a sequence for batch capturing, the dialog
box prompts you for handle length information; the system creates
new master clips based on the length of edited clips in the sequence.

(Option) Select the “Extend handles beyond master clip edges” option
to allow the handles to extend before the beginning and after the end
of the original master clip. When you batch capture, deselecting this
option prevents capturing across a discontinuous timecode error.
For example, if the starting timecode for a master clip is 1:00:10:00
and the resulting master clip after a decompose with handles causes
the new master clip to begin at 1:00:09:00, batch capturing fails if
there are any timecode discontinuities between 1:00:09:00 and
1:00:10:00.

6. Click OK.
If you have not loaded a tape, the system prompts you to load the first
tape.
7. Load the tape into the tape deck and click Mounted.
A dialog box opens.
8. Click OK to confirm the tape and deck entries and begin the capture
process. The system captures each clip from the tape, in start timecode
order.
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Changing Function Key Commands

9. If the system needs another source tape, the system prompts you for the
tape. At this point, you have several options:

Load the new tape and click Mounted to continue the capturing
process.

Select the “Skip this clip” option to bypass just the first clip from the
tape and continue capturing the remaining clips.

Select the “Skip this tape” option to bypass all the clips from the
mounted tape. The system then prompts you for the next tape.

Click Abort to end the batch-capturing process. You can also stop
capturing at any time by clicking the Trash button in the Capture tool.

To bypass specific clips in the process of batch capturing a particular tape,
you must abort each clip manually by clicking the Trash button. Then click the
Skip Clip button in the Abort window to continue.
When the system has finished batch capturing, a dialog box notifies you that
the process is complete.

Changing Function Key Commands
The Keys tab in the Capture Settings window allows you to customize the
commands mapped to the function keys on your keyboard that are used while
capturing.

The functions described here only apply in Capture mode. When you are not in
Capture mode, function keys operate with their default mappings. For more
information on using function keys as keyboard shortcut keys, see ¨Shortcuts¨
in the Help.
To change function key commands for capturing media:

1. Double-click Capture in the Settings tab in the Project window, and click
the Key tab.
The Key tab in the Capture Settings window appears.

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2. Click the key you want to map, and then select the new function from the
menu.

3. Click OK.

Recapturing Your Material
Recapturing is the process of recording previously captured source footage
based on existing clips and sequences. Recapturing uses the batch-capturing
process and does not require extra logging time because the clip information
for such things as source tracks, timecodes, and compression settings already
exists in the bin.
There are several situations in which you might want to recapture:

156

•

You can recapture a sequence after you transfer it from another system.

•

You can recapture low-resolution clips at a higher resolution setting after
they have been edited into a sequence.

Recapturing Your Material

•

You can quickly recapture selected clips if you make an error while
capturing the first time (for example, if you forget to check audio levels or
set the wrong resolution).

•

You can recapture clips if you accidentally delete media files.

Recapturing requires your original source footage. Do not delete the
media files if the source footage is no longer available, unless you will not
need the material again.
For information on loading the media database to relink clips, see “Loading
the Media Database” in the Help.

Recapturing Master Clips and Subclips
The procedure for recapturing master clips and subclips is identical to the
process for batch capturing logged clips. See “Batch Capturing from Logged
Clips” on page 151.
Although the procedure is the same, the result is slightly different, as follows:
•

Master clips are linked to entire media files and serve as sources for
subclips and sequences. Therefore, when you recapture a master clip,
changes in compression settings and levels affect all subclips and
sequences created from the master clip.

•

Subclips are smaller sections of master clips. When you recapture a
subclip, the system creates a new master clip that is linked to new media
files and reflects the shortened length of material. Therefore, recapturing
subclips streamlines the capturing process.
Also, recapturing breaks the link from the subclip to the original master
clip. But if you edit the subclip into a sequence, the sequence reflects any
changes in the newly captured subclip.

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Recapturing Sequences
Recapturing a sequence creates new master clips and associated media files
based on the length of each clip edited into the sequence. It breaks any links to
the original source clips, and only the sequence and its new master clips are
linked to the newly captured media files. There are two approaches to
recapturing a sequence:
•

Use Decompose to create a bin of clips, and then batch capture the clips.

•

Recapture the sequence without using Decompose.

Saving Two Versions of a Sequence When Recapturing
To save the original version of your sequence before recapturing, you can
create a duplicate. For example, use this method if you create a sequence at a
low resolution to save storage space and want to recapture the sequence at a
higher resolution while retaining the first version. Avid recommends this
method if you intend to use the Decompose feature.
To make a duplicate of the sequence:

1. Select the sequence in the bin, and select Edit > Duplicate.
2. (Option) Create a new bin by selecting File > New Bin and move the
duplicate sequence into the new bin. This step saves you the confusion of
mingling new sequences and master clips with existing ones, especially
when using Decompose.
Using Decompose When Recapturing
Decompose allows you to create new, shorter master clips based only on the
material you have edited and included in your sequence, which saves system
disk space. You can specify the handle length of the new master clips.
Decompose breaks any links to the original source clips, and only the
sequence and its new master clips are linked to the newly captured media files.
Decompose creates new master clips in the bin for each clip in the sequence
prior to recapturing. Using Decompose gives you greater control during the
recapturing process. You can use this procedure to sort clips in the bin, modify
the clips, and then recapture selected clips in the sequence.

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Recapturing Your Material

For film projects, clips created with Decompose retain all the information
from the original master clips, including Pullin column information, key
numbers, ink numbers, or any other information formerly entered in the bin.
To use Decompose:

1. Activate the bin that stores the sequence and select the sequence.
2. Select Clip > Decompose.
The Decompose dialog box opens.

3. To preserve clips that already have existing media files, select the “Offline
media only” option. Do not select this option if you plan to decompose
and recapture the entire sequence.
4. Select other options for the types of clips to decompose: captured,
imported, or all clips in a group edit.
5. Click the Handle Length text box and type the number of additional
frames you want to capture at the heads and tails of the new master clips.
This provides enough overlap for trimming and adding transition effects.

If you attempt to trim or add effects with no handles, you receive an error
message notifying you that there is insufficient media.
6. (Option) Select the “Extend handles beyond master clip edges” option to
allow the handles to extend before the beginning and after the end of the
original master clip. When you batch capture, deselecting this option
prevents capturing across a discontinuous timecode error.

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For example, if the starting timecode for a master clip is 1:00:10:00 and
the resulting master clip after a decompose with handles causes the new
master clip to begin at 1:00:09:00, batch capturing will fail if there are any
timecode discontinuities between 1:00:09:00 and 1:00:10:00.
7. Click OK.
The new master clips appear in the bin. You can now sort and select these
clips like all other objects in the bin.
8. Proceed with the recapturing procedures described in “Batch Capturing
Clips” on page 153.
Recapturing the Sequence Without Using Decompose
When you recapture the sequence without using Decompose, the capturing
process creates media files for each clip in the sequence during the capturing
process. Bypassing the Decompose procedure saves only a small amount of
time, and you cannot make changes after the media files are created without
repeating the entire procedure. Therefore, review “Using Decompose When
Recapturing” on page 158 before proceeding.
To recapture a sequence:

1. Make sure you selected the proper Capture settings and set up the capture
tools, as described in Chapter 3.
2. Open or activate the bin that stores the sequence.
3. Select Bin > Go To Capture Mode.
4. Select the sequence you want to recapture.
5. Select Clip > Batch Capture.
The Batch Capture dialog box opens.
6. To preserve clips that already have existing media files, select the “Offline
media only” option. Deselect this option if you plan to recapture the entire
sequence.
7. (Option) Select the “All clips in a group edit” option.
8. Click the Handle Length text box and type the number of additional
frames you want to capture at the heads and tails of the new master clips.
This provides enough overlap for trimming and adding transition effects.

c
160

If you attempt to trim or add effects with no handles, you will receive an
error message notifying you that there is insufficient media.

Relinking Clips by Key Number

9. (Option) Select the “Extend handles beyond master clip edges” option to
allow the handles to extend before the beginning and after the end of the
original master clip. When you batch capture, deselecting this option
prevents capturing across a discontinuous timecode error.
For example, if the starting timecode for a master clip is 1:00:10:00 and
the resulting master clip after a decompose with handles causes the new
master clip to begin at 1:00:09:00, batch capturing fails if there are any
timecode discontinuities between 1:00:09:00 and 1:00:10:00.
10. Click OK.
The system prompts you to load the first tape.
11. Load the tape into the tape deck if you have not already done so.
12. Click Mounted to indicate to the system that the correct tape is loaded and
ready for capturing.
A dialog box opens.
13. Click OK to confirm the tape and deck entries.
The system captures each clip from the tape, in start timecode order. If
another source tape is needed, the system prompts for the tape.
You can stop the batch-capturing process at any time by clicking the Trash
button in the Capture tool.
When batch capturing is finished, a message box notifies you that the process
is complete. The new master clips appear in the bin, and associated media files
exist on the targeted drive or drives.

Relinking Clips by Key Number
The film-tape-film-tape (FTFT) relinking feature lets you re-create an offline,
film-originated sequence as a final finished sequence by using the key
numbers of the original film footage. During the offline stage, you capture and
edit footage that was transferred to tape through a one-light or best-light
telecine transfer (FT). During the finishing stage, you batch capture, relink by
key number, and edit footage that was transferred through a second timed,
color-corrected telecine transfer (FT). Alternatively, if you are finishing a
sequence in an online suite and need only an EDL, you do not need to batch
capture the footage. Just import the new shot log, relink to the offline items,
and then create the EDL.

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Relinking by key number eliminates the need for the telecine transfer facility
to match the timecode and pulldown of the second transfer to the timecode of
the first transfer.

For more information about relinking, see “Relinking Media Files” in the
Help.
To relink clips by key number:

1. After you have finished editing the offline sequence, use the FilmScribe
application to create a pull list of the clips used in the sequence. (For
information on using FilmScribe, see the FilmScribe documentation.)
2. Have the telecine facility use the pull list to pull selects from the original
negative and to transfer picture-only footage by using a timed, colorcorrected telecine process. You do not need to transfer audio again. The
telecine facility supplies a new shot log file along with the transfer tape.
3. In your original project, create a new bin.
4. Duplicate the edited offline sequence and move it to the new bin.
At this point, the duplicate sequence is still linked to the original media.

Duplicate your sequence before relinking. If you relink to the original
sequence, you will lose your links to the original media.
5. Process the new log file through ALE and import it into the bin that holds
the duplicated sequence. (For more information, see “Preparing Log Files
for Import” on page 29 and “Importing Shot Log Files” on page 39.)
6. (Option) Batch capture the clips imported from the new log file. Select 1:1
or another high-quality resolution. (For more information, see “Batch
Capturing from Logged Clips” on page 151.)
7. Select the duplicated sequence and the new clips.

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Relinking Clips by Key Number

8. Select Clip > Relink.
The Relink dialog box opens.

9. Click the Relink by pop-up menu, and select “Key Number [KN Start] picture only”.
10. Select the “Relink all non-master clips to selected online items” option.
11. (Option) If you did not batch capture the original clips, select the “Allow
relinking to offline items” option.
12. In most cases, select the “Relink only to media from the current project”
option.
Deselect this option if you know the new clips were captured with a
different project name. Also, if the sequence does not relink to the new
clips, try deselecting the option and relinking again.
13. Click OK.
The new clips are linked to the sequence.

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If you duplicated the offline sequence, the offline sequence is still linked
to the original clips. If you did not duplicate the sequence and you need to
relink to the original clips, follow this procedure.
To relink a sequence to the original clips:

1. Duplicate the sequence.
2. Create a new bin and move the sequence to the bin.
3. Locate the original clips. Look for a bin with the original clips, or use the
Media tool to locate the original clips.

For information on the Media tool, see “Using the Media Tool” in the Help.
4. Copy the clips to the bin that contains the duplicated sequence.
5. Select the sequence and the original clips.
6. Follow steps in the previous procedure.

Modifying the Pulldown Phase After Capturing
If you have captured film-originated clips (NTSC transfer only) that seem to
stutter, the problem could be an incorrectly logged pulldown phase. The
pulldown phase is the video frame at which the master clip starts: A, B, X, C,
or D. You log this pulldown phase in the Pullin column of a bin. To solve the
problem, you need to determine the correct “pullin” frame, modify the clip
information, and recapture the clip.
To check for an incorrect pullin frame:

1. Look for a section of the clip that includes a series of frames with motion.
2. Step through the clip frame by frame (using the Step buttons or another
method) and look for two frames that have no movement.
If the pattern is two frames of movement followed by two frames of no
movement, the pullin is incorrect.
To determine the correct pullin frame, use one of the following
approaches:

164

If the source footage includes burn-in code with the pulldown phase, go to
the start of the clip and look for the pulldown for the first frame.

Modifying the Pulldown Phase After Capturing

If you want to maintain the start timecode for each clip, review the
original tape field by field, using the procedure described in “Entering
Pulldown Information” on page 55.

If you do not need to maintain the start timecode:
a.

Step through the clip frame by frame (using the Step buttons or
another method). Look for two frames that are identical (no
movement).

Think of these frames as frames B and X of a four-frame series.
No movement

Incorrect sequence

Correct sequence

Step backward (either one frame from the B frame or two frames
from the X frame) to locate the correct A frame. Note the last digit of
its timecode. Timecode for all A frames in the clip will start either
with this digit or this digit plus 5. For example, if the A frame has the
timecode 1:00:10:20, timecode for all A frames in the clip will end in
either 0 or 5.
c.

Compare these digits with the last digit of the start timecode (first
frame) of the clip to determine the correct pullin. For example, if the
A frame ends in 0 or 5, and the start timecode ends in 4, the pullin is
D.

d. If the pullin for the clip is the X frame, you need to modify the
timecode to produce a number you can associate with a pullin. For
example, if the A frame ends in 0 or 5, and the start timecode ends in
2, the pullin falls on the X frame and you need to modify the timecode
along with the pullin. Move forward one frame to create a start
timecode ending in 3. Then you can change the pullin to C.

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When you change the timecode of a clip, you lose the key number of the
clip and need to enter it in the bin, adjusting it to match any changes to
the timecode.
After you determine the pullin frame, modify the clip information as follows.
To modify the clip information:

1. In a bin, select the clip you want to modify and press the Delete key.
The Delete dialog box appears.
2. Deselect the option “Delete master clip(s)” and select “Delete associated
media file(s).”
3. Click OK.
The original media file is deleted.
4. Make sure the clip is still selected. Press Ctrl+Shift and choose Unlink
from the Clip menu.
The clip information is unlinked and you can modify the clip information.
5. Type the correct letter for the pulldown phase in the Pullin column. If
necessary, type a new timecode and key number.
For multiple clips, you can use the Modify command or the Modify
Pulldown Phase command. See “Modifying the Pulldown Phase Before
Capturing” on page 58.
With the new clip information in the bin, batch capture the clip. See “Batch
Capturing Clips” on page 153. If the pulldown phase is accurate, the clip
should play smoothly, with no repeated frames.

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This method might not work for some clips that start with either an A frame or
a D frame. If, after you modify the clip as described previously, the clip still
stutters, modify the clip again. This time, if the pullin is A, change it to D. If
the pullin is D, change it to A.

DV Scene Extraction

DV Scene Extraction
While you are capturing, DV Scene Extraction allows you to generate subclips
and locators automatically, based on time-of-day (TOD) information
contained in the DV format.
Discontinuities in the DV TOD metadata indicate each place in a master clip
or subclip where a new take was initiated on a DV camera. Using this feature,
you can capture an entire DV tape as a single master clip and have the system
automatically locate all the takes for you, eliminating the need to manually
log.
You can perform a DV Scene Extraction in two ways:
•

Set up the DV Scene Extraction option before capturing. When capturing
is performed, subclips and locator marks appear in the bin.

•

Perform DV Scene Extraction after capturing. Select those clips in the bin
for which you want to generate subclips and locator marks.

Consider the following:
•

You can perform DV Scene Extraction on any existing clip or subclip in a
bin that has TOD information breaks.

•

DVCPRO format does not provide TOD metadata; you cannot use DV
Scene Extraction with DVCPRO format.

•

DV Scene Extraction does not work on non-DV or audio-only clips.

Setting Up DV Scene Extraction Before Capturing
To set up DV Scene Extraction before capturing:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click Capture Settings.
The Capture Settings dialog box opens.
3. Click the DV Options tab.
4. Select DV Scene Extraction.
5. Select one of the following options:

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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 subclips and locator marks where the TOD information
breaks occur while capturing.

6. Click OK.
7. Select Tools > Capture and then click the Record button.
When capturing has finished, subclips are created with the same source
clip name and the file name extension .sub.01 where TOD information
breaks occurred. Locator marks appear in the master clip where TOD
information breaks occurred.

Setting Up DV Scene Extraction After Capturing
You can use DV Scene Extraction with systems that include the
DV/MPEG option.
To set up DV Scene Extraction after capturing:

1. Open a bin.
2. Click the clip for which you want to create subclips or locator marks.
Ctrl+click to select multiple clips.
3. Select Bin > DV Scene Extraction.
The Capture Settings dialog box opens.
4. Click the DV Options tab.
5. Select DV Scene Extraction.
6. Select one of the following options:
-

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 subclips and locator marks where the TOD information
breaks occur while capturing.

7. If you have chosen to create subclips, select the bin where you want these
subclips stored.

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DV Scene Extraction

To cancel the process, press Ctrl+period.
8. Click OK.
In the bin, subclips are created with the same source clip name and the file
name extension .sub.01 where TOD information breaks occurred. Locator
marks appear in the master clip where TOD information breaks occurred.
If you select a DVCPRO, a non-DV, or an audio-only clip, an error
message appears, informing you that an incompatible clip was selected.
These clips are bypassed during the DV Scene Extraction process.

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Chapter 5
Importing Files

When you import files, the system converts them into objects in a bin. You can
manipulate and edit these objects as you would any other clip or sequence.
Any corresponding media files are stored on a target drive that you specify.
The following sections describe how to import files:
•

Preparing to Import Files

•

Creating and Using Import Settings

•

Importing Files

•

Using the Drag-and-Drop Method to Import Files

•

Importing Photoshop Graphics

•

Importing Editcam Files

•

Reimporting Files

Preparing to Import Files
Before you begin the import process, make sure the system and the files are
ready for import as follows:
•

For graphics file and OMFI (Open Media Framework® Interchange) file
import, prepare the files in advance according to specifications described
in “File Format Specifications” in the Help.

•

For a complete description of all options in the Import Settings dialog
box, see “Import Settings” in the Help.

Chapter 5 Importing Files

Creating and Using Import Settings
You can create one or more sets of import parameters and save them as an
Import setting. For example, you can create one setting for importing
QuickTime® files and another for importing files from AudioVision®. This
feature is especially useful when you use the drag-and-drop method to import
multiple files (see “Using the Drag-and-Drop Method to Import Files” on
page 177).
The default Import setting and any additional Import settings you create
appear in the Settings scroll list (see “Understanding Settings” in the Help).
After you select a setting in the Settings scroll list, the parameters remain the
default settings for all imported files, unless you change them during import.

Creating a New Import Setting
To create a new Import setting:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.

Custom setting
name column

2. Click Import.
3. Select Edit > Duplicate.

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Creating and Using Import Settings

4. Name the setting by clicking the Custom setting name column, typing a
name, and pressing Enter.
5. Double-click the new Import setting.
The Import Settings dialog box opens.
6. Select the appropriate options. See “Import Settings” in the Help.
7. Click OK.
Once you create a new Import setting, you can select the setting whenever you
import a frame, clip, or sequence. For more information, see “Importing Files”
on page 174 and “Using the Drag-and-Drop Method to Import Files” on
page 177.

Modifying an Existing Import Setting
To modify an existing Import setting:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Double-click an Import setting.
The Import Settings dialog box opens.

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3. Select the appropriate options, as described in “Import Settings” in the
Help.
4. Click OK.

Importing Files
You can access files for import from any folder, disk, or drive source mounted
on the desktop, such as a floppy disk, fixed drive, removable drive, or network
server. You can import more than one file at a time, including files of multiple
types.
Consider copying all graphics files to a single folder before you import the
files. Using this folder helps you manage graphics from multiple sources and
streamlines the reimporting process because all graphics point to the same
original path.
For information on
using the drag-anddrop method, see
“Using the Drag-andDrop Method to Import
Files” on page 177.

To import files:

1. If you created one or more Import settings, select the Import setting you
want to use from the Settings scroll list (see “Creating and Using Import
Settings” on page 172).
2. Do one of the following:
t

Double-click Media Creation in the Settings scroll list.

Select Tools > Media Creation.

The Media Creation dialog box opens.
3. Click the Media Type tab.
4. Click the File Format menu, and select the format (MXF or OMF).

If your project uses an HD resolution, you cannot select OMF as a file format.
MXF is selected by default.
5. (Option) Select audio options in the Audio tab to ensure that imported
media matches the current project sample rate and bit depth.
6. Open the bin in which you want to store the imported files.

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Importing Files

7. Select File > Import.
The Select Files to Import dialog box opens.

Look In pop-up menu

Views button

Source file list

File to import
Files of Type pop-up
menu
Options button

Single/Dual Drives button

Video Resolution pop-up menu
Video and Audio Drive pop-up menus

8. Click the Files of Type pop-up menu, and select an import file type to
display only files of the selected file type in the source file list:
t

Select Shot Log to import Avid Log Exchange (.ALE) files containing
clip information to a bin. For more information about Avid log
specifications, see “Avid Log Specifications” in the Help.

Select either Graphic or Audio to import one of more than 30
supported graphics and audio file types. For more information on the
various file types and their import specifications, see “File Format
Specifications” in the Help.

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n
n

Select OMFI to import files that have been saved in the OMFI file
format, such as sequences transferred from an effects or digital audio
workstation.

Select CamCutter to import clips recorded with Editcam™ or
Editcam-station products. See “Importing Editcam Files” on
page 184.

Select AAF to import files that have been saved in the AAF file
format.

(Windows only) Select MetaSync™ Files to import XML files that
have been created by MetaSync Manager. These files must use the
.aeo file name extension. For more information, see “MetaSync” in
the Help.

Avid Media Composer Adrenaline supports 24 MetaSync tracks.
By default, the system displays only file types that belong to the selected
category in the file browser section of the dialog box. Click the Files of Type
pop-up menu and select All Files to display all files in a selected folder,
regardless of file type. Use this option if you want to batch import from
multiple file types.
To import a series of sequentially numbered files, select the first file in the
sequence. To automatically select the entire sequence of files, you must
select the Autodetect Sequential Files option in the Import Settings dialog
box.

For sequentially numbered files (for example, myfile_001.jpg, myfile_002.jpg,
and so on.), the system combines all of the files into one clip.
9. (Option) Click the Options button to adjust the Import settings.
The Import Settings dialog box opens. For a complete description of all
options in the Import Settings dialog box, see “Import Settings” in the
Help.
a.

Select the options you want and click OK to save the settings.

Close the Import Settings dialog box and return to the Select Files to
Import dialog box.

10. Use the Look In pop-up menu (Windows) to locate the folder containing
the source files.

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Using the Drag-and-Drop Method to Import Files

11. Click the Video Resolution pop-up menu, and select a resolution for the
imported media. See “Creating and Using Import Settings” on page 172.
12. Click the Single/Dual Drives button. From the pop-up menu, select a
destination drive for the imported file.
13. Select files or deselect files from the source file list by using the standard
selection methods for your operating system.
14. Click Open.
When the system finishes importing the files, the clips appear in the
selected bin.

Using the Drag-and-Drop Method to Import Files
To import one or more files by using the drag-and-drop method:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Select the setting you want to use for import. Select either the default
Import setting or one you have created.
To view or modify the parameters, double-click the setting. For more
information, see “Creating and Using Import Settings” on page 172.
3. Open the bin in which you want to store the imported files.
4. From the desktop, open the folder that contains the files you want to
import. You might have to resize the application to access the desktop.
5. Click the file you want to import and drag it to the bin. To select multiple
files, Ctrl+click the files and drag them to the bin.

Importing Photoshop Graphics
You can import both single-layer and multilayered graphics created in Adobe
Photoshop®. If you import multilayered graphics, you can preserve the
original layers, and then edit them individually in your Avid application.
This section contains the following topics:
•

Importing Single-Layer Photoshop Graphics

•

Importing Multilayered Photoshop Graphics
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Chapter 5 Importing Files

Importing Single-Layer Photoshop Graphics
A single-layer graphic is a graphic file that was created on a single layer or a
layered graphic that was flattened in Photoshop. The Avid system imports this
kind of graphic as a matte key or master clip, depending on the format of the
Photoshop file.
•

If the graphic uses a transparent background or an alpha channel, the Avid
system creates a matte key.

•

If the graphic uses a background color, the Avid system creates a master
clip.

To import a single-layer graphic, or a multilayered graphic that was
flattened in Photoshop:

Follow the standard instructions for importing a graphic, as described in
“Importing Files” on page 174.

Single-layer files that contain transparency gradients or feathering and a
transparent background do not import correctly. Partially transparent pixels
are displayed with either white or black blended into them, based on the
percentage of transparency. To avoid this problem, create an additional layer
in the original Photoshop file that contains at least one pixel of information,
such as a spot drawn with a paintbrush. Then import it as a layered file, as
described in “Importing Multilayered Files” on page 182. In the message box,
click Select Layers and select only the layer that contains the graphic
elements; do not select the additional layer.

Importing Multilayered Photoshop Graphics
A multilayered graphic is a graphic file that was created in Photoshop with
two or more layers. This section includes the following topics:

178

•

Understanding Multilayered Graphics Import

•

Importing Multilayered Files

You can import multilayered graphics created in Photoshop v6.0 or later.

Importing Photoshop Graphics

Understanding Multilayered Graphics Import
When you import a multilayered graphic, you can import each layer as a
separate object (a matte key or master clip). You can then manipulate
individual layers like any other matte key or master clip. You can also import
the graphic as a flattened image, or select the layers to import.
For example, a graphic artist might create a collage of still images, with a layer
of text. The goal is to edit the collage into a sequence, building it up one image
at a time, and then add the text. The following illustration shows the graphics
and layers in Photoshop.

The Avid system imports each layer as an individual matte key with alpha
channel. In this example, the graphic uses a background image, so the system
creates the background image as a master clip. (If the graphic used a
transparent background, the background layer would be imported as a matte
key.)
The following illustration shows the layers as they appear in a bin.

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During the import, the Avid system creates a sequence with each layer on a
separate video track; this makes it easy to edit all layers into the final
sequence. This sequence preserves the names and order of the layers as
created in the original Photoshop file, as shown in the following illustration.

You can then edit the tracks to build up to the full collage.

Note the following:
•

180

Graphics must be RGB 8 or 16 bits, or grayscale.

Importing Photoshop Graphics

•

Layer order and layer names are preserved during import.

•

Hidden layers are imported as matte keys.

•

Opacity is converted to Foreground level in the Matte Key effect.

•

Text and shape layers are rasterized (converted from vector-based to
bitmap) during import.

Not all layer options and types are supported for import (see “Support for
Photoshop Layer Options” on page 181 and “Support for Photoshop Special
Layer Types” on page 182). For example, a title with a Drop Shadow and an
Outer Glow effect would not keep these effects when imported. To preserve
the effects in these layers, merge them in Photoshop (as described in the
Photoshop documentation) and then import the file.
You can also preserve layer effects and the original structure of the file by
importing the file in two stages:
1. For the first import, click Select Layers and select all layers except the
layers that contain layer effects.
2. For the second import, open Photoshop, hide the layers you’ve already
imported, and show the layers that contain layer effects. During the
import, click Flattened Image. The resulting image contains only the
layers that contain layer effects.
Support for Photoshop Layer Options
Layer Option

Supported

Notes

Blending Mode

To preserve the blending mode (Dissolve, Multiply, and so on),
merge the layer into another layer that does not use a special
blending mode. Only normal mode is supported.

Opacity

Yes

The imported layer’s Level is set to the opacity specified in
Photoshop. You can adjust opacity levels with the Foreground
Level control in the Effect Editor.

Layer Group

Partial

Layer grouping is ignored. All layers, including grouped layers,
are imported as individual layers. To preserve a clipping group,
merge the grouped layers into the base layer.

Layer Set

Partial

All layers within a set are imported as individual layers.

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Support for Photoshop Layer Options (Continued)
Layer Option

Supported

Notes

Layer/Set Mask

Layer and set masks are ignored. To preserve a layer mask, apply
it to the layer. To preserve a set mask, merge the set into an empty
layer. To preserve a special layer’s mask, rasterize the layer.

Layer Style

Layer styles are ignored. To preserve a layer style, you must
convert the style into layers.

Support for Photoshop Special Layer Types
Layer Option

Supported

Notes

Type Layer

Yes

—

Solid Layer

Yes

Solid layers are imported as a graphic with a full-screen opaque
alpha channel.

Gradient Layer

Yes

Gradient transparency is preserved.

Pattern Layer

Yes

—

Adjustment Layer

Adjustment layers include Levels, Curves, Color Balance,
Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient
Map, Invert, Threshold, and Posterize.

Importing Multilayered Files
To import a multilayered Photoshop file:

1. Prepare the Photoshop graphic for import, as described in “Understanding
Multilayered Graphics Import” on page 179.
2. Follow the standard instructions for importing a graphic, as described in
“Importing Files” on page 174. To create the matte correctly, you need to
click the Options button and select Alpha: Invert Existing.
3. After you select one or more files and click Open, a message box opens.

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Importing Photoshop Graphics

If you select a single file, and the number of layers does not exceed
the number of tracks supported by your Avid application, the
following message box opens.

If you select a single file, and the number of layers exceeds the
number of tracks supported, the following message box opens.

If you select multiple files, the following message box opens.

4. In the message box, do one of the following:

Click Sequence of Layers if you want to preserve all layers. If the
number of layers exceeds the number of tracks supported, the Avid
application creates a sequence that contains the number of tracks
supported. Additional layers are imported into the bin, but not as
tracks in a sequence. This selection applies to all files you selected for
import.

Click Flattened Image if you want to import the graphic as a single
matte key or clip. The Avid application flattens the file by combining
the layers. This selection applies to all files you selected for import.

Hidden layers are not combined in the flattened image. Make sure all layers
you want in the final image are visible. In addition, layers with partial
transparency do not display properly in the flattened, imported image. See
“Importing Single-Layer Photoshop Graphics” on page 178.

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Click Select Layers if you want to select which layers to preserve.
The Select Layers dialog box opens.
Select the layers you want to import and click OK. If you select more
than 24 layers, the additional layers will be imported but will not be
included in the sequence.

The Avid application displays messages as it creates media for each layer. At
the end of the process, the objects are displayed in the bin you selected.

The matte keys will be edited into the sequence as downstream keys. In the
Effect Editor, to access parameters such as Position, deselect the Downstream
Key option.You might need to render multiple matte keys. For complete
information on downstream keys and rendering, see “Real-Time and
Downstream Key Effects” in the Help.

Importing Editcam Files
You can import clips recorded with Ikegami® disk-based Editcam™ or
Editcam-station products. The Editcam is a digital news-gathering (DNG)
camera that uses Avid's CamCutter® technology.
To import Editcam files:

1. (Option) Select File > Mount All.
Performing this step in all cases is good practice, but is not necessary if
you performed it previously or if you inserted the FieldPak® before
starting the Avid editing application.
2. Open a bin.
3. Select File > Import.
A dialog box opens.
4. Click the Files of Type pop-up menu (Windows) and select CamCutter.
Select the CamCutter bin as follows:

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From the desktop, select the FieldPak by selecting the FieldPak drive
letter.

Open the bin folder on the FieldPak.

Select the CamCutter bins or select the .spl files to be imported.

Importing Editcam Files

The Outakes.bin contains clips that were discarded by the Editcam operator.
These clips are generally not imported.
5. Ignore the field specifying video resolution to be imported.
6. Ignore the field regarding video and audio drive selection.
7. Proceed with the import operation.
The system displays a dialog box asking you to identify the drives that
contain the media files.
8. Select the FieldPak drive letters as appropriate.

If the drive or volume is not listed, go back to step 1 and follow the procedure
again.
9. Complete the import process.
The Avid system creates entries in the selected bin that reference the clips on
the FieldPak.
For more information on importing files, see “Importing Files” on page 174.
Note the following restrictions:
•

The CamCutter clips are not copied onto a media drive. The Avid
application’s bin references the clips physically located on the FieldPak. If
you remove the FieldPak, the referenced clips will appear as Media
Offline.

•

The FieldPak has limited performance and is used only to record and play
back clips. If multiple streams of video are required to perform advanced
effects, it is possible that the data cannot be supplied fast enough for
proper operation. If this situation occurs, you can do one of the following:
t

Render the effects (see “Rendering Effects” in the Help).

Consolidate the sequence to a valid media drive (see “Consolidating
Media” in the Help).

Import the CamCutter clips as OMFI files. This effectively copies the
clips to a media drive (see ”Import Settings” in the Help.)

For additional information regarding Editcam, CamCutter technology, and
how these systems operate with nonlinear editors, see the Web site
www.nltek.com

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Reimporting Files
If you are working with master clips or sequences that contain imported
material, you can use the Batch Import command to reimport the imported
files. For example, you might want to:

•

Upgrade the video resolution of the imported files to an online resolution
for distribution.

•

Create new media files when the media files are lost or accidentally
deleted.

Reimporting requires your original source file. Do not delete the media
files for imported files unless you have access to the source files.
The Batch Import command allows you to reimport the imported files while
automatically linking the new imported material with the original master clips
and sequences. When you play your sequence after reimporting the files, the
new imported material plays in your sequence.
When you reimport a media file, the entire media file, including all tracks, is
reimported. For example, if only the video track of an imported file that
contains both video and audio was edited into the sequence, the reimport
process will import both the video and audio from the source file.

186

OMFI files can contain only one master clip when you reimport them.

Reimporting Files

Batch Import Dialog Box
The Batch Import dialog box allows you to select a source file for each master
clip that you selected in a bin. Your Avid system finds the source file
automatically if the source file is located in the same folder where you last
imported the file. The Batch Import dialog box opens when you select a
master clip or sequence and select Clip > Batch Import.

Selected
Clips section

Video
Resolution
pop-up
menu
Import Target
section

Import
Options
section

Video Drive
pop-up
menu

Audio Drive
pop-up
menu

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Chapter 5 Importing Files

Selected Clips Section

The Selected Clips section shows the clips you selected for import. The
caption at the top of the section summarizes the total number of clips shown
and how many of them were found and are available to be imported. Clips
displayed in black were found and are imported. Clips displayed in red were
not found in their original location. Use the Set File Location button to find the
source files for clips that were not found. If you select one or more clips and
click the Skip This Clip button, the clips are removed from the list and are not
imported.
Import Target Section

The Import Target section allows you to select a resolution and destination
drives.
•

Video Resolution pop-up menu: Allows you to select a video resolution.

•

Video Drive and Audio Drive pop-up menus: Allow you to select a
destination drive for the media files. To select the same drive for both
audio and video, click the Single/Dual Drives button.

Import Options Section

The Import Options section contains global settings that affect all the files you
are importing.

188

•

Use source compression for OMFI: When selected, the resolution for
OMFI files compressed with native resolution types (4:1s, 3:1, 1:1) is
used. This allows for fast import of these files. When deselected, the
resolution in the Video Resolution pop-up menu is used as the resolution
for import. This option always overrides the OMFI Resolution setting in
the Import Settings dialog box.

•

Override clip settings with current settings: Allows you to change the
Import settings for all imported files. By default, each file imports using
the Import settings from the last time it was imported.

If you change the Import settings by using the Import Options section, the new
settings apply to all the files you are importing.

Reimporting Files

Starting the Reimport Process
To reimport imported files:

1. Mount any removable media drives that held the original graphics.
2. Do one of the following:
t

Double-click Media Creation in the Settings scroll list.

Select Tools > Media Creation.

The Media Creation dialog box opens.
3. Click the Media Type tab.
4. Click the File Format menu, and select the format (MXF or OMF).

If your project uses an HD resolution, you cannot select OMF as a file format.
MXF is selected by default.
5. Open the bin, and select the imported master clips and sequences you
want to reimport.
6. Select Clip > Batch Import.
A message box opens.

7. Click one of the following:
t

Offline only: Reimports only the selected imported master clips that
are missing their media files.

All clips: Reimports all the selected imported master clips. For
example, click this button if you need to change the video resolution
of the imported master clips.

The message box closes and the Batch Import dialog box opens.
8. Click the Skip This Clip button to remove a clip from the list. It will not be
imported.
9. Locate the sources for files that weren’t found by doing the following:

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Chapter 5 Importing Files

Select a clip or clips displayed in red in the Selected Clips section.

Click the Set File Location button.
The Locate File dialog box opens.

Navigate to the location of the source file.
If you select more than one clip displayed in red, the system attempts
to find the rest of the clips in the same folder as the first clip and then,
if not found there, in folders that maintain the same relationship with
the first clip’s folder.
When the clips are found, they are displayed in black.

10. Click the Video Resolution pop-up menu, and select a video resolution for
all the reimported files.
11. Click the Video Drive and Audio Drive pop-up menus, and select a
destination drive or drives for all the media files.
You can separate video and audio onto different drives.
12. (Option) By default, the file is imported using the Import settings from the
last time it was imported. You can change the Import settings for all clips
being imported by doing the following in the Import Options section:
a.

Select the “Override clip settings with current settings” option.

Click the Current Settings button to open the Import Settings dialog
box.

Select the appropriate options.

d. Click OK to close the Import Settings dialog box.
13. Click Import.
The file is imported.

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Chapter 6
Generating Output

The Avid system provides tools for generating output for individual tracks or
entire sequences to various videotape or audiotape formats. In addition, you
can generate an edit decision list (EDL) for use in an online suite and a cut list
for creating film negatives. These options are described in the following
sections:
•

Preparing for Output

•

Video Output Tool

•

Using the Digital Cut Tool

•

Using EDL Manager

•

Using the Matchback Option

•

Using FilmScribe

•

Preserving Information in the Vertical Blanking Interval

Preparing for Output
Preparing for video output involves the following procedures:
•

Render all non-real-time effects in the sequence, as described in “RealTime and Downstream Key Effects” in the Help.

•

Establish a sync source for output, as described in “Establishing Sync for
Output” on page 192.

•

Calibrate and adjust video output levels, as described in “Video Output
Tool” on page 194.

•

Calibrate and adjust audio output levels, as described in “Preparing for
Audio Output” on page 202.

Chapter 6 Generating Output

•

Decide whether you want to generate stereo or mono audio.

•

Mix down multiple audio tracks, if necessary, as described in “Mixing
Down Audio Tracks” in the Help.

•

Prepare the record tapes, as described in “Preparing Record Tapes” on
page 206.

•

(Option) Record reference bars and tone to tape, as described in
“Recording Bars and Tone” on page 207.

•

(Option) Prepare for assemble editing, as described in “Enabling
Assemble-Edit Recording” on page 208.

•

For 24p projects and 25p projects, select from among multiple output
formats, as described in “Selecting Output Formats for 24p and 25p
Projects” on page 225.

•

For HD projects, you can select to crossconvert or downconvert your
sequence. See “Setting Video Output for HD” in the Help..

Establishing Sync for Output
You can use one of the following sources as sync for output:
•

Black burst or house sync through the reference input (REF) of the
Adrenaline DNA

•

Tri-level sync through the HD Tri-Level Sync input of the Adrenaline
hardware

•

Internal timing from the Adrenaline hardware.

The source that you use depends on your production environment and your
project needs.

If you are working in a facility that uses house sync or a black burst
generator to maintain accurate timing between various input and output
devices, you should connect the reference signal to the reference input
(REF) on the Adrenaline hardware before performing a digital cut.
You should connect the sync source before you start the Avid application. If
you connect a sync source while the application is running, you can reestablish
sync by doing one of the following:

192

Quit and then restart the Avid application.

Open the Digital Cut tool.

Preparing for Output

Enter and then exit Capture mode.

To select the sync source:

1. Select Tools > Video Output Tool.
2. Select the sync source from the OutputLock menu: Reference or TriLevel.
If the source you select is not correctly connected, or if the sync generator is
set to an incorrect frame rate, the application will automatically switch to
internal timing.

Avid recommends that you use an external sync source whenever you
record a digital cut to tape. Connect the sync source to both the
Adrenaline hardware and the tape deck.

Selecting Sync for HD Formats
Most HD formats allow you to use either black burst or tri-level as a sync
source. One exception is 1080p/23.976; you cannot use reference for
1080p/23.976. Select the type of sync generator according to the following
table.
Output Sync Options
Project Format
Sync Source

1080i/59.94

720p/59.94

1080p/23.976

1080p/25

1080i/50

Tri-Level frame rate
setting

1080i/59.94

720p/59.94

1080Psf/23.976

1080P/25

1080i/50

Black burst

NTSC

—

PAL

Using LTC Timecode for Output
Your Avid system supports LTC (longitudinal or linear timecode) output. The
LTC OUT connector on the Adrenaline DNA provides SMPTE or EBU
timecode you can use as a sync source for decks with built-in synchronizers or
to stripe a destination tape. You can also use LTC to record non-drop-frame

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Chapter 6 Generating Output

timecode for downstream encoding. See “Outputting Drop-Frame and NonDrop-Frame Timecode Simultaneously for Downstream Encoding” on
page 229.

Video Output Tool
Use the Video Output tool to set options for the video output signal. Select the
SD tab for standard-definition sequences, and select the HD tab for highdefinition sequences.
For information on these options, see the following topics:
•

Calibrating for Video Output

•

Establishing Sync for Output

•

Preserving Information in the Vertical Blanking Interval

Calibrating for Video Output
You can calibrate for video output by using any of the following methods:

194

Before you calibrate video output for an NTSC-EIAJ project (for Japan),
make sure the “NTSC Has Setup” option is not selected in the General
Settings dialog box, accessed from the Settings scroll list of the Project
window.
•

Calibrating for video output by using the factory presets: You should
use the factory presets if you do not have an external Waveform monitor,
or your site engineers calibrate the system as a general maintenance
procedure. See “Using the Factory Preset Buttons” on page 195.

•

Calibrating for video output: All users can follow the steps for
calibrating video output, as described in “Basic Video Output Calibration”
on page 195.

•

Calibrating/syncing output signals in a production facility: Advanced
users and house engineers should follow the steps for adjusting and
conforming output signals to house standards, as described in “Advanced
Video Output Calibration” on page 200.

Video Output Tool

Using the Factory Preset Buttons
The preset buttons in the Video Output tool show the status of each Calibration
setting as follows:
• When the Video Output tool opens the first time you run the application,
all preset buttons are lit (green), with the factory presets loaded for each
slider.
•

When you click a slider of a lit preset button, the button dims (appears
gray), and the slider returns to the most recent manual level setting.

•

When you click an unlit preset button, it becomes lit (green), and the
slider moves to the factory preset level for that parameter.

As you adjust levels in the tool, you can switch the preset buttons between the
levels you set manually and the factory preset levels.
Basic Video Output Calibration
You can perform basic output calibration when working with a standalone
editing workstation or in a production environment that does not require
advanced calibration of horizontal phase or use of test patterns according to
specific house standards.

Calibrating video output requires external Waveform and Vectorscope
monitors. If you do not have external Waveform or Vectorscope monitors, keep
the Video Output tool preset values.

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To calibrate for video output:

1. Select Tools > Video Output Tool.
The Video Output tool opens.

2. Click the SD or HD tab, depending on the project format.
3. From the Output menu, select the video signal for your output device:

196

For SD, select either Component, Composite, or SVideo.

For HD, select HD Component. Then from the Component Format
menu, select YPbPr (the default) or RGB.

Video Output Tool

The Video Output tool does not display basic calibration controls for Serial
Digital, DV, or HD-SDI. All basic levels remain in digital form and cannot be
adjusted from within the Avid application. For H-phase adjustment of a Serial
Digital output signal, see “Calibrating the System with Passthrough Signals”
on page 201.
The Video Output tool displays the appropriate parameters for the selected
video format, as described in the following table.
Video Format Output Parameters

Parameter

Video Formats

Description

H Phase

SVideo, Component
and Composite

See “Calibrating the System with Passthrough Signals” on page 201.

Hue

SVideo and
Composite

An attribution of color perception based on varying proportions of
red, green, and blue in the video signal. Also known as color phase.

Sat

SVideo and
Composite

Saturation: a measurement of chrominance or the intensity of color in
the video signal.

SC Phase

SVideo and
Composite

Subcarrier phase: The color-burst portion of a composite or S-Video
signal used to synchronize the timing of two or more video signals.

Brightness

SVideo and
Composite

Brightness is the relative lightness or darkness of the image.

Contrast

SVideo and
Composite

The variation of the lightest or brightest in comparison to the darkest
portions of the image.

SubPixel
HPhase

SVideo, Component
and Composite

A fine adjustment of Horizontal phase.

Y Gain
YCbCr Gain

Component
HD Component

A measurement of luma (Y) in the video signal that is the whitest
point in the visible picture. Color bars are used to set the white level.

RY Gain

Component
HD Component

The red (R) minus luminance (Y) color-difference signal of an
analog component system in the SMPTE NTSC video standard. The
signal consists of the following base equation for red (R), green (G),
and blue (B) components:
R–Y = –0.587G – 0.114B + 0.701R

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Chapter 6 Generating Output

Video Format Output Parameters (Continued)
Parameter

Video Formats

Description

BY Gain

Component
HD Component

The blue (B) minus luminance (Y) color-difference signal of an
analog component system in the SMPTE NTSC video standard. The
signal consists of the following base equation for red (R), green (G),
and blue (B) components:
B–Y= (–0.587G + 0.886B – 0.299R) * gain value

VBI

(Vertical Blanking Interval) Instructs the system to preserve or blank
5 lines above each field in NTSC and 8 lines above each field for
PAL when you when you display a sequence or perform a digital cut.
These lines are used to store additional encoded information such as
closed captioning, edgecodes or key numbers for film projects, or
various interactive or enhanced TV codes.
•

Blank — Blank the VBI information when the system performs a
digital cut. This option also allows you to turn off the display of
VBI information.

•

Preserve — Preserve the VBI information for a digital cut. This
option also allows you to turn on the display of VBI information
after a Blank command has been issued.

If your facility uses VBI information, you add the VBI information to
the video before the footage is captured by the Avid system. The
system automatically captures VBI information when you capture
footage, The VBI option in the Video Output tool allows you to
preserve the information when you output your sequence.
cannot preserve VBI information for DV or HD
c You
resolutions. You can only preserve VBI information for
JFIF, uncompressed, and MPEG IMX resolutions.
By default the system does not display VBI information and does not
preserve the information for digital cuts. The system fills the vertical
blanking interval with video black (R=G=B=16).
Only preserve these extra lines if you have a specific need for the
information. For more information see “Preserving Information in
the Vertical Blanking Interval” on page 238.
The VBI value resets to Blank each time you launch the application.
If you want to preserve VBI information, set the value before you
perform a digital cut.

4. Display color bars for calibrating:

198

Video Output Tool

If you edited digital bars and tone into the sequence, go to the head of
the bars and tone and click Play.

You can use internal bars from the Video Output tool by clicking the
Test Patterns pop-up menu, and selecting either SMPTE_Bars,
(SMPTE standard bars), ColorBars (full-field bars at 75% level), or
ColorBars_100 (full-field color bars at 100% level).

Bars are displayed on the Client monitor, and the signal appears on the
external Waveform and Vectorscope monitors.

The internal Waveform and Vectorscope monitors do not display output
signals from the system.
5. Adjust luminance values based on the following table.
Luminance Settings for Video Output

Parameter/
Video Standard a

Black level (setup)

SMPTE Bars

Full-Field Bars at
75% Signal Level

Full-Field Bars at
100% Level

Adjust Black or
Brightness slider to
place black level at:

Adjust Black slider to
Adjust Black or
Brightness slider to place place black level at:
black level at:

Video Standard:
NTSC
7.5 IRE
NTSC-EIAJ 0.0 IRE
PAL
NAb
White level (gain)

Adjust Video/Y Gain
slider to place white
level at:

7.5 IRE
0.0 IRE
0.3 V

Adjust Video/Y Gain
Adjust Video/Y Gain
slider to place white level slider to place white
level at:
at:

Video Standard:
100 IRE
NTSC
NTSC-EIAJ 100 IRE
NAb
PAL

100 IRE
100 IRE
1.0 V

a. Includes NTSC-EIAJ used in Japan.
b. NA = Not applicable.

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Chapter 6 Generating Output

6. Adjust the Hue and Sat slider (composite or S-Video output), or the RY
Gain and BY Gain sliders (component output) until the angle and
amplitude of the six color vectors fall within the target boxes on the
Vectorscope monitor.
7. Select from the VBI menu to preserve 5 lines above each field in NTSC or
8 lines above each field for PAL.
8. Select Internal, Reference, or Tri-Level from the OutputLock menu to
lock your output connection to the appropriate signal.

n
n

Sync for output comes from the reference input (REF) or HD Tri-Level Sync
input on the Adrenaline DNA or from internal timing. For more information,
see “Establishing Sync for Output” on page 192.
If you do not have separate Vectorscope and Waveform monitors, you can use
the Client monitor’s “blue only” feature, if available, to adjust SC phase
output. For more information on this feature, see your monitor’s
documentation.
9. Save this setting by clicking the Settings pop-up menu, selecting Save As,
typing a name, and clicking OK.

Output settings are Site settings, available to all users and all projects on the
system.

Advanced Video Output Calibration
Advanced users and site engineers can use the following procedures to finetune output signals by using various test patterns and phase control. You can
also adjust output by using the passthrough signal from an input device.
Using Test Patterns

Use the pop-up menu of test patterns to calibrate the system output.
To display a test pattern:

200

In the Video Output tool, click the Test Patterns pop-up menu, and select a
pattern.

Video Output Tool

Calibrating the System with Passthrough Signals
If you work in a production environment in which house standards are used to
synchronize a number of devices including the source decks connected to your
Avid system, you can calibrate the system one time to conform to existing
standards with the least amount of alteration of the signal. This method
involves the use of a passthrough signal (a signal that gets sent directly from
an input source through to the output channels).
This advanced form of calibration is an alternative to Video Input tool
Calibration settings for each source tape, and involves calibrating tapes at the
source device, using external time-base correction. You need both a signal
generator and external Waveform and Vectorscope monitors to calibrate the
system with passthrough.
To calibrate using a passthrough signal:

1. Connect a source signal with a test pattern from a signal generator.
2. Select Tools > Video Input Tool.
The Video Input tool opens.
3. Click the Input pop-up menu, and select a video format.
The selected input provides the passthrough signal.
4. Calibrate the input if necessary by using the Video Input tool, as described
in “Calibrating Video Input” on page 116.
5. Save the input calibration settings as the system Default setting, as
described in “Saving Video Input Settings” on page 122.
6. Select Tools > Video Output Tool.
The Video Output tool opens.
7. Select Tools > Capture Tool.
The Capture tool opens.
With the Capture tool active, the input signal passes through to the output
channels.
8. Select an output format in the Video Output tool.

You can precisely match only one output format at a time in phase to the
reference signal. In most cases, you should select either Composite or Serial
Digital.

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9. Calibrate any of the available controls in the Video Output tool while
checking the external Waveform and Vectorscope monitors. For example,
composite output provides Gain, and Saturation controls.

For more information on using the Video Output tool, see “Video Output Tool”
on page 194.
10. In the Video Output tool, click the Test Patterns pop-up menu, and select a
test pattern.
The test pattern appears and is sent to the output channels (the input signal
is no longer passed through). Additional controls are enabled in the Video
Output tool for phase control.
11. Make any necessary adjustments to H phase, SC phase, and Hue by using
the sliders in the Video Output tool while checking the external Waveform
and Vectorscope monitors.

Whenever the Capture tool is active, hue, horizontal phase (H phase), and
subcarrier phase (SC phase) are set to values determined by the input circuitry
and are not available to control the outputs. Therefore, these controls appear
dimmed during passthrough.
12. Save this setting with an appropriate name by clicking the Settings pop-up
menu in the Video Output tool, selecting Save As, typing a name, and
clicking OK.
The Video Output setting, a Site setting, applies to all users and all projects on
the system. The Video Input setting you saved and named Default is recalled
each time a new tape is loaded for capturing in the current project only.

Preparing for Audio Output
The Audio tool allows you to generate and customize calibration tone, and to
adjust global output levels. For information on additional audio mix
procedures such as adjusting volume and pan or mixing down selected tracks,
see “Exploring the Audio Tools” in the Help.
The Avid system supports direct output of up to eight channels of audio,
depending upon your system’s configuration.

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Video Output Tool

Setting the Calibration Tone
The Audio tool provides an internal calibration tone you can customize and
play as a reference signal on a digital cut. You can use the recorded reference
signal for calibrating the digital cut audio at another site.
The default tone playback is –20 dB (digital scale) with a 1000-Hz signal. In
some cases, you might need to customize the signal. For example, a common
reference signal convention for audio work involves recording 30-second
segments of 1-kHz, 10-kHz, and 100-Hz tone back-to-back.
For information on creating tone media, see “Creating Tone Media” on
page 108.
To change the parameters for the calibration tone:

1. Select Tools > Audio Tool.
The Audio tool opens.
2. Click the PH (Peak Hold) pop-up menu, and select Set Calibration Tone.
The Set Calibration Tone dialog box opens.

3. Type new values for the tone level and frequency text boxes, and click
OK.
To play back the tone:

Click the PH (Peak Hold) pop-up menu, and select Play Calibration Tone.

To check the adjusted tone level in the meters:

Switch the In/Out toggle buttons to O for Output.

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Chapter 6 Generating Output

Calibrating Global Output Levels
You can use the meters in the Audio tool and the Output Control slider (master
attenuator) in the Output tab in the Audio Project Settings dialog box to make
global level adjustments for output from the system. These adjustments affect
levels for all output tracks to both the speakers and record devices.

You should leave this output level at the factory preset of 0 dB. Adjust the
level only when necessary to raise or lower the overall volume, based on
the headroom parameters of the record format, or for consistently
overmodulated or undermodulated source material.

Adjusting Audio Output
To adjust global audio output:

1. In the Project window, click the Settings tab.
The Settings scroll list appears.
2. Double-click Audio Project.
The Audio Project Settings dialog box opens.
3. Click the Output tab.

Bypass panel
Mix Mode Selection
Menu button
Stereo Mix Tracks
pop-up menu

Output Control slider
(master attenuator)

204

Which
Set of
Track
Maps
button

All or Timeline Track
Maps pop-up menu

Output Track
Maps

Channel Assignment
pop-up menu

Video Output Tool

4. Click the Mix Mode Selection Menu button, and select a type of output.
-

Select Stereo to mix the currently monitored audio tracks into a stereo
pair.

Select Mono to pan all the currently monitored tracks to center.

Select Direct Out to map monitored tracks directly to up to eight
channels of output (depending on your hardware configuration). 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 a Channel Assignment pop-up menu and by selecting another
channel.

5. (Option) Depending on your type of output, you can make additional
adjustments:
-

By default, Stereo directs the mixed tracks to output channels 1 and 2.
You can also direct mixed tracks to output channels 3&4, 5&6, or
7&8.

You can select All or Timeline from the All or Timeline Track Maps
pop-up menu above the track and channel selectors buttons as
follows:
Timeline allows you to assign output channels to the tracks
monitored in the Timeline.
All allows you to select between all available tracks.

If you want to map output channels to audio channels not listed in the Output
Tracks Maps area, click the Which Set of Track Maps button to display other
available audio tracks. The maximum number of available tracks is 24.
-

You can select Clip Gain, RT EQ, or Auto Gain in the Bypass panel to
disable the customized volume, real-time EQ, or automation gain
effects you applied with the other audio tools.

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Chapter 6 Generating Output

6. Select Tools > Audio Tool.
The Audio tool opens.

Reset Peak
button

Peak Hold Menu button
In/Out toggle buttons

7. Click the In/Out toggle buttons above the meters to display O for Output.
8. Play back one of the following sources of reference audio by doing one of
the following:
t

Click the Peak Hold (PH) Menu button, and select Play Calibration
Tone.

Play back a representative sequence or clip containing audio.

9. Watch the levels in the meters, and adjust the master attenuator to the level
that you want.

To adjust levels for individual tracks, use the Audio Mix tool.
10. Close the Audio tool.
11. Close the Audio Project Settings dialog box.

Preparing Record Tapes
There are two basic methods of recording to tape: frame-accurate recording by
using the Digital Cut tool, and manual recording by using controls on the
record deck. Each of these methods requires different treatment of the record
tapes.
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Video Output Tool

Frame-Accurate Recording
Frame-accurate recording involves using the Digital Cut tool to record your
sequence onto either a prestriped tape (a tape with prerecorded control track
and timecode) or a partially striped tape.
Before you can record a frame-accurate digital cut, you must prepare the
record tapes in advance by using one of the following options:
•

If you intend to perform assemble-edit recording, you must record black
with timecode onto the tape including the necessary preroll prior to the IN
point plus at least 10 seconds (partially striped tape).

•

If you intend to perform insert-edit recording, you must stripe the record
tapes (record black and timecode for the entire duration of the tape) in
advance (prestriped tape).

For complete instructions on recording a frame-accurate digital cut, see
“Using the Digital Cut Tool” on page 209.

n
n

The Avid system supports LTC output for recording onto tapes. For more
information, see “Establishing Sync for Output” on page 192.
DV cameras or decks controlled through a 1394 connection do not support
commands for frame-accurate recording. As a result, if you are preparing to
record to one of these devices, you can use the Digital Cut tool in either Local
mode or Remote mode, but all tracks are enabled for recording and cannot be
modified.

Recording Bars and Tone
You can record a portion of bars and tone onto the tape before recording a
digital cut. There are two methods of recording bars and tone to tape:
•

If your recording must be frame accurate, consider adding a segment of
digital bars and tone to the front of your sequence, or prepare it as a
separate sequence you can record by using the Digital Cut tool. For more
information, see “Importing Color Bars and Other Test Patterns” in the
Help.

•

If your recording does not need to be frame accurate, you can manually
record direct output of bars and tone from your Avid system.

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Chapter 6 Generating Output

To manually record bars and tone:

1. Select Tools > Video Output Tool and Tools > Audio Tool.
2. In the Video Output tool, click the Test Patterns pop-up menu, and select a
color bars pattern.
3. In the Audio tool, click the PH (Peak Hold) pop-up menu, and select Play
Calibration Tone (see “Setting the Calibration Tone” on page 203).
4. Set the record deck to Local for manual recording.
5. Record the bars and tone as either an insert or assemble edit according to
the operation of your record deck and selected method. Your deck must be
capable of frame-accurate editing to perform this step.
For information on creating your own tone media, see “Creating Tone Media”
on page 108.

Enabling Assemble-Edit Recording
Insert editing is the default setting for the Digital Cut tool. You can also use
Assemble-Edit settings in the Avid application, along with the assembleediting capabilities of your record deck, to quickly record frame-accurate
digital cuts without striping entire tapes in advance.

c
n

To avoid accidentally breaking timecode on prestriped tapes during
digital cut recording, enable assemble editing only when in use, and
disable it during normal insert edit recording.
DV cameras or decks controlled through a 1394 connection do not support
commands for frame-accurate recording. As a result, if you are preparing to
record to one of these devices, you can use the Digital Cut tool in either Local
mode or Remote mode, but all tracks are enabled for recording and cannot be
modified.
To enable assemble editing:

1. Double-click Deck Preferences in the Settings scroll list of the Project
window.
The Deck Preferences dialog box opens.
2. Select the “Allow assemble edit for digital cut” option.
3. Click OK.

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Using the Digital Cut Tool

Once assemble editing is enabled, you select additional options in the Digital
Cut tool when you are ready to record, as described in “Recording a Digital
Cut to Tape (Remote Mode)” on page 214.
These switches are
often located below the
deck’s playback control
buttons. For more
information, see the
documentation
provided with your
record device.

In addition, make sure the record deck has the following settings:
•

The free run/rec (record) run switch should be set to record run.

•

The Ext (external)/Int (internal) sync switch should be set to internal.

•

The switch for internal timecode should be set to Regen (regenerate) or
Slave Lock, not Preset.

•

After you record 15 to 30 seconds of timecode onto the record tape for
jam syncing, return the Local/Remote switch to Remote for deck control
from within the Avid application.

Using the Digital Cut Tool
The Digital Cut tool provides controls when you record a sequence to tape.
The Digital Cut tool has the following operating modes:
•

Remote mode allows you to control the record deck by using the deck
controller in the Digital Cut tool. This mode provides frame-accurate
control when you record a sequence to tape. See “Recording a Digital Cut
to Tape (Remote Mode)” on page 214.

•

Local mode allows you to manually control the record deck by using the
controls on the deck. This mode is useful when you need to use non-Avidcontrolled decks, such as consumer-grade VHS or Hi8. “Recording a
Digital Cut to Tape (Local Mode)” on page 217.

You can use either Remote mode or Local mode to preview the output of a
digital cut before recording it to tape. See “Previewing a Digital Cut” on
page 213.
You can manually record a digital cut, but the recording is not frame accurate.
See “Preparing Record Tapes” on page 206.

Sync for output comes from the reference input (REF) or HD Tri-Level Sync
input on the Adrenaline DNA, or from internal timing. For more information,
see “Establishing Sync for Output” on page 192.
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Chapter 6 Generating Output

The Digital Cut tool provides several options for you to manage the recording
of your sequence. For example, you can:
•

Record by using either assemble edit, insert edit, or crash record.

•

Record a selected portion of the sequence or selected tracks.

•

Record an entire sequence.

•

Record according to different timecode parameters.

•

Select the sequence video and audio tracks to record (Sequence Track
buttons).

•

Have the system locate real-time effects with dropped frames.

•

Select the tracks to record to on the tape (Enable Track button – Remote
mode only).

•

Add black at the end of a digital cut.

In Remote mode, the Digital Cut tool includes its own deck controls for:
•

Cueing a record deck from the Digital Cut tool.

•

Cueing the tape and adding an IN point. This capability applies when you
click the pop-up menu in the deck control area, and select Mark In Time.

The Mark OUT button does not appear in the deck controller section of the
Digital Cut tool because it has no effect on digital cuts. Also, the Mark OUT
and Duration text fields are read-only. You cannot alter them.

210

Depending on the system configuration, you might need to use the deck
controls in the Capture tool to review a digital cut.

Using the Digital Cut Tool

Sequence Track buttons

Play Digital Cut button

Enable Track buttons

Preview Digital Cut button

Halt Digital Cut button

Deck
control
area

Deck controls

Deck Selection pop-up menu

Timecode text boxes

Selecting a Deck in the Digital Cut Tool
The Deck Selection pop-up menu in the Digital Cut tool contains a list of all
decks that were connected to the system, turned on, and initialized when you
opened the Digital Cut tool.

Adjust Deck opens the Deck Settings dialog box. Changes you make
apply to the selected deck. For information on Deck settings, see “Deck
Settings” in the Help.

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Chapter 6 Generating Output

•

Auto-configure allows you to automatically configure the selected deck
with the default deck settings for that deck.

•

Check Decks helps to reestablish deck control if the power to your decks
was off or the decks were disconnected when you opened the Digital Cut
tool.

If the words “No Deck” appear in the pop-up menu, you need to configure a
deck in the Deck Configuration dialog box. See “Configuring Decks” on
page 80.
If a deck name appears in italics on the pop-up menu, the deck has lost power
or has been disconnected. Click the pop-up menu, and select Check Decks to
reestablish deck control.
To activate an available deck for a digital cut:

Click the Deck Selection pop-up menu, and select the deck.

Using ExpertRender to Prepare Effects for a Digital Cut
Real-time effects might exceed the capabilities of your CPU and cause
dropped frames during a digital cut. You can choose to have the Avid
application select and render effects that might cause dropped frames.
To prepare effects for a digital cut:

1. Load the sequence you want to output.
2. Open the ExpertRender dialog box:

212

Select Clip > ExpertRender at Position.

Right-click in the Timeline, and select ExpertRender at Position.

Using the Digital Cut Tool

The ExpertRender dialog box opens.

3. Select “Prepare effects for Digital Cut,” and then click OK.

Previewing a Digital Cut
You can preview your digital cut in Remote mode or Local mode before
actually making the cut.

You can manually record a digital cut, but the recording is not frame accurate.
For more information, see “Preparing Record Tapes” on page 206.
To preview a digital cut:

1. Select Output > Digital Cut.
The Digital Cut tool opens.
2. Select Remote or Local in the Deck Control options area.
3. Select the options you want for the digital cut.
4. Select the audio tracks and topmost video track you want represented in
the digital cut preview by using the Sequence Track buttons.
The track display in the Digital Cut tool varies according to the tracks
existing in the sequence.
5. Click the yellow Preview Digital Cut button.

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Chapter 6 Generating Output

The Digital Cut tool goes through the motions of an insert edit and shows you
how the tape will appear before, during, and after the cut, but does not actually
change the master tape. You can then modify your digital cut, if you want,
before it is committed to the master tape.
To stop the preview at any time, press the space bar or click the Halt Digital
Cut button.

Recording a Digital Cut to Tape (Remote Mode)
Recording in Remote mode allows you to control your record deck by using
the deck controller in the Digital Cut tool. This mode provides frame-accurate
control when you record a sequence to tape.
Prior to recording a digital cut, make sure you have selected the appropriate
device.
To select a device for a digital cut, do one of the following:

Click the DNA or 1394 button in the Timeline top toolbar to display either
DNA or 1394.

Select Special > Device > IEEE 1394 or Adrenaline.
The appropriate icon displays in the Timeline top toolbar, and a check
mark appears next to to the selected option in the Device menu.

To record a digital cut to tape:

1. Load a sequence into the Record monitor. (You cannot access digital cut
options without a sequence loaded.)
2. Select Output > Digital Cut.
The Digital Cut tool opens.
3. Select the Output Mode and Bit Depth according to the “Output Mode
Resolution Options” on page 220.
4. Select or deselect the Entire Sequence option based upon the following:

214

Select the Entire Sequence option if you want the system to ignore
any IN or OUT points and to play the entire sequence from start to
finish.

Deselect the Entire Sequence option if you have established an IN
point, an OUT point, or both for recording a portion of the sequence.

Using the Digital Cut Tool

5. Click the Effect Safe Mode button (selected by default) to allow the
system to notify you that an effect needs to be rendered.
During a digital cut, real-time effects can drop frames. To eliminate the
chance of dropping frames, it’s best to render the real-time effects that
might drop frames. The Effect Safe Mode option analyzes and identifies
real-time effects that might cause dropped frames during the digital cut
and allows you to render them. After all the real-time effects are rendered,
the system automatically initiates the digital cut.
6. (Option) Select Stop on Dropped Frames. This option appears for all realtime digital cuts if you have an Avid Adrenaline or a DV device attached
to your 1394 port. When you select this option, if the system detects a
dropped frame during output, the digital cut stops. You can fix the frame
with ExpertRender and then continue. For more information, see
“ExpertRender” in the Help.
7. (Option) Select the Add Black at Tail option and enter a duration to add
black at the end of the digital cut.
8. Click the Deck Selection pop-up menu, and select a deck. See “Selecting
a Deck in the Digital Cut Tool” on page 211.
9. Select Remote in the Deck Control options area.
10. Click the pop-up menu, and select either Insert Edit or Assemble Edit.
This menu appears only if you enabled assemble editing in the Deck
Preferences dialog box. For more information about this option, see
“Enabling Assemble-Edit Recording” on page 208.

DV cameras or decks controlled through a 1394 connection do not support
commands for frame-accurate recording. As a result, if you are preparing to
record to one of these devices, you can use the Digital Cut tool in either Local
mode or Remote mode, but all tracks are enabled for recording and cannot be
modified.
11. Click the pop-up menu in the Deck Control options area, and select an
option to indicate where to start recording on the tape.
t

Select Sequence Time to start the recording at a timecode existing on
tape that matches the start timecode of the sequence. If you intend to
record several sequences to tape one after another, this option requires
resetting the start timecode on each sequence to match appropriate IN
points on the tape.

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Chapter 6 Generating Output

Select Record Deck Time to ignore the timecode of the sequence and
to start the recording wherever the record deck is currently cued.

You can change the start timecode to match the record tape by using the Get
Clip Info command. For more information, see “Changing the Sequence Name
and Timecode” in the Help.
t

Select Mark In Time to ignore the sequence timecode. Establish a
specific IN point on the record tape by cueing and marking with the
deck controls.
Timecode text box

12. (Option) Select the Custom Preroll option, click the pop-up menu, and
select the number of seconds to indicate how many seconds the tape rolls
before the digital cut starts. This option overrides the Preroll setting in the
Deck Settings dialog box.
13. Select the audio and video tracks you want represented in the digital cut
by using the Sequence Track buttons. The display of tracks in the Digital
Cut tool varies according to the tracks existing in the sequence.
14. Select the video and audio tracks to record to on the tape by using the
Enable Track buttons.
15. For 23.976p, 24p, and 25p projects, select an output format as described in
“Selecting Output and Timecode Formats for 23.976p, 24p, and 25p
Projects” on page 225.

Make sure you connect the correct deck and black burst generator for the
output format you selected (NTSC or PAL).
16. Click the Play Digital Cut button or the Preview Digital Cut button.
The system cues the record deck, then plays and records the sequence.
The playback appears in the Record monitor and in the Client monitor.

Depending on the system configuration, you might need to use the deck
controls in the Capture tool to review a digital cut.
17. To stop the recording at any time, press the space bar or click the Halt
Digital Cut button.

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Using the Digital Cut Tool

n
n

After assemble-edit recording, a freeze frame is usually added after the OUT
point for 1 second or more, depending upon the record deck model. This
provides several frames of overlap for the next IN point before the control
track and timecode break up.
If you see degraded image quality in your digital cut (particularly visible as
noise during black), deselect the “Poll deck during digital cut” option in the
Deck Preferences dialog box, which you access from the Settings scroll list of
the Project window. Then record the digital cut again. With the option
deselected, the timecode display in the deck controller will not update for the
duration of the digital cut.

Crash Recording
You can crash record to a device without positioning the device beforehand.
Crash record can either start recording at the current location or it can work
with a starting timecode.
To perform crash record to devices that do not support insert edit or
assemble edit:

1. Prepare for Digital Cut as described “Using the Digital Cut Tool” on
page 209.
2. In the Deck Control area, select Remote.
3. Crash Record appears in the right pop-up menu.
4. Do one of the following:
t

To ignore the starting timecode and start recording at the current
location, select Ignore Time from the left pop-up menu.
If you select one of the timecode options for which your device is not
equipped, a message box appears.

To begin recording at a starting timecode, select a timecode option
from the left pop-up menu.

Recording a Digital Cut to Tape (Local Mode)
Recording in Local mode allows you to manually control your record deck by
using the controls on the deck. This mode is useful when you need to use nonAvid-controlled decks, such as consumer-grade VHS or Hi8.

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Chapter 6 Generating Output

Prior to recording a digital cut, make sure you have selected the appropriate
device.
To select a device for a digital cut, do one of the following:

Click the DNA or 1394 button in the Timeline top toolbar to display either
DNA or 1394.

Select Special > Device > IEEE 1394 or Adrenaline.
The appropriate icon displays in the Timeline top toolbar, and a check
mark appears next to the selected option in the Device menu.

To record a digital cut to tape by using the deck controls on the deck:

Select the Entire Sequence option if you want the system to ignore
any IN or OUT points and play the entire sequence from start to
finish.

Deselect the Entire Sequence option if you have established an IN
point, an OUT point, or both for recording a portion of the sequence.

Using the Digital Cut Tool

7. (Option) Select the Add Black at Tail option and enter a timecode to add
black at the end of the digital cut.
8. Select Local in the Deck Control options area.
9. Click the Sequence Track buttons to select the audio and video tracks you
want represented in the digital cut. The display of tracks in the Digital Cut
tool varies according to the tracks existing in the sequence.
10. For 23.976p, 24p, and 25p projects, select an output format, as described
in “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p
Projects” on page 225.

Make sure you connect the correct deck and black burst generator for the
output format you selected (NTSC or PAL).
11. Press the Record button on the deck.
12. Click the Play Digital Cut button.
The deck plays and records the digital cut. The playback appears in the
Record monitor and in the Client monitor.
13. To stop the recording at any time, press the space bar or click the Halt
Digital Cut button.

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Chapter 6 Generating Output

Output Mode Resolution Options
The output mode pop-up menu in the Digital Cut Tool displays the relevant
resolution options depending on your project type and the output device. The
connected output device is displayed in the Digital Cut Tool.

Connected
Output Device
Output Mode
Resolution
Options

Bit Depth
Options

The following table provides information on the available output resolutions.

220

Using the Digital Cut Tool

Output Mode Resolution Options
Project Type

Device

Available Output Mode
Resolution and Bit Depth

30i and 25i, or
25p SD Project

Adrenaline

RTa DNA (8-bit or 10-bit)
RT DV25 (8-bit or 10-bit)

DV25b

Comments

With RT DNA selected, RT DNA
allows you to output through the
following connectors: Composite,
SVideo, Component, SDI, or
DNA-1394.
With RT DNA selected, output is
1:1 uncompressed.
With RT DV25 selected, full realtime effects playback is
supported.
With DV25 selected, real-time
effects playback is not supported.
All media must be DV25.

24p or 23.976p
SD Project

Adrenaline

RT DNA (8-bit or 10-bit)

30i, 25i, or 25p
SD Project

Separate
IEEE 1394
board

RT DV25 (8-bit or 10-bit)b
RT DV50(8-bit or 10-bit)b
DV25b
DV50b

With DV50 selected, real-time
effects playback is not supported.
All media must be DV50.

HD Project

Adrenaline
HD

DNxHD

Does not support real-time effects
playback. All media must be
DNxHD.

HD Project

Separate
IEEE 1394
board

DVCPRO HD

Does not support real-time effects
playback. All media must be
DVCPRO HD.

RT DV25 (8-bit or 10-bit)b

a. RT indicates real-time effects playback is supported.
b. There are restrictions for progressive formats. See “Output Mode Resolutions with Progressive Projects” on
page 222.

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Chapter 6 Generating Output

Performing a digital cut to a serial-controlled deck might not be
frame-accurate if the output resolution is set to RT DV25 or DV25. When
performing a digital cut to a serial-controlled deck, set the output resolution to
RT DNA and make sure your output device is connected to a connection other
than 1394 (for example, SDI or Composite).

Output Mode Resolutions with Progressive Projects
The availability of the Output Mode resolutions for progressive projects
depends on the Output Format play rate in the Digital Cut Tool.

Output Format
Play Rate

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Using the Digital Cut Tool

The following table describes the Output Mode resolutions for progressive
projects.
Progressive Project Output Mode Resolution Options
Project Type

Play Rate

Available Output Mode
Resolution and Bit Depth

PAL 25p project

DV25
DV50
RT DV50 (8-bit or 10-bit)
RT DV25 (8-bit or 10-bit)

NTSC 23.976p projects

23.976

RT DV50 (8-bit or 10-bit)
RT DV25 (8-bit or 10-bit)

NTSC 24p projects

RT DV50 (8-bit or 10-bit)
RT DV25 (8-bit or 10-bit)

PAL 24p Method 1
For information on Method 1
and Method 2, see
“Transferring 24-fps Film to
PAL Video” in the Help.

PAL 24p Method 2
For information on Method 1
and Method 2, see
“Transferring 24-fps Film to
PAL Video” in the Help.

RT DV50 (8-bit or 10-bit)
RT DV25 (8-bit or 10-bit)

Performing a digital cut to a serial-controlled deck might not be
frame-accurate if the output resolution is set to RT DV25 or DV25. When
performing a digital cut to a serial-controlled deck, set the output resolution to
RT DNA and make sure your output device is attached to a connection other
than 1394 (for example, SDI or Composite).

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Chapter 6 Generating Output

Outputting DV50 and DVCPRO HD Media Directly to a DV Device
You can output DV50 or DVCPRO HD sequences directly to a DV device.
This lets you output without any loss due to compression and decompression.
DV50 and DVCPRO HD Output
You can output:

If the project is:

And if the output
device is:

DV50

Any SD project

IEEE 1394

DVCPRO HD

The following HD
projects:

IEEE 1394

•

720p/59.94

•

1080i/50

•

1080i/59.94

To output DV50 or DVCPRO HD media directly to a DV device:

1. Select the DV50 or DVCPRO HD sequence you want to output.
2. Render all effects.
3. Do one of the following:
t

Click the Adrenaline and 1394 button above the Timeline to display
the 1394 icon.

Select Special > Device > IEEE 1394.

The 1394 icon displays above the Timeline, and a check mark appears
next to IEEE 1394 in the Device menu.
4. Select Output > Digital Cut.
The Digital Cut tool opens.
5. Select other Digital Cut options.
6. Perform the digital cut.

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Using the Digital Cut Tool

Selecting Output and Timecode Formats for 23.976p, 24p, and 25p
Projects
When you are working in a 23.976p, 24p, or 25p project, you can output
multiple formats for NTSC video, PAL video, and audio — all from the same
progressive media. You click the Output Format pop-up menu in the Digital
Cut tool to select the formats you want, as described in “Selecting Output
Formats for 24p and 25p Projects” on page 225 and “Selecting Output
Formats for 23.976p Projects” on page 228.
Depending on the format you select, you also need to:
•

Select the timecode to output (see “Selecting the Timecode Format for
Output” on page 228).

•

Indicate the Destination Timecode Rate (see “Indicating the Destination
Timecode Rate” on page 229).

Selecting Output Formats for 24p and 25p Projects
To output a particular format:

1. Select Output >Digital Cut.
2. Click the Output Format pop-up menu, and select a play rate.
A brief description of each output format is displayed in the Digital Cut tool.
“24p and 25p Project Output Options” on page 226 provides more extensive
descriptions.
The play rate you select determines how the digital cut is recorded. For
example, if you select 23.976, you tell the Avid system to slow down the play
rate to match the play rate used during an NTSC telecine transfer. When the
system records the digital cut, it adds the pulldown frames and re-creates a
telecine transfer to an NTSC videotape.
For NTSC output, the Avid system automatically sets the pulldown if
necessary and turns on an indicator on the Adrenaline DNA.

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Chapter 6 Generating Output

24p and 25p Project Output Options
Digital Cut
Tool Menu
Choice
(Playback
Speed)

Target Project or System

Pulldown
Indicator on
Adrenaline
Output Format and
DNA
Recording Media

23.976 (NTSC) NTSC TV; video screenings;
digital audio workstations
(DAWs) that support pulldown

On (0.99)

Picture and sound to NTSC tape;
sound to video-referenced
audiotape

24 (NTSC)

Audio for film projection;
DAWs (video for
reference only)

Off (1.00)

Picture and sound to NTSC tape;
sound to DAT or mag tape

29.97 (NTSC)

Animation projects; negative
cutting with lockbox; some
kinescope printing

On (0.99)

Picture and sound to NTSC tape
(sound for reference only)

24 (PAL)

Audio for film projection;
DAWs (video for
reference only)

Off (1.00)

Picture and sound to PAL tape;
sound to DAT or mag tape

25 (PAL)

PAL TV; video screenings

Off (1.00)

Picture and sound to PAL tape;
sound to DAT or mag tape

The following information describes what happens when you select each of
these options:

226

•

23.976 (NTSC): Plays back the sequence at 23.976 fps (film rate). This
playback rate tells the Avid system to replicate a telecine transfer with
perfect 2:3 pulldown. The system adds frames and slows the playback
speed to create a digital cut to 29.97 fps. Use this option for NTSC video
output, such as broadcast masters. For 25p, the media is slowed down by
4.1 percent.

•

24 (NTSC): Plays back the sequence at 24 fps (film rate). This playback
rate tells the system to record audio at the film rate. If the system records
video, it maintains sync by adding pulldown fields and dropping every
1000th frame. This video should be used for reference only. Use this
setting for direct audio output to be used in sync with film projection.
Also use this setting when audio media files are being used in a digital
audio workstation (DAW) and you need a digital cut for picture reference.
For 25p projects, video and audio are slowed down 4 percent.

Using the Digital Cut Tool

Before you output the digital cut, make sure you select the correct
destination timecode rate. See “Indicating the Destination Timecode
Rate” on page 229.
•

29.97 (NTSC): Plays back the sequence at 29.97 fps. This playback rate
tells the system to speed up the playback speed without adding pulldown
fields. As a result, the sequence plays faster (25 percent faster for 24p, 20
percent faster for 25p). Use this option for animations and tape-to-film
transfers where the pulldown needs to be removed to have an exact
frame-to-frame relationship between the film and video.

•

24 (PAL): Plays back the sequence at 24 fps. This playback rate tells the
system to record audio at the film rate. For 25p projects, audio is slowed
down 4 percent. Video, when output to tape, can be used only for
reference because, to maintain sync, the system replicates a pulldown
telecine transfer with one extra pulldown field occurring every 12th and
24th frame. Use this option when audio media files are being used for film
projection (PAL Method 2) or in a DAW, and you need a digital cut for
picture reference.

•

25 (PAL): Plays back the sequence at 25 fps. For 24p projects, this
playback rate tells the system to speed up the sequence by 4.1 percent,
creating a frame-to-frame relationship between film and video (PAL
Method 1). For 25p projects, there is no change in playback speed. There
are no pulldown frames with this setting. Use this option for PAL video
output, such as a broadcast master.

The following table summarizes the change in audio rates for 24p and 25p
output options.
Audio Play Rates for 24p and 25p Projects
Output Play Rate

24p Source

25p Source

23.976 NTSC

0.1% slowdown

4.1% slowdown

24 NTSC

No change

4% slowdown

29.97 NTSC

25% speedup

20% speedup

24 PAL

No change

4% slowdown

25 PAL

4.1% speedup

No change

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Chapter 6 Generating Output

Selecting Output Formats for 23.976p Projects
If you are working in a 23.976 project, all output play rates are available, but
only 23.976 NTSC maintains the original audio quality. For 23.976 NTSC, the
audio rate is not slowed down for output and remains at 48 kHz. For 29.97
NTSC, the audio rate is sped up 25 percent and is not usable. Use this output
rate for animations and other special applications. 24 fps NTSC, 24 fps PAL,
and 25 fps PAL all require a sample-rate conversion, so high-quality audio is
not guaranteed. The following table displays how the output audio rate is
affected by the output play rate.
Audio Play Rates for 23.976p Projects
Output Play Rate

Source

Output Audio Rate

23.976 NTSC

23.976 fps

48 kHz (no change)

24 NTSC

23.976 fps

48.048 kHz (0.1% speedup)

29.97 NTSC

23.976 fps

60 kHz (25% speedup)

24 PAL

23.976 fps

48.048 kHz (0.1% speedup)

25 PAL

23.976 fps

50.016 kHz (4.2% speedup)

Selecting the Timecode Format for Output
If you select one of the three NTSC output formats, you need to indicate the
timecode format for output: drop-frame or non-drop-frame.
You can designate drop-frame or non-drop-frame timecode for devices
connected to one or both of the following outputs:
•

RS422 Output (serial port on the computer)

•

LTC (LTC OUT on the Adrenaline DNA)

By default, the pop-up menus display the timecode format of the sequence you
loaded into the Timeline.
To select the timecode format for output:

1. Select Output > Digital Cut.
2. Do one or both of the following:

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Using the Digital Cut Tool

Click the RS422 Output pop-up menu, and select Drop or Non-Drop

Click the LTC Output pop-up menu, and select Drop or Non-Drop

Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for
Downstream Encoding
You can output drop-frame and non-drop-frame NTSC timecode
simultaneously from a 24p or 25p project. A broadcast production company
might need to output drop-frame timecode for a broadcast master while
outputting non-drop-frame timecode to track NTSC film pulldown.
Tracking the pulldown is important because some networks require the 2:3
pulldown phase to be inserted in the VITC (vertical interval timecode).
Inserting the pulldown phase enables downstream encoding of various
compression formats (like MPEG-2) to be faster and of higher quality.

For information about 2:3 pulldown, see “Transferring 24-fps Film to NTSC
Video” in the Help.
It is easy to track pulldown information within non-drop-frame timecode,
because the relationship stays the same for the length of the digital cut. The
Avid system can use LTC to output the non-drop-frame timecode.
To output drop-frame and non-drop-frame timecode simultaneously for
downstream encoding:

1. Select Output > Digital Cut.
2. Do the following:
t

Click the RS-422 Output pop-up menu, and select Drop.

Click the LTC Output pop-up menu, and select Non-Drop.

Indicating the Destination Timecode Rate
When you select 24 (NTSC) as your output format, the Destination Timecode
Rate pop-up menu (labeled Dest. TC Rate) opens. Select a timecode rate that
matches the timecode rate of the recording device, such as a DAT deck.
If you select 29.97 fps as your Dest. TC Rate, the sequence duration displayed
in the Timecode Duration display of the Digital Cut tool is slightly shorter
than the duration shown in the Timeline. This shorter duration occurs because

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the video play rate is sped up in comparison with the audio timecode rate. If
you select 30.00 fps, the sequence duration in the Digital Cut tool matches the
sequence duration in the Timeline.
The value you select (29.97 or 30.00) also sets the rate for LTC output, if any,
without changing the playback rate of the media being output (24 NTSC).
To indicate the destination timecode rate:

1. Select Output > Digital Cut.
2. Click the Dest. TC Rate pop-up menu, and select 29.97 fps or 30.00 fps.

Performing an Insert Edit with Pulldown
If you are working in an NTSC 24p project, and you need to insert a segment
into a sequence that has already been cut to tape, the Avid system
automatically adjusts the insert edit to maintain the correct pulldown.
To perform an insert edit with pulldown:

1. Use IN and OUT points to mark the segment you want to insert.
2. Select Output > Digital Cut.
The Digital Cut tool opens.
3. Deselect the Entire Sequence option.
4. Select Remote in the Deck Control options area.
5. Select Sequence Time to start the recording at a timecode existing on tape
that matches the start timecode of the sequence.
6. Click the pop-up menu, and select Insert Edit. This menu only appears if
you enabled assemble editing in the Deck Preferences dialog box. For
more information about this option, see “Enabling Assemble-Edit
Recording” on page 208.
7. Click the Deck Selection pop-up menu, and select a deck. See “Selecting
a Deck in the Digital Cut Tool” on page 211.
8. Click the Sequence Track buttons to select the video tracks you want
represented in the digital cut. The display of tracks in the Digital Cut tool
varies according to the tracks existing in the sequence.
9. Select the video track to record to on the tape by using the Enable Track
buttons.

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Using the Digital Cut Tool

10. Click the Output Options area, and select 23.976 (NTSC) and either 4:3 or
16:9.
11. Click the Play Digital Cut button.
The system cues the record deck, then plays and records the insert edit.
The Avid system automatically adds the correct pulldown fields.
12. To stop the recording at any time, press the space bar or click the Halt
Digital Cut button.

Digital Cuts and Audio
You can use one of several tape formats and methods for audio output, but the
following are most common:

•

Record a digital cut directly to videotape by using analog output.

•

Record a digital cut directly to DAT or DA-88 by using digital output.

•

Play the sequence to an audiotape recorder by using analog output.

You cannot control some analog audio decks from the Digital Cut tool. If the
deck does not have a serial control port, you need to select Local when you
record the digital cut.
Your output choice in the Digital Cut tool automatically sets the pulldown
switch).
If you perform an audio-only digital cut, the Avid system plays the video
tracks in the Client monitor to ensure the most accurate audio sync. A message
appears at the bottom of the Digital Cut tool.

For information about connecting a deck, see “Using the Avid Adrenaline” in
the Help.

If your sequence contains audio clips with different sample rates, use the
Change Sample Rate dialog box to ensure that all the clips have the same
sample rate. For more information, see “Changing the Sample Rate for
Sequences and Audio Clips” in the Help.
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Changing the Default Pulldown Phase for Sequences
For more information
on film-to-tape
transfers, see “Film-toTape Transfers” in the
Help.

During a digital cut to 30-fps NTSC videotape, the Avid system defaults to an
A-frame pulldown conversion. If you are appending sequences to the same
output tape on which continuous pulldown is required, you might need to
change the default pulldown phase (or pullin) to a B frame. A digital cut can
begin only on field one of an A or B frame.
For example, if one cut ends on an A frame, then before performing the digital
cut of the next sequence, change the pullin for the next sequence to the B
frame. You can determine the frame that ends a sequence by checking the
Pullout column in the bin that holds the sequence.
If your sequence ends on a B or C frame, edit the sequence to end on an A or
D frame to create a continuous 2:3 pulldown.
To change the default pulldown phase for a sequence:

1. Open the bin that holds the sequence.
2. Check if the Pullin column appears. If not, follow these steps:
a.

Click the Bin Fast Menu button, and select Headings.

Ctrl+click or click Pullin.

3. Type A or B in the Pullin column.
-

Pullin A: The first frame of the sequence plays back as two fields, the
second frame as three fields, the third frame as two fields, and so on.

Pullin B: The first frame of the sequence plays back as three fields,
the second frame as two fields, the third frame as three fields, and so
on.

Now you can perform a digital cut to append the new sequence.

Using DV Digital Cut Delay
DV digital cut delay affects the timing of the DV data sent to the DV device
for a digital cut. Increasing the digital cut delay will cause the sequence stream
to be to delayed when it is sent to the DV device when digital cut begins.
While the system is waiting for this delay, the first frame of the sequence is
continually sent to the DV device.

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Using the Digital Cut Tool

There are several components to this setting.
•

The recommended value represents the delay that is found in the machine
template for the online DV device. If for some reason, there is no “online”
DV device, the recommended value is set to the delay in the machine
template of the “offline” DV device. If no DV device is configured in the
Deck Configuration and Deck Settings dialog boxes, this value is set to 0.

•

If you want to override the recommended digital cut delay, select the
Override Recommended Digital Cut Delay option, and type a delay value
into the Digital Cut Delay (frames) text box. When a digital cut is
performed, the delay value used for the cut is based on whether the
Override Recommended Digital Cut Delay option is selected. If the option
is deselected, the recommended value is used.

Before setting this delay, you should perform several digital cuts to determine
the frame-accuracy behavior of the recording device. Begin with the DV
digital cut delay set to 0 frames. If the digital cut frame accuracy of the device
is inconsistent, the results of using the delay are also inconsistent. If the
sequence is missing frames at the beginning of the digital cut on the tape,
increase the delay. If the first frame of the sequence is repeated, decrease the
DV digital cut delay. The starting frame of the sequence should change
according to your delay.
For example, suppose the DV digital cut delay is set to 0 frames. The digital
cut is expected to begin with the first frame of the sequence being recorded on
the IN point designated on the tape. In this example, the IN point is set to
frame number 6. This is where the recording would begin on the tape.
However, due to the behavior of the particular DV device, the digital cut does
not perform as expected. The first frame of the sequence recorded on the tape
is actually the fourth frame, as shown in the following figure.
Sequence frames

Tape frames

Tape IN point

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Chapter 6 Generating Output

Digital Cut with No Delay

To correct this, the DV digital cut delay should be increased to have
the Avid system delay sending the sequence to the device. If the DV digital cut
delay is set to three frames, this should cause recording on the tape to begin
with the correct sequence frame, as shown in the following figure.

Sequence frames

Tape frames

Tape IN point

Digital Cut with Delay
To delay the sequence for a digital cut:

1. Click the Settings tab in the Project window.
2. Double-click Deck Preferences.
The Deck Preferences dialog box opens.
3. Select Override Recommended Digital Cut Delay.
4. Determine the approximate delay and type the delay in the Digital Cut
Delay (frames) text box.
5. Click OK.
6. Perform a digital cut. See “Using the Digital Cut Tool” on page 209.
7. Repeat this process until you achieve the appropriate delay.

Using EDL Manager
An EDL (edit decision list) is a detailed list of the edits contained in a
sequence, including all the timecode and supported effects information
required to re-create the sequence in an online videotape suite. The EDL is

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Using the Matchback Option

organized into a series of chronological instructions called events, which are
interpreted by an edit controller that automates the assembly of the videotape
master.
Your Avid system includes EDL Manager, an application with powerful
features and sorting capabilities to help you prepare an EDL.
To start EDL Manager:

Select Output > EDL.

For more information on specific features and capabilities of EDL Manager,
see the EDL Manager Help.

Using the Matchback Option
The Matchback option on an Avid system, along with the Avid FilmScribe
application, allows you to generate a film cut list from a 30-fps or 25-fps video
project that uses film as the source material. This video-to-film conversion is
useful in a variety of matchback circumstances, including the following:
•

Use the Matchback option to generate both a videotape master for the
project along with a final cut on film.

•

Use the Matchback option to generate pull lists for retransferring selects at
high quality before online editing.

Matchback supports 16mm, 35mm 3-perf, and 35mm 4-perf formats.

Your system might not include the Matchback option. To purchase the
Matchback option, contact your Avid sales representative.
If you plan to use matchback, you must select the Matchback option when you
first create the project. See “Creating a New Project” in the Help.

Editors working in a film matchback project for the first time should pay extra
attention to duplicate material in the final edited piece. Use Dupe Detection in
the Timeline and verify any dupes flagged when delivering a cut negative. For
information on dupe detection, see “Detecting Duplicate Frames” in the Help.

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How Matchback Works
The matchback process refers to the video edit information for your sequence
and performs a conversion to create a matching 24-fps cut list.
Because of the difference in frame rates between video and film (30 fps or 25
fps for video versus 24 fps for film), the conversion of video edit points might
fall within a film frame, requiring the addition or subtraction of a frame in that
edit event in the resulting cut list.
For example, with a ratio of 24 film frames to 30 video frames, a 7-frame
video edit corresponds to approximately 5.6 film frames. However, film cuts
cannot include partial frames, so the edit must be rounded to 5 or 6 frames.

NTSC
video

Shot X

Shot Y

Shot Z
The matching film edit point
falls within a frame.

.................................................................................................................................
Film

.................................................................................................................................

To make these adjustments, the following occurs during matchback:

236

•

If the total video-sequence duration at the end of each cut is a frame
longer than the film, the system subtracts a frame from the last video edit.
If the video is a frame too short, a frame is added to the last video edit.

•

Where an essential frame was added to or subtracted from the beginning
or end of each edit, the system adds matchback information to the cut list,
stating that matchback shortened or lengthened the tail of the clip by one
frame. The assistant editor or negative cutter can use this information to
check the edit.

•

Each track in the sequence must be corrected independently because the
start and end points for split edits are different for each track. As a result,
the picture and audio for a matchback video edit might be out of sync by
no more than one frame.

Using FilmScribe

Matchback Limitations
Matchback is subject to the following limitations:
•

The Matchback option uses key numbers to conform the negative.
Therefore, you must have key-number information entered into the bins
for the project.

•

You can generate cut lists, but not change lists in a matchback project.

•

The matchback information applies to the picture only. You must generate
a separate list (an EDL, for instance) for conforming the audio source
tapes.

•

Be sure to remove unwanted match frames (add edits) from your sequence
before generating the cut list. Otherwise, the calculation of matchback
frames will include these edits. For information about removing matchframe edits, see “Removing Match-Frame Edits” in the Help.

Using FilmScribe
The FilmScribe application provides tools for creating frame-accurate cut lists
and change lists from 23.976p, 24p, 25p, and matchback projects. You can use
these lists to conform a work print, a film negative, audio tracks, or videotape
transfers.
To start FilmScribe:

Select Output > FilmScribe.

For information on how to use FilmScribe, see the Avid FilmScribe User’s
Guide or the FilmScribe Help.

Your system might not include the FilmScribe application. To purchase
FilmScribe, contact your Avid sales representative.

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Chapter 6 Generating Output

Preserving Information in the Vertical Blanking
Interval
You can choose whether or not to display 5 lines above each field in NTSC
and 8 lines above each field for PAL and whether to preserve the lines when
you perform a digital cut. These lines can be used to store additional encoded
information such as closed captioning, edgecodes or key numbers for film
projects, or various interactive or enhanced TV codes. This section describes
when it is useful to preserve the information and describes the limitations
involved when preserving these lines.

c
n

You can preserve VBI information for JFIF, uncompressed, and
MPEG IMX resolutions. You cannot preserve VBI information for DV
resolutions.
In the majority of cases, you should not preserve these extra lines when you
perform a digital cut. Only do so if you have a special need for the
information.

Line Ranges
The Avid system is capable of capturing 248 lines per field in NTSC or 296
lines per field in PAL. For NTSC, only 243 of these lines are in RP-187’s
production aperture. For PAL, the number is 288. The additional lines in each
field are located immediately above the active part of each of the two fields.
These lines (5 per field in NTSC and 8 per field in PAL) can be used for
carrying additional data.
The following table lists the extra vertical blanking lines for both NTSC and
PAL:

Field

Video Raster Line Number Ranges
NTSC (5 Lines/Field) PAL (8 Lines/Field)

238

Field 1

16-20

15-22

Field 2

278-282

328-335

Preserving Information in the Vertical Blanking Interval

Preserving Vertical Blanking Information
Avid DNA systems automatically preserve the extra lines of VBI information
when you capture footage. You can choose whether to display the lines and
whether to retain the lines when you output your sequence as a digital cut.
You might want to preserve the following vertical blanking information:
•

Edgecode or key number information for a film project
You might want to preserve edgecode information to easily identify the
source film reel for a clip. In this case, the edgecode information would
have been originally inserted during the telecine process.

•

Closed-captioning information
If you are repurposing a finished sequence for another market, you might
want to retain closed-captioning codes that were added after the tape was
output from the Avid system. This would allow you to perform some basic
editing on the recaptured sequence and not to have to reapply the closedcaptioning codes afterward.

The Avid system does not interpret the vertical blanking information (i.e.,
encoded data). It treats the coded values simply as pixels in the video frame. If
you want to read the vertical blanking information during editing, you must
connect an external vertical blanking information reader to the Avid system.

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Chapter 6 Generating Output

Displaying VBI Information and Preserving VBI Information on Output
To display VBI information and preserve VBI information for a digital cut:

1. Select Tools > Video Output Tool.
The Video Output tool opens.

VBI pop-up menu

2. Click the VBI pop-up menu and select Preserve.

If you select Blank, the Avid system fills the vertical blanking interval with
video black (R=G=B=16).
3. Close the Video Output tool.

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Preserving Information in the Vertical Blanking Interval

Any VBI information that is present in your clips or sequences will now be
displayed. If you perform a digital cut, any VBI information that is in your
sequence will be output.

The VBI value resets to Blank each time you launch the application. If
you want to preserve VBI information on output, set the value before you
perform a digital cut.

Editing a Sequence with VBI Information
After a sequence is created and output from the Avid editing system, some
facilities apply VBI information to the tape to add information such as closed
captioning. Often, the tape is recaptured so that the sequence can be
repurposed for another market. The VBI option in the Video Output tool
allows you to display the VBI information and maintain the information when
you output the repurposed sequence.
The Avid system uses the following rules when applying effects to material
containing VBI information:

•

Single track effects do not alter the VBI information. For example, if you
apply a color correction effect to the sequence, the VBI lines are not
affected.

•

Multi-track effects such as picture-in-picture effects or 3D Warp effects
use the VBI information of the track on the lowest layer. (Swap sources is
ignored in the VBI area).

If you apply a multi-track effect such as a 3D Warp effect to a sequence with a
single track, the VBI information will not be visible. One way to work around
this problem is to create a second video track and duplicate that portion of the
sequence on the second track. Then apply the 3D Warp effect to the top track.
The VBI information will display on the bottom track.
•

Transitions are treated as cuts in the VBI area.

•

Timewarp effects copy the VBI of the input’s temporally nearest field. In
mild timewarp effects this may allow VBI to pass through unaltered.

You cannot add or remove VBI information from a sequence. However, you
can use the Blank option to turn off the VBI display for the entire sequence.

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Chapter 6 Generating Output

You cannot preserve VBI information for DV resolutions. You can only
preserve VBI information for JFIF, uncompressed, and MPEG IMX
resolutions.

Effects of Preserving Vertical Blanking Information on Compressed
Video Quality
For resolutions other than 1:1, preserving vertical blanking information when
you capture can affect the video quality in the rest of the frame. For example,
depending on the compression ratio, a video frame might look more blocky
with vertical blanking information included.
The Avid system performs the following operations when capturing a frame:
1. It captures the entire frame (including the 5 or 8 extra lines per field) as an
uncompressed frame.
2. It compresses the frame if compression is selected.
The following problems may occur:
•

If the frame contains vertical blanking information, the picture quality of
the entire frame might be slightly degraded due to the added entropy or
complexity from the vertical blanking lines.
The higher the compression ratio, the greater the number of artifacts that
might be visible. For a compression ratio of 2:1, the number of artifacts
might not be noticeable at all.

•

Depending on the compression ratio, the vertical blanking information
itself may be distorted.

If you want to preserve vertical blanking information, either use the 1:1
(uncompressed) resolution or experiment with different compression ratios to
make sure the captured footage or the vertical blanking information is not
unacceptably affected by the compression.

Comparison with VBI on Meridien Systems
The following table shows the differences between how VBI is treated on
systems with Meridien hardware (for example, Media Composer v12.0 or
Avid Symphony v5.0) and systems with Adrenaline DNA hardware.

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Preserving Information in the Vertical Blanking Interval

Feature

Meridien

Adrenaline DNA

When does the system give you the opportunity to During capture and during a During playback and
blank VBI information?
digital cuta
during a digital cut
What dialog box or tool do you use to set VBI
blanking?

General Settings dialog box Video Output tool

Is VBI supported for DV resolutions?

Is VBI supported for MPEG IMX?

Yes

Does NewsCutter support VBI?

Yes

Doe NewsCutter XP support VBI?

No (Adrenaline only)

Is VBI supported for JFIF and uncompressed
resolutions?

Yes

Is VBI information preserved when you apply
effects?

Not alwaysb

Yes (see “Editing a
Sequence with VBI
Information” on
page 241.)

Can you use a two layer effect to wipe in VBI
information?

Yes

Can VBI information affect compression quality? Yes

Yes

Can compression affect VBI quality?

Yes

a. In order to view VBI on a Meridien system you must disable the 3D hardware.
b. For example, a color effect can modify the VBI information on a Meridien system.

For details on how Meridien systems support VBI, see the white paper entitled
Preserving Information in the Vertical Blanking Interval on the Avid
Knowledge Base.

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244

Chapter 7
Exporting Frames, Clips, or
Sequences

You can export files for use with another system, another application, or
another platform. Your Avid video-based editing system provides tools for
exporting clips and sequences in various formats.
The following sections describe how to export files:
•

Understanding Export

•

Preparing to Export a Sequence

•

Exporting Frames, Clips, or Sequences

•

Using the Drag-and-Drop Method to Export Frames, Clips, or Sequences

•

Customizing Export Settings

•

Exporting OMFI and AAF Files

•

Improving Workflow Using Send To

•

Exporting Video in DV Stream Format

•

Exporting QuickTime Movies

•

Exporting As an AVI File

•

Installing the Avid Codecs for QuickTime on Other Systems

•

Exporting from a Third-Party QuickTime or AVI Application

•

Exporting as Windows Media

•

Exporting Tracks As Audio Files

•

Exporting As a Graphic File

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Understanding Export
You can export material directly from your Avid system to many supported file
types. You can export an individual frame, a selected region of footage, or an
entire clip or sequence.
You can export video, audio, or both for any of the following reasons:
•

You can export video files for touching up or creating special effects in
third-party applications or other Avid applications.

•

You can export files to be viewed as AVI or QuickTime movies.

•

You can export files for further processing to create streaming media files
in formats such as RealVideo®, QuickTime, and Windows Media™.

•

You can export files compatible with CD-ROM and DVD-R for use in
multimedia projects.

•

You can export audio files for audio sweetening in a digital audio
workstation (DAW), such as a Pro Tools system.

•

You can use the export process to convert audio media files from one
supported audio format to another. Your Avid system supports the AIFF-C
and WAVE formats.

Preparing to Export a Sequence
If you are exporting part or all of a sequence — to create an OMFI file, an
AAF file, a QuickTime file, an AVI file, or a graphic sequence, for example —
you can speed the export process by preparing the sequence in advance, as
follows:

For more information
on rendering, see
“Real-Time and
Downstream Key
Effects” in the Help.
246

•

Make sure all media for the sequence is online. For more information
about selecting offline items in a bin, see “Basic Bin Procedures” in the
Help.

•

If you want to archive the source sequence before making any alterations,
duplicate the sequence, place the duplicate in another bin, and prepare the
duplicate for export. The original sequence will be unaffected.

•

Consider rendering all effects in advance. Although any unrendered
effects are rendered on export (except for an OMFI or AAF export),
rendering effects in advance saves time during the export process.

Preparing to Export a Sequence

•

Always render fast-saved titles before using OMFI or AAF to export a
sequence, or before creating an EDL from the sequence.

•

If your sequence contains numerous video tracks, consider mixing down
the tracks in advance for faster export, unless you need to preserve the
multiple-track information. For more information about mixing down
video tracks, see “Performing a Video Mixdown” in the Help.

•

If your sequence contains numerous audio tracks with various audio
effects and level adjustments, consider mixing down the tracks in advance
for faster export, unless you need to preserve the multiple-track
information. For more information about mixing down audio tracks, see
“Mixing Down Audio Tracks” in the Help.

•

If your sequence contains audio clips with different sample rates, use the
Change Sample Rate dialog box to ensure that all the clips have the same
sample rate. See “Changing the Sample Rate for Sequences and Audio
Clips” in the Help. You can also use OMFI or AAF to change the sample
rate. See “Exporting OMFI and AAF Files” on page 253.

•

Check and adjust all pan and audio levels in advance. All current Pan and
Level settings in the sequence are carried to the exported media. For more
information on performing an audio mixdown, see “Mixing Down Audio
Tracks” in the Help.

•

You cannot export OMFI files that are larger than 2 GB. For OMFI files,
consider consolidating the sequence to create smaller source clips, thereby
saving time and disk space. For more information on consolidating media,
see “Using the Consolidate Command” in the Help. You can also
consolidate as part of the export. See “Exporting OMFI and AAF Files”
on page 253.

•

OMFI or AAF files with very complex sequences can fail during import
into some applications due to memory limitations. Try one of the
following solutions:

•

Break the sequence into smaller sequences and export the new
sequences.

Add more physical memory.

To export multiple clips in a single file, create a sequence from them. For
example, you can select all the clips, Alt+drag them into the Record
monitor to create an instant sequence, and then export the sequence.

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Exporting Frames, Clips, or Sequences
This section provides the basic steps for exporting frames, clips, or sequences.
More specific information is provided in the following sections:

For information on
using the drag-anddrop method, see
“Using the Drag-andDrop Method to Export
Frames, Clips, or
Sequences” on
page 251.

n
248

•

“Exporting OMFI and AAF Files” on page 253

•

“Improving Workflow Using Send To” on page 257

•

“Exporting Video in DV Stream Format” on page 271

•

“Exporting As a QuickTime Movie” on page 273

•

“Exporting As an AVI File” on page 281

•

“Exporting as Windows Media” on page 285

•

“Exporting As a Graphic File” on page 294

To export frames, clips, or sequences:

1. Identify the portion of the clip or sequence you want to export in one of
the following ways:
t

To export specific tracks in a clip or sequence, enable those tracks in
the Track Selector panel, and disable all others. Make sure Use
Enabled Tracks is selected in the Export Settings dialog box. You can
set this option before the export. See “Customizing Export Settings”
on page 252.

To export a single-frame graphic, mark an IN point to export the
marked frame from a bin or a monitor, or move the position indicator
to the frame you want to export. Make sure Use Marks is selected and
Sequential Files is deselected in the Export Settings dialog box.

To export part of a clip or sequence, mark IN and OUT points to
export the marked range from a bin or a monitor. If you mark an IN
point and no OUT point, the system exports from the IN point to the
end of the clip or sequence. Make sure Use Marks is selected in the
Export Settings dialog box.

To export the entire clip or sequence, deselect the options
Use Enabled Tracks and Use Marks in the Export Settings dialog box,
and make sure the topmost track is monitored.

The entire clip or sequence is included when you export as an OMFI or an
AAF file.

Exporting Frames, Clips, or Sequences

When you export as an OMFI or an AAF file, you do not need to select both
the sequence and its source clips. Select only the sequence to export all the
necessary information, including reference clips or source media.
2. Select the clip or sequence in one of two ways:
t

Click the monitor that displays the clip or sequence you want to
export.

Click the clip or sequence in a bin. Ctrl+click to select multiple clips
or sequences.

3. Select File > Export.
The Export As dialog box opens with a default file name in the File name
text box based on the file type.

You can also right-click the file name and select Export.

4. Click the Export Setting pop-up menu, and select a setting.
This setting determines the format of the exported file. The default setting
is labeled Untitled. Any settings that appear in the Settings scroll list of
the Project window appear in the pop-up menu. For information on
creating custom settings, see “Customizing Export Settings” on page 252.

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5. (Option) If you want to view or modify the current Export setting, or
create a new one:
a.

Click the Options button to open the Export Settings dialog box. For a
description of your selections, see “Exporting OMFI and AAF Files”
on page 253.

To save your settings in the existing settings file, click Save.

To create a new settings file, click Save As.
The Save Export Setting dialog box opens.

Name the setting by typing a name in the Setting Name text box, and
click OK. The new setting appears in the Settings scroll list of the
Project window.
6. In the Export As dialog box, select the destination folder for the file.
7. (Option) Change the file name.
In most cases, keep the file name extension the same.
8. Click Save.
The file is exported to the selected destination.

n
c

250

Your Avid system saves the intermediate movie that it makes for some formats
in a temporary folder. Make sure the temporary folder is on a drive with plenty
of space. You can view and change the location of the temporary folder in the
General Settings dialog box, which you access from the Settings scroll list of
the Project window.
If a power failure or application error occurs during the export process,
the entire file is unusable. You need to repeat the export process. The only
exception is a sequential file sequence, where all frames up to the point of
failure are usable.

Using the Drag-and-Drop Method to Export Frames, Clips, or Sequences

Using the Drag-and-Drop Method to Export
Frames, Clips, or Sequences
To export a frame, clip, or sequence by using the drag-and-drop method:

You cannot use the drag-and-drop method to export ALE, tab-delimited, or
sequential files.
3. In the Settings scroll list of the Project window, select the setting you want
to use for export.
The default Export setting, the preset templates, and any additional Export
settings you create appear in the Settings scroll list. After you select a
setting in the Settings scroll list, the parameters remain the default settings
for all exported files, unless you change them during the export. This is
especially useful when you batch export a number of files directly from a
bin at the same time. To view or modify the parameters, double-click the
setting. For information on modifying options, see “Customizing Export
Settings” on page 252.
4. Export the frame, clip, or sequence by clicking the clip or sequence you
want to export and dragging it to the location (folder or drive) where you
want to store the file.To select multiple objects, Ctrl+click the objects and
drag the objects to the folder or drive.

During a drag-and-drop export, your Avid system saves an intermediate file in
a temporary folder. Make sure the temporary folder is on a drive with plenty of
space. You can view and change the location of the temporary folder in the
General Settings dialog box, which you access from the Settings scroll list of
the Project window. To save time, assign the temporary folder to a folder on
the same drive where you will be dragging the export.

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Customizing Export Settings
In addition to selecting preset templates, your Avid system allows you to
customize and name your Export settings.

Preset Export Templates
Your Avid system includes the following export templates:
•

Fast-Export QuickTime: Exports a QuickTime movie that uses the Same
as Source setting. See “Exporting QuickTime Movies” on page 272.

•

Macintosh Image: Exports a PICT file for use in Macintosh graphic
applications. See “Exporting As a Graphic File” on page 294.

•

Windows Image: Exports a BMP file for use in Windows graphic
applications. See “Exporting As a Graphic File” on page 294.

You can select or customize these settings, as described in “Exporting Frames,
Clips, or Sequences” on page 248.

Creating a New Export Setting
To create a new Export setting:

1. Click the Settings tab in the Project window.
The Settings scroll list appears.
2. Click Export.
3. Select Edit > Duplicate.
4. Name the setting by clicking the custom name column, typing a name,
and pressing Enter.

The custom name column is the center column in the Project window. When
you move the pointer over the custom name column, the pointer changes from
a pointing finger to a text insertion bar.
5. Double-click the new setting.
The Export Settings dialog box opens.
6. Select the appropriate file type and options based on the descriptions in
“Export Settings Dialog Box Options” in the Help.

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Exporting OMFI and AAF Files

7. Click OK.
You can select this new setting whenever you export.

You can also create a new setting during the export process. See “Exporting
Frames, Clips, or Sequences” on page 248.

Exporting OMFI and AAF Files
OMFI and AAF are industry-standard file formats that let you exchange
compositions and media between applications.

Exporting Through OMF Interchange
OMF Interchange® (OMFI) is a platform-independent file format that stores
both the digital media (video, audio, graphics, animation) and the information
describing how the media is edited together to form a final sequence. This
editing information, called a composition, is the OMFI representation of the
sequence created in your Avid system. The OMF Interchange format is the
result of cooperative efforts of many industry and standards partners and Avid
Technology, Inc.
Any other program that supports OMFI can read OMFI files, even if the
program resides on a different computer platform. As a result, with OMFI, you
can transfer among different applications on different platforms without
worrying about cross-platform translations. This can be very effective for
importing animation or audio files created on proprietary platforms.

To avoid errors and incompatibilities when you import and export OMFI
files, observe the recommendations in “File Format Specifications” in the
Help.

Exporting Through AAF
Advanced Authoring Format (AAF), is a cross-platform, multimedia file
format that allows interchange of media and composition information between
AAF-compliant applications. These applications are primarily content
creation tools such as Avid editing systems, Avid|DS, and Sonic Foundry's
Sound Forge®, to name a few.

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There are two general types of data in an AAF file:
•

Media such as audio and video

•

Composition information, or metadata, that provides the instructions
needed to combine and modify the media portions of the AAF file to
produce a complete multimedia program

Selecting an OMFI or an AAF Transfer Method
OMF Interchange and AAF, as implemented in your Avid system, provide two
basic methods for exporting files.
Method 1: Compositions with Linked Media

The Avid system can export an OMFI or an AAF file that contains only the
editing information about a selected master clip or sequence. The file also
contains links to the media used in the clip or sequence. You then need to
transfer the OMFI or AAF file to the other system, and either transfer the
media files or recapture the media. After you have transferred or recaptured
the media, you can transfer revised composition-only files. However, if you
consolidate the media, you must transport the consolidated media files, as
well. You can consolidate media during the export (see “Exporting As an
OMFI or an AAF File” on page 254) or before the export (see “Consolidating
Media” in the Help).
Method 2: Compositions with Embedded Media

The Avid system can export an OMFI or an AAF file that contains all the
editing information for the selected master clip or sequence along with the
video and audio media files for that master clip or sequence. See “Exporting
As an OMFI or an AAF File” on page 254.

Exporting As an OMFI or an AAF File

254

You cannot export OMFI files that are larger than 2 GB. If you exceed this
limit, an error message is displayed. For information on exporting large
sequences, see “Preparing to Export a Sequence” on page 246.

Exporting OMFI and AAF Files

To export master clips or sequences as an OMFI or an AAF file:

1. Prepare the sequence, as described in “Preparing to Export a Sequence”
on page 246.
2. Select a clip or a sequence to export, as described in “Exporting Frames,
Clips, or Sequences” on page 248.
3. Select File > Export.
The Export As dialog box opens.
You can create settings
in advance. See
“Customizing Export
Settings” on page 252.

4. Click the Export Settings pop-up menu, and select a setting.
If you want to create a new setting, select Untitled.
5. Click the Options button.
The Export Settings dialog box opens.

6. Click the Export As pop-up menu, and select OMF 1.0, OMF 2.0, or AAF.

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7. Select other options as described in “Export Settings: OMFI and AAF
Options” in the Help.

8. Do one of the following:
t

To save your settings in the existing settings file, click Save.

To create a new settings file, click Save As.
The Save Export Setting dialog box opens.
Name the setting by typing a name in the Setting Name text box, and
click OK.

9. In the Export As dialog box, select the destination folder for the file.
10. (Option) Change the file name.
In most cases, keep the file name extension the same.
11. Click Save.
The file is exported to the selected destination.

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If a power failure or application error occurs during the export process,
the entire file is unusable. You need to repeat the export process.

Improving Workflow Using Send To
The Send To feature enables you to send sequences or master clips from your
Avid editing system to other applications, automating your workflow. The
Send To option provides you with a choice of several pre-defined templates to
streamline your workflow. These templates are set to default parameters,
customized for the specific workflow. In many instances you can choose to
automatically launch the application to which you are sending your clip or
sequence.
Avid recommends you use the pre-defined template default settings,
which have been qualified by Avid.
To use the predefined templates:

1. Select a sequence in a bin.
2. Select File > Send To.
3. Select the desired Send To template option.
4. Click Set and choose a destination folder for the exported files.
5. Click OK.
The file is exported to the selected destination.
For more details about individual Send To options, see the following topics:

•

Send To Digidesign Pro Tools

•

Send To DVD

•

Send To Sorenson Squeeze

•

Send To Avid | DS

•

Send To Third-Party Applications

The Avid Xpress Studio Send To submenu may appear in your editing
application, but is applicable only when running the Avid Xpress Studio
package.

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Send To Digidesign Pro Tools
When exporting a sequence to Digidesign Pro Tools, simply choose
Digidesign Pro Tools and choose how you want to export (i.e., linking or
consolidating the audio) and the best export template for your request is
automatically selected.
To export directly to Digidesign Pro Tools:

1. Prepare the sequence, as described in “Preparing to Export a Sequence”
on page 246.
2. Select a sequence in a bin.
3. Select File > Send To.
The Send To submenu opens.

To access Send To from the shortcut menu, right-click the clip or sequence in
the bin.
4. Select Digidesign Pro Tools from the Send To submenu.
5. Select from one of the following options.

258

Link to audio + video

Link to audio + QT ref

Link to audio + QT mov

Consolidate - link to audio + video

Consolidate - embed audio only

Consolidate - embed audio + QT mov

Improving Workflow Using Send To

The Send To dialog box opens with a default export template.

The filename displays the name of the sequence or clip you chose.
6. (Option) Change the file name.
7. Click Set to browse to the drive and folder to which you want to export the
sequence. Click OK.

Whenever you return to a Send To dialog box, the destination folder that was
last set appears in the destination field.
8. Review the Export Setting Summary.

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If you chose Link to audio + QT ref, Link to audio + QT mov, or
Consolidate - embed audio + QT mov, the Export Setting 1 Summary will
display the appropriate settings options for link or consolidate to audio.
The Export Setting 2 Summary will display the appropriate settings
options for QuickTime Movie, or QuickTime Reference.
9. (Option) If you need to make any changes, select the Options button and
make any necessary changes and click Save.
10. (Option) If you make any changes to the Send To dialog box, you can
choose to save these changes as a new template.
a.

Click the Save As Template button.

Rename the file. Make sure you leave the .stt extension.

Click Save.
The new template is saved. The next time you select a sequence, and
choose File > Send To, the new template appears in the list.

11. Click OK.
The file is exported to the selected destination.

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Send To DVD
When you choose to export to a DVD authoring application, a QuickTime
Reference Movie template is selected. If your sequence includes MetaSync
tracks you can choose to export the MetaSync tracks as XML.
To export directly to DVD:

1. Prepare the sequence, as described in “Preparing to Export a Sequence”
on page 246.
2. Select a clip or a sequence in a bin.
3. Select File > Send To.
The Send To submenu opens.

To access Send To from the shortcut menu, right-click the clip or sequence in
the bin.
4. Select DVD from the Send To submenu. And Select QuickTime
Reference submenu.
The Send To dialog box opens with a default export template.

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The filename displays the name of the sequence or clip you chose.
5. (Option) Change the file name.
6. Click Set to browse to the drive and folder to which you want to export the
sequence. Click OK.

Whenever you return to a Send To dialog box, the destination folder that was
last set appears in the destination field.
7. Review the Export Setting Summary.

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Improving Workflow Using Send To

8. (Option) If you need to make any changes, select the Options button and
make any necessary changes. Click Save.
9. (Option) Perform the following if you want the DVD application to
automatically launch after you export.
a.

(Option) Click the Auto Launch button, and select Add Item.

(Option) Browse to find the DVD application.

Click Open.

d. Select Auto Load Exported File(s) if you want the files you export to
automatically load in the DVD application.
e.

Select Reveal file if you want the system to search available drives,
open Windows Explorer, and highlight related media files.

10. (Option) Select the following if your sequence includes MetaSync tracks:
a.

Choose to export the MetaSync tracks as XML or AAF files. If you
choose XML, the system performs an AAF export, and then
automatically opens MetaSync Publisher which produces the XML
file. For more information on MetaSync Publisher, see “Using
MetaSync Publisher” in the Help.

Select Reveal file if you want the system to search available drives,
open Windows Explorer, and highlight related MetaSync files.

(Option) If you want to automatically load the XML files in another
application, choose Auto Launch, and select the application.

11. (Option) If you make any changes to the Send To dialog box, you can
choose to save these changes as a new template.
a.

Click the Save As Template button.

Rename the file. Make sure you leave the .stt extension.

Click Save.
The new template is saved. The next time you select a sequence, and
choose File > Send To, the new template appears in the list.

12. Click OK.
The QuickTime references movie and optional MetaSync files are
exported to the selected destination.

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Send To Sorenson Squeeze
When you send directly to Sorenson Squeeze, a QuickTime Reference
template is selected.
1. Prepare the sequence, as described in “Preparing to Export a Sequence”
on page 246.
2. Select a sequence in a bin.
3. Select File > Send To.
The Send To submenu opens.

To access Send To from the shortcut menu, right-click the clip or sequence in
the bin.
4. Select Encoding from the Send To submenu. Then Select Sorenson
Squeeze from the submenu.
The Send To dialog box opens with a default template.

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Improving Workflow Using Send To

The filename displays the name of the sequence or clip you chose.
5. (Option) Change the file name.
6. Click Set to browse to the drive and folder to which you want to export the
sequence. Click OK.

Whenever you return to a Send To dialog box, the destination folder that was
last set appears in the destination field.
7. Review the Export Setting Summary.
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8. (Option) If you need to make any changes, select the Options button and
make any necessary changes. Click Save.
9. (Option) Perform the following if you want the Sorenson Squeeze
application to automatically launch after you export.
a.

(Option) Click the Auto Launch button, and select Add Item.

(Option) Browse to find the Sorenson Squeeze application.

Click OK Open.

d. Select Auto Load Exported File(s) if you want the files you export to
automatically load in the Sorenson Squeeze application.
e.

Select Reveal file if you want the system to search available drives,
open Windows Explorer, and highlight related media files.

10. (Option) Select the following if your sequence includes MetaSync tracks:
a.

Choose to export the MetaSync tracks as XML files. The system
performs an AAF export, and then automatically opens MetaSync
Publisher which produces the XML file. For more information on
MetaSync Publisher, see “Using MetaSync Publisher” in the Help.

Select Reveal file if you want the system to search available drives,
open Windows Explorer, and highlight related XML files.

(Option) If you want to automatically load the XML files in another
application, choose Auto Launch, and select the application.

11. (Option) If you make any changes to the Send To dialog box, you can
choose to save these changes as a new template.
a.

Click the Save As Template button.

Rename the file. Make sure you leave the .stt extension.

Click Save.
The new template is saved. The next time you select a sequence, and
choose File > Send To, the new template appears in the list.

12. Click OK.
The QuickTime references movie and optional MetaSync files are
exported to the selected destination.

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Send To Avid | DS
When you choose to send to Avid | DS, the sequence is exported as an AFE
file.
1. Prepare the sequence, as described in “Preparing to Export a Sequence”
on page 246.
2. Select a clip or a sequence in a bin.
3. Select File > Send To.
The Send To submenu opens.

To access Send To from the shortcut menu, right-click the clip or sequence in
the bin.
4. Select Avid DS from the Send To submenu.
The Send To dialog box opens with a default export template.

The filename displays the name of the sequence or clip you chose.
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5. (Option) Change the file name.
6. Click Set to browse to the drive and folder to which you want to export the
sequence. Click OK.

Whenever you return to a Send To dialog box, the destination folder that was
last set appears in the destination field.
7. Click the OK to save the AFE file.
The file is exported to the selected destination.

Send To Third-Party Applications
Avid provides a Make New option that allows you to customize your own
Send To template for third-party applications.
To create your own template:

1. Prepare the sequence, as described in “Preparing to Export a Sequence”
on page 246.
2. Select a clip or a sequence in a bin.
3. Select File > Send To.
The Send To submenu opens.

To access Send To from the shortcut menu, right-click the clip or sequence in
the bin.
4. Select Make New from the Send To submenu.
The Send To dialog box opens with a default export template.

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Improving Workflow Using Send To

5. (Option) Change the file name.
6. Select the destination folder for the file. Click OK.

Whenever you return to a Send To dialog box, the destination folder that was
last set appears in the destination field.
7. Review the Export Setting Summary.
8. (Option) If you need to make any changes, select the Options button and
make any necessary changes. Click Save.

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9. (Option) Perform the following if you want the third-party application to
automatically launch after you export.
a.

(Option) Click the Auto Launch button, and select Add Item.

(Option) Browse to find the third-party application.

Click OK Open.

d. Select Auto Load Exported File(s) if you want the files you export to
automatically load in the third-party application.
e.

Select Reveal file if you want the system to search available drives,
open Windows Explorer, and highlight related media files.

10. (Option) Select the following if your sequence includes MetaSync tracks:
a.

Select Reveal file if you want the system to search available drives,
open Windows Explorer, and highlight related XML files.

(Option) If you want to automatically load the XML files in another
application, choose Auto Launch, and select the application.

11. Click OK.
12. The Save As dialog opens.
13. Name the new Send To (.stt) template.
14. Click Save.
You can use this new template when working with the third-party
application.

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Exporting Video in DV Stream Format

Exporting Video in DV Stream Format
Use the DV Stream format when exporting video that will be combined or
processed with other DV-formatted media. This option requires a video track.
To export in DV Stream format:

4. Click the Export Settings pop-up menu, and select a setting.
If you want to create a new setting, select Untitled.
5. Click the Options button.
The Export Settings dialog box opens.
6. Click the Export As pop-up menu, and select DV Stream.
7. Select other options as described in “Export Settings: DV Stream
Options” in the Help.
8. Click the Format Options button.
The DV Export Settings dialog box opens.

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9. Select a video format and an audio format. For compatibility with DV
cameras that require unlocked audio, deselect Locked.
10. Click OK.
11. In the Export Settings dialog box, do one of the following:
t

To save your settings in the existing settings file, click Save.

To create a new settings file, click Save As.
The Save Export Setting dialog box opens.
Name the setting by typing a name in the Setting Name text box, and
click OK.

12. In the Export As dialog box, select the destination folder for the file.
13. (Option) Change the file name.
In most cases, keep the file name extension the same.
14. Click Save.
The file is exported to the selected destination.

If a power failure or application error occurs during the export process,
the entire file is unusable. You need to repeat the export process.

Exporting QuickTime Movies
You can export a sequence as a QuickTime movie for final distribution or for
further processing in another application. There are three basic methods for
QuickTime export, as described in the following table.
Selecting a QuickTime Export Option

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Option

Description

Same as Source

This option is available when you select QuickTime Movie from the Export
Settings dialog box. When you select this option, 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. See “Exporting As a QuickTime Movie” on page 273.

Exporting QuickTime Movies

Selecting a QuickTime Export Option (Continued)
Option

Description

Custom

This option is also available when you select QuickTime Movie from the
Export Settings dialog box. 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. In general,
you should only use the Custom option if you have to directly export a clip or
sequence in a particular file format. See “Exporting As a QuickTime Movie”
on page 273.
The Custom format is useful if you plan to export to an older ABVB or
NuVista system.

QuickTime Reference

QuickTime Reference is available from the Export As pop-up menu in the
Export Settings dialog box. This option is similar to Same as Source, but the
system links to the original media files. This is the fastest method of export,
but the movie can only be run or processed on your local system or in an Avid
Unity MediaNetwork workgroup environment. If you want to transfer a
QuickTime movie to another system, you must also move the associated
media files by creating a self-contained QuickTime movie. See “Exporting As
a QuickTime Reference Movie” on page 275.

Exporting As a QuickTime Movie
To export as a QuickTime movie:

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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.

QuickTime Movie (Same as Source)

QuickTime Movie (Custom)

7. Select the Same as Source option to use the resolution of the source file or
select the Custom option to customize your settings.

Using Same as Source results in the fastest export and is usually the best
selection for a movie that will be processed by another application. See
“Exporting QuickTime Movies” on page 272.
8. Select the remaining options as described in “Export Settings: QuickTime
Movie Export Options” in the Help.
To change the codec (compressor/decompressor) used for compression,
click the Format Options button. For a description of the options, see
“Selecting QuickTime Movie Format Options” on page 275.

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Exporting QuickTime Movies

9. Do one of the following:
t

To save your settings in the existing settings file, click Save.

To create a new settings file, click Save As.
The Save Export Setting dialog box opens.
Name the setting by typing a name in the Setting Name text box, and
click OK.

10. In the Export As dialog box, select the destination folder for the file.
11. (Option) Change the file name.
In most cases, keep the file name extension the same.
12. Click Save.
The file is exported to the selected destination.

If a power failure or application error occurs during the export process,
the entire file is unusable. You need to repeat the export process.

Selecting QuickTime Movie Format Options
“Export Settings: QuickTime Movie Settings” in the Help describes
QuickTime codecs and settings that are available on your Avid system. The
codecs that appear depend on the version of QuickTime that is installed. Not
all settings are available for all codecs.

Exporting As a QuickTime Reference Movie
A QuickTime reference movie is a QuickTime movie that contains
composition information but no movie data. Instead, the movie contains
pointers to the original media in the OMFI MediaFiles directory on local or
network media drives. Because the QuickTime reference movie does not
contain media, the file is much smaller than a QuickTime movie, usually only
a few kilobytes per file. Therefore, exporting a sequence as a QuickTime
reference movie is faster and takes up less disk space than exporting a
sequence as a QuickTime movie. When you play back the movie in
QuickTime Player, the movie references the media files for playback.
QuickTime reference movies are useful as long as you are working with Avid
OMFI media files available on your local system or in an Avid Unity
MediaNetwork workgroup. Advantages are speed and small file size because
the system does not copy the source media files into the exported QuickTime
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file. However, if you expect to move the exported QuickTime file to a system
that doesn't have access to the media, then you should use the standard
QuickTime export so the media files and QuickTime wrapper can be moved as
one file.
To export as a QuickTime reference movie:

1. Prepare the sequence, as described in “Preparing to Export a Sequence”
on page 246.
2. Select a clip or a sequence to export, as described in “Exporting Frames,
Clips, or Sequences” on page 248.
3. Select File > Export.
The Export As dialog box opens.
4. Click the Export Settings pop-up menu, and select a setting.
If you want to create a new setting, select Untitled.
You can set these
options in advance. See
“Customizing Export
Settings” on page 252.

5. Click the Options button.
The Export Settings dialog box opens.
6. Click the Export As pop-up menu, and select QuickTime Reference.
The Export Settings dialog box displays the QuickTime Reference
options.

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Exporting QuickTime Movies

7. Select other options as described in “Export Settings: QuickTime
Reference Options” in the Help.
8. Do one of the following:
t

To save your settings in the existing settings file, click Save.

To create a new settings file, click Save As.
The Save Export Setting dialog box opens.
Name the setting by typing a name in the Setting Name text box, and
click OK.

9. In the Export As dialog box, select the destination folder for the file.
10. (Option) Change the file name.
In most cases, keep the file name extension the same.
11. Click Save.
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The file is exported to the selected destination.

If a power failure or application error occurs during the export process,
the entire file is unusable. You need to repeat the export process.

Using Avid Codecs for QuickTime
You can use the following Avid codecs when exporting QuickTime files from
your Avid system or from third-party applications for fast import into an Avid
system:
•

Avid 1:1x (Uncompressed MXF 8-bit resolution)

•

Avid ABVB NuVista (AVR resolutions)

•

Avid DNxHD (HD MXF 8-bit and 10-bit resolutions)

•

Avid DV (DV 25/DV 50 resolutions)

•

Avid DV100 (DV 100 MXF resolution)

•

Avid Meridien Compressed (JFIF resolutions)

•

Avid Meridien Uncompressed (OMF 8-bit resolution)

•

Avid MPEG-50 mbit (MPEG-IMX resolutions)

•

Avid Packed (Uncompressed MXF 10-bit resolution)

The Avid codecs create encapsulated media files for export of high-resolution
files that are readable within QuickTime applications. The Avid codec you use
to export the file must be loaded on the system running the QuickTime
application for the application to read the exported file. See “Installing the
Avid Codecs for QuickTime on Other Systems” on page 283.

You get the best results by using the Same as Source option. See “Exporting As
a QuickTime Movie” on page 273.

Exporting with Avid QuickTime Codecs
To export a clip or sequence by using one of the Avid codecs:

Exporting QuickTime Movies

The Export As dialog box opens.
You can create settings
in advance. See
“Customizing Export
Settings” on page 252.

4. Click the Export Settings pop-up menu, and select a setting.
If you want to create a new setting, select Untitled.
5. Click the Options button.
The Export Settings dialog box opens.
6. Click the Export As pop-up menu, and select QuickTime Movie.
7. Select the Custom option.
8. Click the Format Options button.
The Movie Settings dialog box opens.
9. Click Settings in the Video area.
The Compression Settings dialog box opens.
10. Select the codec that you want to use for export.

11. Click the Options button.

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A Codec Configuration dialog box opens. The settings depend on the
codec that you selected.

The Quality slider does not affect your settings.

12. Select the settings that you want, and click OK.
For Color Levels or Color Input, select the color levels of the source
media. If you are exporting from an Avid editing system, use ITU-R 601
(SD) or 709 (HD).
13. Click OK in the Compression Settings dialog box.
14. Click OK in the Movie Settings dialog box.
The Export Settings dialog box reopens.
15. Do one of the following:
t

To save your settings in the existing settings file, click Save.

To create a new settings file, click Save As.
The Save Export Setting dialog box opens.
Name the setting by typing a name in the Setting Name text box, and
click OK.

16. In the Export As dialog box, select the destination folder for the file.
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Exporting As an AVI File

17. (Option) Change the file name.
In most cases, keep the file name extension the same.
18. Click Save.
The file is exported to the selected destination.

If a power failure or application error occurs during the export process,
the entire file is unusable. You need to repeat the export process.

Exporting As an AVI File
To export as an AVI file:

4. Click the Export Settings pop-up menu, and select a setting.
If you want to create a new setting, select Untitled.
5. Click the Options button.

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The Export Settings dialog box opens.

6. Click the Export As pop-up menu, and select AVI.
7. Select AVI options as described in “Export Settings: AVI Settings” in the
Help.
8. Select an AVI codec by clicking the Codec Options button.
The Video Compression dialog box opens.
9. Select the compressor you want, and click the Configure button to further
configure the codec. For more information, see “Export Settings: AVI
Video Compression Options” in the Help.
10. Click OK to close the Video Compression dialog box and to return to the
Export Settings dialog box.
11. Do one of the following:

282

To save your settings in the existing settings file, click Save.

To create a new settings file, click Save As.

Installing the Avid Codecs for QuickTime on Other Systems

The Save Export Setting dialog box opens.
Name the setting by typing a name in the Setting Name text box, and
click OK.
12. In the Export As dialog box, select the destination folder for the file.
13. (Option) Change the file name.
In most cases, keep the file name extension the same.
14. Click Save.
The file is exported to the selected destination.

If a power failure or application error occurs during the export process,
the entire file is unusable. You need to repeat the export process.

AVI Settings Options
“Export Settings: AVI Settings” in the Help describes the AVI settings options
in the Export Settings dialog box. In the Video Format tab, you can also select
further options by clicking the Codec Options button.

Installing the Avid Codecs for QuickTime on Other
Systems
When you install the Avid editing application on your system, the Avid
Codecs for QuickTime are automatically installed. If you want to export a
QuickTime movie from a third-party application such as Adobe After Effects®
for use on an Avid system, you should have the appropriate Avid codec
installed on the system running the third-party application.
Use the following technique to copy the codecs to other systems:
•

Copy the Avid Codecs for QuickTime to other Windows or Macintosh
workstations where you are using QuickTime compatible applications.
Once the Avid Codecs for QuickTime are installed on the workstation,
you can export files from the QuickTime compatible application for
reimport into the Avid editing system. See “Copying the Avid Codecs for
QuickTime to Another Windows System” on page 284.

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Copying the Avid Codecs for QuickTime to Another Windows System
To copy the Avid Meridien Codecs for QuickTime to another Windows
system:

1. On your Avid system, open the following folder:
drive:\WINNT\System32
2. Copy the codecs you need to a floppy disk or network server.
The following table describes the codecs:

Codec

Description

AvidAV1xCodec.qtx

Avid 1:1x codec (Uncompressed MXF 8-bit)

AvidAVd1Codec.qtx

Avid DV 100 codec (MXF)

AvidAVdnCodec.qtx

Avid DNxHD codec (MXF)

AvidAVdvCodec.qtx

Avid DV codec(DV 25 and DV 50, OMF and MXF)

AvidAVmpCodec.qtx

Avid MPEG 50 codec (MPEG-IMX, OMF and MXF)

AvidAVpkCodec.qtx

Avid Packed codec (Uncompressed MXF 10-bit)

AvidQTAVJICodec.qtx

Avid Meridien Compressed codec (OMF 8-bit)

AvidQTAVUICodec.qtx

Avid Meridien Uncompressed codec (OMF 8-bit)

AvidQTCodec.qtx

Avid ABVB NuVista codec (OMF)

For the DV 100 and DNxHD codecs, you must also copy the following files:
•

libmmd.dll

•

msvcr71.dll
3. On the other system, copy the files to one of the following folders:
drive:\WINNT\System32 (Windows 2000)
drive:\Windows\System32 (Windows XP)

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Exporting from a Third-Party QuickTime or AVI Application

Exporting from a Third-Party QuickTime or AVI
Application
To export files from a QuickTime compatible application or from an AVI
compatible application on a Windows system for import (or reimport)
into your Avid system:

1. Make sure the applicable codec is installed on the system. See “Installing
the Avid Codecs for QuickTime on Other Systems” on page 283.
2. Conduct the export procedure according to the procedures used by the
particular software.
3. When you get to the step where the standard Export Settings dialog box
opens, select the applicable Avid compressor.
For QuickTime exports, most applications will have format options
similar to those described in “Selecting QuickTime Movie Format
Options” on page 275. Make sure you select settings that will be
compatible with your existing media on the Avid system.

If you select a nonstandard frame size, your Avid system will not import the file
quickly.
4. Complete the export.

Exporting as Windows Media
The Avid editing application allows you to export your sequence as native
Windows Media. Before you perform any export procedures, make sure you
have reviewed Preparing to Export a Sequence.
This section includes the following:
•

Exporting Using an Avid Supplied Template

•

Exporting Using an Existing Windows Media Profile

•

Exporting Using a Custom Profile
-

Creating a Custom Video Profile

Creating a Custom Audio Profile

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Exporting Using an Avid Supplied Template
The Avid editing application includes a number of Windows Media templates
you can use to export media.
To export as Windows Media using an Avid supplied template:

1. Select the sequence or clips to export.
2. Select File > Export.
The Export A dialog box opens.
3. Click the Options button.
The Export Settings dialog box opens.
4. In the Export As menu, select Windows Media.
5. Select Use Marks and/or Use Enabled Tracks. When Use Marks is
selected the current IN and OUT points in the selected clip or sequence
determine starting and ending frames for the export. When Use Enabled
Tracks is selected, the system uses tracks that are enabled in the Timeline.
To export all the tracks in the sequence, deselect this option.

6. Select Windows Media Legacy Template.
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Exporting as Windows Media

7. Select Version: 8, 7 or 4. This refers to the available version 8, version 7,
and version 4 Windows Media templates.
8. Choose from the Templates list of Windows Media options that best fits
your needs.

Windows Media Legacy Template compatibility is subject to Windows media
updates.
9. Click Save.
10. In the Export As dialog box, select the destination folder for the file.
11. (Option) Change the file name.
In most cases, keep the file name extension the same.
12. Click Save.
13. The sequence is exported using the selected template.

Exporting Using an Existing Windows Media Profile
A Profile is a group of settings that match content type and bit rate with the
appropriate audio and video codecs. Profiles have the file name extension .prx.
If you have an existing .prx file, select that file to use for the Windows Media
export settings.

A .prx file is basically a saved template. You can create and save .prx files to
share with others.
To use and existing Windows Media Profile:

1. Select the sequence or clips you want to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click the Options button.
The Export Settings dialog box opens.

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4. From the Export As menu, select Windows Media.
5. Select Use Marks and/or Use Enabled Tracks. When Use Marks is
selected the current IN and OUT points in the selected clip or sequence
determine starting and ending frames for the export. When Use Enabled
Tracks is selected, the system uses tracks that are enabled in the Timeline.
To export all the tracks in the sequence, deselect this option.
6. Select Windows Media Custom Profile.
7. Click Set.
8. Browse to the location where the .prx file is located on your system, and
select the file.
9. Click Open.
10. Click Save.
11. In the Export As dialog box, select the destination folder for the file.
12. (Option) Change the file name.
In most cases, keep the file name extension the same.
13. Click Save.
The file is exported using the selected profile settings.

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Exporting Using a Custom Profile
The Avid editing system allows you to create custom audio and video profiles.
Once you create the profile, you can use the settings in that profile to export a
sequence.
Creating a Custom Video Profile
To create a custom video profile:

1. Select the sequence or clips you want to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click the Options button.
The Export Settings dialog box opens.

Add Button

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4. In the Export As menu, select Windows Media.
5. Select Use Marks and/or Use Enabled Tracks. When Use Marks is
selected the current IN and OUT points in the selected clip or sequence
determine starting and ending frames for the export. When Use Enabled
Tracks is selected, the system uses tracks that are enabled in the Timeline.
To export all the tracks in the sequence, deselect this option.
6. Click the Add button and select Video.
7. Choose the custom profile settings according to “Custom Profile Video
Settings” in the Help.
8. (Option) Click Save As Custom Profile if you want to save the .prx file.
a.

Browse to the location on the system where you want to save the .prx
file.

Name the file and click Save. The .prx file is saved.
You are returned to the Export Settings window

9. Click Save to export the sequence.
10. In the Export As dialog box, select the destination folder for the file.
11. (Option) Change the file name.
In most cases, keep the file name extension the same.
12. Click Save.
The sequence is exported using the selected profile settings.
Creating a Custom Audio Profile
To create a custom audio profile:

1. Select the sequence or clips you want to export.
2. Select File > Export.
The Export As dialog box opens.
3. Click the Options button.

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The Export Settings dialog box opens.

4. In the Export As menu, select Windows Media.
5. Select Use Marks and/or Use Enabled Tracks. When Use Marks is
selected the current IN and OUT points in the selected clip or sequence
determine starting and ending frames for the export. When Use Enabled
Tracks is selected, the system uses tracks that are enabled in the Timeline.
To export all the tracks in the sequence, deselect this option.
6. Click the Add button and select Audio.
7. Choose the custom profile settings according to “Custom Profile Audio
Settings” in the Help.
8. (Option) Click Save As Custom Profile if you want to save the .prx file.
a.

Browse to the location on the system where you want to save the .prx
file.

Name the file and click Save. The .prx file is saved.
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You are returned to the Export Settings window
9. Click Save to export the sequence.
10. In the Export As dialog box, select the destination folder for the file.
11. (Option) Change the file name.
In most cases, keep the file name extension the same.
12. Click Save.
The sequence is exported using the selected profile settings.

Exporting Tracks As Audio Files
To export the audio tracks in a clip or sequence as an audio file:

1. (Option) Mark IN or OUT points to identify a particular portion of the
audio in a sequence.
2. Select the clip or sequence in one of two ways:
t

Click the monitor that displays the clip or sequence you want to
export.

Click the clip or sequence in a bin.

3. Select File > Export.
The Export As dialog box opens.
You can create settings
in advance. See
“Customizing Export
Settings” on page 252.

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Exporting Tracks As Audio Files

7. Select the options you require. Use the “Export Settings: Audio Options”
in the Help to make your selections.
8. Do one of the following:
t

To save your settings in the existing settings file, click Save.

To create a new settings file, click Save As.
The Save Export Setting dialog box opens.
Name the setting by typing a name in the Setting Name text box, and
click OK.

If a power failure or application error occurs during the export process,
the entire file is unusable. You need to repeat the export process.

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Exporting As a Graphic File
You can export a single frame as a graphic file or you can select to export
multiple frames as sequentially numbered files.
To export as a graphic file:

1. Do one of the following:
t

If you plan to export a single frame, mark an IN point to export the
marked frame from a bin or a monitor, or move the position indicator
to the frame you want to export.

If you plan to export multiple frames, use IN and OUT points to
identify the region to export.

2. Select File > Export.
The Export As dialog box opens.
You can create settings
in advance. See
“Customizing Export
Settings” on page 252.

3. Click the Export Settings pop-up menu, and select a setting.
If you want to create a new setting, select Untitled.
4. Click the Options button.
The Export Settings dialog box opens.
5. Click the Export As pop-up menu, and select Graphic.
The Export Settings dialog box displays the Graphic options.

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Exporting As a Graphic File

6. Click the Graphic Format pop-up menu, and select a format. Use “Export
Settings: Graphic Format Options” in the Help to make your selection.
7. Select other options as appropriate. Use “Graphic Export Settings
Options” in the Help to make your selection.
8. Do one of the following:
t

To save your settings in the existing settings file, click Save.

To create a new settings file, click Save As.
The Save Export Setting dialog box opens.
Name the setting by typing a name in the Setting Name text box, and
click OK.

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When you are working with the Format Options settings, you can click
Defaults to return the settings to their default values.

296

If a power failure or application error occurs during the export process,
the entire file is unusable. You need to repeat the export process.

Appendix A
Working with HD Media

Media Composer Adrenaline HD includes support for capture, editing, and
output of high-definition (HD) media in the following resolutions:
•

Avid DNxHD™

•

DVCPRO HD®

Avid DNxHD encoding technology delivers mastering-quality 8-bit or 10-bit
HD media at standard definition (SD) data rates and file sizes.
Media Composer Adrenaline HD captures and processes DVCPRO HD media
in its native format, through an optional 1394 (FireWire) card in your
computer.
The following sections describe the features and options that let you capture,
edit, and output HD media:
•

High-Definition Television

•

HDTV Workflows

•

Starting an HD Project

•

Capturing HD Video and Audio

•

Playback Modes for HD

•

Video Color Space for HD

•

Changing the Project Format

•

Editing in HD

•

Video Effects for HD

•

Setting Video Output for HD

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Appendix A Working with HD Media

•

Recording a Digital Cut for HD

•

Video Import and Export for HD

High-Definition Television
High-definition television (HDTV) is a digital broadcasting technology that
delivers a larger, clearer, more detailed picture than standard definition
television (SDTV). HDTV refers to specific digital television (DTV) formats
that have been standardized by the Advanced Television Systems Committee
(ATSC) and adopted by the United States Federal Communications
Commission (FCC). HDTV for PAL has been standardized by the Digital
Video Broadcasting (DVB) consortium.
The following table lists the HDTV digital formats that are supported in
Media Composer Adrenaline HD.
Supported HDTV Formats

Pixel Dimension

Aspect Ratio

Progressive
Interlaced Fields Frames per
per Second
Second

1280 x 720

16:9

—

59.94

1920 x 1280

16:9

50, 59.94

23.976, 25

HDTV uses a 16:9 aspect ratio in place of the standard definition 4:3 ratio.
The following illustration compares the pixel size of the most common HD
formats—720p and 1080i—to that of the digital version of standard definition
NTSC media (ITU-R 601). Both 1080i and 720p formats fill the 16x9 screen
on HD television sets.

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HDTV Workflows

1920 pixels

1080i HD

NTSC SD

486 lines

720pixels

720 lines

720p HD

1080 lines

1280 pixels

For more information about HD technology, see the Avid HD Handbook: An A
to Z Guide, which is available on the Avid web site, www.avid.com.

HDTV Workflows
This section describes three common workflows in which you can use Avid
HD systems:
•

Creation of film-based television programs

•

Creation of video-based television programs

•

Creation of video graphics for broadcast

Film-Based Television Workflow
The following workflow describes the steps in creating film-based television
programs that originate on film footage shot at 24 fps and that are planned for
NTSC HDTV broadcast. This workflow uses features that let you change the
project and sequence format, eliminating the need to create a new project and
sequence (see “Changing the Project Format” on page 314 and “Modifying the

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Appendix A Working with HD Media

Format of a Sequence” on page 316). Modifying the format of the sequence
lets you keep both offline SD material and online HD material available in the
same project.
For PAL broadcast, transfer film at 1080p/25, edit offline in a 25p PAL
project, and edit online in a 1080p/25 project.
“Offline Workflow: 24-fps Film Source for HDTV” on page 302 shows the
offline stage of the workflow for such programs, and “Online Workflow: 24fps Film Source for HDTV” on page 303 shows the online stage.
To create a film-based HDTV program:

1. Use a telecine process to transfer 24-fps film footage to HD 1080p/23.976
video at 1:1 (no pulldown). The transfer should also create a shot log (for
example, a FLEx file).
2. Create a 23.976p SD project on any Avid editing system that supports a
23.976p project.
3. Convert the shot log file with ALE and import it into the project to create
a bin or bins.
4. Use a 24p deck to downconvert the HD video to ITU-R 601 SD video and
batch capture the logged clips in an offline resolution, based on the shot
log. The deck adds 2:3 pulldown (NTSC). The Avid system removes the
extra pulldown fields and creates 23.976p media.
5. Edit at 23.976 fps, apply effects, and create a final sequence.
6. Use FilmScribe to create an OCN (original camera negative) pull list for
another telecine process, to retransfer footage used in the final edit.
7. A negative cutter uses the pull list to create a reel of selects from the
original negative (picture only). The telecine process uses the assembled
reel to create a full color-corrected or flat-grade transfer to tape. The
process also creates a new transfer file.
8. Transfer the project files to a Media Composer Adrenaline HD system. If
you are using an Avid Unity shared storage system, the project will link to
the existing SD media. If you are not using Avid Unity, transfer the SD
media.
9. Open the project and change its format to 1080p/23.976. Review the
offline sequence. Then modify the format of the sequence to create a new
1080p/23.976 sequence.
10. Convert the transfer file with ALE and import it.
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HDTV Workflows

11. Relink the 1080p/23.976p sequence and clips by key numbers (FTFT).
Then batch capture clips as HD media, using an Avid DNxHD resolution.
12. Complete any other finishing, using the original offline sequence for
reference.
13. Use the Digital Cut tool to output a 1080p/23.976 master tape. Then
convert the master tape to 720p/59.94 or 1080i/59.94 for broadcast.
Optionally, use the Avid editing system to crossconvert to 720p/59.94 or
1080i/59.94 for preview or reference.

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Appendix A Working with HD Media

Offline Workflow: 24-fps Film Source for HDTV
1. The telecine process
transfers 24-fps film
footage to HD
1080p/23.976 video at
1:1 (no pulldown) and
creates a shot log.

2. Create a 23.976p SD
project on any Avid
editing system that
supports a 23.976p
project.

Telecine transfer process

DAT

DAT
playback system

Sound
recording
(DAT)
1

Film shot
at 24 fps
Telecine controller
and record deck

Log file

3. Convert the shot log
file with ALE and
import it into the
project to create a bin
or bins.

1080p

1:1 transfer
1080p/23.976
HD format

HD VTR

4. Use a 24p deck to
downconvert HD video
to ITU-R 601 SD video
and batch capture the
logged clips in an
offline resolution.

2
33
Avid offline system
23.976p project
4

5. Edit at 23.976 fps,
apply effects, and
create a final sequence.

6. Use FilmScribe to
create an OCU pull list
for another telecine
process, to retransfer
footage used in the
final edit.

302

Pull list

To the telecine
system

HDTV Workflows

Online Workflow: 24-fps Film Source for HDTV

7. The telecine process
creates HD video with
selects from the
original negative
(picture only) and a
new transfer file.

Telecine transfer process (picture only)
From the
offline session
7

Pull list

8. Transfer the project
files and media to a
Media Composer
Adrenaline HD system.
9. Open the project and
change its format to
1080p/23.976. Modify
the format of the
sequence to create a
new 1080p/23.976
sequence.
10. Convert the new
transfer file with ALE
and import it.

Assembled
reel at 24 fps

1080p
Log file

1:1 transfer
1080p/23.976
HD format

8
24p HD VTR
9
310

11. Relink the sequence
and clips by key
numbers (FTFT). Batch
capture clips as HD
media, using an
Avid DNxHD
resolution.

12. Complete any other
finishing, using the
original offline
sequence for reference.

Media Composer
Adrenaline HD
system

1080p

1080p/23.976
HD master

13. Output a
1080p/23.976 master
tape and convert to
720p/59.94 or
1080i/59.94 for
broadcast.

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Appendix A Working with HD Media

Video-Based Television Workflow
The following workflow describes the steps in creating video-based television
programs that originate on video footage and are planned for HDTV
broadcast. Footage can be shot at
•

1080p/23.976

•

1080p/25

•

1080i/50

•

1080i/59.94

The workflow for creating such programs uses a single system for offline and
online editing, but you can adapt it to use one system for offline editing and
another for online editing. This workflow uses features that let you change the
project and sequence format, eliminating the need to create a new project and
sequence (see “Changing the Project Format” on page 314 and “Modifying the
Format of a Sequence” on page 316). Modifying the format of the sequence
lets you keep both offline SD material and online HD material available in the
same project.
You can also use this workflow for video footage shot at 720p/59.94. In this
case, however, you cannot simply change the project format (step 6). Instead,
you need to create a new 720p/59.94 project, open the bin or bins from the
NTSC 30i project, change the sequence format, decompose, and batch
capture.
To create a video-based HDTV program:

1. Shoot HD video at 1080p/23.976, 1080p/25, 1080i/50, or 1080i/59.94.
2. Use an HD VTR to downconvert the source tape to 30i NTSC, 25i PAL, or
25p PAL.

304

HDTV Workflows

3. Create an offline project as shown in the following table:

HD Online

SD Offline

1080p/23.976

23.976p NTSC

1080p/25

25p PAL

1080i/50

25i PAL

1080i/59.94

30i NTSC

4. Capture your material. Edit, apply effects, and create a final sequence.
5. Change the project format to the corresponding HD online format.
Duplicate the final sequence, and then modify the format of the sequence
to create a new sequence in the corresponding HD format
6. Decompose the new HD sequence and batch capture from the source tape.
7. Finish the sequence by batch capturing graphics, recreating title media
and reviewing the program for effects that need fine-tuning. Use the
original offline sequence for reference.
8. Render all effects and output a master tape.

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Appendix A Working with HD Media

Offline/Online Workflow: HD Video Source for HDTV
1. Shoot HD video at
1080p/23.976,
1080p/25, 1080i/50, or
1080i/59.94. This
illustration uses
1080i/59.94 as an
example.

2. Use an HD VTR to
downconvert the source
tape to 30i NTSC,
25i PAL, or 25p.

1080i/59,94
HD format

1080i

3. Create a
corresponding offline
project.
4. Capture your
material. Edit, apply
effects, and create a
final sequence.
5. Change the project
format to the
corresponding online
format. Duplicate the
final sequence and
modify the format to
create a new sequence
in the final HD format.
6. Decompose the new
HD sequence and batch
capture from the source
tape.
7. Finish the sequence
by batch capturing
graphics, recreating
title media, and finetuning effects.
8. Render all effects
and output a master
tape.

306

HD VTR
2

30i

30i NTSC
SD format

33
4

Media Composer
Adrenaline HD
system

5
7

1080i

1080i/59.94
HD master

HDTV Workflows

Broadcast Graphics Workflow
Another HDTV workflow produces graphics, such as bumpers and promos
that are created in graphics programs for HDTV broadcast.
Broadcast Graphics Workflow
1. Create files on a
graphics workstation,
using either 1280x720
for 720p or 1920x1080
for 1080i.

2. Export the files to a
location that the Avid
editing system can
access.

3. Create a 720p or
1080i project, import
the files, edit, and
finish.

4. Create a broadcast
master tape in the
desired format. Crossconvert to output an
alternative format.

Graphics
workstation

Files created
for 720p or
1080i

2
5

Media Composer
Adrenaline HD
system

720p
720p/59.94
broadcast master

1080i
1080i/59.94
broadcast master

307

Appendix A Working with HD Media

Starting an HD Project
To create a new HD project:

Select an appropriate format in the New Project dialog box.

The following table describes the HD online formats.
HD Online Formats

308

Format/Frame rate

Units/second How used

720p/59.94

Frames

HD broadcast. Video-originated
material can be directly captured,
edited, and output in this format.

1080p/23.976

Frames

HD online. Film-originated material
can be transferred to this format for
editing and effects. For broadcast,
output in the native frame rate and
convert the output to the broadcast
format.

Capturing HD Video and Audio

HD Online Formats (Continued)
Format/Frame rate

Units/second How used

1080p/25

Frames

HD online. Film-originated material
can be transferred to this format for
editing and effects. For broadcast,
output in the native frame rate and
convert the output to the broadcast
format.

1080i/50

Fields

HD broadcast. Video-originated
material can be directly captured,
edited, and output in this format.

1080i/59.94

Fields

HD broadcast. Video-originated
material can be directly captured,
edited, and output in this format.

Capturing HD Video and Audio
After starting a project, you need to select a video resolution and audio input,
and then check other settings.

HD Resolutions
You can select from two types of HD resolutions:
•

DNxHD resolutions in all HD project formats

•

DVCPRO HD resolution in 720p/59.94, 1080i/59.94, and 1080i/50
project formats

To capture DVCPRO HD material, you need to change the input device setting
(see “HD Video and Audio Input” on page 311).

309

Appendix A Working with HD Media

You can select an HD resolution in the Media Creation tool or the Capture
tool.

DNxHD resolutions are available in 10-bit and 8-bit versions. 10-bit
compressions are indicated by an X, such as DNxHD 220 X. DNxHD
resolutions use the MXF media format. JFIF, MPEG, DV 25, and DV 50
resolutions are not available in HD projects. Available HD resolutions depend
on the project format, as shown in the following table.
HD Resolutions
Project
Format

310

Resolution

Project
Format

Resolution

Project
Format

1080i/59.94

DNxHD 220 X 1080i/50
DNxHD 220
DNxHD 145
DVCPRO HD

DNxHD 185 X 1080p/23.976
DNxHD 185
DNxHD 120
DVCPRO HD

720p/59.94

DNxHD 220 X 1080p/25
DNxHD 220
DNxHD 145
DVCPRO HD

DNxHD 185 X
DNxHD 185
DNxHD 120

Resolution

DNxHD 175 X
DNxHD 175
DNxHD 11

Capturing HD Video and Audio

The data rate (bandwidth) for Avid DNxHD resolutions is calculated per
second for each frame rate. For example, DNxHD 220 has a compressed data
rate of 220 Mb/sec at 29.97 fps. DNxHD 185, which is an equivalent
resolution, has a compressed data rate of 185 Mb/sec at 25 fps. For more
information about DNxHD resolutions, see “Resolution Specifications: Avid
DNxHD” in the Help.
A good guideline for selecting a resolution is to use the Avid DNxHD
resolution that matches the megabit data rate of the acquisition format. For
HDCAM-originated material, for example, select DNxHD 145, which closely
matches the data rate of HDCAM but provides better mastering results with
significantly less storage required. The following table compares Avid HD
formats to other HD formats.
Avid HD Formats and Other HD Formats
Avid DNxHD
145

Avid DNxHD
220

Sony
HDCAM™

Panasonic
D5 HD

Bit Depth

8-bit

8-bit and
10-bit

8-bit

8-bit and
10-bit

Sampling

4:2:2

3:1:1

4:2:2

Bandwidth

145 Mb/sec

220 Mb/sec

135 Mb/sec

220 Mb/sec

HD Video and Audio Input
You can capture HD video through the following inputs:

•

HD-SDI video through the Adrenaline HD-SDI IN connector

•

DVCPRO-HD video through an optional 1394 (FireWire) card in your
computer

A sync source is not required for capture when capturing video or video with
audio. The Avid editing application gets its sync from the incoming video
signal.
To set the video input for an HD project:

Select one of the following:
-

Special > Device > Adrenaline

311

Appendix A Working with HD Media

Special > Device > IEEE 1394

Your selection appears in the Video menu of the Capture tool: HD-SDI for
input through the Adrenaline and Host-1394 for input through the optional
1394 board.
For more information, see “Capturing DV50 and DVCPRO HD Media
Directly from a DV Device” on page 135.
If the device input is set to Adrenaline, you can capture audio from any input
that appears in the Audio menu of the Capture tool, such as XLR. You cannot
capture embedded HD SDI audio through the HD SDI IN connector. If the
device input is set to IEEE 1394, you can only capture through the IEEE 1394
connection.

You can capture embedded SDI audio in standard definition (SD) projects.

In HD projects, only HD resolutions are available for capture, and in SD
projects only SD resolutions are available for capture. You can switch the
project format without creating a new project, and thus use other resolutions.
For more information, see “Changing the Project Format” on page 314.

312

Playback Modes for HD

Video Input Tool for HD
The Input menu on the Video Input tool displays HD-SDI or Host-1394,
depending on your video input device. As with the standard definition SDI
input, you cannot adjust video input for these digital formats.

True 24 FPS Timecode
Avid HD editing systems support direct device control at 24-fps, enabling you
to capture true 24-fps timecode from HD decks. When you are capturing 24
fps material in HD, the Capture tool displays 24-fps timecode for the Mark IN
and Mark OUT points. After you capture a clip, the Start and End timecodes
are also shown as 24-fps timecode.

Playback Modes for HD
In HD projects, as in SD projects, you can choose one of three playback
modes:
•

Full Quality, which provides the highest quality resolution. In this mode,
the system cannot play real-time effects.

•

Draft Quality, which reduces the quality of the image so you can view
greater effect complexity in real time

•

Best Performance, which reduces the quality of the image even more, so
that you can view the highest-level of effect complexity in real time.

For more information, see “Playing Back at Different Video Qualities” in the
Help.

Video Color Space for HD
Color space determines how the color components of the video signal are
stored and processed. HD video uses an international specification for the
YCbCr color space called ITU-R 709. It is an expansion of the earlier YCbCr
specification for SD called ITU-R 601. ITU-R 601 and ITU-R 709 share some
information: for example, for 8-bit components, black is mapped to 16 and

313

Appendix A Working with HD Media

white is mapped to 235. However, color values can change when converting
from SD to HD, and vice versa. Avid HD systems automatically compensate
for these differences (see “Video Effects for HD” on page 320).

YCbCr and YPbPr refer to the same color space. Avid editing systems use
YPbPr to designate HD analog output, both in the Video Output tool and on
the back of the Adrenaline. The HD tab of the Video Output tool provides
sliders to adjust the YPbPr analog output through the YPbPr connectors on
the back of the Adrenaline.

Changing the Project Format
The Format display on the Project window lets you change the format of the
project to another format that shares the same frame rate.

This feature is especially useful if you are working with downconverted HD
material in an offline-to-online workflow (see “Video-Based Television
Workflow” on page 304). Each HD format has an equivalent SD format that
you can use for offline editing, as shown in the following table.

314

Changing the Project Format

Offline Formats for HD
HD Online

SD Offline

720p/59.94a

30i NTSC

1080p/23.976

23.976p NTSC

1080p/25

25p PAL

1080i/50

25i PAL

1080i/59.94

30i NTSC

a. You cannot use this feature to change a 720p/59.94 project to an NTSC 30i project
or an NTSC 30i project to a 720p/59.94 project, because the edit rates are different
(see “Editing at 60 fps” on page 319). Use an NTSC 30i project for offline editing,
then open a new 720p/59.94 project for online editing and open the desired NTSC
30i bins.

To change the project format:

1. Click the Format tab on the Project window.
2. Select the corresponding format for your workflow.
When you change the project format, the following changes take place:
•

The hardware changes to support input and output for the new project.

•

The available resolutions change to those of the new project.

•

New sequences are created in the format of the new project.

You can then modify the format of an existing sequence (see “Modifying the
Format of a Sequence” on page 316).
Another use for this feature is if you are working in an HD project and need to
capture SD material. In an HD project, you can capture only HD material, and
in an SD project, you can capture only SD material. Temporarily changing
from an HD project to an SD project gives you access to the SD compressions.
You can capture the material you need, then change back to the HD project
and work with both SD and HD clips (see “Mixing SD and HD” on page 318).

315

Appendix A Working with HD Media

Editing in HD
On Avid HD systems, editing HD media is very similar to editing SD media.
The following sections describe features specific to HD projects.

Modifying the Format of a Sequence
When the Avid editing system creates a sequence, it uses the format of the
current project.You can change this format by selecting Clip > Modify.

The choice of formats is limited to the compatible frame rate of the sequence.
For example, you can change an NTSC 30i sequence to 1080i/59.94 or to
720p/59.94, but not to 1080p/23.976. In some cases, where the timecode
format needs to be changed, the Avid editing system creates a new sequence
rather than modifying the existing sequence.

New 720p sequence
Modified 1080i sequence

316

Editing in HD

The following table shows the choices you have for modifying sequences and
how each type of sequence is modified.
Choices for Modifying Sequences
SD Offline

HD Online

How Sequence is Modified

23.976p NTSC

1080p/23.976

New sequence is created.

25p PAL

1080p/25

Existing sequence is modified.

25i PAL

1080i/50

Existing sequence is modified.

30i NTSC

720p/59.94
1080i/59.94

New sequence is created.
Existing sequence is modified.

If you want to keep the original sequence linked to the SD media, duplicate the
sequence before modifying its format.
To modify the format of clips not used in the sequence, create a sequence of
the selected clips and then modify the sequence. One way to create a sequence
of clips is to select the clips, hold down the Alt key, and select Bin >
AutoSequence. See “Using the AutoSequence Command” in the Help).
To modify the format of a sequence:

1. (Optional) Duplicate the sequence.
2. Select the sequence you want to modify.
3. Select Clip >Modify.
The Modify dialog box opens.
4. Select Set Format from the top list.
5. Select the format to which you want to convert from the Format menu.
6. Click OK.
The Avid editing system changes the format of the sequence and unlinks
the media. You can check the format in the Format column of the bin (see
“Displaying Formats in a Bin” on page 318).

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Appendix A Working with HD Media

Mixing SD and HD
You can mix SD and HD material in the same project. You can even mix SD
and HD material in the same timeline if the edit rates match. For example, you
can edit both NTSC 30i and 1080i/59.94 into the same sequence and then play
the sequence in real time. This feature is useful if you want to preview SD
material in an HD project.
•

In an HD sequence, an SD image is stretched to fill a 16:9 monitor.

•

In an SD sequence, an HD image is anamorphically squeezed to fit the 4:3
monitor.

You cannot output a sequence that mixes SD and HD material. To output a
mixed sequence, you need to transcode the clips that use the unsupported
resolution to an HD resolution (see “Transcoding HD Media” on page 320).
All master clips will then share the same format.
You might also need to apply an effect, such as Reformat or Resize, in which
case you need to render the effects. This process creates new media in the
format of the sequence.

If you have a sequence that mixes SD and HD clips, and you need to recapture
the SD clips in an HD resolution, you can create a subsequence of the SD
clips, modify the format of the subsequence (see “Modifying the Format of a
Sequence” on page 316), decompose, and recapture.

Displaying Formats in a Bin
The Format column displays the format of a clip or sequence as determined by
the project type, such as 30i NTSC or 1080i/59.94. This is especially useful if
you have both SD and HD clips in the same bin.

318

Editing in HD

Format column

For information on displaying a column, see “Showing and Hiding Columns”
in the Help.

Displaying 16:9 HD Video in Monitors
For HD projects, the monitors are displayed by default in the 16:9 aspect ratio.
To switch between 16:9 and 4:3 aspect ratios:

Right-click in a monitor and select 16:9 Video.

A check mark indicates that the monitors are displayed in the 16:9 aspect ratio.

Editing at 60 fps
The project type 720p/59.94 uses a screen resolution of 1280 x 720 at a frame
rate of 60 frames per second. Editing at 60 fps is similar to editing at 24 fps
because both resolutions are progressive — they use full frames instead of
interlaced fields. Note the following:
•

Single-frame step commands move at 1/60th of a second. Single-field step
commands are deactivated; if you click a button, the application beeps.

•

Draft Quality playback runs at 30 fps. Full Quality playback runs at
60 fps.

•

Marking in and out points work at 60 fps.

•

Trimming can be done at 1/60th of a second.

•

Transition effects default to one-second duration (60 frames)
319

Appendix A Working with HD Media

•

Deck control for capture and digital cut is limited to 30 fps. A message
box warns you if you try to mark an odd timecode value (such as
01:00:00:03).

1080i/50 and 1080i/59.94 are interlaced resolutions that you edit at 25 frames
per second and 30 frames per second.

Transcoding HD Media
For HD projects, the Consolidate/Transcode dialog box lists compatible
Avid DNxHD and DVCPRO HD resolutions, as listed in “HD Resolutions” on
page 309. For information on transcoding media, see “Using the Transcode
Command” in the Help.

Video Effects for HD
Many of the video effects work the same way in SD and HD, for example,
dissolves, superimposes, flips, and so on.
Effects that use square geometry automatically use the correct pixel aspect
ratios. These effects include Titles, Box Wipes, certain paint modes like
Mosaic, and so on. Effects such as Color Correction, Color Effect, and Luma
keys automatically use the correct color space (ITU-709 for HD).
Note the following:
•

Titles: There is no need to generate 4:3 media.

•

Timewarps: These effects use a 60p input and output format in 720p/59.94
projects.

All effects are rendered at Full Quality. Real-time previews of effects in HD
projects play at either Draft Quality or Best Performance (see “Playing Back
at Different Video Qualities” in the Help).

320

Setting Video Output for HD

Setting Video Output for HD
Before recording output for HD, you need to check the settings in the Video
Output tool. The Video Output tool includes two tabs. For HD projects, select
the HD tab.

The following topics explain the options in the HD tab.

321

Appendix A Working with HD Media

Output Menu (HD Tab)
This selection displays controls for adjusting output gain to an HD component
device, such as a monitor or a deck. Select one of the following, depending on
the connections from the Adrenaline to the output device:
•

HD Component YPbPr

•

HD Component RGB

For information on connections on the Adrenaline, see “Using the Avid
Adrenaline” in the Help. For information on adjusting output gain, see
“Calibrating for Video Output” in the Help.

HD Crossconvert
This option lets you output an HD format from an HD sequence with a
compatible frame rate.

You can select an HD crossconvert format for output or an SD downconvert
format for output, but you cannot output both at the same time.
To output a crossconverted sequence:

1. Select the format that you want to output from the Crossconvert menu.
2. Select OFF from the Downconvert menu.

322

Setting Video Output for HD

The Crossconvert choices depend on the format of the sequence, as described
in the following table.

HD Sequence Format

Crossconverted HD Format

720p/59.94

1080i/59.94

1080p/23.976a

1080i/59.94
720p/59.94

1080p/25

1080i/50

1080i/59.94

720p/59.94

a. When converting 1080p/23.976 to 1080i/59.94 or 720p/59.94, the
Avid editing system adds 2:3 pulldown frames to create a sequence
with the correct frame rate.

Avid recommends using crossconverted sequences for preview or
reference only. When using digital cut to output the HD master sequence
to tape, use the native frame rate of the sequence. Crossconvert and
downconvert options that change the edit rate are not supported for
digital cut. For example, if you have a 1080p/23.976 sequence, you can
preview the sequence at 1080i/59.94, 720p/59.94, or NTSC 30i. But when
creating the digital cut, use the native format of 1080p/23.976.

SD Downconvert
This option lets you specify how downconverted SD video is resized.

You can select an SD downconvert format for output or an HD crossconvert
format for output, but you cannot output both at the same time.
To output a downconverted sequence:

1. Select OFF from the Crossconvert menu.
2. Select the format that you want to output from the Downconvert menu.
The options are Anamorphic, Letterbox, Center Cut.

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Appendix A Working with HD Media

High Definition

SD - Anamorphic

SD - Letterbox

SD - Center Cut

The format for SD downconvert matches the frame rate of the HD sequence,
as described in the following table.

HD Sequence Format

Downconverted SD Format

720p/59.94

30i NTSC

1080p/23.976a

30i NTSC

1080p/25

25i PAL

1080i/50

25i PAL

1080i/59.94

30i NTSC

a. When converting 1080p/23.976 to 30i NTSC, the Avid editing
system adds 2:3 pulldown frames to create a sequence with the
correct frame rate.

324

Setting Video Output for HD

Avid recommends using downconverted 720p/59.94 and 1080p/23.976
sequences for preview or reference only. When using digital cut to output
the HD master sequence to tape, use the native frame rate of the sequence.
Crossconvert and downconvert options that change the edit rate are not
supported for digital cut.

Test Patterns for HD
This option lets you select a pattern from the HD Test Patterns menu.
The following test patterns are available in both 1920 x 1080 and 1280 x 720
pixel resolutions:
•

Bowtie: Alternating green and magenta sine wave

•

BWRamp: Luma ramp from 16 to 235

•

ColorBars: Color bars at 75% gain

•

ColorBars_100%: Color bars at 100% gain

•

MultiBurst: Sine wave in luma with increasing frequency

•

Ramp_1_254: Luma ramp from 1-254

•

SMPTE_Bars

These HD test patterns are available for import as 16-bit tiff files in the
Supporting Files\Test Patterns folder. For Media Composer Adrenaline, the
default path is
C:\Program Files\Avid\Media Composer Adrenaline\Supporting Files\Test
Patterns
Be sure to use 601/709 levels when importing them. For more information, see
“Importing Color Bars and Other Test Patterns” in the Help.

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Appendix A Working with HD Media

OutputLock for HD
This option lets you select the type of sync generator the system uses when
outputting a sequence: reference (black burst), tri-level, or internal.

Avid recommends that you use an external sync source whenever you
record a digital cut to tape. Connect the sync source to both the
Adrenaline hardware and the tape deck.
Most HD formats allow you to use any of these options, but you cannot use
reference for 1080p/23.976. Select the type of sync generator according to the
following table.
Output Sync Options
Project Format

Sync Source

1080i/59.94

720p/59.94

1080p/23.976

1080p/25

1080i/50

Tri-Level frame rate
setting

1080i/59.94

720p/59.94

1080Psf/23.976

1080P/25

1080I/50

Black burst

NTSC

—

PAL

Recording a Digital Cut for HD
You can record HD video through the following outputs:
•

DNxHD media through an HD-SDI Out connector on the Adrenaline

•

DVCPRO HD media through an optional 1394 (FireWire) card in your
computer

In the Digital Cut tool, the Output Mode menu displays DNxHD or DV 100,
depending on the output device you set (see “HD Video and Audio Input” on
page 311).
Before recording an HD sequence to tape, you must render all effects.

326

Video Import and Export for HD

Video Import and Export for HD
Video import and export includes the following changes to support HD media:
•

HD projects use the ITU-R 709 color space instead of ITU-R 601. During
import and export, the Avid editing system automatically uses the
appropriate color space. For import and export, you can select RGB or
601/709 in the settings dialog box.

•

Export Settings for Graphic, QuickTime, Custom, and AVI include
additional choices for width and height: 1920 x 1080, 1280 x 720, and
1920 x 1440. The default setting is the image size of the open project.

327

Appendix A Working with HD Media

•

16:9 is the default pixel aspect ratio in the QuickTime and QuickTime
Reference export dialogs.

•

Export of Windows Media format is available for both SD and HD
projects.

•

Avid HD applications include two QuickTime codecs that support Avid
HD compression:
-

Avid DNxHD

Avid DV100

For more information about using codecs and copying them to other
systems, see “Using Avid Codecs for QuickTime” in the Help.

328

ABCDEFGHIJKLMNOPQRSTUVWXYZ

Index

Numerics
10-bit resolutions 25
1394
capturing directly through 135
16:9 format 66
24-fps timecode
capturing from deck 313
24p and 25p projects
indicating the destination timecode rate 229
output formats 225
starting 23
timecode for output 228
24p media
capturing without pulldown 150
25i projects
starting 23
30i projects
starting 23
3-perf support 235
4-perf support 235
60 fps
editing 720p project 319

A
AAF (Advanced Authoring Format) files
described 253
exporting 255
methods for exporting 254
Add Channel button (Deck Configuration dialog
box) 81

Add Deck button (Deck Configuration dialog box)
83
Adding a memory mark 50
Adding clip names
during capturing 133
Adding comments
during capturing 133
Adjust Deck command (Deck Selection pop-up
menu) 91, 211
Adjusting
audio input levels 107
output 204
Adjusting chrominance settings
for video output 200
Adjusting luminance settings
for video output 199
Adjusting video levels 114
for tapes without color bars 124
AFE
exporting as 267
AIFF-C file format
option in Audio Project settings 104, 105
ALE (Avid Log Exchange)
converting shot log files with (Windows) 30
Annotate feature 133
ASCII file format
importing Avid logs 37
Assemble-edit recording 207
enabling in Deck Preferences 208
Audio
and digital cuts 231
calibrating global output levels 204

Index

ABCDEFGHIJKLMNOPQRSTUVWXYZ

file formats (Audio Project settings) 104
105
input 94
input levels, adjusting 107
requirements for film transfers 95
Audio board systems
adjusting output on 204
Audio File format
selecting 104
Audio I/O device
adjusting output on 204
Audio input levels
adjusting 107
calibrating for audio I/O device 111
Audio output
calibrating 202
preparing for 202
Audio peak levels
checking 113
Audio Project settings
adjusting 103
audio file formats 104, 104, 105
Audio Project Settings dialog box
description 103
Audio settings
adjusting 103
Audio Source Tape TC Rate (Film Settings dialog
box) 80
Audio sync
on output 192
Audio tone media
creating 108
Audio tool
Calibrate mode 112
checking input levels with 107
digital scale, defined 107
features, described 106
input levels, adjusting 107
using for mixing and monitoring audio 105
volume meters, defined 107
volume unit scale, defined 107
Audio Transfer Rate (Film Settings dialog box) 79
Audio-only output 231
Autocapturing 142
Auto-configure command (Deck Selection pop-up
menu) 91, 212
330

Avid | DS
exporting to 267
Avid Codecs for QuickTime 278
copying to a Windows system 284
described 278
Avid Gryphon Codec 278
Avid logs
See also Shot log files
creating 36
importing ASCII file format 37
Avid-controlled deck
logging with an 46

B
Bars and tone
recording to tape 207
Batch Capture command (Clip menu) 154
Batch Capture options (Capture Settings dialog box)
153
Batch Digitize command (Clip menu) 160
Batch Digitize settings 153
Batch digitizing
See also Autodigitizing, Digitizing, Redigitizing
from logged clips 151
options 154
preparing for 151
procedure 153
Batch Import dialog box 187
Batch importing procedure 189
Bin headings
Format 318
Bins
displaying film columns in 54
logging directly into 43
preparing for digitizing 128
targeting for capturing 98
transferring with MediaLog 37
Black level
adjusting for input 119
adjusting for output 199
Blackburst
for HD 326
Blue-only feature 200

ABCDEFGHIJKLMNOPQRSTUVWXYZ

Buttons
Add Channel (Deck Configuration dialog box)
81
Add Deck (Deck Configuration dialog box) 83
Effect Safe Mode 215, 218
In/Out (Audio tool) 106
Preset (Video tools) 115, 195
Reset Peak (Audio tool) 106
BY Gain slider
adjusting for video input 120
adjusting for video output 200

C
Calibrate command (Peak Hold Menu button) 112
Calibrating
audio output
global levels 202
of digital cut 203
global output levels 204
video input 116
table of luminance settings 120
with Vectorscope monitor 120
with Waveform monitor 119
video output 194
advanced procedures 200
basic procedures 195
using passthrough signals 201
using test patterns 200
Calibration tone
creating media for 108
setting 203
CamCutter files
importing 184
Camroll data 62
Capture command (Tools menu) 46
Capture mode
entering 88
Capture Settings
Keys tab 155
Capture settings
Batch Capture options 153
DV Options 167
Edit options 148
General Capture options 71

Index

Capture tool
logging with 46
mapping the Record button 134
resizing 152
resolution, selecting 97, 98
setting the Pulldown switch in 95
setting up 89
subclip status in 131, 132
Capturing 127
across control track breaks 153
across timecode breaks 73
adding clip names during 133
adding comments (annotating) during 133
and logging at the same time 137
audio 95
check list for 124
creating subclips during 130
defined 127
film transfers, minimum information for 53
from a mark IN to a mark OUT 138
from a non-Avid-controlled deck 144
LTC timecode 146
mapping the Record button 134
modifying clip information before 62
on-the-fly 139, 140
preparing for 65
Capture Tool setup 89
deck selection 91
hardware considerations 65
resolution selection 97, 98
settings selection 67
source track selection 93
tape selection 92
targeting bins 98
targeting drives 99
video input 114
preparing hardware before 65
setting custom preroll 102
setting only one mark 139
sources for 67
to multiple media files 75
to the Timeline 148
using time-of-day timecode 145
video transferred without pulldown 150
with external timecode 146

331

Index

ABCDEFGHIJKLMNOPQRSTUVWXYZ

Capturing footage
See Capturing
Change lists
using FilmScribe to create 237
Changing clip information
before capturing 62
Changing default pulldown frame 232
Channel dialog box 81
Channel selection buttons (Capture tool) 93
Check Decks command (Deck Selection pop-up
menu) 91
Check list
for preparing hardware before capturing 65
for preparing to capture 124
Chrominance settings
adjusting for video input 120
adjusting for video output 200
Chunking 131, 133
Clips
See also Master clips, Subclips
batch digitizing 153
exporting 248
modifying information in 62
relinking by key number 161
Closed captioning and Vertical Blanking Interval
198, 238
Codecs
Avid
copying 284
for QuickTime 278
using with other applications 285
HD 328
QuickTime 275
Color bars
adjusting video levels for tapes without 124
recording bars and tone 207
types of 118
Color space
for HD 313
Comments
adding during capturing 133
Compression tool
See Media Creation dialog box
Configuring decks 80
Console
checking peak audio levels with 113
332

logging capturing errors to 129
network drives 101
Console command (Tools menu) 101, 113
Consumer-grade video deck
digitizing from 118
limitations when digitizing 121
Control track
using for preroll 72
Control track breaks
capturing across 153
Converting shot log files
using drag-and-drop conversion (Windows) 34
Crash recording 217
Creating
Avid log files 36
subclips during capturing 130
tone media 108
Crossconvert
for output 322
Custom preroll
selecting 102
Cut lists
using FilmScribe to create 237

D
D1 VTR
calibrating input from 114
recording to 197
DAT
See Digital audiotape (DAT)
Deck
pausing while logging 49
Deck Configuration settings
Add Channel options 81
adjusting 80
deleting elements in 85
Deck controller
in Digital Cut tool 211
Deck Preferences settings
description 86
for assemble-edit recording 208
Deck Selection pop-up menu 91
Capture tool 91
Digital Cut tool 211

ABCDEFGHIJKLMNOPQRSTUVWXYZ

Deck settings
for configuring decks 83, 91, 211
Decks
capturing from non-Avid-controlled 144
configuring 80
digitizing from consumer-grade 118
for digital cut 211
limitations on consumer-grade 121
logging with Avid-controlled 46
logging with non-Avid-controlled 51
selecting 91
using the keyboard to control decks 133
Decompose feature 158
using when recapturing 158
Default pulldown frame
changing the 232
Delay, DV digital cut 232
Deleting
deck configurations 85
Destination bins
selecting 98
Destination drives
selecting 99
Destination timecode rate 229
Dialog boxes
Batch Import 187
Deck Configuration 80
Deck Settings 83
Export As 249
Export Settings 252
Film Settings (transfer settings) 78
General Settings (for digitizing) 77
Modify Pulldown Phase 59
Select Tape 92
Send To Export 259, 261, 264, 267, 268
Digidesign
exporting to 258
Digital audiotape (DAT)
capturing from 95
digitizing from 66
Digital Betacam VTR
calibrating input from 114
recording to 197
Digital Cut command (Output menu) 210
Digital cut delay, DV 232

Index

Digital Cut tool
24p and 25p output formats 225
deck controller in 211
selecting decks from 211
using 209
Digital cuts
audio-only 231
previewing 213
record options 216
recording 209
Digital scale (Audio tool)
defined 107
Digitizing
See also Autodigitizing, Batch digitizing,
Redigitizing
See Capturing
Displaying film columns 54
Downconversion
HDTV to SDTV 24
Downconvert
for output 323
Drag-and-drop method
exporting files with 251
for converting files to ALE format (Windows) 34
importing files with 177
Drive filtering options (Media Creation dialog box)
68
Drive striping 66
Drives
filtering 68
selecting for capturing 99
striped for capturing 66
Drop-frame timecode
described 87
output 228
simultaneous output with non-drop-frame 229
dropped frames 215, 218
DV digital cut delay
described 232
procedure for 234
DV project
planning 25
DV resolutions
Avid DV Codec for QuickTime 278

333

Index

ABCDEFGHIJKLMNOPQRSTUVWXYZ

DV Scene Extraction
described 167
setting up 167
DV Stream files
exporting 271
options 271
DV100
capturing 135
DV50
capturing 135
DVCPRO HD
capturing 135
DVD
exporting to 261

E
Edit decision list
See EDL
Editcam files
importing 184
EDL (edit decision list)
creating 234
described 234
Effect Safe Mode button 215, 218
Effects
in HD projects 320
Enable Track buttons (Digital Cut tool) 210
Entering
additional film data 62
frames-per-second rates for PAL transfers 60
ink numbers 62
key numbers 60
optional timecodes 61
pulldown of the sync point 55
Errors
logged during capturing 129
viewing capturing errors in the Console window
129
Events in an EDL
defined 234
Export
for HD 327
Export settings
creating new 252

334

Exporting
AAF files 255
audio tracks 292
clips 248
DV Stream files 271
frames 248
from a third-party QuickTime or AVI application
285
graphic files 294
OMFI files 255
preparing sequences for 246
procedure for 248
QuickTime movies
methods 272
procedure 273
QuickTime reference movie 275
reasons for 246
sequences 248
shot log files 63
to Avid | DS 267
to Digidesign Pro Tools 258
to DVD 261
to Sorenson Squeeze 264
to third-party applications 268
using drag-and-drop method 251
Windows Media 285
with Avid Codecs for QuickTime
described 278
installing 283
procedure for 273
External drive
See Media drive
External timecode 146
capturing with 146

F
Factory preset buttons
in Video Input tool 115
in Video Output tool 195
FieldPak
importing files from 184
Files
exporting
procedure for 248

ABCDEFGHIJKLMNOPQRSTUVWXYZ

reasons for 246
using drag-and-drop method 251
importing
guidelines for 171
procedure for 174
using drag-and-drop method 177
importing mixed resolutions 27
reimporting 186
Film
columns, displaying 54
data, entering 62
information, logging 53
minimum information for capturing 53
timecodes, entering 61
Film cut lists
generating 237
Film settings
for transfer 78
pulldown phase 41
FilmScribe application
accessing 237
Film-to-tape transfer
audio requirements for NTSC 95
Filtering drives 68
FireWire
capturing directly through 135
Format bin heading 318
Format display in the Project window
described 314
Frame-accurate recording 207
Frames
exporting 248
Frames-per-second rates for PAL transfers 60
FTFT (film-tape-film-tape) feature
described 161
Function key commands (Capture Settings) 155
Function keys
available when capturing 129

G
General settings (General Settings dialog box) 77
genlock 326
Global settings
Import 172

Index

Go To Capture Mode command (Bin menu) 88
Graphics (image) files
exporting 294
Guidelines
for logging 44
for naming tapes 44

H
Hard subclips 130
Hardware check list
before capturing 65
HD codecs 328
HD Component signal
adjusting output 322
HD media
capturing 311
import and export 327
offline formats 314
outputting 326
recording output 321
resolutions 97, 309
starting a project 308
transcoding 320
HDTV
aspect ratio 298
broadcast graphics workflow 307
film-based workflow 299
supported formats 298
using 16:9 format for 66
video-based workflow 304
workflow with downconversion 24
High-definition television See HDTV
Hue slider
adjusting for video input 120
adjusting for video output 200

I
Import
for HD 327
Import Options section (Batch Import dialog box)
188
Import settings
overview 172

335

Index

ABCDEFGHIJKLMNOPQRSTUVWXYZ

Import Target section (Batch Import dialog box) 188
Importing files
batch import 187
before you begin 171
EditCam 184
guidelines for 171
in mixed-resolution projects 27
Photoshop files 177
preparing for 171
procedure for 174
settings 172
shot log files 39
using drag-and-drop method for 177
In/Out buttons (Audio tool)
defined 106
Ink numbers
entering 62
Input
audio 94
video 94, 94
Insert-edit recording 207
with pulldown 230
Installing
Avid Codecs for QuickTime 283
ITU-R 709
described 313

K
Key numbers
entering 60
formats for 60
relinking clips by 161
Keyboard
controlling decks from 133
Keykode format 60

L
Labroll data 62
Line slider (Waveform monitor) 119
Linear timecode
See LTC (longitudinal timecode)
Locators
adding while capturing 132

336

creating automatically with DV 167
Log files
See Shot log files
Logging 29
and capturing at the same time 137
automatically with DV 167
bypassing by autocapturing 142
directly into a bin
with a non-Avid-controlled deck 51
with an Avid-controlled deck 46
errors during capturing 129
film information 53
guidelines for 44
pausing deck while 49
preroll 44
timecode 44
Logs
See Shot log files
LTC (longitudinal timecode) 146
capturing with 146
establishing sync for output 193
output for 24p and 25p projects 228
output for downstream encoding 229
Luminance settings
adjusting for video input 119
adjusting for video output 199
table of 199

M
Make New
using template 268
Mark In Time option (Digital Cut tool) 216
Marking tape location
using Mark Memory button 50
Master clips
recapturing 157
Matchback option
described 235
limitations 237
Media Creation dialog box 67
Media Creation Settings
Media Type tab 174, 189
Media drive
targeting 99

ABCDEFGHIJKLMNOPQRSTUVWXYZ

Media files
capturing to multiple 75
Media Files Capture settings 75
Media Station XL
capturing with 24
MediaLog
transferring bins with 37
Memory marks
adding 50
Menu commands
Adjust Deck (Deck Selection pop-up menu) 91,
211
Auto-configure (Deck Selection pop-up menu)
91, 212
Batch Capture (Clip menu) 154
Batch Digitize (Clip menu) 160
Calibrate (Peak Hold Menu button) 112
Capture Tools (Tools menu) 46
Check Decks (Deck Selection pop-up menu) 91
Console (Tools menu) 101, 113
Digital Cut (Output menu) 210
Go To Capture Mode (Bin menu) 88
Play Calibration Tone (Peak Hold pop-up menu)
203
Set Calibration Tone (Peak Hold pop-up menu)
203
Video Output Tool (Tools menu) 196
Meters
volume 107
MII component video standard
unsupported 115
Mixed-resolution projects 27
Mixing
SD and HD material 318
Mixing and monitoring audio 105
Modify command
changing sequence format 316
Modify Pulldown Phase dialog box 59
Modifying
clip information before capturing 62
the pulldown phase after capturing 164
Multiple formats
working with 28
MXF Media Files tab 75, 76

Index

N
Nagra
capturing from 95
Naming tapes 44
Network drives command 101
Non-Avid-controlled deck
capturing from 144
logging with a 51
Non-drop-frame timecode
described 87
output 228
simultaneous output with drop-frame 229
NTSC (National Television Systems Committee)
video
capturing audio from 95
creating Avid log files for 37
logging and capturing 137
luminance values 199
waveform values 120
NTSC Has Setup option 77, 194
NTSC-EIAJ format 194
setting 77
waveform values 120

O
OMF Interchange files
described 253
exporting 255
methods for exporting 254
preparing to export 246
OMF Media Files tab 75
Output
audio 231
calibrating for video 196
change list 237
cut list 237
establishing sync for 192
generating 191
longitudinal timecode (LTC) 193
multiformat 225
options 191
preparing for 191

337

Index

ABCDEFGHIJKLMNOPQRSTUVWXYZ

Output formats
described 28
for 24p and 25p projects 225
Output sync lock 326
OutputLock menu 193

P
PAL (Phase Alternating Line) video
frames-per-second rates for transfers 60
logging and capturing 137
luminance values 199
waveform values 120
Passthrough Mix Tool
using 109
Passthrough signals
calibrating video output using 201
Patching
when capturing to the Timeline 149
Peak Hold pop-up menu (Audio tool)
defined 106
Photoshop files
importing multilayered 178
procedure 182
understanding 179
importing single-layer 178
Picture quality
calibrating input levels to ensure 114
Play Calibration Tone command (Peak Hold pop-up
menu) 203
Preparing
for output 191
for video input 114
hardware before capturing 65
record tapes 206
sequences for export 246
shot log files
with MediaLog 37
with text editors 36
to capture 65
Preroll
custom for capturing 102
custom for digital cut 216
logging 44
method for setting 72

338

using control track for 72
Preset buttons 195
in Video Input tool 115
Prestriped tape 207
Previewing a digital cut 213
Pro Tools
exporting to 258
Profiles
Windows media .prx files 287
Project window
Format display, using 314
Projects
changing formats 314
DV 25
planning 23
types of 23
video 24
Pulldown
capturing without 150
finding at the sync point 55
output for downstream encoding 229
Pulldown frame
changing the default 232
Pulldown phase
modifying after capturing 164
modifying before capturing 59
option in Film Settings dialog box 41
Pulldown switch (Capture tool)
setting 95
Pullin
changing 232
Pullin frame
modifying 164
Pullout column 232

Q
QuickTime
Avid codecs for 278
QuickTime movies
exporting 273
methods for exporting 272
QuickTime reference movies
exporting 275

ABCDEFGHIJKLMNOPQRSTUVWXYZ

R
Recapturing
master clips and subclips 157
sequences
procedure 158
using Decompose 158
using Decompose during 158
Record button (Capture tool)
mapping 134
Record Deck Time option (Digital Cut tool) 216
Record settings
selecting 71
Record tapes
preparing 206
Recording
assemble-edit 208
digital cuts 209
using Local mode 217
using Remote mode 214
Redigitizing
See also Autodigitizing, Batch digitizing,
Digitizing
Reimporting files
overview 186
procedure 189
Relinking clips by key number 161
Removing deck configuration elements 85
Replacing deck configuration elements 85
Res (Resolution) pop-up menu (Capture tool) 97, 98
Reset Peak button (Audio tool)
defined 106
Resizing
the Capture tool 152
Resolutions
10-bit 25
RS422 output 228
RY Gain slider
adjusting for video input 120
adjusting for video output 200

S
Sat slider
adjusting for video input 120
adjusting for video output 200

Index

Saving settings
in Video Input tool 122
SC phase
adjusting for output 200
Scanning for tapes 47, 145
Scene data 62
Select Tape dialog box 47, 145
Selected Clips section (Batch Import dialog box)
188
Selecting
a custom preroll 102
decks for capturing 91
drives for capturing 99
settings
before capturing 67
for deck configuration 80
tapes for capturing 92
tracks for capturing 93
Send To
using predefined templates 257
Sequence Time option (Digital Cut tool) 216
Sequence Track buttons (Digital Cut tool) 210
Sequences
exporting 248
output options for 191
recapturing
procedure 158
using Decompose 158
redigitizing
procedure 160
saving two versions for 158
Serial digital input
calibrating 114
Serial digital output
calibrating 197
Serial port output 228
Set Calibration Tone command (Peak Hold pop-up
menu) 203
Settings
audio 103
deck configuration 80
DV Stream export 271
import 172
in Video Input tool 122
Media Files Capture 75
QuickTime format 275
339

Index

ABCDEFGHIJKLMNOPQRSTUVWXYZ

selecting before capturing 67
Shared volume segmentation (”chunking”) 131, 133
Shot log files
Avid log file specifications 36
converting with Avid Log Exchange (Windows)
30
exporting 63
importing 39
preparing
text editors for 36
with MediaLog 37
Shot logs
See Shot log files
Single/Dual Drive Mode button (Capture tool) 99
SMPTE bars 199
SMPTE/EBU component standard
support 115
Sorenson Squeeze
exporting to 264
Sound roll
entering data for 62
Source tapes
selecting for capturing 92
Source tracks
selecting for capturing 93
Squeeze
exporting to 264
Standard definition television (SDTV) 298
Striped drives 66
for capturing 66
Striping record tapes 207
Subclip status (Capture tool) 131, 132
Subclips
creating automatically with DV 167
creating during capturing 130
recapturing 157
S-Video deck
digitizing from 118
limitations when digitizing 121
Sync
establishing for output 192
for video input 117
sync
for HD 326
Sync point
finding the pulldown at 55
340

T
Tape deck
See Decks
Tape name
finding 47, 145
Tapes
See Videotape
Target bin
selecting 98
Target Drive pop-up menu (Capture tool) 99
Test patterns
for calibrating video output 200
for HD 325
Text editors
for Avid logs 36
Timecode
breaks, capturing across 73
drop-frame and non-drop-frame described 87
entering 61
external, capturing with 146
indicating the destination rate 229
logging drop-frame and non-drop-frame 44
selecting format for output 228
time-of-day, capturing with 145
Timeline
capturing to 148
Time-of-Day Information, using to log 167
Time-of-day timecode
capturing with 145
external source 146
Time-remaining display (Capture tool) 102
Tips
logging 44
Tone media
creating 108
recording to tape 207
Tools
Capture 89
Video Input 114
Video Output 196
Total Conform 28
Tracks
selecting for capturing 93
Transferring bins
with MediaLog 37

ABCDEFGHIJKLMNOPQRSTUVWXYZ

Tri-level sync
for HD 326
Trim pots
adjusting 112
Troubleshooting
vertical blanking interval information problems
242

U
U-matic deck
digitizing from 118
limitations when digitizing 121
Unattended batch digitizing 152
See also Batch digitizing, Digitizing,
Redigitizing

V
VBI (Vertical Blanking Interval) 198, 238
Vectorscope monitor
using 120
Vertical blanking information
line ranges in 238
Vertical Blanking Interval
and effects 241
and video quality 242
preserviing information 238
preserving information 198
VHS decks
digitizing from 118
limitations when digitizing 121
Video
input 94, 94
Video decks
See Decks
Video input
adjusting chrominance settings for 120
adjusting luminance settings for 119
calibrating 116
preparing for 114
setting in Video Input tool 115
sync for 117
Video Input pop-up menu (Video Input tool) 116

Index

Video Input tool
Line slider 119
saving settings in 122
Vectorscope monitor 120
Waveform monitor 119
Video levels
adjusting without color bars 124
Video output
advanced calibration 200
basic calibration 195
calibrating for 194
calibrating for NTSC-EIAJ 194
Video Output tool
advanced calibration controls 200
HD tab 321
options display 196
using preset buttons in 195
Video Output Tool command (Tools menu) 196
Video project
planning 24
Video resolutions
mixed 27
selecting in the Capture tool 97, 98
Video test patterns 200
Videotape
guidelines for naming 44
preparing for output 207
recording digital cut to 210
recording to 207
striping requirements for 207
Videotape decks
See Decks
VITC (Vertical Interval Timecode)
for downstream encoding 229
V-LAN VLXi 82
Volume meters
in the Audio tool, defined 107
Volume unit scale (Audio tool), defined 107
VTR
See Decks

341

Index

ABCDEFGHIJKLMNOPQRSTUVWXYZ

W
WAVE file format
option in Audio Project settings 104
Waveform monitor
calibrating input with 119
Wide-screen format (16:9) 66
Windows Media
exporting as 285
Workflows
film-based HDTV 299
for video projects 24, 24
graphics for HDTV 307
video-based HDTV 304
Working with multiple formats 28

342

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Format                          : application/pdf
Title                           : Avid Media Composer Adrenaline HD Input and Output Guide
Creator                         : Avid Technology, Inc.
Author                          : Avid Technology, Inc.

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Avid Media Composer Adrenaline HD Input And Output Guide 1.0 MCAHD IO

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